4 Shots From 4 Films: Special George Miller Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Today the Shattered Lens wishes a happy birthday to one of our favorite people, George Miller!  The doctor-turned-director began his cinematic career with 1979’s Mad Max and he’s gone on to become one of the most influential and important filmmakers out there.  In honor of George Miller’s birthday, here are….

4 Shots From 4 George Miller Films

The Road Warrior (1981, dir by George Miller, DP: Dean Semler)

The Witches of Eastwick (1987, dir by George Miller, DP: Vilmos Zsigmond)

Babe: Pig In The City (1998, dir by George Miller, DP: Andrew Lesnie)

Mad Max: Fury Road (2015, dir. by George Miller, DP: John Seale)

Music Video of the Day: Lost Track by HAIM (2022, dir by Paul Thomas Anderson)


Even before the release of Licorice Pizza, it was clear that Paul Thomas Anderson’s Haim videos constituted some of the best short films of the past decade.  They were the perfect collaboration between a group of artists.

I’ve always liked Haim because they remind me of me and my sisters.

Enjoy!

[Verse 1]
Tryin’ to get on top
But it’s never easy
Mastered my own luck
But it wasn’t easy
I’m tryin’ to feel alright
Around all these people
I try, but I’m just numb
This time

[Chorus]
Deepest cut that I can’t feel
Found a grip on the steering wheel
I know a piece’s stuck
You can sit down if you don’t mind me standin’ up (Mind me standin’ up)
I know I was too good to pass (Too good to pass)
So me and you caused a chain reaction (Chain reaction)
I’ll take the smallest crumb
But I’ll never get back what I lost track of

[Verse 2]
Laugh when I’m still cryin’
Yeah, you know the deal
Burn but it’s still fine (Huh)
Yeah, you know the deal
Can’t redeem my love
That’s such a steal
But you can’t say I’m not tryin’
This time

[Chorus]
Deepest cut that I can’t feel
Found a grip on the steering wheel
I know a piece’s stuck
You can sit down if you don’t mind me standin’ up (Mind me standin’ up)
I know I was too good to pass (Too good to pass)
So me and you caused a chain reaction (Chain reaction)
I’ll take the smallest crumb
But I’ll never get back what I lost track of
Oh, I’ll never get back what I lost track of
I’ll never get back what I lost track of
I’ll never get back what I lost track of

[Outro]
I’ll never get back what I lost track
I’ll never get back what I lost track
I’ll never get back what I lost track
I’ll never get back but I’ve lost track

Late Night Retro Television Review: CHiPs 5.11 “Concours d’Elegance”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

This week, we say goodbye to a member of the highway patrol.  Excuse while I wipe the tears away from my myopic eyes.

Episode 5.11 “Concours d’Elegance”

(Dir by John Patterson, originally aired on December 13th, 1981)

This is it.  This the final episode to feature the character of Steve McLeish.

Played by a pre-transition Caitlyn Jenner, Steve was introduced as a replacement for Ponch while Erik Estrada was recovering from a stunt gone wrong.  Once Ponch rejoined the series, there really wasn’t much for Steve to do but he still stuck around for a few episodes.  He only appears for a few minutes in this episode.  He arrests some joyriding teens who are constantly trying to get older people to buy them liquor.  Maybe they should have asked Steve.  He always seemed like was eager to please.

(I should mention that both of the “teens” appear to be in their 30s.)

I’m going to miss Steve, largely because Jenner’s bland performance was so bad that it actually became rather fascinating to watch.  In this episode, he continues to deliver his lines with a puppy-dog earnestness that can’t disguise his total inability to show any emotion beyond wide-eyed wonderment.

As for this episode, it featured Baker and Ponch getting involved with a rich family.  While matriarch Hannah Chadway (Claudette Nevins) tries to see Baker up with her niece, sleazy Anthony Chadway (Gary Graham) is illegally selling cars and using the family’s charity as a front.  At one point, Hannah offers Baker a private security job.  Baker turns her down.  Couldn’t he have at least put in a word for his friend Steve?  Ponch and Baker eventually take it upon themselves to tell Hannah that she needs to get her spoiled family under control.  Hannah realizes they’re right.  Personally, I would have told Ponch and Baker that it was really none of their business but that’s just me.

This episode feature two slow motion crashes, both of which are so severe that everyone involved should have been killed.  (One accidents features not one but two cars flying through a trailer as it explodes.)  Oddly, no one is seriously injured.  I’m getting the feeling that CHiPs may not have always been a realistic show.

 

Retro Television Review: Miami Vice 5.17 “Freefall”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, Crockett and Tubbs are burned out.

