Posted in: Disc Reviews by Gino Sassani on June 20th, 2007
"Oh Bother"A.A. Milne was quite an eclectic writer. He wrote murder mysteries that even appeared on Alfred Hitchcock Presents. From that fertile mind would also come a place known as the 100 Acre Wood. In that select place some of literature’s finest characters had the greatest adventures any boy could imagine. And adventures are certainly no fun on your own. Young Christopher Robin was joined by Piglet, Tigger, Owl, Rabbit, Eeyore, and, of course, Winnie-The-Pooh. Who didn’t fall in love with that silly old bear... Winnie-The-Pooh. OK, so maybe Dahmer or Bundy might have been exceptions. Still, anyone growing up in the last 30-40 years who isn’t a psychopath has had a love affair with Winnie-The-Pooh, all stuffed with fluff.
Often when a company gets the rights to such classic characters they end up doing more harm than good, particularly if they include some quite radical changes to the beloved material. Walt Disney was first introduced to the stories after seeing his own children delighted by their adventures. His quick mind told him that this English story needed to be more formally introduced to American children. It took several years for the versions of these characters to evolve into what we so instantly recognize today. The original characters were quite different from these uniquely Disney inventions. I know the folks at Disney claim they stayed very true to the originals, but that simply isn’t true. Today the characters are recognized all over the world more in their Disney incarnations. More than the drawings, the voices of these characters have become very distinctive with those of us who grew up with them. Jim Cummings has done the voice of Pooh for years, but it was Sterling Holloway who originated the voice for these feature pieces. Paul Winchell gave us his giddy Tigger voice for over 40 years now. John Fiedler supplied the shy stuttering Piglet. These last two voice actors died just one day apart in June of 2005.
Posted in: Disc Reviews by Gino Sassani on June 20th, 2007
Since its release first as a Dan Brown novel and then as a less successful film, The DaVinci Code has stirred up more than its fair share of hornet’s nests. What most folks seem to be forgetting is that the stuff was fiction. Brown NEVER claims to be offering a secret look inside the workings of the Catholic Church. So why do we need this investigation? The self-professed documentary isn’t really a look at the story at all. It’s merely a lot of real wackos trying to fill our heads with their claptrap conspiracy the...ries and new definitions for Christianity. This will not appeal to fans of the film, unless you are one of those who think Brown was really on to something. I have no problem with these beliefs. If that’s what you want to believe, go ahead. I do have a problem getting sucked into this craziness in the guise of having something to do with a film I might have enjoyed. Susan Sarandon attempts to hold the whole thing together but can’t seem to save this sinking ship.
The problem, as I see it, is how thin the line is for some folks between fact and fiction. It shouldn’t really come as such a surprise when one looks at how much news time today is dedicated to the likes of Paris Hilton or Anna Nicole Smith. In recent years we’ve lost men who have been President of the United States and got far less attention than has Smith. Are we that far gone as a society? Watching this makes me wonder. With that much attention on celebrity, is it any wonder we start to believe almost anything we’re told, even in a work of fiction? Oliver Stone has made a living trotting out conspiracy theories knowing he can beat the conspiracy nuts into a frenzy. This gets good PR for his films, but does it serve us as a society? I’ve already said more than this thing deserves. Just say no.
Posted in: Disc Reviews by Gino Sassani on June 19th, 2007
Marvel Comics has certainly enjoyed a renaissance of late. There can be no question that this entire run of comic heroes on screen began with Spider-Man. Even the recent DC reimaginings might not have gotten this second chance without everyone’s favorite web slinger, or at least the gobs of money that franchise has pulled in. While none of these recent comic films have come close to the success of Spider-Man, the studios are determined to keep the trend alive and well. That translates to great news for us. The most...recent development of this success is that lesser known comic heroes are starting to emerge on film. Ghost Rider is not quite as known around the world but is not without its loyal following. Nicholas Cage happens to be among the Ghost Rider faithful. We’re talking about a guy so into the comic scene that he named his son Jor-El (Superman). Cage, it appears, has wanted to do Ghost Rider for almost as long as he’s been acting. This unusually high level of passion for a character plays to the film’s advantage. He believes in the role and thus becomes Ghost Rider with an uncanny ease.
