Posted in: Disc Reviews by Archive Authors on February 14th, 2006
Disney's Valiant is a film by the producers of Shrek, but it is certainly not up to the same caliber of filmmaking. Still, it has a certain charm despite its rather obvious humor. Also, the animation is excellent. Children are sure to love this story of a young pigeon named Valiant, who wants to join the Allied Forces in the fight during World War II. He's a cute little guy, but he's too small to reach his lofty aspirations... or so all those close to him say. But when every squad of carrier pigeons is ...iped out by the evil Falcons, Valiant and his friends - a team of incompetent, but lovable birds - set out on a quest for adventure that will change the course of the war.
The film is rather lightweight. But then, it's meant to be. There isn't anything remarkable enough to bestow classic status on Valiant, but it's an enjoyable time-waster for the kids. Some of the bodily function humor goes close to overboard, but the film manages to never overstep its G-rated bounds. While it's all pretty formulaic, the concept and voice work (including Ewan McGregor, John Cleese, Hugh Laurie, and Tim Curry - as the evil Von Talon) raises the bar, though much of the material falls short. Unlike its pint-sized star, Valiant will not be achieving any great heights in the near future, but it will keep your little ones occupied and even inspire a chuckle or two.
Posted in: News and Opinions by Archive Authors on February 14th, 2006
On March 28th, Universal Home Video will release Peter Jackson's King Kong in separate 1-disc Standard and 2-disc Special Editions. Each version will be presented in an anamorphic widescreen transer, along with an English Dolby Digital 5.1 audio track. As extras are announced, we will pass them along.
Posted in: News and Opinions by Archive Authors on February 10th, 2006
Fox Home Entertainment will release the Steve Martin and Bonnie Hunt family comedy Cheaper By The Dozen 2 on March 14th. This disc will be presented in both anamorphic widescreen and full screen transfers, along with an English Dolby Digital 5.1 audio track. Extras will include an Audio Commentary (by Director Adam Shankman), trhee featurettes ("Fox Movie Channel: Casting Session," "Camp Chaos," & "Comedic Trio"), and Trailers.
Posted in: Disc Reviews by Archive Authors on February 8th, 2006
One of the unfortunate responses to the emergence of a successful movie is the appearance of copycat films. When Gladiator won the Academy Award for Best Picture, all these sword and sandal flicks went into production. Now we have epics such as Troy, Kingdom of Heaven and Alexander to show for it. Sometimes, the backlash is even worse when the hit film is a bit of a surprise hit. Such was the case with The Fast and the Furious. Now, I really enjoyed Furious, but I knew on the...front end of my viewing experience that I was not in for a serious filmgoing experience. The point of the movie was hot cars, over-the-top action and plenty cool shots of Vin Diesel and Paul Walker doing stuff in slow motion. My expectations were met, it was a fun popcorn flick, and I went home happy. When The Fast and the Furious 2 came along, it was a much worse film, but just as the trailer suggested, the film was both faster and furious-er.
Then even more copycat flicks began popping up. I was hoping that this trend had hit rock bottom with the release of Torque, but Steve Boyum (whose only notable films up until this point were Meet the Deedles and Slap Shot 2: Breaking the Ice) has somehow managed to find a level somewhere below the lowest common denominator with Supercross. Anyone with half a brain could churn out this plot in moments. A reckless kid and his “play it safe” brother work hard, but only one of them makes it to the big time in supercross racing. Once he gets there, he looses sight of what is really important, and he has to find his way back to his brother, and what they loved about the sport in the first place, thus making their deceased father happy... wherever he is.
Posted in: Disc Reviews by Archive Authors on February 7th, 2006
A sequel to Ingmar Bergman’s 1973 classic Scenes from a Marriage, Saraband reintroduces us to Marianne (Liv Ullman) and Johan (Erland Josephson) after 32 years apart, when Marianne decides it’s time to pay her ex-husband a visit. Upon arrival, she becomes involved in strained family relations between Johan, his son Henrik (Borje Ahlstedt), and Henrik’s daughter Karin (Julia Dufvenius). There are implications that Henrik and daughter share an incestuous relationship, highlighted by a scene where they lie...in bed together, and another where they share an open-mouthed kiss. This tension and madness is complicated by the death of Anna, Karin’s mother and Henrik’s wife, who had been the functioning glue holding them together and preventing the likelihood of a three-way steel cage death match. With her out of the picture, these three are allowed to let their dysfunctional lights shine. Marianne – for whatever reason, perhaps an unknown feeling of obligation to Anna – gets involved in the proceedings, but soon finds out that people will die the way they live, and there is just no getting through to anyone in the long-term – especially in the moments of their lives depicted here. “Too set in their ways,” is understatement with regards to Johan, Henrik, and Karin. And as is often the case when a well-liked loved one dies, Anna’s absence brings out the worst in everyone.
