Posted in: Disc Reviews by Gino Sassani on April 12th, 2006
The Greatest Game Ever Played?
When I saw that title on the DVD case my immediate thought was: “How did Disney find out about my 1981 Marathon game of RISK where I took out Mark “Trip Sixes” Shreader in 9 hours of battle? Of course, I soon decided they meant professional sports. This film would be about the Minnesota Viking playoff whoopin’ of the Green Bay Packers at Lambeau Field. Turns out that wasn’t it. Point of fact, not one game of the 1980 World Series victory of the Phillies made the cut. Sudde...ly it hit me. Disney does ice hockey films. They must have made one about the Tampa Bay Lightning’s Game Seven beat down on some Canadian boys to win the Stanley Cup. Wrong! Apparently long before my boy Abner picked up a bat or Dr. Nesmith was shooting soccer balls into his trashcan, some funny looking fellas in Scotland had come up with their own game. Golf. Don’t get me started. Still ESPN says it’s a sport, so who am I to argue?
So let’s talk about the film. It’s an old formula, and no one tells them better than Disney. Let’s face it who can tell a Cinderella story as well as the folks that brought you… well, Cinderella. Disney sprinkles enough of their traditional family movie magic to at least make this film somewhat interesting to those of us who do not enjoy golf. The opening credits hark back to Monty Python with clever use of cut-out animation mixed with period film. The screenplay was written by Mark Frost from his own novel.
Posted in: Disc Reviews by Gino Sassani on April 5th, 2006
Let me admit straight away, I generally do not watch very many foreign films with subtitles. If a film is not dubbed in English, I generally pass. It’s not for a lack of tolerance. When I watch a film, I immerse myself into what I’m seeing. Films are total escapist fun. I experience a film more than view it. Having to read the dialogue denies me the ability to experience rather than watch the film. I also find that while I am busy reading subs I will tend to miss some of the film’s subtleties, which are quite important to me. In Gamblers, there is the added liability of dual languages. There is a prominent Asian element to this film. It took me too long to realize that more than one language was being spoken and that some of the characters could not understand others. The subs are presented with no distinction as to who is speaking or what language they are speaking. OK. End of disclosure.
As far as I could make out, Gamblers involves a territorial street gang that is somewhere between the mob and the IRA. In typical “Bloods” vs. “Crips” style, there is a reasonable amount of mayhem between two of these street gangs. Unfortunately we are never brought into the workings of either gang, and the violence appears simply as a result of one Asian boy’s love for an Asian girl. To add to the silliness of the whole premise, the violence results simply because Juen is bothering the girl while she is supposed to be working. A series of inexplicable romantic relationships is never fleshed out enough for us to care. Unless something serious was lost in translation, the dialogue is very simple tripe. An entire romantic conversation seems to be about nothing but another man’s penis. Fortunately much of the music is in English.
Posted in: Disc Reviews by Gino Sassani on April 3rd, 2006
When it absolutely positively has to be there by next month.
ABC made an effort to bring back the western in 1989. But The Young Riders was more of an extension of the popular Young Guns films than the traditions of Gunsmoke or Bonanza. I didn’t catch this show on its original run, so the DVD’s were a particular treat. A chance to see something new. Still, I never could shake the feeling that I’d seen it all before. Give ABC credit for a decent cast of upcomers. The production values were also far great...r than one usually finds in a network drama series. The major flaw was to base the series on the Pony Express. The premise required the characters to be out on runs for nearly a month at a stretch, which would leave very little time for the interaction and continuity necessary for an ongoing series. The Young Riders solved that problem the old fashioned way. They simply ignored it. The result was a show increasingly less about the Pony Express and more about life on the station’s ranch. The action was more or less provided with the cast helping out damsels in distress and fighting bad guys. It’s a wonder any mail got delivered at all. In an effort to forge some name recognition, the characters are made up from mostly misplaced western legends. If you are at all annoyed with glaring historic inaccuracies, this is not the show for you.
If you can get past the flaws of the premise, there really is some quality television to be found here. The locations are a treat for the eye. John Debney’s music is a wonderful fusion of Western and modern sounds. The cast is also quite a treat. Anthony Zerbe creates a compelling character with his Teaspoon Hunter, the station manager and father figure for the young recruits. Homicide’s Melissa Leo counters as the matriarch figure on the ranch. She is joined by her future Homicide partner’s brother, Stephen Baldwin, as Buffalo Bill Cody. Another famous brother, Josh Brolin, played Wild Bill Hickok. In one of the film’s greatest believability stretches we find Yvonne Suhor as Lou, a girl passing unconvincingly as a boy. Ty Miller plays the enigmatic “The Kid”..
