Review: The Walking Dead S5E14 “Spend”


TheWalkingDeadS5E14

“We know what we’re doing. It’s why you wanted us here.” — Maggie Greene

[spoilers within]

Tonight’s episode of The Walking Dead was shaping up to be a sort of throwaway one. The series seems to have several of these each year. They’re episode that seem to just rehash past themes and ideas to help table set the season finale. Some of them have been good stand-alone ones while other have been some of the series’ low points. One couldn’t fault the writers to come up with another one. It’s become an almost ritual for the show to have low points in the series before peaking once again for the last two episodes of the season.

“Spend” wasn’t a throwaway episode and definitely not one of this season’s low points.

Let’s just start things by saying that tonight’s episode was directed by Jennifer Lynch (daughter of filmmaker David Lynch) and her fine touch with the darker aspects of show’s genre roots showed. It was definitely one of the darker episodes of the series to date. Right from the cold opening of the episode as we watch Father Gabriel having a moment of crisis as he steps into the chapel once again we get a feeling that this episode will not be happy one for everyone.

We get three particular storylines throughout the episode which at times made for some jarring scene changes. The main one focused on Glenn taking Tara, Eugene, Noah, Aiden and Nicholas on a supply run to help fix the ASZ’s (Alexandria Safe Zone) power grid of solar panels. One could be forgiven for thinking that the episode was going to be a ho-hum one as we get some major time with Eugene who wasn’t very happy being dragged along on this supply run outside of the ASZ’s walls. He admits more than once and of his own free will that he’s a coward through and through. Yet, by episode’s end we Eugene go through a harrowing crucible to find the courage that allowed him to survive this long. His own intellect and logic were major factors in him always picking the right group to stick with for the best chance of survival, but when he needed to finally step up and be more combat-inclined he passed with flying colors.

This was in contrast to what we’re starting to see with the Alexandrians as a whole. While not all cowardly, the people who have been living within the relatively safe confines of the ASZ’s walls have shown that they’re willing to abandon friends to the zombies if it meant saving their own life. We see this happen several times with tonight’s episode and in a couple of them we see the devastating result of the Alexandrians’ modus operandi.

This doesn’t sit well with Glenn who has grown from being the quiet, scout we met in the first season to a leader who still exhibits a sense of compassion in addition to the brutal, cold logic needed to survive in this zombie apocalypse. He sees the weak core underneath the smiling and civilized facade of the Alexandrians, but he also understand that in order for him, Maggie and the rest of his group to have a life beyond just mere day-to-day survival he needed to make sure that the ASZ and it’s people learned how to do things the right way.

Despite the violent altercation that he and Aiden (Deanna’s son) had just a couple episodes back, the two seem to be working towards a compromise in how things were to be done. But this being The Walking Dead, the prospect of Aiden learning from Glenn or any of the newcomers to the ASZ was cut short as his inexperience with the world outside of the ASZ’s walls led to his gruesome death (a situation brought on by Aiden’s own stupidity as he accidentally shot a grenade). A death that Glenn and Noah tried to prevent but just ran out of time.

The same thing happens just minutes later as we see Glenn, Noah and Nicholas (who left Aiden to die and as he admitted did to others as well in the past) finding themselves trapped in separate sections of a revolving door with zombies in the other side waiting for the inevitable. I’m one could see where this was heading with Nicholas abandoning the Glenn and Noah to save his own skin…again. Noah would end up drawing the short straw in tonight’s episode. A straw that saw him die even more horribly than Aiden and with Glenn just a few feet away witnessing the whole gory tableau.

We see, in a smaller scale, the same situation happen with Abraham as he joins the construction crew tasked with gathering the supplies to help strengthen and expand the walls of the ASZ. Once again it’s due to the inattention of the groups leader, Tobin, that the Alexandrian’s allow a sizable group of zombies to get close to them. It doesn’t help that Tobin himself ends up shooting the hydraulics on the lifter end of a bulldozer that dumps one of his own people in the middle of an encroaching group of zombies. He and the rest of the Alexandrians decide to haul ass and leave their friend behind, but not Abraham who rushes into the fire, so to speak, to try and make sure they don’t leave one behind.

