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.
Posted in: Disc Reviews by Gino Sassani on May 17th, 2007
James Garner could have been a Hollywood leading man. He had surfaced in a few films and apparently was on every director’s radar at one time or another. Hit or miss, he might have made quite an impact on the film industry. Instead, he will forever be known for the two defining television roles of his career. Maverick completely reinvented the television western. Up until that time the western was a place populated by clear good guys and bad guys. Men like Marshall Dillon and Ben Cartwright were known for their wholesome ways and do unto others attitude, perhaps mixed in with the occasional frontier justice. Enter Bret Maverick, who was a morally ambiguous character who loved to gamble and often run a con, even if it was usually on the bad guys. A western Robin Hood, if you will. It’s no surprise that when Stephen Cannell was looking for a new character he would bring Bret Maverick into the current day. Instead of a horse, Rockford drove an iconic Firebird. Still, even without the western trappings, Rockford is Maverick.
James Rockford lived in a trailer on the beach. His lovable dad was a truck driver who never did understand how his “sonny” could be mixed up in the dirty world of private investigations. While Rockford always projected a tough guy exterior, it was his soft spot for a sad story that often got him deep in trouble. He could understand the world of injustice. He had spent five years in prison for a crime he didn’t commit. Even after a full pardon, the cops considered him a lowlife ex-con. His one buddy, Lt. Becker, usually laid low among his fellow officers, often afraid to admit to being Rockford’s friend. Rockford was also king of the con. When normal tactics didn’t work, he could bring together a group of scam artists and con men to handle the largest of productions. He traveled with his own business card printing press. Afraid of guns, Rockford usually kept his in the cookie jar.
Posted in: Disc Reviews by Gino Sassani on May 8th, 2007
OK. Everyone knows about The Blair Witch Project by now. We’re all impressed that this little independent film managed to bust out and generate enormous success. Every film student in the world is encouraged that a crude looking film can make history. So, can we all stop trying to imitate it now? The Hunt is nothing more than an obvious copy. In this case it’s a trio of deer hunters who are attempting to make a “how to” video on hunting deer with a bow. The film integrates their grainy footage with that of one of t...e members of the rescue operation. He, of course, is also documenting his search for the now missing hunters. Throw in an out of nowhere climax and you have the entire film in a nutshell. The film keeps everything that was annoying about The Blair Witch Project, but retains none of what made it original. It doesn’t take long to get really tired of the shaky grainy camera work that basically gives us nothing remotely suspenseful or entertaining. Before long, Atticus (Rusler), the group’s cameraman, plays the part of a poor man’s Mulder with no Scully for balance. I can’t imagine what is really motivating these two men to continue their romp in the woods with a 10 year old boy in tow. Whatever happens to them we tend to feel they deserve. The final reveal is a complete letdown. Not even the film’s creatures are original. Hell, they’re not even rendered competently.
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Posted in: Disc Reviews by Gino Sassani on May 4th, 2007
Gary Lennon is a first time writer/director and it shows with .45. Milla Jovovich is the obvious centerpiece of this misguided drama. We know we’re in for a long haul from the opening shots of Kat (Jovovich). Talking about the sexual prowess of Big Al, her abusive boyfriend. Big Al is played quite single dimensionally by Angus MacFayden). It’s not that the actor’s don’t have the skills or the desire it’s that they are severely limited by the script. The only entertaining moments occur when the film heads more into ...he black comedy realm. This momentary effectiveness is soon lost with rather graphic displays of domestic violence. We are intended to feel for Kat but no matter how inclined we are to find her sympathetic I just can’t. With the help of her manipulated friends Kat sets out to rid herself of her partner in crime once and for all. When she finally does pull it off it is so senseless and anticlimactic. The trailer and box art promise a thrill ride journey of cunning and revenge. What the film delivers is boredom and no satisfaction when it’s done. The film tries to be too many things at once and ultimately succeeds at nothing. Trust me. Pass on this one. You’ll thank me for it later.
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Posted in: Disc Reviews by Gino Sassani on May 1st, 2007
The Lost Room was a Sci-Fi Channel 3 part mini-series. There are actually 6 separate segments on the DVD. We are quickly introduced to a special old style motel key. Yes, before we all got those slide cards. This key is apparently quite valuable, as it is the subject of an underground meet to purchase it. The deal looks like one of those Hollywood drug buys we’re used to seeing, and like those plays, this one goes horribly awry. Enter Detective Joe Miller (Krause), assigned to deal with the aftermath of this meet. ...eter Krause is best known for his wonderful portrayal of Nate Fisher in HBO’s quirky Six Feet Under. Here he gets to stretch his acting chops along with our collective imaginations. His investigation leads him into possession of the valuable key. He soon discovers the key has incredible power. Using it on any door can transport you to any other door you can visualize in your own head. Most importantly, the key defaults to a Spartan hotel room from 1961. When his daughter (Fanning) is lost in the room, Miller begins a quest to get her back. With each episode we discover there are nearly 100 objects originally collected from this room, each with extraordinary powers. A watch can hard-boil an egg. A bus ticket transports anyone who touches it to a small town in New Mexico, and a comb can stop time for a few seconds. Along with these objects, there are fanatical collectors. Some see the objects as sacred and form religious orders, while others wish to destroy them. Mostly, however, folks just want the power of possessing them. Miller must contend with these factions in his quest. We soon discover that using these objects does not come without a price, and those folks who do own objects are quite eccentric.
