Posted in: Disc Reviews by Gino Sassani on November 8th, 2006
One of the longest running and most successful television sitcoms came to an end on February 28th 1983. It was an event to end all events. Goodbye, Farewell, and Amen was perhaps the greatest series finale in television history. It was certainly the most watched. Night workers called in sick. Some businesses either suspended work or offered sets for workers to see this long anticipated conclusion. What a fitting end it was. Each character was given what amounted to the best moments in the run. More serious than fun...y, this 90 minute movie explored the end of the Korean War and the effect it had on this family of people who spent eleven long years away from home. Of course, the actual war lasted only a fraction of that time. Still, this collection is worthy of owning, if only for that single episode..
Not that there wasn’t a wonderful collection of MASH moments to be had in the final year leading up to this dramatic conclusion. Trick or Treatment was a hilarious Halloween show. Paranoia sets in when BJ announces the greatest practical joke of all time will be played in just a day’s time in The Joker Is Wild. An Enemy Mine relationship develops in Give and Take. Everyone involved knew from the first episode of the season that MASH was going to end in the spring. Rather than go through the motions as too many “lame duck” series have done, MASH never let up for a second. It was the professionalism from the writers to the actors that allowed the team eleven years on the air and the chance to go out in style. Mission accomplished.
Posted in: Disc Reviews by Gino Sassani on November 8th, 2006
The DVD is basically one of those HBO comedy stand-up presentations. George Carlin’s been doing them for years, but Lewis Black ain’t no George Carlin. He’s just an angry middle-aged liberal with an agenda. As Terry Bradshaw is fond of saying: “That ain’t funny.” Say it again, Terry. The crowd seems appreciative enough, so maybe there’s about 1500 DVD sales there. I had heard very little about Black before this DVD came my way, so I had really no expectations going in. Somehow I had managed to miss any of his mater...al, and now I know why. It just isn’t very good. Now, if you’re looking for some harsh potshots at Republicans and the current administration, you’ll likely eat this stuff up. You won’t really laugh, but you’ll feel warm and fuzzy inside. You could just hug a teddy bear and skip the antics. To his credit, he does take one shot at Kerry, but somehow manages to bring it around to another jab at Bush. All of the so called jokes are merely DNC speaking points, yelled at times to attempt to make them funny. Hell, maybe they should do a Howard Dean HBO comedy special. I’d pay good money for that one. But Carlin does the same thing, you might say. Sure. But Carlin’s funny as hell.
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Posted in: Disc Reviews by Gino Sassani on November 1st, 2006
Another long running series finally comes to an end … almost. The 7th and Final Season of MacGyver does not include the tele-films that really closed out the series. Unfortunately this is an abbreviated season with about half as many episodes. This is also another one of those running out of gas years that many quality shows end up doing before the series is mercifully put to rest. One never tires of seeing Richard Dean Anderson come up with his home brewed innovations, but by now it is clear that Anderson has tire... of bringing them to us. The show finally jumps the shark when Mac is sent to the Court of King Arthur an episode more appropriate to Anderson’s subsequent role in SG-1. Fan favorite villain, Murdock, returns again to taunt MacGyver in one of the season’s few shining moments.
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Posted in: Disc Reviews by Gino Sassani on October 27th, 2006
The networks finally achieved what drug lords, mobsters and even zombies could not. Year four meant the end of Starsky and Hutch. Unfortunately the show was running out of gas quickly, so this was not near the quality of the previous years. It looks too much like David Soul and Paul Michael Glaser were pretty much ready to move on to other things. Neither of the men would make the impact again they made with Starsky and Hutch. Huggy Bear is not to be found near as often as he had been, so a ton of the humor was mis...ing from the season. Many of the storylines were recycled from previous episodes, like the one partner in the hospital while the other tracks down the bad guys routine. Still, even just going through the motions, the boys are worth watching one more time.
