Posted in: No Huddle Reviews by Gino Sassani on February 13th, 2014
"You know, the smallest thing can change your life. In the blink of an eye, something happens by chance, when you least expect it, sets you on a course that you never planned into a future you never imagined. Where will it take you? That's the journey of our lives. Our search for the light... "
The same thing can be said for movies. They are a journey that we willingly take. Often they lead us to unexpected places. And if we're very lucky, if the film is very good, there'll be the slightest bit of change in ourselves because of the experience.
Posted in: Disc Reviews by Gino Sassani on February 11th, 2014
There are two very distinctive schools of thought about Walt Disney’s The Jungle Book. There are the Kipling fanatics who have never forgiven Disney for taking a story considered sacred in literary circles and creating something that honestly bears (pardon the pun) little resemblance to the original work. These folks rightfully point out that the story contains almost nothing recognizable about the story and characters from Kipling’s beloved classic. I have often condemned projects that take names like The Night Stalker and Battlestar Galactica and create a vision incompatible with the traditions I associate with them. Therefore this review might seem a bit hypocritical when I tell you I side with the other camp that considers this film to be a milestone, not only in Disney animation, but in animation history itself. The characters might be distantly removed remote ancestors to Kipling’s creatures, but they are truly classic creations in their own right. What better definition of a classic can there be than the influence that The Jungle Book still has 40 years later, not only on our pop culture but on the careers and lives of today’s artists. I venture to say that more people are familiar with Disney’s renderings of these characters than Kipling’s; I agree the caparison isn’t exactly fair, but it is accurate.
So why do I think this isn’t the same as the “reimaginings” I’ve condemned in these very pages? I begin by pointing out that we’re talking about a film that has stood the test of time, perhaps enduring beyond its own roots. The second is the fact that this version is not the same medium as its original. When ABC aired The Night Stalker, it was reinventing its original in the same medium, that of a television series. Disney’s The Jungle Book is an animated film whose audience is nothing like that intended for the stories. This distinction was not lost on Walt Disney himself, who lost a close friend and colleague over his decision to create this vision of The Jungle Book. Long-time “go to” man Bill Peet had originally developed the Kipling story for Disney. He kept quite close to the source material and submitted storyboards that told a decidedly darker story with far more dire consequences and darker characters. The impasse led to his leaving Disney Studios forever. As Peter Jackson discovered, film is a far different presentation than the written word, and what works for one does not often translate verbatim to the other. Ask anyone who’s ever tried to develop a Stephen King novel. Walt Disney was attempting to deliver a children’s film that the whole family could enjoy. He rightly deduced that the compelling tale Kipling intended simply wouldn’t translate into the kind of adventure Disney fans were already expecting by 1966. Instead, Disney ordered his staff to avoid reading Kipling and concentrate on delivering characters that the entire family could enjoy. The result is, simply put, unforgettable.
Posted in: Podcasts by Gino Sassani on February 10th, 2014
If you get invited to a party, you might want to make sure Marissa Skell isn't on the invite list. No, she's a perfectly fine young actress. She's likely to be the life of the party. Unfortunately, when Marissa goes to a party people end up dead. Of course, I'm talking about the star of Sorority Party Massacre and Slumber Party Slaughter. Actually, she's a lot of fun to talk to. I got just that opportunity last week. In anticipation of the new Anchor Bay release of Sorority Party Massacre I had the chance to chat with Marissa. Bang it here to find out what she had to say: Marissa Skell
Posted in: Disc Reviews by Gino Sassani on February 5th, 2014
"Sometimes I like to think that fever of an unexpected origin, that I never came out of the other side. And that the rest of my life, none of it ever happened, especially that part where I got shot 37 times, giving my Bonnie Parker her big ending."
When you're telling the story of Bonnie and Clyde, it's very hard to say anything new. The exploits of the pair were followed closely by the entire nation. Newspaper accounts and silver screen newsreels took advantage of every turn of events in the case. Most of you think that today's wall-to-wall coverage of tragic events is something new and disturbing. Not so; the case of Bonnie and Clyde covered not just the crimes, but the lifestyles. They published Bonnie's rambling poetry and posed photos the pair themselves sent to the papers. Film trailer voices boomed the events with dramatic telling. It was all out there to see.
Posted in: Disc Reviews by Gino Sassani on January 29th, 2014
"My name is Flint Lockwood. My whole life I always wanted to be a great inventor just like my hero. It was like Chester V. was speaking directly to me using the language of science."
In 2009 Sony Pictures had finally learned to use the language of science when it comes to the world of animation. I'm talking the computer-animated feature film. Of course, they've been in the game for a while, but it was with the release of Cloudy With A Chance Of Meatballs that this reviewer believes they delivered on the kinds of things that Pixar and Dreamworks have been delivering for quite some time. Cloudy With A Chance Of Meatballs was a pretty big hit with both adults and kids, a combination absolutely essential to creating box office magic with a computer-generated animation feature. Based on the children's book by Judi and Ron Barrett, the film contained incredible charm. It pulled in a modest $135 million at the box office, but the film had pretty good legs on home video. It was pretty much a foregone conclusion there would be another one. But sequels are rarely as good as the original film, and it's even more rare to find one that is actually better than what came before. Consider Cloudy With A Chance Of Meatballs 2 one of those uncommon events. The original was, as I mentioned, charming. It was pretty good. The sequel is better than good. The franchise has a future that is anything but cloudy.
Posted in: Disc Reviews by Gino Sassani on January 29th, 2014
"This evening I finally met Count Dracula. He is younger than I expected, although his behavior and his demeanor seem to somehow contradict his appearance."
