Posted in: Disc Reviews by Gino Sassani on September 22nd, 2006
Fortunately, American Gun does not appear to be about the debate on owning guns. It’s a trap, and I doubt there will be much movement on either side of the issue. The film instead mostly deals with members of a community where three years earlier a Columbine-like school shooting occurred. The story slowly plods through the lives of several families, most notably the mother and brother of one of the deceased gunmen. This is where the title and its advertised premise confuse me. The story is more about the emotional toll any tragedy takes on a small town. Except for a paranoid obsession of a principal trying to keep the school free of guns, the weapons have less to do with the stories than one would expect. The most confusing factor in the film is the B story of a girl who works in her grandfather’s gun shop. This sidetrack takes place across the country and seems unrelated to the main plot. We never get a satisfying answer as to the connection. She has supposedly moved there from the West coast, and while it is never explained, one might guess she was at the school during the shooting. The film tries to stay away from the hit you over the head emotional plea to ditch all guns… that is, until a shocking and quite unnecessary convenience mart scene at the film’s end.
There are a ton of speaking parts in the film. It’s estimated at over 50 in the making of feature. The cast is quite good. I don’t only mean the obvious heavy hitters in Forest Whitaker and Donald Sutherland. Chris Warren, Jr. is marvelous as a kid who doesn’t really like guns but feels forced to carry because of his neighborhood. He considers walking around without a gun as being “naked”. Chris Marquette also has a strong role as the brother of one of the killers. I can’t even imagine what it must be like to be forced to attend a school where your brother killed students and teachers three years prior.
Posted in: Disc Reviews by Archive Authors on September 21st, 2006
Synopsis
This is it. The finale. The many twists and turns and intricate plotlines of the series finally get wrapped up. If you haven’t been watching the series from the start, much resonance will be lost, but the last season is still comprehensible. For those in the know, this is where many of the stories come to some form of end. The battle between Schillinger and Beecher, for instance, has its final act during a performance of Macbeth, and that is precisely the kind of literate, neat, contrived, ...TT conclusion one would hope for. The series began in an almost realist vein, but before too long there were elements that were almost Twin Peak-sian in their bizarreness that crept in. The title does say it all – this is a kind of demented fairy tale, and what a wild ride it has been. Don’t expect all loose ends to be tidied up, and don’t hope for a lot of happy endings. The finale moments might seem a bit rushed, but they are certainly pretty dramatic.
Posted in: Disc Reviews by Archive Authors on September 21st, 2006
Synopsis
While George Lucas was in the midst of his then-recent Young Indiana Jones series, he decided to try and put together a film based on the radio theater broadcasts of the 1930s and 40s. Basically, the film is based on a radio station in Chicago that is scheduled to launch its first broadcast, hoping to become the next big radio network. But when people start to get murdered during the broadcast, things become a little bit tense.
Posted in: Disc Reviews by Archive Authors on September 20th, 2006
Synopsis
1968. In a Northern California town, teenagers parking at night are being killed. The police do their best to sell the first attack as a botched robbery, but then another murder happens, and the killer, dubbing himself the Zodiac, turns out to be very media-savvy. Charged with tracking him down is Justin Chambers, and his frustration with the case spills into his home life, straining his relationship with his wife (Robin Tunney) and worshipful son (Rory Culkin).
Posted in: Disc Reviews by Archive Authors on September 20th, 2006
Synopsis
Anthony “Treach” Criss of Naughty By Nature plays the title character, a one-man army as part of a vaguely defined intelligence agency. He is the midst of rescuing the President’s wife from a hostage situation when bungling by the Secret Service results in an explosion that blinds him. Three years later, his old boss lures him back to the field with the promise of regained sight. This he gets, but now he can see in the dark. The plan is apparently to steal a satellite component in order to p...ove that old-fashioned agents are still the best, but there is more afoot than, ahem, meets the eye.
Posted in: Disc Reviews by Archive Authors on September 20th, 2006
Rap movies have com a long way. They have begun to evolve, from glorified music videos, to black cinema (which has come a long way in its own right), on up to a new level of art. Hustle and Flow brought the new style of black film into the limelight, and ATL follows right behind. I was really surprised how much I liked this film. In my line of work, you see a lot of bad films, and you can usually spot them from a mile away. I admit that I was fooled by this one. I was expecting to find another tired tale of a young hustla' making it big in the hood, but instead I found a genuinely touching film about what happens to four friends when High School is over and the next stage of life has not yet begun.
Now, that's not to say that the film is perfect. There are still some cliches here, and the scenes at the skating rink are probably a bit too flashy for their own good, but all told, this is an ambitious film that succeeds in much of what it is trying to accomplish.
