At first, I thought this might be a tribute to the Scorsese film but apparently, it’s not. Instead, it’s juts a song about someone who either is a taxi drive or who is fantasizing about being a taxi driver. Myself, I like the look of this video. It’s very atmospheric and dream-like.
Enjoy!
I absolutely love this video and that’s really about all I have to say about it. There are some videos that you just love because they exist and, for me, this is one of those videos. I love the atmosphere, I love the lightning, I love the lyrics, and I even love all the water, even though I’m still morbidly afraid of drowning.
Enjoy!
Welcome back, Swedish House Mafia!
They’re right, you know.
Enjoy!
Frank Stallone is a great musician and a talented guy and you should really spend some money to see him perform.
That would seem to be the main message of the new documentary, Stallone: Frank That Is. This documentary, which profiles the brother of Sylvester Stallone, was produced by Frank himself so we perhaps shouldn’t be surprised that it’s full of people attesting to what a great entertainer Frank is. Billy Zane, Billy Dee Williams, Christopher McDonald, Joe Mantegna, Duff McKagen, Richie Sambora, and Frankie Avalon all pop up and assure the viewers that Frank is a talented musician. Arnold Schwarzenegger tells us that Frank deserves to be known as more than just Sylvester Stallone’s younger brother. Sylvester Stallone himself shows up, to tell stories about how he and Frank once lived in a condemned apartment building and how they smashed a hole in the wall so that their two apartments could become one big loft.
What’s interesting is that, despite the fact that the film often seems like it was largely made to provide Frank Stallone with some encouragement and an ego boost, it also convinces us that Frank does deserve to be known for being something more than Sylvester Stallone’s brother. There’s enough performance footage to show that Frank Stallone actually is a pretty decent singer. Though the film is honest about the quality of most of Frank’s filmwork, there’s still enough footage from the 1987 film Barfly to convince us that, when cast in the right role, Frank Stallone is capable of giving a memorable performance. When he’s interviewed on camera, Frank Stallone comes across as being likeable and a good raconteur. He’s someone who you might want to have dinner with, just so you can listen to his stories about being a struggling musician in New Jersey in the late 60s. (Be sure to ask him about the time that he and his band opened for Bruce Springsteen.) Frank is also honest about how much of his career his owes to his brother, even if he never comes across as if he’s really made peace with that fact.
In fact, Frank Stallone is actually pretty forthright when it comes to admitting that being permanently overshadowed by his older brother totally sucks. After spending several years struggling to make it as a musician, Frank wrote a song for Rocky. Sylvester admits that the main reason Frank was asked was because the budget was too tight to hire anyone who wasn’t a relative. Frank and his band appeared in Rocky, as well as the film’s sequels. He went on to record songs for several of Sylvester’s films, most famously for Staying Alive. And while working on Sylvester’s films made Frank known and even helped him achieve a brief stardom when one of his Saying Alive songs reached the top of the charts, Frank also knew that everyone assumed that he only got hired because he was Sylvester’s brother. When Frank would perform at clubs, he would be credited as being “Rocky’s brother, Frank Stallone.” Understandably, Frank was not happy about that. (Sylvester at one point says that Frank was bitter and that “Frank’s still bitter and that’s one reason why I love him, he’s consistent.”) The only people less happy about the situation than Frank were Frank’s bandmates who found themselves overshadowed by the guy who was best known for being overshadowed by his brother. Frank admits that he often struggled to deal with his odd claim to fame and, as a result, his alienated a lot of people around him.
For all of the celebrity testimonials and funny stories, there’s also wistful sadness that runs through this documentary. As positive and upbeat as Frank Stallone tries to present himself, there’s always a feeling that there’s a lot of regret right underneath the surface. Being Sylvester Stallone’s brother comes across as being both a blessing and a curse. On the one hand, it opened doors for Frank that probably would never have been opened, On the other hand, it also ensured that Frank is always going to struggle to get people to take him seriously as anything other than a famous sibling. (Even in this documentary, some of the most memorable moments come from Frank imitating Sylvester’s trademark deep voice.) Stallone: Frank, That Is does a good job of suggesting that Frank deserves to be known for more than just his family while also admitting that it probably won’t ever happen.
The 1986 film, The Vindicator, is one of those Canadian exploitation films that doesn’t make much sense but is still memorable just because of how dedicated it is to being utterly incoherent.
