This video was directed by Diane Keaton, who would have turned 80 today.
Enjoy!
Tag Archives: review
Brad reviews NOWHERE TO RUN (1993), starring Jean-Claude Van Damme!
In NOWHERE TO RUN, Jean-Claude Van Damme plays Sam Gillen, a recently escaped convict who finds himself hiding on the outer edges of a rural farm owned by widowed mother Clydie Anderson (Rosanna Arquette) and her two children, Mookie and Bree (Kieran Culkin and Tiffany Taubman). Through a variety of circumstances, Sam learns that a ruthless developer, Franklin Hale (Joss Ackland), and his enforcer Mr. Dunston (Ted Levine), are trying to force all of the farmers to sell their land, using violence if necessary. When bad guys show up one night and threaten Clydie and her kids, Sam emerges from the woods and kicks their asses. Soon Sam finds himself fighting off more of Hale’s goons, romancing the beautiful widow and becoming more emotionally connected to the kids. With his past closing in, Sam decides to do whatever it takes to protect Clydie and her kids, even if that costs him his freedom.
The late 80’s and early 90’s saw the emergence of two new action stars… Steven Seagal and Jean-Claude Van Damme. As a constant patron of our local video stores, I was there at the beginning of their careers and rented each of their new movies as they became available. Van Damme would establish himself in hit films like BLOODSPORT (1988), KICKBOXER (1989), DEATH WARRANT (1990) and UNIVERSAL SOLDIER (1992). As a big fan, I found myself in a movie theater in January of 1993 to watch his latest film, NOWHERE TO RUN.
With a plot that resembles an old western… a man corrupted by wealth tries to force a widow off her land until a kind-hearted drifter steps in… NOWHERE TO RUN isn’t trying to reinvent the action genre, but it does give Van Damme a different kind of role. His Sam Gillen isn’t a wisecracking action hero or an unstoppable martial artist. Rather, he’s a flawed man with a particular set of skills who’s looking for redemption. I think Van Damme plays that soulful weariness better than most would give him credit for. Rosanna Arquette brings a credible presence to this genre film that helps sell the relationship between her and Van Damme, and the presence of her kids, also amps up the stakes and gives the story a genuine sense of vulnerability. When Sam decides to fight back, it’s not to protect himself, but to protect people worth standing up for. That motivation helps make the film more engaging than you might normally expect from an early 90’s action film.
Speaking of action, NOWHERE TO RUN doesn’t feature a ton of action, but what it does have is effective. The early sequence where Van Damme’s character initially steps in to help the terrorized family is especially strong. There are several additional fight sequences and a prolonged motorcycle chase to provide some entertainment, but don’t expect wall-to-wall action or you could be disappointed. Joss Ackland (LETHAL WEAPON 2) and Ted Levine (THE SILENCE OF THE LAMBS) are suitably nasty villains so we definitely want to see them get their comeuppances, and the film effectively obliges. I also like the fact that NOWHERE TO RUN is set out on a rural farm. This setting enhances its “western” feel, and I certainly appreciate that unique element for an action film of this era.
At the end of the day, I enjoyed NOWHERE TO RUN when I watched it in the movie theater back in 1993, and I enjoyed it again today. It’s certainly not flashy and action packed like HARD TARGET or TIMECOP, but it is a solid, and surprisingly emotional Van Damme film. I recommend it.
Song of the Day: Angel of the City by Robert Tepper
Today’s song of the day was memorably heard in George Pan Cosmatos’s 1986 film, Cobra. Here is Angel of the City by Robert Tepper!
Music Video of the Day: Gold On The Ceiling by The Black Keys (2012, dir by Harmony Korine)
This music video was directed by Harmony Korine, to whom the Shattered Lens wishes a happy birthday.
Enjoy!
January Positivity: Tapestry (dir by Ken Kushner)
Oh, how I have struggled with Tapestry.
Seriously, I have lost track of the number of times that I’ve tried to watch 2019’s Tapestry, just to give up on it as I realized that it was next to impossible to actually follow the film’s story. Earlier today, I tried to watch it again and I finally made it all the way to the end.
It’s the story of a family. Ryan (Stephen Baldwin) is an executive who loses his job but doesn’t tell his wife about it. She doesn’t find out until his former place of employment calls the house. “He’s at work,” she says. “Oh, he got another job already?” is the response. Awkward! What’s even more awkward is that Ryan is eventually hired back at his company but now he’s just a lowly salesman, with a boss who is several years younger than him.
