Posted in: Disc Reviews by Gino Sassani on December 13th, 2006
Paul McCartney is a great example of what Darwin meant by survival of the fittest. No one in the music business has learned to adapt and thrive like Paul McCartney. The term timeless has been applied so often to so many performers that it might have lost any meaning. Still, if anyone deserves that description, it is Paul McCartney. With The Beatles he helped define the 60’s and reinvent Rock and Roll. In the 1970’s and 80’s he continued the hits with Paul McCartney and Wings. When Wings finally disappeared into the midnight sky, McCartney was still at it as a solo artist. Certainly, McCartney albums are fewer and far longer between. Still, each new release is an exercise in quality. Even when I don’t care for a particular McCartney song, it’s easy to hear the work that went into each note.
The Space Within US is a wonderful showcase for this ageless Beatle. At 65 years of age, he doesn’t seem to show any of it. He might not be quite as energetic as he was, but all of the passion and energy is still in the music itself. McCartney gets to wake up the astronauts aboard the International Space Station with a cut from his latest CD. (Talk about being up in the nosebleed section.) Even though I live in Tampa which was the second stop of the tour, I missed the show. Turns out Paul missed a hole in the stage and fell straight through. Fortunately he was unharmed, and the show, as they say, went on. I did catch McCartney here during the Trip The Lights Fantastic Tour, and it was one of the best I’ve seen. Only Elton John has put on a better one that I’ve seen. This concert film catches the show with a huge number of cameras and wonderful sound. I do wish the documentary material wouldn’t interrupt the concert. At least give us the ability to watch the performance uninterrupted. Some of the inserts are nice trips down memory lane or touching interviews with Paul himself. Some of it horribly detracts from the music. Do I really care what Bill Clinton has to say about McCartney?
Posted in: Disc Reviews by Gino Sassani on November 30th, 2006
Five years seemed to go by in the blink of an eye, but Sydney Bristow and friends have gone on their final mission. The final season brought along the expected plot twists, new faces, and clever disguises just as the previous four had, but something was definitely missing by now. With J.J. Abrams moving on to other things like Lost and Start Trek XI, it seems that Alias was left to fend for itself. Now, granted, it had been a while since Abrams was involved in the day to day running of the show, but by year 5 it se...med to also be lower on everyone’s priority list. It was the lowest ratings for many episodes. The introduction of Prophet Five never really made it out of the awkward stage. While it was clear that at times Alias was trying to return to the beginning in tone and delivery, the same tricks don’t seem to always work the second time.
Cast additions dominated this season cut short. Rachel Nichols is an attempt to remind us of our first introduction to Sydney. She also has been deceived into working for a CIA pretend organization called The Shed. Rachel Gibson has a more technical skill set, but takes to the APO as did Sydney. Amy Acker has the far better new role as Kelly Peyton. Peyton is a bit of a villainous foil that we could have actually used more of. Finally, I think we were all getting a little tired of Rambaldi. It would have served Alias far better to have moved on at some point. (I’m talking years ago.) By the last episodes all they were trying to do is wrap things up, and it ended up causing some contrived finishes that did not do the show or its legion of fans justice.
Posted in: Disc Reviews by Gino Sassani on November 29th, 2006
The first full season of Kelley’s “The Practice” spin-off was somewhat abbreviated. It was also a time to introduce us to the firm and new cast of characters. As is Kelley’s trademark style, we were sure of one thing. These characters would be quirky with enough of a touch of reality to keep them interesting. So as his flagship series faded away into production problems and slipping ratings, Boston Legal erupts like a phoenix from the ashes of certain death. Now as popular or more so than The Practice, Boston Legal...hits our DVD shelves for season 2. This set contains a whopping 27 episodes, which includes several originally produced for season 1. There is an awkward beginning to this season, as cast changes don’t kick in for a handful of episodes. Once the season finds its legs, however, it is better than ever.
