Lost Transmissions [2019)

This is the worst movie I’ve ever seen.

QAnon.

Katharine O’Brien should have failed film school.

Or she should enroll in film school, submit this film for her final project, and then flunk out.

This is the most unartistic hunk of shit I have ever sat through.

For fuck’s sake.

It takes a special lack of talent to make a Simon Pegg movie suck.

But this bitch did it.

And she had some help.

Juno Temple is a horrible, talentless fucking actress.

Jesus God.

So bad.

Especially next to the amazing talents of Simon Pegg.

Pegg is decent here.

Juno Temple is all-world bad.

Born of a communist family.

Makes sense.

Nina Temple.

U.K. commies.

Nina.

Sister of Julien Temple.

Nepotism.

No-talent Juno gets this gig.

Julien Temple has talent.

A lot of it.

Juno Temple has no talent.

At all.

Whatsoever.

But just when you think this film can’t get any worse, Harley fucking Quinn pops up courtesy of vapid null Alexandra Daddario.

Lots of nepotism.

Emilio Q. Daddario.

Connecticut.

Democratic Party.

OSS.

Fort Meade.

You are watching a movie.

One in which Nakasone kisses Michael Hayden’s ass.

And Colin Powell’s ass.

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Who else inflicted this film upon the world?

Filip Jan Rymsza.

Shame!!!

Shame!!!

The music isn’t horrible.

Hugo Nicolson does alright.

Gravitas Ventures should have chucked this film directly in the nearest trash bin.

Straight-to-video would have been too good a fate for this moronic feature.

Tribeca Film Festival should have categorically denied this film a venue.

Because it is utter shite.

De Niro loves the Chinese commies.

Li Shaohong.

Liu Fendou.

Li Yang.

Keep the money flowing to De Niro and Tribeca.

Then we have to suffer through the maudlin coda with Tao Okamoto.

Nepotism everywhere.

Richard Harris’s son Jamie.

No talent anywhere except for Simon Pegg.

And Hugo Nicolson.

But mainly Pegg.

This is a fucking movie.

Q:  What makes for a good movie?

A:  The exact opposite of all the rubbish crammed into this godawful flick

Nepotism.

Robert Schwartzman in his cousin Sofia Coppola’s films.

Sofia has talent.

Quite a bit of talent.

Unlike the director of Lost Transmissions.

What ever happened to Q?

Almost one year since the stolen election.

Our military cucked out.

A bunch of fucking pussies.

Commies.

Mark Milley.

Michael Gilday.

Lloyd Austin.

Commies all.

Fuck ’em!

Talia Shire’s son.

Talia had talent.

A lot of it.

Unlike Juno Temple.

Who has none.

Then you get Schwartzman’s nepotism brother Jason.

Jason Schwartzman.

Band Rooney for Robert.

Geffen.

Must be nice.

Phantom Planet for Jason.

Epic MCA Geffen (2) Interscope.

Must be nice.

Polish Jews.

You don’t say…

Italian Catholic.

Ok.

Uncle Francis Ford.

Cousin Nicolas Cage.

Nepotism.

Jewish Catholic.

Uh huh.

Weezer.

Lame.

The Strokes.

Must be nice.

But the main offender is the screenplay.

By director Katharine O’Brien.

For fuck’s sake.

Ten minutes worth of material spun out into a 105-minute wank fest.

Yeah.

O’Brien does not have control of her craft.

No one (not even herself) should have funded this folly.

This film has no plot.

…and not in a cool way!

It is just the Jew bitch with the big nose chasing Simon Pegg around screaming “Theo” for 105 minutes.

Lame, nepotistic tripe.

The Prague International Film Festival should be ashamed for enabling this shit.

Best actor?

Ok.

Best actress?!?

You gotta be fucking kidding me!!!

And the GRAND PRIX???????

God damn.

ANYTHING would be better than this film.

Give me 105 minutes of Czech TV commercials.

It would be better than this.

Trump loves Pfizer, Israel, and America [maybe].

In that order.

https://finance.yahoo.com/news/donald-trump-i-got-the-pfizer-125703879.html?guccounter=1

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https://www.jpost.com/diaspora/antisemitism/trump-says-israel-literally-owned-congress-in-interview-683759

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Trump lost me when he started shilling for Pfizer.

https://www.cdc.gov/coronavirus/2019-ncov/vaccines/safety/adverse-events.html

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CDC lowballs it.

https://openvaers.com/index.php

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For a person who supposedly reads several newspapers a day, Donald Trump sure is one dumb motherfucker.

He owes at least 9,367 apologies to the families of those who perished due to the vaccines he rushed to market through Operation Warp Speed.

But he’s not fighting for you, Mr. and Mrs. America.

As you are losing your jobs because of the Biden vaccine mandate.

Trump wants us to fight the rigged election.

But he is not fighting for us.

He is ENCOURAGING people to get these deadly shots.

How many newspapers does one have to read in order to pretty quickly conclude that the COVID vaccines are neither safe nor effective?

And in case you wanna pretend Pfizer (the most deadly vaccine in America according to VAERS data) didn’t get any OWS funding, you must admit that the MASSIVE U.S. government preorder allowed them to scale up production.

It was an advance.

Hell…Trump even funded the AstraZeneca clot shot.

https://web.archive.org/web/20201219231756/https://www.hhs.gov/coronavirus/explaining-operation-warp-speed/index.html

N.B.  Janssen = Johnson & Johnson [vaccines developed in the Netherlands by Belgian JnJ subsidiary Janssen Pharmaceuticals]

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Recapping:

Johnson & Johnson [Janssen] $456 mil. + $1 bil. = $1.456 bil.