Basically, an evil corporate guy named Alex Whyte (played by Richard Cox) wants to design a space suit that will turn people into rage-filled assassins. Or something like that. To be honest, I had a hard time following just what exactly Alex was trying to do. When one of his scientists, Carl Lehman (David Mcllwraith), figures out that Alex is up to something sinister, Alex blows him up. Alex then puts Carl’s charred body into the suit and Carl is transformed into a cyborg who flies into a murderous rage whenever anyone gets too close to him. That’s not exactly what Carl was hoping to spend the rest of his life doing so Carl breaks free from the lab and seeks revenge while also trying to protect his wife (Terri Austin) and his daughter (Catherine Disher). Unfortunately, because of the whole rage thing, Carl can’t allow himself to get close to them but somehow, he figures out how to speak to them through the synthesizer that’s sitting in the living room.
Now that Carl is wandering around Canada and killing all of his former co-workers, Alex decides that he needs to do something to take Carl out of commission so he hires an assassin known as Hunter. Hunter is played by Pam Grier. Yes, that’s right — the Pam Grier! Soon, Hunter and her team are pursuing Carl across Canada and, in the process, they end up killing almost as many people as Carl. And those people who aren’t killed by Carl or Hunter fall victim to the types of accidents that could only happy in a Canadian exploitation film. For instance, in one scene, a truck drives over a guard rail and immediately explodes.
Meanwhile, Carl’s friend, Bert (played by Maury Chaykin because this is a Canadian film), is falling in love with Carl’s wife and plotting to try to take her away from her cyborg husband. At first, Bert appears to be a sympathetic character and then, about an hour into the movie, Bert is suddenly not sympathetic at all. The same can actually be said for just about everyone in the film, which will lead most viewers to wonder just why exactly we should care about whether or not Carl is ever stopped.
It’s a messy film. For a relatively short and presumably low-budget film, there’s a lot of characters in The Vindicator and it’s not always clear how everyone is related. Since Carl kills most of them, I can only assume that they’re all bad but still, you can’t help but wonder if maybe Carl is being a bit too quick to assume that everyone was okay with him getting blown up. Carl is one judgmental cyborg.
Supposedly, special effects maestro Stan Winston was involved with the production of The Vindicator and, to give credit where credit is due, Carl does look like what I guess most people would expect a cyborg to look like. In fact, when I watched the movie, I originally assumed that it was a Robocop rip-off but then I discovered that The Vindicator actually came out a year before Robocop. That’s not to say, of course, that The Vindicator was, in any way, an influence on Robocop. Beyond the cyborg-theme, the two films really have nothing in common. Robocop is a satirical commentary on fascism. The Vindicator is …. well, I’m not really sure what it’s supposed to be.
The Vindicator is a mess. It’s one of those films where no one’s motivations make any sense and it is often next to impossible to actually keep track of who is who. (The actors playing Alex and Carl looked so much alike that it took me a few minutes to figure out that Carl was the one who got blown up.) And yet, like many Canadian exploitation films from the 80s, The Vindicator is also compulsively watchable. The actions move quickly. The entire plot has a make-it-up-as-you-go-along feel to it that’s kind of entertaining. Plus, Pam Grier’s in the film, openly rolling her eyes at just how silly it all is. The Vindicator isn’t exactly good but it did hold my interest. All things considered, maybe that’s vindication enough.
Let’s get the week started with this new music video from Shakira. Remember, everyone, it’s the summer. You better be having a good time out there! Let Shakira be your guide.
Enjoy!
Is Meg Myers singing about killing a person or about killing an emotion? I think you can view the song and the video either way. The video is wonderfully atmospheric and, yes, the underwater scenes totally freak me out. Meg Myers is an artist who definitely deserves to be better known.
Enjoy!
Another week, another collection of television shows! Here’s what I watched this week. As you may notice, there’s not a lot. This week turned out to be an unexpectedly busy one. Perhaps next week I’ll finally be able to get caught up with everything. Here’s hoping!
Alllo Allo (Sunday Night, PBS)
At this point, I’m not even sure that I remember why Herr Flick was chained up in that dungeon but the Resistance and a reluctant Rene got him out of there on this week’s episode. Meanwhile, Officer Crabtree was still incapable of mastering the French language and the English airmen were still hiding in barrels and responding to everything by saying, “Jolly good show, old boy.”