Most of the action surrounds friends Alan Shore (Spader) and senior partner Denny Crane (Shatner). From the very beginning this coupling has been character chemistry at its best and perhaps drives the entire show. I say this because even the weakest and most outrageous stories are somehow worth watching just for the Shore/Crane antics. Shatner has certainly enjoyed a rebirth of his own with this role. The supporting cast is also very strong. Fellow Trek alumnus Rene Auberjonois plays senior partner Paul Lewiston and Candice Bergen is senior partner Shirley Schmidt. Both seem to exist only as foils for Shore and Crane. Leaving the series by the 5th episode are Rhona Mitra’s Tara and Monica Potter’s Lori. Lake Bell’s Sally left earlier to pursue sea monsters in the doomed NBC series Surface. The combination of laughs and drama continue. In spite of the often over the top Democratic rhetoric and Republican demonizing, the show offers plenty of entertainment no matter what your own philosophies. Still, Kelley just can’t seem to help himself, and when the show suffers, this is often where the weak link lies.
Posted in: Disc Reviews by Gino Sassani on November 24th, 2006
No monster movie is bigger than King Kong. AFI members recently considered King Kong to be the most influential film ever. The original King Kong has inspired more filmmakers, actors, and technicians than any film in Hollywood’s history. The score is considered the first modern film score. For the first time the music is timed to accent certain aspects of the action. Willis O’Brien practically invented movie special f/x with his revolutionary stop motion technique seen earlier on The Lost World. One of those filmma...ers so inspired was director Peter Jackson. It seems none of the wonderful journey that was Lord of the Rings would exist on celluloid if not for King Kong. At 12 years old, Jackson set out (unsuccessfully) to create his own version of the iconic film and has apparently dreamed of remaking it ever since. After a hopeful but aborted start in 1996, Peter Jackson finally brought his childhood fantasy to life, and was it ever worth the wait.
The first question you might ask is how does this film compare with the original or the 1976 Kong? This film simply blows away the 1976 debacle. As for the original? Obviously the 70 years of f/x progress means that Kong himself shows the greatest improvement. No question the stop motion Kong was the most spectacular thing 1933 audiences had ever seen. Today we live in a computer age where if you can imagine it someone can bring it to life. Jackson’s WETA Digital is very much like George Lucas and ILM. In New Zealand they are movie f/x. Unlike Lucas, Jackson integrates his f/x so intimately into the action that we cease to think of them as movie magic. Lucas tends to overload each scene with a “look ma what I can do” overindulgence. Andy Serkis plays the Kong character as he did with Gollum so that the other actors have something real to act against. His emotional range gives Kong a façade of realism that sucks us into the story without really thinking about the f/x. So, like the original, Kong is a real character to us, capable of feelings and deserving of our empathy When he finally slips from the tower of the Empire State Building, we share an emotional moment with Ann (Watts) that can only be possible for a real being. The film is far longer than the original. In this extended version Jackson’s Kong is about double the original’s running time. Jackson’s Skull Island, while richly detailed and far more elaborate than the original, maintains the illusion that we are in that same place. The creatures are purely magic, rivaling the best we’ve seen from Jurassic Park.
Posted in: Disc Reviews by Gino Sassani on November 22nd, 2006
Few science fiction films of the 1950’s left as much of an impact as Forbidden Planet. Gene Roddenberry often cited the film as the birth of Star Trek. It is in this film that he took away the interactions of an interstellar craft’s bridge crew. Even the United Planets organization in Forbidden Planet heralds Trek’s United Federation of Planets. Robby the Robot would become a science fiction icon and lead to a great number of copycats, most notably the Lost In Space robot. Robby even made a cameo on that show. MGM ...ulled out all the stops on what must have appeared to be a risky proposition. Certainly science fiction films were popular, particularly as drive-in fare, but most were created on shoestring budgets. Forbidden Planet was an honest to goodness blockbuster budget film long before the steady stream of big budget genre films were popular. MGM launched one of its largest promotional campaigns. For one of the first times in Hollywood history, there were product tie-ins and cross promotion on other MGM properties. Many of the images from Forbidden Planet were already familiar to the movie-going public before the film’s actual release. If anything else, this film would provide a model that huge budget films of today still follow when they hit the market. More than just science fiction cinema changed with this milestone release.
The cast of Forbidden Planet was another trend setter. Walter Pidgeon was already quite an established name outside of science fiction circles. Until this time, most of these films featured no name actors or contract players obligated to participate in whatever was tossed their way. Some prestige was bestowed upon the genre with that kind of a cast decision. Anne Francis, of course, steals the show whenever she is present on screen. Unlike the roles for women often provided on these kinds of things, Francis was given a chance to show true acting skills instead of simply being eye candy for the male audience. That’s not to say she wasn’t quite attractive, but the part required a great deal of emoting that this young actress was able to pull off nearly perfectly. Leslie Nielsen, now more renowned for his deadpan comedy, plays the ship’s commander. It’s not hard to see where Kirk got his flair for the feminine charms while watching Commander Adams working on Altaira. Future Six Million Dollar Man’s Oscar Goldman, Richard Anderson is also a pleasant casting gem.
