October Positivity: Break Every Chain (dir by Tim Searfoss)


The 2021 film, Break Every Chain, tells the story of a cop with a problem.

Struggling with the memories of his own troubled childhood and also with the responsibilities of having a family of his own, Jonathan Hickory (Ignacyo Matynia) throws himself into his work as a member of the police force.  He’s considered to be a good cop, one who is given important assignment and who can be trusted not to abuse his authority.  At one point, when it appears that a drunk man is pointing a rifle at him, Jonathan is smart to realize that opening fire on the man is not the way to deal with him.  Jonathan, in many ways, seems like a throwback to the days before the American police force became the militarized behemoth that it is today.

Jonathan is promoted to riding a motorcycle and it must be said that the motorcycle that he receives is pretty badass.  Jonathan investigates accidents.  He gives speeches about the important of not driving drunk.  To the world, he’s the ideal cop.  But, secretly, Jonathan is falling apart.  Haunted by the things that he’s seen as a member of law enforcement, Jonathan has turned to drinking and has been neglecting his family.  Soon, Jonathan is full-blown alcoholic and it’s only a matter of time before his drinking catches up to him.

Break Every Chain is a pretty simple film but it’s effective.  Matynia gives a good performance as Jonathan and the film doesn’t try to force some sort of cure-all solution on the audience.  Jonathan does get help for his problems and he does turn to his church for support.  And, yes, it’s not all surprising when it turns out that Jonathan’s pastor is played by Dean Cain.  However, the film itself is not particularly preachy, at least not by the standards of most faith-based films.  It suggests that, for Jonathan, devoting himself to religion gives him another way to deal with life that doesn’t involve getting drunk and neglecting his family.  The movie isn’t incorrect about that.  Regardless of whether one agrees with Jonathan’s religious beliefs or not, he is correct to believe that the human mind needs something else to obsess on beyond its addictions.

I should admit that films about addiction, especially alcoholism, always tend to effect me more than other social problem films.  My family tree has its share of drinkers, some of whom could handle their alcohol better than other.  I know firsthand the trauma that can come from seeing a family member struggle with their addictions. One reason why I don’t drink is because I know that I have certain compulsive tendencies.  I tend to channel those tendencies into watching and writing about movies and, of course, making lists.  The way some people are about having that glass of wine before bed, that’s the way I am about making sure that my To-Do List for the following day has been written out and it’s ready to go.  Some people are addicted to drugs.  Some people are addicted to booze.  I’m addicted to making out lengthy To-Do Lists.  That said, there’s no greater feeling than crossing something off of your To Do List.  For instance, I just crossed reviewing this film off of my list and now, I’m feeling great!

 

Late Night Retro Television Review: Baywatch Nights 2.16 “Zargtha”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing Baywatch Nights, a detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on YouTube!

This week, it’s werewolf time!

Episode 2.16 “Zargtha”

(Dir by Rick Jacobson, originally aired on April 5th, 1997)

The discovery of a murdered teenage runaway on the beach leads to Mitch investigating a series of killings involving homeless teens.  The police think that the murders must be the result of a wild animal, a wolf of some sort.  Daimont Teague shows up to tell Mitch that he thinks the killer is a Zargtha, a type of Eastern European werewolf that has found its way to California.

Mitch declares that he’s seen a lot of things over the past few months but there’s no way that he’s going to buy into the idea of a werewolf from Eastern Europe.

Okay, let’s consider this.  Over the past few months, Mitch has

  1. encountered numerous sea monsters,
  2. been sucked into the past and hunted by an axe-wielding frontierman
  3. gone to the future and been hunted by cannibal mutants
  4. watched multiple animals explode after getting exposed to space dust
  5. watched two 900 year-old Vikings come back to life and pick up their blood feud right where they left off,
  6. discovered that the world is secretly controlled by the Knights Templar and,
  7. fought an actual vampire!

That’s just some of what Mitch has seen since the start of the second season of Baywatch Nights.  And yet, after all that, a werewolf is just too out there!?  I know that Mitch is supposed to be a skeptic and I respect that.  I’m a skeptic myself.  But there’s a point where skepticism becomes stupidity.  I may not believe in vampires but that’s going to quickly change if I ever meet one.

