Posted in: Disc Reviews by Gino Sassani on July 27th, 2010
I get this terrible knot in the pit of my stomach whenever I discover that I have to review a Kevin Smith film. I know there are a core of solid fans out there who appear to get the inside joke. It's long been my belief that he must have the best blackmail file in the industry to keep getting studio deals to release films. It's not like any of his films have broken any box office records. Still, he keeps getting work. So, it was with that admitted prejudice and knot with which I approached my viewing of Cop Out. My shoulder had developed this nasty twitch as the disc menu took forever to load. Like a condemned man waiting for the chair generators to come on line, I watched the Warner logo and the FBI warnings slowly resolve themselves on my monitor. Then something totally unexpected happened. It was like that proverbial last-second call from the Governor. The knot disappeared, and the twitching miraculously ceased. I actually enjoyed the movie. It's a miracle of the highest degree. Somewhere some holy dead guy just put in his final miracle on his way to sainthood, because Kevin Smith released a pretty good movie.
Detectives Jimmy Monroe (Willis) and Paul Hodges (Morgan) have been partners for a long time. Nine years, in fact, which as Paul informs us is longer than the life of your average great dane. At times it appears miraculous that the duo has managed to last that long together. They bicker more than an old married couple on their way to Divorce Court on television. To an outsider it might appear they don't like each other at all. But when the chips are down and they get suspended for causing a little havoc on their latest undercover, they have each other's backs. The suspension couldn't have come at a worse time for Jimmy. His daughter wants a $48,000 wedding, and his ex-wife's rich husband is more than willing to foot the tab so that he can rub Jimmy's face in it. So Jimmy does what any father would do to save his pride. He decides to sell a mint baseball card that his late father cherished to pay for the wedding. A good plan. That is, until a couple of punk hoods decide on just that moment to rob the sports memorabilia store. They end up with Jimmy's baseball card. Jimmy and Paul finally catch up with one of the hoods only to discover that he sold the card to a big drug kingpin for a couple of bags of drugs. So, now it's off to confront Poh Boy (Diaz) to get the card back. Poh Boy offers to return the card if Jimmy can trace a car of his that was recently stolen. The car contains some valuable evidence that he wants back, including a witness ,Gabriela (de la Reguera) who has been locked in the trunk for two days. Now Jimmy and Paul need to protect the witness and bring down Poh Boy, with no badges and two of their own detectives trying to pin some recent murders on them. This should be a lot of fun, and it is.
Posted in: Disc Reviews by David Annandale on July 21st, 2010
Raquel (Catalina Saavedra) has been the maid for the family run by matriarch Pilar (Claudia Celedón) for 23 years. Those years have taken their toll, and Raquel looks worn far beyond her 41 years. She is clearly unable to look after the household on her own, and Pilar tries to hire another maid to help out. Raquel takes this the wrong way, imagines she's being eased out, and treats each new maid as an invader who must be repulsed.
Saavedra is extraordinary in the title role, her exhausted, pained, but determined look invoking a sullen bulldog who is on the verge of going feral. But this is not the story of a maid's psychotic break, nor is it one where the family she works for is made up of monsters. Everyone in the film is very human, and the story is a very human comedy. The comedy is not of the slapstick nature (though there are some pretty physical moments), but rather grows out of the finely observed characters, and is shot though with genuine drama. A find, deeply sympathetic piece.
Posted in: Disc Reviews by Michael Durr on June 11th, 2010
My relationship with romantic comedies has not been one of wedded bliss. More often than not, it is something I get forced into. Once you are forced into something, then you automatically have a pre-disposed attitude against the movie. Hence, I haven’t liked too many of these things. Thankfully in the last few years, if I see a romantic comedy it’s been mostly because it ends up in my review queue. This in turn has given me a softer approach to these movies but don’t think I’m going all sentimental just yet.
Beth (played by Kristen Bell) is a successful art curator for the Guggenheim. After a great art show, she is talking to her friends and mentions how she hates her ex-boyfriend: Brady Sacks’ guts (played by Lee Pace). Of course, he’s standing right behind her. They talk for a while and it appears that Brady is bitter over the fact that he got dumped at Applebees (he probably wasn’t allowed to get the Riblets, I hear they are divine). Brady then mentions he is engaged.
Posted in: Disc Reviews by Gino Sassani on May 25th, 2010
"On Robben Island, in Pollsmoor Prison, all of my jailers were Afrikaners. For 27 years I studied them. I learned their language. Read their books, their poetry. I had to know my enemy before I could prevail against them. And we did prevail, did we not?"