Unlike Nicholas’ brand of cowardice, Tobin and the rest of the Alexandrians see Abraham’s courage and end up following suit. Tobin himself admits to Deanna and Reg Monroe that if it wasn’t for Abraham not doing things the Alexandrian Way (meaning run and hide when things get tough) then Francine (the one who fell off the dozer lifter) would have surely died. Abraham was the right person and leader to run the construction team and Tobin was man enough to admit to it.

It’s a situation that both Deanna and Reg don’t seem to like hearing. Rick and his people have just recently arrived and already seem to be putting themselves in leadership roles. Rick was one Deanna understood with his law enforcement background, but the fact that both Abraham and Glenn seem to exhibit similar leadership qualities that her own people seem to lack could be the sign that the ASZ might just get a change in how things are run and who runs them.

The third storyline continues the adventures of Rick and Carol as they try to navigate, in their own fashion, this fake Eden they’ve found themselves in. Carol finds herself being followed by Jessie’s youngest son Sam. It didn’t matter that Carol herself threatened Sam with kidnapping and death by zombies, he still kept her secret and only tagging along to have more of the cookies Carol made for him. We find, and Carol, find out in no uncertain way from Sam that his dad might very well be an abusive husband and father. This doesn’t sit well with Carol who has some first-hand experience with a family abuser. It doesn’t take much for her to figure this out. Carol doesn’t hesitate in making sure Rick finds out and her recommendation to Rick on how to deal with Pete shouldn’t surprise people who’ve seen Carol’s growth from battered housewife to all-around badass.

The whole Alexandria Safe Zone arc has been met with some trepidation by fans and critics. It’s another static location like Hershel’s farm and the Prison that led to some very wheel-spinning storytelling. It’s a reaction that’s understandable. Having a regular setting and not keeping the group on the move sometimes led to plotlines that stagnated. When on the move the stories being told in the show seem to have a sense of forward momentum. Even some of the weaker on-the-road stories felt like it had a quicker pace to them. This doesn’t seem to be the case with Alexandria.

The group hasn’t been wasting their time to spend wallowing in the existential problems brought about by the zombie apocalypse. They’ve actually done in their own individual way something to find out more about the ASZ and those who run and been kept safe behind it’s walls. Tonight we find out more of what makes the Alexandrians tick and it’s not a pretty sight. Gabriel might be trying to poison Deanna’s mind when it comes to Rick and the others. He wasn’t wrong when he said that Rick and his people were not good people. They have done some unspeakable things to survive. Yet, Maggie also understands some of Deanna’s own agenda for allowing Rick and his people to join the Alexandrians.

Rick, Glenn, Carol, Abraham, Daryl and others know what they’re doing. They’ve survived out in the wild for almost two years now and even after some devastating losses they still manage to persevere. Sure the group seem to be suffering through a collective form of PTSD, but they still know what it takes to survive and they seem able to do so without having to always fall back on their basest nature to do it.

Will this mean that Rick still doesn’t seem to covet his neighbor’s wife (Rick definitely channeling his inner Shane in the Alexandria story-arc)? Will Sasha ever leave her lookout tower ever and not go on a killing spree? Will Carol hold back from doing what’s necessary when it comes to the Alexandrians (meaning will she kill them all to save the others)?

These were questions that weren’t answered in tonight’s episode, but at least we’ve now been given some reasons why it wouldn’t be so bad if Rick and his people just took over the ASZ and ran things their way. There would certainly be less people dying for stupid reasons and everyone wouldn’t have just predetermined jobs the way Deanna likes things done, but all chipping in to protect with everything they’ve got including their own lives.