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Posted in: Disc Reviews by Gino Sassani on October 25th, 2006
Wasn’t it just yesterday that The Fast and the Furious raced across our theatre and soon after took the checkered flag on DVD in our own living rooms? I guess not, because Fast and the Furious: Tokyo Drift is upon us, and it’s the third and least imaginative of the franchise. Unfortunately, none of the previous films’ characters return for this third outing. I don’t count the clever little cameo that serves as the film’s coda. Gone are also the cool American muscle cars that gave the franchise its edge. The souped ...p autos this time around don’t stand out beyond the bright paint jobs. Lucas Black is quite one dimensional as a teen who has been busted one too many times street racing. He’s forced to move to Japan where his father is stationed, where he pretty much takes up where he left off. This time around the film concentrates its energy on a driving style apparently popularized in Tokyo called drifting. Hence the name. Drifting is the ability to make sharp turns by basically sliding sideways. Boy, that can’t be easy on the tires.The trouble is, the maneuver is pretty boring to watch. It might better please the figure skating crowd, but not the hard core NOS driven racing nuts that seek out these films. The only character worth caring about is Twinkie (Bow Wow), the fish out of water ghetto kid on the streets of Tokyo. The love interest this time around is a gangster girlfriend, Neela (Kelley) but she shows about as much emotion as the cars. And it’s the cars where this thing quickly runs out of gas.
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Posted in: Disc Reviews by Gino Sassani on October 20th, 2006
From the rather twisted mind of Stephen King, Pet Sematary is actually one of my favorite of his horror novels. It’s scary to think the story was never meant to be published and only offered up to finish a contract with his earlier publisher. As has been the Stephen King plague at nearly every turn, something ends up lost in the translation. In the novel, the deeper subtexts that King is so adept at take several hundred pages to set up and ultimately pay off. Unfortunately a mere couple of hours of celluloid never ...eem to scratch the graveyard surface soil. Pet Sematary is, sadly, a definitive example. While the original work taunts us with its mystic undertones that always seem far more believable than they ought to be, the film lays down a path as overgrown as the one leading to the titular graveyard. At first the two works are not so convergent, and a great deal of hope is to be had. Soon, however, the movie descends into the typical shock horror film so common in recent years. Startles and zombies begin to dominate the experience, while the story’s deeper and far more frightening elements lie as dead as the bones of the neighborhood pets.
The plot points are pretty faithful to the King work. For ages the kids in this suburban Maine neighborhood have been burying the remains of their beloved pets, often victims of a dangerous road, in the barren soil of the local Pet Sematary, misspelled by the countless kids who christened the field untold years ago. But beyond the pet graveyard is a more mysterious and foreboding place. It was here that Indians brought the dead back to life. Our unfortunate family is about to discover that perhaps “dead is better”.
Posted in: Disc Reviews by Gino Sassani on October 20th, 2006
This could have been a pretty good film. I just don’t know. The advance material and the jacket suggest this is a “gripping thriller” with timely themes of terrorism and war. As soon as the film opens, it becomes immediately obvious that something entirely different is at work here. A news report suggests that a tyrant is showing his compassion and generosity when he commutes the sentence of a prisoner about to go to the guillotine. What does he commute the sentence to? Death by hanging. What a guy. I think my mood...was determined at that point. With the evident conflict, I begin to wonder just what the intent really was. Is this a satire? Do they really think this is “gripping” stuff? It’s hard to believe that the satirical nature of this script could be accidental. The entire film presents us with awkwardly comedic elements mixed with rather brutal images of death and torture. So what the heck is this film after all?
The film opens with an explanation that this undisclosed nation has been ruled by a brutal tyrant for many years. Upon the man’s suspicious death, his inept son, affectionately called Jr., takes over. The trouble is Jr. is worse than his father and is far more concerned with making bad action films than actually running the country. Campaign ads remark that you should “re-elect President for life and Things Will Be OK”. An underground revolutionary leader has been in prison for over ten years. He uses the time to write quaint words of wisdom on the walls of his cell in excrement while enticing his guard to his political beliefs. What follows is an expected coup followed by yet another brutal dictatorship. As the soldier wisely remarks, “Before the revelation it was man exploiting man; after the revelation it has reversed”. It is in this second act that the film attempts to jettison its comedic style and be the serious effort it claimed to be. More brutal images assault us at every turn, but by now it’s too late..
