The Walking Dead - S6X09 No Way Out

Photo Credit: The Walking Dead / Gene Page

The previous mid-season finale of The Walking Dead left us with Deanna's death and our group's safety hanging in the balance. A hoard of zombies broke through one of the community's shattered walls. We had subtle and not-so-subtle ideas about where the returning episode would tread. I don't think anyone expected for No Way Out to be regarded as one of the best episodes in a longtime, as well as one that is best for the series. An action-packed premiere left us wanting so much more! Beware of spoilers - if you haven't seen this yet!

The X-Files Revival: Home Again Review

Coming off of the heartwarming monster-of-the-week episode Mulder and Scully Meet the Were Monster, the X-Files took a somber turn with its latest episode. Director and writer Glen Moran combined an unknown force known as the Trash Man, and a solid focus towards Scully with her mother and as a mother.

In Home Again, the agents are sent to Philadelphia to investigate a serial killer connected to the homeless. Stuck between the streets and the city laws, dozens of homeless men and women were being shuffled around the city like cattle - until the local officials are mysteriously killed by a mystery assailant who swoops in and out of a garbage truck.

Just as the case gets underway Scully is called back to Washington D.C. where her mother suffered a fatal heart attack. Left stricken at her beside, Scully tries to stay strong as her mother mysteriously calls out for her long-distant son Charlie - whom she hadn't had contact in many years. Trying to focus at the task of hand, Scully struggles with her own regrets as a mother.

For the revival, it's been an explored subject that Scully had to give her and Mulder's son up for adoption in the original series. Now that so much time has passed and they've returned to the X-Files, Scully's plagued with doubts if she made the right call. With her mom lying in a near-coma, she feels like there needs to be said between them. Scully struggles to understand her mother's outreach to her brother, who's been a distant relative to the family.

What I really liked about the fourth episode was the combination of the 'monster-of-the-week' as well as focusing on Scully. While last week's episode was definitely more light and heartwarming, this took a darker turn. The Trash-Man and his link of killings brought back the good ol' days of the XX-Files that took take something normal and twist it into something truly creepy. Tall, scarred and with a bandaged nose, he snuck into the night to twist his assailants into literal trash.

I wouldn't necessarily say this was a strong episode. Was it better than last week's or the first two episodes? I'm not quite sure. The revival itself hasn't really returned to the pace of the original series - which is not something the actors could be expected to repeat. The chemistry and emotional intelligence is still there as they return to their characters, but the episodes themselves feel a little slow-going - not bad, or terrible. But I wonder, if this one revival is the only revival we are going have, has the material been the absolute best? I can't give a definitive yes, yet. That's perhaps is the biggest quandary.

The nastiness of the Trash-Man's crimes were both scary and chilling, but it didn't necessarily mar Scully's side of the plot. Gillian Anderson hasn't had a lot to do with the revival so far since much of the episodes centered on Mulder. In regards with her dealing with her mothers' condition, she gave the sorrow and confusion we were reminded of throughout the original series. The biggest difference now is that she is deeply experiencing the turmoil and void of Williams' adoption. The void of his William's presence and Scully's struggles with her mother is what really created the emotional impact and made the episode memorable.

Fancasting: The Choice By Nicholas Sparks

One of my favorite summer reads used to be Nicholas Sparks' books. I say used to because when he was served with a lawsuit in 2014 claiming racist and homophobic behavior, my hobby was somewhat buzzkilled. It was hard to separate the claims from what he was writing. Not only that, but every adaptation following The Notebook sizzles out into the Blandlands.

A lot of people will say his books are virtually the same and I'd agree: they are all about pretty people who are shot with a love-at-first-sight arrow by a North Carolinian cupid. Two people spend two hours or 300 pages in love with each other and don't face the obstacle challenging their true love until the third act. Despite reading the same thing over and over again, there were adaptations I looked forward to - Safe Haven, Nights in Rodanthe, Dear John. Yet every time, something fell flat - either the direction, the acting, the script, or all three.

When I heard last year that The Choice was going to be Hollywood's next victim, my inner fangirl spazzed. Typically, when an adaptation is made, the casting doesn't bother me. I'm all for whoever is chosen 'cause my imagination rarely matches up to how I picture characters or a setting. As far back as I initially read The Choice, my fancasting was finite. It's the type of casting I just can't accept otherwise. So no disrespect to the actors in the film but the trailer makes me shudder. (The cinematography is all over the map. What is up with the black-helmet wigs? And, why does he get all creepy-stalkerish at 1:16?) No - just no. That is not my idea of The Choice.