Upon doing some research, I discovered this week’s episode was actually the first episode of the show’s 5th season. Because there was apparently some interest from American broadcasters about perhaps bringing the show to the U.S. or doing an American version of it, the 5h season had 26 episodes and were designed so that commercial breaks could be inserted, just in case the show ever did appear on an American network. As such, much of this week’s episode was designed to fill potentially new viewers in on who everyone was and how they were related to each other. Needles to say, it was all a bit frantic but still funny.
The Bachelorette (Monday Night, ABC)
This week, Katie challenged the men to see who could go the longest without masturbating. I’m not sure how that’s supposed to help her find a husband or how that goes along with the whole idea that Katie is supposed to be the sex positive bachelorette who is going to help this franchise get with the modern era. It was all pretty dumb.
Anyway, this week, Katie declared for the 100th time that she doesn’t have any interest in any drama and then she dramatically sent Hunter home.
Big Brother 23 (Sunday, Wednesday, and Thursday, CBS)
I’ve watched every season of this show and I’ve achieved every writer’s dream of getting paid to write about and yet, it’s something that I rarely brag about. You can read my current thoughts about the show and the live feeds over at Big Brother Blog.
Dragnet (Weekday Mornings, MeTV)
I forgot to see the DVR to record the two episodes that aired on Monday morning. It happens and since Dragnet wasn’t a serialized show, missing two episodes doesn’t make it any more or any less difficult to follow the rest of the series.
I did remember to set the DVR for the rest of the week, however. Tuesday got started with an episode in which Friday and Gannon dealt with a teenage genius who had a rebellious and homicidal streak. Despite getting a warning after throwing a beaker of acid at a jock, he later decided to hold an entire party hostage with a grenade! Friday and Gannon agreed that it was all the fault of parents who don’t teach their kids to respect authority. While it was easy to roll my eyes at some of the more didactic parts of the episode, it was interesting to see how this 1968 show foreshadowed many of the subsequent school shootings that would follow. As well, the episode ended with a Spaghetti western-style stand-off between Gannon, Friday, and Grenade Boy, which was actually pretty well executed. This was followed by an episode in which Friday shot and killed a man robbing a store and was subsequently subjected to an investigation by the police’s “shooting board.” As with many early episodes of Dragnet, the emphasis was on the process. As someone who has seen her share of cop shows, it’s weird to see something Dragnet where everyone brags about how they go “by the book.” There’s no room for any renegades on this show!
Wednesday featured Friday and Gannon going undercover to catch a couple of hotel con artists who were pretending to be cops. I love episodes where Friday and Gannon go undercover because it’s not like either one of them ever makes much of an effort to change their behavior or appearance. They don’t take off or even loosen their ties. They still sound, look like, talk like, and act like cops, But, because all of the criminals in L.A. in 1968 were apparently really stupid, no one ever notices. This was followed by an episode about a bank robber whose M.O. was to abduct innocent women and force them to help him carry out his crimes. At the end of the episode, he attempted to abduct a karate instructor and Friday and Gannon pulled up just in time to see her kicking his ass. Yay!
The first of Thursday’s episodes opened with Gannon telling Friday that “there’s a football game on the old tube,” and that Friday was welcome to come over and watch it. Friday agreed but, once they arrived at Gannon’s place, it turned out that Gannon’s neighbors were just as annoying as any everyday criminal. The main lesson here seemed to be that Friday and Gannon acted exactly the same off-duty as they did on-duty and that Friday was just as stiff and formal at home as in the office. This was followed by an episode in which Friday and Gannon attempted to track down a sergeant who, as a result of burn-out and general depression, had developed a drinking problem. Friday and Gannon help him see the errors of his way, largely by telling him to drop the self-pity act.
