Posted in: Disc Reviews by Gino Sassani on October 11th, 2006
The third entry into the X-Men franchise turned out quite a bit better than I expected. Early script turmoils were only overshadowed by cast problems. It seemed the bottom fell out when Bryan Singer decided to take on The Man of Steel instead of X3. Enter Brett Ratner, best known for the Rush Hour films. Give the man credit for overcoming a ton of problems to deliver a pretty good thrill ride film. Ratner adapted quickly to the f/x driven world of X-Men and managed to fashion a rather compelling tale. The idea of a...“cure” for mutancy is likely the best plot element in the franchise. Ratner was smart enough to not tinker much with the formula already established by Singer. The problem is, he played it entirely too safe. The story has the potential for a hell of an emotional tale which it never quite delivers. Don’t get me wrong. I enjoyed the film a lot, and I have nothing against these amusement rides, but I couldn’t shake the feeling that this film wanted to be something more than it was. In the greatest traditions of shows like Star Trek, there was a powerful message to be mined here. Instead, it sat there more like a clever plot device, which it certainly was. Ratner did a fine job of dealing with so many characters all wanting their own moments to shine. Hugh Jackman still steals the show as Wolverine, but this time Berry’s Storm and particularly Famke Janssen have meaty roles, if not too much dialogue. The real cast surprise has to be Kelsey Grammer. Who could have guessed that barfly Frasier would make such a fine Beast? Patrick Stewart’s death scene was visually stunning but a bit of a letdown. (Stay tuned after the credits for more on this situation.) The Golden Gate Bridge sequence is a very impressive display. Finally, I expected to see more humor coming from Ratner. The fact is, I guess I expected that there would be too much humor. Perhaps he tried too hard not to create X3:Rush Hour.
For the most part this will be the last X-Men film for at least a little while. A Wolverine project will most certainly be the next related film. There is talk of a young Magneto film. I wouldn’t expect to see Berry return to the franchise, as she was not exceptionally happy with her role. When the X-Men do return, I would expect to see more time spent on different mutants. The three films do work well together as a satisfying trilogy. Any future films will likely take a fresh approach to the franchise.
Posted in: Disc Reviews by Gino Sassani on October 6th, 2006
I admit it. I thought our heroes at Stargate Command had finally had it for sure. Were the replicators back? How about the dreaded G’Ould? Perhaps another serious malfunction of the Gate caused by Carter’s meddling was about to tear a hole in the time/space continuum. What was I so sure might spell doom for Earth’s last line of defense? We’ve already escaped fiendish bombs and other devious devices. Plagues and epidemics? No problem. Just business as usual at the SGC. No. These things are just minor worries compar...d to that ruthless killer: major cast changes. Not only do we lose Richard Dean Anderson whose name appeared in larger letters above the title, but some of the new crew makes Stargate SG-1 look like a Farscape spin-off. Ben Browder takes over the team as Mitchell and Claudia Black returns as that interstellar con artist, Vala. Beau Bridges fills the very large shoes left by Don S. Davis as Gen Hammond to command the SGC. Yeah, I know Anderson took the gig for a while, but did we ever really believe that was going to last? A new base doctor comes to life, thanks to Andromeda’s living ship Lexa Doig. Even the villains are the new baddie Ori, and man, are they tough. Now, I know what you’re thinking. Shows like Law & Order have made cast changes the norm, but even on that show, never were so many major characters and threads changed so quickly. So call it Stargate SG-1 version 2.0. So how could all of this occur and leave our beloved series the same animal it always was? The answer is simple. It can’t.
I won’t go so far as to say the show is better, but I will say that it reinvented itself quite nicely after all. The powers that be made some smart choices after all. Teaming Black with Shanks avoids the inevitable Farscape trappings. It turns out the two of them have some rather fine, if awkward, chemistry. How about those new bad guys. Another great approach was to finally give us new enemies. The old story lines have pretty much run their natural course. The Ori are wickedly wonderful heavies. It’s not lost on me the religious fanatic angle either. Fortunately the creative team remains, so the writing and production values remain as high as ever. Now we’re exploring more Anglican mythology as we explore the traditions of Camelot and Arthur. The end result is a show we can still feel familiar and comfortable with, yet enjoy a fresh new take. If you are willing to give it a chance, I think that this new Stargate SG-1 will grow on you. So maybe let’s call it version 1.2.