Posted in: Disc Reviews by Gino Sassani on November 17th, 2006
The more things change, the more they stay the same. Season 5 of CSI saw really the first shake-up of any kind on this CBS anchor series. While there weren’t any serious cast changes, the team was split up. It’s apparent that idea didn’t work out very well. Modest ratings decline and vocal dissatisfaction from the internet fans and even many of the cast members were heard loud and clear. Now Season 6 brings the team back together again. It doesn’t take long for the old team chemistry to remix, and CSI returns to th...t comfort zone it has ridden for so many years. That comfort zone doesn’t necessarily mean same old stuff. The two-parter Bullets In Motion is one of the most action packed episodes of CSI ever. With an opening like Saving Private Ryan, the bullets are flying and the sirens are wailing. In the aftermath of this gang shootout with the cops, we have a dead cop and a lot of evidence to sift through. Fortunately for them, and us, the old crew’s back together and on the case.
There are some very nice moments in Season 6 to look for. Faye Dunaway stars as the corpse of the week in Kiss Kiss Bye Bye. This is also a good episode for the often underused Greg character. Werewolves is an amusing episode with some great moments for another underused character: David Berman’s Dr. Phillips. Even your Thanksgiving dinner will never look the same again after Dog Eat Dog. Fortunately you don’t need to use your imagination to figure this one out.
Posted in: Disc Reviews by Gino Sassani on November 15th, 2006
I never saw the original film, so I won’t be able to offer any insight on how this film might compare or continue the story set down by Save The Last Dance. What I can say for certain is that this direct to video release isn’t worth the 86 minutes it takes to watch it. The film begins with the first film’s Sarah (now Miko). In a video much like one provided for a dating service, she’s telling us how she feels about various things. These are her highlights and already I don’t care. She is apparently headed to Jullia...d, which seems to be a thread from the first film. There she is torn between her classical training and her passion for hip hop. The conflict presents itself even further in the unlikely pairing with Miles (Short). What follows is a romp in the world of hip hop dance music. If you are a fan of the genre, the music is really the only redeeming value in the entire film. Plot lines are introduced, dangled, or made to disappear completely and without resolution. Maybe it’s bad editing, but I simply couldn’t follow most of the subplots. The against all odds finale is unbelievable even by fantasy standards. None of the performers give us characters to care about. Even Jacqueline Bissett can’t salvage this film. Most of her performance seems to be mired in a “What the hell am I doing this film for?” attitude.Be warned. This film will leave a void in your life. An hour and a half you’ll never get back.
Video
Posted in: Disc Reviews by Gino Sassani on November 10th, 2006
In the wake of cable television’s recent success in the horror anthology genre, TNT brings us 8 tales from the mind and pen of Stephen King. Showtime’s hugely popular Masters of Horror series set a high standard while proving that this time-honored method of storytelling could survive. Cable’s unique ability to circumvent many of the censorship problems that plague network television puts them at a distinct advantage. Here it’s easier to tell compelling stories, with limitations, for the most part, only in the imag...nation of the story teller himself. And oh, what an imagination to cultivate, that of Stephen King. In his garden some of our most frightening nightmares are tended like the fragile leaves of a new basil plant. Here our fears are planted in fertile ground indeed, as fertile as graveyard dirt. These stories are what set apart this series from the many that have come and gone before. Most of the stories carry a feel very much like the 1990’s Outer Limits episodes we saw on Showtime a decade or so ago. You can almost hear the controller’s voice delivering a sober moral as each piece fades away. There are 8 episodes, each about 45-50 minutes spread out over 3 discs.