Finally, Friday started out with an episode in which Joe and Gannon arrested a veteran burglar named Charles Smith. Charles Smith was a courtly senior citizen but he still had to go to jail. He didn’t seem to mind, however. It was all a part of the job. The second episode featured Joe and Gannon fighting the evils of …. you guessed it …. MARIJUANA! These are the type of episodes that Dragnet is known for, the episodes where a grim-faced Joe debated long-haired draft dodgers who thought smoking marijuana and otherwise breaking the law was no big deal. And it’s true that this episode — called The Big High — had its share of campy moments. Just hearing Joe explain that “dealers say smoking marijuana is like heaven but the users discover its Hell,” was enough to make me laugh out loud. It was also hard not to laugh at the scene where a clueless, pot-loving suburbanite told Joe and Gannon that, “Once the young people cut their hair, put on a suit, and start voting, marijuana will be legal!,” just for Gannon to confidently reply, “I don’t think so.” The show ended with that suburbanite’s toddler drowning in a bathtub because her stoned parents forgot about her, a scene that perhaps would have been more effective if not for the total overacting of the actor playing the stoned father. It was all pretty melodramatic but, to be fair, it was also rather sincere. As opposed to something like Reefer Madness, you got the feeling that Dragnet actually did believe in what it was saying, even if the show was totally clueless about the effects of drugs or the lifestyle of anyone under the age of 50. The final shot, of Jack Webb’s Joe Friday crushing a baggie of weed in his hands was handled well, even if the show’s insistence on solely blaming marijuana seemed to kind of let the dumbass parents off the hook.
Hell’s Kitchen (Monday Night, Fox)
Poor Kevin! As hard as he tried, he just couldn’t get it together during service and Chef Ramsay kicked him out of the kitchen and off the show before the final order was even served. I imagine the same thing would happen to me if I was ever on Hell’s Kitchen. I’d probably survive a few nights based on my charm but eventually, I’d get kicked out during the middle of an episode. I would cry and cry, too. It’s probably a good thing that I’ve never been on the show.
Intervention (Monday Night, A&E)
Elann had a drinking problem but then she faced an intervention and got help. As the show came to an end, she talked about how much better she was feeling about life. Then a title card appeared that informed us that, after getting sober, Elann still struggled with depressing and took her own life in 2019. It was heart-breaking and a reminder that getting sober is important but it’s not a magic cure-all.
Elann’s episode was followed by one featuring Caitlin, who was addicted to crack cocaine. “Crack is my boyfriend,” she said. This episode was hard for me to watch because I’ve known many people like Caitlin, who was obviously very intelligent but also very defensive and angry. Unfortunately, Caitlin relapsed after getting treatment and, at the show’s end, was described as “living on the streets.”
Moone Boy (Sunday Night, PBS)
On a special Halloween episode of Moone Boy, Martin and Padraic built a raft, which they planned to sail into town so that they could “freak everyone out.” Needless to say, the river did not cooperate and they instead ended up on an island with a castle and an eccentric caretaker. Meanwhile, Martin’s mother defended the right of her daughter to be a reader at Mass despite being pregnant and unmarried. She also impressed the priest with her knowledge of Simon and Garfunkel trivia. It was a good episode.
The Office (All The Time, Comedy Central)
On Tuesday night, I watched several episodes from season 6. Admittedly, season 6 is not my favorite season, as it featured the terrible storyline where Jim was co-manager and a lot of nonsense about Sabre. Season 6 was when The Office started to get noticeably cartoonish. That said, a cartoonish Office is still better than a lot of other sitcoms out there and it was nice to rewatch Jim and Pam’s wedding.
Open All Hours (PBS, Sunday Night)
This week, I decided to pay attention the plot as opposed to just focusing on Granville’s quickly decaying sanity. Apparently, Arkwright — a man in his 60s — had never seen his girlfriend’s bedroom and he decided that the best way to fix that would be to fake a burglary. Granville went along with the plan, presumably because it was either do that or continue to fantasize about murdering the entire town.
Seinfeld (Weeknights, Channel 33)
I watched two episodes on Tuesday night, one of which featured Jerry indirectly getting Babu deported and the second of which was the classic Festivus episode. I preferred the second episode.
Upstart Crow (Sunday Night, PBS)
Ever since I first started watching Upstart Crow, I wondered how this comedy would deal with the tragic death of Christopher Marlowe, who is portrayed on the show as being Shakespeare’s free-loading, hedonistic best friend. This week, I discovered that handled it by having Marlowe fake his own death. Yay! Marlowe lives! As well, as Kate pointed out, with Marlowe believed dead, that meant no one would ever try to promote any weird theories about Marlowe secretly writing all of Shakespeare’s plays. If only Kate were right!
(Seriously, the Shakespeare-Didn’t-Write-His-Plays people are the worst. And no, I don’t care what Derek Jacobi has to say on the matter.)