Throughout this, we hear narration from his mother (Tina Louise) and the first part of the film is so haphazardly edited that I have to admit that I was frequently confused as to whether or not his mother was dead or alive. Having now watched the entire film, I now know that his mother was alive but dying for the majority of the film, though her narration was still coming from beyond the grave. Ryan’s father was played by Burt Young and I’ll say right now that I am a Burt Young fan. I’ve seen the Rocky movies. Burt Young’s performance as the always-drunk Paulie was always spot on, even if Paulie himself wasn’t always the most likable character. That said, I also spent the first part of the movie confused as to whether or not the father was meant to be alive or not. The film is so weirdly edited that it’s hard to keep track of who anyone is or where they are at any particular moment.
As Ryan, Stephen Baldwin mopes through the film, which I guess is understandable considering that his parents may or may not have been dead. I mean, if it was confusing to me as a viewer, I can only imagine what it was like for him as a child. It’s hard to really get a handle on who Ryan is supposed to be as a person or how we’re supposed to feel about him. In many ways, he seems as depressed when his life is going well as he is when his life is falling apart. Baldwin seems to be disconnected from the film, which is a polite way to say that he doesn’t really seem to be making much of an effort.
And that’s a shame because Stephen Baldwin is actually not a bad actor. Back in the day, when he was actually invested in a role and making an effort, he was a consistently good actor, even if he did have a tendency to appear in terrible movies. Like Alec, he could do both comedy and drama but he didn’t have Alec’s tendency to overact. With this film, Stephen just glumly goes through the motions. It’s a bit boring to watch.
That said, I will say that, now that I’ve actually seen it, the end of the film is effective. Maybe it’s because I’ve lost both my parents but I did find the film’s final thought — that Ryan’s mother was heading to a better place even as she kept an eye on her family — to be a comforting one.
Lisa Marie’s Week In Television: 12/28/25 — 1/3/26
Bar Rescue (Fave TV, weeknights and weekends)
I watched two episodes on Friday night. One took place at a champagne bar in Philadelphia. The other was at a Detroit jazz club. I’m never surprised to learn that most of these places ended up closing, even after Jon Taffer’s makeover. Would you want to eat or drink at a place that was featured as being incredibly dirty and vermin-infested on television?
On Saturday, I watched an episode in which Jon Taffer helped out a surly sports bar owner. Why are the owners of sports bars always so surly? I then watched another episode featuring a bar that was home to a wild racoon. After that episode, I then discovered that Fave TV was doing a Bar Rescue marathon and I ended up watching several episodes that followed. As I watched, I was reminded that I would be both a terrible bartender and a terrible waitress. It’s a good thing that I decided to spend my life watching movies instead.
Dallas Cowboy Cheerleaders: Making The Team (Fave TV, weeknights)
After Erin and I finished watching one of the Perry Mason movies on Friday, we watched an episode of this reality show on Fave TV. Everyone was very smiley. I was just happy because it was filmed in Dallas so I could spend the whole show going, “Hey, I was right outside that building earlier today!”
The Danny Thomas Show (MeTV+, Weekend Afternoons)
I watched an episode of this show on Saturday, largely because I was trying out the new remote control for the TV in my home office. Danny Thomas was about to go on tour in Europe so comedian Jack Carter agreed to cover Danny’s nightclub show in the states. Danny got jealous when he saw how much the audience loved Jack. It made me laugh.
Dirty Pair Flash (Night Flight Plus)
On Friday night, I watched an episode of this often baffling anime. The episode was about the pair playing beach volleyball. I’m not sure why. There was a lot of yelling involved.
Murder, She Wrote (Start TV, Weekend Mornings)
I woke up on Saturday and watched two episodes of this old show. The first episode featured Elliott Gould arresting the wrong person and Angela Lansbury setting him straight. The second episode featured Angela Lansbury speaking straight to the camera and telling us about some other detective, who was played by Ken Howard and who solved a murder involving a former football player.
New Year’s Eve Celebrations (Everywhere, Wednesday Night)
At my BFF Evelyn’s New Year’s Eve party, we flipped through and past many different televised celebrations. We stopped to watch Andy Cohen and Anderson Cooper get drunk on CNN. For the most part, though, we didn’t stick with anything for very long. We had celebrating of our own to do!