Episode 17 “Freefall”

(Dir by Russ Mayberry, originally aired on May 12th, 1989)

As this episode begins, we find Crockett and Tubbs at their most cynical.  After five years as partners, they’ve seen a lot of bad guys go down.  They’ve seen a lot of innocent people die.  Larry Zito was killed by drug dealers.  Switek has developed a gambling addiction.  Gina has shot numerous men in cold blood.  Trudy was kidnapped by aliens.  Castillo has never once smiled.  None of it seems to make any difference.

When the government approaches them and orders Crockett and Tubbs to go into a war-torn island country and smuggle out dictator General Manuel Borbon (Ian McShane), Crockett is not happy about the assignment.  Tubbs, however, believes that the government is telling the truth about Borbon having information that could take down the world’s biggest drug cartel.  The government, for their part, think that Crockett and Tubbs have the undercover experience to pull off the operation.  Has the government not noticed that Crockett and Tubbs have had their covers blown in nearly every episode?

Of course, it turns out that the government is lying.  They just wanted Borbon out of the country so he wouldn’t reveal what he knows about American intelligence’s activities in Central America.  Crockett and Tubbs manage to get Borbon to Miami but they then find themselves under constant attack from the drug gangs that want Borbon dead.  Borbon proves to be untrustworthy.  Because of his gambling addiction, Castillo suspects that Switek may have sold out his partners.  Switek responds by tracking down three hitmen and gunning them down.  Did Switek sell out Crockett and Tubbs?  The answer isn’t clear but it does seem like his time as a detective is coming to an end.

Finally, Tubbs and Crocket do what they have to do.  They go on a “suicide” mission that involves them firing their weapons at Borbon’s sea plane until it explodes.  Borbon is killed and so are several of his American associates.  When the CIA man in charge of the operation threatens to have their badges, Crockett and Tubbs toss their badges on the ground.  Castillo offers to back them up if they chose to stay on the force.  Tubbs says thanks but no thanks.  Tubbs is going back to New York.  Crockett is heading further south, presumably to live in the Florida everglades.

And so, Miami Vice ends.

Except it doesn’t!  There were four so-called “lost episodes” that aired in syndication.  We’ll take a look at them over the next four weeks.

As for Freefall, it’s not a terrible conclusion to the story of Crockett and Tubbs.  It stays true to the cynicism that ran though the entire series.  Crockett and Tubbs finally admit that the War on Drugs is a sham and they quit.  It’s a shame that Gina and Trudy didn’t get to do much in the finale.  I wasn’t happy with the idea of Switek being a traitor but it actually did work for his character.  Switek had been spiraling ever since Zito was killed.  This episode has a lot of surprisingly violent action, the show’s trademark political subtext, and Johnson and Thomas bringing their characters to life one last time.

Apparently, this episode was originally envisioned as ending with both Crockett and Tubbs dying.  That actually would have been a totally appropriate ending as both characters have often seemed as if they had a death wish.  However, the network turned down that idea because they were hoping to do a spin-off series.  Crockett and Tubbs were spared by the higher-ups.  The series ends — or it would end if not for the four extra episodes — with Crockett and Tubbs speeding through the streets of Miami and it’s had not to feel that’s the way it should be.

Sinners Wins At The Actor Awards


 

It was a good night for Sinners.  Victories at both the Actor Awards and the Eddie Awards would seem to indicate that the film has a shot at pulling off an upset.  Still, One Battle After Another won with both the DGA and PGA and it probably still has to be considered front runner.

Here are the winners, listed in bold.  I slept through the ceremony because I took some pain killers for my ankle.

OUTSTANDING PERFORMANCE BY A CAST IN A MOTION PICTURE
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A LEADING ROLE
Timothée Chalamet – Marty Supreme
Leonardo DiCaprio – One Battle After Another
Ethan Hawke – Blue Moon
Michael B. Jordan – Sinners
Jesse Plemons – Bugonia

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A LEADING ROLE
Jessie Buckley – Hamnet
Rose Byrne – If I Had Legs I’d Kick You
Kate Hudson – Song Sung Blue
Chase Infiniti – One Battle After Another
Emma Stone – Bugonia

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE
Odessa A’zion – Marty Supreme
Ariana Grande – Wicked: For Good
Amy Madigan – Weapons
Wunmi Mosaku – Sinners
Teyana Taylor – One Battle After Another

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE
Miles Caton – Sinners
Benicio del Toro – One Battle After Another
Jacob Elordi – Frankenstein
Paul Mescal – Hamnet
Sean Penn – One Battle After Another

OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A DRAMA SERIES
The Diplomat
Landman
The Pitt
Severance
The White Lotus

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A TELEVISION MOVIE OR LIMITED SERIES
Jason Bateman – Black Rabbit
Owen Cooper – Adolescence
Stephen Graham- Adolescence
Charlie Hunnam – Monster: The Ed Gein Story
Matthew Rhys – The Beast In Me

OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES
Abbott Elementary
The Bear
Hacks
Only Murders in the Building
The Studio

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A DRAMA SERIES
Sterling K. Brown – Paradise
Billy Crudup – The Morning Show
Walton Goggins – The White Lotus
Gary Oldman – Slow Horses
Noah Wyle – The Pitt

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A COMEDY SERIES
Kathryn Hahn – The Studio
Catherine O’Hara – The Studio
Jenna Ortega – Wednesday 
Jean Smart – Hacks
Kristen Wiig – Palm Royale

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION MOVIE OR LIMITED SERIES
Claire Danes – The Beast In Me
Erin Doherty – Adolescence
Sarah Snook – All Her Fault
Christine Tremarco – Adolescence
Michelle Williams – Dying For Sex

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A COMEDY SERIES
Ike Barinholtz – The Studio
Adam Brody – Nobody Wants This
Ted Danson – A Man On The Inside
Seth Rogen – The Studio
Martin Short – Only Murders in the Building

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A DRAMA SERIES
Britt Lower – Severance
Parker Posey – The White Lotus
Keri Russell – The Diplomat
Rhea Seehorn – Pluribus
Aimee Lou Wood – The White Lotus

OUTSTANDING STUNT ENSEMBLE IN A MOTION PICTURE
F1
Frankenstein
Mission: Impossible — The Final Reckoning
One Battle After Another
Sinners

OUTSTANDING STUNT ENSEMBLE IN A TELEVISION SERIES
Andor
Landman
The Last of Us
Squid Game
Stranger Things

Join #MondayMania For Teenage Bank Heist!


Hi, everyone!  Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania!  Join us for 2012’s Teenage Bank Heist!

You can find the movie on Prime and Tubi and then you can join us on twitter at 9 pm central time!  (That’s 10 pm for you folks on the East Coast.)  See you then!

Song of the Day: Reach Out (I’ll Be There) by The Four Tops


A friend of mine recently watched Cooley High for the first time.  We both agreed that the film ends on two powerful musical notes, first with It’s So Hard To Say Goodbye playing over the scenes of Cochise’s funeral and then with today’s song of the day playing over the scenes of Preach literally running towards his future.

Here is Reach Out (I’ll Be There) by The Four Tops.

Scenes That I Love: “YOU CAN LIVE!” from Logan’s Run


I always enjoy it when good actors go totally over-the-top and that is certainly the case with today’s scene that I love.  In 1976’s Logan’s Run, the normally very reserved Michael York tries to let the people of the City know that “you can live!  LIIIIIIIIIIIIIVE!”

Actually, as much as I enjoy York’s performance here, what truly makes the scene memorable is the way that everyone just ignores him and shuffles off to “renewal,” despite Logan’s attempts to convince them that they “don’t have to DIE!”  Logan’s Run is often dismissed as being a campy but enjoyable sci-fi film but, in this scene, we get a good portrayal of what a brainwashed populace truly looks like.

4 Shots From 4 Films: Special Martin Ritt Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

On this day, 112 years ago, Martin Ritt was born in New York City.  Like many of the Hollywood directors who came to prominence in the 1950s, he started his directorial career in the theater before moving over to live TV.  In 1952, his television career was derailed when he was accused of being a communist.  Blacklisted, it would be five years before Ritt could get another directing job.  When he did start to work again, he moved from television into the movies, starting with 1957’s Edge of the City.  Perhaps due to his own experiences, his films always had a social conscience and always defended the individual against corrupt corporations and governments.  In 1976, he directed one of the first films about the Hollywood blacklist, The Front.

As a director, Ritt was known for his skill with actors.  More than anyone, he played a huge role in making stars out of both Paul Newman and Sally Field.  He was also one of the few directors to understand how to harness Richard Burton’s self-destructive tendencies and, as a result, Burton gave one of his best performances in Ritt’s adaptation of The Spy Who Came In From The Cold.  

It’s time for….

4 Shots From 4 Martin Ritt Films

Edge of the City (1957, dir by Martin Ritt, DP: Joseph Brun)

Paris Blues (1961, dir by Martin Ritt, DP: Christian Matras)

Hud (1963, dir by Martin Ritt, DP: James Wong Howe)

The Spy Who Came In From The Cold (1965, dir by Martin Ritt, DP: Oswald Morris)

Monday Live Tweet Alert: Join Us For Amsterdam Kill!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be 1977’s Amsterdam Kill!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, find the movie on YouTube and hit play at 8 pm et, and use the #MondayActionMovie hashtag!  The  watch party community is a friendly group and welcoming of newcomers so don’t be shy.   

See you soon!