Posted in: Disc Reviews by Archive Authors on July 7th, 2006
Larry Hagman and Barbara Eden return for more hokiness in the complete second season of I Dream of Jeannie, which features 31 not-so-fantastic episodes with the most juvenile humor and situations. I suppose the possibilities for fun are there, but none are fully realized, perhaps because censors just wouldn't let the series be all it could be. For goodness sake, they wouldn't even allow the display of the lovely Eden's belly button in her mid-riff outfit. Leave it to censors to find sex in the most ludicrous o... places. It makes one wonder what kinds of weird kinkiness goes on behind their closed doors, but that's an avenue I don't care to travel. Truth is: the show is completely harmless, and as with Bewitched, its harmlessness is to its detriment. Fans of the series, however, will have a great time with about 15 hours of Jeannie. And if it's bad entertainment such as this you like, at least there's the lovely Eden's belly button-less frame to make the experience more enjoyable.
The second season begins with the anniversary of Jeannie's discovery at the hands of good-hearted astronaut Tony Nelson. The first episode comes complete with a villain (the Blue Djinn), who was actually responsible for Jeannie's imprisonment. It's an episode that cries out for the main plot of the inevitable movie version of this decrepit-on-ideas series. But it's no more interesting than the other 30 episodes included here. Other highlights for fans of the series: "How to Be a Genie in 10 Lessons," in which Jeannie is forced to torment her aloof master in an effort to "be like other genies." There is the two-part "The Girl Who Never Had a Birthday," in which Captain Nelson and his sometimes rival Roger seek to find out Jeannie's birthday before she wills herself into nothingness. Last and just as least, there is "My Incredible Shrinking Master," which is just like it sounds. In a nutshell, if you've seen one episode, you've seen them all.
Posted in: Disc Reviews by Archive Authors on July 4th, 2006
The career transformation that Clint Eastwood has endured over the last several generations can be called nothing short of extraordinary. After all, we are talking about a guy who made a steady name for himself in action films of the late '60s and '70s, first appearing in the spaghetti western films of Sergio Leone, then moving onto the Dirty Harry films of director Don Siegel, before moving on again to more of a directing role. Some of his works were hits and others were plain misses.
Then you have the case of Unforgiven a script that, admittedly he hung onto for years as a bit of a security blanket. In case of career drought, break glass, so to speak. The film helped vault Eastwood into the upper echelon of American directors while simultaneously providing a fitting closure to an earlier level of his stardom. With the help of similar top-shelf acting talent in key supporting roles, Unforgiven also perhaps did something that few other films have failed to do, which was to give a reflective farewell to a treasured genre of film.
Posted in: Disc Reviews by Archive Authors on July 1st, 2006
David Boreanaz is better known as the guy who played Sarah Michelle Gellar�s love interest in Buffy the Vampire Slayer for the first three seasons of its existence. Being used sparingly in some parts and shining in his occasional showcase episodes, helped convince Buffy creator Joss Whedon and producer David Greenwalt to give the guy his own spin-off series. And by having the Buffy writers and directors pull some double duty in the beginning before gently phasing in some new creative influences, it's grown into a spin-off show that, in its fourth season now, arguably gives Buffy a run for its dramatic money. Since Angel was a semi-regular on Buffy but was mysterious, it was safe to assume that more things have to be explained for the show to work. The supporting characters had to be given some more depth as well. Buffy cast regulars were brought in for the occasional show, even two, depending on the storyline. Even Faith was brought in as part of two very episodes late in the season that finally gave Buffy and Angel some long-awaited closure.
Initially, the only character that went straight from Buffy to Angel was Cordelia (Charisma Carpenter), but Wesley (Alexis Denisof) became a mid-season addition who was later included in the regular cast. A couple of new characters were introduced in the mix. Kate Lockley (Elisabeth Rohm) was brought in as a Los Angeles detective who really didn't provide much in substance outside from showing up to provide Angel information for cases he was pursuing. Although she did find out about Angel's vampire past which was a nice twist on things.There were a couple of episodes that were done to give her some depth also, and her main conflict was with her father who was also a recently retired LA cop, and the hot and cold relationship the two shared, until his killing by a demon late in the season. Another character named Gunn (J. August Richards) was added in the last 3 episodes of the season, and subsequently became part of the permanent cast just in time for the start of Season 2. Alan Francis Doyle (the late Glenn Quinn) started on the first episode as a half-demon that received visions of people in assistance, which helped Angel in helping people out each week. He was a bit of a mystery in the beginning, until we later find out more about his past (he was married briefly) and his feelings for Cordelia, while having reservations about telling her about his demon side. Sadly, Doyle was killed off of the show in the middle part of the first season, and transferred the power of the visions to Cordelia for future episodes. The recurring protagonist in the show is a legal firm named Wolfram and Hart, a firm that even "Johnnie Cochran wouldn't join", and with mind readers, shamans, and other forces helping them in their pursuit of evil in LA, they seem like the perfect group to have hatred for.
Posted in: Disc Reviews by Gino Sassani on June 27th, 2006
So now we come to the fourth year of NYPD Blue. In the show’s ever-changing look this year was no exception. Most notable is the fact that a new camera operation crew toned down the jumpy camera moves a bit. Style was not sacrificed, but the series is now easier to watch. Smits and Franz are really starting to click now, and we begin to see the special relationship we know will evolve between their characters. This buildup is absolutely necessary for the coming payoff with Simone’s death in later years. Again, several characters came and went, most notably a couple of female detectives. I’ve heard the show described as testosterone heavy, but I can’t believe that could be said of year four.