Pride and Prejudice and Zombies (2016)

2009 took a turn for the unexpected for the publishing industry: a mash-up of classic literature and supernatural sprang up in every book genre. Author Seth Grahame-Smith mixed Jane Austen's Pride and Prejudice with zombies, which was followed by Abraham Lincoln: Vampire Hunter and Sense and Sensibility and Sea Monsters. When I initially saw the parody novels in bookstores, I didn't know what to think - was it a joke? were classics so uninteresting they had to be remade? Fast forward five years I couldn't wait for this movie, and now I'm jumping on the book as soon as possible.

It is a truth universally acknowledged that Hollywood has done its fair share of Pride and Prejudice adaptations. In its most recent version the Regency era is an alternative world where England is coming under siege by zombies. A class system breaks out between the wealthy who can afford to learn defense skills, and those who cannot, as well as humans and zombies. Out in the open countryside where villages are overrun with the undead, Mr. Bennet ensures his daughters survival with training in the fine art of war against zombies. Meanwhile Mrs. Bennet is up to her usual match-making, ensuring marriage and a safety net for her eldest daughters. Col. Mr. Darcy makes it his  priority to rid the earth of the undead, especially when his heart is captured by Elizabeth Bennet.

When a movie like this has been done so many times before, it's difficult to not compare new versions to the others like the 1995 made-for-television version with Colin Firth or the beloved 2005 version with Keira Knightley. However, Pride and Prejudice and Zombies manages a consistent job of not forcing the newer story and its performances into the past.

Lily James helming an 'Elizabeth for a zombified generation' is a ferocious and exciting new star. Her emergence in the live-action tale of Disney's Cinderella put her on the map as a soft and charming actress with plenty of potential waiting to unfold. As Elizabeth, she completely turns heads with not only her character's sword skills but also stubbornness, passion, and charm. When matched with the Sam Riley as the intense Col. Mr. Darcy, her spirited nature is not confined to a knight-in-shining-armor. One second she's reluctant to speak out, and the next she's striding into action on a white horse. It's nothing of short kick-ass.

Like James who will surely be another favorite to long list of actresses who have portrayed Elizabeth, Sam Riley's Darcy is rugged and dashing. The loving and quiet nature of the most recent Darcy played by Matthew McFayden still lingers, but Riley exudes his rigid exterior more. His Darcy is a militant skilled and focused to slay. Burdened with heavier measures than what his heart desires, he carries a gentle nature with subtlety and mystery. Instead of just being restricted by their pride and prejudice, Bennet and Darcy are turned on by each other's agency to kill. Their chemistry together makes them another lively, memorable reiteration of this timeless couple.

Given more ample liveliness to the classic romance between Darcy and Bennet is other awesome and impressive list of characters: lady boss Lena Heady as Lady Catherine, one of the best trained zombie killers with a crew of ninjas, the charismatic Jack Huston as the dubious yet charismatic Mr. Wickham holding a grudge against Mr. Darcy, the innocent-yet-not-to-be-underestimated Bella Heathcote as Jane Bennet, and handsome Douglas Booth as the shy, clumsy Mr. Bingley. And, there's a special mention for Matt Smith whose transformation as Mr. Collins brings humor and quirkiness as the misplaced and unwanted pastor with his sights marrying one of the Bennets.

Director and writer Burr Steers handles what Austen fans love of her famous work and brings a modern twist. Though it might feel strange at first that these two genres have been paired together, Steers doesn't go for the campy route or a straight-up parody; he gives all of the characters agency to their own destinies, and to defend themselves and their loved ones. The action and zombie kills moves seamlessly in the middle of the romance and comedy. As the Bennets and Mr. Darcy manage the threat of zombies at every turn, we're put right into the middle of their relationship and the action. It feels like we're right on the battleground with them; we're allowed to watch some kick-assery unfold as well as a timely courtship. Pride and Prejudice and Zombies is a great mix of Austen's story with an extra splash of blood and guts.

The X-Files Revival: S10X03 Mulder and Scully

We've hit the halfway mark with the X-Files revival! It's so hard to believe that we're nearly two episodes until the season ten finale already. The third episode really lays on the charm and kitsch with a brand new monster-of-the-week episode: Mulder and Scully Meet the Were Monster.

