Posted in: Disc Reviews by Archive Authors on April 22nd, 2006
A critically acclaimed Adam Sandler film? I’d never would I have thought I’d see the day. I guess if The Truman Show is one of Jim Carrey’s dramatic stabs, then the star of Big Daddy can give a romantic comedy a try. Written and directed by Paul Thomas Anderson (Magnolia), using a story from the “Strange But True” category, combined with adding a touching tenderness to his characters, wrapped up with Sandler, playing a quiet, soft spoken man prone to fits of blind rage.
Sander is Barry ...gan, a novelty toilet plunger salesman with 7 sisters, who don’t hesitate in bullying him at every opportunity. Barry has times where he has periods of anger that cause him to destroy things, such as a sliding glass door at one of his sister’s houses. One morning, while at work, Barry discovers a harmonium that is left abandoned outside of the warehouse where he works. The harmonium becomes a metaphor for Barry’s pursuit to reclaim his life, as he periodically tries to play it through the film. Barry soon meets Lena (Emily Watson, Breaking the Waves) who drops her car off at the mechanic next to Barry’s office, but her intent is to meet him. Barry is attracted to Lena, and his awkwardness around her is cute to see, as if he’s a 13 year old trying to figure out what to do and say. Barry’s conflict in the movie is when he calls a phone sex company. He’s very awkward, and even confused, when talking with the girl on the other line. She decides to extort money from him, and enlists the help of Dean (Philip Seymour Hoffman, Capote), the owner of the company, and 3 crazed brothers.Through this, Barry is inspired by Lena, and when he finds out about a business trip she has to take to Hawaii, he takes advantage of a loophole in a Healthy Choice Promotional Campaign, which allows him to collect over 1 million frequent flyer miles from pudding purchases. He’s unable to redeem the miles in time, but he goes to meet her anyway.
Posted in: Disc Reviews by Archive Authors on April 18th, 2006
I always hated Moonstruck… but don’t get me wrong, this is a positive review. See, it seemed like, back in my childhood, every time I wanted HBO or Showtime to play The Goonies, they were always in the middle of yet another airing of this Academy Award-winning romance. It was a boring movie about love with that lady Cher, who needed to stick to the radio, and stay off my movie screens. My, how a little age and maturity can alter perceptions. As a seven-year old boy, I just didn’t have the sensibility fo... this film. And while many would argue I haven’t grown up much in the years following, I gauge all such detractors wrong by the simple fact I now enjoy Cher’s shining moment thoroughly. I mean, there has to be some growth there. Right?
Moonstruck is a modern film, which uses the model of classical Italian comedies as its primary structure. In fact, some elements are directly lifted from the divine comedies of yore, but Norman Jewison’s direction, along with a top-notch script, and a terrific cast, lend a freshness not seen in the romantic by-products of today, which make the film more homage than rip-off. For one, the story centers on a 37-year old widow (Cher) – not your common leading lady role – whose superstitions dictate her happiness. She agrees to marry an older man, whom she admittedly doesn’t love, just to bring some structure and stability to her life. Then, she meets her fiance’s estranged younger brother, and a spark ignites that turns her world upside down… in a good way. The eccentricities of her Italian-American family are mined to perfection with both warmth and humor. The film explores how cruel the closest people can be to one another without wrapping viewers up in any negativity. I can finally see what the critics were raving about – a good, solid film.
Posted in: Disc Reviews by Archive Authors on April 14th, 2006
Synopsis
What is it about a comedic film about death set in the English countryside that people have to equate it to Waking Ned Devine? Now granted, that film was a crowd pleaser and is a pleasure to watch, but let’s not stigmatize the films that have been released after it. Consider the case of Undertaking Betty, a film about a funeral director named (really) Boris Plots (Alfred Molina, Spider Man 2) who has known Betty (Brenda Blethyn, Beyond the Sea) for quite some time, but h...s been afraid to ask her on a date. The fact that Betty has been married to a councilman named Hugh (Robert Pugh, Master and Commander) who has taken her for granted over the last 20 years hasn’t helped either. And Hugh doesn’t hesitate to cheat with Meredith (Naomi Watts, King Kong), who wants to be with Hugh and is willing to kill for it.
Posted in: Disc Reviews by Gino Sassani on April 13th, 2006
This was David Spade’s first HBO special from 1998. Following in the footsteps of giants like George Carlin and Rodney Dangerfield, he somewhat misses the mark here. For some reason Spade displays a serious lack of energy. The real hook for this show was his return to the Tempe Improv where he got his start in his home town. This is still your basic stand-up comedy concert. On Spade’s hit list are such topics as: Dating, Hotels, Parents, and Fast Food Workers. It’s not until about the last 12 minutes that some real...y funny material starts to come through. Even Spade admits that it takes him 40 minutes to warm up. That would be OK, but it’s only a 56 minute show..
Video
Posted in: Disc Reviews by Archive Authors on April 13th, 2006
Certainly a surprise upon its initial release, Deuce Bigalow: Male Gigolo exceeded so many box office expectations a sequel was inevitable. From what I've heard, European Gigolo represents everything wrong with movies today; however, I did not let that abysmal word-of-mouth prevent me from giving the first installment a chance. Unfortunately, after viewing the original, I can't see how the sequel could be any worse.
