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.
Posted in: Disc Reviews by Gino Sassani on May 23rd, 2007
Thieves Like Us was never one of Robert Altman’s better known films. It did rather poorly at the box office in 1974, and I suspect it will fare little better on DVD. Certainly there is a bit more interest in Altman’s films with his recent passing, but Thieves Like Us is not a great representation of his work. It is a wonderful period piece, but there isn’t anything worthwhile happening inside that marvelously created world. Altman admits there were extreme cuts, over 45 minutes, made to the film. Perhaps that foota...e might have made a huge difference. An extended cut might have been the better way to go here. I suspect with Altman’s death, no one wanted to be the one to change any of his films right now.
The film is based on the Edward Anderson novel of the same title. The book had been filmed with superior results in the 1940’s as They Live By Night. Altman’s film more closely follows the book, and this could be its undoing. There is a reason why even the greatest written works are modified somewhat for the screen. This almost exact telling ends up being quite the bore. It just seems to go nowhere, and very slowly at that. The story follows three bank robbers who manage to escape prison only to return to their criminal ways. Most of the film centers on Bowie (Carradine), one of the robbers who falls in love with Keechie (Duvall). The other two are in and out of the story sparingly. The film is often compared with Bonnie and Clyde, but I don’t see it. First off, Bowie is never joined by Keechie on his criminal adventures. The most significant similarity is the brutality with which Bowie is gunned down in the film’s climax. Unfortunately Altman has developed superb characters and excellent actors to portray them, but he never ends up doing anything with them. Altman addresses the pacing and lack of action in his audio commentary, but he never tells us why. He only mentions at least 50 times that you couldn’t make a film with this pacing today. I think he’d have been better off not to have made one even 30 years ago. His reasoning is audiences today have less patience. That may be true, but the film didn’t exactly set any records even in 1974.
Posted in: Disc Reviews by Gino Sassani on May 21st, 2007
Mel Gibson has become somewhat of a character these days. Gibson has become a bit weary of the "Hollywood" way of doing things and so has struck out on a course of originality that can be both inspiring and controversial as the man is himself. His "The Passion" film was viewed by many as the ultimate depiction of Christ's suffering. At the same time just as many believed they were seeing a slant on Jews that was unfair. Just when a balance seemed to have been struck and his film was being accepted for what he claim...d it to be, Gibson the character mucks it all up. Unless you've been living in an isolated island somewhere with a mysterious bunker filled with corn flakes, you've by now heard quite enough of Gibson's arrest and related comments about Jews. Undeterred by such setbacks, Gibson again chose a controversial subject and proceeded to create another of his "masterpieces". This time the ancient Mayan civilization is the subject. Another film shot in an obscure language. These movies are overwhelmingly self-indulgent. That isn't to say they aren't any good. It just means that Gibson frankly doesn't give a damn what anyone else thinks.
Apocalypto is as complicated as the man who created it. The first observation I had was that the film was often best when it was at its simplest. Unfortunately Gibson doesn't allow these moments to dominate with the impact they actually possess. There are inexplicable moments of slapstick that can only be explained by Gibson's love for Three Stooges comedy. While that kind of buffoonery was welcome in the Lethal Weapon franchise, it is painfully out of place here. There is also a trend toward modern translations and phrases that are equally out of place. I'm obviously not learned in the Mayan language, so I can't be sure if these phrases are actually what is spoken or simply misrepresentation in the subtitles. There is no question that the cinematography here is outstanding. The lush Mexican locations were well scouted and serve a great purpose in the overall realism of the film. Still, these beautiful locations provide a stark contrast to the brutality and violence often on display. The musical cues are also outstanding. The exotic rhythms and tones invite the viewer to become emotionally involved in the story. Finally, the cast is an excellent group of relative unknowns. Most of the actors are true native American descendents from as far north as Canada and into Mexico. Everything about this production gives you a startling visceral experience that I admit I haven't felt in very many films I've seen. I missed this one on the big screen. I was admittedly put off by the Mayan language of the production. So my first experience was this DVD, which still gave me a relatively large screen experience.
Posted in: Disc Reviews by Gino Sassani on May 17th, 2007
We hear it all the time. Some kid had it rough as a child. Single parent home, gangs, poor schools and even poorer neighborhoods. What this usually describes is some three time loser who has just robbed or killed somebody and ends up in a high speed chase with police. Some folks take adversity and turn it into gold. George Lopez is the latter. He’ll be the first one to tell you that the sad stories his character tells of his youth are rooted in cold hard reality. Not only does he bare these painful memories for mil...ions to see, but he encourages us to laugh at them. Lopez doesn’t have the same kind of raw talent that most comedic actors draw from. For Lopez the talent is in the genuineness of the portrayal. He’s capable of some of the most complicated expressions that make us want to take him home. Of course, feeding him is another story. There’s nothing really complicated about the George Lopez Show, however. While it has recently been cancelled, it remains one of the true standout sitcoms of the decade. The George Lopez show doesn’t rely on sexual innuendo or exotic situations for its laughs. This is the kind of show you don’t have to be embarrassed watching with the kids.
George Lopez is George Lopez. He has a son, Max (Garcia) and a daughter Carmen (Lusha). His wife Angie (Marie) is a fiery Cuban who is a constant clash to George’s more laid back demeanor. Their family backgrounds are quite different even though both are Latino. Here the show does a great job of dispelling Latino stereotypes by accenting the cultural differences between George and Angie. Don’t get me wrong. There’s plenty of Latino generalization throughout the show, played mostly for laughs. The show is almost stolen by George’s mother, Benny (Moreno) who’s not often very apologetic about her dysfunctional mothering when George was a child. The banter provides some of the best moments in the show. There are few comedies these days that actually get me to laugh. The most many get are a random chuckle from time to time. The George Lopez Show is one of those few that elicit genuine laughter. I’m talking Sanford and Son laughs here.
