14 Days of Paranoia #7: No Way Out (dir by Roger Donaldson)


Trust no one in Washington would seem to be the message of this 1987 thriller.

Kevin Costner plays Lt. Commander Tom Farrell, a Naval Intelligence officer who is hailed as a hero after saving a shipmate who falls overboard.  In Washington, Tom is recruited by a friend from college, Scott Pritchard (Will Patton), to work for Secretary of Defense Brice (Gene Hackman).  Brice doesn’t trust the head of the CIA (played by future senator, Fred Dalton Thompson) and he wants Tom to serve as his mole within the service.  What Brice doesn’t know is that Tom is sleeping with Brice’s mistress, Susan Atwell (Sean Young).

Still, Brice does suspect that the woman with whom he is cheating is also cheating on him.  When he confronts her about it, their argument leads to him accidentally pushing Susan over an upstairs railing.  Pritchard, who is implied to be in love with Brice, takes charge of the cover-up and decides to push the story that Susan was killed by a possibly mythical Russian agent who is known only by the name “Yuri.”

Tom assists with the investigation of her death, both because he wants to know who killed Susan and also because he knows that there’s evidence in Susan’s apartment that could be manipulated to make him look guilty of the crime.  For instance, Susan took a picture of Tom shortly before her death.  The picture failed to develop but, through the use of what was undoubtedly cutting edge technology in 1987, Naval Intelligence is slowly unscrambling the picture.  For Tom, it’s a race against time to find the actual killer before the picture develops and he’s accused of both killing Susan and being Yuri.

Everyone has an agenda in No Way Out, from the ambitious Brice to the fanatical Scott Pritchard to the head of the CIA, who wants Brice to approve funding for a costly submarine.  Even the film’s nominal hero has an agenda, which has less to do with finding justice for Susan and everything to do with protecting himself and his future.  In fact, as is revealed in the film’s enjoyable if slightly implausible twist ending, some people in Washington have multiple agendas.  The film portrays Washington as being a place where, behind the stately facade, everyone is a liar and everyone is ultimately a pawn in someone else’s game.  If you have the right connections, you can even get away with murder.  Loyalty is rewarded until you’re no longer needed.

It’s an enjoyably twisty thriller, one that makes good use of the contrast between Kevin Costner’s All-American good looks and his somewhat shady screen presence.  The film introduces Costner as being a character who, at first glance, seems almost too good to be true and then spend the majority of its running time suggesting that is indeed the case.  Gene Hackman is well-cast as the weaselly cabinet secretary, as is Sean Young as the woman who links them all together.  In the end, though, the film is stolen by Will Patton, who plays Scott Pritchard as being someone who has unknowingly given his loyalty to a man who is incapable of returning it.  As played by Patton, Scott is an outsider who desperately wants to be an insider and who is willing to do just about anything to accomplish that goal.  He’s a version of Iago who never turned against Othello but instead devoted all of his devious tricks to trying to cover up the murder of Desdemona.

Even with an over-the-top final twist, No Way Out holds up well as a portrait of how the lust for power both drives and corrupts our political system.

14 Days of Paranoia:

  1. Fast Money (1996)
  2. Deep Throat II (1974)
  3. The Passover Plot (1976)
  4. The Believers (1987)
  5. Payback (1999)
  6. Lockdown 2025 (2021)

Film Review: Gums (1976, dir. Robert J. Kaplan)


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With Deep Jaws (1976) over, I decided to watch the full blown porno spoof of Jaws called Gums. Why did I decide to review these two movies again? Oh, and these movies must have known about each other cause they actually say “Deep Jaws” in this film. It’s somehow better made than Deep Jaws, but that’s not saying much. Also, I’m pretty sure the version I have was censored at some point. I say “at some point” because it’s obvious that whoever did it was in on the whole thing. All the runtime is here as far as I know. They just save me some black boxes by putting humorous things there instead. Let’s take a look at this thing.

The movie opens like a slasher movie by giving us an opening kill.

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This time around we have a mermaid that seeks out people, and gives them blow jobs to death. By that, I mean she appears to bite it off after sucking on it for awhile. She also seems to do interpretative dance. I have no idea why, but she does that in this movie on several occasions.

You know the Jaws formula, so let’s introduce this movie’s equivalent of the well-known characters.

