Posted in: Disc Reviews by Archive Authors on August 20th, 2006
Synopsis
So when you’re the head of Fox prime time programming, and you’ve got a television staple like The Simpsons on your Sunday night lineup, and Arrested Development wins the Best Comedy Series Emmy in its first season, what do you do? Well you callously trim the order of episodes from 22 to 18, put The Simpsons as its lead-in without a lot of fanfare, and almost even more egregiously barely hype guest appearances by well-established comic performers like Julia Louis-Dreyfus (Se...nfeld), Ed Begley Jr. (Spinal Tap) and Zach Braff (Scrubs).
Posted in: Disc Reviews by Archive Authors on August 19th, 2006
Clearly, I am in the minority when it comes to Veronica Mars. Reviewers go on and on about the sharp writing on this show, but I just don't see it. With character names like “Beaver”, “Butters”, “Weevil” and my favorite, “Dick Casablancas”, this is a show where the writing is actually one of the things that is wrong with this show. (And yes, Beaver and Dick are friends. How's that for creativity?) The character of Wallace is an African American stereotype that is embarrassing, and stinks of what old while people think young black men are like. Not only are these characters one-dimensional and unrealistic, but some of them are borderline offensive.
Veronica Mars is really just Nancy Drew for the 21st century. The writers have tried their best to add some real adult drama to the series by throwing in a murder mystery, but they have somehow managed to make even that seem soft, thanks to the amateurish acting. Story lines are basically teen faire, meaning that things are made to appear much more tragic than they actually are. That's fine if you are a teen girl, but for the majority of the population this should not be a desired trait in an hour-long drama.
Posted in: Disc Reviews by Archive Authors on August 17th, 2006
Road House is macaroni and cheese for a lot of movie goers that are over 27 years of age. Released in 1989, the movie chronicles the life of James Dalton (Patrick Swayze, Ghost), a “cooler” at a local bar, who is offered a huge sum of money to help a bar owner named Frank Tilghman (Kevin Tighe, Mumford) get his place called the “Double Deuce” back on its feet. A cooler for lack of a better explanation is a bouncer who helps diffuse situations before they blow up into brawls.
When Dalton gets to the bar, he sees the type of environment he’ll have to deal with. Even though his old friend (and house band singer) is there, he’s got drug dealing waitresses, statutory raping bouncers and money stealing bartenders. And apparently the few legitimate operating businesses in town appear to be owned by Brad Wesley (Ben Gazzara, The Big Lebowski). Brad doesn’t hesitate to break the rules whenever necessary, even if it means that Dalton has to call in his mentor Wade Garrett (Sam Elliott, We Were Soldiers), while he continues romancing Dr. Elizabeth Clay (Kelly Lynch, Charlie’s Angels), who just happened to be Wesley’s woman for a little while.
Posted in: Disc Reviews by Archive Authors on August 16th, 2006
If you ask me, what sitcoms need are fewer contrivances and more realistic humor. That's what made Seinfeld so brilliant. As horrible as those people were, the sad truth is that all of us have a little bit of that twisted humor lurking within us. That's just the kind of thing that happens with The Worst Week of My Life. This amazingly funny BBC series lasts just seven episodes, but I guess that should be expected judging from the show's title. The names of the episodes themselves are “Sunday”, “Monday”, “Tuesday” and so on. By the end of the season, viewers have been treated to what is often-times the worst week of many people's lives. The week that should be the happiest of their lives. The week before their wedding.
The show reminds me a bit of Meet The Parents, and a little of Wedding Crashers, but in my opinion it is much funnier than either one of these. The show is shot with a single camera, so it actually has the feel of a mini-series more than that of a half-hour sitcom. The BBC has really come a long way in the last few years. They have hit a run of great shows with Coupling, The Office, MI-5 and now The Worst Week of My Life.
Posted in: Disc Reviews by Archive Authors on August 15th, 2006
There is a little more Tracey to go around with Tracey Takes On: The Complete Second Season, so fans of the show shouldn't be disappointed. However, I find her humor quaint and dry in an inescapably British way. No one can deny her talent. But it's hard to like a show when none of the laughs are connecting. Of course, humor - like beauty - is certainly in the eye of the beholder. With that said, I am not one of the lucky ones that can look at this raw oyster of a show and see the pearl. This season, Ullman inc...udes many of the same faces from season one. The humor also continues in the same light with its often irreverent pokes at social norms and behavior. There are a variety of guest stars accompanying Ullman, as was also the case last season. This time, we get Timothy Busfield, Jon Favreau, Julie Kavner, Michael McKean, Ron Perlman, George Segal, John Stamos, and Bradley Whitford; and their only purpose seems to be filling out the camera lens. After all, Ullman can't be everywhere at once, in spite of her talents. And to many of these celebrities, doing Ullman's show is the hip thing to do.
But hip doesn't make for funny, and there's only so much Chic, Hope Finch, and Linda Granger, a sane mind can take. Add in the myriad of quick vignettes in each of the 15 episodes, and you have one stone-faced reviewer doing his best to stay awake through a show that seems much longer than its sitcom-length running time would indicate. I wish we could see more serious acting from Ullman. She is incredible, and I respect her abilities so much. But the humor is flat; the format, tired. The simple fact she can still garner fame and acclaim after all these years of performing material such as this only hints at the even bigger accomplishments she could achieve, if only her mind was set to it. Until then, die-hard fans can cherish yet another collection of her antics; as for me, I'd rather she try something else.
