4 Shots From 4 Horror Films: October 30th


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

4 Shots From 4 Horror Films: October 30th

Night of the Living Dead (1968, dir by George Romero, DP: George Romero)

Season of the Witch (1973, dir by George Romero, DP: George Romero)

Dawn of the Dead (1978, dir by George Romero, DP: Michael Gornick)

Creepshow (1982, dir by George Romero, written by Stephen King, DP: Michael Gornick)

4 Shots From 4 Films: Special Stephen King Edition


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!

Tomorrow will be the birthday of Stephen King.  Normally, we honor folks on their birthday but tomorrow is also Bill Murray’s birthday so we’re going to honor King now.

In others words, it’s time for….

4 Shots from 4 Stephen King Films

Creepshow (1982, dir by George Romero, written by Stephen King, DP: Michael Gornick)

Maximum Overdrive (1986, dir by Stephen King, written by Stephen King, DP: Armando Nannuzzi)

Sleepwalkers (1992, dir by Mick Garris, written by Stephen King, DP: Rodney Charters)

The Stand (1994, dir by Mick Garris, written by Stephen King, DP: Edward J. Pei)

4 Shots From 4 Films: Special Stephen King Edition


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!

Tomorrow will be the birthday of Stephen King.  Normally, we honor folks on their birthday but tomorrow is also Bill Murray’s birthday so we’re going to honor King now.

In others words, it’s time for….

4 Shots from 4 Stephen King Films

Creepshow (1982, dir by George Romero, written by Stephen King, DP: Michael Gornick)

Maximum Overdrive (1986, dir by Stephen King, written by Stephen King, DP: Armando Nannuzzi)

Sleepwalkers (1992, dir by Mick Garris, written by Stephen King, DP: Rodney Charters)

The Stand (1994, dir by Mick Garris, written by Stephen King, DP: Edward J. Pei)

4 Shots From 4 Horror Films: Special George Romero Edition


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

Today’s director is one of the most important names in the history of American horror cinema, George Romero!

4 Shots From 4 George Romero Films

Night of the Living Dead (1968, dir by George Romero, DP: George Romero)

Season of the Witch (1973, dir by George Romero, DP: George Romero)

Dawn of the Dead (1978, dir by George Romero, DP: Michael Gornick)

Creepshow (1982, dir by George Romero, written by Stephen King, DP: Michael Gornick)

6 Trailers For October 31st, 2023


Happy Halloween!  For today’s special edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers, we are paying tribute to the great George Romero!  Here are six trailers, all for films directed by the master of American horror!  How many of them have you watched this October?

  1. Night of The Living Dead (1968)

2. The Crazies (1973)

3. Martin (1977)

4. Creepshow (1982)

5. Monkey Shines (1988)

6. The Dark Half (1993)

4 Shots From 4 Films: Special George Romero Edition


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

Today would have been George Romero’s 83rd birthday.

Now, those of you who have been reading us since the beginning know how important the work of George Romero has been to this site.  A mutual appreciation of Night of the Living Dead is one of the things that first brought many of us together.  It’s a film that we watch ever Halloween and Arleigh’s review of the original remains one of our most popular posts.  If this site had a patron saint, it would probably be George Romero.

And yet, Romero wasn’t just a director of zombie films.  He made many films, dealing with everything from hippie lovers (There’s Always Vanilla) to wannabe vampires (Martin) to government conspiracies (The Crazies) and eccentric bikers (Knightriders).  George Romero was one of the pioneers of independent films and today, on his birthday, we should all take a minute to consider and appreciate the man’s cinematic legacy.  It’s not just horror fans who owe George Romero a debt of gratitude.  It’s lovers of cinema everywhere.

With that in mind, here are….

4 Shots From 4 George Romero Films

Night of the Living Dead (1968, dir by George Romero, DP: George Romero)

Season of the Witch (1973, dir by George Romero, DP: George Romero)

Creepshow (1982, dir by George Romero, DP: Michael Gornick)

The Dark Half (1993, dir by George Romero, DP: Tony Pierce-Roberts)

10 Shots From 10 Horror Films: 1981 — 1983


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!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at 1981, 1982, and 1983!