If you are willing to take the nearly 6 hour ride, you’ll be taken on an Alice’s journey through Wonderland. What is most amazing is the ease with which this show unfolds such a complicated mythology. I was drawn in almost instantly. Beyond the complex premise are the various factions and their myriad agendas. There are no clear cut good guys or bad guys here. The series operates in an almost constant shade of gray. Miller must make choices about who he can trust. The twists are as varied as the objects themselves. From the start we are guided with Twilight Zone precision into a world more out than “The Outer Limits”
Posted in: Disc Reviews by Gino Sassani on May 1st, 2007
“Gotta love me!” What’s not to love about this cute Disney comedy featuring the most sophisticated puppetry ever created for a television show? Sure, the series has taken its share of hits for being a little too preachy. But even an old conservative like myself really can’t find much to fault in the issues tackled by Dinosaurs. There’s nothing wrong with message entertainment as long as it actually entertains. As a long time Star Trek fan I’m no stranger to morality tales. Truth be told, the issues are simplified e...ough that I don’t get what all the complaining been about. This set brings us the final two seasons of the series. An added bonus is the inclusion of a handful of episodes that never did air.
Nothing changed in the makeup of the series from the first two years, so I’ll repeat the setup I gave you for that release: Each character was a sophisticated animated puppet as well as a suit performer. In all, it took four people to bring each character to life. Combined with the familiar voice talents of the likes of Sally Struthers and Sherman Helmsley, a “man in a suit”, and 2 animatronics puppeteers, these hysteric prehistoric characters were brought remarkably to life. Like The Flintstones, Dinosaurs was modeled after the popular 50’s comedy The Honeymooners. Earl was very much a Jackie Gleason clone from his “king of my castle” attitude to his bulky frame. Like Ralph, Earl had a meek and somewhat simple minded pal. Roy was as much an Art Carney clone as Earl was Ralph Kramden. Even Roy’s voice echoed Norton. The show diverged from its Honeymooner roots with the addition of two children. Robbie was very much a rebel against the sins of his society. Charlene was the typical valley girl who cared more about the latest fashions than anything else. Fran, the mother, was a somewhat modern woman who still managed to juggle independence with traditional roles. Finally the best laughs and lines came from newly arrived Baby Sinclair. His “Not the momma” , “Again!” and “Gotta love me” chants became pop culture mainstays.
Posted in: Disc Reviews by Gino Sassani on April 20th, 2007
As I watched the DVD for Deja Vu I had this uncanny feeling that I’d seen it all somewhere before. Suddenly it hit me. I had seen it all before. It was a darkened multi-plex last Thanksgiving weekend. That’s when I saw the film for the first time and was somewhat intrigued by the originality of the story. I have to say that watching it again on DVD, I think I liked it more the second time around. The basic concept is perhaps not original at all. It is the framework of the idea that I found refreshing. The film also...sparks more than a casual philosophical debate that brings in such high concepts as morality and paradox. This is certainly a film worth thinking about, and that is all too rare today.
Another area in which this film excels is the casting. It’s not that these are the most stunning performances I’ve seen. What I admire most here is the way the actors easily blended into their parts like a chameleon disappearing from a predator. None of the portrayals leap from the screen and dazzle you with their art, but you almost instantly accept all of them as the characters they play. For such a well known actor like Denzel Washington that is no small feat but, I believe, one of the best compliments one can pay to an actor. Paula Patton is stunning without looking like a typical sex symbol.
Posted in: Disc Reviews by Gino Sassani on April 6th, 2007
When last we saw our courageous Atlantis crew, they were in dire straights indeed. The series had just completed its first season, and not without at times relying on the mother series, SG-1, for help along the way. Would the show now find its own legs in its critical sophomore year? Would the Sci-Fi Channel continue to support it or take out its legs unrepentantly as they had done with Farscape not many years ago? Oh, and then there was that pesky Wraith problem we were left with in the season 1 ending cliffhanger... The Wraith are about to destroy the city when a wormhole from Earth delivers an SGC unit to assist.
Martin Wood asserts in one of his interviews that Atlantis and SG-1 were beginning to look too much the same on the surface of things. So, one of the mission statements for the second year was to give Atlantis its own look and identity. Without a doubt, Atlantis became darker, but without losing its humor or charm. A hard thing to pull off, indeed.Season 2 brings changes for Atlantis. Some I like. Some not so much. I’m not sure I’m happy with more permanent and reliable contact being restored with Earth. One of the show’s strengths was its isolation. Thus, the temptation to lean too heavily on its parent show would be minimal. I know there was the danger of the Deep Space Nine Syndrome, but I’d be willing to risk it. First off, these characters are far more interesting than those DS9 had, and while they might have been cut off from Earth, there was indeed an entire new galaxy to explore. One of the best moves was to take a rather mediocre character like Ford and turn him into a wonderfully complex villain, of sorts. With a greater range to draw from, we find out that Rainbow Sun Francks was a far better actor than season one would indicate. If you haven’t seen his new persona, you should get these DVD’s just for that experience. Another brilliant move was to use Paul McGillion more as Dr. Beckett. Once a throwaway character, he has blossomed this season into one of the better members of the team. The character chemistry between Beckett and McKay (Hewlett) is priceless. The most significant change for season 2 is the addition of Ronon Dex, played by newcomer Jason Mamoa. For me the jury is still out on Ronon. I understand that he brings a hyped up action persona to the mix, but I might have liked to have seen Teyla provide more of that in the future. The portrayal is quite good, but I’m not sold on the mix yet. The character reminds me somewhat of Vin Diesel’s Riddick.
