TV Review: The Walking Dead 7.15 “Something They Need” (dir by Michael Slovis)

Posted on March 26, 2017 by Lisa Marie Bowman

Hi there! Before I get around to saying what little I have to say about tonight’s episode of The Walking Dead, I want to share something with you.

Next week is the season finale and, naturally, it’s an extended episode. I have two fears.

I fear that next week’s episode will be 70 minutes of Rick and Dwight sitting in a cell and discussing right and wrong.
I also fear that the episode will end with Rick standing on a hill, looking back at all of his followers, and announcing, “And now — we attack!” This will immediately be followed by the end credits and Talking Dead. See you once Season 8 starts!

If either of those happen, this will be my response:

I have such mixed feelings about the pace of The Walking Dead. On the one hand, I appreciate that it’s a show that literally takes place after the end of the world. Civilization is over and sometimes, that is best represented by stillness. There’s no need for anyone to hurry because there’s really nowhere to go. There are no more jobs. There are no more movies. There are no more clubs. There are no more schools. There’s nothing. The only thing that matters in the world of The Walking Dead is survival and, often times, it’s necessary to move slowly and with caution to survive.

On the other hand, this season has been so slow! It feels as if it has taken Rick longer to organize this attack than it took for Lafayette to sail across the ocean and track down Gen. Washington. Yes, I appreciate why the pace is deliberate but there’s really only so many times that you can watch the same scene play out over and over again.

Tonight was a perfect example. It featured three storylines, all of which were way too dragged out. Tonight was basically 30 minutes worth of story stretched out to a full hour.

In Alexandria, Gregory again showed himself incapable of … well, just about anything. Nobody has any respect for Gregory. Maggie had to save him from a walker. Gregory’s either going to get killed by Negan or he’s going to get bitten by a walker. I think he actually had the potential to be an interesting character (and Xander Berkeley is certainly a good actor) but Gregory is so obviously doomed that it’s hard to really care about him one way or the other.

In Sanctuary, Sasha is somehow not dead. Instead, she’s in that same little cell that Daryl was in. Negan was apparently impressed by her suicidal attack. Why that would impress Negan, I’m not sure. Anyway, Negan killed a savior who was on the verge of raping Sasha. That’s a good thing, though you have to wonder if Negan set the whole thing up just so he’d have an excuse to play the hero. He wants to bring Sasha over to his side. Again, I’m not sure why. Mostly, I assume that Sasha’s alive so that she can be used as a hostage if Rick ever actually gets around to launching this attack that he’s been going on about.

(In many ways, Sasha being alive epitomizes this season’s greatest flaw. She’s not alive because there’s any real logic behind her somehow not being dead. Instead, she’s alive so she can be used as a plot device later on. Keeping Sasha alive comes at the price of whatever consistency had previously been established as far as Negan’s character is concerned.)

And finally, Tara told Rick about Oceanside so Rick and his people went down there and took all their guns. The scenes of Rick bullying the Oceansiders were mixed in with scenes of Negan trying to bring Sasha over to the Saviors. I got the feeling we were supposed to compare the contrasting leadership styles of Rick, Negan, and Gregory. Gregory is inneffectual. Rick will do what needs to be done but only when he doesn’t have any other choice. Negan just talks too much.

At the end of the episode, Rosita returned from Sanctuary. Accompanying her was … DWIGHT! So, Dwight was the man she saw in the shadows. Rick pointed a gun at him and told him to get on his knees. Apparently, next week’s episode will feature Rick talking to Dwight in a cell. I just hope they don’t spend too much time talking.

Anyway, as you can probably tell, this episode was way too slow for me. But, at least Rick does seem to be inching closer to finally launching that attack.

HURRY UP, RICK!

Maggie and Gregory do …. something.

A Movie A Day #78: Future War (1997, directed by Anthony Doublin)

Posted on March 26, 2017 by Jedadiah Leland

“Four days ago, a fire fell from the sky.”

So says Sister Ann (Travis Brooks Stewart), the former prostitute junkie turned nun who narrates Future War. She says it at least three times.

But what was in that fire?

Was it The Runaway (Daniel Bernhardt), the Swiss kickboxer who was kidnapped by intergalactic slave traders shortly after the writing of the King James’s Bible and who, when he finally escapes, somehow finds himself in 20th Century Los Angeles?

Was it the dinosaurs that were sent down to purse him?

