In Case You Missed It, Here’s Bob From Chattanooga…


As Arleigh already explained in his review of tonight’s season finale, this was a pivotal episode in the history of the Walking Dead.

However, for me, the best part of tonight’s Walking Dead experience occurred after the finale.  During the Talking Dead, host Chris Hardwick takes calls from viewers.  Tonight, one of those calls came from a gentleman named Bob who apparently lives in Chattanooga.

While most people on twitter responded to Bob’s apparent prophecy of doom, I enjoyed watching the reactions of both Chad Coleman and Norman Reedus.

In case you missed it, here’s Bob from Chattanooga:




Review: The Walking Dead S3E16 “Welcome to the Tombs”


“In this life now you kill or you die…or you die and you kill.” — Philip “The Governor” Blake

[some spoilers within]

We’ve finally made it to the finale of season 3 of The Walking Dead.

There’s something about tonight’s episode that was both good and bad. It had the hallmarks of this season’s showrunner, Glen Mazzara, who wanted the series to get back down to basics after a season 2 where there had been too much philosophizing and existential angst. Mazzara delivered on bringing more action to the show. The first couple episodes of this season and the mid-season finale episode showed just how action-packed the show could be and fans responded enthusiastically about this change in the show’s narrative.

Yet, with a 16-episode season there was bound to be some break in the action and it’s here that Mazzara still fell in the same trap that got Darabont removed as the showrunner and what I think got Mazzara removed from the position as well. While Mazzara’s leadership of the show’s writers weren’t as bad when it came to the more slower and introspective part of the season he still couldn’t get rid of the meandering and wheel-spinning in some of the less-action episodes. It didn’t help that while most of the characters in the show had made some great strides in characterization the one main lead who remained an enigma and a problem: Andrea.

“Welcome to the Tombs” was suppose to be the main battle that would determine who would come up as winner between Team Prison and Team Woodbury. The assault on the prison by the Governor’s larger force was fast and loud. It was sort of a “shock and awe” tactic that was meant to disorient and put the fear of God in Rick and his people. We see from the episode’s cold opening that the group looked to have voted to leave the prison before the attack and the empty cellblocks seemed to reinforce this point. It sure didn’t make for a battle that was meant to give Mazzara a climactic sendoff as showrunner this season. yet, when things were about to get real disappointing with the empty prison and the Governor and his people entering an even more silent and empty Tombs we finally saw that things were not as they appear to be.

It was a nice change that the prison group decided to stay and fight as a group even when given the chance to vote on their fate. The fact that they knew there were going to be outnumbered and outgunned also forced their hand to be more creative and sneaky in how they would counter the attack on their hard-earned home. It’s a fine and noisy welcome the Governor and his people get while in the Tombs and showed just how amateurish his army really is (with small exceptions to his small cadre of minions) when stacked up against the more veteran and hardened smaller prison group. It’s not a wonder that this supposed battle between the two groups felt more anticlimactic than explosive.

The episode itself was more character-driven than action when one got down to its basic. We learn more of the Governor, Carl and Tyreese than see explosions, gore and action during the episode’s running time. For some this was made for a so-so finale while others probably saw it as a good finale that finished off the troubled character arc for one of the show’s most hated and difficult characters to work with: Andrea.

It was her episode in the end as we finally see the reasoning for some of the ridiculously maddening decisions she’s made this season. While it’s still not easy to forgive the character (or even the actor in the role) we do get a definite answer to the question of why is Andrea so stupid (in the extreme) or naive (when one is more forgiving) in a world that eats up such sentimentality. We saw how Rick had had to adjust his personality and decision making to not allow sentiments to rule his every act and decision and we saw how successful the group became, but also distanced him from everyone else. Andrea was almost an attempt to balance out the craziness that was both Rick and the Governor, but Mazzara and his writers were never able to pull off that job. In the end, she remained a lost chance to creating a very complex character that one could sympathize instead of hating even when her actions were well-meaning and logical.

“Welcome to the Tombs” saw the ending of a third season that went a long way into fixing the show’s problems under Darabont’s guidance, but the added episodes from 13 to 16 also meant that Mazzara’s vision for the show began to run out of steam by the finale thus the more subdued (despite an explosive opening) and pensive finale. While the show’s slogging towards the finale can’t be fully laid at Mazzara’s feet as showrunner one cannot just say that his legacy was righting the troubled ship that was The Walking Dead, but also failing to finally find the right balance between zombie mayhem and action with the drama that comes with people trying to survive in a world irrevocably changed for the worst.