Rose Bowl Parade (NBC, Thursday Morning)
I watched a bit of the Rose Bowl parade. Watching a parade on television is never as much fun as watching it in person.
Saved By The Bell: The New Class (Prime)
Seriously, this show is perfect for my insomnia. It lulls me to sleep.
Brad discusses THE MAGNIFICENT SEVEN (1960), directed by John Sturges!
Way back in 1960, Director John Sturges took Akira Kurosawa’s timeless classic SEVEN SAMURAI (1954) and translated its themes of honor and sacrifice into the American western THE MAGNIFICENT SEVEN. A classic on its own, the film stars such cinematic legends as Yul Brynner, Steve McQueen, James Coburn, Eli Wallach, and Charles Bronson. The storyline of a small group of men protecting a village from bandits proved to be an irresistible subject once again, especially the way it was handled here. Its theme music by Elmer Bernstein is one of the most instantly recognizable pieces of music in western cinema. It’s not easy translating a masterpiece without suffering quite negatively in comparison, and I’ve always admired how Sturges and his team of writers were able to create a film that both honored the source material while successfully transferring its content to a different part of the world.
The lead performances of Yul Brynner and Steve McQueen anchor the film, and the screenplay masterfully takes the time to introduce us to each of the seven men and their myriad of reasons for taking on this mission. We care about the men because we get to know them. After Brynner and McQueen, we learn James Coburn is the most badass, Robert Vaughn is the most cowardly, Brad Dexter is the most money hungry, and Horst Buchholz is the most naive. Unsurprisingly, my favorite of the characters is Bernardo O’Reilly, played by Charles Bronson. In my opinion, the character of O’Reilly represents the heart of the story. His character is as tough as it gets and great with a gun, but it’s the way he cares for the actual people, especially the children of the village, that really stands out. It’s in these small moments and exchanges between Bronson and the kids, where the film seems to transcend the genre and become something even more reflective and meaningful. So when Bronson pays the ultimate price, it’s not for some grand purpose or ideal, it’s specifically for those kids, and the moment becomes powerful. For my money, Bronson gives one of the more moving turns in classic western cinema that remains under appreciated to this day.
In 2025, THE MAGNIFICENT SEVEN celebrated its 65th anniversary, with many theaters around the country screening the film again. I was lucky enough to catch one of those screenings at a theater in downtown Little Rock. It was a wonderful night at the movies. Today, on what would have been his 116th Birthday, I celebrate Director John Sturges and this great film that has meant so much to me!
Brad reviews UNDER SIEGE (1992), starring Steven Seagal!
I’ve always liked UNDER SIEGE. After his sudden emergence with a series of brutal action films in the late 80’s and early 90’s, like ABOVE THE LAW and OUT FOR JUSTICE, Steven Seagal entered the world of high concept action filmmaking when he starred in this “Die Hard on a Battleship.” Seagal would not be the underdog cop taking on drug dealers, coked up mafia hitmen, or crooked cops here. Rather, he emerges as a full blown movie star in a big budget studio action film. Directed by Andrew Davis, whose credits include Chuck Norris’ best movie CODE OF SILENCE (1985), Seagal’s debut ABOVE THE LAW (1988) and the next year’s global smash THE FUGITIVE (1993), this is the movie where everything came together for Seagal. I watched UNDER SIEGE at the movie theater myself in 1992 and had a great time with it. I didn’t realize at the time that this would be his career peak, with a global box office of over $156 million. No other film would really even come close.
Casey Ryback (Seagal) is a “cook” aboard the USS Missouri, a battleship that is scheduled to be decommissioned. He’s also a former badass Navy SEAL who was demoted after punching out his commanding officer when a mission in Panama had gone wrong. When a group of mercenaries led by ex–CIA operative William Strannix (Tommy Lee Jones) seize control of the ship under the guise of a birthday celebration, they overlook Ryback. In classic John McClane style, Ryback goes on to become a fly in their ointment, a monkey in their wrench, and a big-time pain in their asses! Moving through the narrow corridors of the ship, and with the assistance of Playboy Playmate Jordan Tate (Erika Eleniak), Ryback begins taking out mercenaries one by one. But will he be able to stop Strannix and his partner Krill (Gary Busey) from stealing the ship’s nuclear Tomahawks and preserve the safety and security of the world? I’ll give you one guess!
