Archive for the ‘Geoff Geib’ Category

James Bond and the Literary World

License to Kill is the best James Bond movie.  By far.  And it’s not even close.  It’s not the most fun, to be sure, that’s completely subjective and not all that close either[i], but it brilliantly captures the essence of the literary character to the greatest degree, and that essence, boiled down to its most […]


The Greatest Lines in B-Movie History – THEY LIVE

The line of dialogue almost pales in comparison when brought to light against the backdrop of the absurd fight sequence between Rowdy Roddy Piper and Keith David, as the former tries to force the latter to put on a pair of sunglasses in a last-ditch effort to save the world from evil aliens.  I swear […]


The Greatest Lines in B-Movie History – I COME IN PEACE

Dolph Lundgren is a pretty good actor, a fact hidden in a dozen straight-to-DVD releases where unconvincing models are blown up.  Wait – just to be clear – my intention here was to put the image of model cities or trains exploding in your mind, but if your thoughts went to tall, skinny women with […]


The Greatest Lines in B-Movie History – Mindhunters

It’s not easy to sum up one of the most unintentionally entertaining serial-killer movies of all time, one which contains a spectacularly memorable line of dialogue, but I’ll bravely give it a go.  A group of FBI profilers-in-training are sent to an abandoned island for a training exercise, but upon arrival, things turn deadly, their mode of […]


Final Installment of Can Any Show Survive Jumping the Shark?

One of the many debates that rage amongst those of us who have way too much time on our hands[1] is which Joss Whedon show is the best.  It can’t be Dollhouse, because it clearly isn’t Dollhouse.  It can’t be Firefly, though this is arguably only because the sample size is too small[2].  So it […]


Part Three of Can Any Show Survive Jumping the Shark?

The six-month dating plan.  This phrase should be its own pop-culture phenomenon right alongside jumping the shark, as Aaron Sorkin kicked off the second season of his superb half-hour dramedy about sports that wasn’t really about sports at all with a storyline that thirteen years later still makes me shake my head in wonder.[1]


Part Two of Can Any Show Survive Jumping the Shark?

            Friday Night Lights had two small weaknesses throughout the course of its five-year run.  The first was a tendency to devolve into melodrama and the other was its somewhat understandable yet pathological need to end nearly every episode with an improbable last minute victory for the good guys. 

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