The Ghost Rider character has evolved more over the years than perhaps any other comic icon. The story and the character himself have gone through many significant changes. The film pays homage to a ton of this history by including elements of many of those comic runs. The writers combined some of the best elements from the whole to create a world and character that is unique, yet quite true to the spirit of the Ghost Rider. The basic story remains relatively faithful to some aspect of the story’s varied history while allowing the film to have its own distinct look and tale. Here a young Johnny Blaze discovers that his father is dying of lung cancer. Together father and son have a motorbike daredevil show. He is approached by an ominous stranger who offers to heal his father’s ailment in return for, you guessed it, his soul. I know what you’re thinking. “Boy have we seen that one a thousand times before. Believe it or not this story has a remarkable twist to the old story. Of course, the deal’s a rip-off and Johnny gets exactly what he wants but not really what he wants. It’s that old fine print stuff again. The twist is that our old devilish friend has a more complicated fate in store for Johnny. When called upon he must ride his bike as the flaming skulled Ghost Rider to do the Devil’s bid. In this film the spectral rider is called upon to collect a powerful contract , which is also goal of some rather nasty elemental bad guys. It’s a royal battle to control Hell, and Blaze is right in the middle of it.
Posted in: Disc Reviews by Gino Sassani on June 11th, 2007
Not all heist films are created equal. The Hard Easy is a poor man’s Ocean’s Whatever. Number. While that might appear more often than not a knock on the film, that would not be so in this case. Actually I rather liked the film, more for its nuances. The first thing that impressed me was the cast. This isn’t the gaggle of A listers found in the Ocean films. These are still some hard working craftsmen. Just because this isn’t as hyped or financed to the hilt doesn’t take anything away from the performances. It might...have made them work even harder.
Paul (Thomas) and Roger (Boreanaz) both have some serious money problems. Paul owes a huge gambling debt to vicious mobster Freddie (Allen). Roger is caught up in a stock scam about to explode in his face. The only way out, or so it appears, is an easy score. Seems there’s this can’t miss opportunity waiting for the right crew to come and make a good $15 million. Circumstances pull both of these misguided lads into the job. The problem is, of course, they don’t know each other. Both are working with separate crews planning the same job. So this easy score gets very hard; hence the title. When both crews show for the same diamond heist, all hell’s gonna break loose. What this film lacks in action it more than makes up for in characters. Peter Weller has some of the best lines in his over the top portrayal of Ed who leads Roger’s crew for the heist. The cigar crunching ex commando is such a stock character that it’s actually pretty funny to observe. An aging Bruce Dern puts in an almost equally rousing turn as Gene, the leader of Paul’s gang. Where most films concentrate on pulling off the job, this film mines the characters themselves for most of the running time. While it might not be gold they’re mining, it still comes up silver. Rae Allen might have the best role in the very short appearance of female mobster Freddie. I don’t know about you, but I’ll never look at a wrench quite the same way again. Her facial stuff is priceless. Gary Busey plays Vinnie, a counselo of sorts for Paul, who might just be setting him up for a fall. Vera Farmiga has the most unlikely role as Dr. Charlie. Why do all of the women in this film have guy names?
Posted in: Disc Reviews by Gino Sassani on June 8th, 2007
Tony Scott’s controversial thriller, Revenge, is based rather loosely on a 1979 novella written by Jim Harrison for Esquire Magazine. I say loosely because the source material is quite short and was necessarily expanded for a feature length film. I never saw the 1990 theatrical release of the film, but research shows it did rather poorly. What I know of the difference between this cut and the original comes from Tony Scott’s commentary, which I’ll discuss in the audio portion of this review. I do know the changes m...st be significant as extra credits were required which provide for an additional composer for new music for some additional footage. The running time is also a stunning 30 minutes or so less than the original film. I say this up front so that if you are a fan of the original your mileage may differ. That DVD was released back in 1998. The DVD cover contains a quote from Quentin Tarantino exclaiming that Revenge is Tony Scott’s masterpiece. He does not imply which version he’s talking about. Either way, that’s saying a ton when you consider Scott’s impressive portfolio.
The film begins as Michael Cochran, no relation to Zephram (I think) is retiring as a Navy pilot. He heads to Mexico to spend time with a very old friend. It is hinted that he is going there to work for him, but that situation is never really explained. Unfortunately he falls in love with his pal’s wife, Mireya (Stowe). I say unfortunately because it happens that his pal Tibby (Quinn) also happens to be a ruthless underworld kingpin with plenty of power, money, goons, and guns. Did I mention he has a lot of guns? From almost the moment Cochran enters this world he seems to be ruffling the feathers of everyone around Tibby even before he starts ruffling Mireya’s bed sheets. Now I hate to disagree with the venerable Mr. Tarantino, but doesn’t all of this look just too contrived to be a masterpiece? Call me, Quentin, and we’ll talk about it over pasta and meatballs, my treat.