First and foremost, UNDER SIEGE is a damn good action movie. It definitely helps that a director as talented as Andrew Davis is calling the shots. His film delivers on the entertainment front, with lots of well staged shootouts, violent scenes of close quarter, hand-to-hand combat, and a cake emergence sequence that still makes my head spin! I think the battleship makes for a great “movie” setting for this type of action. With its concoction of narrow hallways, engine rooms, and mess halls, there’s all kinds of interesting places for fighting and killing. Back in 2007, I was lucky enough to take a tour of the USS Alabama battleship, the primary filming location for UNDER SIEGE, which only enhances my appreciation for the work done here. On the heels of his confident and charismatic performance in the prior year’s OUT FOR JUSTICE, this is Steven Seagal at his most watchable. He’s in peak physical condition, so he can believably kick all the ass that’s necessary for this kind of film, and he’s also likable in his role as the underestimated “cook.” He will never be mistaken for Bruce Willis, but Seagal is good here.
Great action movies will usually have great villains, and UNDER SIEGE is especially blessed in this area. Tommy Lee Jones goes way over-the-top, chewing on scenery like he’s at a Golden Corral buffet, turning Strannix into the type of irrational lunatic that I love in my early 90’s action movies. And looking back now, Gary Busey seems to do what he does best. His traitorous Commander Krill comes off as goofy, disgusting, and unstable. In other words, he’s perfect. Even though Seagal does smile more in this film, Jones and Busey do bring an energy to the movie that balances out Seagal’s more stoic character, providing the type of spark not often found in the star’s movies.
At the end of the day, I rank UNDER SIEGE as my second favorite Steven Seagal film, slightly below my preference for the more down and dirty OUT FOR JUSTICE. What it lacks in grit is more than made up with entertainment value, strong performances, and action on a scale that the star’s future films would never rise to again. If I were put in a position where I could only recommend one Steven Seagal film to a person who’d never seen one of his movies before, I’d probably go with this one. It’s an excellent, mainstream 90’s action movie.
Song of the Day: Once Upon A Time In America Suite by Ennio Morricone
Today’s song of the day comes from Ennio Morricone’s score for Sergio Leone’s Once Upon A Time In America, one of the greatest ever composed.
Scenes That I Love: Once Upon A Time In America
(SPOILERS BELOW)
The final moments of Sergio Leone’s epic 1984 gangster film, Once Upon A Time in America, are filled with questions and mysteries.
The final moments of Sergio Leone’s epic 1984 gangster film, Once Upon A Time in America, are filed with questions and mysteries.
In 1968, who did Noodles (played by Robert De Niro) see standing outside of Max’s mansion? When the garbage truck pulled up, did the mysterious man get in the truck or was he thrown in by some unseen force?
Why, in 1968, did Noodles see a car from the 1920s, one that was full of people who appeared to be celebrating the end of prohibition? Was the car really there, in 1968, or was it an element of Noodles’s past as a gangster suddenly popping into his mind?
Once Upon A Time In America (1984, dir by Sergio Leone, DP: Tonino Delli Colli)
When we then see a young Noodles in an opium den, are we flashing back to the 1920s? Is Noodles remembering the past or is it possible that we’ve been in the 20s the whole time and all of the scenes set in 1968 were actually only a drug-induced dream?
Why, with men looking to kill him and all of his friends apparently dead, does Noodles suddenly smile at the end of the film? Is that sudden smile a result of the drugs or is there something else going on?
Once Upon A Time In America was Sergio Leone’s final film. It’s one that he spent decades trying to get made and, once it was finally produced, it was butchered and re-edited by a studio hacks who demanded that the film tell its story in a linear style. Leone was reportedly heart-broken by how his film was treated. Some have speculated that his disappointment may have even contributed to the heart attack that eventually killed him. It was only after Leone passed that his version of Once Upon A Time In America became widely available in the U.S. This enigmatic epic continues to spark debate. One thing that can’t be denied is that it’s a brilliant film.
As today is Leone’s birthday, it only seems appropriate to share a pair of scenes that I love, from the ending of Once Upon A Time In America.
Through the Shattered Lens 