After learning that there’s a group of homeless teenagers living in abandoned building, Mitch and the head of the local shelter, Cindy (Pamela Bach-Hasselhoff), try to find and warn them before the killer reaches them.  Complicating this matter is that a recent earthquake is threatening to make the building come crashing down and also, the killer is already in the building.  And yes, the killer is a werewolf from Eastern Europe.

This was actually a pretty good episode.  Though the werewolf makeup wasn’t that great, the creature’s ferocious growls and the relentless way that it would attack still made it far more effective than the usual Baywatch Nights monster.  As well, the abandoned building turned out to be a wonderfully atmospheric and creepy location.  For once, all the Dutch angles felt appropriate.  This episode played out like a nightmare and I imagine, back in 1997, it was probably quite scary to watch with the lights out and maybe a storm raging outside.

Pamela Bach-Hasselhoff was married to David Hasselhoff when this episode was filmed.  That may explain why Ryan is barely in this episode and, for the first time in a long time, there’s no scenes of Ryan and Mitch flirting.  Instead, Mitch spends this episode protecting Cindy and the kids.  That’s kind of sweet.  Good for the Hoff!

Here’s The Trailer For The Invisible Raptor


I have to be honest.  I get the feeling that all of this film’s best moments were crammed into the trailer.  The quotes insisting that this film is destined to be a “cult classic” also leave me feeling a bit skeptical.  It’s very rare that any film described as being a future cult classic actually becomes one.

That said, the trailer does promise a mix of gore and comedy.  If the filmmakers manage to maintain the right tone throughout the entire film, it seems like this could be fun.  I do plan on watching The Invisible Raptor so I hope the film lives up to the hype of the trailer.

Here’s the trailer for The Invisible Raptor!

Two Scenes From Young Frankenstein (In Memory of Teri Garr)


Today, everyone was saddened to hear about the passing of actress Teri Garr.  The veteran actress and dancer, who was best-known for her comedic performances but who also showed that she could handle drama, was 79 years old.

Since this is October, it seem fitting to share two scenes from 1974’s Young Frankenstein, featuring Teri Garr as Inga.

 

4 Shots From 4 Films: RIP, Paul Morrissey


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!

Today, the Shattered Lens honors Paul Morrissey, a pioneering director who passed away yesterday at the age of 84.

Though he may not have been as well known as some of his contemporaries, Paul Morrissey was one of the godfathers of independent film.  He first came to notice as a collaborator of Andy Warhol’s.  Morrisey’s first films were shot at the Factory and starred the members of Warhol’s entourage.  At a time when the indie film scene barely even existed, Morrissey was making boldly transgressive films and distributing them largely on his own.  In fact, it could probably be argued that, if not for Paul Morrissey, the American independent film scene would never have grown into the impressive artistic and financial force that it is today.

There’s always been some debate over how much influence Warhol had over Morrissey’s films.  Morrissey always said that Warhol had next to nothing to do with the films, beyond occasionally taking a producer’s or a co-director’s credit.  Others have disagreed.  What can be said for sure is that, even after Warhol retreated from directly involving himself in the cinematic arts, Morrissey continued to make fiercely independent films.

Paul Morrissey made films about outsiders.  While other directors were telling stories about the middle and upper classes, Morrissey was making movies about junkies, prostitutes, and people simply trying to make it from one day to another.  His films also frequently satirized classic Hollywood genres.  In fact, his two best-known films, Flesh for Frankenstein and Blood for Dracula, not only satirized the old Universal horror films but also the Marxist-themed films being made in Europe.  A devout Catholic and a political conservative, Morrissey took a particular delight in tweaking the left-wing assumptions of the counterculture.  Who can forget Joe Dallesandro’s gloriously shallow revolutionary in Blood for Dracula?

Here are….

4 Shots From 4 Paul Morrissey Films

Chelsea Girls (1966, dir by Paul Morrissey and Andy Warhol)

Trash (1970, dir by Paul Morrissey)

Blood For Dracula (1974, dir by Paul Morrissey)

Mixed Blood (1984, dir by Paul Morrissey)

Bonus Horror On TV: The Halloween That Almost Wasn’t (dir by Bruce Bilson)


Oh no!  Halloween might be canceled because people just aren’t scared of the old monsters!  Dracula (Judd Hirsch) calls all of the classic creatures to a meeting in his castle (where they all happen to be freeloading) and give them an ultimatum.  Be more scary!  It turns out to be easier said than done.