Dracula and vampires in general have taken on many appearances and personalities over the years. He has been portrayed as the suave European gentleman and a vicious gaunt creature best left to the shadows. Lately vampires have taken on the angst and yearnings of adolescence. Dracula has been around since 1897 when Bram Stoker wrote his groundbreaking novel. The evolution of the genre continues today and will likely produce stranger forms of the character in the future. But leave it to Spaghetti Nightmare maestro Dario Argento to return the man and the movie to its classic roots. Argento does so in grand gothic style that channels the spirit of both Universal's classic creations and Hammer's atmospheric bloody nightmares with Argento's Dracula.
Posted in: No Huddle Reviews by Gino Sassani on January 29th, 2014
Wings was one of those unusual sitcoms that depended more on the characters than the situations they were in. While the setting was a small Nantucket airline owned by two brothers, most of the episodes had very little to do with flying. Rather, the writers populated this small airline with very distinctive personalities and let these interactions be fodder for the funny. The characters were played by more than competent actors, many of whom have proven themselves beyond this quaint sitcom. Timothy Daly played Joe Hackett, the older, more responsible brother who was often the show’s straight man. His rather adolescent sibling Brian was played by Steven Weber. I wouldn’t exactly say this was Oscar Madison and Felix Unger, but their conflicts over maturity fueled the characters. The airline’s love interest was Helen Chappel, played by Crystal Bernard. She was an aspiring symphony cellist who worked the airport’s lunch counter. For much of the show’s run she had an on-again-off-again romance with Joe. By far the most animated character was mechanic Lowell Mather, played by Thomas Haden Church. It’s still amazing to me that this rather unintelligent character was played by the same guy who brought us Sandman in the latest Spider-Man film. Finally there was cabbie Antonio Scarpacci, played by the current Adrian Monk, Tony Shalhoub. Antonio is an Italian immigrant who has trouble understanding things most of the time, leading to some of the better moments in the series. Fay, played by Rebecca Shull, is the mothering member of the cast. And Roy Biggins (Schram) runs the rival airline and is often engaged in one underhanded scheme or another.
Tony Shalhoub would eventually find a resurgence in his career as the off-kilter detective Monk, and Tim Daly would go on in such shows as The Fugitive new series and finally Private Practice. Alas, most of the other characters and actors would not be heard of much over the next decade or so. Steven Weber would pop up from time to time as well. It’s always a bit of fun to revisit actors and characters after a few years have gone by.
Posted in: Disc Reviews by Gino Sassani on January 28th, 2014
"One … two… Freddy’s coming for you, three… four… better lock the door, five… six… grab your crucifix, seven… eight better stay up late, nine....ten … Never Sleep Again."
Freddy is one of the more memorable monsters from the slasher era that also brought us the Halloween and Jason films. Freddy might have been born in the mind of Wes Craven, but he grew and developed in the knife-wielding hands of Robert Englund. Granted, not all of these films are equal in quality. The first and third are the best story-wise, while the last might be the most unpredictable and original. The fourth and fifth films are a hoot if you don’t look too carefully for a plot. Look to see how many actors you can find who later went on to bigger and better things. There were quite a few, most notably Johnny Depp.
Posted in: No Huddle Reviews by Gino Sassani on January 28th, 2014
"Everybody has a story to tell about their lives. My story begins the day I died."
It also seems that everybody has a tale of ancient fighters and heroes to tell. With the popularity of television shows like The Vikings and Game Of Thrones, there appears to be a considerable demand for this kind of film. Zack Snyder added his own graphic- novel style to 300, and it's been repeated to the point where the style itself has become a sub-genre of its own. The Spartacus series took that style, noted for the animated cartoonish blood in plentiful supply, and made it into a common event. The natural continuation of these elements is the low budget and direct to video film Vikingdom.
Posted in: No Huddle Reviews by Gino Sassani on January 28th, 2014
On October 9th 1986 the network television landscape did something that hadn’t been done successfully in its 40-year history. A fourth network broke on the airwaves. It was called FOX and wasn’t even going to broadcast seven days a week. Most pundits in the television industry never gave it a chance. Most of the channels were in the double-digit UHF range. This had long been considered the independent station area, and a lot of televisions didn’t pick up this band as well as the established VHF band. And for a while it looked like the network was going to disappear almost as quickly as it appeared. But by 1987, the network suddenly had two big hits on its hands. The first was a silly cartoon, originally aired as a throwaway segment on a variety show. The cartoon featured the most unlikely of television families, The Simpsons. That show is still with us nearly 25 years later. The second hit was a live-action series, also based on a very unlikely and this time seemingly unlovable family, the Bundys. Right from the start there was criticism that the name itself was a death knell. At the time America was still dealing with the pending execution of a far more infamous Bundy. Married With Children, however, would become an almost instant breakout hit.
Al Bundy (O’Neill) was a working stiff. He had seen his high school glory years evaporate into the rearview mirror of his ancient Dodge when he married his childhood sweetheart (no, I did not misspell), Peggy (Segal). The red-headed woman would soon become his curse. She was lazy. Peggy wouldn’t know what a stove looked like if it fell on her. She was content to sit around all day while Al worked for minimum wage at a mall shoe store. Tying Al to his meager existence were two children. Bud (Faustino) was a frustrated teen who couldn’t seem to find his cool. Girls scorned him, and he appeared to be headed to the life of his father. Daughter Kelly (Applegate) was a teen slut. She slept around and used her looks to make her way in life, which was likely good, because she was dumber than rocks. Al was also plagued by neighbor Marcy (Bearse) who was a feminist and usually a thorn in Al’s behind. Most of the material involved Al’s suffering and the apathy of his family to his lowly station in life.