Here’s the Super Bowl Spot For Disclosure Day


Disclosure Day is Steven Spielberg’s latest film.  We really don’t know much about it, beyond the fact that it appears to be science fiction and it stars Emily Blunt.

The Super Bowl spot is certainly intriguing.  I’m looking forward to unraveling this film’s mysteries.

Retro Television Review: Homicide: Life On The Street 4.21 “Scene of the Crime”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC!  It  can be viewed on Peacock.

This week, it’s another night in Baltimore.

Episode 4.21 “Scene of the Crime”

(Dir by Kathy Bates, originally aired on April 12th, 1996)

This week, three murders are committed in the projects of Baltimore.

The first murder occurs when a drug dealer is tossed off the roof of an apartment complex, “the towers.”  Making the Lewis and Kellerman’s investigation difficult is the fact that the city has given a security contract to the Black Muslims.  The Muslims have been patrolling the Towers for a year and, in that time, they’ve chased out most of the drug dealers that once terrorized the building’s residents.  Kellerman feels that the Muslims are racists.  Giardello says that the Muslims just caused the dealers to go to another block.  Lewis, however, is a bit more conflicted.  As he explains it to Kellerman, why should white neighborhoods by the only ones allowed to have their own private security force?

The second and third murders occur at another set of towers.  This time, two teenage drug dealers ended up shooting each other.  When Munch and Russert arrive at the scene, they are met by patrolman Stu Gharty (Peter Gerety).  Gharty walks them through the scene, shows how the two dealers ended up killing each other, and then excuses himself to wait for the medical examiner.  Munch is impressed with Gharty but Russert can’t help but note the thirty-minute time gap between when Gharty got the call about the shooting and when he called for homicide.  Gharty confesses that, when he first arrived, he didn’t immediately enter the building, despite hearing the gunshots.  Gharty was concerned for his safety.  Munch understands and, even more importantly, he doesn’t believe in getting other cops in trouble.  Russert, however, is angered, especially after it turns out that one of the teenagers bled to death while Gharty was waiting outside.

This was an excellent episode of Homicide, one that was smart enough to paint anyone as being all good or all bad.  Ishmael Al-Hadj (Victor Williams), the head of the Muslim security force, is an anti-white fanatic but Lewis has a point when he says that Ishmael and his men have largely kept peace in the Towers in a way that the police have not been able to do so.  In the end, Ishmael turns over the name of the murderer but only after he knows that the man is no longer in Baltimore.

As for Stu Gharty, Russert is absolutely correct when she says that he failed to do his duty but, largely due to Peter Gerety’s empathetic performance, it’s hard not to sympathize with Gharty.  As Russert herself admits, Gharty has been a good cop for years but, that one night, he allowed his fear to get the better of him.  Russert, who is still thinking like a captain despite being demoted, feels that one moment of weakness cannot be overlooked.  Just about everyone else disagrees.  Whereas Russert and Kay Howard sees someone who failed to do his job, a detective like Munch looks at Gharty and sees a 54 year-old cop who is just a few years away from getting reassigned a desk job on account of his age and who made one mistake because he didn’t want his family to get a call telling them that he was dead.  At one point, Gharty says he’s thinking of just taking retirement.  Of course, he didn’t.  Instead, he returned a few seasons later as a regular.

This episode also featured Munch preparing for the return of Bolander.  After calling Bolander multiple times, Munch finally got him to agree to drop by the Waterfront Bar.  Of course, Bolander never showed up.  And it makes sense, really.  After getting shot and nearly dying during the previous season, Bolander was obviously done with being a cop.  (And, of course, Ned Beatty was no longer on the show.)  Still, there was something rather poignant about Munch’s growing realization that his partner and his hero was no longer going to be around.

Next week, the season comes to an end!

 

The DGA Honors Paul Thomas Anderson


If you were like me and you were hoping for some sort of big upset at the Oscars next month, it looks like we’re out of luck!  The Directors Guild has honored Paul Thomas Anderson as director of the year for One Battle After Another.

The winners are in bold:

FEATURE FILM
Paul Thomas Anderson – “One Battle After Another” (Warner Bros.)
Ryan Coogler – “Sinners” (Warner Bros.)
Guillermo Del Toro – “Frankenstein” (Netflix)
Josh Safdie – “Marty Supreme” (A24)
Chloe Zhao – “Hamnet” (Focus Features)

FIRST-TIME THEATRICAL FEATURE FILM
Hasan Hadi – “The President’s Cake” (Sony Pictures Classics)
Harry Lighton – “Pillion” (A24)
Alex Russell – “Lurker” (Mubi)
Charlie Polinger – “The Plague” (IFC)
Eva Victor – “Sorry, Baby” (A24)

4 Shots From 4 Films: Special King Vidor 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, we celebrate the 132nd birthday of Texas-born filmmaker, King Vidor!  Though Vidor may no longer be a household name, he was one of the most important and idiosyncratic filmmakers of Hollywood’s Golden Age.  The Crowd is regularly cited as one of the most influential films ever made.  (Certainly every film that’s ever featured a shot of an anonymous office worker sitting in a room full of cubicles owes a debt to it.)  Duel in the Sun went on to inspire countless spaghetti westerns.  The Fountainhead is also regularly cited as a favorite by a surprisingly large number of directors.