Leave it to Clint Eastwood to make even rugby look interesting. Of course, Eastwood himself would correct me and observe that Invictus isn't really about rugby. As the words of Nelson Mandela above suggest, this movie wasn't really about rugby at all.
Posted in: Disc Reviews by Gino Sassani on May 24th, 2010
Mel Brooks has often been called the Master of Comedy. The moniker might be a bit too grandiose, but he was certainly the master of the parody. In recent years that has become more evident than ever. Too often I've been forced to sit through something called a comedy. Not only can I do so without ever actually laughing, but there are far too many titles of late that don't even give me the chance to crack a smile. It's not that I've seen so much that it's hard to find anything original. I can still laugh like crazy when I watch a Sanford and Son episode I've seen at least 50 times or an Abbott & Costello routine that was old before they even got their hands on the material. There is a famous quote that states, "Dying is easy. Comedy is hard." Then why does Mel Brooks make it look so dang easy?
While we're on the subject of masters, you really can't avoid the Master of Suspense, Alfred Hitchcock. Perhaps no one understood his audience more than Hitch did. He's influenced a great many of today's filmmaking geniuses. He's been admired by almost anyone who has ever really studied film. Mel Brooks can be counted among his students. On more than one occasion I have seen an interview where Brooks can't say enough flattering things about Alfred Hitchcock. It would have only been a matter of time before Brooks turned his creative mind to one of his own idols. The result is enough to give anyone High Anxiety.
Posted in: Disc Reviews by Gino Sassani on May 19th, 2010
"Even in the most primitive man, the need to create was part of his nature. This need, this talent, clearly separated early man from animals who would never know this gift. And here, in a cave somewhere in the North American Continent, about two million years ago, the first artist was born. And, of course, with the birth of the artist came the inevitable afterbirth ... the critic."
That's me. Afterbirth here. Brooks always did love to poke fun at the critics. And why not? Unfortunately, this was not one of his better films and likely received a lot of poking from the brethren. It was one of his worst films at the box office, pulling in only $31 million. Compared to many of his hits, it must have been a disappointing take for Mel at the time. Now out, along with some other of his films, on Blu-ray, this rather forgettable film looks even more dated and overindulgent than ever. Certainly, there are some classic moments. Mel, is, after all, Mel. But he never could string enough of them together to meet expectations. Too bad, really. It was a grand idea.
Posted in: Disc Reviews by Gino Sassani on May 18th, 2010
"You, sir, are guilty of disseminating disbelief. Killing dreams. Committing first-degree murder of fantasy, which by Fairy Law, in order to pay your debt to humanity, you are hereby ordered to serve time as a Tooth Fairy. The normal sentence is one week, but because you have the nerve, the unmitigated gall, to actually call yourself a Tooth Fairy, thus making a mockery of everything we stand for, I'm sentencing you to two weeks Tooth Fairy duty."
Dwayne (once The Rock) Johnson has made a bit of a new career move over the last few years. When he left the wrestling ring to "go Hollywood" the expectation was always that he would become an action hero. It's what his fans expected. It's what Johnson wanted, at the time. Movies like The Scorpion King were created completely as vehicles for Johnson to show off his physique and join the ranks of the big strong action heroes. It didn't exactly work out as well as everyone involved expected. He wasn't a flop, but he wasn't setting the movie industry on fire either. But with movies like The Game Plan and Race To Witch Mountain, Johnson appears to have a knack for working with kids in films targeted primarily at kids. He's become a big teddy bear, and it's paying off quite handsomely. While he still hasn't given up the wrestling gigs and an action role here and there, his biggest success so far in Hollywood has been with the kids.
Posted in: Disc Reviews by Gino Sassani on May 17th, 2010
For most of this last decade Mel Gibson might as well have vanished from the face of the planet. The once extremely popular actor had charmed the world. Women found his childish grin to be irresistibly sexy, and men bought into the “kick ass and crack a joke” style that made the Lethal Weapon films such a romp of fun. But lately, you expect him to be the subject of a “Where Are They Now” segment from a late show on television. It's no secret why Gibson climbed so quickly out of the public eye. I'm sure everyone still remembers the drunk-driving arrest where Gibson compounded his already serious case of bad judgment with even worse judgment. He tussles with the police officers who stop him and lets loose one of the worst anti-Jewish rants since Pharaoh unloaded on Moses. He apologized, of course, but some things just can never be put back into the box. There's an old Latin phrase that roughly translates to "In wine there is truth". The idea is that Gibson's true feelings were revealed by the reduced inhibitions of alcohol. Whatever his real feelings might be, none of us will ever know, and I don't really have an opinion, or care for that matter, except for the fact that it has removed Mel Gibson from the front of the camera pretty much ever since. His only projects have been as director, producer, and even writer. Even those efforts have been controversial. It's hard to watch The Passion Of The Christ without a visceral reaction to what you've seen. It's been a rough decade for Mel Gibson.