10 Shots From 10 Horror Films: 1981 — 1983

The Funhouse (1981, dir by Tobe Hooper. DP: Andrew Laszlo)

The Beyond (1981, dir by Lucio Fulci, DP: Sergio Salvati)

The House By The Cemetery (1981, dir by Lucio Fulci, DP: Sergio Salvati)

The Evil Dead (1981, dir by Sam Raimi, DP: Tim Philo)

Creepshow (1982, dir by George Romero, written by Stephen King, DP: Michael Gornick)

Tenebrae (1982, dir by Dario Argento, DP: Luciano Tovoli)

Poltergeist (1982, dir by Tobe Hooper, DP: Matthew F. Leonetti)

The Dead Zone (1983, dir by David Cronenberg, DP: Mark Irwin)

Christine (1983, dir. John Carpenter, DP: Donald M. Morgan)

Halloween III: Season of the Witch (dir by Tommy Lee Wallace, DP: Dean Cundey)

4 Shots From 4 Films: Special Stephen King Edition


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!

Today, the Shattered Lens wishes a happy birthday to Mr. Stephen King!

In others words, it’s time for….

4 Shots from 4 Stephen King Films

Creepshow (1982, dir by George Romero, written by Stephen King, DP: Michael Gornick)

Maximum Overdrive (1986, dir by Stephen King, written by Stephen King, DP: Armando Nannuzzi)

Sleepwalkers (1992, dir by Mick Garris, written by Stephen King, DP: Rodney Charters)

The Stand (1994, dir by Mick Garris, written by Stephen King, DP: Edward J. Pei)

Lisa Marie’s Week In Television: 5/29/22 — 6/4/22


Let’s check out the butcher’s bill for this week:

Allo Allo (Sunday Night, PBS)

Having returned from England, Rene was named the editor of the town newspaper.  He was expected to just publish propaganda.  Michelle was excited to have access to a printing press.  The latest plan to get the Airmen back to Britain is to make a raft out of telephone poles.  We’ll see how that goes.

Barry (Sunday Night, HBO)

Between Fuches somehow surviving getting shot at point blank range, Vanessa Bayer making silly noises as she explained what she thought Sally could bring to a show about Medusa living in SoHo, and that amazingly highway dirt bike chase, this week’s episode of Barry was one of the best overall episodes of the year so far.  Who would have thought Bill Hader would be so good at directing action?

Creepshow (Shudder)

I finished up season 3 of Creepshow this week.  What a wonderfully macabre show!  It’s just as ghoulish as American Horror Story without being so annoying self-impressed.

Full House (Sunday Evening, MeTV)

Much like Rene on Allo Allo, DJ become editor of the school newspaper!  Kimmie Gibbler wanted to report on sports.  It led to a big fight but things worked out in the end.  Meanwhile, Joey tried to direct a commercial with Danny and Rebecca.  It led to a big fight but things worked out in the end.  Did I already say that?  Anyway, it was indeed a very full house.

Maid (Netflix)

At ten episodes, this miniseries was a bit on the long side but it was still a very good show.  Margaret Qualley played an aspiring writer who, having left her abusive husband, finds work as a maid while trying to move forward with her life and her daughter.  Qualley gave a great performance in the lead role and the show dealt with serious issues without ever descending into melodrama.

Norm McDonald: Nothing Special (Netflix)

In his final comedy special, Norm McDonald talked about …. well, he actually spent a lot of time talking about death.  He was undeniably funny, an older comedian who could talk about how the world was changing without coming across as being either mean-spirited or performatively woke.  What was interesting about this special (which was recorded in his home studio, in one take) was watching how McDonald would seemingly just stumble from point to point while still always bringing everything together in the end in a way that revealed the fierce intelligence that hid beneath the “average guy who likes to drink beer” persona.  At first, I thought he was just rambling but then I noticed that he kept returning to his love of the color yellow.

