Disc Type

Edgar Allen Poe is on a short list of writers that has long been deceased that just about everyone has heard of.  At some point in school we all had are chance to read about the taunting of The Raven or a number of Poe’s other famous works. With Extraordinary Tales we get an animated treat in the form of 5 animated tales written by the master of the macabre.  This is more than just a simple animated retelling of the stories as each tale is given its own unique narration and animated style. Is it worth the time to sit back and watch these classic tales or did they belong on the shelf to collect dust?  Come along with me and I’ll tell you about my journey if you dare.

Whether you’re a fan of Poe or simply only vaguely recall the name from those Classical Literature courses you’re trying to forget, there is something on this release I’m sure will connect with each viewer.  Using 5 of Poe’s more popular works isn’t the only bait the film makers have decided to use to entice viewers; after all there have been numerous adaptations of his work in the past.  The appeal is that every story, though told in narration is animated with its own unique style, ranging from 50’s comic book style to oil paintings that have come alive.  The styles are so drastic from one another that in ways it’s hard to even compare the works without tipping your hat so to speak on your own artistic preference.  After all ones taste in art varies from one person to the next.  I say this because this is a piece that is hard to show objectivity without personal preferences nudging their way in.

- “Justice is not about popularity…”

- “…but politics is.”

Following the Lifetime original movie Lizzie Borden Took an Axe, The Lizzie Borden Chronicles is a continuation of the tale about the young woman accused of killing her stepmother and father with an axe.  It’s tricky enough to do a feature length film about real people involved in real events; liberties seem to be taken for the sake of telling a good story.  It’s one of those things that when you see “Based on true events” or “Inspired by true events”; is there a difference, and does it even matter?  Well, if you are watching The Lizzie Borden Chronicles, accept the fact that though the character and her sister are very real, this is hardly biographical, but instead a fun game of “what if” that the creators have done with Lizzie Borden.  And it’s a wild eight-episode ride that they have set the viewers on.

In Fall River, Massachusetts, it’s 1893, and it has been four months since Lizzie Borden (Christina Ricci) has been acquitted for the murder of her father and stepmother.  Since the trial, Lizzie and her sister, Emma (Clea DuVall) have struggled to restore a life of normalcy and keep their violent past behind them.

“Magic Mirror on the wall, who is the fairest one of all?”

Years ago a news magazine, I don’t remember which, conducted a survey. They discovered that more adults knew the names of the Seven Dwarfs than could name seven figures in the federal government, including President, Vice-President, Senate, House of Representatives, and the Supreme Court. They say our educations begin very young. Well, since 1938 our youths have been entertained by Snow White and the Seven Dwarfs.

I’ve never been too big a fan of romantic comedies. They are often too quirky for their own good, and they follow a typically cliché story arch. I do not even enjoy rom-coms from famed comedic directors such as David Wain. Although certain directors do attempt to break the mold, it’s as if the genre is nothing more than a memory foam mattress: you will always fall into place, because it is the most comfortable. That being said, when watching a made-for-TV rom-com such as For Better or for Worse, one can assume there will not be much breaking of the genre conventions.

For Better or for Worse tells the story of esteemed wedding planner Wendy (Lisa Whelchel), whose life is turned upside down when her son returns home after quitting law school, and a divorce attorney (Antonio Cupo) moves into the office next to hers on the same day. To make matters worse, her son has brought home a new vegan fiancée who has “changed his ways,” and surprise, her dad is the hot new divorce attorney on the block. When her business partner (Kim Fields) can only offer so much advice, she makes an unlikely team with the divorce attorney in order to collectively ruin their children’s plan for marriage.

"This bird you'll never change."

That seems to be the case with the Southern Rock band Lynyrd Skynyrd. Few bands have experienced the level of tragedy this one has. It's somewhat of a miracle that any version of the band would still be standing. But they are thriving and doing their best to keep their particular sound alive. And what better place to demonstrate that nearly 50 years after they were formed than back home in Jacksonville, Florida where the band's original members were formed. (No, they didn't come from Alabama.)

