Here Are The Winners In Venice


The Venice Film Festival has come to a close with the awarding of prizes.  And here they are:

Golden Lion for Best Film: All the Beauty and the Bloodshed, d: Laura Poitras
Grand Jury Prize: Saint Omer, d: Alice Diop
Silver Lion for Best Director: Bones and All, d: Luca Guadagnino
Special Jury Prize: No Bears, d: Jafar Panahi
Best Screenplay: The Banshees of Inisherin, Martin McDonagh
Volpi Cup for Best Actress: Tár, Cate Blanchett
Volpi Cup for Best Actor: The Banshees of Inisherin, Colin Farrell
Marcello Mastroianni Award for Best Young Actor: Bones and All, Taylor Russell

I would say that the big winner of the festival is undoubtedly The Banshees of Inisherin.  Going into the festival, this film was only occasionally mentioned as an Oscar contender and that was just because director Martin McDonagh was previously responsible for Three Billboards Outside Ebbing, Missouri. However, the festival not only saw Banshees win the race for the longest standing ovation but it also won awards for McDonagh’s screenplay and Colin Farrell’s lead performance.

Cate Blanchett won best actress for Tar.  Blanchett was already considered to be a probable Oscar nominee so the award at Venice will certainly help the establish the narrative that will be necessary for Blanchett to take home her third Oscar.

As for Luca Guadagnino winning Best Director, that’s fine.  He’s a good director but I’ll never forgive him for the Suspiria remake.  If he agrees to keep Argento’s name out of his mouth, I’ll add him to my list of Oscar contenders.

Live Tweet Alert: Watch Last Shift with #ScarySocial


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

Tonight, for #ScarySocial, @TimBuntley will be hosting 2014’s Last Shift!

What happens when a rookie police officer is assigned to handle the last shift at a possibly haunted police station before the place is permanently shut down?  I have no idea but I have a feeling that it will be something horrific!  I’ll be finding out tonight and I invite you to join me.

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag!  The film is available on Prime and a few other streaming sites.  I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

A Blast From The Past: Gang Boy (dir by Arthur Swerdlow)


In this 1954 short film, two rival gangs are fighting.  They both come from the same neighborhood.  The members of both gangs grew up poor.  All of them feel like there’s no hope for them.  They’re all angry and sad and fatalistic.  In fact, there’s only one difference between the two gangs.  One gang is made up of white kids and the other gang is made up of Mexicans.  That’s the only reason the two gangs fight.

The leader of the Mexican gang knows that things have got to change.  While looking over the quarry where, years ago, his younger brother died while trying to be as tough as him, the leader of the gang remembers the early days of the gang and how what started out as a place for outsiders to feel like they belonged soon became something violent and destructive.  The community wants to have a dance but the threat of violence is in the air.  Can he defuse the situation?  Maybe that friendly detective could help….

Gang Boy is a Sid Davis production, a look at how poverty and prejudice were fueling the rise in gang violence in the 50s.  Unusually, for a Sid Davis film, it’s remarkably nonjudgmental.  There is, of course, all the “you’ve ruined your life” melodrama that one would usually expect from Davis but the final blame is put more on society than the members of the gang.

Speaking of the members of the gang, the cast of this film was apparently made up of actual gang members who all hated each other.  The film may end with the promise of a better tomorrow but it’s hard to avoid the feeling that a fight broke out as soon as the camera stopped rolling,

Personally, I think of this as being a prequel to West Side Story.  Before the Sharks and the Jets learned how to dance, there was …. GANG BOY!

Live Tweet Alert: Join #FridayNightFlix for The Principal!


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

Tonight, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  1987’s The Principal!

This film features Jim Belushi in his greatest role, high school school principal Rick Lattimore!  Rick rides a motorcycle, introduces his students to the concept of “No more!,” and teaches a kid to read!  He extends a hand to drug dealer Victor Duncan.  When Victor threatens to cut Rick’s hand off, Rick replies that he’s got another!  “He’s the principal, man!”  Of course, it all leads to a big afterschool fight.  You don’t become the principal if you don’t know how to throw a punch or two!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

See you there!

Scenes I Love: Lonesome Rhodes Reveals His True Self In A Face In The Crowd


The director Elia Kazan was born 113 years ago, in what was then the Ottoman Empire and what is today Turkey.  Though he died in 2003, Kazan has remained a controversial figure and there’s still a lot of debate over what his artistic legacy should be.  As a director, he revolutionized both Broadway and Hollywood.  He made films about topics that other directors wouldn’t touch and he played a huge role in making Marlon Brando a star and popularizing the method.  (I’ll allow you to decide whether that’s a good or a bad thing.)  He won two Oscars and he’s been cited as an influence by some of the most important directors of the past century.