Hold up in his office, Mulder is questioning his middle-agedness. Nearly all of the cases he and Scully investigated, or runs that excited him the most about the possibilities of the world, have been solved - either through technology, a weather phenomenon, or hoaxes. It's safe to assume that the sails have been knocked out for him, and he immediately realizes the childish naivete he had all those years ago.

Until Scully springs a new case on them: it's got monsters in it. Well, a monster to be exact. Out in the middle of a small Oregon town (where everyone nearly seems to high off their rocker), a series of animal attacks on humans brings the agents out to investigate. Mulder begins leaning towards a lizard-man Guy Mann (played by Rhys Darby) as the culprit, while Scully sorta sits back and enjoys this new side of Mulder. A side of Mulder who now uses the internet for all of his google-searching on supernatural phenomena, and a new app he hopes will help him capture phenomena on his phone. What would the Lone Gunmen think about this?

Darin Morgan has written and directed a few fair favorites of the series so far - War of the Coprophages might be my all-time favorite. This story that he brought to Chris Carter for the mini series had been scrambling about in his brain until the original series, and you can totally tell - this episode goes far beyond just a throw-in homage to all of the tiny, minute details fans know about - the two paint-huffing stoners, how Mulder and Scully are supposed to die, Dagoo, and so much more! There's some hidden details even die-hard fans caught that I never believed could be caught. What Morgan brings back is the humor and horror that was so memorable about the monster-of-the-week style.

It's not hard to do when Darby as Mann is so charming. His monologue of being a human sized lizard, becoming a human and facing the confusing trials of what mankind puts itself through - getting dressed, getting a job, keeping a job he hates, worry about retirement and the future, is funny and touching.

As funny as the episode is, it's heartwarming too. Mulder starts out very much in a skeptic Scully sorta way; sulking in the corner of his office and struggling to believe what he wants to believe. And, this case comes along that takes them on a wild goose chase. Scully into the lair of who the serial killer is, and Mulder into understanding who and what Mann is - a human-sized lizard man.

The newer episode are also treading the fine line of handling the advancement of modern technology since the series finale. Staples of the original series was big honkin' computers hardly hooked up to the internet and landlines. If Scully and Mulder went on an adventure together, or separate, they had to be near a payphone or phone in general to stay in contact to the outside world. Now, the world is so much smaller with the internet. While the agents now are not completely obtuse to today's world, their work is not grounded in constantly being hooked to smartphones. Again, another nice touch accomplished between Mulder and Mann.

My only complaint for the mini-series so far is Scully - there just isn't enough of her (well, in this episode we see enough of her in the best ways but there just isn't enough of Gillian). While I would've liked to have seen more of Scully for the mini-series so far, this is another tall-tale of Mulder relinquishing to the truth. It's not necessarily about proving something deep about the truth being out there - you gotta believe it in your heart. He makes a genuine connection to Mann, and we certainly do too. By the ending credits, this episode brings on the feels and has us frolicking with rejuvenated hope. This is the way we like our Mulder and our X-Files.

The Age of Adaline (2013)

The Age of Adaline could've been a great female version of the hastily simplified The Time Traveler's Wife or the magnificent The Curious Case of Benjamin Button.

Something strange happens in Hollywood when a romantic drama dealing with time travel or time itself is in the works. Somewhere between idea and script to the final product, once interesting characters and stories try too hard to be unique from the rest of the pack.

Adaline (Blake Lively) was struck by lightning after a brutal car crash giving her the power not to age. Living carefree through the Prohibition, this new ability is a blessing more than it is a curse. Over the coming decades, she remains twenty-nine forever. Living discreetly from suspicion and on the run, a chance encounter with Ellis (Michiel Huisman) may show her the kind of life she's been missing.

Elements from different films affect each other via choices by the director, production designer, studio, etc. Instead truly using the power of its cast and the story, the making of the film seemed to convinced with trying to it as unique as possible. When looking at the film's inspiration for its production over several years (which included overhauls to the script and changes with directors), I was surprised to learn that Amelie and Network was the film's prime sources.

Amelie is a light and airy adventure, using side stories of the protagonists' neighbors and friends to unfold her own adventure of discovering love. Adaline utilizes flashbacks in much of the same sense showing her in the present and in the past. But instead of putting Adaline at the forefront of her own life, the flashbacks disrupts the flow of her story. And, Network is centered on an angry prophet denouncing the hypocrisies of our time and the political powerful medium of television. Narration is used through to describe the main character and pivotal moments of his arc. This aspect was used for Adaline as well, but often it felt random, popping up in places to explain the 'scientific nature' of her condition rather than just letting it all play out naturally.

