Brad reviews BREAKDOWN (1997), starring Kurt Russell!


Kurt Russell is one of those actors that I always remember liking. When I was coming into my own as a lover of movies in the mid-80s, it seemed that he was everywhere in my life. Fox 16 out of Little Rock played THE MEAN SEASON constantly, my brother and I loved to rent BIG TROUBLE IN LITTLE CHINA, and my mom’s favorite movie was OVERBOARD. In some ways, he was like an extended member of the family! Even though he’s now 75 years old, if Russell is in a film or TV show, there’s a good chance I’m watching it. Well back in 1997, I went to see his BREAKDOWN in the theater, and I still find myself watching it just about every year to this day. I just enjoy it no matter how many times I watch it. Most people call it a suspense thriller, but this story is a genuine horror show for me.

Russell plays Jeff Taylor, a man traveling cross-country with his wife, Amy (Kathleen Quinlan). When their vehicle breaks down in the middle of the desert, it seems that they’re almost forced to take the help of a passing truck driver. Amy agrees to go with him to get assistance while Jeff stays behind with their vehicle. It’s the kind of situation any couple could find themselves in. The problem here is that when Jeff is able to get his vehicle running again and makes his way to the roadside diner where Amy’s supposed to be, she’s nowhere to be found. Even worse, everyone acts like they’ve never heard of her or seen her before. From that point on, the movie focuses on Jeff’s desperate search for his wife, and the more he learns about the people who took her, the more dangerous things become.

Here’s the thing about BREAKDOWN that has always made it work so well for me. The idea of a wife being taken from her husband, out in the middle of nowhere, with no explanation and no clear way to get her back, is terrifying. When I think of some of the long, lonesome stretches of interstate my wife and I have driven through in rural Wyoming, I’m not exactly sure what I’d do if our vehicle just stopped working. And one thing about Kurt Russell’s character here, he’s not some tough guy like Snake Plissken or Jack Burton. This character is named Jeff, and he’s preppy looking in his sunglasses, khakis and polo shirt. He kind of reminds me of myself at first, which means I know he’s in trouble! The brilliance of the film’s setup is that it takes an ordinary situation involving ordinary people and then turns it into the sort of nightmare that I wouldn’t wish on anybody.

Russell excels as the normal husband completely driven by the desperation to find his wife. He makes us feel what Jeff is going through, and that’s a huge part of why the movie works as well as it does. When he gets angry, we understand why. When he takes risks, we understand what’s driving him. I find myself completely invested in his predicament and want him to find Amy just as badly as he does. And then there’s J.T. Walsh, who’s particularly chilling as the truck driver, Red Barr. He seems like such a nice guy when he offers help but then seems like a despicable guy when he tells the police later that he’s never met Jeff or Amy before. The thing is, he’s basically playing the character the same in both scenes, which makes the whole thing quite unsettling. It’s an incredible performance and serves as a reminder of what a shame it was that J.T. Walsh would pass away the next year at just 54 years of age.

Another thing that works well is Kathleen Quinlan’s performance as Amy. She doesn’t get a lot of screen time, as we hang out with her and Jeff on the road for a little while before she gets kidnapped, but she gives off such an appealing vibe that helps establish a solid, likable relationship with her husband. To me that short time is vital as it helped me stay invested in Jeff’s search. I mean, who wouldn’t want her back?! Finally, I also want to give a shout-out to M.C. Gainey and Jack Noseworthy, who play a couple of really bad guys helping Red. This movie has some damn good villains.

Watching BREAKDOWN yet again, I still think it’s a near perfect thriller. Kurt Russell is terrific, the suspense holds up, and the story still resonates with me, maybe now more than ever. After all these years, I still find myself getting caught up in Jeff’s desperate search for Amy, and thinking about what I’d do if something like this ever happened to my lovely wife, Sierra. That thought remains every bit as scary as it did the first time I saw the film. I can’t recommend it highly enough.

