Posts by Gino Sassani

I wanted to watch these movies back to back to try and get a feel for how they work together. The box art tells us: “Much has changed since we last saw Jake.” No truer words were ever spoken. Jack Nicholson is now a household name and a fixture at the Lakers games. Many a classic character has worn Jack’s sardonic smile since Chinatown. Perhaps it was the timing that was bad. Nicholson decided to resurrect Jake Gittes as his first role following his awesome turn as The Joker in Tim Burton’s Batman.

Jack Nicholson’s career has been decades of a man who is constantly redefining himself. Few actors have created as many memorable roles; among them has to be Jake Gittes. This Raymond Chandler styled character first appeared here in the Roman Polanski Film Noir Chinatown. The feel of Chinatown was far more effective in 1974 than it is today. Unfortunately the style has been done to death and often with disastrously horrid results. Still, in 1974, Polanski was able to create an effective atmosphere and use it not just for style but as a place to tell an engaging story. Chinatown takes you to a Los Angeles that simply no longer exists.

Pixar has become somewhat of a fixture around here, as I suspect it has in many homes across the world. For the most part the films have been nothing short of magic. I’m not only talking about the ever improving technological breakthroughs the company seems to have an endless supply of. The films often contain a warmth and friendliness that wear easily like a favorite shirt. They comfort and entertain all at the same time.

This box set of three movies tries to take advantage of a college course theme to generate interest for films already available in these same editions. This collection uses Astronomy to bunch together three lighthearted science fiction adventures. The films are Killer Klowns From Outer Space, Spaceballs, and The Adventures of Buckaroo Banzai Across The Eighth Dimension. The lesson we’re really learning here is how corporate quests for profits can reach almost ridiculous proportions. Many studios are running low on the films in their libraries that have yet to be released but still have a market to sustain a DVD title. The obvious answer to this dilemma is double, triple, and beyond dipping.

Scrubs is a show that resists being defined. Certainly there have been a ton of medical shows over the years. Recently shows like Grey’s Anatomy have found a way to balance a bit of drama with a light mood that often approaches comedy. MASH was the opposite. It was a comedy that often allowed quite serious moments to intrude upon the laughter. Any way you slice it, it turns out that pain and disease can be funny. Nowhere is that more true than on Scrubs. On Scrubs you are never left in an awkward position of knowing if it’s appropriate to laugh. Everything about the show is geared toward the absurd, and hopefully the funny.

I love CSI and have been an avid fan from day one. I think it brought a fresh look to the procedural crime dramas that have long ago become just a little stale and predictable. The problem is that the series has gone the Dick Wolf route of branching out so that the final product might be a little diluted. Unlike the Law & Order franchise, each version of CSI has attempted to take on a unique look and style to reflect the location without giving up those elements which are the tradition of the series. CSI: Miami is by far the inferior of these three shows. In trying to create a slick glitzy Miami feel, the show has gone the way of style over substance.

Every now and then a writer gets stuck for what to write. As a reviewer it happens that I can watch a film or series, take pages of detailed notes and read everything I can get my hands on about the subject, but still when I sit down to my computer it’s just me and that flashy cursor, aptly named, for every writer has felt the curse as that incessant blinking blob continues to remind us we’ve got nothing. In the industry we have a highly technical term for this condition. We call it writer’s block. 

I can still remember the first time I saw Raiders of the Lost Ark. It was just after my birthday in June, and I had some time to kill on a weekday afternoon. I didn’t recall seeing a lot of hype, and it seemed no one knew just how huge the film was going to be. My expectations were not really high. The film looked interesting, and I was just looking to escape for a couple of hours. By the time I left that theater, I felt a little bit like Indiana Jones himself having made some grand discovery. I had to tell my friends.

 

Meet The Robinsons follows the story of young orphan Lewis. He’s quite the young inventor but ends up with more failures and near misses than anything successful. His tendency to blow things up doesn’t help his adoption chances too much either. One day his life is changed when a kid from the future arrives to give him a boost of confidence. Back in the future Lewis is temporarily trapped, and the guest of the manic family Robinson. Each family member is a zany character unto themselves. Uncle Art, cleverly voiced by Adam West, is an intergalactic pizza delivery guy, and mom has trained frogs to become big band singers.

Slow Burn delivers exactly what the title suggests. A whole lotta slow and a little burn. District Attorney Ford Cole (Liotta) is running for Mayor. He’s got a no nonsense reputation for fighting crime. He’s been locked in a near mortal struggle with crime lord Danny Luden, an elusive criminal who has more than once humiliated Cole in the past. His ace assistant, Nora Timmer (Blalock) has just shot a man she claims attempted to rape her. The story begins to unravel when Luther Pinks (LL Cool J) arrives with an alternate story that paints Timmer in a very bad light. The two tales are told through flashbacks and narrative, and it’s left to the audience to come up with the truth. The only problem is the pacing is erratic and often confusing. After an hour and a half of clichés and snail’s pace plot movement, you find yourself too fatigued to give a crap who is playing who anymore.