Disc Type

“They're right. All those people who say it's our job to just sit and watch people die. They're right.”

A starving, war savaged toddler girl squats, burying her face in the sun baked earth of the Sudan. She remains motionless, near death and locked in catatonic despair. A few feet behind her a vulture, nearly as big as the child, eyes her hungrily and patiently waits for her to grow too weak to fight it off.

A Mini-series is probably the hardest thing to review for me. Movies are fairly easy, even the ones that exceed two hours. Television series since they are episodic in nature, one can watch a few, come back and watch a few more. Video Games despite taking triple the effort of an average movie are easy because they are interactive. But most mini-series are usually 3-4 hours long and really can not be broken up. Well for today’s review, multiply that duration by two and we have the Thomas Hardy Collection.

"Everybody here has become very rich, or else they are dead."

In 1964 things were very different from the way they are now. The Hollywood western movie was winding down. The genre had pretty much played itself out and was struggling to maintain even on television. Few people knew who Clint Eastwood was. He had a pretty sweet gig on the television series Rawhide but wasn't anywhere near a household name. Sergio Leone was a name almost no one had heard of. And there was no such thing as a Spaghetti Western.

"You unlock this door with the key of imagination. Beyond it is another dimension -- a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things and ideas. You've just crossed over into the Twilight Zone."

We finally come to the last year of the original show's run. The hour-long episode experiment didn't last, and the show returned to its traditional half-hour format.

“How would you like to use that gun belt for something more than just holding up your pants?”

Although the title of the blu-ray is Return of the Magnificent Seven, the original film’s title sequence just calls it Return of the Seven, and for good reason. There is nothing vaguely magnificent in this movie. This is the type of sequel that gives sequels a bad name.

In many ways Cougar Town appears to be Friends 20 or more years later. It's not just the fact that the former Friends star Courtney Cox heads the call sheet on the new situation comedy. There are a ton of other elements that appear to tie the shows together. Like the old NBC show, the core of this show is a tight group of friends. They have a lot of the same kinds of adventures and conversations as the old gang used to have. The big difference here is that the adventures and the talk come from an older, if not more mature,

"It's a question we all ask ourselves. Do I trust the people who live next door? Will that couple across the street be there when I need them? Can I count on the woman who lives down the block? Yes, good neighbors are people we can rely on. But if we discover our neighbor can't be trusted, then it may be time to move."

What you can count on from the neighbors of Wisteria Lane is another season of secrets, betrayals, and fashionable housewives.

"This is a picture of Walter Black, a hopelessly depressed individual who becomes The Beaver, who becomes a phenomenon."

When I first heard about this film, it was hard to keep the Mel Gibson story out of my mind. It almost seemed as if his casting was related to his off-screen situation. After all, this is a story of redemption, and there isn't anyone in Hollywood searching for that more than Mel Gibson.

Baby here again, and I'm not exactly a happy German Shepherd/Chow mix puppy right now. Do you wanna know what's put the growl in my scowl this time? The other day I heard Gino say that somebody was in the doghouse. That sure sounded like fun, but it turns out the dude got fired and that being in the doghouse turns out to be not such a good thing. Now I understand if they said that UPS was in this dog's house. That would be bad for the UPS guy. And that spells O U C H.

“We deal in lead, friend.”

In the fall of 1956, Anthony Quinn watched a special screening of Akira Kurosawa’s The Seven Samurai and had an epiphany; this Japanese masterpiece, inspired by the great American westerns of John Ford, would, itself, make a great American western. Quinn acquired the rights and contacted his then close friend Yul Brynner and pitched the idea of him playing the bad guy and Brynner the good guy.