Film Review: Starman (dir by John Carpenter)


John Carpenter has directed 18 features film, from 1974’s Dark Star to 2010’s The Ward.  Some of his films have been huge box office successes.  Some of his films, like The Thing, were box office flops that were later retroactive recognized as being classics.  Carpenter has made mainstream films and he’s made cult favorites and, as he’s always the first to admit, he’s made a few films that just didn’t work.  When it comes to evaluating his own work, Carpenter has always been one of the most honest directors around.

Amazingly, Carpenter has only directed one film that received an Oscar nomination.

That film was 1984’s Starman and the nomination was for Jeff Bridges, who was one of the five contenders for Best Actor.  (The Oscar went to F. Murray Abraham for Amadeus.)  Bridges played the title character, an alien who is sent to Earth to investigate the population and who takes on the form of the late husband of Jenny Hayden (Karen Allen).  The Starman takes Jenny hostage, though its debatable whether or not he really understands what it means when he picks up her husband’s gun and points it at her.  He and Jenny drive across the country, heading to Arizona so that he can return to his ship.  Pursued by the government (represented by the sympathetic Charles Martin Smith and the far less sympathetic Richard Jaeckel), the Starman learns about emotions, eating, love, and more from Jenny.  Jenny goes from being fearful of the Starman to loving him.  Carpenter described the film as being It Happened One Night with an alien and it’s not a bad description.

After Jenny and the alien visitor make love in a boxcar, the Starman says, “I gave you a baby tonight,” and that would be an incredibly creepy line coming from a human but it’s oddly charming when uttered by an alien who looks like a youngish Jeff Bridges.  Bridges definitely deserved his Oscar nomination for his role here.  Speaking with an odd accent and moving like a bird who is searching for food, Bridges convincingly plays a being who is quickly learning how to be human.  The Starman is constantly asking Jenny why she says, does, and feels certain things and it’s the sort of thing that would be annoying if not for the way that Bridges captures the Starman’s total innocence.  He doesn’t mean to be a pest.  He’s simply curious about everything.

Bridges deserved his nomination and I would say that Karen Allen deserved a nomination as well.  In fact, it could be argued that Allen deserved a nomination even more than Bridges.  It’s through Allen’s eyes that we see and eventually come to trust and then to love the Starman.  Almost her entire performance is reactive but she makes those reactions compelling.  I would say that Bridges and Allen deserved an Oscar for the “Yellow light …. go much faster” scene alone.

Carpenter agreed to make Starman because, believe it or not, The Thing had been such a critical and commercial flop that it had actually damaged his career.  (If ever you need proof that its best to revisit even the films that don’t seem to work on first viewing, just consider Carpenter’s history of making films that were initially dismissed but later positively reevaluated.  Today, The Thing, They Live, Prince of Darkness, and In The Mouth of Madness are all recognized as being brilliant films.  When they were first released, they all got mixed reviews.)  Carpenter did Starman because he wanted to show that he could do something other than grisly horror.  Starman is one of Carpenter’s most heartfelt and heartwarming films.  That said, it also features Carpenter’s trademark independent streak.  Starman not only learns how to be human but, as a result of the government’s heavy-handed response to his arrival, one can only assume that he learns to be an anti-authoritarian as well.

Starman is one of Carpenter’s best films and also a wonderful showcase for both Karen Allen and Jeff Bridges.

Retro Television Review: Night Partners (dir by Noel Nosseck)


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 the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1983’s Night Partners!  It  can be viewed on Tubi.

Lauren Hensley (Diana Canova) is a divorced mother who has a nice house in Bakersfield, California.  Her best friends and neighbors are housewife Elizabeth McGuire (Yvette Mimieux) and Elizabeth’s husband, a cop named Glenn (Arlen Dean Snyder).  One night, after spending the day with the McGuires, Lauren returns to her home and is attacked by three burglars.

For Lauren, the crime is not even the worst part of the night.  The worst part is when the police don’t even seem to care that much about her suffering and instead take a “just-the-facts” approach to getting the details to what she’s been through.  Glenn attempts to explain to both Lauren and Elizabeth that cops see terrible things every day and, if they seem desensitized to it all, that’s just their way to handling the stress of the job.  Lauren, however, feels that the cops need a unit that provides the same support for victims that the criminals receive from their lawyers and social workers.