Posted in: Disc Reviews by Gino Sassani on March 31st, 2006
“Who you gonna call?” By now everyone knows the answer. Dan Aykroyd, Bill Murray, Harold Ramis, and Ernie Hudson are the Ghostbusters. As their ad proclaims, they’re ready to believe you. Ghostbusters was originally conceived by Aykroyd as a vehicle for John Belushi and himself. When Belushi died, reportedly from a drug overdose, the project sat on the shelf a few years. Harold Ramis would eventually team up with Aykroyd and finish the script. It’s been said that “Dying is easy. Comedy is hard.” Leave it to these ...wo knuckleheads to combine the two and create a phenomenon. Like pretty much anyone else, I’ve seen Ghostbusters many times in the last 20 years. And just like all of you, I’m still not tired of it. I am, however, done with the repetitive theme song. This release marks at least the third time Ghostbusters has appeared on DVD. This version appears to be identical to the double package release of both films about a year ago.
Ghostbusters pioneered the big budget comedy. Not since “Abbott and Costello Meet Frankenstein” have the genres of comedy and horror combined in such masterful form. Ghostbusters had the quality f/x of a blockbuster sci-fi epic. The casting was nothing short of genius. Each cast member brought a distinctive and integral element to the film. Murray provided the used car salesman aspect. Aykroyd perfected the common wide-eyed man with just enough knowledge to be dangerously funny. Ramis played the 50’s style scientist with the stoicism made famous in films like This Island Earth. Hudson was brilliant as the Joe six-pack, obviously intended to represent us, the audience, on this adventure. Sigourney Weaver weaves in just the right amount of sultry and unintended villainy to complete the palette of colors necessary to pull this all off. The supporting cast features actors destined to become stars themselves in the likes of Rick Moranis and William Atherton. While many of the f/x don’t quite meet today’s exploding expectations, they were state of the art in 1984. Forget Kong. Who can resist the giant Sta-Puft Man?
Posted in: Disc Reviews by Gino Sassani on March 28th, 2006
Where is Chuck Norris when you need him? The Rangers alluded to in this Babylon 5 film aren’t anything like Walker’s bad boys. These Rangers talk tough but are pretty much dull when it comes to action. The problem with Babylon 5 has always been the convoluted and complicated mythology of the show. I’m a huge science fiction fan who has always wanted to get into this show but just couldn’t wrap my mind around the premise. The Rangers are no exception to this flaw. These guys are charged with basically protecting the...helpless in the Galaxy. Instead they mostly spill out Yoda-like nuggets of wisdom. Die hard fans will probably get most of this, but apparently there weren’t enough of them. This was intended to serve as a pilot for a Babylon 5 spin-off that never got off the ground. Check out this film and you’ll understand why.
It appears the most important element in the Ranger code is to never retreat. Echoes of Galaxy Quest’s “Never give up. Never surrender” abound. It’s almost as comical. Captain Martel (Neal) has broken this sacred oath when he retreated with a crippled ship from an imposing enemy. He’s now out of favor with the council. When Ambassador S’Ka speaks up for him his career is spared. Still… Hell hath no fury like a council scorned. Martel is given command of a cursed ship that isn’t even ready to launch. His duty is to escort the Ambassador to a mysterious meeting about a new threat in the Galaxy. Of course, things go wrong, but the hopelessly outgunned Martel manages to save the day. What an original plot that was. And they all lived happily ever after in cancellation land.
Posted in: Disc Reviews by Gino Sassani on March 28th, 2006
Sliver is a sexy thriller that is neither sexy or at all thrilling. Filmed in the wake of the hugely successful Basic Instinct, Sliver has all of the elements but none of the passion. Call it Basic Instinct lite. Less filling without the great taste. Sharon Stone sleepwalks through her role of Carly. Carly works at a publishing house and has recently moved into one of New York’s plush apartment buildings. She was trying to ride her Basic Instinct wave here, but the truth is she has never really lived up to the pote...tial. William Baldwin tries at least a little harder as Zeke, who happens to own the building where tenants seem to end up dead, particularly young attractive women. Zeke loves to watch the private moments in his tenants’ lives. He is likely intended to represent the audience. Filling out the cast is Tom Berrenger as Alex, a self-absorbed writer who is obsessed with Carly. Martin Landau is underused as the fatherly owner of Carly’s company. Red herrings abound. Twists are nothing more than cheap thrills.
This “unrated” version promises scenes too hot for theatres. All you really get is a little more moaning from Sharon Stone and not anything remotely steamy. The final product is a film that will leave you unsatisfied whatever your intention going in. The new scenes serve simply to slow down an already hopelessly bogged down premise.
