Posted in: Disc Reviews by David Annandale on October 28th, 2005
Audrey Hepburn and Albert Finney are a couple whose marriage appears to be reaching its end. They travel through France, which was the scene of so many other memories, and they (and we) experience, through interlocking flashbacks, the history of their relationship.From the moment the animated credit sequence and Henry Mancini score begin, one is clearly watching a Stanley Donen film from the peak of his career (the presence of Hepburn is yet another reminder of Charade from just a couple of years prior). The flashbacks-within-flashbacks structure might initially seem daunting, but the film is light on its feet, and is never confusing. Finney's character is sufficiently cranky even in the early stages of the relationship that one might be forgiven for wondering what Hepburn ever saw in him, but the scenery is pretty and the dialogue zings.
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Posted in: Disc Reviews by David Annandale on October 27th, 2005
George Montgomery plays the lead trumpet for the "Gene Morrison Band" (the Glen Miller Band). As they set out on tour, he falls in love with, and marries, audience member and big fan Ann Rutherford, much to the displeasure of Lynn Bari. The film then uses the tensions between the various significant others during the tour to cobble together a plot that connects the various musical numbers.From the point of view of plot and character, this is nothing to write home about. But as a record of one of the greats of the Big Band era in action, it is a valuable document, and certainly manages to entertain, if not much else.
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Posted in: Disc Reviews by Archive Authors on October 24th, 2005
I was dreading watching this DVD. Hmmm...indy film, Sundance film, a woman "coming out" to her family film. This had all the hallmarks of arty and annoying. Thankfully, Saving Face is not like that at all. Michelle Krusiac plays "Wil", a surgeon, who falls hard for Vivian (Lynn Chen), a ballet dancer. Complications arise because Vivian is the daughter of Wil's boss. Yes, there are some screwball comedy elements. But it's all tastefully done. Joan Chen (what has she done since Twin Peaks) does a n...ce turn as Ma.
Alice Wu writes and directs the film. She shows a steady hand in both areas. The movie verges over into "feel good" territory, but this seems to be on par for the genre. Saving Face has a certain charm, and garners strong performances from the lead actors. Well done
Posted in: Disc Reviews by Archive Authors on October 21st, 2005
When comic book movies started becoming popular in the 90's with Batman, The Punisher, Dick Tracy and the like, directors weren't really sure how to handle the subject. The most popular methods involved making the film look like a comic, to help to tie the narratives together. Unfortunately, audiences soon discovered that the result of this mash-up of styles was a heavy-handed, overblown color explosion that just looked hokey (Batman Forever, anyone?) Finally, in recent years, it has been ...iscovered that the best way to tell these stories is to make them look just like normal films. If you focus on the story first and foremost, and real emotions, the supernatural aspects will be readily accepted by the viewer. As a result, audiences have now been treated to such fine films as Spiderman, Hellboy and X-Men.
Now that movies based on old TV shows have come into popularity, it seems this is a lesson that has to be learned all over again. The Mod Squad, Starsky and Hutch and The Dukes of Hazard have all been miserable failures, with the first Charlie's Angels being the only possible exception to this trend. All of these films tried way too hard to cram in all of the elements from the original TV show, instead of focusing on creating an excellent story first and foremost. Sure, it is pop candy to hear that clever narrator trick in Dukes, or the "fade to commercial" music cue in Angels, but the cleverness easily wears off over two hours, and in the end, it is a strong story that matters the most to the film.
Posted in: Disc Reviews by Archive Authors on October 20th, 2005
Synopsis
Two playwrights argue over whether life is inherently tragic or comic. To illustrate their point, they each tell the tale of Melinda (Radha Mitchell) who unexpectedly bursts in on a dinner party, creating all kinds of romantic complications. The film then alternates between the two stories. The set-up could hardly be more utterly Woody Allen, simultaneously pretentious and shallow. One story is comic (with Will Ferrell taking Allen’s usual role), the other is tragic, but you’d be hard-presse... to tell the difference. All the characters spout the same kind of incredibly stilted and self-conscious dialogue, which is neither funny nor revealing. The result is a halfway interesting idea with a talented cast outgunned by their God-playing director. Based on the evidence at hand, it turns out that life is, in fact, inherently boring.