Posted in: Disc Reviews by Gino Sassani on October 18th, 2006
In 1984 Brian De Palma dusted off his best Alfred Hitchcock imitation in the by now infamous Body Double. We all know the story by now. In fact, if you’ve seen the far superior Vertigo and Rear Window films, you knew the story already. Claustrophobic vampire actor Jake Scully is having a hard time. He’s just been fired because he can’t lie in a coffin, and getting home early, he walks in on his girlfriend in bed with another man. Out of work and homeless, things look up when a fellow actor gets him a sweet housesit...ing gig in a flying saucer shaped condo overlooking the Hollywood valley. There, he is obsessed with a neighbor he spies on with a conveniently provided telescope as she performs all sorts of sordid little things naked in the window. Looks like things are really going well now, until he believes he has witnessed a murder. His investigation into what he saw leads him to the underworld of the porn industry and into the arms of porn queen Holly Body (Griffith). Most of the film takes place at a painfully slow pace. De Palma offers up a lot of stylistic cinematography but not enough action or suspense to keep us all that interested. While the erotic nature of the film was quite shocking in 1985, it just doesn’t pack that kind of a punch today. When De Palma wants to, he can simply ooze atmosphere on film. In Body Double, he oozes something a bit less flattering.
Part of the blame for the film’s awkward pace must be taken up by Craig Wasson. He simply can’t emote beyond a typical movie of the week level. The same can be said for villain Sam (Henry). On one hand, De Palma is trying to dazzle us with the epic scope of the thing, but his two main actors limit that range significantly. Credit should be given to Melanie Griffith, who is miscast in her part, but carries it off with more credibility than one would expect. The stand out has to be Deborah Shelton, who is captivating with little to say. Dennis Franz stands out in his comedy relief portrayal of the director who fires Jake. He’s playing De Palma to a fault, including De Palma’s own clothes. Both men admit in the extras that Rubin was indeed based upon De Palma..
Posted in: Disc Reviews by Gino Sassani on October 18th, 2006
After one year of Alfred Hitchcock Presents, television had been forever changed. Hitch proved beyond any doubt that film quality production was practical in the fledgling television format. Nothing changed as the show returned for its second season. Hitch had a remarkable eye for good stories, and he often found them in the most unlikely of places. Take two of this season’s episodes. In The Three Dreams Of Mr. Findlater, a man fantasizes about his nagging wife’s death. In A Man greatly Beloved, we find a small tow... embracing none other than the Boston Strangler. Nothing new in the macabre world of Hitchcock, except perhaps that these tales were born in the same brain that brought us Pooh Bear and Piglet. A.A. Milne provided these wickedly sinister tales. Hitch mastered the art of dark wit. In The Indestructible Mr. Weems, a lodge brotherhood tries to cash in on a dying member, but in the world of Hitch we probably already knew how this was going to end. Hitch himself directed One More Mile To Go, which would eventually provide some of his later inspiration for Psycho. We also find the only multi-episode story of the entire series in I Killed The Count, which aired over three weeks.
Hitch was also a good judge of acting talent. A great number of the show’s performers became household names in one acting medium or another. In season 2 look for Dick York, Barbara Baxley, James Gregory, Sir Cedric Hardwicke, Ralph Meeker, Rip Torn, Steve Forrest, Claude Rains, Vic Morrow, Jessica Tandy, and many more. Of course, you can count on Hitch himself to continue his tradition of introducing each episode and then wrapping things up, usually with an additional moral epilogue.
Posted in: Disc Reviews by Gino Sassani on October 11th, 2006
The USA network took over the Forever Knight series for its third year. In a way, you could say they saved the show from cancellation, but they also killed it. In keeping with the nework’s M.O. of the time, it was believed the series wasn’t accessible enough. The obvious grab for the younger audience appeared in the likes of the Andy Garcia clone Ben Bass as the Vachon. Lovable partner Schanke was killed off along with the previous season’s captain. Nick was given a female partner in the likes of sci-fi veteran Li...a Ryder as spoiled daddy’s girl Vetter. La Croix and Janette took much smaller roles, and the whole thing smelled more like a soap opera. Fortunately the new network didn’t play with the traditional double story aspect that made the show unique. The atmosphere pretty much remained intact. Now Nick’s partner is aware of vampires, but not that Nick is one of them, which is far more unbelievable. The sexy element was ratcheted up a bit to try to increase the ratings. All of these elements failed to bring in new viewers, and Nick Knight was finally laid to rest with most of the cast in May of 1995.
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