HAPPY VALENTINE'S DAY 2026, FROM LILY & HERMIE

I SAW SHELTER (2026)

I'm late on the latest, Jason Statham, action-thriller, due to a monumental, snow storm and the inconsiderate lack of cleanup that followed. A mailed, screening copy saved the day; thank goodness I received it, considering the problems I've been facing with mail. 

Shelter, coproduced by Statham, directed by Ric Roman (Greenland/Angel Has Fallen/Snitch) Wahl and written by Ward (The Shattering) Parry, deals with a former, government assassin (of the Black Kites) named Michael Mason, who's on the lam with is dear dog, doing the lonesome, Omega Man thing, hiding on a Scottish island. As he tries to eschew his past (harboring knowledge that may, for some, bring to mind Patrick McGoohan's The Prisoner), Mason comes upon a young lady, Bodhi Rae Breathnach's Jessie, who's been injured in a stormy sojourn.

To get her medical help, Mason shelters her (yeah, get it?) and risks drawing attention to himself. The chase is then on, with our valiant lead focusing full-force on the one in need, as others intervene, which includes Bill (Pirates of the Caribbean/Underworld) Nighy, as Mason's M16, ex-handler and now Gerard-minded tracker, Steven Manafort; Naomi Ackie as Manafort's curious auxiliary/replacement, Roberta; Daniel Mays as Mason's pal, Arthur Booth; Bryan Vigier as the relentless mercenary, Workman; and Harriet Walter as Prime Minister Fordham. 

Indeed, certain plot elements do mirror those of Statham's Safe and Homefront, in which he protected other young ladies, but Shelter gets into an intrinsic, survivalist perspective, where the situation references Shane, with Mason teaching Jessie techniques she wouldn't learn in school, like handling a gun, but she, in turn, summons his humanity.

Shelter's later segments hold evident nods to Bond, Bourne, John Wick and Ethan Hunt, most of which are highlighted by the Mason/Workman melees. Even if one should be apathetic about the character progression, the fast, two-fisted pace will more than compensate. (I can only imagine how breathtaking some of the sequences would have been if I were to have seen them on a theater screen, but ah well...)   

Sure, this movie isn't meant for everyone. For those who turn away from life's problems, whether big or small, succinct or allegorical, Shelter won't mean a thing. So be it. Those sorts can visit the boring-as-hell Heated Rivalry and pretend its sanctimonious bull is the be-all and end-all. Shelter, however, is pure, unaffected, hero fare, which always makes quality entertainment in my book. It was just what I wanted, and by golly, it's just what I got. 

TERRIFIC TEAM-UP IMAGE: PLANET OF THE APES TOYS/CORNELIUS IN PERSON

 

TWO WEEKS LATER ...

It's two weeks after a crushing, snow/ice storm hit my area. Contrary to what the bureaucrats first claimed, no plowing was done. No salt was spewed. The side streets remain neglected, with only minor melting occurring, as record-low temperatures prolong the agitating process. 

I've made phone calls to City Hall and the State House, expressing my angst and frustration (demanding a little help is all), but have been told, in the usual, babbling fashion, that I'm overreacting, that most citizens aren't even employed in my downtrodden sector, so there's no need for a prioritized cleanup to get vehicles on the road. (And yet I ask, what of the school busses? When will they run again, or is the State fine with kids lounging at home as they did during COVID? Silence ensues ...)

The thing is, some of us do, indeed, need to travel in my subjugated realm and for significant distances that would be hard to accomplish by foot. We're required to occupy our places of employment, no matter what. Also, some of us have doctors' appointments or must tend to family members who do, but that doesn't seem a concern of our "elected" despots. 

The meteorology mystics now foresee another storm approaching, maybe worse than the one before. I can only image how horrible it'll be, piled atop the prevailing, frozen monstrosity.

If worse comes to worse, I'll try to dig more paths to initiate my journeys, as lazy residents peer from their windows, anxious to critique my lackluster gains. I'll likely hear from the same rationalizing neighbor about her adolescent Potterhead, who could help, except that he's a sensitive sort whose feelings would be hurt if asked to raise a shovel. (Ah, what I wouldn't give to live near a rough, resilient Ringer!)