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That’s our sheriff. Their actual names aren’t important to anything. He finds the severed penis and stock footage of a beaver.

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The guy who found it says it looks like it was chewed off by a beaver, so they cut to this shot before going back to the characters.

He takes the severed cock back to his office, which immediately turns on his secretary. She comes over to him, so I can show you what I mean by censorship in this movie.

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Definitely censored, but by people who had a sense of humor.

Time to meet the mayor!

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He surprises the sheriff…

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which really makes me think that actor Paul Styles here played Dracula in Suckula (1973).

Suckula (1973, dir. Anthony Spinelli)

Suckula (1973, dir. Anthony Spinelli)

It could be. I mean it turned out that the anchorman from Suckula was Buck in the Back To The Future movies.

Suckula (1973, dir. Anthony Spinelli)

Suckula (1973, dir. Anthony Spinelli)

Then a black guy comes in to tell the story of how he was sitting on a small boat while his “twin” brother was sucked to death in the water. I put twin in quotes cause I’m pretty sure it’s the same actor who played both brothers. Here’s what I think of that scene.

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Time to call in a sexpert. Unfortunately Susie Bright would have been only 18 when this movie came out, so they go with a Dr. Smegma.

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He is played by none other than Robert Kerman. Comic book fans may remember him as the Tugboat Captain in Spider-Man (2002). He also showed up in Debbie Does Dallas (1978), Cannibal Holocaust (1980), and Cannibal Ferox (1981) among many other films.

This begins a sex scene that I’m pretty sure has lifted music seeing as I heard some prior to this. No matter, because we quickly go back to the rest of the characters and the deaths hit the papers.

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I love how serious actor Zack Norman takes playing the reporter just before he prints the story. In 1984 he would go on to play Ira in Romancing the Stone. That’s a step up. He could have wound up in Romancing the Bone (1984) instead. He was also in an episode of the 1990’s TV Show The Flash. That means that between him and Robert Kerman, we have both Marvel and DC actors in a Jaws porno spoof.

By the way, “Welcome To Great Head”.

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Ready to meet the Robert Shaw equivalent?

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That’s Nazi Quint played by none other than Brother Theodore. You might recognize him from several places. The year after this, he did the voice of Gollum in The Hobbit and later in The Return of the King (1980). However, most people probably know him from his last role in The ‘Burbs (1989). He actually got his start in films back in the 1940s doing film noir such as The Third Man (1949).

This scene goes on forever with him talking. On the upside, he is the best actor in the film next to Robert Kerman. During this scene I’m even more sure that Paul Styles is Dracula from Suckula.

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Suckula (1973, dir. Anthony Spinelli)

Suckula (1973, dir. Anthony Spinelli)

Makes even more sense when you notice that Terri Hall who plays the mermaid was in one of the movies that is on the same box set as Suckula.

Let’s move on because what the hell is this thing it cuts to next?

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My only guess is that they felt the need to foreshadow that they will use puppets to get the mermaid at the end. I agree with Brother Theodore: “Absolutely disgusting.”

After a bunch of stock footage and nonsense scenes that were maybe longer originally, we are at the beach and we finally meet our mermaid.

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You might be wondering about now, and the answer is yes. Yes, they do play the actual Jaws theme. That is till the blow job starts, then who knows where this crazy music that starts playing came from.

Dr. Smegma eventually shows up after the mermaid attack and I have to give it to Robert Kerman…

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because he is the only one in the cast who at all resembles a member of the original cast in appearance and acting.

A bunch of weird sex things happen now that aren’t important. You don’t want to hear about Porno Dreyfuss and his sex doll that he insists on bringing over to the sheriff’s place. I mean involving animals weird. It gets really bizarre.

It eventually gets back to the plot, but not before it makes a mermaid joke.

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That’s the famous “Chicken of the Sea” as Porno Dreyfuss says. Somebody gets attacked, and the next day it’s time for Brother Theodore to monologue again like he did at the town hall meeting before they set off to get her.

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Porno Dreyfuss is happy cause he spots the sheriff’s secretary in a boat mostly naked. This is when we find out that not only does the mermaid dance, but I’m pretty sure she eats out the secretary to death. How does that work? In the end, the mermaid dances off into the water and the secretary looks dead on the beach.

Now the mermaid attacks the boat, and we get the dumbest peace of censorship in the movie.

