Lisa Marie’s Week In Television: 12/28/25 — 1/3/26

Posted on January 3, 2026 by Lisa Marie Bowman

Bar Rescue (Fave TV, weeknights and weekends)

I watched two episodes on Friday night. One took place at a champagne bar in Philadelphia. The other was at a Detroit jazz club. I’m never surprised to learn that most of these places ended up closing, even after Jon Taffer’s makeover. Would you want to eat or drink at a place that was featured as being incredibly dirty and vermin-infested on television?

On Saturday, I watched an episode in which Jon Taffer helped out a surly sports bar owner. Why are the owners of sports bars always so surly? I then watched another episode featuring a bar that was home to a wild racoon. After that episode, I then discovered that Fave TV was doing a Bar Rescue marathon and I ended up watching several episodes that followed. As I watched, I was reminded that I would be both a terrible bartender and a terrible waitress. It’s a good thing that I decided to spend my life watching movies instead.

Dallas Cowboy Cheerleaders: Making The Team (Fave TV, weeknights)

After Erin and I finished watching one of the Perry Mason movies on Friday, we watched an episode of this reality show on Fave TV. Everyone was very smiley. I was just happy because it was filmed in Dallas so I could spend the whole show going, “Hey, I was right outside that building earlier today!”

The Danny Thomas Show (MeTV+, Weekend Afternoons)

I watched an episode of this show on Saturday, largely because I was trying out the new remote control for the TV in my home office. Danny Thomas was about to go on tour in Europe so comedian Jack Carter agreed to cover Danny’s nightclub show in the states. Danny got jealous when he saw how much the audience loved Jack. It made me laugh.

Dirty Pair Flash (Night Flight Plus)

On Friday night, I watched an episode of this often baffling anime. The episode was about the pair playing beach volleyball. I’m not sure why. There was a lot of yelling involved.

Murder, She Wrote (Start TV, Weekend Mornings)

I woke up on Saturday and watched two episodes of this old show. The first episode featured Elliott Gould arresting the wrong person and Angela Lansbury setting him straight. The second episode featured Angela Lansbury speaking straight to the camera and telling us about some other detective, who was played by Ken Howard and who solved a murder involving a former football player.

New Year’s Eve Celebrations (Everywhere, Wednesday Night)

At my BFF Evelyn’s New Year’s Eve party, we flipped through and past many different televised celebrations. We stopped to watch Andy Cohen and Anderson Cooper get drunk on CNN. For the most part, though, we didn’t stick with anything for very long. We had celebrating of our own to do!

Rose Bowl Parade (NBC, Thursday Morning)

I watched a bit of the Rose Bowl parade. Watching a parade on television is never as much fun as watching it in person.

Saved By The Bell: The New Class (Prime)

Seriously, this show is perfect for my insomnia. It lulls me to sleep.

The National Society of Film Critics Honors One Battle After Another

Posted on January 3, 2026 by Lisa Marie Bowman

The National Society of Film Critics have announced their picks for the best of 2025. And here they are:

Best Picture
Winner: ONE BATTLE AFTER ANOTHER (57 points)
Runners-up: SINNERS (29 points) & THE SECRET AGENT (27 points)

Best Director
Winner: Paul Thomas Anderson, ONE BATTLE AFTER ANOTHER (54 points)
Runners-up: Jafar Panahi, IT WAS JUST AN ACCIDENT (48 points) & Richard Linklater, BLUE MOON and NOUVELLE VAGUE (39 points)

Best Actress
Winner: Kathleen Chalfant, FAMILIAR TOUCH (45 points)
Runners-up: Rose Byrne, IF I HAD LEGS I’D KICK YOU (39 points) & Renate Reinsve, SENTIMENTAL VALUE (37 points)

Best Actor
Winner: Ethan Hawke, BLUE MOON (57 points)
Runners-up: Wagner Moura, THE SECRET AGENT (43 points) & Michael B. Jordan, SINNERS (36 points)