While film is a visual medium, Saraband does not treat it as such. Its problem has nothing to do with incompetence from Bergman’s direction, nor does it involve inadequate performances from the actors. The central issue at hand is the script’s poor use of dialogue. The words are well-written, but their overall function goes against what film is designed to be, and are better suited for the stage than the screen. I would venture a guess there are more words of speech in this film’s two-hour running time than in a novelist’s entire manuscript. Accompanying the wordiness is the urge for exposition. I understand budget restraints may have prevented the film from showing all it wants to show, but that still doesn’t make the extensive expository dialogue interesting. While this film could be a fantastic play, as a movie, it’s a sluggish viewing experience. Still, I do get the feeling from Bergman this is a deep, personal film, which was made for his own benefit rather than the pleasure of any audience. As such, it succeeds in tackling the issues and emotions Bergman feels at this point in his life, as he draws the curtain on a long, glorious career. But that also illuminates what is, perhaps, the film’s greatest weakness – it’s simply too personal to be interesting.
Posted in: Disc Reviews by Archive Authors on February 7th, 2006
I have always held a place in my mind and heart for the warmth of Mickey, even though I usually prefer the antics of Goofy or Donald Duck. Mickey just seems to have that innocent, charming look to him that one would not picture as someone who would get into mischief. This is probably why Disney slowly phased Mickey out of cartoon shorts and relied more on Donald Duck, Goofy and the rest. Funny Factory with Mickey Volume 1 contains 8 Mickey shorts totaling 61 minutes.
The 8 cartoons we are given range...anywhere from the early 1930’s to 1950. Each cartoon is around 7-8 minutes long and each feature Mickey in wacky situations. One pleasant surprise though is the quality of the episodes. One might expect them to be a bit poor considering the age, but Disney, as they always do with new and old releases, touched up the quality keeping the picture looking nice. Onto to the cartoons!
Posted in: Disc Reviews by Archive Authors on February 6th, 2006
Synopsis
At first glance Once Upon a Mattress would appear to be a bit of a Disney cash grab, an often performed musical featuring a couple of aging comediennes, one of which had performed a role in the musical for decades.
Posted in: Disc Reviews by Archive Authors on February 6th, 2006
Synopsis
For awhile, Jim Carrey looked to be taking the career path that Michael Keaton had previously established. Start off with strong, hilarious comedic performances, attempt to get into dramatic roles with some critical success, and fade into the sunset, with the occasional bad script choice. While Carrey hasn’t dipped into the Jack Frost period yet, with The Truman Show and Man on the Moon, Carrey had established the fact that he could pull off carrying a dramatic movie, and do it...fairly well, with consecutive Golden Globe awards to boot. Then, after playing a cop with multiple personalities (Me, Myself and Irene) and the Grinch and The Majestic came along, and it was hammered; no one went to see it. Enter Tom Shadyac, Carrey’s old reliable, and collaborator on Liar Liar and Ace Ventura: Pet Detective. With Bruce Almighty, Carrey goes back to the goofball comedy well that helped to propel him to the $20 million paychecks you hear about now.
Posted in: Disc Reviews by Archive Authors on February 5th, 2006
The concept of the musical biopic is nothing new. We have seen many films come and go, some good and some bad. A majority of these musical biopic films try to tell the rising of a group, whether or not the group is a reality, in a manner that will connect with the audience. Robert Townsend’s The Five Heartbeats is a prime example of a film that connects with its audience by taking this concept of the musical biopic just that one step further than we might expect from a film like this.
The Five Hea...tbeats are a nineteen-sixties Motown type singing group that consists of lead singer Eddie (Michael Wright), songwriter ‘Duck’ Matthews (Robert Townsend), ladies’ man J.T. Matthews (Leon), bassman ‘Dresser’ Williams (Harry J. Lennix), and tenor ‘Choirboy’ Stone (Tico Wells). These guys start out by singing on streets corners. Enter big shot manager (Chuck Patterson). Potter nails them a record deal and gets them to perform everywhere leading to super exposure and stardom. Naturally with stardom, comes the rocky road one travels on. The road consists of internal conflict between the band members and producers, drug addiction, racism, and even a close death. This all occurs before the groups untimely end in the mid nineteen-seventies.
Posted in: Disc Reviews by Archive Authors on February 5th, 2006
Judd Apatow and Paul Feig may have been stung by the criticism and cancellation of their show Freaks and Geeks back in 2000, but that did not deter them from pressing forward with another project. Freaks and Geeks was about a group of kids growing up in high school in the 1980s, while Undeclared is about the first year of college for a group of kids.
Now there are a lot of similiarities between Freaks and Geeks and Undeclared, but I’ll focus on some of the bigger things, b...cause, not really watching Freaks and Geeks back in the day, and doing a IMDB search, some of the cast seems to have carried over to it. Jason Segel played Nick in Freaks and Geeks, and frequently appears as the crazed boyfriend Eric in Undeclared. Seth Rogen played Ken in Freaks and Geeks, and appears as a roommate named Ron here. The series focuses on Steven Karp (Jay Baruchel, Million Dollar Baby), a freshman new to the University of North Eastern California, who meets Ron, Marshall (Timm Sharp, Fun with Dick and Jane), the eccentric Lizzie (Carla Gallo, The 40 Year Old Virgin) and her roommate Rachel (Monica Keena, Entourage), and the handsome Lloyd (Charlie Hunnam, Green Street Hooligans).