There’s a war brewing in the future and whether it’s between the Alexandrians and Rick’s people still needs to be determined. The Wolves are still out there and Noah knew it and wanted to make sure the walls never falls the way his own community walls fell while he was away. It’s a shame and a currency spent that he would never get to see his promise come true.

Notes

  • Tonight’s episode of The Walking Dead, “Spend”, was directed by Jennifer Lynch and written by series veteran Matthew Negrete.
  • Jennifer Lynch’s work as director with tonight’s episode was excellent and here’s to hoping she returns for future episodes for seasons to come.
  • Even in the zombie apocalypse there is still dubstep.
  • Carol seems to have gained herself a lost puppy in Jessie’s youngest son Sam.
  • When did Abraham suddenly become the catchphrase guy. He already gave birth to the catchphrases “dolphin smooth” and “Who’s DEANNA?!”. Tonight we get the best yet when he finds himself surrounded by zombies and all he can do is smile and utter “mother dick”.
  • The death scenes for both Aiden Monroe and Noah were reminiscent of a couple deaths in the end of Day of the Dead: Capt. Rhodes and Pvt. Torrez.
  • Some great work by Greg Nicotero (whose bday was tonight) and his KNB EFX make-up crew with the deaths of Aiden and Noah.
  • Talking Dead guests tonight are Josh McDermitt, Tyler James Williams and Steven Yeun (Eugene, Noah and Glenn of The Walking Dead)

Season 5

Song of the Day: Bohemian Rhapsody (by Queen)


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Who hasn’t heard and sung with Queen’s most iconic song ever. I know I can’t think of anyone that I know of.

“Bohemian Rhapsody” has become a staple of many best ever rock lists. It’s a song that’s been paid homage, imitated, parodied and copied by so many artists both music, tv, film and video games. This song has become synonymous with that most epic of all rock shows: arena rock. It’s an amalgamation of rock power ballad that bridges over to rock opera then into straight hard rock before circling back to a gradual softening of a coda.

One would think that all that wouldn’t mesh very well together, but with Freddie Mercury (arguably one of the greatest rock frontman) on vocals (who also wrote the lyrics), Brian May on lead guitar, John Deacon on bass and Roger Taylor on drums the song ends up not just great, but a gamechanger in how hard rock and heavy metal would be seen since it’s release.

Every hard rock and metal band worth their name would attempt to have their very own “Bohemian Rhapsody” to different degrees of success (I’ve always thought that the power metal bands like Blind Guardian have become successors in this endeavor). The song has become so ingrained in the general public’s pop DNA that just hearing a snippet of the song sans lyrics and people probably would know what song it was they just overheard.

Oh, it also has a killer guitar solo by Brian May which occurs after the ballad section and acts as a bridge into the operatic section of the track.

Bohemian Rhapsody

Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see
I’m just a poor boy, I need no sympathy
Because I’m easy come, easy go
A little high, little low
Anyway the wind blows, doesn’t really matter to me, to me

Mama, just killed a man
Put a gun against his head
Pulled my trigger, now he’s dead
Mama, life had just begun
But now I’ve gone and thrown it all away
Mama, ooo
Didn’t mean to make you cry
If I’m not back again this time tomorrow
Carry on, carry on, as if nothing really matters

Too late, my time has come
Sends shivers down my spine
Body’s aching all the time
Goodbye everybody – I’ve got to go
Gotta leave you all behind and face the truth
Mama, ooo – (anyway the wind blows)
I don’t want to die
I sometimes wish I’d never been born at all

(guitar solo)

I see a little silhouetto of a man
Scaramouch, scaramouch will you do the fandango
Thunderbolt and lightning – very very frightening me
Gallileo, Gallileo,
Gallileo, Gallileo,
Gallileo Figaro – magnifico

But I’m just a poor boy and nobody loves me
He’s just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come easy go – will you let me go
Bismillah! No – we will not let you go – let him go
Bismillah! We will not let you go – let him go
Bismillah! We will not let you go – let me go
Will not let you go – let me go (never)
Never let you go – let me go
Never let me go – ooo
No, no, no, no, no, no, no –
Oh mama mia, mama mia, mama mia let me go
Beelzebub has a devil put aside for me
for me
for me

