Posted in: Disc Reviews by Gino Sassani on December 3rd, 2009
Just in time for the holidays, the Buddies are back for more cute puppy action. All of the retriever Buddies are back for this one. You are introduced to the “Buddies” right at the start, so it doesn’t really matter if you saw any of their other films. There’s Bud-Ha (Cate), a wise meditational pup. Next up is Mud-Bud (Panitz), an always dirty pup with a fondness for rolling in the dirt. The female Buddy is Rose-Bud (Mumy), who is the girly part of the team all decked out in a bow. Bud-Derball (Flitter) is the normal one of the bunch, followed by the rappin’ pup, B-Dawg (Gisondo).
The North Pole is having a crisis. It’s getting close to Christmas and Santa’s workshop is having a shortage of magic power. Deep in a cave at the North Pole hangs the Christmas Icicle. It is the source of all Christmas magic that allows Santa and his gang to do their thing. It is powered by people having the Christmas Spirit. Lately, not enough people are believing in Christmas, so the icicle is shrinking. Finally, global warming that really is caused by humans. Another problem in the North Pole deals with Puppy Paws (Gordon) son of Santa’s right hand, eh … dog Santa Paws (Bosley). Puppy Paws wants to be like a normal dog and doesn’t want the responsibility that Christmas means to his family. He finds Bud-Derball in Santa’s naughty files and decides that’s the kind of pup he wants to hang with. So he stows away on one of Santa’s express trucks and heads to Washington to meet the Buddies. At first they find Puppy Paws to be a bit of a pain to hang with. But when Puppy Paws is captured by the mean old dogcatcher Stan Cruge (Lloyd) the Buddies go into action to save him. What they didn’t know was that Christmas depends on them freeing Puppy Paws. There’s a side story that has Stan Cruge turning from a mean old Scrooge character to finding his own Christmas Spirit, and helping to bring back the Christmas Icicle.
Posted in: Disc Reviews by Gino Sassani on December 1st, 2009
I went to my player, the one that’s on top. I turned on the TV I bought at the shop. Then I opened my Blu-ray, took it right from its case, and then there on the tray I put it in place. I pushed one or two buttons to bring it up fast. Soon an FBI warning, then my feature at last. I sat the whole time crouched alone in my chair, watching fanciful images that came to me there. I was certain at once that I’d seen this before, but something was different; it was brighter, I’m sure. The Grinch was the same, he hadn’t changed, not a bit. But the image was clearer now, I had to admit. So, I puzzled and puzzled alone in my seat. Why these colors much finer for such a repeat? Then at last I was certain, yes it had to be so. This must be high definition, what a wonderful show. I know when it ended I felt somewhat sad, but these discs last forever, and so I was glad. So, if you’re a fan of the Grinch and his kin, you must hurry now quickly and watch it again. I promise it will be like nothing you’ve known. It’s for kids of all ages, both little and grown.
Boris Karloff was famous for monsters and ghouls, who’d have thought he’d be perfect for books read in schools? He tells quite a story, a marvelous voice. To play the Grinch and reader he was the most perfect choice. The songs are all there, you know them by heart. Nothing is missing, not one little part. Everyone’s back, Cindy Lou Who and Max. But the Grinch is the star. The facts are the facts. You can sing along joyfully. You know every word. You know every scene even before it occurred. Chuck Jones was the talent behind all the art, as he carefully directed each wonderful part. It was made in 1966. It’s been shown every year, from Tampa to London, Paris, Rome, and Tangier. Kids laugh and they snicker. Some kids even wince; for 44 years now we’ve been watching The Grinch.
Posted in: Disc Reviews by Gino Sassani on December 1st, 2009
I grew up on the Peanuts creations of Charles M. Schulz. Most of us have, in some way or another. His newspaper comic strip is one of the longest running and most successful strips of all time. The work has been translated into every language currently spoken on the planet. The images of Charlie Brown, Snoopy, Linus, and the rest of the Peanuts gang have appeared on just about any kind of product imaginable. Our pop culture contains too many references to the strip to mention briefly. For me, it was the television specials starting in the mid 1960’s that brought the gang into my life. The classics are running annually, still after nearly 50 years. A Charlie Brown Christmas and It’s The Great Pumpkin, Charlie Brown are the most mentioned and certainly beloved by generations of children and adults. I thought I never missed an airing.