This originally aired in 1979 but, for people of a certain age, it achieved a certain immortality thanks to regular airings on the Disney Channel.  It’s a cute show.  It might seem a little bit corny today but that’s a large part of its appeal.  It’s a reminder of a more innocent time.

Warren the Werewolf, by the way, was named after Warren “Werewolves of London” Zevon.

Horror on TV: One Step Beyond 3.27 “The Confession” (dir by John Newland)


Tonight’s episode of One Step Beyond features the great Donald Pleasence, making it perfect viewing for the Halloween season!

Pleasence plays an attorney who prosecuted  a man for a murder that he didn’t commit.  Pleasence did so, even though a woman (Adrienne Corri) claiming to be the supposed victim of the crime came to him and said that she had not been murdered.  Pleasence refused to believe her.  Now, years later, his guilt is driving him mad while host John Newland looks on.

Can you prove it didn’t happen?

This episode originally aired on April 11th, 1961.

The TSL Horror Grindhouse: Don’t Look Away (dir by Michael Bafaro)


The main thing you need to know about 2023’s Don’t Look Away is that the killer looks like this.

Yes, the killer is a mannequin and a rather silly-looking one at that.  Silly or not, the mannequin is undeniably creepy, as mannequins tend to be.  The mannequin is apparently stalking a group of friends.  Frankie (Kelly Bastard) is convinced that the mannequin is alive and possessed by some sort of supernatural power.  Her friends disagree …. until they start dying, one-by-one.

Now, I should make clear that, for the majority of the film’s running time, we don’t actually see the mannequin kill anyone.  At the most, we see the mannequin suddenly show up behind someone.  He evens shows up in a swimming pool at one point.  Occasionally, his facial expression seems to change but, for the most, he always has the same goofy smile painted on his face.  The mannequin stalks one person-at-a-time and if you see him behind you and then look away, he’ll be closer the second time you look at him.

We do see the aftermath of meeting the mannequin.  As silly as it may seem to get killed by a mannequin (and I mean, seriously, how do you handle that shame while waiting in Purgatory), Kelly’s friends are actually dying, though it appears that they could all just be having unfortunate accidents or committing suicide.  Is it possible that the mannequin is just a mess delusion and that Kelly’s paranoia has poisoned the group?  The thing is, though …. if you were going to imagine a scary mannequin trying to kill you, wouldn’t you actually visualize something a lot more scary than a naked, emasculated wooden man with a silly smile on his face?

Don’t Look Away doesn’t quite work.  None of the friends really make a huge impression or even register as anything more than horror movie stereotypes.  There’s a scene set in a disco that I appreciated but that’s just because I appreciated anything that’s set in a disco.  Don’t Look Away suffers from a common affliction amongst horror films that were made after It Follows, in that the action moves way too slowly.  When the film should be fast-paced and silly, it’s somber and strangely self-serious.

The film’s big star, of course, is that mannequin.  Here’s another shot of him.

I mean, yeah, he’s creepy.  The first few times that you see him, he’s legitimately scary.  But then, after a while, he just become silly.  There’s only so much you can do with a goofy-looking mannequin.  I mean, don’t get me wrong.  I’ve seen some good killer mannequin films.  Mannequins can definitely be scary and I wouldn’t want to get locked in a warehouse with them or anything like that.  Mario Bava’s Lisa and the Devil makes wonderful use of the creepiness of mannequins.  But the mannequin at the heart of Don’t Look Away becomes less creepy and more goofy every time that you see him.  I’ll admit that I looked away a few times in an effort not to laugh.

Hmmm …. that may have been a mistake.

Here Are The 2024 Gotham Nominations


Awards season began this morning, with the announcement of the Gotham nominations!

Now, to be clear, the Gotham Awards are not exactly the best precursor when it comes to predicting the Oscars.  The Gothams are designed to honor independent films and, as a result, a lot of Oscar contenders are not even eligible for the Gothams.  Dune 2, for instance, is definitely not a Gotham film.