Posted in: Disc Reviews by Gino Sassani on October 5th, 2006
Few names are as recognizable as that of Boris Karloff. The gentle English actor who brought us the sweet Christmas tale “How The Grinch Stole Christmas” also brought us some of the most terrifyingly wonderful performances in the history of the business. Cursed with a harsh enough look, Karloff was denied the mainstream success his ability so obviously warranted. He was one of the founders of the Screen Actor’s Guild and was extremely active in charity work throughout his lengthy career. Still, mainstream Hollywoo...’s loss was horrordom’s gain. From his first guttural grunts and hand gestures that brought alive the mute monster in Frankenstein, Karloff exhibited extraordinary brilliance in each performance. Even when forced to take unflattering parts in B productions, Karloff was the consummate professional. He always brought his A game. That dedication took what were originally throwaway parts and molded them like the craftsman he was into magnificent works of art. Here in the Boris Karloff Collection are five of those lesser known parts. No real monsters to speak of; Karloff shines in each film. Certainly these films can be described as diamonds in the rough, but leave it to Boris to teach us that there are no small films, at least not when the credits began with the name Karloff.
“Night Key” Karloff plays an inventor of a wireless alarm system. As often happens with Karloff’s characters, he’s ripped off by his partner who turns his system into a wealthy business for himself cutting Mallory (Karloff) out. But unlike other Karloff characters in this situation, Mallory seeks a non-violent revenge. What Mallory creates, he can also destroy as “Night Key”. Using his own device, Mallory, along with a small time crook, breaks into shops protected by his old partner’s firm, but not to steal. He’s only trying to make a point, until the local head hood comes calling to use the device to line his pockets. Of course, this really isn’t a horror film at all, but Karloff will make it worth your while.
Posted in: Disc Reviews by Gino Sassani on October 5th, 2006
By the middle of the 1950’s Universal was playing out its long string of monster movies that started over 20 years earlier with Dracula and Frankenstein. In the next year their last iconic monster would take its last bow in The Creature Walks Among Us. This Island Earth was a bit of a crossover film. Like many of the alien invasion films of the 1950’s the film capitalized on the growing belief that we were not alone. Contrary to the DVD’s misleading box art, these aliens were here to find answers to their own survi...al. The famous Mutants were shown all too briefly and were not the driving force of the story. The Metalutan Mutant was, perhaps, the last of the Universal creature designs. The large tan heads of Exeter and his alien cronies is a hoot compared to today’s images. The film was state of the art for its day and one of the first color science fiction films. Faith Domergue has almost become a stereotype today, but it was a meaty and progressive role for the time. A pleasant addition of Gilligan’s professor, Russell Johnson, adds to a strong cast that includes Rex Reason and Jeff Morow.
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Posted in: Disc Reviews by Gino Sassani on September 22nd, 2006
The team of Hanna and Barbara are as much a part of my childhood as Uncle Walt Disney. The Flintstones, The Jetsons, Johnny Quest, and yes…Tom and Jerry, were like faithful companions that were never farther away than our 15 inch black and white television set. Nostalgia is very in these days. Baby boomers are all facing the midlife years, and not surprisingly there is a warm longing for those buddies of our youth. It’s simple economics that studios would attempt to cash in on our bygone days. Now in our direct to ...VD marketplace, shows like Tom and Jerry are resurrected as much for these pining adults as they are for the eager youth just looking for a good toon. Add to this the popularity of pirate themes of late and you have the setup for the latest Tom and Jerry adventure. As much as it is good to see the cat and mouse team back in action, it reminds us yet again that you really can’t go back home. Now under the direction of Warner, Shiver Me Whiskers plays more like a Loony Tunes entry than the traditional Tom and Jerry buffoonery. Now this isn’t all bad, because Loony Tunes were some sweet toons. It’s just different.
Tom and Jerry are hanging out with one of three pirate brothers, Red Pirate Ron. Tom finds a map leading to one of the largest treasures in pirate lore. With dreams of wealth and a life of ease, the duo plot to plunder the booty for themselves. Naturally, the three pirate brothers might have something to say about that plan. Plenty of gags ensue.
Posted in: Disc Reviews by Gino Sassani on September 22nd, 2006
Fortunately, American Gun does not appear to be about the debate on owning guns. It’s a trap, and I doubt there will be much movement on either side of the issue. The film instead mostly deals with members of a community where three years earlier a Columbine-like school shooting occurred. The story slowly plods through the lives of several families, most notably the mother and brother of one of the deceased gunmen. This is where the title and its advertised premise confuse me. The story is more about the emotional toll any tragedy takes on a small town. Except for a paranoid obsession of a principal trying to keep the school free of guns, the weapons have less to do with the stories than one would expect. The most confusing factor in the film is the B story of a girl who works in her grandfather’s gun shop. This sidetrack takes place across the country and seems unrelated to the main plot. We never get a satisfying answer as to the connection. She has supposedly moved there from the West coast, and while it is never explained, one might guess she was at the school during the shooting. The film tries to stay away from the hit you over the head emotional plea to ditch all guns… that is, until a shocking and quite unnecessary convenience mart scene at the film’s end.