So you think you can stone me and spit in my eye
So you think you can love me and leave me to die
Oh baby – can’t do this to me baby
Just gotta get out – just gotta get right outta here

Ooh yeah, ooh yeah
Nothing really matters
Anyone can see
Nothing really matters – nothing really matters to me

Anyway the wind blows…

Great Guitar Solos Series

Lisa’s Way Too Early Oscar Predictions for March


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Best Picture

Black Mass

Bridge of Spies

Brooklyn

The End of the Tour

Grandma

The Hateful Eight

In The Heart of the Sea

The Revenant

The Walk

Woman in Gold

Best Actor

Bryan Cranston in Trumbo

Leonardo DiCaprio in The Revenant

Michael Fassebender in Steve Jobs

Tom Hanks in Bridge of Spies

Jason Segel in The End of the Tour

Best Actress

Blythe Danner in I’ll See You In My Dreams

Jennifer Lawrence in Joy

Helen Mirren in Woman in Gold

Saoirse Ronan in Brooklyn

Lily Tomlin in Grandma

Best Supporting Actor

Jim Broadbent in Brooklyn

Albert Brooks in Concussion

Paul Dano in Love and Mercy

Tom Hardy in The Revenant

Kurt Russell in The Hateful Eight

Best Supporting Actress

Julia Garner in Grandma

Jennifer Jason Leigh in The Hateful Eight

Kristin Scott Thomas in Suite Francaise

Kristen Stewart in Clouds of Sils Maria

Meryl Steeep in Suffragette

Best Director

John Crowley for Brooklyn

Ron Howard for In The Heart of the Sea

James Ponsoldt for The End of the Tour

Steven Spielberg for Bridge of Spies

Robert Zemeckis for The Walk

Song of the Day: Fade to Black (by Metallica)


FadetoBlack

Metallica.

Love them or hate them there’s really no middle-ground when it comes to one of the Big Four of thrash metal. You either love the band even through their dabbling into hard rock and the Bob Rock-era or you hate them for  the perceived selling out and the Bob Rock-era. You ask any Metallica fan and they would pretty much agree that their third album, Master of Puppets,  was the band at it’s peak. There would be some debate on whether the Black Album was where the band began to alienate some of it’s earliest fans, but that’s not what we’re here for.

We are here for the latest “Song of the Day” and it’s from their second full-length album, Ride the Lightning. The song is the band’s very first power ballad and follows the album’s theme and exploration of death. Where the album’s title took on the concept of death by electric chair the song chosen this time around is about the band’s exploration of the concept of suicide.

Yes, this was the song that the band had gotten into hot water for it’s suicidal lyrics which purportedly led to teens offing themselves after listening to it constantly. What critics of the song failed to realize was just how much teens at the time the song came out saw the song as therapeutic. They related to the song and used it as an outlet for their own alienation and depression.

Just like it’s subject matter it begins with a melancholy melody that gives a glimpse into the singer’s mindset. It’s not the typical fast playing many have associated with thrash, but that arrives soon enough as the song finishes off it’s vocals with a fade out that leads into Kirk Hammett’s 2-minute guitar solo that ultimately fades out as well…

The song that critics of metal gets wrong then and continues to even now is the classic “Fade to Black”.