For those who have seen the British mini-series, and I reviewed it in these pages some time ago, you'll find that while the story doesn't really change, the dynamics of the story certainly change, and for the better. This wasn't a good story to drag out over six hours. The British version went into some fantasy elements that this version absolutely avoids. While Craven still appears to be seeing the "ghost" of his dead daughter, it appears to be more in his mind and a product of the grief. In the British series it got rather silly with her teaching him how to do laundry. It was quite absurd, after a time. The basic story elements do remain:
Posted in: Disc Reviews by Gino Sassani on May 4th, 2010
In many ways the epic story and film Doctor Zhivago echoes the real-life story of Boris Pasternak, who penned the original novel. Pasternak was a firsthand witness to the events that led to and became the Russian Revolution. He collected 50 years of memories that began with the early days before the revolution and ended with his own confrontations with the USSR government. Like Zhivago in the story, Pasternak's work was banned in his own country. The manuscript had to be smuggled out of Russia and found its way first to Italy, where it was finally published for the first time. But it didn't stop there. The book quickly found its way to countries all over the globe. It was translated into several languages in a very short time. In 1957 Pasternak was honored with the Nobel Peace Prize for literature. Alas, that was not meant to be. He was confronted with the Party Government and warned he would not be permitted to return home should he go to Sweden to accept the prestigious award. And while that might not have appeared to have been much of a threat when you consider Pasternak's harsh observations, this was his homeland, and he did have family there who would have most assuredly paid a price for his actions. He declined the award, begging the committee to not "judge him too harshly". It would be Pasternak's last stand. He would never see the complete success of the novel or the impact it made on the world stage. He died just three years after turning down the award. He was never to see David Lean's epic interpretation of his work. He never saw the film Doctor Zhivago.
I must confess that I too had never seen the movie. I had certainly seen many clips of the film. It was impossible to follow films, in general and not be aware of the film and its impact. Of course, I had heard much of the music. The Love Theme, also called Lara's Theme, has become one of the most recognizable movie themes in the history of the industry. The movie was quite popular, but circumstances just never presented themselves for me to have the opportunity to see this movie, at least in a manner worthy of its reputation. Certainly, there were television showings, but I could never bring myself to experience such an iconic film in a cut-up fashion with likely an inferior print. Even DVD kept me at a distance. Did I really want to watch this movie with a 3-4 mbps bit rate? Certainly not. I suspect there is perhaps an entire generation of film fans out there that found themselves in the same situation. We've been asking ourselves: will there ever be any chance of seeing the movie in a format that preserves its splendor? I guess I was holding out for a nostalgic screening at a local at house theatre. And then came Blu-ray, with its limitless possibilities, and finally a copy of Doctor Zhivago would arrive on my doorstop. My dog barked ceaselessly at the UPS man who delivers these goodies on an almost daily basis. This time there was an extra snarl in that growl, I was sure of it. Could she have known that this particular delivery was going to find me and my wife locked away for nearly 4 hours (in my case more like 6) in our, closed to dogs, little theater? She knew. She knew.
Posted in: Disc Reviews by Gino Sassani on April 26th, 2010
"You're not in Kansas any more. You're on Pandora, ladies and gentlemen. Respect that fact every second of every day. If there is a Hell, you might want to go there for some R&R after a tour on Pandora. Out there beyond that fence, every living thing that crawls, flies, or squats in the mud wants to kill you and eat your eyes for Jujubes..."
I don't really have to tell you what Avatar is. If you haven't heard of it by now, I have only one question to ask of you: How was that coma? Ever since he cleaned up at the box office with Titanic, James Cameron has been planning this movie. The only trouble was that the technology to make it did not exist. Most filmmakers would have either tried anyway, or simply waited until the hardware caught up with their imaginations. Not James Cameron. He decided to invent the equipment himself. The result is a new 3D filming process that allows for the most realistic images you likely have ever seen on a movie screen. He combined the new process and equipment with new state-of-the-art computer-generated technology. The result is a movie that is truly the first of its kind. It was a huge risk for Cameron. A lot of money went into not only making the film but the technology development. In many ways Avatar was really an audition film. Cameron wants to make his equipment the stuff other filmmakers use to create their own silver screen dreams. It was a gamble. Judging by the box office take, it paid off big time. With a box office return of nearly $3 billion worldwide, James Cameron now has the number one and number two top-grossing movies in the history of the industry. If you're keeping count, it's a total box office take of just under $5 billion for two movies.