It's the same ol' nonsense again and again, and so I'll keep forking over my taxes to get nothing in return. I'll push myself to the physical extreme, attaining the same tired, dissatisfying results, because, well, I'm the indurated type who deserves (and welcomes) such strife. 

Yeah, it's all so grand and righteous here in snow-bound Jersey. Oh, well, perhaps I'll move away some day to a respectful place where diligence and responsibility are revered, but until that desired escape, I'll have to lean on my old, behavioral standby and gripe, gripe, gripe. 

MY TOP, STAMP ROLES: BY SPECIAL REQUEST

My gym mates and I were on the vigorous, treadmill trail the other day and our favorite movies of our favorite actors came up in conversation. Someone mentioned Terence Stamp, and what can I say? I went to town, reminiscing on his vast resume. (One of the ladies suggested I document my top choices for Bizarrechats, and since I already outlined the matter in casual conversation, I decided to fulfill the favor.)

Now, the top two picks do hold their precise ranking, but the others could be shuffled about. Still, here they are, with the first being (drum roll, please) ...

1) The Collector: This 1965, William Wyler/Stanley Man/John Kohn adaptation of John Fowles novel is an amazing tour de force for both Stamp and his fetching costar, the late Samantha Eggar. Stamp's Frederick Clegg is as quirky and obsessive as one gets, cut from the Norman Bates cloth, though without the deep-rooted, mother fixation. (The Collector is, as a result, one of those movies that could be called a Psycho companion piece, and while some would sooner choose the sappy ol' Sunset Boulevard for that categorization, it's got nothin' on The Collector.) Stamp's performance left an indelible impression on me when I was a kid, and if I got excited about his casting in the Superman saga, it was because of his complex Clegg. 

2) Superman: The Movie/Superman II: One can't have one without the other, and Stamp's portrayal of General Zod is one of the most villainous ever to rule celluloid. In my estimation, the cold-hearted dictator (abetted by his companions, Sarah Douglas' Ursa and Jack O'Halloran's Non) surpasses Lex Luthor, Brainiac, Darth Vader, Ming the Merciless and Killer Kane combined. 

3) Billy Budd: Peter Ustinov's 1962 adaptation of Herman Melville's allegorical classic is, without any debate, one of the best seafaring spectacles ever produced. Stamp's Budd is inspiring and moving, working in uncanny unison with Robert Ryan's stubborn John Claggart, and contrary to one popular theory regarding the fable's meaning, Budd is a Christ-like figure, and it's because of his purity that he's persecuted and nothing more. Stamp conveys this without making it obvious. 

4) Far from the Madding Crowd: John Schlessinger/Frederic Raphael's 1967 adaptation of Thomas Hardy's novel gives Stamp much to chew on, as he (along with Peter Finch and Alan Bates' competing suiters) pursues Julie Christie's lovely yet liberated Bathsheba. Stamp's Sgt. Frank Troy is every ounce the heedless, charismatic rogue, in a performance that inspired Adam Ant to "Stand and Deliver," as one pivotal scene demonstrates. 

5) The Limey: Stephen Soderbergh/Lem Dobbs' 1999, revenge opus, in which Stamp portrays an English criminal determined to avenge his daughter's death by administering justice to Peter Fonda's Terry Valentine, a corrupt, music producer. Stamp reigns supreme as he devours the scenes, never over-the-top, but rather stoic to perfection. He should have earned an Oscar nod for The Limey, but alas, such wasn't to be. Hollywood be damned!

6) Spirits of the Dead: An Edgar Allan Poe, arthouse anthology, with Stamp in the titular role of Federico Fellini's mod take on "Never Bet the Devil Your Head." As Dammit, Stamp is mesmerizing as a beleaguered and inebriated actor who's set to star in a western retelling of Jesus, but spirals toward a surreal and deadly conclusion that pulls from Mario Bava's Kill, Baby, Kill and would later influence Martin Scorsese's The Last Temptation of Christ. Be sure to view the English-track edition of "Dammit" to get the most from Stamp's performance. He still shines in the French-dubbed edition, but not to quite the same, complete, true-to-form degree. 

