Posted in: Disc Reviews by David Annandale on February 16th, 2006
Synopsis
Audrey Hepburn is Holly Golightly, a young woman to her name born. Flighty, hopping from party to party, she waits for her life to match her ideal. Into her apartment moves writer George Peppard, who is certainly not the millionaire our heroine imagines will sweep her off her feet. Peppard himself is a kept man, and his keeper is Patricia Neal. Peppard does have a more realistic view of how life works, in the long run, and that is a lesson that Hepburn must learn before romance can follow it... natural course.
Posted in: Disc Reviews by David Annandale on February 8th, 2006
Synopsis
Though they span a mere five years of his career, these are some of Cary Grant’s best films. They are also among the directors’ best films. Viewers wanting to see comedy from Hollywood’s Gold Age at its best and most sophisticated will be amply rewarded by spending a few evenings with this collection.
Posted in: Disc Reviews by Gino Sassani on February 7th, 2006
The most amazing thing about this one-joke movie is that it was based on a John Grisham novel: Skipping Christmas. Chris Columbus certainly does not display his biting wit and the skills he debuted with Gremlins 20 years ago. It’s hard to imagine this is the same guy who kicked off the Harry Potter series.
When their daughter joins the Peace Corps and leaves for South America during the Holidays, the Kranks decide to skip Christmas altogether and go on a cruise with the money they save. Why these altern...tive plans require a complete boycott of the season is never fully explained. No cards. No party. Not even a Seasons Greetings, it seems, is allowed to intrude on the Kranks’ plans. The neighborhood is up in arms over this “un-American” act. Their hostile activities leave one glad there weren’t any Jewish or Buddhist families in the neighborhood. Now, of course, you can’t really just skip Christmas, particularly if you’re in a family Christmas film. The daughter decides to come home with her fiancée and so suddenly Christmas is back… and in overdrive.
Posted in: Disc Reviews by Gino Sassani on February 7th, 2006
Pity the younger generations that will forever associate the character of Inspector Clouseau with Steve Martin. Peter Sellers might not have been a “wild and crazy guy,” but he was nothing short of brilliant as a comedic actor. Sellers never relied on over the top grandstanding to make a point. You never needed to be hit over the head with the jokes. He displayed an altogether different, more subdued, flamboyance than the modern comic. You didn’t need to be told when to laugh. The problem was more often being able to stop. Teamed with Blake Edwards in the Pink Panther series, the comedy becomes iconic. While it is true that Return of the Pink Panther might not be the best of the series, it is superior to later entries that eventually ran out of steam. The series without Sellers finally resorted to the pushy humor so prevalent today. In case it isn’t obvious by now, the success of this franchise rested squarely on Sellers’ shoulders. Attempts were made to continue the series immediately after his untimely death. All of these films were resounding failures. I suspect the current film will find itself stuck in the same fate.
The largest and most valuable diamond in the world, The Pink Panther, has been stolen for a second time. All clues point to The Phantom (Plummer). His only hope of clearing his name is the man who recovered the jewel the first time it was taken: Inspector Clouseau (Sellers). Clouseau has troubles of his own. Someone wants him dead… his boss.
Posted in: Disc Reviews by Archive Authors on February 6th, 2006
Synopsis
For awhile, Jim Carrey looked to be taking the career path that Michael Keaton had previously established. Start off with strong, hilarious comedic performances, attempt to get into dramatic roles with some critical success, and fade into the sunset, with the occasional bad script choice. While Carrey hasn’t dipped into the Jack Frost period yet, with The Truman Show and Man on the Moon, Carrey had established the fact that he could pull off carrying a dramatic movie, and do it...fairly well, with consecutive Golden Globe awards to boot. Then, after playing a cop with multiple personalities (Me, Myself and Irene) and the Grinch and The Majestic came along, and it was hammered; no one went to see it. Enter Tom Shadyac, Carrey’s old reliable, and collaborator on Liar Liar and Ace Ventura: Pet Detective. With Bruce Almighty, Carrey goes back to the goofball comedy well that helped to propel him to the $20 million paychecks you hear about now.
Posted in: Disc Reviews by Archive Authors on February 1st, 2006
If you aren’t familiar with what Roll Bounce is, you will be pleasantly surprised by some of the tricks this small coming-of-age film pulls out of its hat. I expected horrendous acting, a poorly written script, and a story that cared more about racially motivated laughs than honesty. What I got was just the opposite. First of all, the film’s success begins and ends with a top-drawer screenplay that perfectly captures teen angst as well as the fears and traumas of growing up. Not something one would expect abou... a young boy and his wisecracking friends, who seem to care about nothing more than boogie-oogie-oogie’n down at their local roller rink. Admittedly, the device of roller-skating does get a bit silly, but the interpersonal relationships draw the material away from farce.