Fade to Black

Life it seems, will fade away
Drifting further every day
Getting lost within myself
Nothing matters no one else
I have lost the will to live
Simply nothing more to give
There is nothing more for me
Need the end to set me free

Things not what they used to be
Missing one inside of me
Deathly lost, this Can’t be real
Cannot stand this hell I feel
Emptiness is filling me
To the point of agony
Growing darkness taking dawn
I was me, but now he’s gone

No one but me can save myself, but it’s too late
Now, I can’t think, think why I should even try
Yesterday seems as though it never existed
Death Greets me warm, now I will just say goodbye

Bye…

(guitar solo)

Great Guitar Solos Series

Life is a Beach #4: Spring Break (dir by Sean S. Cunningham)


I think I may have made a mistake.  When I started reviewing beach films, I did so because it’s currently spring break for thousands of college students across the country and, right now, they’re all probably having a good time on the beach.  Unfortunately, what I didn’t consider was that watching and reviewing these films would make me start to wish that I was currently there with them.

Don’t get me wrong.  It’s not that I want to go hang out on the beach and party and flirt and get high and live for the moment and … well, no, actually, that’s exactly what I wish I was doing right now.  None of the beach films that I’ve watched so far have been good exactly but they do all get at a larger truth.

We all need some sort of spring break.

That’s certainly the theme of the 1983 comedy, Spring Break.

The heroes of Spring Break

The heroes of Spring Break

Perhaps the most surprising thing about Spring Break is that, unlike Malibu Beach and The Beach Girls, it was not produced by Crown International Pictures.  It certainly feels like a Crown International movie.  The film is a largely plotless collection of scenes, all of which take place over the course of spring break in Ft. Lauderdale.  It starts out as a comedy and then gets strangely dramatic towards the end.  It features a lot of nudity for male viewers but luckily, it has two hot guys for me so it all works out in the end.

Two nerdy students, Nelson (David Knell) and Adam (Perry Lang) go down to Florida for spring break.  Nelson does this despite the fact that he had promised that he would spend spring break working on his politically ambitious stepfather’s campaign.  When Nelson and Adam’s picture ends up in the paper, Nelson’s stepfather (Donald Symington) sends his operatives down to Florida to basically kidnap Nelson and drag him home.  Along the way, the stepfather also somehow gets involved in a plot to take over the motel where Nelson and Adam are staying.

Uhmmm…what?

Yes, it doesn’t make much sense but then again, the plot is never that important in these type of films.  What is important is that the motel is overbooked and, as a result, Nelson and Adam find themselves roommates with two hot guys from New York, Stu (Paul Land) and O.T. (Steve Bassett).

One thing that I did like about this movie is that it didn’t waste any time pretending that Stu and O.T. wouldn’t become best friends with Nelson and Adam.  Instead, the four of them start bonding as soon as they meet and they were all best friends within the first 15 minutes of the film.  Yay for another successful bromance!  But seriously, it is kind of sweet.

And it’s also fortunate because, once Nelson is kidnapped and held prisoner on a boat by his stepfather, who better to rescue him than two guys from Brooklyn?

Yes, it’s all pretty stupid but, as far as teen sex comedies from the early 80s are concerned, this is one of the better of them.  At the very least, Knell and Lang are both likeable and Land and Bassett are both hot and that really is about the best that you can hope from a film like this.  Add to that — and this is a theme that I seem to keep returning to as far as these beach films are concerned — Spring Break is a time capsule.  Though Spring Break was released before I was born, I feel like, having seen it, that I now have some firsthand experience of what it was like to be alive in 1983.

So 80s....

So 80s….

As I mentioned at the start of this review, Spring Break feels like a Crown International Picture but, actually, it was released by Columbia Pictures.  And it was directed by Sean S. Cunningham, who is probably best known for directing the original Friday the 13th!  Harry Manfredini even provided the music for both films.  That said, the fun-loving teenagers of Spring Break come to a much happier end than the ones at Camp Crystal Lake.

Song of the Day: Powerslave (by Iron Maiden)


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It took me awhile to get into Iron Maiden. I listened to them somewhat during the 80’s but it wasn’t until later in life that I truly appreciated the band for what they were and that was one of the great metal bands of all-time. “Powerslave” continues the mini-series in the “Song of the Day” series as another song with a great guitar solo section.