Kazan was also a former communist who, at the height of the 50s red scare, testified in front of the HUAC and who “named names.”  Kazan often claimed that he only identified people who had already been named.  Many of his former colleagues, however, felt that Kazan had betrayed them and never forgave him.  Though Kazan always denied it, many felt that his decision to name names had more to do with settling personal scores than with any actual concern about national security.  Not helping matters was that Kazan’s 1954 film, On The Waterfront, was widely viewed as being Kazan’s attempt to justify being an informer.  Indeed, Kazan’s post-HUAC films seemed to alternate between thinly veiled attempts to paint himself as a hero and attempts to remind people that he was still a liberal.

That adds an interesting subtext to his best film, 1957’s A Face In The Crowd.  In this film, Andy Griffith plays Lonesome Rhodes, the type of down-home entertainer who would probably have been quite popular with the supporters of HUAC.  A reporter played by Patricia Neal falls in love with Lonesome and helps him become a celebrity with a national following but, too late, she discovers that Rhodes is hardly the folksy and naïve country boy that she originally believed him to be.  Instead, he’s a master manipulator who, drunk on his own power and fame, makes plans to transform himself into a political power.  Lonesome is portrayed as being a down-home fascist, a countryfied version of the infamous Father Charles Coughlin.  At the same time, one could also argue that Rhodes, with his seething contempt for the people who follow him, was also meant as a commentary on the people who claimed to represent the workers but who only saw them and their struggle as a means to an end. 

A Face In The Crowd may have been Kazan’s attempt to remind his detractors that he was still a man of the Left but it’s far more interesting as a work of prophecy.  There’s really not much difference between Lonesome Rhodes and the modern day celebrities and influencers who are currently famous simply for being famous and who, for the right amount of money and ego-stroking, are more than willing to propagandize for one side or the other.

In this wonderfully acted and directed scene, Lonesome Rhodes gets drunk on his own power and reveals just how corrupt his outlook has become.  Making this scene all the more powerful is that it’s easy to imagine our current leaders springing something like Secretary of National Morale on us today.

8 Shots From 8 Films: Special Dario Argento Edition


4 Or More Shots From 4 Or More 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 wishes a happy birthday to one our favorite directors, the great Dario Argento!  It’s time for….

8 Shots from 8 Dario Argento Films

The Bird With The Crystal Plumage (1970, dir by Dario Argento, DP: Vittorio Storaro)

Deep Red (1975, dir by Dario Argento, DP: Luigi Kuveiller)

Suspiria (1977, dir by Dario Argento, DP: Luciano Tovoli)

Inferno (1980, dir by Dario Argento, DP: Romana Albani)

Tenebrae (1982, dir by Dario Argento, DP: Luciano Tovoli)

Phenomena (1985, dir by Dario Argento, DP: Romano Albani)

The Stendhal Syndrome (1996, dir by Dario Argento, DP: Giuseppe Rotunno)

Sleepless (2001, dir by Dario Argento, DP: Ronnie Taylor)

Retro Television Review: Fantasy Island (dir by Richard Lang)


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 1996.  The entire show is currently streaming on Tubi!

Ah, Fantasy Island!

There have been several versions of Fantasy Island.  In the late 90s, there was a version that featured Malcolm McDowell as the somewhat aloof owner of the island.  More recently, there was a movie that featured Michael Pena as the owner of the Island and which tried to turn the whole thing into a horror franchise.  It wasn’t very good.  And right now, there’s a show on Fox that features Roselyn Sanchez as the grand niece of the island’s original owner.  The Fox series is about to start its second season.  It’s a bit silly, which is why I kind of love it.

And then there’s the Fantasy Island that started it all, the Aaron Spelling-produced series that ran from 1977 to 1984 on ABC and which has lived on in reruns and on streaming platforms like Tubi.  Both the original series and all of its subsequent spin-offs took place on a mysterious tropical island where people would pay to live out their fantasies.  In the original series, the island was run by Mr. Roarke (Ricardo Montalban), who wore a white suit and encouraged everyone to smile whenever the guests arrived.  Serving as Mr. Roarke’s second-in-command was Tattoo (Herve Villechaize), who was 3’11, always wore a matching white suit, and announced the arrival of the plane by ringing a bell and shouting, “The plane, the plane!”  Of course, each week would bring in a different group of guest stars.  They would come to the island with a fantasy and, hopefully, they would learn that reality was the only fantasy that they needed.