Posted in: Disc Reviews by Gino Sassani on October 11th, 2005
Kenny’s gone and most of the season the boys are auditioning a new friend. While it looks like Butter has the inside track, you’ll have to watch the season to find out. Personally I miss the “They killed Kenny” jokes and was relieved that it eventually returned. South Park appeared to regain a bit of its lost creative energy in season 6. It can also be said that the show pushed its boundaries a little bit farther. There are times even I think the show goes too far. One of my favorite episodes can be found in this collection. The boys attempt to steal the master print of Raiders of the Lost Ark to thwart Lucas and Spielberg’s evil plot to add new digital effects and create a “special edition”. For all of us movie fans out there this touched home quite a bit. Cartman’s still my favorite character. The opening episode’s jab at Jared from Subway was one of the show’s most well deserved targets. Aren’t we all sick of that guy yet?
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Posted in: Disc Reviews by Archive Authors on September 26th, 2005
Synopsis
A pair of human smugglers accidentally take off with the baby of one of the immigrants they dropped off inside the Czech republic. They bring the baby to a pawn shop, where it is subsequently sold to a woman who is so desperate to have a child that she tries to abduct someone else’s. Her husband is soccer hooligan trying to go straight. He might not be the sharpest knife in the drawer, but he recognizes trouble when he sees it. Meanwhile, the mother of the baby has sought help with a refugee...agency, which is run by a woman whose long-time lover has a brain tumour, and would finally like a divorce from his long-separated wife.
Posted in: Disc Reviews by Gino Sassani on September 23rd, 2005
I Love Lucy changed the fledgling television industry in the 1950’s. This was a time when network television was less than a decade old. Most folks had never heard of television just 15 years earlier. I Love Lucy defined the concept of a sitcom. The show was driven by the very strong personalities of the cast. Desi Arnaz was considered a charismatic Latin lover by American women. Lucy played the perfect foil and found a mountain of gold to mine in strong physical comedy. So many modern shows owe their roots to this classic that it would be impossible to mention them all here. With that said, the fifth season was a letdown. The simple truth is they were running out of ideas in the simplistic environment of this once very funny comedy. All of this season is spent taking the cast on a whirlwind tour of Europe with its forced situations. The lack of perceived spontaneity was gone. Lucy was no longer the fly in Ricky’s ointment. Oddly enough, the season does begin with one of the funniest stories of the series: Lucy stealing John Wayne’s footprints, and of course, his feet. If only that quality could have been maintained instead of a hokey tour of the Old Country.
Audio
Posted in: Disc Reviews by Archive Authors on September 16th, 2005
Fever Pitch is an American-ized version of the Nick Hornby novel and subsequent British Film. American-ized usually means “watered downâ€, and there’s no doubt a lot of the bite from the original source material is missing. But I am a big fan of the movies High Fidelity and About a Boy. Instead of soccer, the protagonist’s obsession, in this Fever Pitch is baseball (in particular the Red Sox). This obsession gets in the way of having healthy relationships. I think the change of...sport still works; pitch is an apt baseball term. And the correlation between heartbreak in love and heartbreak in Red Sox fans is also relevant. But how is the movie?
Well, the movie is directed by the Farrelly Brothers. So there’s the typical physical and gross out humor one might expect from the fraternal duo. But this is a more, shall we say, “mature†work? The Farrelly’s are really subdued here (sometimes bordering on tepid). Shallow Hal this ain’t. But the material doesn’t lend itself to their hi-jinks. Jimmy Fallon and Drew Barrymore are the stars of this truthful romantic comedy. After the embarrassing Taxi, Fallon shows some range here. Barrymore also surprises with the degree of emotional truth in some scenes. The movie gains steam as it goes along, much like a baseball season, and the combination of smarts and schmaltz (from veteran writers Lowell Ganz and Babaloo Mandel) did win me over in the end. And I’m a Red Sox fan.
Posted in: Disc Reviews by Archive Authors on September 14th, 2005
Synopsis
John Cusack had done the 80’s adolescent romantic comedy thing to death. In one fashion or another, The Sure Thing, One Crazy Summer, Better Off Dead and Hot Pursuit had some mix of smooching and laughs to them, and Cusack was the main character. So why did he decide to do another in Say Anything, the directing debut for Cameron Crowe?