Best Supporting Actress
Winner: Teyana Taylor, ONE BATTLE AFTER ANOTHER (56 points)
Runners-up: Inga Ibsdotter Lilleaas, SENTIMENTAL VALUE (47 points) & Wunmi Mosaku, SINNERS (41 points)

Best Supporting Actor
Winner: Benicio del Toro, ONE BATTLE AFTER ANOTHER (54 points)
Runners-up: Delroy Lindo, SINNERS (37 points) & Stellan Skarsgård, SENTIMENTAL VALUE (30 points)

Best Screenplay
Winner: Jafar Panahi, IT WAS JUST AN ACCIDENT (53 points)
Runners-up: Robert Kaplow, BLUE MOON (50 points) & Kleber Mendonça Filho, THE SECRET AGENT (40 points)

Best Cinematography
Winner: Autumn Durald Arkapaw, SINNERS (50 points)
Runners-up: Adolpho Veloso, TRAIN DREAMS (36 points) & Michael Bauman, ONE BATTLE AFTER ANOTHER (29 points)

Best Nonfiction Film
Winner: MY UNDESIRABLE FRIENDS: PART I — LAST AIR IN MOSCOW (56 points)
Runners-up: THE PERFECT NEIGHBOR (22 points) & ORWELL: 2+2=5 (18 points)

Best Film Not In The English Language
Winner: THE SECRET AGENT (58 points)
Runners-up: IT WAS JUST AN ACCIDENT (57 points) & SENTIMENTAL VALUE (38 points)

Best Experimental Film: MORNING CIRCLE (Basma al-Sharif)

Film Heritage Award: The late Ken and Flo Jacobs, an irreplaceable, gravitational center of the American avant-garde, with a shared artistic sensibility that helped define experimental cinema.

Film Heritage Award: The Film Desk, for releasing key movies from all over the world, in 35mm prints and on home video, and publishing books that have enriched the public’s knowledge of cinema.

Film Heritage Award: Cinema Tropical, for its tireless efforts to distribute, program and promote Latin American cinema in the U.S.

Special Citation for a Film Awaiting U.S. Distribution: LANDMARKS (Lucrecia Martel)

Song of the Day: Once Upon A Time In America Suite by Ennio Morricone

Posted on January 3, 2026 by Lisa Marie Bowman

Today’s song of the day comes from Ennio Morricone’s score for Sergio Leone’s Once Upon A Time In America, one of the greatest ever composed.

Scenes That I Love: Once Upon A Time In America

Posted on January 3, 2026 by Lisa Marie Bowman

(SPOILERS BELOW)

The final moments of Sergio Leone’s epic 1984 gangster film, Once Upon A Time in America, are filled with questions and mysteries.

The final moments of Sergio Leone’s epic 1984 gangster film, Once Upon A Time in America, are filed with questions and mysteries.

In 1968, who did Noodles (played by Robert De Niro) see standing outside of Max’s mansion? When the garbage truck pulled up, did the mysterious man get in the truck or was he thrown in by some unseen force?

Why, in 1968, did Noodles see a car from the 1920s, one that was full of people who appeared to be celebrating the end of prohibition? Was the car really there, in 1968, or was it an element of Noodles’s past as a gangster suddenly popping into his mind?

Once Upon A Time In America (1984, dir by Sergio Leone, DP: Tonino Delli Colli)

When we then see a young Noodles in an opium den, are we flashing back to the 1920s? Is Noodles remembering the past or is it possible that we’ve been in the 20s the whole time and all of the scenes set in 1968 were actually only a drug-induced dream?

Why, with men looking to kill him and all of his friends apparently dead, does Noodles suddenly smile at the end of the film? Is that sudden smile a result of the drugs or is there something else going on?