All seven seasons of the original Fantasy Island are currently streaming on Tubi.  However, if you want to see the 1977 pilot film that started it all, you have to go to YouTube.

In many ways, the 90-minute pilot film feels like a typical episode of Fantasy Island.  It’s interesting to see that the show’s basic premise and format was already set in stone when the pilot was filmed.  (Pilots are notorious for often being dramatically different from the shows that they were created to sell.)  The pilot opens with the plane arriving (and yes, from the start, Tattoo rings the bell and shouts, “The plane!”) and three guests meeting Mr. Roarke.  Our three guest stars are Bill Bixby, Hugh O’Brian, and Eleanor Parker.  Bixby plays Arnold Greenwood, a former war correspondent who wants to be reunited with Francesca (Sandra Dee), the woman with whom he fell in love during World War II.  O’Brian is Paul, a famous big game hunter who wants to be hunted for once.  Eleanor Parker is Eunice Hollander Barnes, one of the world’s richest women.  She wants to fake her death so she can see who, from her life, would actually mourn her and who would just try to steal her fortune.

If the pilot’s format is the same as the series that followed, the general tone is somewhat different.  Mr. Roarke is an almost sinister figure, one who doesn’t really seem to think much of his guests and who is quick to point out that no one gets a fantasy until they’ve paid him the required $50,000.  (That’s $50,000 in 1970s money.  I have to admit that when Mr. Roarke first mentioned how much the fantasies cost, I was like, “Hey, I could afford this place!”)

Consider the story of the hunter.  Paul wants to be hunted because he’s suicidal.  His real fantasy is to die.  The night before Paul’s fantasy is to begin, Michelle (Victoria Principal) shows up at Paul’s room.  Michelle explains that Mr. Roarke has hired her to provide Paul with companionship during the night.  Unfortunately, Michelle ends up handcuffed to Paul and, as a result, she’s hunted along with him!  Now, you could argue that Mr. Roarke did this to teach Paul to think about someone other than himself.  But what if Paul hadn’t learned the lesson?  Then Michelle would be dead too!  What would Mr. Roarke do then?  Just have Tattoo dump the bodies in the lagoon?  “To hell with you, Roarke!” Paul yells and who can blame him?

And then there’s our war correspondent, Arnold.  Arnold’s fantasy seems simple enough but then it turns out that the reason he lost contact with Francesca is because he murdered her!  As a result of his fantasy, Arnold not only relives the first time he met Francesca but also how their relationship ended.  The entire experience leaves Arnold laughing like a madman as his sanity slips away.

As for Eunice’s story, it’s pretty stupid.  She dresses up like a maid so that she can listen to what people have to say about her once they think she’s dead.  It’s like an episode of Undercover Boss.  At least former Kennedy in-law Peter Lawford makes an appearance as Eunice’s husband.  Eunice ends up far less traumatized than either Paul or Arnold but she still had to fake her death to come to peace with her life.

The pilot is entertaining.  One can understand why it would lead to a series.  The island is lovely to look at.  Even with the somewhat sinister tone of two of the stories, it’s still impossible to watch the pilot without wondering what type of fantasy you would pursue if you went to the Island.  For me, that’s always been the main appeal of all of the various versions of Fantasy Island.  Still, it’s interesting that the fantasies themselves are less comforting than what I think many would expect on account of the show’s reputation.  For all the criticism that Blumhouse received for their reinterpretation of Fantasy Island, they were not the first to imagine Mr. Roarke as being somewhat less than benevolent.  Of course, when the actual series started, Mr. Roarke was a far friendlier host.

Next week, the series begins and hopefully, no further guests are traumatized to the point of catatonia.

8 Shots From 8 Films: Special Werner Herzog Edition


4 Or More Shots From 4 Or More 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 wishes a happy birthday to one our favorite directors, the great Werner Herzog!  It’s time for….