Greg Metavoy gets a lot more to do starting this year, and I think you’ll find the results entertaining. This is the only character other than Sipowitz to survive the show’s entire run. He’s placed in some awkward moments in year 4. The Simone and Russell romance heats up, and while I tend to think these things cheapen a series, I found this one to be tolerable. It was also quite necessary for the eventual payoff mentioned earlier. As always, NYPD Blue is about Andy, and you won’t be disappointed. The character continues his wonderful growth in this season, mostly aided by the influence of Simone. There’s plenty for every Blue fan out there in this set.
Posted in: Disc Reviews by Archive Authors on June 26th, 2006
Let’s face it. Movies released in January usually aren’t very good. Yes, some of these movies are Oscar hopefuls that are released nation-wide, but only after being released in selected cities to quality for those Oscars. No, we’re talking about stinking piles of crap like Uwe Boll’s Bloodrayne here. Being that January is Hollywood’s cinematic dumping ground, it comes as no surprise that Tristan & Isolde was released during this very same month in 2006.
Delayed for nearly a year, Tristan & ...solde follows a slew of disappointing historical epics, so common sense would tell you that the studio heads looked at this film and dubbed it a risk, with no bankable stars attached. What the studio heads seemed to forget (or miss, because let’s face it -- they’re more concerned with target audiences and opening weekends than quality) Tristan & Isolde is not half bad. In fact, it’s rather good.
Posted in: Disc Reviews by Archive Authors on June 26th, 2006
Once in awhile, a film comes along that really catches you by surprise. Little Manhattan is one of those films. At first glance, it appears to be an updated take on a coming of age film that warms the cockles of your heart and leaves you smiling, but it's actually a bit of a romantic comedy that is timeless and memorable.
Written by Jennifer Flackett and directed by Mark Levin, who are a married writing team whose most notable work was Wimbledon, the focus of Little Manhattan is Gabe (Josh Hutcherson, Kicking and Screaming), who also narrates the film. At first the film starts with Gabe, sitting on his bed with a broken arm, crying over someone named Rosemary (Charlie Ray, in her first acting role). From there, Gabe tells the story of how happy he was before he met Rosemary. He was a happy 10 year old boy, knowing that girls were gross and he was going to be a placekicker with the help of his father (played by Bradley Whitford, Sisterhood of the Traveling Pants). Gabe has known Rosemary for awhile, since kindergarten, but they bump into each other again in a karate class. Gabe suddenly realizes that he has feelings for Rosemary, and wants to be around her as much as possible.
Posted in: Disc Reviews by Archive Authors on June 26th, 2006
Let’s face it. Movies released in January usually aren’t very good. Yes, some of these movies are Oscar hopefuls that are released nation-wide, but only after being released in selected cities to quality for those Oscars. No, we’re talking about stinking piles of crap like Uwe Boll’s Bloodrayne here. Being that January is Hollywood’s cinematic dumping ground, it comes as no surprise that Tristan & Isolde was released during this very same month in 2006.
Delayed for nearly a year, Tristan & ...solde follows a slew of disappointing historical epics, so common sense would tell you that the studio heads looked at this film and dubbed it a risk, with no bankable stars attached. What the studio heads seemed to forget (or miss, because let’s face it -- they’re more concerned with target audiences and opening weekends than quality) Tristan & Isolde is not half bad. In fact, it’s rather good.
Posted in: Disc Reviews by Archive Authors on June 14th, 2006
I like to call movies like this “exception films”. They are the exception to the rule. Those odd little films that show up every once in a great while that really have no right to be good. You hear the plot, you see the trailer, and you know that this film is mere days away from losing vast sums of money for someone on the left coast. Then the movie comes out and it is... inexplicably entertaining and fantastic.
Kiss Kiss Bang Bang has carved out a surprisingly strong cult following for itself since it... theatrical release. So here's the plot of this unlikely hit: Robert Downey Jr. plays Harry Lockhart, a clumsy small time criminal who stumbles into a Hollywood acting audition while fleeing the police. Naturally, he gets the part, and is quickly ushered off to La La Land to act in the film. When he gets there, he is assigned an acting coach (Val Kilmer) named Gay Perry (get it?) to help him learn the craft. Throw in an old High School girlfriend and a murder mystery, and there you have it. A movie that is much better than it has any right to be.
Posted in: Disc Reviews by Archive Authors on June 4th, 2006
A long time ago, Sony owned the MGM video library (before Fox picked it up for impending HD-DVD/Blu-Ray Wars) and re-released some films as Special Editions, and combined others as part of convenient two-packs. This is an example of the latter, perhaps as some sort of romantic two-pack that's easy on the wallet but heavy on the heart.
At First Sight is directed by Irwin Winkler (Night and the City) and tells the tale of Virgil Adamson (Val Kilmer, Real Genius) who has been blind all of his life. He is able to get an operation that would restore his eyesight, and at the urging of his girlfriend Amy (Mira Sirvino, The Final Cut), has the operation, before finding out that it's not permanent, so he tries to live his life however he can before he loses his vision.
Posted in: Disc Reviews by Gino Sassani on June 2nd, 2006
Monte Hellman filmed Back Door To Hell back to back with his better known Flight To Fury. This early Jack Nicholson film plays out very much like the throwaway it seems to have been. It’s certainly a brief affair, clocking in at just 69 minutes. Low budget films can often be impressive masterpieces. I have never seen a war film where that’s been true. After watching Back Door To Hell, nothing’s changed. The location and supporting cast make this at times feel more like Mexico than the Philippines. The settings are strictly back lot looking affairs, even when they are not. Cinematography is very limited and completely unimaginative. There is an odd, cold calmness to everything. Actors deliver their lines mostly in even soft tones. I found these portrayals more than a little unnerving. None of Nicholson’s future brilliance is on display here. I found my attention constantly straying during this film. One thing a war film should never be? Good or bad, it simply can’t afford to be boring.
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