In this film noir (directed by Douglas Sirk), a serial killer in London is murdering young women he meets through personals columns of newspapers. He announces each murder to the police by sending them a poem. Research carried out by Inspector Harley Temple (Charles Coburn) reveal that the killer’s verses are strongly influenced by Baudelaire who saw a link between beauty and death. After a taxi dancer disappears, her concerned American friend/co-worker, Sandra Carpenter (Lucille Ball), comes to Scotland Yard (the police), looking for answers. Sandra came from NYC to dance in the chorus of a London show (which closed early). After speaking w/ Sandra (a fiesty, sarcastic, and pretty young woman), Inspector Temple is impressed. He quickly enlists her to answer personal ads, in hopes of luring the killer. Sandra is given a police ID and a small handgun!
There are moments of humor in this movie (which is a remake of a French film). Boris Karloff adds humor to this (rather dark) tale, giving a brief performance as an insane dress designer. Officer H.R. Barrett (George Zucco) is the veteran cop assigned as back-up for Sandra; he and Ball make a fun team w/ good chemistry. While waiting for her mystery date at the opera, Sandra meets sauve and wealthy Robert Fleming (George Sanders). I think Sanders is fun to watch in ALL his roles, MOST notably in All About Eve. In no time, Robert and Sandra develop feelings for each other; she becomes less guarded and he drops his playboy ways. The streets are NOT safe; Sandra is put in danger more than once. Who is the killer? Could it be Robert?
This is a very enjoyable film. What you get here is a lot of talk and character studies. Lured is a good, old-fashioned mystery yarn. The killer is painfully obvious about halfway through, but the actors go through the motions with obvious relish.
 For a serial killer film, this one must rank as the most reserved and dignified ever made. No blood nor gore, just urbane and sophisticated dialogue throughout, and especially from the killer…
 The emphasis in making this film was clearly on producing an upbeat thriller which has many of the characteristics of a routine whodunit (e.g. numerous red herrings) and judged purely on this basis, it is very successful and entertaining.
 I hadn’t read up on this story, because I wanted to watch the movie not knowing any details. I was pleasantly surprised. This movie was not what I was expecting. I went in thinking it would be a Pablo Escobar kinda movie, but it was not.
 Although the story is meant to be light-hearted in most moments (due to the nature of this crazy story), there are quite a few dramatically effective scenes to go along with them, but it almost felt like the movie was getting a little too serious for the writers, so they had to take away from some of the emotion by adding jokes.
Matthew McConaughey gives one of his best efforts in a while and a particular scene actually had me in tears. This really shouldn’t come as a surprise, though, seeing as everyone expects him to bring a lot to the table nowadays. Newcomer Richie Merritt is the one to talk about, however. While his performance isn’t something that people will be talking about for decades to come, this was quite the impressive first impression.
-Excerpts from IMDB reviews
This is likely to be one of the MOST serious (and unflinchingly violent) films of 2018. I saw it at a free pre-screening w/ a Meetup earlier this week; it’s out this FRI. The gritty indie drama is based on a true story and filmed in Cleveland (which stands in for Detroit). In 1984, Ricky Wershe, Jr. (newcomer Richie Merritt) is a 15 y.o. H.S. dropout who helps his gun dealing father, Rick Sr. (Matthew McConaughey), hustle for a living. In the opener, they attend a gun show. The Wershes haven’t left Detroit (“a lion doesn’t leave the Serengeti”) b/c Rick thinks that they can stillmake something of themselves. Rick’s older sis, Dawn (British actress Bel Powley) is angry, rebellious, and (possibly) on drugs. The grandparents are played by veteran actors (Bruce Dern and Piper Laurie); their scenes are few, yet memorable.
There is an epidemic of gun violence and crack cocaine in the area; local cops seem to turn a blind eye and the FBI has a presence. Two FBI agents- Snyder and Byrd (Jennifer Jason Leigh and Rory Cochrane) and local undercover cop, Det. Jackson (Brian Tyree Henry) have their eye on a young dealer, Johnny ‘Lil Man’ Curry (Jonathan Majors), who has connections in high places. Ricky knows Johnny, having done some business w/ him, so the FBI starts following him (to encourage him to assist them).
NOTE: This post contains MILD SPOILERS for the film (now playing widely in theaters).