Once Upon A Time In America was Sergio Leone’s final film. It’s one that he spent decades trying to get made and, once it was finally produced, it was butchered and re-edited by a studio hacks who demanded that the film tell its story in a linear style. Leone was reportedly heart-broken by how his film was treated. Some have speculated that his disappointment may have even contributed to the heart attack that eventually killed him. It was only after Leone passed that his version of Once Upon A Time In America became widely available in the U.S. This enigmatic epic continues to spark debate. One thing that can’t be denied is that it’s a brilliant film.

As today is Leone’s birthday, it only seems appropriate to share a pair of scenes that I love, from the ending of Once Upon A Time In America.

4 Shots From 4 Films: Special Sergio Leone Edition

Posted on January 3, 2026 by Lisa Marie Bowman

Sergio Leone (1929 — 1989)

4 Or More Shots From 4 Or More 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!

97 years ago today, Sergio Leone was born in Rome, Italy. The son of actor/screenwriter Vincenzo Leone and silent actress Edvige Valcarenghi, Sergio was born into the Italian film industry. He began his career in the post-war rebuilding period, working as an assistant to Vittorio De Sica and, as an assistant director, for American films that were shot in Italy. (Albeit uncredited, he worked on two Oscar-nominated Biblical epics, Quo Vadis and Ben-Hur.)

After making his directorial debut with The Colossus of Rhodes, Leone went on to direct the films that would change the face of international cinema. Though he was hardly the first director of Spaghetti westerns, he was was the first to achieve far-reaching acclaim. With the Dollars Trilogy, he made Clint Eastwood a star and Eastwood has often said that the majority of what he knows about directing, he learned from working with Leone and later Don Siegel. Leone went on to direct the brilliant Once Upon A Time In The West and Once Upon A Time in America, two epic visions of American history that, sadly, were not initially treated well by their distributors.

Though Leone is only credited with directing eight films, his influence cannot be underestimated. As both a visual artist and a cultural and political commentator, his films continue to influence directors to this day.

For that reason, it’s time for….

4 Shots From 4 Sergio Leone Films

The Good, The Bad, and the Ugly (1966, dir by Sergio Leone, DP: Tonino Delli Colli)

Once Upon A Time In The West (1968, dir by Sergio Leone, DP: Tonino Delli Colli)

Duck, You Sucker (1971, dir by Sergio Leone, DP: Giuseppe Ruzzolini)

Once Upon A Time In America (1984, dir by Sergio Leone, DP: Tonino Delli Colli)

Live Tweet Alert: Join #ScarySocial for Re-Animator!

Posted on January 3, 2026 by Lisa Marie Bowman

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.

Tonight, at 9 pm et, Deanna Dawn will be hosting #ScarySocial! The movie? 1985’s Re-Animator!

If you want to join us this Saturday, just hop onto twitter, start the movie at 9 pm et, and use the #ScarySocial hashtag! It’s a friendly group and welcoming of newcomers so don’t be shy.

The film is available on Prime and Tubi!

Music Video Of The Day: What’s Good (The Thesis) by Lou Reed (1992, dir by Tarsem Singh)

Posted on January 3, 2026 by Lisa Marie Bowman

This song originally appeared in the 1991 Wim Wenders film, Until The End of the World.

Tarsem Singh also directed The Cell, that film in which Jennifer Lopez goes into the mind of a serial killer. That’s a film that I’ve been meaning to review for a while, even though I don’t remember caring much for it the last time that I watched it.

Enjoy!

Silent Film Review: Tarzan of the Apes (dir by Scott Sidney)

Posted on January 2, 2026 by Lisa Marie Bowman

Elmo Lincoln.

That name may not sound all the imposing but Elmo Lincoln played a very important role in the early days of Hollywood. He was the first actor to play the adult version of Tarzan, the Lord of the Jungle. Originally from Indiana, Elmo Lincoln was a 29 year-old former sailor and boxer when he was selected to replace Stellan Windrow as the star of 1918’s Tarzan of the Apes. (A stunt man, Windrow had already filmed the majority of Tarzan’s stunts before he was drafted to serve in World War I.) Lincoln, who had already appeared in a few of D.W. Griffith’s films, would briefly find stardom as a result of playing Tarzan.