This is one of the most endearing and enduring of the franchise. It’s loaded with memories too many to mention them all here. Charlie Brown tries to direct the school nativity play. He finds it hard to get the gang’s cooperation. In his own despair he discovers the true meaning of Christmas. Some of those memorable moments that I will never forget include: The scrawny little tree that Charlie Brown picks out, held up by Linus’s blanket. Snoopy wins first prize in a house light decoration competition. Of course the best of the best comes in the end when Linus recites the story of the birth of Christ. Today most people would be shocked to see a public school putting on a nativity play. Watching this one is a sad reminder of how much these basic principles have been swept away by intolerance and misrepresentation of “Jefferson’s Wall”, that First Amendment separation of church and state. This short, more than the others, is truly a product of its time. It depicts an America that no longer exists.
Posted in: Disc Reviews by Gino Sassani on November 30th, 2009
Believe it or not, Robert Langdon did not make his debut in the Da Vinci Code novel. He was actually introduced in an earlier, but far less known novel, Angels & Demons. When Hollywood came a knockin’ they weren’t interested in that earlier work. The Da Vinci Code was tearing up the literary world, and Hollywood wanted a piece of that overstuffed pie. That meant a strange series of circumstances for Dan Brown and Robert Langdon. In print, The Da Vinci Code is the sequel to Angels & Demons, but in the cinema Angels & Demons is now the sequel to The Da Vinci Code. You might consider it a trivial point, but it’s not. If you’ve read The Da Vinci Code, you know that this isn’t Langdon’s first dance with a murder mystery. He’s much more comfortable around the cops and corpses than the film version appears, by necessity. This first film requires him to be quite the novice and led around the ins and outs by the other characters. That creates an almost new character for fans of the novel. Add that to the incredibly complicated world the novel explores, and you are bound to disappoint fans of the original work. And disappoint fans, the film did. But, the film was still a financial success, breaking the necessary $200 million mark. So, even amid some harsh criticism, Howard and the gang now tackle the actual first novel in Brown’s Langdon series.
Robert Langdon (Hanks) has been called in by the Vatican to help solve a crisis. The Pope has died, and the Cardinal College is about to enter Conclave to select the next Holy Father. A radical group using the name of the ancient Illuminati has kidnapped the top four cardinals in line for the job. They have also stolen a canister of antimatter from the CERN collider labs. They plan to use the antimatter to fulfill an ancient threat against the Vatican to destroy it in light. With little time before the kidnapped cardinals are scheduled to be killed one every hour, Langdon must locate the churches where they are to be executed using clues from the Vatican Archives and the taped threat by the radical group. All the while the Vatican is trying to select a leader. If Langdon can’t solve the clues in time, the entire Vatican City will be destroyed in the largest blast the world has yet seen.
Posted in: Disc Reviews by Gino Sassani on November 30th, 2009
“On the 15th of May, in the jungle of Nool, in the heat of the day, in the cool of the pool. He was splashing enjoying the jungle’s great joys, when Horton, the Elephant, heard a small noise. Then he heard it again, just a very faint yelp, as if some tiny person were calling for help…”
If you’re like me, you remember the Dr. Seuss specials from the 1960’s. At this time of the year, The Grinch comes first to mind. In that wonderful span of cartoon specials was the story of the elephant Horton, who hears voices coming from a speck he carries around on a flower. The story revolves around Horton’s attempts to protect the very tiny town of Whoville which exists on that speck. None of his friends believe him, just as none of the Whoville scientist’s friends believe that he has spoken to a giant elephant in the sky. Before long the story plays out, and we all remember the moral that a person’s a person, no matter how small. That Chuck Jones effort is a dear memory for most of us from that generation.
Posted in: Disc Reviews by Gino Sassani on November 24th, 2009
“You got everything money can buy, except what it can’t. It’s pride. Pride is what got you here. Losing is what brung you back. But, people like you, they need to be tested. They need a challenge.”