The Mazzara Era of The Walking Dead has come to an end. The show has become even more popular under his guidance, but it has also remained a show which remained quite uneven in how it told it’s story and wrote it’s characters. Mazzara’s leadership went a long way into fixing most of it, but time ran out for him and his vision and tonight’s finale showed that attempts to do stand-alone and more character-driven episodes during the season as a way to fill-up a 16-episode schedule should’ve been set aside for doing a finale that went just one episode. Mazzara had the right idea, but in the end he ran out of things to do to pull it off. Now it’s up to incoming showrunner Scott Gimple to continue the improvements done under Mazzara and see about fixing the rest of the problems the show has with him in charge. Maybe fourth time is the charm.

Yet, despite all this I have a feeling The Walking Dead will remain the most popular thing on TV and will continue to do so whether Gimple succeeds or not. Such is the power of the zombie genre over the imagination of people everywhere.


  • Tonight’s episode, “Welcome to the Tombs”, was directed by series veteran Ernest Dickerson and written by season showrunner Glen Mazzara.
  • Well, it looks like we didn’t have to wait too long to find out if the Governor will confront Milton about being the traitor. The same goes as to whether Daryl was going to make it back to the prison after the vents of last week’s episode.
  • The Woodbury attack on the prison was quite an operation that pretty much forgoes any sort of siege that played out in the comics. Instead the writers decided to go for a more aggressive tactic.
  • Nice to see Ma Deuce in action and where the hell did Martinez get his hands on a Milkor 40mm MGL. Weapon laws in Georgia must be much more lax in Georgia than everyone else. It’s either that or he came across a group of dead Marines.
  • We finally get to the meaning of the season finale title as the Woodbury group moves deep inside the prison and into the less than secured area that Rick and his people have begun calling the Tombs.
  • Some nice trickery from Team Prison to scare and rout Team Woodbury once they were inside the Tombs.
  • Once again, it looks like Team Prison needs a lesson in how to kill living people as opposed to zombies. I don’t think they killed anyone from Team Woodbury, except for Carl, once they were running for their lives in the prison yard.
  • Governor has gone bye-bye and even his two most loyal mions in Martinez and Bowman could see it with his work on the Woodbury Army.
  • Carl has definitely turned into a badass. Quite the boss move (or dick move depending on your stance on Lil Grimes) on the Woodbury teen trying to trick Carl into grabbing the shotgun.
  • Tense moments between Milton and Andrea back at Woodbury and the pay off was something that should please Andrea-haters.
  • Carl looks to be channeling his inner-Shane or Governor with the little speech about doing what needs to be done to his own father. It should make for an interesting season 4 now that Carl looks to be heading towards amoral territory.
  • Love how there’s now a growing rift forming between Carl and Rick. It’s something that was explored in the comic book, but never to a degree that really went anywhere. Here’s to hoping incoming showrunner Scott Gimple does a better job in exploring the father-son relationship in season 4.
  • With Andrea’s passing The Walking Dead now has just one member left from the Darabont acting troupe and that’s Melissa McBride.
  • Zombie Kill Count of tonight’s episode: Too much to count.

Past Season 3 Episode Review

  1. Episode 1: “Seed”
  2. Episode 2: “Sick”
  3. Episode 3: “Walk With Me”
  4. Episode 4: “Killer Within”
  5. Episode 5: “Say the Word”
  6. Episode 6: “Hounded”
  7. Episode 7: “When the Dead Come Knocking”
  8. Episode 8: “Made to Suffer”
  9. Episode 9: “The Suicide King”
  10. Episode 10: “Home”
  11. Episode 11: “I Ain’t a Judas”
  12. Episode 12: “Clear”
  13. Episode 13: “Arrow on the Doorpost”
  14. Episode 14: “Prey”
  15. Episode 15: “This Sorrowful Life”

6 Trailers For Easter

Hi everyone!  The trailer kitties have teamed up with the trailer bunnies and they’ve come up with the latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film trailers!

1) Spasmo (1974)

2) Grand Slam (1967)

3) Nightmares Come Out At Night (1970)

4) Count Dracula (1970)

5) High Crime (1973)

6) Johnny Hamlet (1967)

What do you think, Trailer Kitty?