AstraZeneca at least $1.2 bil.

Pfizer $1.95 bil.

Moderna $4.1 bil.

Again, Trump RUSHED these vaccines to market.

And left us at the mercy of Joe Biden and the globalists who are now killing us with them.

Either we can take the #NeitherSafeNorEffective vaccines, or we can lose our jobs.

We can be refused organ transplant surgery.

We can be kicked out of the U.S. armed forces.

We can be fired from NYPD and FDNY.

Where’s Trump?

Sure would be nice if he called the vaccines bullshit (which they most certainly are).

He is so at ease in calling bullshit on ANYTHING in this world, but not when it comes to these vaccines.

Ask yourself Y.

Let’s go, Brandon!

-PD

SNL Season 1 Episode 10 [1976)

“…I know, I know, I know, I know,
I know, I know, I know, I know, I know,
I know, I know, I know, I know, I know,
I know, I know, I know, I know, I know,
I know, I know, I know, I know, I know,
I know, I know…”

Ah, Bill Withers.  A lyrical genius.  And though I kid, I mean it.  This section of “Ain’t No Sunshine” is one of the most tense portions of pop music ever laid down on tape.  In case you’re wondering, there’s 26 “I know”s.

And indeed, the powerful Mr. Withers performed this very song on SNL backed up by Howard Shore’s band to amazing dramatic effect.

Now, if you have been following along with my clinically-insane review of the entire Saturday Night Live oeuvre (or canon, if you will) you will know that the musical guests thus far had been:

Billy Preston, Janis Ian, Simon & Garfunkel, Randy Newman, Phoebe Snow, Esther Philips , ABBA, Loudon Wainwright III, Gil Scott-Heron, and Anne Murray.  [Hopefully I didn’t leave anyone out.]

I mention them again because almost all of them (with the notable exception of Simon & Garfunkel) were pushing product.  To use the terminology which Kurt Cobain so presciently keyed in on, they were attempting to be “radio friendly unit shifters”.  Shift those units.  Move that product.

This is significant when viewing Bill Withers’ performance.  “Ain’t No Sunshine” was from his 1971 album Just As I Am (that’s five years before this broadcast).  He’d had at least four albums come out since 1971.  He would have a fifth released in 1976.  And though he only got to perform one song, he went back to his big hit.

It makes me wonder whose idea that was.  Lorne Michaels?  Perhaps even a wily A&R man trying a counterintuitive tactic.  Kinda like, “Hey…I’m Bill Withers.  Remember me?”

All…that…having…been…said:

this is a fantastic episode!!!

I must admit I had no idea who Buck Henry was upon viewing this.

Pierre Henry?  Of course.  But Buck Henry?  No way.

Sure, I’d seen The Graduate, but paying attention to who the screenwriter was had to be the last thing on my mind as the credits rolled.

I like films without scripts.  Godard.

The only script I can honestly say I’ve ever read out of admiration for the film (and writing) is Ernest Lehman’s fantastic North by Northwest (brought to the screen, of course, by Alfred Hitchcock).

To make a short story long, Buck Henry is an amazing actor.

I don’t know to what extent he was involved in the writing of skits for this episode, but I can confidently say that this show surpasses all the others before it.

What is more, Buck Henry is ten times the actor that is Elliott Gould (the previous week’s host).

So, there.  Buck Henry is great.  From his role in John Belushi’s Samurai Delicatessen to his part as Gerald Ford’s aide in the Oval Office.

Speaking of these two skits, they are certainly among the highlights (if not the outright best two).

Belushi was improving with every episode.  From Samurai Hotel came Samurai Delicatessen.  It is an artful role on par with the talent of Peter Sellers.

The extra portion Belushi brought to the table was his singing (yes, singing).  We heard him earlier in the debut season doing a send-up of Joe Cocker.  In the episode under consideration, Belushi and Dan Aykroyd debut a proto version of The Blues Brothers…in bee costumes!

I must say that their performance of “I’m a King Bee” is infused with the punk spirit which was then coursing through the veins of New York City.  Belushi takes his breaks from singing as opportunities to do ridiculous, stumbling cartwheels around the stage.

This is one thing for which you have to give the Not Ready for Prime Time Players credit:  they would do anything for a laugh.

The precedent had been set early on by Chevy Chase.  No one could fall quite like Chevy, and thus it was natural for him to portray the unlucky Gerald Ford.

One of Chevy’s real miracles was a failed attempt (as Ford) to put the star on a 15-foot Christmas tree.  I don’t know if Chase had stunt training, but his falls are impressively wild.

But again, in this episode we see Chase developing his comic timing and humorous subtleties which he would later parlay into a successful movie career.  Chase’s portrayal of Ford is particularly smooth (peppered, of course, with appropriately clunky dementia).

Two more bits bear mentioning.  Michael O’Donoghue’s anti-impression illustrates all that was good about the early days of SNL.  It’s flailing about, but it is such a refreshing flailing.

And finally, I must mention that Toni Basil returned to the show (after making an appearance earlier in the season with the dance troupe The Lockers).  This time Basil does some great scat singing (and, of course, dancing) on the old tune “Wham”…(re bop boom bam).

It’s an impressive performance with a touch of Cyd Charisse in the choreography.

Bravo SNL!

 

-PD