In honor of King Vidor’s life and legacy, here are….

4 Shots From 4 King Vidor Films

The Champ (1931, dir by King Vidor, DP: Gordon Avil)

Duel In The Sun (1946, dir by King Vidor, DP: Lee Garmes)

The Fountainhead (1949, dir by King Vidor, DP: Robert Burks)

Solomon and Sheba (1959, dir by King Vidor, DP; Fred A. Young)

Music Video of the Day: I Love Rock ‘N’ Roll, covered by Britney Spears (2001, dir by Chris Applebaum)


It’s Britney!

Filmed at Long Island bar, this video is here to welcome us to Super Bowl Sunday!  Pretty soon, some people will be watching the game and some people will be watching the commercials and, here at the Shattered Lens, we’ll be posting any trailers that drop during the big game.  It’s a part of our tradition!

For now, though, let’s love rock and roll.

Enjoy!

Late Night Retro Television Review: Saved By The Bell 1.11 “The Friendship Business”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Saturdays, I will be reviewing Saved By The Bell, which ran on NBC from 1989 to 1993.  The entire show is currently streaming on Prime and Tubi!

This week, Zack and Jessie battle for business supremacy.

Episode 1.11 “The Friendship Business”

(Dir by Don Barnhart, originally aired on November 4th, 1989)

Hey, it’s the Buddy Bands episode!

One of the things about Saved By The Bell is that, if you’re a certain age, all you have to hear is one term — like “Buddy Band” or “I’m so excited” or “Zack Attack” — and you automatically know what episode is being referred to.  If you were in high school or college in the days when Saved By The Bell reruns were playing endlessly in syndication, you know what I’m talking about.

That’s changing, of course.  Saved By The Bell is no longer the ubiquitous cultural touchstone that it once was.  That’s a polite way of saying that those of us who grew up with it on television are getting older and, for the generation replacing us, Saved By The Bell is just one of the many old shows that they probably skip over while looking at whatever’s streaming online.  It’s sad to say but, in another few decades, all of the Saved By The Bell talk will be limited to assisted living facilities and to grandchildren saying, “Was Zack Morris a friend of yours, grandma?”

For now, though, I’m just happy that I can say “Buddy Bands” and everyone remembers that this episode featured Zack and Jessie leading rival companies that both got involved in the cut-throat world of friendship bracelets.  Zack thinks that he has the inside track because he’s got Lisa and the fashion club working for him but he eventually demands too much from her so Lisa defects over to Jessie’s company.  But then Jessie proves to be just as demanding as Zack.  Meanwhile, Zack convinces Belding to wear a Buddy Band.  Belding walks around the school saying, “Hello, fellow Buddy Bander!” and everyone demands their money back.  Jessie asks someone if their Buddy Band is defective.  “Belding’s wearing one!  It doesn’t get more defective than that!”

Among other things, this episode features the classic Buddy Bands commercial:

Seriously, why was everyone fighting over Zack when A.C. Slater — handsome, mysterious, ageless, and a great dancer! — was right there?

Along with the oddly overproduced Buddy Band commercial, this episode featured one of those weird Zack Morris fantasies, where he imagine being so rich that Screech — as Robin Screech — interviews him.  Zack imagines owning the school, being married to Kelly, and forcing Jessie, Slater, Lisa, and Mr. Belding to work for him.  It’s a chilling look inside Zack’s mind.

Indeed, this episode is also a good early example of Zack getting away with essentially being a sociopath.  Given $100 to start a company by teacher Mr. Tuttle (Jack Angeles, making his first welcome appearance on the show), Zack proceeds to steal Lisa’s idea of making friendship bracelets, tries to overthrow Jessie as company president (leading to Jessie forming her own company and going into the Buddy Band business), and then mercilessly exploits Screech and Lisa while doing very little work himself.  After this backfires on him, he sabotages Jessie’s company and drives her out of business.  Then, at the Max, everyone just decides to be friends again.  In fact, Zack doesn’t even flunk his business class because he learned an important lesson.  I mean, as much as I disliked Ms. Bliss, at least she actually got mad (albeit briefly) when Zack stole her money and invested in potatoes!

Anyway, this episode?  Classic!  Buddy Bands!