Was it the Cyborg Master (played by Maniac Cop himself, Robert Z’Dar)?

Or was the fire from the sky any hope that Future War would feature consistent continuity and narrative logic crashing down to the Earth and burning up in the atmosphere?

Future War is one of the worst films ever made, which is the main reason to watch it.

Watch as The Runaway points up at the sky and proves incapable of speaking until it is convenient for him to do so!

Thrill to countless fights that take place in warehouses that appear to be full of empty boxes!

Listen as multiple plot holes and inconsistencies are explained away by Sister Ann’s voice over!

Gasp at the sight of The Runaway and The Cyborg Master having a showdown in a church, John Woo-style!

Scream as dinosaur puppets are held really close to the camera in an effort to make them look bigger!

Laugh as the late Forrest J Ackerman makes a cameo, reading Famous Monsters of Filmland before getting eaten!

Wonder why The Runaway’s chest is bloody and injured in one shot but not the next!

Future War has it all!

Lisa Cleans Out Her DVR: The Arrival (dir by David Twohy)

Posted on March 26, 2017 by Lisa Marie Bowman

I recorded The Arrival off of Cinemax on March 3rd. Having just watched it, I am 95% sure that it is not the same movie as the Arrival that I saw in theaters last fall.

It’s true that both films deal with the arrival of aliens and feature scenes that take place in space ships. And it’s also true that both films involve scientists trying to figure out what the aliens want. However, The Arrival that I recorded featured far more of Charlie Sheen than I remembered being in the Arrival that I saw in theaters. Amy Adams and Jeremy Renner were nowhere to be seen but Charlie Sheen was all over the freaking place.

And I mean all of Charlie Sheen. The Arrival was made back in 1996 and I guess that Charlie Sheen was still working out back then because, seriously, he is either naked or, at the very least, shirtless for the majority of the movie. What’s funny is that, with a few minor exceptions, there’s rarely a reason for him to be naked. I guess someone just said, “We might as well record Charlie Sheen looking fit and healthy while we still can…”

The Arrival is a relatively serious movie. Oh, it has moments of humor but it’s all Hollywood blockbuster humor. It’s not a comedy by any means. It’s always strange seeing Charlie Sheen in a serious role because … well, he’s Charlie Sheen. Plus, he was never a particularly good dramatic actor. He walks through The Arrival with this grim look frozen on his face and that, combined with his muscular chest, makes him look like a killer robot from the future. You keep waiting for Charlie to say, “I’ll be back.”

Of course, Charlie Sheen isn’t playing a killer robot. He’s playing Zane Zaminsky, an astronomer who works for the government. Or, at least, he did work for the government until he detected an alien signal coming from a nearby star. He’s fired and blackballed by his boss, Phil (Ron Silver). Unable to get work, Zane does what anyone would do. He and Kiki (Tony T. Johnson), the streetwise neighbor kid, set up a DIY astronomy lab in his basement.

At least, that’s what I think he did. I kind of had a hard time following The Arrival‘s plot. It all seemed a little bit overcomplicated, especially when savvy viewers will have already guessed that 1) the aliens are real, 2) Phil is an alien, 3) there’s a big government conspiracy involved, 4) and Zane has stumbled across it.

What are the aliens doing on the planet? To figure that out, Zane’s going to have to go to Mexico and meet with climatologist Illana Green (Lindsay Crouse). However, we already know what the aliens are doing. They’re attempting to destroy the environment so that they can wipe out humanity. We know this because that’s what aliens are always trying to do! They’re always either trying to save the environment or destroy it. My personal theory is that Bill Nye, The Science Guy is actually an alien. It explains a lot.

Anyway, it may sound like I’m criticizing The Arrival but it was actually kind of a fun movie in its dumb way. It’s a serious movie but it’s also kind of a silly movie. Any film that features Charlie Sheen as anyone other than Charlie Sheen is going to be watchable just on a WTF sort of level. Beyond that, Ron Silver makes for a rather convincing alien and director David Twohy keeps the action moving quickly. Several of Twohy’s shots are memorably atmospheric, even if they often do feature a bearded and naked Charlie Sheen.

Is The Arrival as good as Arrival? HELL NO! Arrival is one of the greatest science fiction films ever made. The Arrival is a rather minor sci-fi melodrama but it’s fun nonetheless. Just don’t expect it to make any sense. To quote the bard, John Lennon, “Turn off your mind, relax, and float downstream.”