That said, every little bit helps and, since we’ve got a whole month before the rest of precursors start weighing in, the producers of Anora have to be happy that today’s headlines have all basically been a variation of “ANORA LEADS THE GOTHAMS.”  If you’re going to build momentum on the way to the Oscars, it’s important to stay in the conversation.  Today, Anora is dominating that conversation.

Here are the Gotham nominations!

Best Feature

Anora
Sean Baker, director; Sean Baker, Alex Coco, Samantha Quan, producers (NEON)

Babygirl
Halina Reijn, director; David Hinojosa, Julia Oh, Halina Reijn, producers (A24)

Challengers
Luca Guadagnino, director; Luca Guadagnino, Rachel O’Connor, Amy Pascal, Zendaya, producers (Amazon MGM Studios)

A Different Man
Aaron Schimberg, director; Gabriel Mayers, Vanessa McDonnell, Christine Vachon, producers (A24)

Nickel Boys
RaMell Ross, director; Joslyn Barnes, Dede Gardner, Jeremy Kleiner, David Levine, producers (Orion Pictures/Amazon MGM Studios)

Best International Feature

All We Imagine as Light
Payal Kapadia, director; Julien Graff, Thomas Hakim, producers (Sideshow and Janus Films)

Green Border
Agnieszka Holland, director; Fred Bernstein, Agnieszka Holland, Marcin Wierzchoslawski, producers (Kino Lorber)

Hard Truths
Mike Leigh, director; Georgina Lowe, producer (Bleecker Street)

Inside the Yellow Cocoon Shell
Thien An Pham, director; Jeremy Chua, Tran Van Thi, producers (Kino Lorber)

Vermiglio
Maura Delpero, director; Francesca Andreoli, Maura Delpero, Santiago Fondevila Sance, Leonardo Guerra Seràgnoli, producers (Sideshow and Janus Films)

Best Documentary Feature

Dahomey
Mati Diop, director; Mati Diop, Judith Lou Lévy, Eve Robin, producers (MUBI)

Intercepted
Oksana Karpovych, director; Darya Bassel, Olha Beskhmelnytsina, Rocío B. Fuentes, Giacomo Nudi, Lucie Rego Pauline Tran Van Lieu, producers (Grasshopper Film)

No Other Land
Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor, directors; Fabien Greenberg, Bård Kjøge Rønning, producers (Antipode Films)

Soundtrack to a Coup d’Etat
Johan Grimonprez, director; Rémi Grellety, Daan Milius, producers (Kino Lorber)

Sugarcane
Julian Brave NoiseCat, Emily Kassie, directors; Emily Kassie, Kellen Quinn, producers (National Geographic Documentary Films)

Union
Stephen Maing, Brett Story, directors; Samantha Curley, Mars Verrone, producers (Self-Distributed)

Best Director

Payal Kapadia, All We Imagine as Light (Sideshow and Janus Films)
Sean Baker, Anora (NEON)
Guan Hu, Black Dog (The Forge)
Jane Schoenbrun, I Saw the TV Glow (A24)
RaMell Ross, Nickel Boys (Orion Pictures/Amazon MGM Studios)

Best Screenplay

Between the Temples, Nathan Silver, C. Mason Wells (Sony Pictures Classics)
Evil Does Not Exist, Ryûsuke Hamaguchi (Sideshow and Janus Films)
Femme, Sam H. Freeman, Ng Choon Ping (Utopia)
His Three Daughters, Azazel Jacobs (Netflix)
Janet Planet, Annie Baker (A24)

Breakthrough Director

Shuchi Talati, Girls Will Be Girls (Juno Films, Inc)
India Donaldson, Good One (Metrograph Pictures)
Alessandra Lacorazza, In the Summers (Music Box Films)
Vera Drew, The People’s Joker (Altered Innocence)
Mahdi Fleifel, To a Land Unknown (Watermelon Pictures)

Outstanding Lead Performance

Pamela Anderson, The Last Showgirl (Roadside Attractions)
Adrien Brody, The Brutalist (A24)
Colman Domingo, Sing Sing (A24)
Marianne Jean-Baptiste, Hard Truths (Bleecker Street)
Nicole Kidman, Babygirl (A24)
Keith Kupferer, Ghostlight (IFC Films)
Mikey Madison, Anora (NEON)
Demi Moore, The Substance (MUBI)
Saoirse Ronan, Outrun (Sony Pictures Classics)
Justice Smith, I Saw the TV Glow (A24)