It’s relevant. It’s not a relic of the past. This is happening today. -Spike Lee re: the racism shown in his latest film
No film has channeled the hateful pulse of our moment… -Variety magazine (@Variety)
I thought it was one of Spike Lee’s most cogent films. I also thought it was the film with the most white gaze ever, and that’s not a complaint. -Monique Jones (@moniqueblognet)
There’s a moment… where Ron Stallworth, the protagonist, says we could never have a President like David Duke. It hits you like a ton of bricks because we now have something even worse: a President who thinks like Duke, only he camouflages it more effectively. -Adam Best (@adamcbest)
I’m a pretty big fan of Spike Lee; he has made some of my favorite (and also arguably, most socially relevant) films of the past three decades. As fans/critics have noted, his films ignore or minimize the “white gaze,” meaning characters behave as themselves, not responding only to “mainstream” American society. Since this is a based-on-real-events movie, his style is more subdued (though there are interesting touches that we’ve come to expect). The music (composed by Terence Blanchard) is very well-suited to the events and tone of the film. It deals w/ quite serious topics, yet has pops of (dark) humor that my audience really enjoyed.
“We have to support Denzel’s son,” I emailed to my gal pal (a few days before we went to see this movie on opening weekend). John David (who plays Ron Stallworth, the first black policeman in Colorado Springs) speaks and moves like Denzel, yet has the face of his mother, Pauletta. J.D. (as he is known) is 33 y.o. and a former NFL player who appeared on HBO’s Ballers. There is something fresh, wide-eyed (naive), yet also confident in his performance. He gets some really cool outfits as his “street clothes;” it’s the late ’70s after all.
Adam Driver (now 35 y.o.) can be a polarizing figure, but after this role- I’m a fan! The lanky former Marine gives a very strong, yet subtle performance as Flip (Ron’s more experienced/skeptical undercover partner). In time, Flip comes to terms w/ his identity. I need to watch more of Driver’s indie films on Netflix. No offense to Star Wars fans, BUT franchises don’t give actors much room to stretch.
Topher Grace, who plays a young David Duke, wasn’t my favorite part of the film. He said that he had a tough time getting into the mindset of such a hateful man. The important thing to remember re: Duke is that he sought to change the image of the KKK- make it more mainstream. He was polite, well-spoken, usually wore suits and- eventually- reached a high level of politics. The other members of “The Organization” were a mixed bag, ranging from a low IQ hillbilly to gun nut, and a relaxed/friendly guy (who wants to grow local membership). One man’s wife yearns to play a bigger role to support the cause, so white women aren’t solely victims in this movie.
Corey Hawkins, an up and coming actor from this (DC) area, has a great speech near the start of the film. I’m excited also to see what he does next! Ron’s love interest, President of the Black Student Union at a local university, Patrice (Laura Harrier), also did a fine job. Some critics of Lee have (rightly) commented on his not-so-fully developed women characters in the past. He has addressed the (touchy, yet serious) topic, explaining how having matured (nearly 30 yrs in film-making) and becoming a husband and father have helped w/ this issue.
Fans of TV cop dramas will be in for an extra treat. Robert John Burke (Law &Order: SVU) plays the head of the Intelligence Division. Frederick Weller (In Plain Sight) plays a patrolman. Nicholas Turturro (NYPD Blue) has a brief, yet crucial role; his older brother (John) is a mainstay in many Spike Lee films. There are more surprises in this film- don’t want to give too much away.
 The writing is a bit too well-structured, almost like clockwork, the characters are a bit too symbolic and easy to categorise. The comic relief kicks in just on schedule. The psychological diagnosis is too precise. And yet, this is one of the greatest films ever made. It has a sense of respect for the totality of life, and makes tragedy almost poetic.
 Kirk Douglas carries the burden of McLeod and makes the tormented policeman painfully believable–it is almost a nonstop, swirling performance…
 The abortion angle of the original play was taken to the screen, partlybecause of censorship, and partly because the close-up, immediacy of the camera requires rage to be clearly more explained than on the stage…
-Excerpts from various reviews (Amazon & IMDB)
A poster for the film
Evil’s got a smell of its own. A child could spot it. -McLeod says, before giving some info re: his father/parents’ relationship
In this film, abortion is sinful, criminal, horrifying (personally and socially)- a tragedy. It appears from different angles: the Dutch abortion doctor (w/ his clever lawyer), the detective’s wife, her ex-boyfriend (who got her pregnant), and eventually, the detective. When Mary (Eleanor Parker) finally tells her husband (Kirk Douglas) about it, his worldview is too black and white to handle it. He calls her a “tramp”- she’s wasn’t expecting that reaction. All that matters is that she was intimate with someone before being married to him. She says she’s leaving him forever. He doesn’t go after her, as his fellow detectives urge. Mary gets her freedom.
Mary (Eleanor Parker) begs and cries, but McCleod (Kirk Douglas) doesn’t see her virtues.
This may be one of the early “typical day” genre- several different stories occurring over one day in the same location, but melded into a whole (as on the TV shows, Hill Street Blues and Barney Miller). A key ongoing side plot involves an unlikely/lovelorn first offender and the younger sister of his former girlfriend. He stole from his employer to win back his (model) girlfriend who has moved on to a different circle. McCleod’s partner, Det. Brody (William Bendix) is more gentle/understanding; this man reminds him of his dead (WWII hero) son.