8 Shots From 8 Werner Herzog Films

Fata Morgana (1971, dir by Werner Herzog, DP: Jörg Schmidt-Reitwein)

Aguirre The Wrath of God (1972, dir by Werner Herzog. DP: Thomas Mauch)

The Enigma of Kaspar Hauser (1974, dir by Werner Herzog, DP: Jörg Schmidt-Reitwein)

Heart of Glass (1976, dir by Werner Herzog, DP: Jörg Schmidt-Reitwein)

Stroszek (1977, dir by Werner Herzog, DP: Thomas Mauch)

Nosferatu The Vampyre (1979, dir by Werner Herzog, DP: Jörg Schmidt-Reitwein)

Fitzcarraldo (1982, dir by Werner Herzog, DP: Thomas Mauch)

Bad Lieutenant: Port of Call New Orleans (2009, dir by Werner Herzog, DP: Peter Zeitlinger)

Monday Live Tweet Alert: Join Us For Downdraft and Rollerball!


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

Tonight, for #MondayActionMovie, we are watching 1996’s Downdraft!  Selected and hosted by @RevMagdalen, Downdraft stars Vincent Spano and Kate Vernon in a story about computers and the damage that they do!  While the trailer below is in German, the film itself is Canadian.  That’s how you know it’s going to be good!

Following #MondayActionMovie, I will be filling in for my friends Brad and Sierra (who are on vacation this week) and guest hosting the #MondayMuggers live tweet.  We will be watching the original Rollerball, starring the great James Caan as a future athlete who is forced to choose between the comfort of selling out or the freedom of …. well, freedom.  It’s a classic sci-fi film, one that is more relevant today than ever.  We start at 10 pm et.  Here’s the trailer:

It should be fun and I invite all of you to join in.  If you want to join us, just hop onto twitter, start Downdraft at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, start Rollerball and use the #MondayMuggers hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.  And reviews of these films will probably end up on this site at some point this week.

Downdraft can be found on YouTube while Rollerball is available on both Prime and Tubi!

Enjoy!

Retro Television Review: City Killer (dir by Robert Michael Lewis)


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 1984’s City Killer.  It  can be viewed on YouTube!

Leo Kalb (Terrence Knox) has come to Chicago.  In many ways, Leo would appear to have a lot going for him.  He’s intelligent.  He’s reasonably good looking.  He served honorably in the military.  Despite his intelligence, he comes across as being a bit of an innocent in the big city.  He’s got a good job, working as an electrician.  It might not be glamorous work but there’s always something appealing about a man who knows how to work with his hands.

Unfortunately, all of those appealing qualities are negated by the fact that Leo’s a loon.  The main reason he’s come to Chicago is to stalk Andrea McKnight (Heather Locklear).  The main reason that Andrea moved to Chicago was to get away from Leo.  Like Leo, Andrea has found some success in Chicago but that’s all turned upside down when Leo calls her and says that he wants to get back together.  Andrea doesn’t want anything to do with Leo so Leo starts blowing up buildings.

That’s right, he starts blowing up buildings.  He also announces that he wants the city of Chicago to pay him an exorbitant amount of money.  He wants a helicopter to fly him to the airport.  He wants to take an airplane to South America, where his bomb-building skills will presumably be put to good use by the The Shining Path.  And he wants Andrea to come with him.  As become clear, the money and the plane are really just red herrings.  Mostly, he just wants Andrea.  The press calls him the Love Bomber.

Lt. Eckford (Gerald McRaney) is assigned to try to negotiate with Leo and also to keep an eye on Andrea.  Needless to say, Andrea takes one look at Lt. Eckford’s powerful mustache and she starts to fall in love with him.  Eckford, meanwhile, starts to fall Andrea, even though he’s a bit older than her and there’s a paternal element to the way that he talks to her that just makes the whole thing feel kind of icky.  (That said, if a mad bomber is blowing up the city just because you won’t date him, it’s perhaps understandable that you would fall for the first person who could not only provide protection but who also didn’t try to make you feel guilty about what was going on.)  Leo senses that Andrea and Eckford are falling in love and he becomes determined to blow up even more stuff.

City Killer is a bit of ridiculous film.  The main problem is that the viewer is asked to believe that, even though Leo is the most wanted man in Chicago and is dominating all the headlines, he could still safely wander around the city and wire building to explode without anyone noticing.  The film presents itself as being a police procedural but one gets the feeling that police must be incredibly incompetent for Leo to successfully blow up so many buildings.  That said, Gerald McRaney is a properly sturdy hero and Terrence Knox is convincingly unhinged as Leo, begging Andrea to love him even while threatening to blow up the very building on which she’s standing.  Heather Locklear doesn’t got to do much, other than answer the phone and look upset whenever a building explodes, but she does it well.  As a veteran TV actress, she knew how to embrace the melodrama and, when you’re appearing in a film like City Killer, that’s the best thing you can do.