Posted in: Disc Reviews by Archive Authors on October 27th, 2005
Synopsis
In between the other new stuff that’s come out (and the older stuff I’ve picked up), I wanted to try and whittle down the archives, so huzzah for small victories.
Posted in: Disc Reviews by Archive Authors on October 24th, 2005
The Battle of Britain was a famous turning point in the World War Two theatre. The movie, Battle of Britain, was brought to your home theatre a few years ago. This single disc edition, with very few features, seemingly cried out for more. Now we have it in Battle of Britain: Collectors Edition, 2 discs of military goodness.
The film itself has spectacle. The planes used for this film helped create an air force equal to a medium sized country. No CGI here. The director is Guy Hamilton (b...st known for early James Bond films). Battle of Britain is one of those large all star cast war movies (think of A Bridge Too Far) that was made popular in the late 60's/early 70's. This movie is all Brits however (with a sprinLing of Germans). Michael Caine, Ralph Richardson, Robert Shaw, Laurence Olivier, and many others take part in the action. The film has a few flaws. There are some phony photography shots and the dramatic construction is a bit sloppy. There’s an attempt at a romantic sub-plot (featuring Christopher Plummer and Susannah York), and thankfully it’s not as damn annoying as the love plots in Pearl Harbor. But I quibble.
Posted in: Disc Reviews by Archive Authors on October 21st, 2005
When comic book movies started becoming popular in the 90's with Batman, The Punisher, Dick Tracy and the like, directors weren't really sure how to handle the subject. The most popular methods involved making the film look like a comic, to help to tie the narratives together. Unfortunately, audiences soon discovered that the result of this mash-up of styles was a heavy-handed, overblown color explosion that just looked hokey (Batman Forever, anyone?) Finally, in recent years, it has been ...iscovered that the best way to tell these stories is to make them look just like normal films. If you focus on the story first and foremost, and real emotions, the supernatural aspects will be readily accepted by the viewer. As a result, audiences have now been treated to such fine films as Spiderman, Hellboy and X-Men.
Now that movies based on old TV shows have come into popularity, it seems this is a lesson that has to be learned all over again. The Mod Squad, Starsky and Hutch and The Dukes of Hazard have all been miserable failures, with the first Charlie's Angels being the only possible exception to this trend. All of these films tried way too hard to cram in all of the elements from the original TV show, instead of focusing on creating an excellent story first and foremost. Sure, it is pop candy to hear that clever narrator trick in Dukes, or the "fade to commercial" music cue in Angels, but the cleverness easily wears off over two hours, and in the end, it is a strong story that matters the most to the film.
Posted in: Disc Reviews by Archive Authors on October 20th, 2005
Synopsis
A group of young folk on their way to the “biggest college football game of the year” (you would do an overnight trip for THAT?) take an unfortunate detour. In groups of two, they are lured into a town run by two madmen, where the only other inhabitants are the was-coated effigies of their victims. What follows is the expected gory slaughter, and some of the deaths are gruesomely imaginative. There is, however, no terror. What does it say when practically the most likeable character in a fil... is played by Paris Hilton? It says that you can’t wait for these people to die. Even the more amiable heroine behaves in ways that are colossally stupid even by slasher movie standards. And the twist at the end is so trivial and meaningless, so utterly irrelevant to the plot, that it is the narrative equivalent of bicycles for fish.
Posted in: Disc Reviews by Archive Authors on October 16th, 2005
Synopsis
One year after Ronald De Feo slaughtered his family, the Lutzes move into the creepy house. George (Ryan Reynolds) soon feels cold and starts acting cranky, and before you know it is looking like he might dish out some violence of his own. Meanwhile the youngest child is developing a troubling relationship with the ghost of a little girl. A frantic Kathy (Melissa George) is desperate to find out what is wrong with the house before it all ends in blood and tears.
Posted in: Disc Reviews by Archive Authors on October 15th, 2005
Synopsis
Two friends – Marie and Alexia– head out to the country home of the latter’s parents. In the middle of the night, a killer breaks in, slaughters the family, and makes Alexia his prisoner. Marie is locked in a battle to save her friend and not become a victim herself.
Posted in: Disc Reviews by Archive Authors on September 7th, 2005
What's the dealio with The Deal? Well... Christian Slater's in it. Selma Blair's in it. What's it about? The Deal is a thriller set in the world of insider trading and the oil market. Sounds like a bore? Well, the film is fairly knowledgable about its information. The screenplay has a lot of "insider" gobbledegook. The characters talk the talk, but can they walk the walk?
The Deal, on a thriller level, gets lost in its own plot. Tom Hanson (Christian Slater) slogs through a maz... of narrative. Too much information, too little time. The world of Wall Street is hard to wrap your head around as it is. The strength of the film lies in its strong cast, sure handed look, and intelligent ideas.
Posted in: Disc Reviews by Archive Authors on August 25th, 2005
Synopsis
This is the biopic of Irish painter and writer Christy Brown. Born with crippling cerebral palsy, he retained movement only in his left foot. His body is a cage for his mind, and at first, only his mother believes that he is an intelligent being. When, as a child, he spells “MOTHER” on the floor in chalk, this is the breakthrough moment, and we follow him through the triumphs and frustrations of his adult years.
Posted in: Disc Reviews by Archive Authors on August 19th, 2005
I'll bet the script to this film read like a dream. The Exorcist meets Hellboy meets The Mummy. Surely this is the ideal vehicle for Keanu Reeves following his three picture run on The Matrix. Sound too good to be true? Unfortunately, it is. Now, there is a lot that is admirable in this film. For example, the acting, which is is far above the tired bar set by most modern action/sci-fi flicks. Furthermore, the special effects in Constantineare simply fantastic. In fact, I would go so...far as to say that they are some of the most amazing special effects I have ever seen. These are effects so amazing that they actually help to convey the story on their own. It is one thing to hear people describe hell, it is quite another to experience it firsthand through a special effect.
It is a shame that for all of the hard work and thought that went into this film, the end result is so disappointing. The film starts off with such promise. Why must it go downhill? The simple answer is that brilliant visuals can't cover a script that has been dumbed down to appeal to the lowest common denominator in the summer blockbuster movie going pantheon. This could easily have been one of the best comic book films of all time. I am just so disappointed by the potential that was squandered in this production.
Posted in: Disc Reviews by David Annandale on July 21st, 2005
Synopsis
Michelle Trachetenberg is a gifted science student, and her mother (Joan Cusack), a committed feminist, is pushing her to forge her way through college. But her Trachtenberg’s true love is figure skating, and she manages to combine the two in a physics project, which opens the door to more skating for her. What to do when she turns out to be really good at skating? That or more academic pursuits? Her opposite number is Hayden Panettiere, the stuck-up blonde whose mother (Kim Cattrall) is a f...gure skating coach and is pushing her daughter as hard as Cusack is pushing hers. How will it all turn out?