Posted in: Disc Reviews by Gino Sassani on June 6th, 2007
The opening credits are a frantic run of images that is pretty hard to actually watch. The segment is made worse by the constantly changing images and strobe light f/x. At first you get the idea you’re in for just another horror film made in the modern deluge of images style. Fortunately this is not a portent of things to come. With a little patience, you’re safely beyond these trappings and find yourself in a rather good film. If you’re able to follow this montage, you’ll be introduced to the bloody history of Gus...ave, a 25 foot crocodile. You’ll discover this killer is claiming a mounting number of human victims, most recently an acclaimed UN naturalist. Once the film actually begins, it will be some time before you are introduced directly to Gustave.
Three American journalists are sent to the heart of Africa on a mission to find and actually capture Gustave. The journey is no less treacherous than Gustave himself. A local dictator intent on genocide now calls himself Little Gustave, after the killer croc, and his hit squads don’t take too kindly to boats entering his domain. Some machine gun fire welcomes our intrepid Americans into the jungles. The reptile is worshipped as a god by many of the locals, as evidenced by a ritual the travelers must participate in to gain their trust. Top this off with a guide who has revenge on his mind and intends to go Ahab on Gustave. Before long we find that peril comes in many sizes on this trip.
Posted in: Disc Reviews by Gino Sassani on June 6th, 2007
I should have known I was in trouble from the opening credits. The graphics are accompanied by some really cheap sounding synthesizer music. It sounds like they sprung for the $39 Casio. Beyond the crappy sound, the melody, if you can call it that, didn’t fit the western I was unfortunately about to see. Let’s keep this simple, shall we? If you pick this baby up at your local video store, I’m going to advise you to put it down and back away from the shelf. Now you owe me. I gave you back 2 hours of your life you we...e about to piss away on one of the worst films ever released in any format. This is extremely low budget nonsense all the way around. The acting is the absolute worst I’ve ever seen. Even George Kennedy is obviously only there for the paycheck, which couldn’t have been that much. George’s life must really suck these days for him to allow himself to be a part of this farce, even if it was only for five minutes. I think he just passed Conrad Brooks on the “do anything for a screen credit and a few nickels” circuit. He fumbles through his scene in a performance I hope he’d rather forget. If you’re looking for corny lines, bad acting, and incredibly poor editing, this is the film for you. Perhaps it should be required viewing at all film schools as an example of how not to make a film. If you just think I’m full of crap, I dare ya to sit through all 118 minutes of this film. I double dog dare ya.
Video
Posted in: Disc Reviews by Gino Sassani on June 5th, 2007
What Time Is It? It’s Tool Time! Home Improvement was based on a stand-up routine that made a name for Tim Allen. In his act he would talk about his experiences with power tools and other manly misadventures. He came across as a comedic Bob Vila. Somewhere along the line it was decided this had the makings of a good sitcom for television. It was a rather inspired idea, and for many years it was one of the funnier shows on the tube. I often find myself referring to the show as Tool Time, which in reality is the cabl... handyman show Tim hosts. The reason for this almost constant confusion is simple. It is the Tool Time bits where the show was always at its best. Tim’s rapport with co-host Al Borland (Karn) is always worth a few laughs. Tim lived next door to Wilson (Hindman) who often had long winded words of wisdom when Tim found himself befuddled by life’s complications. As a running gag, we never see Wilson’s face below the nose. Most of the time the privacy fence they spoke over served to cover these areas, but often other well placed items did the job. Tim had a family. His wife, Jill (Richardson) tolerated Tim’s antics, all the while seeing him as an adolescent. The couple had three kids who were quite young as the show began. By season 6 the boys had grown, which demanded more screen and story time. Now there lives have dominated many episodes to the point that Home Improvement became almost a Brady Bunch instead of the more amusing fare it started as. There’s still plenty to laugh at here, but it’s just not as funny as it once was. Combine the older family with 6 years of the tool bits and Home Improvement was running its batteries down a bit. The show had only 2 more years left in it by this time. It might have been better to stop after 5.