The other major development this week was that Shakespeare wrote out the outline for a play to be called Hamlet. However, when he tried to explain the plot to his colleagues, they all assumed it was a comedy. When they heard about Ophelia drowning in the duck pond, they asked Shakespeare if they could have a duck on stage. Will was not amused. And yet, as silly as this show is, it’s hard not to think that it probably does get more right than it gets wrong. Shakespeare is such a mythic name that it’s easy to forget that he was once just a playwright trying to make a living off of his writing. Every classic work of art started as a rough draft and was probably dismissed, out-of-hand, by people who should have known better. Upstart Crow is a good reminder of that fact.
Joe Wright’s The Woman In The Window is a film that was kicked around a bit before it was eventually released.
Based on the best-selling novel by A.J. Finn, The Woman In The Window was filmed in 2018 and was originally set to be released in October of 2019. At the time, there were many who predicted that this would be the film for which Amy Adams would finally win an Oscar. However, after a few poor test screenings, the release of Woman In The Window was pushed back. The film’s producer, the now-infamous Scott Rudin, reportedly brought in Tony Gilory to re-shoot a few scenes. The film was finally set to be released in May of 2020 and, needless to say, it was no longer expected to be an Oscar contender. Then, the pandemic hit and, like so many movies, The Woman In The Window was left in limbo. With its theatrical release canceled, the film was eventually purchased by Netflix. Netflix finally released it in May of this year. With all of the delays and the bad buzz, the critics had plenty of time to sharpen their knives and I don’t think anyone was surprised when the film got scathing reviews.
Though the film was completed long before the lockdowns, The Woman In The Window does feel like a COVID thriller. Anna Fox (played by Amy Adams) is a child psychologist who is afraid to leave her Manhattan brownstone. She has agoraphobia, the result of a personal trauma. She’s not only scared to leave the safety of her apartment but she’s also terrified of anyone else getting inside. She spends her days spying on the neighbors, drinking wine, and watching old movies. Of course, that’s also what many people in the real world spent most of the past year doing. As I watched Anna freak out over some trick or treaters throwing eggs at her door, I was reminded of my neighbor who, a few months ago, nearly had a panic attack because she saw someone walking past her house without a mask. One could argue that the world itself has become agoraphobic.
Despite her housebound status, Anna does still have a few contacts with the outside world. For instance, a psychiatrist (played by Tracy Letts, who also wrote the script) comes by every weekend. She has a tenant named David (Wyatt Russell) who lives in her basement. She regularly has conversations with her husband and her daughter, who she says are both living in another state. And eventually, she meets Ethan (Fred Hechinger), the 15 year-old who has just moved in across the street. When Anna thinks that she’s witnessed Ethan’s father (Gary Oldman) murdering his mother (Julianne Moore), Anna calls the cops. However, when a totally different woman (Jennifer Jason Leigh) shows up and claims to be Ethan’s mother, Anna is forced to try to solve the mystery herself.
The Woman In The Window is a disjointed and rather messy film but I’d be lying if I said that I didn’t enjoy it. The novel (which I also greatly enjoyed) was told entirely from Anna’s point of view, which means that we saw everything through the eyes of a sometimes unreliable narrator. The novel did such a good job of putting us inside of Anna’s head that it didn’t matter that the story itself was full of improbable coincidences. Director Joe Wright tries to recreate the novel’s uneasiness through garish lighting, crooked camera angles, and abrupt jump cuts. Sometimes, it’s effective (as when Anna tries to leave her apartment in the rain, just to pass out after having a panic attack) and other times, the technique feels a bit too obvious. And then there’s other scenes — like when Anna suddenly sees an overturned car in the middle of her living room — where it becomes brilliantly bizarre. It’s in those scenes, in which the film carefully balances on the line between the surreal and the silly, that Wright seems to be most comfortable as a director. Much as he did with Anna Karenina, Wright fills The Woman In The Window with scenes that suggest that, on some level, the characters are aware that they’re just characters in a B-melodrama.
