Song of the Day: Baba O’Riley by The Who


Enjoy Teenage Wasteland!

Okay, just kidding.  I know the name of the song is Baba O’Riley.  But seriously, there are thousands of people out there who think that this song is called Teenage Wasteland and, way back when I first wrote the first draft of my review of Summer of Sam, I was so exhausted that I actually referred to it as being Teenage Wasteland but, fortunately, Jeff pointed out my mistake before I hit publish.  Pete Townshend, who wrote the song, later said that the reference to a “teenage wasteland” was inspired by the audience Woodstock and it was not meant to be complimentary.

I love Roger Daltrey’s voice.

 

Scenes I Love: The Ending of The Thing


From 1982’s The Thing, here is one of the greatest endings in the history of horror.  Kurt Russell and Keith David play two characters who might be the final survivors of the The Thing’s rampage or who might just be one human talking to one alien.  With nothing to do but wait for the inevitable, the two of them share a drink and prepare to freeze.

The scene features great acting from Russell and David and great direction from John Carpenter.  It’s one of those endings that you will never forget.

4 Shots From 4 Films: Special Kurt Russell Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we wish a happy birthday to the great Kurt Russell!  Last year, we pretty much reviewed every Kurt Russell films that we could find.  It was a great day.  This year, we cannot let the day pass without offering up….

4 Shots From 4 Kurt Russell Films

Used Cars (1980, dir by Robert Zemeckis, DP: Donald M. Morgan)

Escape From New York (1981, dir by John Carpenter, DP: Dean Cundey)

The Thing (1982, dir by John Carpenter, DP: Dean Cundey)

Tombstone (1993, dir by George Pan Cosmatos (and Kurt Russell), DP: William Fraker)

 

Music Video of the Day: Jump Around by House of Pain (1992, directed by David “Shadi” Perez)


Happy St. Patrick’s Day!

Ever since it was first released and this video first aired on MTV, Jump Around has been one of the unofficial anthems of St. Patrick’s Day.  The video was so popular that many people continue to associate both the song and House of Pain with Boston’s Irish community, despite the fact that the band was from Los Angeles and only two members were of Irish descent.

All together now: “I came to get down, I came to get down, jump around!”

Enjoy!

One Piece: Into the Grand Line (Season 2, Episode 4 “Big Trouble in Little Garden”) Review


“Your Log Pose has set to an island called Little Garden. The dangers there will likely be your demise.”  — Miss All Sunday

One Piece season 2 episode 4, “Big Trouble in Little Garden,” drops the Straw Hats onto a wild, prehistoric island that’s equal parts thrilling and chaotic, blending massive scale with some sneaky character moments. Right off the bat, the episode picks up from the Whisky Peak escape, with Miss All Sunday—Nico Robin in disguise—taunting the crew on the Going Merry before handing over an Eternal Pose and vanishing with her cryptic offer to join them later. It’s a smart transition that keeps the Grand Line’s mystery humming, as the crew sails into Little Garden, a lush spot frozen in time, complete with roaring dinosaurs and towering giants that make every step feel like a Jurassic Park fever dream.

The island’s vibe hits hard from the jump—think overgrown jungles, massive bugs, and those two legendary giants, Brogy and Dorry, locked in a century-long duel they can’t even fully remember why they’re fighting. Luffy, ever the food magnet, chomps on a giant’s meal, sparking a hilarious standoff that flips into hospitality when Brogy invites Nami and Usopp to chow down in his cave. Brogy’s tales of Elbaph and warrior honor give the episode a heartfelt core amid the spectacle, showing how the show grounds its fantasy in camaraderie. Usopp’s wide-eyed awe here shines, as he bonds with the giant over dreams of bravery, even if his lies start slipping under real pressure.

But let’s talk action, because Little Garden delivers on the chaos. The daily volcano eruption triggers Brogy and Dorry’s axe-clashing showdown, a brutal ballet of strength that’s visually stunning with practical effects blending into CGI for those colossal swings. Mr. 5 sabotages Brogy’s ale mug with an explosive bomb, tilting the fight unfairly and leading to what looks like a tragic end—Dorry lands the “killing” blow, only for Luffy to sniff out the foul play. It’s tense stuff, ramping up stakes as Baroque Works agents like Mr. 3 (played by David Dastmalchian), Miss Valentine, and the creepy kid Miss Goldenweek slink in with wax traps and personality-altering paints. That paint trick on Zoro (pink pants and all, turning him bubbly) and Nami (green-eyed loopiness) adds a trippy layer, messing with loyalties in fun, unpredictable ways.

Usopp steals the spotlight in the back half, though. After Brogy “dies,” he confronts a heartbroken Dorry alone, piecing together the sabotage without any backup. It’s a raw moment for the sniper who’s all talk—his “I can’t do this alone” plea turns into gritty resolve as he vows to save Nami from Miss Valentine’s capture. The episode nails his arc without overplaying it, showing growth through quiet desperation rather than big speeches. Meanwhile, Luffy’s chase after the bombers leads to a blue-paint funk courtesy of Miss Goldenweek, humanizing him with uncharacteristic moping. Vivi gets solid screen time too, balancing her Alabasta mission with crew loyalty, like when she hesitates to drag them into deeper danger.