There are a ton of speaking parts in the film. It’s estimated at over 50 in the making of feature. The cast is quite good. I don’t only mean the obvious heavy hitters in Forest Whitaker and Donald Sutherland. Chris Warren, Jr. is marvelous as a kid who doesn’t really like guns but feels forced to carry because of his neighborhood. He considers walking around without a gun as being “naked”. Chris Marquette also has a strong role as the brother of one of the killers. I can’t even imagine what it must be like to be forced to attend a school where your brother killed students and teachers three years prior.
Posted in: Disc Reviews by Gino Sassani on September 19th, 2006
With the possible exception of the Vulcans no race has been given a richer history in Star Trek than the Klingons. We need to forget the drastic change in how these bad guys to allies look. In Enterprise this change is finally explained as a genetic experiment gone bad in an episode conspicuously missing from the set. I’m not sure I can criticize the episode selection, as they were voted on at Startrek.com. Still. I don’t like the over usage of repeats these collection sets are plagued with. It’s not like there are...’t a ton of Klingon episodes to pick from to include repeats like Trials and Tribulations from Deep Space Nine. Worf, perhaps the most recognized Klingon, is certainly one of Trek’s most interesting characters. Michael Dorn has essayed the role brilliantly over the years. Worf has grown throughout his run and Dorn deserves as much credit as the writers on that score. All of the Star Trek runs are represented here.
From Enterprise comes the pilot “Broken Bow” which I assume is included mostly as the first contact between Klingons and Humans. I would rather have seen the two-parter explaining the genetic mishap that changed some of the Klingons to human looking folks.
Posted in: Disc Reviews by Gino Sassani on September 19th, 2006
The Sci-Fi Channel has certainly gotten its considerable amount of money’s worth from Ronald D. Moore’s reincarnation of Battlestar Galactica. The trouble, at least for me, is that it is still very hard for me to consider this Galactica at all. It might have been better if, as Jack Webb used to say, the names had been changed to protect the innocent. There isn’t much doubt that this version of Galactica is innovative science fiction in its own right. The cinematography is often mind-boggling, if a bit too dark. T...e stories are also quite dark in tone. Here is where Moore misses the point of the original entirely. The first Galactica and Colonial Fleet were fleeing the destruction of their worlds, but with a great deal of hope in finding their long lost brethren: Us. In Moore’s tale, Earth is an almost impossible dream. The entire atmosphere is one of dread and bleakness. Galactica survives almost just for survival’s sake. No one is really living in this fleet. Not to say that Moore’s version can’t make for some compelling drama. It does. Under a different name I think I might actually be able to somewhat embrace this series. I can’t shake the feeling of watching something dear morphed into something it was never intended to be when I see Katee Sackoff addressed as Starbuck. She’s also one of the weakest actors to grace a major science fiction series since Denise Crosby.
OK. So let’s talk about what I DO like about the show. No question it’s the f/x. Moore has a luxury that not even a million dollars an episode could buy you in 1979. With today’s CGI advances, there isn’t very much that can’t be realistically visualized anymore. The fighters are sleek and the space battles are epic. If anything, these dogfights can get entirely too busy. Edward James Olmos is a fine actor and lends a ton of credibility to what is otherwise a fairly weak cast. His earlier concerns have ceased, either by studio edict or an uncharacteristic change of heart. Remember, it was Olmos who warned fans to stay away, offering that they would not be happy with the new show. The scripts are tight and go into depths the original never even attempted.
Posted in: Disc Reviews by Gino Sassani on September 13th, 2006
When I was young there was an armchair in the living room that had its back to the hallway leading to my bedroom. I would frequently sneak down that hall and hide behind the chair. There I could spend hours after my bedtime watching whatever my parents were watching on television. What I saw from my secret vantage point in 1975 was the scariest thing I have ever seen. All my life I have been a horror fan. From the silent classics of Lon Chaney, through the Universal masterpieces of the 30’s and 40’s, all the way to...the slasherfests of modern times, nothing has affected me more than Trilogy of Terror.
Trilogy of Terror was the mastermind of two of the genre’s greatest. From the imagination that brought us Dark Shadows and Kolchak: The Night Stalker we find Dan Curtis at his very best. His partner in Terror is the man who brought us so many Twilight Zones, Richard Matheson. Matheson also created some of the best horror novels of our time. I Am Legend gave us both the Vincent Price “Last Man On Earth” and Charlton Heston’s “The Omega Man”. Will Smith is currently taking a crack at the same story. Here the two teamed up for 3 half-hour tales, all staring Karen Black.
Posted in: Disc Reviews by Gino Sassani on September 13th, 2006
It’s time to say goodbye to that lovable furry alien from Melmac. After 4 years the network unceremoniously pulled the plug. Unfortunately it was in the middle of a cliffhanger. While a TV movie tried to wrap things up, I was never completely satisfied. The final season of ALF offers up pretty much more of the same. ALF’s go as a day trader is one of the better episodes. In case you haven’t noticed, all of the episode titles are song tittles. This season offers such hits and near misses as: Live and Let Die, Happy ...ogether, and the finale, Consider Me Gone.
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