At a community meeting, Lauren proposes her idea to the police chief, John Wilson (Larry Linville).  When Wilson replies that there is no money in the budget, Lauren suggests that maybe the program could be staffed by volunteers.  She then proceeds to volunteer herself and Elizabeth.  Wilson agrees, but on the requirement that Lauren and Elizabeth first attend the police academy and train with the officers.  Under the watchful eye of the gruff but kindly Joe Kirby (M. Emmet Walsh), the two middle-aged housewives run obstacle courses and learn about conflict resolution.  And while the conflict resolution lessons make sense, I’m not sure what the point of having them do the obstacle course was.

Eventually, Lauren and Elizabeth become quite good at their jobs, providing comfort to the victims and getting information that helps the police put away criminals, like the serial rapist (a young M.C. Gainey) who has been stalking the streets of Bakersfield.  Of course, it takes them a while to get good at the job.  When Elizabeth and Lauren are first sent out on the streets, they can’t even keep the police codes straight and they accidentally call in a robbery code when they’re instead just letting the dispatcher know that they’re on break.  Bizarrely, when Lauren and Elizabeth are not at a crime scene talking to a victim, they’re just supposed to drive around in a beat-up patrol car.  Neither one of them has the power to arrest anyone because they’re just volunteers.  In fact, they’re supposed to stay out of the way until the police specifically call for them to come to a crime scene.  So, why are they patrolling the city like real cops?  It seems like that would basically be a lawsuit waiting to happen.

Night Partners was obviously designed to serve as a pilot for a series where Laruen and Elizabeth would comfort victims and help to solve crimes.  The two lead actresses are likable and M. Emmet Walsh is particularly effective as their supervisor.  That said, the film itself can’t decide if it wants to be a hard-hitting crime drama or a comedy about two housewives trying to make it as cops.  Of course, there’s no reason why it couldn’t be both.  Some of the best cops shows have had elements of dark, gallows humor.  But this film’s tone is so inconsistent that the comedic scenes seem to be taking place in an entirely different universe from the dramatic scenes.

As someone who strongly believes that the right of the victims need to be given as much weight as the rights of the criminals, I appreciated the film’s message.  I just wish it had been delivered a bit more effectively.

Lisa Reviews An Oscar Nominee: Sideways (dir by Alexander Payne)


I’ve never really gotten the obsession that some people have with wine.

Some of that may be because I hardly ever drink.  I’m not quite a teetotaler but I seem to be getting closer with each passing year.  But, beyond that, I just don’t get the whole culture that’s sprung up around wine snobbery.  I don’t get the people who sit around and say, “Oh, this is an amazing Australian wine and, someday, my great-great grandchilden will get to open it when they’re 90 and on their deathbeds.”  Everything that I’ve seen about wine tastings annoys me, from the overdramatic sniffing to the big bowls of spit-out wine.  (I’m not a big fan of spitting in general.)

The 2004 film Sideways is a film that’s all about wine snobs.  It follows two friends as they take a week-long vacation in the Santa Barbara wine country.  Miles (Paul Giamatti) is a depressed English teacher who loves wine and who has never gotten over his divorce.  He’s also a writer, though a remarkably unsuccessful one.  He’s waiting to hear back on his latest manuscript, an autobiographical novel that he fears might not be commercial enough.  Jack (Thomas Haden Church) was Miles’s college roommate and they’ve remained friends, despite Miles feeling that they have nothing in common.  Jack is a former semi-successful actor who now works as a voice over artist.  Jack knows little about wine.  He’s just looking for a chance to indulge in some meaningless, commitment-free sex before getting married.

Miles attempts to teach Jack to appreciate wine.  Jack attempts to get Miles to actually enjoy life for once.  Together …. THEY SOLVE CRIMES!

Actually, they don’t solve crimes.  That’s not the type of film that Sideways is.  This is an Alexander Payne film, which means that it’s essentially a road film in which two different characters consider their own mortality and question whether or not there’s more to life than just what they see around them.  The difference between the two characters is that Miles obsesses on the meaning of it all while Jack doesn’t exactly ignore Miles’s concerns but he’s much better at shrugging them off and blithely moving from one experience to another.  Miles wears his neurosis on his sleeve while Jack is slightly better at hiding them.

