Tag Archive for TV recaps

The Walking Dead Recap: “A” (Season 4, Episode 16)

First things first: did the writers really think a corny, Western-style one-liner like that was going to satisfy us? Rick Grimes is no Walter White, and Andrew Lincoln and the showrunners are frankly not capable of making something like “They’re screwing with the wrong people” into the stuff of legend. It is no “Tread lightly,” that’s for sure. The finale as a whole was clumsy and unsatisfying. Everyone in the episode was asking “Who am I? Who are you? Who are we?” But the age-old existential dilemma doesn’t power the action; it hinders it. And as they’re all wondering who they are, they don’t stop to think about whether they’re walking straight into a trap.

Walking Dead Rick

Monsters all. Photo credit Gene Page/AMC.

“A” bounces us from past (at the prison) to present (on the road), as the writers are wont to do these days. This episode’s jumps from past to present and back are effective; they reinforce the point that nothing gold can stay. In the opening sequence, we flash back to the halcyon days trapped between the chain link fences of the prison. Hershel’s still alive and Maggie’s smiling as they return from a run. Everyone’s content, pleasantly calm as the prison crew pokes the walkers through the chainlink with crowbars. A jarring cut to the present focuses on Rick’s bloody hands and face; he sits with his back against a truck, staring into the space beyond the camera. The last time we saw him like this, it was after he beat the hell out of Tyreese. He crouches in silence, and the camera lingers long enough on his face for us to wonder where Michonne and Carl could be.

Post-credits, we return to earlier that same day. On the tracks, Carl wonders aloud if they’re going to be able to tell the folks at Terminus who they are, like, really. Rick understands exactly what he’s asking, but he can’t answer that. How do you say who you are when this is who you are? None of them feel like they’re good people, and how could they? Read more

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Director : Jordan Vogt-Roberts.
Producer : Thomas Tull, Jon Jashni, Mary Parent, Alex Garcia.
Release : March 8, 2017
Country : United States of America.
Production Company : Warner Bros., Legendary Entertainment.
Language : English.
Runtime : 118 min.
Genre : Science Fiction, Action, Adventure, Fantasy.

Movie ‘Kong: Skull Island’ was released in March 8, 2017 in genre Science Fiction. Jordan Vogt-Roberts was directed this movie and starring by Tom Hiddleston. This movie tell story about Explore the mysterious and dangerous home of the king of the apes as a team of explorers ventures deep inside the treacherous, primordial island.

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Director : Tom McGrath.
Producer : Ramsey Ann Naito, Denise Nolan Cascino.
Release : March 23, 2017
Country : United States of America.
Production Company : Twentieth Century Fox Film Corporation, DreamWorks Animation.
Language : English.
Runtime : 97 min.
Genre : Animation, Comedy, Family.

Movie ‘The Boss Baby’ was released in March 23, 2017 in genre Animation. Tom McGrath was directed this movie and starring by Alec Baldwin. This movie tell story about A story about how a new baby’s arrival impacts a family, told from the point of view of a delightfully unreliable narrator, a wildly imaginative 7 year old named Tim.

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American Horror Story: Coven Recap: “Protect the Coven” (Season 3, Episode 11)

With only a few storytelling hours left to go before Coven wraps up, the writers are (as in every season, apparently) throwing things at the wall to see what sticks. Wednesday’s episode brought Queenie and Delphine back into the mix (of course); it also supposedly conquered the “Big Bad” while re-introducing a minor villain. It didn’t bother tackling Misty Day – even Myrtle and Fiona, who were pretty convinced Misty is the new Supreme, didn’t bat an eye toward the fact that she disappeared suddenly, and that known scheming trollop Madison Montgomery was the last person to see her. My notes for this episode are all over the place because the showrunners are cruising us through important scenes so quickly your head’ll spin. Further, I’m pretty sure Murphy is playing around in Greek mythology (see below). Join me for this week’s batshittery!

Kathy Bates as Delphine LaLaurie

Delphine? Shady? NEVER. Photo courtesy Michele K. Short/FX.

In the opening scene, we for some reason enter Delphine LaLaurie’s head; her narration provides the main plot thread through the episode. Aside from giving Bates more screen time (I’m in favor, obviously), there seems to be little reason for this. It’s enough to know she’s an evil, torturing racist. We don’t need the back story. Delphine, the product of “two prominent members of Parisian society,” is forced to move to New Orleans, “this shithole,” in 1830, during the halcyon years of ham-hock sleeves and black people as property. When her daughter, well, chickens out on slaughtering a chicken (sorry), a grouchy Delphine discovers she has a taste for blood. After she chops off the rooster’s head, she fingers the arterial spray lovingly, her eyes going distant. Murphy then cuts straight to an injured slave screaming in the attic, blood spurting from his knee. Delphine obviously knocks him over the head and tortures him brutally, muttering that perhaps she’ll like it here after all.