This film has its share of supporters, and I can't really come down on anyone ...or personal taste. I can only gauge the film as a comedy based on how often it broke me down to laughter. I can honestly say the only chuckle derived from me was during the scene that involves the young lady and Deuce at a baseball game - hardly enough of an impact, however, to recommend this film to the uninitiated. Most of the "laughs" retread territory already ventured by both superior comedies (or, the equally crappy). Watch it if you dare - just, for Pete's sake - don't buy it.
Posted in: Disc Reviews by Archive Authors on April 10th, 2006
The original 1959 version of The Shaggy Dog is notable for two reasons. First, it is the first live action film that Disney ever produced. They had created some animated features, of course, but this was the company's first real foray into the live action market. Secondly, the film marks the screen debut of Annette Funicello, a name certain to be familiar to fans of later Disney films. Later known as “America's Sweetheart”, Annette became a staple of the popular teenage beach movies of the 60's.
This ...VD release is notable for a couple of reasons as well, though they are not nearly as positive. The box states that this disc contains the original theatrical release, but it then goes on to say that the cut includes 10 additional minutes of footage. How can the same cut include both the original theatrical version and 10 minutes of additional footage? The disc also contains a second, colorized version of the film. Any true cinephile will tell you that colorization is a horrendous practice that completely changes the original vision of the filmmaker. So what consumers are left with is two versions of The Shaggy Dog, neither of which is the original. Clearly, this disc was released solely as an additional money making scheme to tie-in with the theatrical release of the remake, but at the very least I was expecting to find the film in its original format. That's just common courtesy. This is just the kind of horrible decision making that has plagued Disney over the past several years. Walt Disney would never have let such poor decision making go unchecked.
Posted in: Disc Reviews by David Annandale on April 10th, 2006
Synopsis
Laurel and Hardy’s career highs were all at Hal Roach Studios, and these three films are from their Fox period, in the twilight of their filmography. It is hard to call any of these classics, but there is still some very worthwhile comedy.
Posted in: Disc Reviews by Archive Authors on April 4th, 2006
Synopsis
I’ve gotta admit that for a long time, Four Weddings and a Funeral was in a category of movies that I had no intention or curiosity to see because of the title, the cast and the story. Hugh Grant was a significant step down towards the emasculation of man, where are start wearing large sweaters, hang out in pseudo-Starbuck coffee shops and talk about what happened on American Idol or some lame thing along those lines.
Posted in: Disc Reviews by Gino Sassani on March 31st, 2006
“Who you gonna call?” By now everyone knows the answer. Dan Aykroyd, Bill Murray, Harold Ramis, and Ernie Hudson are the Ghostbusters. As their ad proclaims, they’re ready to believe you. Ghostbusters was originally conceived by Aykroyd as a vehicle for John Belushi and himself. When Belushi died, reportedly from a drug overdose, the project sat on the shelf a few years. Harold Ramis would eventually team up with Aykroyd and finish the script. It’s been said that “Dying is easy. Comedy is hard.” Leave it to these ...wo knuckleheads to combine the two and create a phenomenon. Like pretty much anyone else, I’ve seen Ghostbusters many times in the last 20 years. And just like all of you, I’m still not tired of it. I am, however, done with the repetitive theme song. This release marks at least the third time Ghostbusters has appeared on DVD. This version appears to be identical to the double package release of both films about a year ago.
Ghostbusters pioneered the big budget comedy. Not since “Abbott and Costello Meet Frankenstein” have the genres of comedy and horror combined in such masterful form. Ghostbusters had the quality f/x of a blockbuster sci-fi epic. The casting was nothing short of genius. Each cast member brought a distinctive and integral element to the film. Murray provided the used car salesman aspect. Aykroyd perfected the common wide-eyed man with just enough knowledge to be dangerously funny. Ramis played the 50’s style scientist with the stoicism made famous in films like This Island Earth. Hudson was brilliant as the Joe six-pack, obviously intended to represent us, the audience, on this adventure. Sigourney Weaver weaves in just the right amount of sultry and unintended villainy to complete the palette of colors necessary to pull this all off. The supporting cast features actors destined to become stars themselves in the likes of Rick Moranis and William Atherton. While many of the f/x don’t quite meet today’s exploding expectations, they were state of the art in 1984. Forget Kong. Who can resist the giant Sta-Puft Man?
Posted in: Disc Reviews by David Annandale on March 27th, 2006
Synopsis
We begin with an ending: the final collapse of the marriage between Jeff Daniels and Laura Linney. He is a formerly renowned author who now can’t get himself arrested, let alone published. She is suddenly coming in to her own as a writer. He is pathologically self-obsessed. She is deeply insecure. Together, they spell bad news for their two sons, 16-year-old Jesse Eisenberg and 12-year-old Owen Kline. Both parents are a bit of a mess, but daddy is easily the worst offender, and is an absolut...ly poisonous influence on Eisenberg, who worships his father and viciously blames his mother for the split-up. What follows is primarily Eisenberg’s coming of age, where he must learn to see both of his parents (and, for that matter, himself) with real honesty.