It’s a song steeped in Ancient Egypt imagery and mysticism and one written by band front man Bruce Dickinson. From the fifth and album of the same name, “Powerslave” is over 7 minutes of classic Iron Maiden that spoke not just to its headbanging followers, but to another group that was pushed even farther into the fringes of society when the album first came out: nerds.

Iron Maiden’s songs have always been more about lore, mysticism, history and classic literature than it was about sex and drugs the way 80’s metal (hair and glam metal movement) in the U.S. focused on. These things spoke to the geeks and nerds who spent time on AD&D and reading ancient and military history instead of parties, sports and the high school social scene.

The has two competing guitar solos that come midpoint in the song’s playing time with both Adrian Smith and Dave Murray getting a chance to shine and show-off their guitar skills. And yeah, Bruce Dickinson’s vocals were pretty amazing, as well…

Powerslave

Into the Abyss I’ll fall – the eye of Horus
Into the eyes of the night – watching me go
Green is the cat’s eye that glows – in this Temple
Enter the risen Osiris – risen again

Tell me why I had to be a Powerslave
I don’t wanna die, I’m a God, why can’t I live on?
When the Life Giver dies, all around is laid waste
And in my last hour, I’m a slave to the Power of Death

When I was living this lie – Fear was my game
People would worship and fall – drop to their knees
So bring me the blood and red wine for the one to succeed me,
for he is a man and a God – and He will die too

Tell me why I had to be a Powerslave
I don’t wanna die, I’m a God, why can’t I live on?
When the Life Giver dies, all around is laid waste
And in my last hour, I’m a slave to the Power of Death

(guitar solos)

Now I am cold but a ghost lives in my veins
Silent the terror that reigned – marbled in stone
A shell of a man God preserved – for a thousand ages
But open the gates of my Hell – I will strike from the grave

Tell me why I had to be a Powerslave
I don’t wanna die, I’m a God, why can’t I live on?
When the Life Giver dies, all around is laid waste
And in my last hour, I’m a slave to the Power of Death
Slave to the Power of Death…
Slave to the Power of Death…

Great Guitar Solos Series

Life is a Beach #3: The Beach Girls (dir by Pat Townsend)


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“You louse!  You hussy!”

“What’s a hussy?”

“Who’s loud?”

— Typical dialogue from The Beach Girls (1982)

 As you may have guessed from the combination of the film’s title, the film’s poster, and the film’s dialogue, the 1982 comedy The Beach Girls is yet another production from Crown International Pictures.

And if you had any doubts, The Beach Girls quickly erases them by not only featuring the exact same songs that were heard in both The Pom Pom Girls and Malibu Beach but by also reusing a good deal of beach footage that originally appeared in Malibu Beach.  Remember that dog in Malibu Beach that kept stealing everyone’s bikini top?  Apparently, the folks at Crown International really liked that dog because all of his scenes are awkwardly inserted into The Beach Girls.

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In between all of the Malibu Beach footage, The Beach Girls tells the story of three girls who have a nice beach house for the summer and who proceed to throw a party.  That is literally the plot of the entire film.  Two of the girls — Ginger (Val Kline) and Ducky (Jeana Tomasina) — are up for anything while their best friend, the shy and intellectual Sarah (Debra Blee), desperately needs to relax and have a good time.  Fortunately, there’s a sensitive musician at the party.  His name is Scott and he’s played by James Daughton, who was also in Malibu Beach.  With Scott’s help, Sarah starts to come out of her shell, which largely means that she starts to progressively wear less and less clothes.

Just when it looks like the party might be on the verge of concluding, six garbage bags of weed wash up on the beach.  That comes in handy once all of the uptight authority figures start to show up and demand that the party end.  Fortunately, the super weed inspires everyone to just relax and have fun.  Not even the eventual arrival of the Coast Guard can stop this party…

The Beach Girls

The Beach Girls is pretty much your typical Crown International teen sex comedy.  The main thing that distinguishes it from The Pom Pom Girls and Malibu Beach is that the main characters in The Beach Girls are all female.  And while the three main characters all still required to spend a good deal of the film undressed, this is a rare teen comedy where the guys are just as likely to get naked as the girls and where the girls have as much fun as the guys.  As a result, there’s little of the misogyny that lay underneath the surface of The Pom Pom Girls and, to a lesser extent, Malibu Beach.