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This happens when the mermaid attacks Porno Dreyfuss through the toilet. I’m not showing the shot of her head popping out of the toilet. It might give you nightmares.

The rest is just a really lame recreation of the ending of Jaws till they just throw out the people, replace them with small puppets, and then she sucks on something that explodes. Roll credits!

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I wish this version hadn’t been censored because I’m sure it would have made more sense, but at least they were trying for something and could actually do things. Deep Jaws just messed around till it dropped a space capsule in a pool, called it good, and ran the credits.

Do I recommend Gums and/or Deep Jaws? NO! If you want a spoof/homage to Jaws, then watch Blades. I reviewed it briefly last October. The movie is still up legally to watch as well. It’s the one to see. These are both terrible films.

Horror Daily Grindhouse: Cannibal Holocaust (dir. by Ruggero Deodato)


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“I wonder who the real cannibals are?”

The month of October here at Through the Shattered Lens wouldn’t be complete if I didn’t introduce one of the very films which this site was made for: Cannibal Holocaust.

This 1980 film by Italian exploitation filmmaker Ruggero Deodato remains of the best examples of grindhouse filmmaking. It continues to be many people’s teop ten grindhouse and exploitation films list. Cannibal Holocaust could be considered as the best of the cannibal subgenre films which first began with Umberto Lenzi’s 1972 The Man from the Deep River.

Cannibal Holocaust also remains one of the best found footage films which has regained a sort of come back the last couple years with such popular found footage horror films like the Paranormal Activity series right up to 2012’s The Bay from Barry Levinson. It’s no surprise that Deodato’s film has survived the test of time as new legions of horror fans discover his films and older fans return to watch it again.

The film itself has continued to gain notoriety as newer fans discover the film. Upon it’s release the film was censored or outright banned from many countries who thought it was an actual snuff film (an allegation that even got Deodato and the film’s producers arrested in Italy on charges of murder) or because of atual animal cruelty performed by the film crew on live animals during the shoot. While the notion of Cannibal Holocaust was an actual snuff film remains a sort of urban legend amongst the new and young horror fans discovering it for the first time it really was the allegations of animal cruelty that continues to haunt the film to this day as it remains banned it several countries.

While the film was finally removed from the UK’s “video nasties” list it still hasn’t been released fully uncut and unedited in that country unlike the rest of the world. Though with the global reach of the internet such censorship and banned lists have become irrelevant and thus has given Cannibal Holocaust a much wider reach than it has ever had.

Cannibal Holocaust may be over thirty years old now, but it remains one of the finest example of grindhouse and exploitation filmmaking. It will continue to live on for future generations of horror fans and gorehounds to discover.

The Daily Grindhouse: Cannibal Ferox aka Make Them Die Slowly (dir. by Umberto Lenzi)


It’s time we got back to another edition of “The Daily Grindhouse” and this time we go into the lovely and wholesome fun that was the European cannibal subgenre which became popular from the mid-1970’s right up to the early 1980’s. The granddaddy and best of this subgenre will forever be Ruggero Deodato’s Cannibal Holocaust. That film help bring about the flood of cheap copies and knock-offs with each one trying to one-up Deodato’s masterpiece by amping up the violence and gore to try and get banned in as many countries as possible. One of these knock-off’s is Umberto Lenzi’s Cannibal Ferox aka Make Them Die Slowly.

It stars one of the heavyweights of Italian exploitation and grindhouse in Giovanni Lombardo Radice. It pretty much borrows part of the plot of Cannibal Holocaust then adds in a liberal helping of drug-dealers, mobsters and emeralds. Lenzi’s flick dumps the “found footage” style Deodato used for his film and instead goes a more traditional style. This lessens the impact of Lenzi’s film and definitely adds to fuel from critics and detractors who saw nothing of value in this film.

I wouldn’t say that Cannibal Ferox has no redeeming value whatsoever for it is an interesting flick. Gorehounds and lovers of this particular brand of grindhouse cinema have a special place in their heart for this flick with special mention going to the several kill sequences that occur throughout the film. Lead actor Radice gets the most elaborate and gruesome fate in this flick and I would say in most in the subgenre. No wonder in an interview years later he would regret ever filming this flick.

Oh yeah, Lenzi one up’s Deodato’s on-screen killing of a live turtle by doing a pig instead.

Like I said earlier, lovely and wholesome fun for the whole family.