Trailer: White House Down

This film appears to be tailor-made for those film goers who want to sit through a left-wing version of Olympus Has Fallen.  Whereas Olympus featured the White House being attacked by an international threat, White House Down features the White House being attacked by American insurgents.

White House Down was directed by one of my least favorite directors, Roland Emmerich.  However, there’s also a chance that Channing Tatum might take his shirt off at some point during this film so I’ll probably end up seeing it.

Personally, I just hope the film starts with Derek Jacobi desperately jumping out of a cab and running into a theater so he can challenge everything we’ve ever believed about national security.



What Lisa Marie Watched Last Night #77: California Dreams S3E13 “Rebel Without A Nerve” (dir by Patrick Maloney)

Last night, I watched yet another episode of the old 90s sitcom, California Dreams.

Why Was I Watching It?

If you’ve been following this site for a while, you may remember that I was introduced to California Dreams by my sister Megan while we were looking for an alternative to watching reruns of Saved By The Bell: The New Class.  (It’s a long story.)  Since every episode of California Dreams is available on YouTube, I’ve been watching them whenever I’ve found myself in the mood to watch a mediocre 90s sitcom.  Last night, I was in the mood.

What Was It About?

Jake Summers (Jay Anthony Franke) has long been known as the coolest, hottest guy at Pacific Coat High School.  However, that’s about to change because Tommy Keating (guest star Joseph D. Reitman) has transferred to PCH and he’s determined to shove Jake off of his pedestal.  At first, it seems like this could never happen because Tommy appears to be overweight, goony, and about 40 years old.  However, when Jake crashes his bike, Tommy moves in for the kill…

Meanwhile, PCH has gone accident free for several days and Principal Blumford (Dennis Hask…oh wait, that’s Earl Boen in the role of Blumford), is excited about the prospect of getting PCH listed in the Guggenheim Book of World Records.  In order to keep the school safe, Blumford assigns Tony (Williams James Jones) and Sly (Michael Cade) to the safety patrol…

Meanwhile, Mark (Aaron Jackson) remains cute yet strangely underused…

What Worked?

As opposed to the previous episode of California Dreams (in which Jake starts smoking and his Uncle Frank gets cancer), this episode was strictly for fun.    Instead of trying to teach us an important lesson about safety, this episode acknowledged what we all truly know: only losers became hall monitors.

Add to that, any episode that attempts to set Jake up as the California equivalent to Lord Byron (mad, bad, and dangerous to know) automatically has a lot of camp appeal.

What Did Not Work?

Was it just me or did Tommy Keating appear to be a little bit old to still be going to high school?  Seriously, if you haven’t graduated by the time you’re 40, you might as well just drop out and get your G.E.D.

Then again, he did ace that Biology quiz so maybe Tommy had finally gotten his act together…

“Oh my God!  Just like me!” Moment

Lorena and I definitely have a similar fashion sense.  Her 2nd outfit (the one with the super cute black miniskirt) was to die for and it reminded me of what I wore to mass on Ash Wednesday.

Also, I frequently mistake ketchup for blood.

Lessons Learned

Safety is for losers.


Any Takers For “Spring Breakers” ?


So, we’ve finally discovered what it takes for Harmony Korine to go mainstream — a couple of  established stars, a little T&A, and hey! — he’s in the club. Hell, he can even manage to get himself invited onto Letterman outta the deal — although apparently he can’t stick around for long. Still, the fact remains — long (hell, decades) after you’d given up on the very notion it would ever happen, Hollywood has opened its doors to the guy who gave us GummoJulien Donkey-Boy, and Trash Humpers. And truth be told, he didn’t have to dumb down his sensibilities all that much in the process.

Okay, yeah — Spring Breakers is full of Girls Gone Wild-type footage of hot young flesh parading around in bikinis (or less), muscle-heads partying in jock straps, beer bongs being poured on impossibly tight stomachs, impromptu lesbian make-out sessions, yadda yadda yadda. But it’s piled on so thick and so repetitiously that there’s no way Korine can possibly be engaging in anything but parody of the Bacchanalian subculture he’s depicting. The film never takes itself too seriously, even when it ventures into some pretty dark territory, and it seems to me  that our guy Harmony is sending a none-too-sly message to the Tinseltown suits who previously wouldn’t have touched his work with a 50-foot pole : “this is what you want? Okay. But we’re doing it my way.”