The final 30 minutes of the special were made up of David Letterman, Conan O’Brien, Molly Shannon, Dave Chapelle, Adam Sandler, and David Spade talking about Norm and his special.  The roundtable was mostly interesting just for the obvious the affection that everyone involved had for Norm McDonald.  It was sweet to witness.

Pistol (Hulu)

I really enjoyed Danny Boyle’s six-episode miniseries about The Sex Pistols and, needless to say, I related to Sidney Chandler’s Chryssie Hynde.  I have no doubt that the miniseries offers a bit of a romanticized view of how things went down (that’s kind of Boyle’s thing) but it was well-acted, well-shot, and compulsively watchable.  The first four episode were the strongest.  The final two got a bit bogged down with Sid’s heroin addiction but the same can be probably be said of the band itself.  All in all, though, this was a good and respectful miniseries.  I know that Johnny Rotten is not a huge fan of the show and I can kind of understand why because, as I said earlier, it does tend to romanticize things.  But, as played by Anson Boon, Johnny is always one of the most compelling characters in the show.

Saved By The Bell (Peacock)

I watched the second and final season of Peacock’s Saved By The Bell revival on Friday.  This was actually a really good and clever comedy and it’s kind of a shame that it didn’t last longer.  Mario Lopez and Elizabeth Berkley Lauren were both a lot of fun to watch as they not only parodied their SBTB past but, at the same time, managed to make Jessie and Slater into actual human beings.  It was nicely done.

BEAT VALLEY!

We Own This City (Monday Night, HBO)

The finale of We Own This City aired on Monday.  As I watched the first half of the finale, I came dangerously close to writing the show off as just being an example of how heavy-handed David Simon can be when he doesn’t have an equally strong collaborator to work with.  However, I stuck with it and I’m glad I did.  The final 30 minutes, in which we watched the crooked cops get sentenced to prison while also learning that it all ultimately made no difference as far as Baltimore’s culture of corruption was concerned, were undeniably powerful.  The final flashback, to Jon Bernthal pumping up the cops about doing their job, was sad because it represented the failure of the cops to live up to their oath but it was also frightening because it perfectly captured the “warrior cop” mentality.

I have to give special mention to Jamie Hector, playing an otherwise honest homicide detective who was driven to suicide by the possibility of losing his job because he was on the periphery of corruption.  It took me a few episodes to get used to Hector (best-remembered as psycho drug lord Marlo Stanfield on The Wire) in a sympathetic role but he truly delivered an outstanding performance in the final episode.

Lisa Marie’s Week In Television: 5/22/22 — 5/28/22


We’ve been up in Arkansas for most of this week so I haven’t watched much television.  Interestingly enough, I have watched quite a few films and written quite a few reviews.  I guess there’s probably a lesson to be learned there.

I have to be honest.  As much as I want to get caught up on all of the miniseries and shows that I didn’t get a chance to see over the past few months, it’s difficult to get started.  It doesn’t help that even the miniseries that sound interesting are still way too long.  I saw a show that I was interested in watching on Netflix but then I checked and I discovered that it’s 10 episodes long, each episode is over 60 minutes, and the first episode deals with the main character’s grandparents.  It’s hard for me to justify spending 11 to 12 hours on a show that doesn’t even start with the main storyline.  During the pandemic, streaming services could get away with that sort of thing because there were no other options.  Today, there are other options, assuming you don’t live in one of those crazy lockdown states up north.

Anyway, here are a few thoughts on what I did watch this week:

1883 (Paramount Plus)

This western miniseries serves as a prequel to Yellowstone, a very popular show that I have yet to really watch.  Sam Elliott plays Shea Brennan, an aging and suicidal cowboy who helps to lead a group of German settlers across the frontier.  Along for the ride are the Duttons (played by Tim McGraw and Faith Hill) and their teenage daughter, Elsa (Isabel May).  It’s a long journey, full of tragedy and violence.  Many people die, some from gunshot and some just from accidentally run over by a wagon.  Elsa narrates.  Shea finds something to live for.  The Duttons eventually settle in the land that will serve as the setting of Yellowstone.  

