Posted in: Disc Reviews by Gino Sassani on February 9th, 2006
Long before Marlon Brando was making us an offer we couldn’t refuse, he was making his bones in James Dean-like portrayals of the young troubled spirit. It isn’t hard to see why Sidney Lumet chose him for the role of Val Xavier in The Fugitive Kind. Ultimately Brando is miscast in the part. He is obviously struggling to get a feel for the character. Instead of a classic Brando performance we are tortured, having instead to watch him try to make the job more than it is.The film is based on the Tennessee Williams pl...y Orpheus Descending. Williams himself co-wrote the screenplay, which likely explains the terribly contrived dialogue and moody atmosphere. The southern town is nothing more than a 1950’s stereotype. The awkward pacing makes this film quite difficult to watch.
The film, like the play, is basically a character study. Brando plays a troubled 30 year old man trying to grow out of his rebellious youth. His arrival in a sleepy southern town stirs up a nest of discontentment. His presence seems to bring out the worst in those around him. Pain both past and present, real or imagined, is rocketed to the surface. It doesn’t take long for us to figure out that this one can’t end pretty. Brando carries around an apparently valuable guitar. More a symbol of his sordid past, it doesn’t seem to be damaged by pouring rain and a little slapping around. One of the women affected by Val’s influence is Carol Cutrere, played quite abrasively by a young Joanne Woodward, very annoying to watch. She plays like an overdriven 1920’s flapper. It’s no wonder no one in town seems to care much for her.
Posted in: Disc Reviews by Gino Sassani on February 7th, 2006
Pity the younger generations that will forever associate the character of Inspector Clouseau with Steve Martin. Peter Sellers might not have been a “wild and crazy guy,” but he was nothing short of brilliant as a comedic actor. Sellers never relied on over the top grandstanding to make a point. You never needed to be hit over the head with the jokes. He displayed an altogether different, more subdued, flamboyance than the modern comic. You didn’t need to be told when to laugh. The problem was more often being able to stop. Teamed with Blake Edwards in the Pink Panther series, the comedy becomes iconic. While it is true that Return of the Pink Panther might not be the best of the series, it is superior to later entries that eventually ran out of steam. The series without Sellers finally resorted to the pushy humor so prevalent today. In case it isn’t obvious by now, the success of this franchise rested squarely on Sellers’ shoulders. Attempts were made to continue the series immediately after his untimely death. All of these films were resounding failures. I suspect the current film will find itself stuck in the same fate.
The largest and most valuable diamond in the world, The Pink Panther, has been stolen for a second time. All clues point to The Phantom (Plummer). His only hope of clearing his name is the man who recovered the jewel the first time it was taken: Inspector Clouseau (Sellers). Clouseau has troubles of his own. Someone wants him dead… his boss.
Posted in: Disc Reviews by Gino Sassani on February 7th, 2006
The most amazing thing about this one-joke movie is that it was based on a John Grisham novel: Skipping Christmas. Chris Columbus certainly does not display his biting wit and the skills he debuted with Gremlins 20 years ago. It’s hard to imagine this is the same guy who kicked off the Harry Potter series.
When their daughter joins the Peace Corps and leaves for South America during the Holidays, the Kranks decide to skip Christmas altogether and go on a cruise with the money they save. Why these altern...tive plans require a complete boycott of the season is never fully explained. No cards. No party. Not even a Seasons Greetings, it seems, is allowed to intrude on the Kranks’ plans. The neighborhood is up in arms over this “un-American” act. Their hostile activities leave one glad there weren’t any Jewish or Buddhist families in the neighborhood. Now, of course, you can’t really just skip Christmas, particularly if you’re in a family Christmas film. The daughter decides to come home with her fiancée and so suddenly Christmas is back… and in overdrive.
Posted in: Disc Reviews by Gino Sassani on February 3rd, 2006
“Let’s be careful out there…”
The men and woman of Hill Street Station, a fictitious police precinct in Chicago, have found it rather difficult at times to live by their sergeant’s admonition. Steven Bochco’s award winning police drama changed most of the rules for a one hour television drama. Some of Hill Street’s trademark style has become rather ordinary over 20 years later. Bochco protégés now dominate the scene. Dick Wolf (Law and Order), David Kelley (The Practice), David Milch (Deadwood), Scott Brazil ...The Shield) and Ken Olin (Alias) all came from the tutelage of Bochco.
Captain Furillo (Travanti) runs one of the toughest precincts in the inner city. The streets are inundated by gang violence. Furillo also often finds himself under fire by city politics, a bitter ex-wife, and even his own girl: ADA Davenport (Hamel). The squad includes veteran sergeant Esterhaus (Conrad), scrappy biter Belker (Weitz), Redneck cop Renko (Haid), playboy detective LaRue (Martin), Gung ho SWAT leader Hunter (Sikking), Detective Goldblume (Spano), Detective Washington (Blacque). A more diverse and entertaining cast has never been assembled anywhere.
Posted in: Disc Reviews by Gino Sassani on February 2nd, 2006
This short-lived series was based on the popular DC Comics character, The Flash. Barry Allen (Shipp) was a crime lab technician, long before CSI made the job trendy. When lightning interacted with an unknown chemical compound as only comic cosmic events can, Allen receives a powerful jolt. The injury results in a dramatic change in his metabolism. Now supercharged, his body is capable of moving at supersonic speeds. Complete with a bright crimson costume appropriately modeled after the swift Greek god Mercury, The ...lash uses his powers to combat crime in Central City. Help is provided by Julio (Desert), his capable lab assistant. Julio is apparently smart enough to tackle complex chemical formulas, but remains oblivious to his partner’s abilities. His secret is shared by scientist Tina McGee (Pays) who works with Allen to try to figure out the changes his body has been put through.