Of course, it takes a while for Lincoln to appear in Tarzan of the Apes. The film was reportedly two hours long when it was initially released but today, it only exists in a 61-minute version. (Because each municipality had its own board of censors, the version of Tarzan of the Apes that played in one city could be quite different from the version that played in another. Unfortunately, with that many censors snipping scenes from city to city, a lot of footage that was cut from the film was undoubtedly lost forever.) The first half of the film deals with the birth of Tarzan while the second half features Tarzan as an adult. Technically, the first actor to play Tarzan was the uncredited baby who appears shortly after Lord Greystoke (True Boardman) and his wife (Kathleen Kirkham) are abandoned by mutineers in Africa. After the baby is given to the Apes, child actor Gordon Griffith takes over the role. Finally, once an expedition is sent to investigate whether or not the stories about Tarzan are true, Elmo Lincoln takes over the role and saves Jane (Enid Markey) after she’s kidnapped by a group of natives. The film ends with Tarzan and Jane just starting to fall in love. (A sequel, The Romance of Tarzan, was released that same year but it’s a lost film.)

In the role of Tarzan, Elmo Lincoln is …. well, he’s okay. He’s not a great actor but he’s a good Tarzan. He’s obviously strong and athletic and he looks convincing when he’s hiding in the trees. Lincoln was not a particularly expressive actor and that natural stiffness is noticeable whenever he’s called upon to demonstrate anything other than grim determination. He has a strong physical presence and, in 1918, that was probably enough to make him a star. When he gazes at Jane and the title cards tells us that he’s saying, “Tarzan is a man and man does not force the love of a woman,” the viewer believes it. If I was lost in the jungle, I’d probably want Elmo Lincoln to help me out. We wouldn’t have much to talk about but I would have faith in his ability to take care of any problems that we ran into on the way back to civilization.

That said, the film is at its best when it depicts Tarzan’s childhood. There’s a sense of fun and wonder to those scenes that is missing from the second half of the film. Gordon Griffith did a good job as the young Tarzan. Louisiana is a surprisingly effective stand-in for the jungles of Africa. By today’s standards, Tarzan of the Apes can seem a bit creaky. (The camera barely moves at all.) But watching it, one can still understand why Hollywood fell in love with the idea of a man raised by apes. One can even understand why, for a brief period of time, Elmo Lincoln became a star.

Shattered Politics: The Alternate (dir by Sam Firstenberg)

Posted on January 2, 2026 by Lisa Marie Bowman

Why is 2000’s The Alternate one of the greatest action films ever made?

Consider this: President John Fallbrook (John Beck) is scheduled to give a speech at a World Hunger Symposium, where he will be announcing legislation that will make it illegal for people not to have food. (I’m not sure how that would work but whatever. It’s a movie.) Eric Roberts is The Alternate, a former intelligence agent who has just been recruited to serve as a member of a team that is being used by Agent William (Ice-T) to test the President’s security. (Ronn Moss, of Hard Ticket to Hawaii and Bold and the Beautiful fame, plays the fake President.) The Leader (Bryan Genesse) tells the Alternate that the CIA actually wants to abduct the President for real in order to help boost the President’s reelection campaign. The Alternate agrees to help but then it turns out that the Leader is actually just in it for the money and he’s planning on holding the President hostage until he gets paid. While Agent Briggs (Michael Madsen) watches from the outside, The Alternate makes his way through a nearly deserted hotel and attempts to defeat the bad guys.

It’s Die Hard …. with Eric Roberts!