Video
Posted in: Disc Reviews by Gino Sassani on June 5th, 2007
Maybe it’s just not possible to do a good western on television these days. Most of the more recent attempts have come up pretty empty, and The Magnificent Seven is no exception. I'd have to say that perhaps The Adventures Of Brisco County, Jr. might be the lone standout. The Magnificent Seven certainly tries. All of the traditional clichés are there, from the Ponderosa rip-off music to the “howdys” and “reckons” in the dialogue. There’s plenty of gunplay and horses to meet the expected quotas, but it all looks way...too staged for my tastes. It felt like I was watching one of those Amusement Parks Ol’ Western Shows. The cast is relatively impressive, but whether it’s that there are too many of them for true character development or no one on the writing crew decided character was important, I can’t say for sure. It’s just not there.
Seven unlikely men join together to protect a Western town from those that might take advantage of its peace-loving citizens. The seven are pretty much ordinary folk thrust into extraordinary circumstances working for an old judge (Vaughn) for $1 a day plus room and board. Michael Biehn plays Chris Larrabee, who is pretty much the unofficial head of the seven. He usually wears black, going against the “good guys wear white” western tradition. His family had been lost to a tragic fire. Following him are: Buck Wilmington (Midkiff), JD (Kavovit), Vin Tanner (Close), Ezra Standish (Starke), Nathon Jackson (Worthy) and Josiah Sanchez (Perlman), a defrocked preacher. Perlman gets most of the best lines. In the season opening he is asking God for a sign when a nearby dog barks, signaling the return of his fellows. He looks up to Heaven and says, “I bet you thought that was funny, didn’t you?”. The second season begins with a new lawman in town who doesn’t take to the seven’s tactics in protecting the town. When he posts a long list of new laws, including no firearms in the city, the seven leave the town to its own fate. As you might expect, a few of the local tough guys take advantage of their leaving and begin to run the town ablaze. Certainly the boys return and a new season is set up. Now they have the title of “honorary” marshalls. Let the good times roll.
Posted in: Disc Reviews by Gino Sassani on May 23rd, 2007
Kyle XY is a quirky series that began about a year ago on the ABC Family Channel. Owned by Walt Disney, you can imagine the kinds of programs one can find there. It’s pretty much a safe haven for kids and their parents to be able to watch things together. That’s why I was a little bit surprised when I watched Kyle XY for the first time on these DVD’s. Certainly the show is pretty much family friendly, but not to the squeaky clean Disney image I’ve come to expect. There are a couple teenage make-out scenes in the pi...ot that seemed awkwardly out of place, at least to my expectations. Certainly these scenes were quite tame, particularly in the post NYPD Blue television universe, but I was still a bit surprised. The overall science fiction theme is also a bit edgy. There is a Smallville/X-Files flavor here. The violence level is toned down from those other shows considerably. That’s not to say there isn’t a bit of danger element pervading the entire series. With the exception of Matt Dallas, who plays the titular Kyle, the cast is considerably weak in its acting chops. Dallas is, however, a bit of a standout here. The young actor seems to have a considerable insight into the nature of his character. He does an absolutely stupendous job of demonstrating the naiveté and innocence of Kyle. Perhaps this performance stands out because of the really bad acting by the rest of Kyle’s adopted family. Bruce Thomas, playing Dad, is horrid. Maybe that’s to be expected when your movie resume includes the two Legally Blonde films. Another rare performance is to be found in Nicholas Lea as the enigmatic Foss. Lea, of course, is best known as the sometimes ally, sometimes bad guy Krycek from the aforementioned X-Files.
The premise for Kyle XY starts very much like the John Doe series and continues to parallel that failed series. Kyle shows up naked in the woods with no memory of who he is. Taken in by a social caseworker and her family, Kyle begins to exhibit strange abilities. He doesn’t require sleep, although in an attempt to be more normal he does give it a try using a bathtub for a bed. He has extremely acute hearing and unusual physical strength. While his memory might be fuzzy, his mental capabilities are off the charts. Oh, and he’s missing a belly button. Most of the shows find Kyle trying to find out who or what he is. A mysterious stranger, Foss, is watching him closely and eventually reveals himself as a possible friend. The show tries to get a lot of mileage out of the Trager family’s learning to deal with Kyle and his emerging oddities. The season ends with Kyle leaving the Tragers to meet his possible creator.