Every superhero has a weakness. Superman had kryptonite and Batman had… well… Robin. The Flash, it seems, can be done in by a junk food deficiency. It turns out that speed burns up an awful lot of sugar which, of course, must be replaced. I think they missed out on some great tie-in opportunities here. “Hey kids! Want to grow up big and strong with blinding speed just like The Flash? Then don’t forget a super sized bowl of Capn’ Crunch with extra sugar for a superhero breakfast.”
Posted in: Disc Reviews by Gino Sassani on February 1st, 2006
The opening titles of this film are a bit misleading. The font is a colorful, comical display played against animation more suitable for the opening of a Pink Panther film. Instead of a comedy, we are presented with a film likely to appeal to a very limited audience. To the film’s credit, it doesn’t abandon the themes and style it intends to portray in an effort to gain more mass appeal.
Antonio is a young man living in Mexico. His dreams are filled with playing music. Like most young ambitious music...ans he longs for the “big time”. When his mother dies, Antonio travels to America where his uncle has painted a picture of a golden field of dreams which turn out to be a rundown taco stand. We’re not really told if the move to America was under legal circumstances or not. Still, Antonio uses every spare moment to capture his musical career. The chance comes in a Latino band competition. The prize is $10,000 and a chance to perform with a big “mystery musician”. Suddenly we have a film with an abundance of clichés. Throw into the mix a mistaken romantic triangle and the stage is complete. It’s no real surprise how any of this turns out.
Posted in: Disc Reviews by Gino Sassani on January 25th, 2006
No single television show defined the 1980’s as did Miami Vice. Did Vice influence the 80’s culture, or did the 80’s culture create Miami Vice? The line appears blurred. This much is unmistakable. Miami Vice dominated the pop culture of the time. The biggest names in music, from Joe Walsh to Phil Collins, have lent their music and (sometimes pitiful) acting skills. It was suddenly cool to walk around in pastel longboats. Don’t even get me started on the car. Were Ferraris ever not cool? Don Johnson was an overnight heartthrob to millions of teen girls across the nation. The show depicted a highly stylized Miami that is not quite recognizable to those of us who really live in Florida. At least the locations were often more real than in the current CSI: Miami, which uses only establishing shots of the Beach Metropolis.
Of course, buried somewhere in all of this style and sex appeal there was a fair share of crime fighting. Crocket and Tubbs were an 80’s retread of Starsky and Hutch. While the show sported far more action than the 70’s counterpart, the partner interaction was often amazingly familiar.
Posted in: Disc Reviews by Gino Sassani on January 3rd, 2006
When did it become mainstream to root for the bad guys? Certainly our pop culture has been propagated with colorful villains since Shakespeare, goons we love to hate or even just love. Still, the rule always seemed to be that the white hats always win and the black hats get what’s coming. Maybe it all took hold with The Sopranos. We all became enamored by this lovable teddy bear of a guy in Tony. We don’t have to spoil it by pointing out he’s a killer, adulterer, and all-star criminal sociopath. The Shield places us ...quarely in that same situation. Vic Mackey has a lot in common with Tony Soprano. He’s guilty of the entire litany just made. Even worse, Vic carries a badge. So why do we love him so much?
The answer most certainly lies in the compelling writing both of these shows share. Perhaps we’re not so much in love with Tony or Vic, but the stories that are told around them. It just might be that superior drama rivets us to our sets. We root for the bad guy because, to be frank, when they go down the ride’s over. As with The Sopranos, we don’t want our moments with The Shield to end. Therefore Vic simply has to stay just one step ahead of his just desserts.
Posted in: Disc Reviews by Gino Sassani on December 29th, 2005
A Dry White Season is a rather faithful adaptation of the critically acclaimed Euzhan Palcy novel. The film attempts to portray the infamous South African policy of apartheid, beginning with a massacre of peaceful demonstrators that occurred in 1976.Perhaps the point could have been made without the disturbing depiction of children being shot in such graphic detail. Such on-screen brutality seems drastic even under today’s less constrictive standards. I’m sure it can, and likely has, been argued that these events require realism, much as the opening salvo of “Saving Private Ryan” has been justified. In any case, the film certainly makes its point, leaving a lingering impression.
If anything, the film does provide a showcase for some quality performances. Donald Sutherland is most convincing as school teacher and former athletic star who finds himself compelled by conscience into the moral struggle.
Posted in: Disc Reviews by Gino Sassani on December 20th, 2005
Charlie was a British effort in the typical gangster style. It begins more like an A&E biography. Various characters from the film with ties to Charlie appear to be giving their insights on the man for a documentary camera. Charlie Richardson, it appears, was one of Britain’s most infamous gangsters. The film, directed by Malcolm Reeds, no relationship to a certain starship tactical officer, tries hard to be another Goodfellas. The film utilizes the same style of retrospective narration. There’s also the trademark period songs and freeze-frame on a particularly violent image. There’s enough rough language to fill a South Park feature film. In addition to the American mob clichés the film is riddled by more than bullets. Typical dry British humor abounds and appears entirely out of place in an otherwise brutal depiction of character. Although I found the film highly derivative and inconsistent, I must admit that at times it was quite entertaining. Like watching a train wreck, it was often difficult not to be drawn to the film’s exploitive portrayals.
The film has an annoying habit of abruptly switching time periods without much warning or visual clue. We find ourselves often enough in Charlie’s younger days. These transitions are seamless; in fact that is the whole problem. They are too seamless. It requires far too much attention to detail to know where you are in the timeline. The film also resorts to stylized cinematic distractions such as multi-frames during some of the trial sequences. The frames are completely unnecessary and require the viewers to again remove themselves from the flow of the action.