There's nothing really wrong with using contrasting parts of films to make something new, but this combination simply doesn't fit. I would feel less disappointed by the film if it had a thinner love story or protagonist to work with. But it doesn't. Adaline has a lot going to juggle. For decades she doesn't let anyone close to her. She's outliving her friends and children. She has a steady job as a librarian, but we're alluded that she consistently moves between cities to avoid being "found out". Little pieces of her history are laid out like breadcrumbs, but it doesn't come into a whole narrative: it's fleeting, even distant and convoluted rather than intimate and layered. If the film was told without the pizzazz of time-jumping and unnecessary narration, it could've add much more continuity.


Blake Lively elegantly creates an intriguing heroine with Adaline. Even though she has the inability to age, she doesn't let anything hinder her experiences, wisdom, or intelligence. The McCarthy witch-hunt stamped her with the fear that if she allows anyone close to her, they'll become suspect of her lack of aging and might see her as a science experiment or freak rather than a real person. Even though she lives her life in fear of being found out, she spends her life the best she can: reading, learning languages, and traveling. Maybe it's just the hermit in me, but I found this to be a dream life (but with the aging). I loved Lively's refreshing ability to be vulnerable, complex, and dignified. Even though Adaline has lived through it all, can read situations and people instantly, she wasn't about anyone up. She's just naturally one step ahead of everyone.

Except Ellis. If there is one person who really challenges Adaline to open up, it's him. He is so unlike all the other men who have tried to be romantically involved with her. Having managed to acquire his millions early in his life, he lives rather free but not in an egotistical or arrogant way. He's quite the charmer and a respectful one at that. He doesn't want to toy around with her heart but open it up. Like Adaline, he is a true old-soul and has a very youthful energy to match her contained lifestyle. Together, from their style and personalities to temperament, they bring a classy mystique to the 21st century, even a timelessness. Their romance has all the potential for being epic, and in some ways it is if not for the film's faults. It's almost electric, like they were struck by lightning for each other.

The Age of Adaline is a beautiful film in many regards. Floating through the decades, the production and costume design mixes modern and vintage seamlessly. Every setting and Adaline's costumes transport you back to another era and makes you forget you're in the 21st Century. Even though the story is set in present time, it feels otherworldly. In contrast to other time-travel films that beckons us to see how time is so fleeting, Adaline challenges us to think about having all the time in the world but no one to spend it with - until the right one comes along. Lively and Huisman's chemistry makes the notion come to life. It's like they were made for each other in this movie.

I really wanted to love this one more. Unfortunately, as great as the cast, production design, and character Adaline was, the movie's too hindered on being stylish. With its pros and cons, the film stands on its own and away from other time-travel related flicks. Give me a few weeks and surely I'll be aching to watch it again. Maybe I'll like it a bit more, but there's also a nagging feeling of being just as frustrated by what could've been. But there's a part of me that wishes I could back and save The Age of Adaline.

The X-Files Revival: My Struggle & Founders Mutation

Mulder and Scully finally return for the highly-anticipated The X-Files revival. Finally we can say adios to the long wait for the tenth season! Below is a recap and my thoughts of the premiere episode as well as the follow-up. Hope you enjoy!

My Struggle, directed and written by show creator Chris Carter, had a lot to catch up on in the fourteen years since the show last aired, and nearly eight years since his second film opened to negative reviews.

In the series' finale Mulder escaped his indictment with the help of Scully and their fellow agents. The duo met with a wise man in the Grand Canyons who had knowledge of the alien's invasion at the end of the Mayan calendar in 2012. What the pairing discovered was the thought-to-be-dead Cancer Man, who was then blown to smithereens. Having survived yet another deadly encounter against their rival, the agents moved forward lying low from the FBI. For the second film I Want To Believe, the charges against Mulder were eventually dropped when he was called in to investigate a serial kidnapping, which left him and Scully's personal relationship strained.

One lingering question from the series' finale we wanted answered was the meaning of Cancer Man's revelation about the Mayan Calendar and the end of the world. Since the real world pushed onwards past 2012, the series made a turn to use that famous apocalyptic date as our own inflicted demise.