The plot is so convoluted that it borders on self-parody but director Sam Firstenberg keeps the action moving quickly and, to its credit, this is a film that fully understands how to embrace the melodrama. When the Leader tries to take out The Alternate, he doesn’t just pursue him with a gun. Instead, he picks up a flame thrower! When The Alternate gets into a gunfight at the hotel’s pool, he doesn’t just duck behind pillars and fire his gun. Instead, he grabs a banner and swings back and forth over the water, all the while shooting his gun. When the President says that he doesn’t like heights, it isn’t just a case of him getting nervous about being on the roof of the hotel. Instead, he’s so paralyzed that he literally has to be picked up and carried from one location to the next. When The Leader calls the police and gives them his list of demands, he doesn’t just make the usual threats. Instead, he speaks in what sounds like a French accent and claims to be a infamous (and possibly fictional) terrorist. When it’s time to kidnap the President, the kidnappers don’t just use guns. Instead, they also use blow-darts to paralyze the Secret Service agents. Everything about the film is gloriously and wonderfully over the top.

(I’ve always felt that, when it comes to low-budget action films, the best ones are the ones that are willing to just be as ridiculous as possible. Bring out the flame thrower. Fly the Money Plane. Cast Joe Don Baker as your lead. Just jump off that cliff and see what happens.)

The Alternate is definitely a film that deserves to be better-known. (It was also released under the title The Replacement.) In the realm of Die Hard rip-offs, it’s in a class by itself, a totally enjoyable thrill ride that manages to get more and more excessive with each passing minute. Bryan Genesse, who also wrote the script, gets to show off some stylish martial arts moves. John Beck is the wimpiest President ever. Michael Madsen never takes off his dark glasses. And, best of all, Eric Roberts gets to be the star!

The Alternate? Why, it’s just one of the best action movies ever!

Previous Eric Roberts Films That We Have Reviewed:

Guilty Pleasure No. 97: Roller Boogie (dir by Mark L. Lester)

Posted on January 2, 2026 by Lisa Marie Bowman

1979’s Roller Boogie opens with an impromptu parade of roller skaters rolling across the Venice Beach boardwalk. They don’t care about any stuffy people who think that they should be in school or working behind a counter. They’re young, they’re free! One of them wears rainbow suspenders and juggles while skating. (I’ve noticed that every roller skating movie seems to feature at least one juggler in rainbow suspenders. Strangely, you never see them in real life.)

This is followed by a scene of a teenage rich girl Terry Barkley (Linda Blair) getting ready for her day in her poster decorated bedroom. The camera zooms in for a close-up as she picks just the right chunky bracelet to wear.

In other words, it doesn’t get much more late 70s/early 80s than Roller Boogie.

The plot is pretty simple. Terry meets the king of the roller skaters, Bobby James (Jim Bray). Bobby is a kid from a working class background and he dreams of the day that his roller skating skills will lead to him competing in the Olympics. Terry is rich and she has a snooty best friend (Kimberly Beck) and parents (Beverly Garland and Roger Perry) who are planning on sending her to Julliard. Despite everyone saying that they’re from different worlds, Terry and Bobby enter the roller disco contest together! Cue the montage!

Unfortunately, a crooked businessman (Mark Goddard) is planning on bulldozing the skating rink. Can Bobby and the other skaters defeat the businessman and his gangster pals? Even when guns are pulled on them, Bobby and his friends refuse to give up. Myself, I’d just find another skating rink. I mean, it’s Venice Beach in 1979. It’s hard to believe that there’s only one place to go.

The gangster subplot feels out of place, a misguided attempt to bring some action to a perfectly acceptable teen romance. This was Jim Bray’s only film role and he wasn’t a particularly good actor but he and Linda Blair had enough natural chemistry to bring some charm to the film. Linda Blair, for her part, skates as if the fate of the world depended upon it and she seems to enjoy playing a relatively happy character for once. It’s totally predictable, a bit dumb at times but it’s still likable enough. Ultimately, it’s such a product of its time — look at the clothes, look at the hair, listen to the slang — that it becomes rather fascinating to watch. This is a movie that you watch and say, “So, that’s what 1979 was like!”