Outstanding Supporting Performance

Yura Borisov, Anora (NEON)
Kieran Culkin, A Real Pain (Searchlight Pictures)
Danielle Deadwyler, The Piano Lesson (Netflix)
Brigette Lundy-Paine, I Saw the TV Glow (A24)
Natasha Lyonne, His Three Daughters (Netflix)
Clarence Maclin, Sing Sing (A24)
Katy O’Brian, Love Lies Bleeding (A24)
Guy Pearce, The Brutalist (A24)
Adam Pearson, A Different Man (A24)
Brian Tyree Henry, The Fire Inside (Amazon MGM Studios)

Breakthrough Performer

Lily Collias, Good One (Metrograph Pictures)
Ryan Destiny, The Fire Inside (Amazon MGM Studios)
Maisy Stella, My Old Ass (Amazon MGM Studios)
Izaac Wang, Dìdi Y(Focus Features)
Brandon Wilson, Nickel Boys (Orion Pictures/Amazon MGM Studios)

Retro Television Review: Fantasy Island 5.15 “The Case Against Mr. Roarke/Save Sherlock Holmes”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1984.  Unfortunately, the show has been removed from most streaming sites.  Fortunately, I’ve got nearly every episode on my DVR.

This week, Mr. Roarke might be a father!

Episode 5.15 “The Case Against Mr. Roarke/Save Sherlock Holmes”

(Dir by Don Weis, originally aired on February 6th, 1982)

After last week’s episode with Julie, Tattoo returns this week and Julie is nowhere to be seen.  When Mr. Roarke asks where Julie is, Tattoo mentions that Julie is helping with the Custer’s Last Stand fantasy.  At this point, I can only assume that a life insurance policy has been taking out on Julie and Roarke or Tattoo, or maybe both are trying to get her killed so they can collect.

Julie not being present means that she misses out on one of the biggest scandals in Fantasy Island history.  A former guest, Fran Warner (Laraine Stephens), returns to the Island after seven years.  Accompanying her is her six year-old daughter, Nancy (Nicole Eggert).  Fran loudly declares that Mr. Roarke is Nancy’s father and that he now has an obligation to take care of her.  Fran even has a birth certificate where, under the father’s name, someone has written — and I kid you not — “Mr. Roarke.”

Is Mr. Roarke the kid’s father?  As is his habit, he refuses to answer the question directly when Tattoo asks it.  But it soon turns out that no, Mr. Roarke is not Nancy’s father.  Instead, Fran is sick and may be dying and she wants to make sure that Nancy is cared for.  When Nancy learns the truth, she runs away and Tattoo leads a search party across the Island.  Fear not, of course.  Nancy is found and a very forgiving Mr. Roarke allows Nancy and Fran to stay on the Island.  And Fran’s terminal disease suddenly becomes less terminal!

While this is going on, security guard Kevin Lansing (Ron Ely) gets to live his fantasy of helping a great detective.  Kevin doesn’t care which detective he gets to help so Roarke sends him back to Victorian-era London so that Kevin can work with Dr. Watson (a charming Donald O’Connor) to save Sherlock Holmes (Peter Lawford, not looking well in one of his final performances) from the clutches of Moriarty (Mel Ferrer, being as sinister here as he was in countless giallo films).  Kevin also falls for Nurse Heavenly (RIta Jenrette, the wife of a corrupt Democrat member of Congress) and is pleased to discover that she’s not really Moriarty’s assistant.  Instead, she was just another guest on the Island having a fantasy.

The Sherlock Holmes story was silly but fun, in the way that Fantasy Island often is.  It’s always interesting when this show goes into the past and we get to see how the show’s crew dressed up the show’s sets to try to make them look historically accurate.  The same street appears in every episode but sometimes, that street is in 1890s London and sometimes, it’s in 1690s Salem and sometimes, it’s just in modern day Fantasy Island!  As for the Mr. Roarke’s a father storyline, it was predictable but still, it was a good showcase for Ricardo Montalban’s enigmatic interpretation of Mr. Roarke.

This was a pleasant trip to the Island!