There have been a ton of boxing films. They’ve been popular going back to the Silent Era. Most of them have many of the same themes. But there was always something about Rocky that stood out above all of the rest. That “something” can’t really be described or defined. As the Supreme Court once said about the definition of obscenity: “I can’t define it, but I know it when I see it.” That’s all you can say about Rocky. Some might call it heart. That’s about as good a word for it as anything else. Rocky himself would call it “stuff in the basement”. It almost demeans it to put a word on it at all. Whatever you call it, you don’t necessarily see it in Rocky … you feel it.
Posted in: Disc Reviews by Gino Sassani on November 24th, 2009
Do you know what’s worse than watching a bad movie? It has to be watching three bad movies. Worse than that is watching three bad movies where it’s obvious to everyone involved in the films that they know they’re bad movies. It doesn’t take long until you begin to think that you’re the one everyone is really laughing about. You can picture a couple members of the cast sitting with the director all laughing their rear ends off at the poor rube who actually spends good money, and more importantly, their time, watching the piece of crap you just dropped into their DVD or Blu-ray player. It’ll take forever to get that stink out of my home theater.
Lately there has been a push to avoid crowds. There’s the whole H1N1 scare out there. Even the Vice-President says he wouldn’t be caught out in a crowd for nothing right now. Way to give us confidence there, Joe. If you too are afraid of crowds, going to a Kevin Smith film is the surest way to avoid them. I have been told by a few, and I do mean very few, Kevin Smith fans I’ve talked to that it’s not at all that the films suck. The problem, so they say, is that I just don’t get it. The idea is that Smith is some kind of artistic genius and a pedestrian reviewer like myself just doesn’t have the sophistication to understand his superior humor. I know that people like Smith likely believe it’s true. But, if I’m the one who just doesn’t get it, I’m not alone. The only folks who are alone are the unfortunate saps that went to see these films at the box office. The numbers don’t lie. These films fared horribly, and that’s being generous. The second Smithite argument is that, while the box office results were indeed pitiful, the films themselves were very low budget, so they did make more than they cost. Another bogus argument. No budget films have taken the world by storm. Look at the recent success of Paranormal Activity. That film cost less than any of these movies, a modest $15,000, and has raked in nearly a $150 million in box. Clerks pulled in just over $3 million. Chasing Amy just about $12 million. Jay And Silent Bob Strike Back broke the bank at just about $30 million. None of the films broke the top 100 for the year in which they were released. Yeah, I don’t get it. Apparently, a lot of people don’t get it.
Posted in: Disc Reviews by Gino Sassani on November 19th, 2009
When we left J.D., Turk, and the rest of the staff of Sacred Heart Hospital at the end of their seventh season, there were good reasons to believe we had seen the last of Scrubs:
1) The show had suffered the lowest ratings in its history.
Posted in: Disc Reviews by Gino Sassani on November 19th, 2009
“It’s almost Christmas. Get into the spirit.”
Ever wonder what the kids of South Park might be like if they ever made it to adulthood? While I’ve not seen that many episodes of the FX series It’s Always Sunny In Philadelphia, that was the first observation that came to mind. These are the South Park kids all grown up. They’re crude, raunchy, mean, and most importantly, they are as politically incorrect as ever. If you need an example, I can offer one right from this episode. The guys have a Christmas tradition that dates back to their childhood of throwing rocks at moving trains. An episode I caught a while back had two of the guys going to an abortion rally because they suspected that pro-choice chicks gotta be easy. Sound like anyone we know? If you love irreverent humor that’s not afraid to cross over the line, this F/X series has everything you’re looking for and without those silly construction paper animation limitations. These are real dudes.
Posted in: Disc Reviews by Gino Sassani on November 18th, 2009
“Sometime in the 23rd Century the survivors of war, overpopulation, and pollution are living in a great domed city, sealed away from the forgotten world outside. Here in an ecologically balanced world, mankind lives only for pleasure, freed by the servo-mechanisms which provide everything. There’s just one catch. Life must end at thirty unless reborn in the fiery ritual of Carousel.”
Logan’s Run started life as a pretty successful novel by William F. Nolan and George Clayton Johnson. The source material was really quite dark and more like Ridley Scott’s Bladerunner than the 1976 film based on the work. For some reason it was decided that this dark reflection of the future wasn’t as marketable. So, the decision was made to make this a very bright film with only hints at the nefarious realities of this future world.
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