Don’t get me wrong.  The Beach Girls, which is currently available Hulu and has also been included in a few Mill Creek box sets, is hardly a great or even a good film.  It’s pretty much a standard sex comedy where both the characters and the jokes are predictably dumb.  But, when taken on its own modest terms, it’s an inoffensive little time capsule.

Plus, the film’s beach house is really nice!  Seriously, that’s one thing that I love about films from the 80s.  Even the low-budget comedies always take place in the nicest houses!

The Beach Girls 2

Song of the Day: Comfortably Numb (by Pink Floyd)


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David Gilmour.

That name seems to come up quite often when the subject of best guitar solos come up. His guitar work on Pink Floyd’s single “Comfortably Numb” might not be the technical wonder of a John Petrucci guitar solo or the blues throwback to the blues greats like Duane Allman, but his two guitar solos in this song has been hailed by many as the greatest guitar solos.

Such a thing has always been subjective. What one might call the best ever might be seen as just good, but not great. The same cannot be said about Gilmour’s guitar solos (the midpoint and the outro solos in the song) on “Comfortably Numb”. There’s soul in this man’s playing. I say playing since shredding would seem such an uncouth term to describe his two solos.

Pink Floyd rightfully earns their place amongst the elite of the elite on the rock gods pantheon, but I wouldn’t be out of line by saying that David Gilmour had such a huge hand in making sure they got and stayed there.

Comfortably Numb

Hello?
Is there anybody in there?
Just nod if you can hear me.
Is there anyone home?
Come on, Come on, Come on, now,
I hear you’re feeling down.
Well, I can ease your pain
Get you on your feet again.
Relax.
I’ll need some information first.
Just the basic facts.
Can you show me where it hurts?

There is no pain you are receding
A distant ship’s smoke on the horizon.
You are only coming through in waves.
Your lips move but I can’t hear what you’re saying.
When I was a child I had a FEVER My hands felt just like two balloons.
Now I’ve got that feeling once again
I can’t explain, you would not understand
This is not how I am.

I have become comfortably numb.
(guitar solo)
I have become comfortably numb.

O.K.
Just a little pin prick.
There’ll be no more aaaaaaaaah!
But you may feel a little sick.
Can you stand up?
I do believe it’s working, good.
That’ll keep you going through the show
Come on it’s time to go.

There is no pain you are receding
A distant ship’s smoke on the horizon.
You are only coming through in waves.
Your lips move but I can’t hear what you’re saying.
When I was a child
I caught a fleeting glimpse
Out of the corner of my eye.
I turned to look but it was gone
I cannot put my finger on it now
The child is grown,
The dream is gone.
but I have become comfortably numb.

(guitar solo)

Great Guitar Solos Series

Daredevil Has No Need For Iron Suits or Magic Hammers


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“I accept your conviction. The lone man who thinks he can make a difference.” — Wilson Fisk

Today we saw the release of the official trailer for Netflix and Marvel Television’s first of five series based on characters from the Marvel Universe. Daredevil will be the first out of the gate and it looks to darken things a bit in the Marvel Cinematic Universe by bringing to the small screen one of it’s street-level heroes.

Daredevil (aka Matt Murdock) will soon be joined by Jessica Jones, Luke Cage and Iron Fist in their own web series on Netflix before teaming up for the Defenders series.

Under the guiding hands of showrunner (and Whedon alum) Stephen S. DeKnight, Daredevil will soon be available for bingewatchers everywhere on April 10, 2015.