Villain intros are a highlight—David Dastmalchian’s performance as Mr. 3 oozes sly charisma and offbeat menace, perfectly capturing the scheming wax-user’s awkward villainy with deadpan delivery and subtle physicality that hints at his weirdo charm from past roles like Polka-Dot Man. His take brings the candle coffin trap to gross, ingenious life, freezing Dorry while flashing those gross nails and a vibe that’s equal parts pompous and unhinged, promising slick, creative fights ahead. Miss Goldenweek’s paint hypnosis feels fresh, a non-combat threat that toys with emotions over brute force, fitting One Piece‘s eclectic Devil Fruit roster. Sanji and Zoro’s banter keeps the levity, with Sanji’s ladies-man schtick clashing against Zoro’s deadpan in ways that spark real chemistry, even if it’s sibling-rivalry adjacent. Dinosaurs rampage through it all, from roars that shake the screen to a chase that has Luffy grinning like a kid in a candy store—pure adventure fuel.

Pacing-wise, this one’s a mixed bag. The setup drags a tad compared to Whisky Peak’s tight punch-up, feeling like a bridge to bigger Little Garden payoffs in episode 5. More CGI for giants and dinos trades some tactile grit from prior fights for epic scope, which works but lacks the sweaty intimacy of hand-to-hand brawls. Still, the direction keeps energy high with dynamic jungle tracking shots and those giant-scale duels that dwarf the humans just right. Sound design pops too—the volcano’s rumble, axe clashes, and dino bellows build immersion without overwhelming dialogue.

Character dynamics evolve nicely with Vivi aboard, heightening tension as her secrets simmer. Luffy’s optimism clashes with her caution, while Nami’s weather smarts get sidelined by paint shenanigans, hinting at future utility. Zoro naps through half the threats, true to form, but his altered personality bit lands laughs without undermining his edge. The episode smartly foreshadows Baroque Works’ layered hierarchy, with Mr. 3 strong-arming Mr. 5 and Valentine into his giant-killing plot—sets up juicy inter-agent drama.

Fair’s fair, it’s not flawless. Some plot threads, like the paint’s full effects or Robin’s lingering offer, dangle without payoff here, making it setup-heavy. Usopp’s heroism feels earned but rushed in spots, and the giants’ honor code borders on repetitive exposition. CGI holds up under scrutiny less than practical stunts, with a few uncanny giant faces in close-ups. Yet these niggles don’t sink the fun—One Piece thrives on escalating absurdity, and Little Garden embodies that with heart-pounding scale and emotional beats.

Overall, “Big Trouble in Little Garden” clocks in as solid mid-arc fare, leaning on spectacle and Usopp’s growth to offset slower burns. It captures the manga’s spirit—wild locales, quirky powers, unbreakable bonds—while adapting smartly for live-action flair. Fans craving giant brawls and scheming foes get plenty, and newbies stay hooked on the crew’s charm. Can’t wait for the wax to melt and heroes to rise next time.

One Piece: Into the Grand Line Season 2 Episodes

A Quick Review Of The 98th Oscar Ceremony


In a word: Boring.

It wasn’t quite as dull as the COVID Oscars.  The 2021 ceremony set a standard for dullness that will probably never be matched.  This year, the ceremony actually took place in a theater and it actually had a host who, for the most part, knew what he was doing.  That’s not to say that Conan O’Brien was a particularly exciting host but at least the opening monologue went by quickly.  When Jimmy Kimmel came out to present the Best Documentary Oscar, we were reminded of just what an improvement O’Brien was on previous hosts.

It’s funny when you think about it.  We always bemoan stuff like Will Smith slapping Chris Rock or Warren Beatty and Faye Dunaway announcing that the wrong film had won Best Picture but the Oscar ceremony is pretty dull without any of that.  Last night’s show ran relatively smoothly and only went over by a few minutes.  It probably would have been livened up by a slap or two.

The acceptance speeches were okay.  I prefer arrogant Paul Thomas Anderson to sincere Paul Thomas Anderson but at least he finally won the Oscars that he probably should have first won many years ago.  Anderson is one of our best filmmakers so it’s unfortunate that he won for one of his least interesting films.  But that’s the way it often goes with the Academy.  Martin Scorsese didn’t win for Goodfellas or Raging Bull or even The Aviator.  He won for The Departed.

What happened to all that Sinners momentum?  Looking back, the majority of that momentum was a mirage of wishful thinking.  A lot of people — myself included — wanted something unexpected to happen to liven up what had been a pretty boring Oscar season.  In the end, Michael B. Jordan emerged as Best Actor, over the early favorites. The momentum was less for the film and more for the actor.

The In Memoriam segment was well-handled, though I would have liked to have seen Robert Duvall also get an individual segment.  That said, I imagine that Duvall died after the segment had already been planned out.  In the end, we all know what a great actor Robert Duvall was and that’s the important thing.  Bud Cort, Joe Don Baker and Brigitte Bardot were left out of the In Memoriam montage.  I can’t say why Cort and Baker were left out.  Brigitte Bardot was undoubtedly left out because of her politics and shame on the Academy for that.

Sean Penn was not at the ceremony, so we were spared a Penn speech.  Fortunately, for fans of wealthy celebrities bloviating about politics, Javier Bardem showed up wearing a big ugly button that looked like it was made by an 8 year-old.

There was a lot of talk about how AI will never replace real movies and it felt a bit desperate.  I don’t want AI to replace real movies but, sad to say, I think we can all see where things are heading.  Perhaps if the real movies were a little bit better, AI wouldn’t be such a threat.

I haven’t seen the ratings yet.  Ten years ago, the Oscars dominated social media.  This year, things felt much different.

Finally, my Oscar tweet received a review of their own last night.

*Sigh* Sorry, Liz.

 

Join #MondayMania For Evil Nanny!


Hi, everyone!  Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania!  Join us for 2017’s Evil Nanny!

You can find the movie on Prime and Tubi and then you can join us on twitter at 9 pm central time!  (That’s 10 pm for you folks on the East Coast.)  See you then!