Posts by Gino Sassani

When the WB merged with the UPN to form the hybrid CW, a lot of good things happened. The new network stepped away from the twenty-something shows that began to all look the same after a while. The network began to take on cutting edge genre shows like Supernatural and Smallville. But deep down inside there was still that family drama mentality that drove at least one of the parent networks. Life Unexpected is, unfortunately, a totally expected result of that dark place.

The premise is actually pretty interesting. Lux (Robertson) is a 16-year-old girl who has spent her entire life in foster care. She has been bounced from home to shelter to home again 7 times in those 16 years. She's lived with drug addicts and abusive situations. She's had it, and so she decides to seek legal emancipation. Because her parents are still alive and somehow never gave up their rights, she needs their signatures on the court documentation. She finds her father first. Nate Bazile or Baze (Polaha) is a guy who's refused to grow up. He lives in a loft above a bar he runs primarily so he can drink for free. His father (Thomas) owns the building, and the bar is just one of many unresolved issues between them. He lives with two roommates who are only slightly more mature than he is, including English teacher Math (Basis). He's shocked when Lux shows up, because he didn't even know she existed. Together they contact her mom, Cate (Appleby), who is a popular radio talk show host with her partner and soon to be fiancée Ryan (Smith). Cate gave Lux up for adoption unaware that she had a heart condition that required her to remain in the hospital until she was three. That made her a tough adoption candidate. So, when Lux shows up she is just as surprised, believing she was happy and in a family. The emancipation doesn't happen, and Baze and Cate are given joint custody of Lux.

Bud Abbott and Lou Costello began their career completely by accident. Bud Abbott had tried his hand at doing the straight-man bit with limited success. One night in 1931 he was working as a cashier for a vaudeville company when Lou Costello's partner came down with an illness. The performer needed a stand-in, and Bud Abbott filled in for the night. It was a temporary gig, to be sure. A temporary gig that happened to last 25 years. The two continued to work together on stage. While the team certainly reused a ton of the classic routines of the era, there was something unique and clever about the duo. The natural way in which they fell into each other's lines was a rare sight, indeed. They eventually stood out for their ingenious word play, culminating in one of the most famous comic routines in history, Who's On First.

The pair next took their act to the airwaves -- radio airwaves, that is. They became a staple in the medium and eventually the highest paid performers in that industry. Films weren't really much of an option at first. They were still mostly silent, and while comedy thrived in that era, Abbott and Costello's brand of humor just would not have worked. But when sound became more economical and standard, the boys were thrown into the pictures. In 1940 they would star in a film called One Night In The Tropics. They would continue to make films for the next 14 years at an incredible pace. They made several films a year and were soon financing Universal studios with their output and box office income. Perhaps their most famous films were the monsters movies where Universal teamed their new moneymaker with the one before. In Abbott And Costello Meet Frankenstein, Bela Lugosi and Lon Chaney, Jr. would both reprise their famous Dracula and Wolf Man characters to the delight of fans of both franchises. Boris Karloff considered himself too old to don the heavy boots of the titular monster, which was played by Glenn Strange, who had performed the role in both House films. So he was still a legitimate part of the horror film cycle. The boys would get their chance to face Karloff later, not once, but twice.

"Jonathan Brisby was killed today. It is four years since our departure from NIMH, and our world is changing. We can not stay here much longer. Jonathan was a dear friend. I am lost in knowing how to deal with his widow. She knows nothing of us or the plan."

When Don Bluth left Walt Disney, he led an exodus of some of the studio's top talent. They were becoming disenchanted with the product Disney was producing at the time, and it is generally accepted that this was the dark ages of the studio. The group of animators joined Bluth and formed their own company, and the first film to come out of that collaboration was The Secret Of NIMH.

Rory Gallagher was somewhat of an enigma in the British music scene. While he never did have the breakout hit or career that he worked so hard to achieve, he has managed to develop quite a cult following over his troubled career. His roots went deep into the British blues scene where he first received some notice in the band Taste. But Rory was a force of nature and couldn't be contained in the local scene. He grew up in the small town of Cork in Ireland and managed to fight his way onto a world stage by the time he reached his 20's. His music was a unique blend of blues and hard-edge rock and roll. His voice wasn't ever described as smooth. He belted his words out in screams and shrieks. He was all about the energy, connecting with the audience live far more effectively than he did through his recordings. He was the kind of guitarist that flew across a fret board like a supersonic jet flying over clear calm skies.

Rory Gallagher died of liver failure in 1995. He lived hard, and it obviously took its toll on his heath. He didn't really get into the drug scene, but he could put away the ale. He was a man forever in motion. This concert/documentary from Eagle Rock is a perfect window into the lifestyle and music that was Rory Gallagher.