Disc 1
“Battleground” The teleplay is by Richard Christian Matheson, son of the great Richard Matheson who brought us many Twilight Zone adventures as well as “I Am Legend”, basis for a third version starring Will Smith, coming soon. The father also wrote the teleplay for the famous “Prey” segment of Trilogy Of Terror. This story is very much an almost remake of that episode. The story is unique in several ways. The most obvious is that there is no dialogue in the entire hour. I found it slowed the story down quite a bit, particularly in the overlong setup. Here William Hurt plays an assassin who slowly breaks into the headquarters of Morris Toys, where he apparently was hired to kill Morris, the owner. He commits his dirty deed and steals a music box dancer as a souvenir. Back at his plush penthouse apartment, we see he has collected many of these trophies over the years. In Battleground, we find that payback’s a bitch. A mysterious package arrives by carrier. Inside is a chest full of plastic army men and play equipment. These guys are pretty much like the versions we all had as kids. The toy regiment comes complete with choppers and jeeps as well as a “surprise item”. Our killer’s apartment becomes the titular Battleground when the toys come to life and terrorize the man. The f/x here are simply amazing as the toys wage a war with our gunman. There are even shades of another King classic, “The Ledge” from the Cat’s Eye collection here. After that slow start, things move at a brisk pace now that the battle is on. The Zuni Doll from the original Trilogy Of Terror episode also makes a cameo in this story. It acts as a nice moment of foreshadowing. Hurt has to carry the story, at least until the real action kicks in. You’ve just got to have some patience and it will finally be paid off.
Posted in: Disc Reviews by Gino Sassani on November 9th, 2006
Ultraman is a huge part of Japanese culture and pretty much has been since the original live action show in 1966. Perhaps Godzilla started the ball rolling, but Ultraman brought us these monsters on a regular basis. In Japan, Ultraman is like our Superman. He’s an iconic hero and a huge part of the pop culture. Since the 60’s he has appeared in many forms, most of them animated. But it is this 1966 series that made a ton of us kids fall in love with him and an entire genre. Yes, there were many from the era: Space ...iants featured a giant fighting robot who fought monsters sometimes converted into a spaceship (yes, before transformers were ever thought of); Johnny Socko had his giant robot; and the list goes on. But it was Ultraman that started it. Eiji Tsuburaya, who created the original Godzilla, formed a new company outside of Toho Pictures. Ultraman was pretty much the first thing out of the new shop.
Ultraman was a space being who was chasing an escaped monster. When his spacecraft collided with that of Science Patrol Officer Hayata, he inadvertently killed the young man. To make up for his mistake and also offer Earth a way to fight the endless row of monsters unleashed, he merged his life with Hayata. Now, whenever a monster threatens, Hayata uses his “beta capsule” and morphs into Ultraman. Complete with martial arts moves and an array of ray weapons, Ultraman fights these creatures in hand to hand combat. The downside is that Ultraman’s solar energy diminishes rapidly in Earth’s atmosphere. As he weakens, a light on his chest flashes. A narrator reminds us each time that if it stops, Ultraman will die.
Posted in: Disc Reviews by Gino Sassani on November 9th, 2006
William Keane (Lewis) has apparently lost his daughter, abducted from a New York Subway station. The film opens with a frantic Keane searching for anyone who might have seen her. But did any of it really happen? At first Damian Lewis’s performance completely sells the abduction. Every nuance of his acting tugs at our heartstrings for his horrible loss. His incessant searching and constant probing of his own memory draws us deeper and deeper emotionally into the set-up. It doesn’t take us very long at all to questio... the event and Keane’s sanity. In short time the story begins to unravel along with Keane’s mind. Again, it is a superb performance by Lewis that makes it all so real. It is this compelling performance that makes any of this interesting to us at all.
Keane, both the film and the man, is a detailed character study into the mind of a seriously troubled man. His troubles run far deeper than the possible missing child. Barely surviving in a hotel room with no job, we soon learn he is on some kind of disability. We are pretty sure what that’s all about. Keane spends a great deal of his time either drunk or high on coke. While it is almost impossible to have any kind of sympathy for this man, we are hooked into caring what happens to him, and more importantly what he might do next. Perhaps it’s the same concept as watching a train wreck, because we never believe this story’s going to end well for Keane or the young mother and daughter he befriends at the hotel. With this relationship our suspicious nature is aroused. Now we’re never really sure if Kean’e state of mind is a result of the substance abuse, or rather the reverse. A meltdown in a bar and a growing paranoia starts to scare the hell out of us, yet we simply can’t look away. Again, credit Lewis and his amazing performance.
