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I don’t know what it is about Owen Wilson, but whatever film he’s in he seems to be playing himself. The soft-spoken, rather glib personality has taken him places over the years, but you have to ask yourself if he’s ever going to actually take any risks. Drillbit Taylor is no more a stretch for the actor than any of these other roles. What that means for us, the viewers, is that we’re sure to get a solid and quite believable performance. We know that we’ll end up warming to Wilson’s character in spite of the various flaws we are apt to discover along the way. If Wilson does anything well, it’s redemption. You get the impression that a lot of Wilson’s lines are his own. Whether this is simply a case of a writer having great feel for his star or Wilson changing things up is anyone’s guess, but I’d put my money down on the latter.

 

If you read my recent review of Bender's Big Score, you'll know I wasn't exactly thrilled by Futurama's first dvd movie. But like many things (such as relationships and less than average presidents), you always want to give it a second chance. Bender, Fry, Leela & others are fantastic characters and perhaps with the first film, they just had a bump in the road. We, as viewers know they can do better. They just have to steer clear of disgusting & annoying villains as well as confusing plots. Let's hope that it holds together for the solid ninety minutes and see what pans out.

After the paradox correction of a million Benders creates a rip in the fabric of space, life has tried to return to normal. Fry is in a new relationship with a girl named Colleen. Amy and Kif (Zapp Brannigan's side kick) get married. In a very funny bit, "Deathball" is used to win the right of exploring the anomaly. Upon reaching the rip in space, the Planet Express crew sends Bender out to investigate the situation. However, they quickly realize that electrical beings such as robots get zapped when trying to touch the anomaly but living beings are unaffected and can pass through.

Futurama is one of my favorite cartoon shows. When it was cancelled a few years back, I went ahead and collected the four fine dvd season sets and proceeded to watch them whenever I had time. Truth is, if you are a nerd like me, Futurama is much funnier than the Simpsons and deserved much more than seventy two episodes. Somebody listened. The people at Fox decided there was more life to Futurama and ordered up four straight to dvd movies which will be cut up among sixteen episodes for a fifth season. The first one is titled: Bender's Big Score. Here is hoping that the plot isn't Bender getting involved with a larger female robot (I think he already did that in a previous episode).

The story starts out where the series kinda left off. It's been two years since the executives at the Box Network have cancelled Planet Express's contract. The executives who made the decision were fired and hence Planet Express was back in business. After a short party where Hermes is decapitated (his head is naturally placed in a jar while his body gets repaired), the crew embarks on a mission to a nude beach planet. The crew decides to take a break and participate in some sun-bathing (au natural of course). There they meet three scammer aliens who convince the crew to sign some petitions and get their email addresses.

Todd Haynes continues to dazzle and amaze with his body of work. In Velvet Goldmine, he told the story of a fictitious glam-rock band in David Bowie/Ziggy Stardust style. Far From Heaven found him taking the Douglas Sirk films of the ‘50s into a nontraditional turn. In his follow-up film I’m Not There, his first directorial effect in five years, Haynes examines the persona and essence of Bob Dylan without actually really using the name or the words together at all in the film in a film released in 2007, where features like No Country For Old Men and There Will Be Blood earned a slew of awards, I’m Not There was an understated gem, and yet summing it up is a little difficult.

First off, while I’m Not There is a film inspired by the life of Bob Dylan, semantically it’s not a biopic. It examines the more notable images created by Dylan; one of the adolescent who portrayed himself to be the poor white kid who liked the work of Woody Guthrie and who, ironically enough, is named Woody (Marcus Carl Franklin, Be Kind Rewind). Arthur Rimbaud (Ben Whishaw, Layer Cake) is the mid-‘60s Dylan and de facto narrator whose words appear to be lifted from magazine articles of the era; Jack Rollins (Christian Bale, Batman Begins) is the folk hero and later born-again Christian-era Dylan; ironically Rollins is played by Robbie Clark (Heath Ledger, Brokeback Mountain), who watches his marriage deteriorate while he deals with the period of fame he has wrought; and Cate Blanchett (Elizabeth) plays the electric Dylan, touring in England, addicted to pills and alienating his acoustic fans. In his later years, Billy the Kid (Richard Gere, Pretty Woman) plays Dylan as the aging anonymous hero in the west, which in a way Dylan seems to want to do in reality. While none of these interpretations can be claimed to be accurate, they are, as Haynes says, fleeting glimpses of the image that Dylan created for himself. Using surrealistic and style choices influenced by Fellini and Goddard, Haynes helps make the worlds of Dylan all the more emotionally affecting.