Steven Spielberg. Tom Hanks. The Coen Brothers. 1957. The Cold War. Mark Rylance. There are a lot of elements to the stew that is Bridge of Spies. Let's start with the most important ingredient. Steven Spielberg has been a household name for decades now as the most reliable producer/director of movie entertainment we may have ever seen. His name is so synonymous with big-screen entertainment that he needs no introduction from me. But he has been trying to get away from pure entertainment for a long while now, often with great success. In more than one interview, Spielberg has said he wants to get away from the really big movies he's famous for and do mostly historical dramas. Not that many of them haven't been really successful, but the two big ones are Schindler's List and Saving Private Ryan. Both those had undeniable impact, enormous emotional heft, and were hugely successful. Lincoln from 2012 was maybe Spielberg's most satisfying attempt at recreating history. Now we have Bridge Of Spies. 

The Cold War drama has a different feel. It is full of details of the time period and subtle shadings of emotions with an overriding sense of lightness to what could have been a heavy-handed look at a very black-and-white era.

With a few slight changes and additions, Sin Seer could have been quite something. As is, it is far from the worst film that I have ever seen, but there were a few areas that upon examination did not make much sense, such as in what world would we ever allow a convicted felon to carry a weapon? There are a few other things; however, I will let you marinate on that question, as it is one that plagued me for much of the movie’s duration. Our story opens up at a prison; convicted felon Grant Summit (Isaiah Washington) is released after serving an undetermined amount of time for the death of at least three people. OK, let’s just pause there. Let that sink in, he killed at least three people, and he is being released while he is still young enough not to require a breathing apparatus to survive. In the film’s defense, the circumstances of the crime are bit muddled, and he was outnumbered. Unpause; after his release he finds work with Rose Ricard (Lisa Arrindell Anderson), a part-time consultant of the police department. Rose is gifted; however, the nature of her gift is not very clear in the beginning. Based on my assessment, Rose is uniquely attuned to the sins of other people. She uses this ability to assist the police as well as earn a living for herself. As you can imagine, her probing into the private matters of others has the capacity to put her in danger; enter Grant. He serves as her protector from those who would do her harm. However, he may not be enough given her new case.

Rose is hired by the wife of a boxer who has been missing for six months. As the two dig deeper into the case, it becomes evident that the once-believed-wholesome boxer had a darker side and was caught up in a conspiracy that will have the pair unsure who they trust, or if they can even trust each other.

The 100-year anniversary of the Jack the Ripper murders is quickly approaching, and a copycat serial killer is looking to make his mark in Los Angeles.  With only one murder left, the LAPD is in a rush to prevent this madman from completing his across-the-pond murder masterpiece, and the prostitutes of LA are shaking in their heels and miniskirts.  It’s a great way to start off a film, and I’ll admit I was hooked early on with this film, but if you were hoping for a true modern tale of Jack the Ripper, I’m sorry to say you’ll feel more than a little hoodwinked by this film.

John Wesford (James Spader) is a young doctor who is struggling to make a difference with his patients while working in a low income area.  He’s the humanitarian type, seeing all his patients as equals as he deals with the homeless, the elderly, and prostitutes.  It’s the type of hospital where he can cut his teeth while honing his skills and make a name for himself.  Everything is looking up for him until he manages to get himself killed by a man who may or may not be the modern Jack the Ripper.

My first All Hallows' Eve experience was an unexpected fright delight. The 2013 horror film featured a trio of stories tied together by a creepy clown and a familiar “babysitter-in-peril” plot line; it was a fun, unsettling, and grungy throwback to low-budget scares. So you can't blame me for actually being pretty excited when I found out they'd made another one. Unfortunately, this sequel is a disappointing, thoroughly unsatisfying mish-mash that undoes practically everything that was good about its predecessor.

Things start out familiarly enough: a lonely woman (Andrea Monier) who conveniently owns a VCR find herself in possession of a ratty-looking videotape. The first film had a babysitter find the tape among her two young charges' trick or treat haul, and the action was tied together by Art the Clown, who brought back unpleasant memories of the first time I can remember being terrified. This time around, the woman is stalked by a pumpkin-masked, knife-wielding Trickster (Damien Monier) who deposits the tape at the woman's doorstep. Naturally, she pops it into her VCR and away we go.