And frankly, that “way” hasn’t changed much — the ultra-naturalistic hand-held camerawork, hallucinatory pacing and editing, and free-from improvisation (as usual, the story per se here doesn’t seem to follow any set “script” as you or I understand the term and appears mostly to consist of the actors getting into character and then ad-libbing from there) of his earlier efforts remains, and the end result is more akin to a series of “found footage” snippets pieced together pretty haphazardly than anything else. The setting may be different this time around, but the basic Korine modus operandi is essentially the same.

In short, if you’ve been following this guy’s career over the course of the pas couple of decades, you’ll only think you’re getting into something different with Spring Breakers, but by the time Ellie Goulding’s “Lights” plays over the end credits, there’s no doubt that this work fits in very comfortably with the rest of his directorial oeuvre. Think Trash Humpers in bikinis, or Gummo with “hotties” rather than genetic rejects, and you won’t be too far off thSo, here’s the deal — four friends (Selena Gomez, Vanessa Hudgens, Ashley Benson and Korine’s wife, Rachel) at a piece of shit college in piece of shit Kentucky are bored out of their minds and want to go down to St. Pete to live it up over Spring Break. There’s just one problem — they don’t have enough money. In order to alleviate that situation, three of them (Gomez’s character — named, appropriately enough, Faith — a devoutly religious young woman most of the time sits it out) decide to pull a heist at a local fast-food chicken stand using those purportedly realistic-looking squirt guns the cops are always telling us fooled ’em whenever they shoot some poor kid who was holding one dead. They get away with it and head down for a week of sun, fun, sex, booze, and drugs — but they don’t get away with that, because they’re busted at a party that gets out of hand. Don’t fret too much, though, friends, as they aren’t forced to cool their heels in jail for very long. A local dope dealer/wannabe-rapper who goes by the handle of Alien (James Franco, doing his best impression of Gary Oldman in True Romance , just substitute hip-hop for reggae) takes a liking to them when he sees them in court and bails ’em out en masse. Does he have ulterior motives? Of course, and watching him use pimp-like “turning out” psychological manipulation on the ladies in order to seduce them into into being hench-women in his pot-selling-and-armed-robbery enterprise (his only other “employees” are two identical twin brothers that Korine taps from the low end of that gene pool he’s always wading in  ) is both creepy and cool at the same time.

That being said, Alien’s not a one-dimensional character (even though most of the girls, frankly, are) and he does seem to develop a genuine emotional bond with his new recruits. Faith doesn’t fall for his shtick and hops a bus home, but the rest are in. And that, of course, is where the troubles really begin.

Korine follows a pretty delicate balancing act the rest of the way — he eschews standard “don’t aim higher than your station in life or it’ll end in tears” morality-play-style sermonizing even though the material could be played that way pretty easily, while simultaneously upping the ante on the over-the-top-ness of it all in a manner so sly that you almost don’t even notice that it’s happening. The ladies get Alien to fellate a gun silencer and it feels perfectly natural, fer cryin’ out loud! But what the hell, they all appeared before the judge in nothing but their bikinis a few short scenes ago, so anything goes here, right?


The final shoot-’em-up at the end, at which point another of the former-foursome has made her way northward after taking a bullet in the arm, does in fact strain credulity a bit, but by then the ethos of the film —in short, presenting the blatantly absurd in the most free-form, unforced manner possible — is so firmly established that, even if you don’t exactly buy it, you don’t mind it. The flick’s firing on all its admittedly warped cylinders, and your choices are either go with the flow or pull your hair out. Since I don’t have all that much hair left, the decision is  a pretty simple one.


I suppose, at the end of the day, there will be those who go into this thing for no other reason than to see three-and four-way sex or former “Disney Girls” gone bad. If that’s your thing, fair enough — but I have to warn you, if that’s what put your butt in the seat, you’re destined to head for the exits scratching your head, even though the film delivers everything you want to see in even more ample proportion than you’d probably been expecting. The rest of us? We’ll have thoroughly enjoyed a movie that’s never as stupid as it pretends to be.

Trailer: The Wolverine

To be honest, I don’t really know much about the X-Men or Wolverine.  (I enjoyed X-Men: First Class but that was mostly because of the presence of Michael Fassbender.)

However, I do know that a lot of people (especially my boyfriend) are really excited about this new trailer for The Wolverine.

All I know is that I hope Hugh Jackman sings at some point.