During their week-long excursion into wine country, Miles and Jack fall for two women who undoubtedly deserve better.  Maya (Virginia Madsen) is a waitress who is working on her master’s degree in horticulture.  Maya shares Miles’s love of wine and is one of the few people to show any genuine interest in Miles’s book.  Stephanie (Sandra Oh) is as much of a free spirit as Jack and, after spending two days with her and her daughter, Jack starts talking about canceling (or, at the very least, delaying) his upcoming wedding.  Miles, meanwhile, is falling in love with Maya but there’s a problem.  Jack lied to Maya and told her that Miles’s book is about to be published and Jack has failed to tell Stephanie that he’s engaged….

And really, it would be very easy to be dismissive of both Miles and Jack if they were played by anyone other than Paul Giamatti and Thomas Haden Church.  If you ever need a movie to cite as an example of how perfect casting can inspire you to forgive characters who do rotten things and make stupid mistakes, Sideways would be a good film to go with.  Thomas Haden Church brings an unexpected sincerity to the role of Jack, one that keeps him from coming across as being malicious but instead suggests that he just can’t help himself.  If nothing else, Haden Church’s concern for Miles comes across being genuine.  (“I guess because you were wearing your seat belt.”)  Meanwhile, in the role of Miles, Paul Giamatti again proves that he’s one of those rare actors who can take a rather annoying character and somehow make him totally sympathetic.  It help that Giamatti brings a lot of self-awareness to the role.  Yes, Miles can be whiny and self-absorbed but at least he knows that he’s whiny and self-absorbed and he’s just as annoyed with himself as we often are.

The actors even manage to make all of the wine talk palpable for non-wine people like me.  During Virginia Madsen’s lengthy monologue about why she loves wine, I found myself thinking, “That’s why I love movies.”  Just as wine tastes different depending on who is drinking it and when they opened the bottle, how one experiences a movie can change from time to time and depending on each individual viewing experience.  Just as the best wine was cultivated over time, the same can be said of movies, many of which are not recognized for their greatness until years after they were first produced.  Just as Maya thinks about all the people who played a part in creating the perfect bottle of wine, I think about all the people who played a part in creating the movies that I love.  You don’t have to love wine to enjoy Sideways.  You just have to love something.

Sideways was nominated for Best Picture but it lost to Million Dollar Baby.  Amazingly, Paul Giamatti was not nominated for Best Actor.

Trailer: Django Unchained


The last couple days have seen the release of a number of upcoming films that should be jockeying for all those fancy-pants end of season awards. One such film is the latest film from Quentin Tarantino. Django Unchained is his latest trip into the grindhouse world with this film being his take on the spaghetti westerns made popular by Italian maestros like Sergio Leone, Sergio Corbucci and Enzo G. Castellari.

It’s an ensemble cast that’s headlined by Jamie Foxx in the title role with Christoph Waltz, Samuel L. Jackson and Leonardo DiCaprio (playing against the grain as the main villain of the piece). To pay respect to the very genre that this film owes not just it’s title, but theme and tone, Tarantino has even cast the original Django in Franco Nero in the role of Amerigo Vassepi.

Django Unchained is set for a Christmas Day 2012 release date (hopefully the world didn’t end just four days earlier).

Trailer: Django Unchained (Official)


If there’s a film arriving this year that’s bound to be hyped up by both fanboys and critics alike it would be the latest from Quentin Tarantino. Django Unchained will be his ode to the spaghetti westerns of the 60’s and 70’s. The title of the film alone owes much to Sergio Corbucci’s own spaghetti western, Django.

The trailer first premiered simultaneously over at Fandango and Movies.com and the amount of times the trailer has been reposted over the blogosphere just shows how much people have been waiting for anything about Tarantino’s western when it was first announced. I know that pretty much most everyone here at Through the Shattered Lens have been anticipating this film especially co-founder Lisa Marie Bowman.

I’d describe the trailer itself, but it’s better just to watch it. I’m sure Lisa Marie squealed a bit when two Django’s met near the end.

Source: Movies.com