This BBC mini-series has the unenviable task of winning over audiences very likely familiar with Ang Lee and Emma Thompson’s excellent theatrical adaptation of the Jane Austen novel. And the opening scene might very alarm many a viewer: the rather steamy seduction on display does not, at first blush, seem to fit in to the comedy of manners one is expecting. The post-credit sequence is also rather more gothically melodramatic than one might anticipate (or hope for). Thereafter, however, the series settles into a tone more befitting Austen. The script is by Andrew Davies, easily one of the best scribes British television has to offer. He has graced us with contemporary pieces such as a version of Othello set amidst the members of the London Metropolitan Police and the House of Cards trilogy (an adaptation that is superior to its source material), as well as superb period adaptations (Middlemarch, for example). Here, his acid wit finds kindred spirit in Austen, and the result is very fine indeed.
Think of it as Coach meets Newhart. That’s about the best way I know how to describe this somewhat quirky sitcom from CBS. It was mostly intended as a television project for its star, Burt Reynolds. The character would echo Reynolds’ own life somewhat. His character, Wood Newton, was a running back who had moderate success, just as Reynolds himself had. In the show he retired to his rural hometown of Evening Shade.
It should not have come as such a surprise to me what Stop-Loss really is. It presents itself as this generation’s Deer Hunter, but it’s actually just another mindless film that, once stripped down to its essentials, is intended only to further a blatant political agenda. I keep hearing that the film is intended to honor our troops, but it presents all of them as mentally messed up idiots who are a hair away from committing crime sprees akin to Natural Born Killers.
According to Wikipedia, Bruges is the capital of Belgium and home to the college of Europe. Much of the architecture from the 12th and 13th centuries is in good shape and preserved fairly well. The Church of Our Lady is one of the tallest brick buildings in the world. The Basilica of the Holy Blood purports to be a church that houses some blood from Christ. It also serves as the backdrop for a couple of hitmen who have to find comfort in the town for awhile in the film set in Bruges, called In Bruges.
To be bloody honest, I was never a huge fan of Speed Racer. Actually I spent most half hours watching the cartoon (in college) poking fun at it and wondering how many drinking games could be compiled by just analyzing various components. It was a serious cartoon with some brief comedic relief that did not come off as funny, what was funny was all of the seriousness of driving the Mach 5 and figuring out who this Racer X character was (it was Speed’s Older Brother, sorry if I spoiled it). Anyhow, it’s 2008. Speed Racer has experienced a resurgence including a movie and a new cartoon series. The movie hasn’t done very well but many times the cartoon can be the saving grace. It was supposed to follow a new Speed, with a mysterious past. Ooooo, well as long as no Chim-Chim or Spritle is around, we’ll be okay.
The movies of National Lampoon haven’t always had the best track record. On on the good side, we have Christmas Vacation, Van Wilder or European Vacation (Chevy Chase is gold after all). On the bad side we have movies like Senior Trip, Dorm Daze, or Dorm Daze 2 (Wretchedness has sequels?) But every once in a while, you can take a bad movie and suddenly realize that you are holding something that is worse than any National Lampoon movie to date (I don’t care what anybody says but Loaded Weapon wasn’t half bad). A movie so bad, that even Jonathan Winters or Diedrich Bader could not save it.
If it’s Wednesday, that must mean another batch of SpongeBob cartoons. The lead-off here is the is title episode, a 22-minute piece that recounts the adventures of SpongeBuck SquarePants, our hero’s 19th-Century ancestor. The rest of the episodes are an eclectic bunch, and the thematic consistency is less than that of some other collections (there is a vague adventure link that runs through several of the stories). At any rate, the silliness is just as engaging and bizarre as ever, and there are plenty of quick absurdist sight gags to keep you chuckling.
Some years back, I reviewed Elite’s Millennium Edition of the NOTLD. That was certainly the most definitive edition at that time. So now we have another deluxe edition. How does it stack up? Before we get to that, a few (largely unnecessary) words about the film. There’s a blurb on the box that calls this “the most influential horror film since Psycho,” and there is a great deal of truth to that. As has been pointed out before, the film single-handedly transformed the mythology of the zombie, changing the monster from mindless slave to flesh-eating ghoul. I can’t think of any other instance where a mythology was changed so completely and with such finality.
I don’t remember that much about Diva growing up; it was a film that I heard about as a kid, and a lot of people liked it, but that was the first time I can honestly say I was exposed to the arthouse film, and that it was something that I wanted to find out more about. Through the years, I’ve seen many a foreign or independent film, however the one that started all of it off for me I hadn’t seen, until now.
It’s not that these fantasy-epic films that feature a young child in the starring roles bore me, it goes to the larger notion that Hollywood will remake every child’s fantasy novel into some sort of cinematic product, so a buck or two can be made. For every Harry Potter, there’s a Golden Compass or even Spiderwick Chronicles. The well is rapidly running dry, and you needn’t look much further than The Seeker: The Dark is Rising, a film about a young lonely boy who finds himself in circumstances and an adventure beyond what he might initially suspect. Wait, doesn’t that sound like EVERY children’s movie lately?
When The Ruins opens, it doesn’t look quite so promising. We’ve got two American couples sharing a vacation in Mexico. They’re reaching the end of their stay and are getting a tad bored with the sun and surf. Enter the foreign stranger who happens to have access to a secret archeological dig and invites the foursome along. Immediately I begin to suspect I’ve seen it all before. I figure the guy’s going to lead them to some isolated torture garden where sadistic maniacs will have their way with the tourists.