“Farmer Ned’s Comics Barn” And The Singular Genius Of Gerald Jablonski

Posted on March 26, 2017 by Ryan C. (fourcolorapocalypse)

Trash Film Guru

The name Gerald Jablonski is one that few people know, but everyone should — not that he probably cares either way. Jablonski’s comics career began in 1976 with a single strip in the pages of Bill Griffith and Art Spiegelman’s Arcade #6, and then — nothing. He was literally the perennial “one-hit wonder” until 1990, when he suddenly decided to give the whole “comics career” thing another go, first with a strip in Snarf, then with further material appearing in anthology titles like Tantalizing Stories and Buzzard before Fantagraphics finally gave him a one-off book of his own, Empty Skull Comics, in 1996. And then things got kinda quiet again for the most part.

Fast-forward to 2002 when, thanks to a Xeric Grant (remember those?), he was able to self-publish the first issue of Cryptic Wit, a (very) semi-regular solo title that saw further installments unleashed on…

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Artwork of the Day: Lady Chatterley’s Daughter

Posted on March 26, 2017 by Dazzling Erin

Artist Unknown

Music Video of the Day: Going Down To Liverpool by The Bangles (1984, dir. Tamar Hoffs)

Posted on March 26, 2017 by Valerie Troutman

Today would have been Leonard Nimoy’s birthday. I thought it would be fun to spotlight that other music video he did a little over 25 years prior to the one for Bruno Mars. The big question is why he did it. It’s simple. He was friends with the Hoffs. Susanna’s mom directed the video. It was produced by Matthew Hintlian.

That’s it. It’s a very simple video that is worth watching because you have The Bangles confusing and annoying Leonard Nimoy. I never thought I would be writing that sentence.

Enjoy!

Film Review: Stalker’s Prey (dir by Colin Theys)

Posted on March 25, 2017 by Lisa Marie Bowman

Before I really get into writing about tonight’s Lifetime premier movie, there’s something that I need to point out. The movie that premiered on Lifetime was called Stalker’s Prey. As often happens with Lifetime movies, it actually has more than one title. Lifetime will often change the title of movies, either to make them fit into the one of the Lifetime “franchises,” (like the Perfect films or the … At 17 films) or just to make them sound more lifetime-y. According to the imdb, Stalker’s Prey is also known as Hunter’s Cove. Personally, I think Hunter’s Cove is a better title but Stalker’s Prey does have more of a Lifetime feel to it.

Well, whatever you call the movie, it was a lot of fun.

Stalker’s Prey opens with a real “Oh my God! Just like me!” moment, with teenager Laura (Sharbino Saxon) getting caught staying out too late and making out with her boyfriend, Nick (Luke Slattery). Now, Nick seems to be a nice guy but Laura’s mother, Sandy (Cynthia Gibb), doesn’t like him. Sandy and Laura have a strained relationship. Ever since her parents got divorced, Laura has been rebellious (though her rebellion seems rather mild compared to what some angry teenagers have done in previous Lifetime movies). Sandy feels that Nick is a bad influence on Laura and that Laura is a bad influence on her younger sister, Chloe (Alexis Lariviere).

(While I did relate to Laura, I was also fortunate enough to be the youngest, so I never had to worry about being a bad influence on anyone.)

Sandy forbids Laura from going out so, the next morning, Laura sneaks out. She and Nick sail out to an isolated spot. They relax on the water. They go for a swim. They ignore Sandy trying to call them. And then, of course, a shark comes along and eats Nick. If not for Bruce Kane (Mason Dye), it would have eaten Sandy as well.

Bruce is the handsome, charming, and kind of odd son of the Mayor. He just happened to be in the area when he saw Laura being attacked. He saved Laura from certain death. Soon, Bruce is a local hero. He appears on the news nearly every night, assuring everyone that he is going to catch the shark and prove himself worthy of his famous last name. Meanwhile, Laura has been totally traumatized, which makes sense. Not only is Nick dead but, thanks to that shark, she’s probably going to have a permanent scar as well.

Remember how I said that Bruce just happened to be in the area? Well, that’s kind of Bruce’s thing. Any time that Laura goes anywhere, Bruce just happens to be right there. He drops by her hospital room. He drops by her house. When Laura goes shopping, Bruce shows up in the parking lot. When Laura stops by the police station, Bruce happens to be walking by. When she goes back to school, Bruce just happens to be her new substitute teacher. When she comes home, Bruce is babysitting Chloe. When she goes to the beach, Bruce shows up with flowers.