Each episode of 1883 was sponsored by a store that sells tractor supplies and that pretty much tells you who the target audience was for the show.  For all the graphic violence, sex, and precision F-bombs, 1883 is a fairly old-fashioned western.  That said, it was all very well-done and well-acted.  Isabel May was the cast standout while Sam Elliott showed that, regardless of how you may feel about his Power of the Dog opinions, he’s still one of the most authentic western actors around.  1883 was long but, even over 10 episodes, there weren’t any slow spots and even potentially distracting cameos from Billy Bob Thornton and Tom Hanks didn’t take away from the show’s narrative momentum.

On a personal note, I liked 1883‘s portrayal of Fort Worth as being the most lawless town in Texas.

Allo Allo (Sunday Night, PBS)

Having stowed away on the airplane that was meant to pick up the British airmen, Edith and Rene found themselves in the UK!  They also discovered that Captain Geering (last seen 3 seasons ago) was now working for the British.  Edith and Rene received medals for Chuchhill and then, to Rene’s consternation, they were promptly sent back to France.  They arrived just in time to keep Momma and LeClerc from performing their new cabaret number.  

By Allo Allo standards, this episode was actually fairly coherent.

American Idol (Monday Night, ABC)

Though I kind of lost interest in this season after Hollywood week, I did tune in to see Noah Thompson win the season on Monday.  To be honest, Noah seems like he’s destined to be one of the forgotten winners of American Idol but I was still happy to see that he beat the annoyingly quirky Leah Marlene and the annoyingly monikered Huntergirl.

Barry (Sunday Night, HBO)

While this week’s episode didn’t feature anything quite as brilliant as last week’s customer service conversation, it was still a very good episode.  Gene’s dinner with Joe Mantegna was cringe comedy at its best.  Meanwhile, Sally’s show was canceled despite its RT score.  At first, I was a bit worried she would take Barry back but fortunately, Barry ruined the moment and she get kicked him out again.

Better Call Saul (Monday Night, AMC)

Poor Howard!  I’ve seen enough of this show and Breaking Bad to know that Howard was probably going to die at some point but I was still upset to see it happen.  Patrick Fabian was terrific in the role.  Hopefully, the Emmy voters will remember Fabian this year.  If nothing else, he’s come a long way since he played Prof. Lasky on Saved By The Bell: The College Years.

Creepshow (Shudder)

On Friday, I watched the third episode of season 3.  A tech billionaire destroyed the wrong painting.  A prisoner took revenge after his pet spider was killed.  It was all enjoyably macabre.  Those killer spiders were especially creepy!  Agck!

Dynasty (Friday Night, The CW)

All the scheming and the plotting and the melodramatic dialogue continued this week.  To be honest, I was a bit out of it on Friday because I had strained my back earlier in the day so I’ll probably have to rewatch Friday’s episode.  I just know I’m going to miss Dynasty when it’s gone.

Survivor (Wednesday Night, CBS)

Maryanne won.  I was happy that Maryanne won.  I know some people are saying that she only won because she was likable but Maryanne did engineer the Omar blindside so I think she earned her right to claim victory.  That said, I am getting a little bit tired of people riding their immunity idols all the way to the end of the game.  The show needs to put a time limit on those idols.  Anyway, I wrote about the finale for the Reality TV Chat Blog!

We Own This City (Monday Night, HBO)

This week’s episode was a bit heavy-handed but that’s what most of us have to come to expect from David Simon’s recent work.  We Own This City works when it’s dealing with the corrupt cops but it comes to a halt whenever the focus shifts to the DOJ investigators.  Treat Williams’s cameo as a reform-minded police academy instructor was embarrassingly over-written and felt out-of-place.  That said, the good still outweighs the bad when it comes to this show.  It may be uneven but, at its best, it’s still a thought-provoking look at the warrior cop mentality and how systemic corruption can destroy a city.