Posted in: Disc Reviews by Archive Authors on December 8th, 2005
Film
“This is not a trend. This is us. This is who we are.”
Posted in: Disc Reviews by Archive Authors on December 7th, 2005
Scientist Reed Richards (Ioan Gruffudd) wants to study the effects of cosmic rays, but he needs a lot of money to do. After searching for the money practically everywhere, he turns to his old college rival Victor Von Doom (Julian McMahon). Naturally we need to have some type of love triangle going on. Enter Sue Storm (Jessica Alba) and the equation is complete.
Victor needs to make money off of this because he doesn’t seem to have enough despite being a billionaire. He agrees to finance the project only if ...ue goes along with the team. Another part is that Sue’s brother Johnny (Chris Evans) must command the shuttle. The original pilot Ben Grimm (Michael Chiklis) is very annoyed by this. The mission hits a side-note when a blast of cosmic ray hits the shuttle affecting our heroes. Reed can stretch his body to the extreme, Johnny can ignite himself, Sue can make herself invisible and Ben develops super-human rock type strength. Victor, especially with a name like Von Doom, develops some type of metallic power and becomes our main villain. The film attempts to deal with the changes our heroes go through and their attempts to stop Doom.
Posted in: Disc Reviews by Archive Authors on December 7th, 2005
Written by Clayton Self
Legends of the Fall is one of those movies that sets its own standards for greatness and actually achieves them. That is very rare in cinema. Legends has a great Director, Edward Zwick, who brought the recent hit The Last Samurai. The performances are amazing, and the cinematography superb. This is a movie that has aged very well since its release in December of 1994. So, here we are eleven years later, with a movie that still captures the heart.
Posted in: Disc Reviews by Archive Authors on December 7th, 2005
Written by Clayton Self
Batman Begins is a brand new and WAY cooler take on the Dark Knight franchise than anything we’ve seen before. Most importantly, this is NOT a prequel to any of the previous four Batman films. This is a fresh start for the franchise, and it gets done the way it should have been done in the first place. Don’t get me wrong, Burton made two very dark and original films, but let’s face it; Batman Returns sent children bawling out of the theatre, and left parents with a sour taste in their mouth. That mo...ie is the reason Batman Forever and Batman & Robin were so, how do I say this without being mean? Campy. Tragically campy. Needless to say, those films drove the nail through the coffin for that particular story line. But thanks to Christopher Nolan (Memento/Insomnia) we have a new Batman film that puts the dark knight on the silver screen in a very dominating way.
Posted in: Disc Reviews by Gino Sassani on December 7th, 2005
I started my review of season four by remarking how little CSI had changed over its first four years. In its fifth year the powers that be decided to muck up the works a bit. The team is split between day and night shifts and Catherine is given the supervisor position on days. This actually leads to probably the show’s largest continuity flaw. It seems that the shifts overlap not just once in a while but almost all the time. I found myself really confused about this whole shift deal. Mostly I think the change takes away from the character interactions that I have come to love so much about this show. CSI has been able to find the perfect formula. There’s enough interaction and private life to make things interesting. Still, the relationships do not devolve into casual romances that tend to bog even quality dramas down. Season 5 created some serious challenges to that wonderful system. You’ll still find the same good quality procedural drama episodes. The look of the show remains untampered with. Perhaps the changes will appear fresh to many long-time fans. We’ll see.
I do like the use of the Greg character more as he becomes a full time member of the field team. A new team member, Sofia, also helps to make up for the changes.
Posted in: Disc Reviews by Archive Authors on December 7th, 2005
Cinderella Man tells the heartwarming true story of heavyweight fighter James J. Braddock, a man thought to be washed-up, who rises from the ranks of the forgotten to rebuild the life and potential he lost somewhere along the way. It's also one of Ron Howard's finest films, and with a body of work which includes Backdraft, A Beautiful Mind, Apollo 13, Far and Away, and Ransom, this is a fine accomplishment. Unfortunately, this film's success never rose to the level anyone ant...cipated, and there's nothing worse than when a well-crafted piece such as this falls victim to bad press -- especially when said bad press has almost nothing to do with the film. Firstly, Cinderella Man suffered from the now famous idiotic outburst of its star Russell Crowe. Secondly, there was the debacle over Howard's portrayal of Max Baer, and how that portrayal affected and offended Baer's still-living son (the former Jethro Bodine of TV's Beverly Hillbillies, and successful film producer). Finally -- and perhaps most important of all -- was the lackluster marketing campaign, which made the film look so dull even I was ready to wait for the video. These three factors added together to cause the film an almost embarrassing performance for all there was to recommend it (two Oscar winners in the starring roles, an Oscar winner behind the camera, another Oscar contender in a supporting role -- Paul Giamatti -- and perhaps one of the most inspirational tales in American history).