"Deep in the heart of the Amazon, the Butler family was exploring an uncharted river canyon. Suddenly caught up in a violent whirlpool, they were propelled through an underground cavern and flung into a hostile world of prehistoric creatures, a world that time forgot. Now, befriended by a family of cave dwellers, each day is an adventure in survival for the Butlers in The Valley Of The Dinosaurs".

If you were a child in the 1970's, you'll remember that there was no time like Saturday morning. It was a race to be the first kid up, if you had siblings. I had to be the first to the new cereal box to root out the prize. After a big bowl of sugar it was time to plant yourself in front of the television until about noon, when the news programs took over. For those handful of hours, however, a kid could be transported into the ultimate fantasy world. There were superheroes and lost worlds to explore. One such show was The Valley Of The Dinosaurs.

"We all know the story. Virginal girl, pure and sweet, trapped in the body of a swan. She desires freedom, but only true love can break the spell. Her wish is nearly granted in the form of a prince, but before he can declare his love, her lustful twin, the Black Swan, tricks and seduces him. Devastated, the White Swan leaps off a cliff, killing herself, and in death finds freedom."

Darren Aronofsky made a huge name for himself with The Wrestler. That film was a great comeback for Mickey Rourke, who was ripped off at that year's Oscars by the more politically correct Sean Penn. Aronofsky considers The Black Swan to be a companion piece to that film. You will certainly be able to see what he's talking about, but he's missing one important element in this film. He doesn't get near the powerful performance out of Natalie Portman that he did from Rourke. She was also nominated for an Oscar, but unlike Rourke, she didn't deserve to win it. She didn't.

If you are old enough to have seen the original Tron back in 1982, you know how much things have changed in the digital world since then. The block graphics of the film and subsequent game might have been state-of-the-art at the time, but it looks like something very primitive to the younger generation. Like all good science fiction, many of the incredible elements of the film have become quite commonplace. The idea that a person can be scanned by a laser and transported into a virtual world might still be out of reach, but it turns out that using lasers to scan objects is exactly how we get three-dimensional images of real-world items into the virtual world. When Flynn is communicating with his program, the program is represented by an image of Flynn himself. Today we'd call Clu an avatar, and it's become quite common for people to socialize in environments like Second Life, where their avatar representatives engage in the same kinds of activities we do in the real world.

Tron wasn't quite the huge box office film you might have expected. It did pull in about $5 million on its opening weekend, which was pretty respectable in 1982. The film ended its box office run with just under $40 million from a $17 million budget. That's not where Tron found its biggest success. The film became more popular as the years went by and some of the content was getting more and more like reality. The game became a classic and is still found in the occasional arcade. That was another trend started by the film. It was one of the first films to spawn a video game, something almost every big-budget genre film does as a matter of course today. The movie was a milestone in computer-generated images combined with animation. It took nearly 30 years, but it really isn't a surprise that Tron has finally gotten a sequel. It's been a commanding presence for years at ComicCon. It's the little big movie that wouldn't die.

Hammer has risen from the grave. A group of investors have resurrected the film brand and intend to honor the tradition of the once-defunct horror giant. President Simon Oakes is a self-proclaimed fan since he was a kid. He has no interest in trying to fit Hammer into the new mold of torture porn or slashers. He acknowledges that there is plenty of room for those kinds of films in the horror genre. He hopes to bring back more than just the Hammer name. He intends to bring back the gothic spirit that was Hammer Films. Let Me In appears to have been a sincere effort in that direction. But the look and feel of that film along with the rich Hammer legacy have set the bar incredibly high. The last thing I expected from all of this was a direct-to-video standard stalker film called The Resident.

Juliet (Swank) has just come from a bad breakup. She caught her ex sleeping with her friend. Now she's trying to set off on her own. She's an ER doctor at Brooklyn Hospital and is looking for an affordable apartment in the area. She gets a call from Max (Morgan) who owns a nice vintage building with a vacant apartment he's fixing up. The place is huge with a spectacular view and is a "reasonable" $3800 a month. She takes the apartment and finds herself somewhat charmed by Max in the process. She finds herself a little creeped out by his grandfather August (Lee). This leads her to send Max mixed signals. She kisses him but pulls back. Later she invites him to her bed but pulls back again. Apparently, she's still in love with Jack (Pace), who is trying to win her back. Max doesn't take rejection very well and has a series of secret passages into her apartment and a large assortment of peepholes throughout. Juliet finds herself feeling uncomfortable in the apartment but just can't quite put her finger on it, which is more than we can say for Max who has no trouble laying his fingers on her. The last 20 minutes of the film is a typical run-and-chase piece with very predictable results. There aren't any twists or surprises to be found here at all.

"Sherlock Holmes, the immortal character of fiction. Created by Sir Arthur Conan Doyle, he's ageless, invincible and unchanging. In solving significant problems of the present day, he remains -- as ever -- the supreme master of deductive reasoning."

"They rob, kill, and terrorize, and they've left their mark on our nation's history."