Other strong points are the performances of virtually everyone with a speaking role – also not expected for a film whose two major stars are Bow-Wow and Nick Cannon. The relationship of Xavier (Bow-Wow) and his father (Chi McBride) skyrocket every other aspect of this feature, turning Roll Bounce into a much better effort than anyone could have ever expected. And the laughs – while not taking center stage – are certainly present, thanks in large part to the interplay among Xavier and his friends and the scene-stealing performances of Mike Epps and Charlie Murphy as the smart-mouthed garbage men. Last but not least, the story more often than not takes the road less traveled, and that keeps everything fresh and interesting. While competition films simply cannot end in a non-cliché method, this one avoids predictability up to the conclusion.
Posted in: Disc Reviews by Archive Authors on January 30th, 2006
American Women is a difficult film to write about because it evokes such little passion from its viewer. By no standards is it a good film, but pinpointing its frailties becomes quite the daunting task. Set in a small Irish village, the story centers on a group of sexist men, who want to import girls from America because the ones accessible to them do not meet up to the appropriate standards. The plot is farfetched, even as goofball comedies go, and none of the male characters are likeable. Also, with so many ...torylines going at once, the scope of American Women wanders aimlessly, like a small child with ADD roaming about the countryside.
It’s the worst kind of comedy – the kind that, while well-made, never manages a single chuckle from its viewers, and presents us with a cast of characters that have no arc. When the happy endings do come, they do not feel deserved, and the concept of everyone falling in love at once feels too forced, like the filmmakers are trying to resolve as much as possible at one time with no eye for plot or character development. It does not even succeed at being bad, and thus becomes the cinematic equivalent to the buzzing fly that won’t go away, despite its short running time. Though not an incompetent travesty of filmmaking and acting, I can’t help but feel American Women would have been more entertaining if it were.
Posted in: Disc Reviews by Archive Authors on January 27th, 2006
Synopsis
At West Valley High (how generic a name is that?), homecoming week is marked by a special challenge: can you perform ten outrageous dirty deeds in twelve hours. The record is eight. Zach (Milo Ventimiglia) has no interest in any of the school traditions, but when the younger brother of the girl he is sweet on volunteers to take the challenge, Zach steps in to save the boy from certain doom and do the deeds himself, in the process taking down the king of the jocks a few notches.
Posted in: Disc Reviews by Archive Authors on January 25th, 2006
Broken Lizard’s Puddle Cruiser follows Felix Bean, a smitten young college student, whose entire life changes when he sees pretty Suzanne at a party. He immediately tries to impress her, but only ends up incurring the wrath of Traci Shannon, her rather large rugby-playing boyfriend from a rival school. He does manage to wiggle some of her affections away, enough so that she halts her go-nowhere relationship. Together, the two embark on a passionate love affair, but Suzanne still has difficulties letting go of ...er old connection. Felix knows the attraction is purely physical, and that Suzanne finds himself a more suitable companion, but he still has his pride, as he so defiantly states, “No guy wants to hear another guy can kick his ass.” Especially from the woman he loves. So begins Felix’s completely out-of-character attempts at machismo. He even goes so far as to join the rugby team and refuse Suzanne’s pleading for him to pull out as the big match against her ex-boyfriend’s school draws near.
As romantic comedies go, Puddle Cruiser sounds just as formulaic as anything else in the same vain. But looks are certainly deceptive with this one. The laughs are more intense and come with greater frequency than Wedding Crashers and The 40-Year Old Virgin. (However, the latter does have the one exception with its tear-inducing chest-wax scene.) No hilarity to that extent here, but what Broken Lizard gives its viewers is still very funny. What sets Puddle Cruiser apart is how authentic each character is, and how down-to-earth the situations are. I could have sworn I knew each and every one of these people personally in my own college experiences, and any time a film can capture that quality and connect with its viewers, it’s a winner. Another particularly noticeable difference is how Puddle Cruiser manages all of its accomplishments without resorting to set-pieces (as in the chest-wax scene from 40-YOV). While I like a good set-piece as much as anyone, I feel Puddle Cruiser prolongs its “funny” lifespan by not giving in to the temptation. Since all humor falls within the confines of story, there are probably some overlooked laughs, and I welcome the opportunity for a repeat viewing to confirm. In the realm of comedy, I can’t think of a better compliment a film can be paid than that.
Posted in: Disc Reviews by Archive Authors on January 23rd, 2006
Synopsis
Dean Stiffle (Jamie Bell) is a teenager in an affluent suburb who appears to be completely disconnected (due in no small part to the happy pills prescribed by his celebrity psychiatrist father). When he finds his best friend Troy dead (a suicide), he doesn’t even tell anyone about it. He is forced to become involved when three other teens kidnap a boy they think is Dean’s brother in order to force him to find Troy’s drug stash. Turns out they’ve kidnapped the wrong boy, and so begins a chain...reaction of events that might lift the lid off the smug, self-satisfied, oblivious community.