Oscar nominations were given out for William Wyler’s direction, the screenplay, and for Parker and Lee Grant, lead and supporting actresses respectively. At a little over 20 minutes, Parker’s performance in this movie is the shortest to ever be nominated for a Best Actress Oscar.
I built my whole life on hating my father. All the time he was inside me, laughing. -McLeod finally realizes the truth about his personality
Since it was impossible to film the movie without portraying the killing of Detective McLeod, so this movie resulted in another amendment to the Production Code. From December 20, 1938 to March 27, 1951, there was a rule forbidding the display of law enforcement officers (EX: detectives, security guards, etc.) dying at the hands of criminals. From March 27, 1951 onward, the Production Code allowed such portrayals, if they were “absolutely necessary to the development of the plot” (as noted in the book The Dame in the Kimono by Leonard Jeff and Jerold Simmons).
NOTE: This review contains MILD SPOILERS for the first three hours of the series.
 Shots Fired is at its best when raising legitimate questions about the criminal justice system and attempting to answer them. But I don’t know if there is an answer. The dark overtones that envelope the show at times feel real and appropriate. For a topic this serious, darkness may be the only way to truly shed light on the gravity of the situation.
 …I am not surprised by the haters in the reviews here. To me, these are people that are stuck in their ways and are not trying to see the world through different sets of eyes. Blacks and others have had to watch MOST TV through white people’s eyes and they expect us to be happy for it. Now you have a show like this that is finally putting Black people in a humane and more realistic light and they can’t handle it.
 I’m Asian male [Vietnamese] that grew up in a working class neighborhood and episode 1 gave me goosebumps because it aligns so much with our reality. You probably thinking how can I say that when I’m an Asian male. Truth is, many of our struggles are similar to blacks in America. You may not know, but there is an Asian gang culture in every major cities in America due to the same reasons that make it hard for blacks to succeed in America. Any law enforcement officers in major cities can confirm this.
-Excerpts from various IMDB reviews
Unnecessary police violence, particularly white cops against black offenders, is a topic that has everyone on edge. But, what happens when it’s a black cop that shoots an unarmed white kid based on racial profiling?
The show centerson junior DOJ prosecutor, Preston Terry (Stephan James- who is Canadian and just 25 y.o.), and investigator, Ashe Akino (Sanaa Lathan- daughter of a prolific Hollywood producer), who are sent to a small North Carolina town to investigate a police shooting. It’s much better, if a black officer (Deputy Joshua Beck- played by 28 y.o. Mack Wilds) is investigated and convicted by a black prosecutor, as one of Preston’s superiors in DC says in the first scene. Ashe and Terry dig deeper and find that an unarmed black kid was shot by a white officer not too long ago in the “houses”(projects) of this same town.
Critics (and viewers) see a lot of potential in James; he definitely has that “It” factor (which an actor needs to get to leading man status). Don’t forget that a very young Blair Underwood played an attorney on L.A. Law in the ’80s. Wilds is doing pretty well in this role (never seen him before); the actor admitted that he never imagined himself in the shoes of a police officer before. He’s got an innocence and freshness about him- key for his role. What to say re: Sanaa Lathan? Hmm… well, she’s got youthful looks (even at age 45); her acting is not terrible, but pretty one-note.
Patricia Eamons (Helen Hunt) is the first female governor of the state; she was the one who decided to bring in the DOJ. Local pastor Janae James (Aisha Hinds) points out, after all the shootings of unarmed black men, why is this the case where the feds decide to get involved? Hinds’ outspoken activist, yet also spiritual, character is unlike most preachers we’ve seen on TV- female, youthful, and putting faith into action.
Richard Dreyfus is introduced (near the end of the second hour); he is a 1st gen American businessman looking to advance a new prison/educational complex. I’ve seen three hours so far, but may keep w/ it (if the writing gets stronger and the veteran actors get more to do). So far, British actor Stephen Moyer (who plays Lt. Breeland) has just been a jerk. He may have brought some fans along w/ him from True Blood (never seen that show, so can’t judge). I’m waiting to see more of Will Patton (who plays the sheriff); he has a way w/ ambiguous characters.
We get to see Ashe and Preston in their private lives, unlike what you’ve seen in most Law and Order-type series. Speaking of that iconic TV show, the still stunning Jill Hennessy plays Alicia Carr, the heartbroken mother of the white college student. She gets a chance to shine in the third hour. Preston, who could’ve been a professional baseball player, is trying to earn the respect of his father (Dennis Haysbert) and older brother, (a pro football player). Ashe is a woman with serious anger issues, trying to keep primary custody of her daughter. Her Latino ex-boyfriend is planning to marry (a younger Latina woman) and raise their daughter full-time.