They say that it isn’t over until the Fat Lady sings. Did you ever wonder what “it” was or who the heck this Fat Lady is they keep talking about? I can’t help you there, but I do know who the Fat Man is. It’s William Conrad, who came back to television in 1987 as J.L. McCabe, better known as “the Fatman”. McCabe was one of those tough as nails district attorneys. He was actually an ex-cop, so had great criminal instincts. McCabe wasn’t above bending the law to put away the bad guy, and he wasn’t considered a very friendly type of fellow. He majored in stubbornness and plain speaking.
William Conrad was no stranger to audiences when Cannon joined the Quinn Martin stable of television dramas. In fact, most folks knew his voice before they got to know his trademark girth. Conrad was the original Matt Dillon when Gunsmoke was a radio drama. When the drama entered the visual medium of television, even Conrad admitted later that the audience, who thought of him as tall and handsome, would have been disappointed. His voice lent authority to any role he played, and on radio his size was never an issue.
I don’t know what it is about Owen Wilson, but whatever film he’s in he seems to be playing himself. The soft-spoken, rather glib personality has taken him places over the years, but you have to ask yourself if he’s ever going to actually take any risks. Drillbit Taylor is no more a stretch for the actor than any of these other roles. What that means for us, the viewers, is that we’re sure to get a solid and quite believable performance. We know that we’ll end up warming to Wilson’s character in spite of the various flaws we are apt to discover along the way. If Wilson does anything well, it’s redemption.
If you read my recent review of Bender’s Big Score, you’ll know I wasn’t exactly thrilled by Futurama’s first dvd movie. But like many things (such as relationships and less than average presidents), you always want to give it a second chance. Bender, Fry, Leela & others are fantastic characters and perhaps with the first film, they just had a bump in the road. We, as viewers know they can do better. They just have to steer clear of disgusting & annoying villains as well as confusing plots. Let’s hope that it holds together for the solid ninety minutes and see what pans out.
Futurama is one of my favorite cartoon shows. When it was cancelled a few years back, I went ahead and collected the four fine dvd season sets and proceeded to watch them whenever I had time. Truth is, if you are a nerd like me, Futurama is much funnier than the Simpsons and deserved much more than seventy two episodes. Somebody listened. The people at Fox decided there was more life to Futurama and ordered up four straight to dvd movies which will be cut up among sixteen episodes for a fifth season. The first one is titled: Bender’s Big Score. Here is hoping that the plot isn’t Bender getting involved with a larger female robot (I think he already did that in a previous episode).
Todd Haynes continues to dazzle and amaze with his body of work. In Velvet Goldmine, he told the story of a fictitious glam-rock band in David Bowie/Ziggy Stardust style. Far From Heaven found him taking the Douglas Sirk films of the ‘50s into a nontraditional turn. In his follow-up film I’m Not There, his first directorial effect in five years, Haynes examines the persona and essence of Bob Dylan without actually really using the name or the words together at all in the film in a film released in 2007, where features like No Country For Old Men and There Will Be Blood earned a slew of awards, I’m Not There was an understated gem, and yet summing it up is a little difficult.
If you’ve followed my reviews, you know that I love Stargate. SG-1 or Atlantis; I can’t get enough of them. When the collection of Stargate Infinity discs arrived at my doorstep, I tore into them like a Wraith into a red shirt. Now the Stargate might be an incredible mystery that delights a legion of fans. What is not much of a mystery is why this children’s cartoon version of the franchise only lasted one year.
I wonder if Johnny Smith could have seen it coming. After 6 short seasons the USA Network series based on Stephen King’s The Dead Zone has finally closed up shop. The series is based very loosely on the early Stephen King novel or the film with Martin Sheen. Johnny still goes into a coma and comes out with psychic abilities. He even meets the infamous Senate candidate destined to destroy the world. The similarities between the original tale and this surprising series end there.
Call it Deliverance meets Texas Chain Saw Massacre by way of Straw Dogs. Really that’s the best way I can describe this incredibly derivative film starring Gary Oldman. It’s Summer in 1978 and two couples are making their way to an isolated vacation house in the woods. The house is the ancestral home for Paul. The four are traveling from England to Spain where Paul impresses the locals with his ability to speak Spanish. More importantly it’s his ability to understand the language as they were insulting the group intending for them to be oblivious to the slights.
Inspectors 81 are back on the tough streets of San Francisco for a second season of gritty police work. Remember, these are the same streets Dirty Harry worked during the same decade. There are some memorable moments in this next half season release of “Streets”. Stone goes undercover as a Catholic priest to trap a serial killer who preys on priests in For The Love Of God. It’s a tough assignment in Before I Die. The pair must stop a terminally ill cop who decides to take justice in his own hands before he goes out.
Hannibal Lechter is running the show, and even if it is his alter-ego Sir Anthony Hopkins who�s at the wheel of this ride, it could just as easily have been Hannibal the Cannibal pulling the strings. Hopkins is a literal one man show. He wrote, directed, composed the score, and starred in this abysmally horrible film. I wouldn�t be surprised if he pitched in on a couple of coats of paint here and there as well. One man ego driven artistic films are often messy, but Slipstream goes far beyond messy.
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Sense & Sensibility (BBC) 
Evening Shade - Season One 
Stop-Loss 
In Bruges 
Speed Racer: The Next Generation - The Beginning 
National Lampoon’s Cattle Call 
I’m Not There 