Posted in: Disc Reviews by Archive Authors on August 14th, 2006
Today, anyone with a credit card and some free time can make a movie. But that doesn't mean it's always a good thing. Case in point is Kisses and Caroms, which sports a massive hard-on for Kevin Smith’s Clerks (it’s Clerks in a billiards store. Brilliant!), but its characters, dialogue and location fail to be funny or engaging. For one, how many oddball customers can a billiards store receive in one day? In Clerks, it was believable, since people from all walks of life need what is readily...available at the Quick Stop. In Kisses and Caroms, it feels forced. There are even multiple references to Smith’s films – none of which are funny. At one point in the film, a character refers to another as a “poser.” Maybe the comment was meant for the filmmakers.
Like Clerks, the plot is minimal. But what separates the two films is what they have to say. Whereas Clerks gave a voice to Generation X, K&C seems to exist simply to hold many boring conversations about various forms of sex -- threesomes, orgies and gang-bangs. The DVD cover promises many scantily clad women and lots of “Girls Gone Wild” type situations, but all the characters do is talk, talk, talk. Sure, there is some nudity and a light chuckle every 10-15 minutes, which may be enough for a desperate teenager, but those looking for Clerks-style enlightenment will only find themselves behind the 8-ball.
Posted in: Disc Reviews by Archive Authors on August 11th, 2006
I think the fact that Invasion only ran for one season is more of a result of circumstance than anything else. The series starts with a very large hurricane hitting Florida, and the rest of the season dramatizes the aftermath of such a tragic event. Unfortunately, the series made its debut right after the real life hurricane Katrina wiped out much of Louisiana, Alabama and Mississippi. With the 24-hour coverage of the real-life disaster plastered all over the airwaves, audiences just didn't feel much like unwinding with a dramatization of the very same experience.
It's a shame, too, because the hurricane aspect of the story was really just a catalyst to bring on the true story of the series. This was not a show about hurricanes, this was a show about extra-terrestrials. I am always a fan of sci-fi shows that masquerade as traditional dramas, and this one really pulls it off. One of the best things about shows like Alias and Lost is that they spawned other well thought out shows such as this one. It was not long ago that a show would start with a basic idea of characters and place, and the series would evolve over time. Now we are starting to see shows that have an entire couple of seasons planned out before the first episode is even shot (such as 24 and HBO's fantastic Carnivale). The result is a television program that plays more like a detailed mini-series. This is a winning proposition for both networks and fans, as the story builds slowly over time, a personal investment is made in the program.
Posted in: Disc Reviews by Gino Sassani on August 10th, 2006
Ren and Stimpy was a wonderful throwback to the golden days at Warner. Embracing the charm and animation style of the early Warner greats John K (Kricfalusi) managed to work in his own rather twisted humor and create an endearing cartoon. For those of you who wish to remember Ren and Stimpy this way, I warn you, DO NOT buy this collection. In case you don’t know the story: John K left his creation after about a year and a half at the Nickelodeon Network. It seems his more adult themed ideas were not so in tune wi...h the network’s kiddie tradition.The cartoon continued without him. The creative side of the series spiraled downward, and the show was mercifully cancelled. In 2003 the newly formed Spike TV contracted John K to return to his Ren and Stimpy creation, promising little to no censorship. After all, they told him, this is a “MAN’s” network and the audience can take it. John K. began to produce far more risqué versions of our beloved characters. All was going well, or so it seemed. Along comes Janet Jackson, no longer Good Times’ lovable Penny, and her much publicized “wardrobe malfunction”. Everything changed. The FCC began dishing out record fines for obscenity, and even The Man’s Network ran for cover. The new and hotly debated Ren and Stimpy was gone faster than its original incarnation. Not to be thwarted, the pair now return via DVD with these unaired episodes. The packaging comes with plenty of warning, but I fear many will consider these warnings a joke in the sarcastic humor the show was so famous for. Trust me. These warnings are for real. This stuff makes South Park look like Peanuts, not so much for the language, but for the graphic depictions of nudity and sexual innuendo.
With the warnings taken care of, let’s talk a little about this version of Ren and Stimpy. The old fart jokes and sardonic wit have returned pretty much the way you’ll remember it. What has been added, however, removes any of that endearing charm the original show had going for it. Too many of these episodes push the limits so far that it appears to be graphic simply for graphic’s sake. The plots are thin, even though a couple of these episodes run about double the original show’s running times. It’s obvious that John K. is more interested in thumbing his nose at an establishment he feels cut him off at the knees than in any real serious effort at art here. I’m afraid I will no longer be able to return to those innocent years with Ren and Stimpy with quite the same abandonment. Save yourself. Stay away unless this is what you always wanted from Ren and Stimpy after all.
Posted in: Disc Reviews by Archive Authors on August 10th, 2006
Tell me if you've heard this one before... a high school girl is not allowed to join a certain club because it is boys only, so she dresses up like a (transvestite) boy to sneak into the club and prove that she has girl power!
Seriously, how many times can Hollywood make the exact same movie, before somebody sues somebody for copyright infringement? I understand the argument that each new generation of teens will pay big bucks to see the same crappy movie that has been made every couple of years for generations, but come on. Does nobody have any artistic integrity left?
Posted in: Disc Reviews by Archive Authors on August 8th, 2006
Synopsis
Here we go again. Punky Brewster (Soleil Moon Frye) is pretty comfortably ensconced in the home of Henry Warnimont (George Gaynes) now. The season follows Punky through the usual round of problems at school, with friends, with boys, and so on. Will she do her homework and get to a rock concert? We await the answer on the edge of our seats. Frye is a few years older now, and so is moving from precocious youngster to tiresome tween. Lessons are learned in the most painfully didactic and mundan... fashion. The laugh track kicks in mechanically everytime Punky moves. This is sitcomus moronicus at its most depressing.