Posted in: Disc Reviews by Archive Authors on September 20th, 2006
After Heather (Agnes Bruckner) sets her parent’s tree on fire out of boredom, she is shipped off to a strange boarding school run by Ms. Traverse (Patricia Clarkson), where the woods surrounding the school seem to be slowly devouring the building itself. There’s also the standard issue legend surrounding the history of the school that involves a coven of witches who murdered the school’s head-mistress years before.
Does any of this result in an interesting film? Let’s take a step back before we delve into ...he quality of The Woods...
Posted in: Disc Reviews by Archive Authors on September 19th, 2006
Tom Hanks is sometimes called this generation's Jimmy Stewart. In an odd sort of way, that is sort of a compliment to both men. Both are extraordinary actors who have secured a place in film history as the best of their time at playing the everyman. While such a role would doom other actors to being typecast as the all-time greatest supporting actor, both Hanks and Stewart have been able to pull off the role with amazing versatility.
Clearly, this is not the definitive set of Stewart's work as an actor. For t...at, you would have to include his roles in Alfred Hitchcock's Rear Window and one of my all time favorite films, Vertigo. Of course, Frank Capra's It's a Wonderful Life would also have to receive special treatment. The Spirit of St. Louis, which is in this set, would also be there. But what about The Philadelphia Story or Mr. Smith Goes to Washington, you might ask? Yes, those would have to be there too. We are now approaching the problem with putting together a set of Stewart's best movies. If you were to truly include his greatest films, you still might be left with a 20-disc box set. It's best to look at this release for what it is, and not try to play the “but where is...” game. That is a dead end road.
Posted in: Disc Reviews by Gino Sassani on September 19th, 2006
With the possible exception of the Vulcans no race has been given a richer history in Star Trek than the Klingons. We need to forget the drastic change in how these bad guys to allies look. In Enterprise this change is finally explained as a genetic experiment gone bad in an episode conspicuously missing from the set. I’m not sure I can criticize the episode selection, as they were voted on at Startrek.com. Still. I don’t like the over usage of repeats these collection sets are plagued with. It’s not like there are...’t a ton of Klingon episodes to pick from to include repeats like Trials and Tribulations from Deep Space Nine. Worf, perhaps the most recognized Klingon, is certainly one of Trek’s most interesting characters. Michael Dorn has essayed the role brilliantly over the years. Worf has grown throughout his run and Dorn deserves as much credit as the writers on that score. All of the Star Trek runs are represented here.
From Enterprise comes the pilot “Broken Bow” which I assume is included mostly as the first contact between Klingons and Humans. I would rather have seen the two-parter explaining the genetic mishap that changed some of the Klingons to human looking folks.
Posted in: Disc Reviews by Gino Sassani on September 19th, 2006
The Sci-Fi Channel has certainly gotten its considerable amount of money’s worth from Ronald D. Moore’s reincarnation of Battlestar Galactica. The trouble, at least for me, is that it is still very hard for me to consider this Galactica at all. It might have been better if, as Jack Webb used to say, the names had been changed to protect the innocent. There isn’t much doubt that this version of Galactica is innovative science fiction in its own right. The cinematography is often mind-boggling, if a bit too dark. T...e stories are also quite dark in tone. Here is where Moore misses the point of the original entirely. The first Galactica and Colonial Fleet were fleeing the destruction of their worlds, but with a great deal of hope in finding their long lost brethren: Us. In Moore’s tale, Earth is an almost impossible dream. The entire atmosphere is one of dread and bleakness. Galactica survives almost just for survival’s sake. No one is really living in this fleet. Not to say that Moore’s version can’t make for some compelling drama. It does. Under a different name I think I might actually be able to somewhat embrace this series. I can’t shake the feeling of watching something dear morphed into something it was never intended to be when I see Katee Sackoff addressed as Starbuck. She’s also one of the weakest actors to grace a major science fiction series since Denise Crosby.
OK. So let’s talk about what I DO like about the show. No question it’s the f/x. Moore has a luxury that not even a million dollars an episode could buy you in 1979. With today’s CGI advances, there isn’t very much that can’t be realistically visualized anymore. The fighters are sleek and the space battles are epic. If anything, these dogfights can get entirely too busy. Edward James Olmos is a fine actor and lends a ton of credibility to what is otherwise a fairly weak cast. His earlier concerns have ceased, either by studio edict or an uncharacteristic change of heart. Remember, it was Olmos who warned fans to stay away, offering that they would not be happy with the new show. The scripts are tight and go into depths the original never even attempted.