Bruce considers Laura to be his girlfriend, despite the fact that she only gave him one pity date and only slept with him because he took advantage of her emotionally fragile state. Laura wants nothing to do with Bruce but Bruce will not accept that. Bruce has issues. Bruce also has a mannequin on his boat but you’ll have to watch the movie to see what that’s all about.

Meanwhile, it appears that the most dangerous thing that you can do in Hunter’s Cove is be a friend of Laura’s. Not only does Nick get eaten by a shark but her friend Parker (Camrus Johnson) gets beaten up by a baseball-wielding assailant. Another friend get run over by a car while out jogging.

And, of course, that shark is still swimming around the ocean, like it owns the place…

It makes sense that, after taking over the SyFy network, the sharks would eventually move over to Lifetime. That said, Stalker’s Prey is an enjoyable melodrama, one that is quite likable in its cheerfully willingness to go over the top to get a reaction. Mason Dye is memorably creepy as Bruce, who I assume was named after the mechanical shark from Jaws. What I liked best about the film was the relationship between Laura and her mother. The mother-daughter interactions between Cynthia Gibb and Saxon Sharbino felt very real and their relationship reminded me of my relationship with my own mom. It definitely gave the film an extra layer of effectiveness.

Whether you call it Stalker’s Prey or Hunter’s Cove, it was a lot of fun and very entertaining.

The Land Down Under: THE SUNDOWNERS (Warner Brothers 1960)

Posted on March 25, 2017 by gary loggins

cracked rear viewer

G’day, mates! Let’s take a trek through the wilds of 1920’s Australian outback with , Robert Mitchum Deborah Kerr, and a herd of bouncing sheep in THE SUNDOWNERS. Fred Zinnemann, generally associated with serious, tense dramas like HIGH NOON and FROM HERE TO ETERNITY, lends a lighter touch than usual to this sprawling, almost John Ford-esque tale of an itinerant sheep drover and his family, and the wife who longs to settle into a home of her own.

Mitchum plays Paddy Carmody, a stubborn Irishman who has to keep moving, unable and unwilling to be tied to one place. He’s a wanderer with a fondness for booze and gambling, and Big Bob is perfect for the part. Mitchum’s penchant for dialects make his Aussie accent more than believable, and his facial expressions, especially during the sheep-shearing contest, are priceless. Deborah Kerr is his equal as wife Ida, the tough Earth Mother who’s loyal to Paddy…

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A Movie A Day #77: On Any Sunday (1971, directed by Bruce Brown)

Posted on March 25, 2017 by Jedadiah Leland

Why pay money to see CHiPs in the theaters when you can watch On Any Sunday, the greatest motorcycle movie of all time, on YouTube for free?

Directed and narrated by Bruce Brown (of Endless Summer fame), On Any Sunday is a documentary about motorcycle racing. Brown profiles several professional racers and takes a look at the different types of racing, everything from desert racing to street racing to ice racing. In On Any Sunday, Brown makes riding a motorcycle look just as exciting as he made surfing look in Endless Summer. Brown’s racing footage is often amazing and left me wondering how he got some of his shots.

Throughout the documentary, Brown emphasizes both the dedication and the humanity of the racers. The racers are seen obsessively working on their motorcycles but Brown also points out that, in order to be successful, the racers have to trust each other. They have to know that, if they crash during the race, the other racers will be alert and quick enough to avoid running them down.

Why, Brown asks, do they do it? Brown says that most of the racers can’t tell you why they race. They just enjoy it. But, with the footage Brown shows us, we can guess why they do it. Through the use of helmet cams, Brown puts us right on the motorcycle, tearing down a track at over 100 mph and allows us to get as close as we can to feeling the thrill of the race without actually being in the race ourselves. Brown also makes good use of slow motion to show the skill necessary to avoid crashing and he shows us enough crashes that we understand the risk that comes with racing. Brown emphasizes that every racer crashes and that the best of them can just brush it off.

On Any Sunday was co-produced by actor and racing enthusiast Steve McQueen. Towards the end of the documentary, McQueen is interviewed about why he races. McQueen, a man of few words, says that he enjoys being on the track with the other racers. They lift him up when he’s feeling down.

On Any Sunday is 46 years old but it will still make you want to get on a motorcycle and ride like a champion.