Well, there's my list, and believe me, there are many more I could (and probably should) add, in particular Stamp's deceiving William Harcourt in Alien Nation and his disoriented, man-child in The Mind of Mr. Soames. He's also impressive in his smaller roles, including Edgar Wright's Last Night in Soho and the Eddie Murphy vehicles, The Haunted Mansion and Bowfinger.  Truly, it's hard to dismiss these fine entries, for they more than hold their own.

Without question, Stamp gave us a fabulous queue to enjoy, and the fact that he surfaced in conversation, eclipsing any number of other thespians, speaks volumes. Long live his memory! Long live his work!

PINUP TIME: SABLE AT 50 FEET

 

BEATO'S GRAMMY COMPARISON: 1984 VS 2026

  

The knowledgeable Rick Beato posts a lot of great, ear-opening, YouTube segments. One of his best, in my estimation, deals with this year's absurdist Grammy nominees for best song.

As a studious point of comparison, Mr. Beato reflects on the best-song contenders for 1984: "Every Breath You Take," composed by Sting (performed with his Police bandmates, Stewart Copeland and Andy Summers), Flashdance's "Maniac," composed by Michael Sembello and Dennis Matkosky, "All Night Long," composed by Lionel Ritchie, and "Billie Jean" and "Beat It," composed by Michael Jackson, with the winner being "Every Breath ...," presented by the distinguished pairing of Stevie Wonder and Bob Dylan. 

In light of 2026's bland and/or plagiarized mishmash, which I'll bypass here (since typing the queue would only insult my fingers), it's easy to deduce that music has devolved. (Yeah, Devo's prophesy has come true, it seems.) 

Anyway, give Mr. Beato's analysis a view to hear what he has to say on the topic. Trust me, you'll come away enlightened, if not incensed by what's considered today's creme de la creme. 

https://www.youtube.com/watch?v=YXzB4v1Toj4

FOR THE FUN OF IT:

THE PURPLE SCAR #5 IS COMING

As I mentioned in January, a new Purple Scar/Miles Murdock volume is on the way from Airship 27 Productions. It will consist of two novels, one from Gene Moyers and one from me, both being illustrated by Aiden Belcher, who created the interiors for my opus, The Persona, Vol 3: Silver Skin. 

I also have a Purple Scar story featured in Vol 4, called "Golem Clay," which holds a weird, supernatural angle, based on Hebrew legend. The tale grew from an unpublished one I penned decades ago, but was discouraged to do anything with it, thanks to a big-time, discouraging know-it-all. ("Golem Clay" is, in truth, a manifestation of vindication and comeuppance for me, and this goes well beyond its angst-ridden plot.)

The Purple Scar Vol 4 also features stories from Mr. Moyers, Felix Cruz and Fred Adams Jr., which do well by the Scar's eerie legend.

Why not check out Vol 4 (or even the earlier lead-in, Airship 27 volumes) before Vol 5's release?

Pay a visit at

https://www.amazon.com/Purple-Scar-Four-Gene-Moyers/dp/1953589448

MR. LOBO'S LIVE STREAMS!

 

THE PERSONA VOL 3: SILVER SKIN SELLS & SELLS

I wish to thank my friends at Planet Fitness for purchasing another batch of my newest novel, The Persona, Vol 3: Silver Skin, published by Airship 27 Productions.  

Silver Skin pits Michael Mansford, the Persona, against a shimmering "outer space demon," who invades the Amazon, with plans to consume the rest of Earth via strange, terraforming techniques. 

The novel's interiors are fashioned by Aiden Belcher, the front cover by Michael Youngblood and the back cover by Rob Davis. 

Though the book is, by all accounts, selling well, it never hurts to sell even more. With this in mind, please visit the following to secure yours:

https://www.amazon.com/dp/1969285044?ref=ppx_yo2ov_dt_b_fed_asin_title