Life is a Beach #2: Malibu Beach (dir Robert J. Rosenthal)


MALIBU-BEACH

Yesterday, I started my 2-week miniseries of reviews on beach movies by taking a look at 1963’s Beach Party.  For my next review, I will be jumping forward 15 years and taking a look at 1978’s Malibu Beach.  

Just by comparing the two films, you can tell that a lot changed during those 15 years.  As opposed to the euphemism-spouting surfers of Beach Party, the teenagers that hang out on Malibu Beach know exactly what they want and they’re not ashamed to say it.  What Beach Party could only hint at, Malibu Beach has the freedom to make explicit.  The film’s poster claims that “everything can happen on Malibu Beach” and, in theory, that’s certainly true.

And yet, at the same time, Malibu Beach has more in common with Beach Party than you might think.  Ultimately, they’re both about the same thing: celebrating the idea of being young and having freedom.  Both films are a bit of a chore to try to watch today but are interesting as cultural time capsules.  Beach Party had no plot.  Malibu Beach has no plot.  Beach Party featured some oddly generic music.  Malibu Beach features the same three generic songs being played over and over and over again.  Beach Party features Erich Von Zipper and his motorcycle gang.  Malibu Beach features a muscle-bound bully named Dugan (Steve Oliver).  Beach Party featured a cameo appearance from Vincent Price.  Malibu Beach features a dog that steals bikini tops.  Beach Party was produced by American International Pictures.  Malibu Beach was produced by Crown International Pictures.

That’s right!  Malibu Beach is a Crown International Picture and anyone who loves 70s exploitation knows what that means.  Malibu Beach is a cheaply produced film that was made to exploit then-current trends and bring in a lot of money.  Like a lot of Crown International Films, it’s technically a pretty bad film but it’s so sincere and honest about what it is that it almost feels petty to be too critical of it.

CIP_Logo

Oddly enough, Malibu Beach pretty much feels like a remake of a previous Crown International Picture, The Pom Pom Girlsthe main difference being that, while the visual style of The Pom Pom Girls was almost oppressively ugly, Malibu Beach at least features some pretty beach scenery.

Much like in the Pom Pom Girls, the heroes of Malibu Beach are two high school jocks, one of whom, Bobby (played by James Daughton, who, that same year, also played the evil Greg in National Lampoon’s Animal House), is dark and brooding while the other, Paul (Michael Luther), is skinny and dorky.

Much as in The Pom Pom Girls, one of the heroes has a nemesis for no particular reason.  Seriously, I never could figure out why Bobby and Dugan hated each other but they certainly did.  What’s odd is that, whenever there’s a confrontation between the two of them, Malibu Beach suddenly gets extremely serious.  Bobby and Dugan glare at each other and speak through clenched teeth.  Suddenly, there’s no music on the soundtrack and all we can hear are seagulls above and the tide rolling in and it all feels very ominous.  I sat through Malibu Beach expecting either Dugan and Bobby to be dead at the end of the film, that’s how seriously their conflict is portrayed.

Also, much like The Pom Pom Girls, Bobby and Paul each have girlfriends.  Paul is dating the spacey Sally (Susan Player).  Bobby, meanwhile, is romancing the new lifeguard, Dina (Kim Lankford).  Dina has a big scene where she tells Bobby that she can’t handle being caught in the middle of his increasingly intense rivalry with Dugan.  Again, it’s a deadly serious scene and it’s just so strange to see it there, awkwardly dropped in between scenes of a bumbling cop smoking weed and a dog stealing bikini tops.

Finally, the main similarity between The Pom Pom Girls and Malibu Beach is that the exact same three songs appear in both films!  Obviously, somebody at Crown International, really loved those three songs.

Malibu Beach is one of those films that was obviously made to appeal to hormonal teens at a drive-in but, by today’s standards, it’s rather tame.  It’s currently playing on Hulu and it’s also available in several of those Mill Creek box sets that we all know and love.  Is the film any good?  No.  Do I recommend it?  Not really.  But, much like Beach Party, it is a portal into the past.