Indeed, despite being directed by a great filmmaker and featuring a cast of award-winning actors, The Woman In The Window is a B-movie and, when taken on those terms, it’s an entertaining melodrama. Interestingly enough, it actually helps that almost everyone in the film has either been miscast or is too obvious a choice for their role. Gary Oldman is such an on-the-nose choice to play a tyrannical authority figure that it actually makes sense that a film buff like Anna would automatically assume the worst about him. Julianne Moore has even less screen time than Oldman but she makes the most of it, playing yet another one of her talkative characters who doesn’t appear to have the ability to filter her thoughts. It’s the type of role that Moore specializes in and one that she could probably play in her sleep but she and Adams establish a good rapport and the scene that they share is one of the best in the film. Speaking of which, Amy Adams is so incredibly miscast as Anna that you actually find yourself rooting for her to somehow bring the character to life. Amy Adams is one of the few performers who can make being cheerful compelling so it seems like a bit of a waste to cast her as a self-destructive agoraphobe who can’t leave her apartment And yet, much as in Hillbilly Elegy where she was similarly miscast, Adams seems to be trying so hard to make her casting work that you appreciate the effort, even if she doesn’t quite succeed. She’s just so likable that you sympathize with her, even if she isn’t quite right for the role.
(Myself, I pictured Naomi Watts in the role when I read the book.)
As a film, The Woman In The Window shares the book’s flaws. The plot is a bit too heavy on coincidences and we’re asked to believe that Anna, who can’t leave her house without having a panic attack and who is terrified of someone getting into her house without her knowledge, would also invite Ethan to visit her and allow David to live in her basement. As well, it’s hard to watch the movie without wondering which scenes were reshot by Tony Gilroy. (The final scene especially feels out-of-place with what came before it, leading me to suspect that it may have been added in response to those negative test screenings.) But, while the film’s defects are obvious, I still enjoyed it. It may be flawed but it’s hardly the disaster that some have made it out to be.
After a messy divorce, Nikki (Lara Jean Chorostecki) is ready for a new beginning! She does what every recently divorced woman in a Lifetime film does ….. she moves to a small town, gets a job in a trendy boutique, and starts dating a handsome man.
At first, it seems like everything’s perfect. The boutique’s owner, Liz (Ispita Paul), is not only Nikki’s boss but soon becomes her best friend and mentor as well. Nikki’s teenager daughter, Brooke (Jaida Grace), befriends Liz’s daughter, Anna (Kayla Hutton). While it is true that Liz’s relationship with her ex-husband, Dan (Matt Wells), is a volatile one, that just gives Liz and Nikki something to bond over. Finally, there’s Gavin (Jamie Spilchuk). Nikki thinks that Gavin is just the perfect man, even though Liz has her doubtts.
Then, one day, Liz vanishes. The police suspect that Dan could be involved but, when they discover that Liz has rewritten her will to leave the boutique to Nikki, they start to suspect that Nikki could somehow be involved as well. Dan seems like the obvious culprit but as Nikki starts to investigate the disappearance on her own, she discovers that everything is not how it seems….
A Date With Danger is a pretty typical Lifetime film. If you’ve ever seen a Lifetime film before, you know who kidnapped Liz and you can probably guess why. Ordinarily, the fact that Lifetime films are kind of predictable is actually one of their strengths. These are movies that you watch so you can yell back at the TV and wonder in amazement whether or not any of the characters have actually watched a movie before. That said, it was hard not to feel that A Date With Danger would have benefitted from a few more characters. When there’s only three suspects and one of them is eliminated by virtue of being the film’s main character, it’s fairly easy to guess who is going to turn out to be the guilty party. A Date With Danger even acknowledges this fact by revealing the identity of Liz’s kidnapper rather early on.
The title’s a bit misleading, as Nikki does go on a date but it’s hardly the center of the film and one never really gets the feeling that she’s in any danger during the date. That said, the title is a good example of Lifetime showmanship. Danger is a word that will always catch your attention. As well, it brings to mind the classic Mother, May I Sleep With Danger? Date With Danger, unfortunately, never reaches the heights of that classic exercise in over the top melodrama and that’s a shame. Indeed, Date With Danger is surprisingly subdued for a Lifetime film. It’s possible, of course, that I’ve been spoiled by all of the recent “Wrong” films as I spent most of Date With Danger wondering when Vivica A. Fox was going to show up and say, “Looks like you went on the wrong date with danger.”
A Date With Danger is a bit too low-key for its own good, never quite embracing the melodrama with the enthusiasm that people like me have come to expect from a Lifetime film. That said, the small town setting looked really nice and Jamie Spilchuk was well-cast as the enigmatic Gavin. Even if it wasn’t particularly memorable by Lifetime standards, A Date With Danger did its job efficiently.
Through the Shattered Lens 