Back in the present day the witches, dressed in their best black, proceed to one of New Orleans’s gorgeous cemetaries to pay their last respects to Nan, “who fell in the tub,” Fiona says nonchalantly. “Amen,” agrees Marie with a shrug. Myrtle and Cordelia murmur about Misty’s mysterious whereabouts, and Madison assures them transparently that they shouldn’t bother. Meanwhile, Misty’s probably trapped in a tomb a few hundred feet away. The cemetary provides a brilliant backdrop to all this murderous jockeying for first place. I mean, let’s recap for all the witches present in this scene: Fiona slashed Madison’s throat, Misty brought Madison back, Madison “killed” Misty; Marie tried to kill them all, and then Marie helped Fiona kill Nan. Delphine murdered Marie’s lover, and Marie cursed and then cut off Delphine’s head and hand. Queenie put Delphine back together (her talents are indeed getting stronger, as there are no scars), and Delphine wants nothing more than to murder black people. Oh right, and Fiona murdered Myrtle (whom Misty reanimated). Am I missing anyone? Basically, shit is cray, and you all are idiots. Read more

American Horror Story: Coven Recap: “The Magical Delights of Stevie Nicks” (Season 3, Episode 10)

Ryan Murphy, that scamp, amped us up for Stevie Nicks’ appearance on American Horror Story: Coven before leaving us hanging over the the holidays. I know your holidays consisted of Cards Against Humanity with Mom and Dad and lively discussion of the Coven’s rising Supreme. (Fact: Mine only contained one of those things, and I’ll let you guess which.)

In Wednesday’s mid-season “premiere,” Murphy delivered on Nicks, prepped us for the finale by “killing off” a few of the coven’s members, and united our warring factions of witches. The episode was one of the most coherent, least insane this season – and on the whole this season has been pretty tame compared to last. Murphy and the writers are zoned in on the goal, and they’re not slowing down for anything. (They are, however, still popping in random new info and plotlines for funsies. It wouldn’t be AHS without that.)

Marie LaVeau

Do not fuck with Marie LaVeau. Photo courtesy Frank Ockenfels/FX.

After Hank gunned down all of the voodoo witches (including Queenie, but I don’t think we’ve seen the last of her), Marie found herself on Fiona’s doorstep. As she sips a cup of tea heavily laced with Fiona’s whiskey, she admits she’s ashamed, but not about her coven’s violent deaths: “I’m over 300 years old…I taught myself long ago not to waste tears for the dead.” No, she’s ashamed she didn’t recognize their common enemy or respond to Fiona’s pleas for a truce. The writers had rollicking fun pitting the witches against one another, but as Marie tells Fiona with thinly veiled contempt, “It’s a relief to have found an equal, even if that person come in the guise of an enemy.” After Marie beds down for the night, the voodoo loa¬†Papa Legba pays her a visit, warning her she must pay her debt. “The bargain was made long ago,” he intones. Marie climbs out of bed, grousing about how it’s been a long day, and pays a visit to a hospital nursery to steal a brown baby. In her wake she leaves an enchanted nurse and two dead officers.

In the bright morning light, Marie explains to Fiona and Cordelia the deal between her and Hank. Fiona rejects not Marie, but her daughter, sneering that she was not only blind, but willfully blind to marry a witch-hunter. Fiona knows about the “ancient order of men” who kill witches, “black or white.” The enemy is always men, always the patriarchy, in this show. It’d be perfect (and hell, let’s be honest, it’s often true – and particularly in the case of historical witchcraft) if the dialogue weren’t quite so transparent. Which begs the question: why couldn’t Fiona see through Hank? Is it, perhaps, because she’s a pretty lousy Supreme?

Lily Rabe as Misty Day with Stevie Nicks as herself.

Witches, all of them witches. Photo courtesy Michele K. Short/FX.

After she lights a cigarette to calm her nerves, Fiona visits Misty, who’s in a pretty new black dress, twirling in a shawl a la her songstress idol. She’s anxious to show Fiona she’s not stupid, she can’t be easily fooled – or killed. Tricksy Fiona tells her that the title of Supreme is “a skeleton key to anything you wish for in the world.” She then introduces Misty to an old friend. “She’s a white witch, and try as I may, I cannot get her to play in the shadows with me.” Of course, Nicks herself appears, looking every bit the older version of Lily Rabe. Misty faints dead away. “You owe me five bucks!” Fiona cries, kissing Stevie on the cheek. “I told you she was gonna do that.” Read more