At one time, James Braddock was a contender. He had the world on a string, a woman who loved him, and several adoring children. But somewhere along the way -- an injury here, a few decision losses there -- his career and his world took a nosedive. After injuring his hand and coasting through a boring fight, he loses his boxing license, and consequently, his meal ticket. At one point, the sky was the limit. But now, left to a dark and desperate world, he struggles to keep the heat on during a brutally encroaching New York winter. He's forced to send his children away just to save their lives from the harsh weather. And at his lowest point, he succumbs to the very thing he stands against -- welfare. After finding himself all but forced to sign up for social assistance, he becomes determined to turn it all around. All he needs is the opportunity, which comes in a supposedly one-time shot against a top heavyweight contender. No one expects Braddock to win, but when he does, it sets in motion a chain of events, which position him into a very real chance for a shot at the deadly world heavyweight champion Max Baer, who was responsible for the deaths of more than one man in his storied career. Whether Braddock becomes one of those victims, I will leave for the uninitiated to discover. But the enjoyment of Cinderella Man depends not on winning or losing, but on the inspiration of Braddock's overwhelming comeback. He rose from the proverbial canvas at the same time as a nation did, and it's not entirely implausible that he lended a hand -- however small -- in getting this country back on its feet.
Posted in: Disc Reviews by Archive Authors on December 5th, 2005
Posted by Kim Lee
This unauthorized biography by New Line Home Entertainment covers the life of Curtis “50 Cent” Jackson. The documentary describes 50 Cent’s expedition of dealing drugs at the corner of Jamaica and Queens, to boxing, to becoming a gangster rapper, and in the end a music industry icon.
Posted in: Disc Reviews by Gino Sassani on December 5th, 2005
Greg Marcks directorial debut 11:14 is a tricky little puzzle of a film. Amazingly enough, the pieces do all fit together, despite Marcks' (who also wrote the screenplay) bewildering youth. What significance (if any) 11:14 has over other times on the clock, I don't know. In fact, why the five stories play out as they do, I wasn't sure until the final segment, which neatly ties all parts together. While it may not be the type of film that's as much fun to watch the second time around, you'll have a ball the first.
Of course, as Rachel Leigh Cook's wannabe love slave (sorry wife), I have to say the last segment is my favorite. In addition to this portion's role as crazy glue for the rest of the film, we get to see Ms. Cook's Cheri at her devilish best, and it's superb at just how naughty she can be. The joyride segment is also a winner, thanks in part to the three hot-rodders' just comeuppance, even though I did get a kick out of their antics. They're definitely the types of kids you'd wish a deadly one-car accident on during a traffic-laden Saturday night, but in the confines of this film, these characters are much more amusing than any real-life counterpart could ever be.
Posted in: Disc Reviews by Archive Authors on December 5th, 2005
While VeggieTales: Lord of the Beans is not my thing, I can certainly see how it would connect with very small children. Parents may also throw Phil Vischer and company some appreciation for the positive messages his bunch tries to present in each VeggieTales special, but something about Vischer and crew's latest doesn't feel right. For one, it's a parody -- and a rather faithful one -- to LOTR: Fellowship of the Ring. While it's fine to parody, I think VeggieTales misses the point with their chosen subject matter. True, Lord of the Rings is a very popular series, but to think the age group this is aimed at is familiar enough with the material to appreciate the parallels is ridiculous.
I'm not saying kids in general are unfamiliar with LOTR, or that they haven't seen it. I'm saying pre-schoolers, who will certainly get the most out of Lord of the Beans are most likely clueless to the material from which this special strives to mine most of its humor. You could say the creators made it a parody for the adults' sake -- and I will admit that was probably most of their intention. But again, Lord of the Beans fails because the humor never rises above a three-year old's mentality. And let's face it, at that age, all you'll probably find funny about VeggieTales is the first appearance of a talking cucumber melon with large eyes.
Posted in: Disc Reviews by Archive Authors on December 5th, 2005
Happy Endings is one of those films that makes you rethink being a DVD reviewer. I sat through this excursion into pretentious observations about the way the world is, and the way "average people" are, and thought, "Yeah, sure, this is a slice-of-life. I bet." Oh, I don't mean to say the characters' lives are way too screwed up to be believable. Lord knows, under every ordinary average guy... or gal... there lurks a whole slew of skeletons banging their bony fists against the inside of the closet door. But the extent to which these screwed-up folks bang into one another like aimless bumper cars at a county fair makes one say, "Enough already."
Lisa Kudrow heads a weak cast, despite name recognition and the merits I'm sure each of the performers possess. With other capable stars such as Laura Dern, Maggie Gyllenhall, Tom Arnold, and Jason Ritter attached, one would think acting is the least of the film's worries. The problem with that? Everyone gets so caught up in the hipness of it all they come across with obnoxious self-indulgence smeared over their faces like the feces permanently plastered to the walls of my old college dorm's public restroom. And it's as if writer-director Don Roos wants to remove it from that wall, but he feels too intimidated to cross the ex-Phoebe Buffay and Mr. Roseanne Barr.