If you’ve followed my reviews, you know that I love Stargate. SG-1 or Atlantis; I can’t get enough of them. When the collection of Stargate Infinity discs arrived at my doorstep, I tore into them like a Wraith into a red shirt. Now the Stargate might be an incredible mystery that delights a legion of fans. What is not much of a mystery is why this children’s cartoon version of the franchise only lasted one year. I missed the original broadcast window and having watched these DVD’s I’m glad I did. I found the series to be an insult to Stargate fans. I understand that the show has been dumbed down and is geared toward the very young, but there’s no excuse for the preachy nature of the stories and the lack of respect shown toward the original material. Unfortunately, even the animation is sub par looking like an early 1980’s Saturday morning cartoon.

 

I wonder if Johnny Smith could have seen it coming. After 6 short seasons the USA Network series based on Stephen King’s The Dead Zone has finally closed up shop. The series is based very loosely on the early Stephen King novel or the film with Martin Sheen. Johnny still goes into a coma and comes out with psychic abilities. He even meets the infamous Senate candidate destined to destroy the world. The similarities between the original tale and this surprising series end there. This show is more about Johnny using his abilities for good whenever he can. We find out that it was meeting Bruce, a physical therapist who was not in the original story, that kept him from the self-destructive path King had outlined for him. What makes this increasingly compelling storyline work is twofold. Fans of the original finally have some beef to sink their canines into. The second benefit is a direct payoff of this being a series instead of a single film. While we may think we know where Johnny’s headed, we now get to see it have a profound impact on his life. We get to see the character develop, heading inevitably toward the dark future he has caught glimpses of for several years now.

 

Call it Deliverance meets Texas Chain Saw Massacre by way of Straw Dogs. Really that’s the best way I can describe this incredibly derivative film starring Gary Oldman. It’s Summer in 1978 and two couples are making their way to an isolated vacation house in the woods. The house is the ancestral home for Paul. The four are traveling from England to Spain where Paul impresses the locals with his ability to speak Spanish. More importantly it’s his ability to understand the language as they were insulting the group intending for them to be oblivious to the slights. The location is quite off the beaten trail and the four must abandon one of their cars and pool in Paul’s Land Rover to reach the house. The men are looking forward to doing some hunting and maybe getting away from the women. You get the sense early that each of the couples is experiencing some tension in their relationships. On their first day hunting the guys stumble upon what appears to be an abandoned house. Inside they find a young girl chained to the floor. Fancying themselves as a pair of knights in shining armor they “rescue” the girl and bring her back to their house. From there the trouble starts. The girl has deformed hands, a prosthetic effect and is simply laughable on every level. The locals consider such things in typical superstitious terms and want the girl returned. What we get for the rest of the film is a lot of running from men in shotguns and an almost senseless attempted rape on one of the woman by a local.

 

Inspectors 81 are back on the tough streets of San Francisco for a second season of gritty police work. Remember, these are the same streets Dirty Harry worked during the same decade. There are some memorable moments in this next half season release of “Streets”. Stone goes undercover as a Catholic priest to trap a serial killer who preys on priests in For The Love Of God. It’s a tough assignment in Before I Die. The pair must stop a terminally ill cop who decides to take justice in his own hands before he goes out. A Manson-like clan is led by a man who appears to have an almost magical spell over young woman, leading them into his prostitution ring in the very nice episode, Harem. Three seemingly unrelated murders connect the dots for the pair in No Badge For Benji. The three victims are a rich foreign entrepreneur, a street informant, and a Japanese industrialist. The set ends in The Victims, which finds three escapees from prison leaving a bloody trail everywhere they go.

 

Hannibal Lechter is running the show, and even if it is his alter-ego Sir Anthony Hopkins who�s at the wheel of this ride, it could just as easily have been Hannibal the Cannibal pulling the strings. Hopkins is a literal one man show. He wrote, directed, composed the score, and starred in this abysmally horrible film. I wouldn�t be surprised if he pitched in on a couple of coats of paint here and there as well. One man ego driven artistic films are often messy, but Slipstream goes far beyond messy. It�s an impossible film to watch. By the time it was over my head hurt so bad I thought I�d just been beaten over the skull with a two by four for the entire hour and a half. Some will call it art and praise it, either because of the respect Hopkins carries, or because they�re simply too afraid to admit they hated it. If you say you loved this film, you�re lying. The entire running time is nothing but a merciless assault of disconnected images, erratic cuts (as many as dozens in a minute), endless chatter, and an overindulgence of cinematic style over substance. The film makes David Lynch look tame by comparison.

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Meerkat Manor is back for a third season on DVD. You’re invited back into the South African desert with the famous Whiskers Clan. Animal Planet has themselves a relatively big hit here with Meerkat Manor. OK, so, it’s not exactly The Sopranos or The Shield, but it does have a modestly dedicated audience. Seems that folks just can’t get enough of these fur balls. They’ve set up blogs and websites dedicated to the antics of the celebrated Whiskers. If you, like them and are dying to see what these lil’ guys are up to next, wait no longer. Fast on the heels of the prequel film, The Story Begins, Meerkat Manor is here again. Of course, all of this is strictly in the interest of scientific study. Sure it is! Don’t worry, I won’t tell a soul.