Posted in: Disc Reviews by Gino Sassani on March 24th, 2006
Season 7 of South Park has all the earmarks of a successful show trying to return to its roots. With Kenny back, we are once again treated to multiple deaths, although not on a weekly basis. The very first episode of the season recalls the show’s Comedy Central pilot episode. Cartman is once again struggling with his Anal Probe incident. There are tons of homage elements to South Park’s origins. Could it be that Stone and Parker have decided to satire themselves? Season 7 revitalizes a show that quite honestly had ...escended to too many cheap shots and over the top disgust to stay fresh. South Park is back and as good as it ever was in Season 7. Some of the highlights include: Cartman sings gospel music for Jesus, Jimmy and Timmy mix it up with the “Bloods” and the “Crips”, Cartman returns to law enforcement, and Gay Pride reaches South Park.
Video
Posted in: Disc Reviews by Gino Sassani on March 14th, 2006
Johnny Cash’s dramatic road to Christianity is no secret to his fans and thanks to the recent biopic, Walk The Line, it’s no secret to the masses. Cash made this film, he explains, to show people why he is so drawn to the Passion of Christ. This is no doubt a sincere effort to bring this expression to life. The film is entirely shot in the Holy Land. The film is enhanced by the wonderful locations. Cash attempted to follow the actual path of Christ. There is no doubt that the care and conviction Cash felt is evide...t on the screen..
Gospel Road is basically the story of Christ’s life. Cash narrates the entire film which gives it more of the flavor of an educational effort. At times it feels like watching an A&E biography. When Cash isn’t speaking he’s singing. It is in the music that this film separates itself from the many Christian biopics out there. Unfortunately there really aren’t many complete songs. Instead he uses musical phrases to reinforce more powerful messages. The bad news is that the cast has a very difficult job. There is no real dialogue from the actors. The only notable exception is June Carter Cash, who plays Mary Magdalene. She has the only real speaking part in the film. While she does a good job I’m not sure it fits the message Cash was trying to convey. It seems strange that that role would be stronger than even Christ himself. The action takes place not on sets but rather out in the wilds of Israel. The style recalls the technique also used to great effect in Jesus Christ Superstar, coincidentally another musical depiction of The Passion..
Posted in: Disc Reviews by Gino Sassani on March 9th, 2006
In its first year NYPD Blue succeeded through controversy. Language and partial nudity was pretty much all the critics were talking about. Season two brought “the test”. Could the show survive a major cast loss with David Caruso’s well publicized split from the show? Season three, however, is when it all came together. It’s so much fun watching a quality series hit its stride, that season when everything falls into place and we see for the first time that we could be in for a sweet ride.
The cop show ...as back in the 1990’s resurrected by the man who performed CPR on the genre in the 1980’s. With NYPD Blue we realize that Hill Street Blues wasn’t a fluke. Jimmy Smits was far more compelling than Caruso could be on his best day. The writers were beginning to find deep emotional material here. The season’s many rich themes included alcoholism, with not only Sipowitz but the newly formed Russell character. This seems to be a common theme for Steven Bochco. Every one of his shows have featured at least one alcoholic. Andy gets a fresh shot at fatherhood. One of the most compelling arcs has been the Andy/Andy Jr. arc. The tragic death of his son and the birth of a new son were huge stories in this season. Overall the characters are challenged both professionally and personally. The show’s documentary-like filming remains. This is the point when NYPD Blue finally took shape. We haven’t looked back yet, until now.
Posted in: Disc Reviews by Gino Sassani on March 8th, 2006
MacGyver (v) To act in an extremely resourceful manner. To utilize everyday items in unconventional ways to achieve a difficult task. I predict it will not be long before you can open your trusty copy of Webster’s and find this character has officially entered our lexicon. There is little doubt but that it is an unofficial part of it now. Crossing over from the realm of pop culture and into our language is a phenomenal achievement for a television show.
I came to the MacGyver party rather late. Like ...veryone else on the planet I was certainly aware of the show and the clever abilities of the lead character. Still, with so many other shows to watch, I never saw a complete episode. Then came Stargate SG-1. This was another series I at first avoided. I thought the original film was OK but nothing I’d care to see week in and week out. One day while my wife was taking our neighbor’s dog to the vet I was bored and sat down to an episode on Showtime. I was hooked, not only on the series, but the characters, along with their alter ego actors. Richard Dean Anderson I found most compelling. I must admit to confusing him at first with the Richard Anderson of The Six Million Dollar Man fame (Oscar). Finally I sat down to some MacGyver on DVD. It didn’t hurt that MacGyver’s boss bears no small resemblance to O’Neil’s commanding officer, played by Don S. Davis. I would later learn that Davis has filled in for Dana Elcar on a few occasions as a double.
