Posted in: Disc Reviews by Gino Sassani on February 9th, 2010
Just as JAG closes out its 10th and final year I really think the show was peaking. Most regular readers to the site will remember I was not much of a fan when I started with the 5th season set. I thought the stories failed to work on the action or courtroom levels. As the show evolved, or I did, I was drawn in with the clever and unique types of stories the series began to explore. By the time it ended here I was ready for more, but no more will be forthcoming. Of course, it lives on in the two NCIS spin-off shows currently on the air.
Posted in: Disc Reviews by Gino Sassani on February 9th, 2010
By 1978 the television detective model had been nearly complete and possibly already a cliché. Dan Tanna might have well been the complete model as far as the formula goes. It was almost as if you could go down a checklist and, like Dr. Frankenstein creating a monster, you would check off the necessary elements. The scripts could then almost write themselves, and you let the show fly on autopilot for three seasons or so until someone decides to look behind the curtain.
Posted in: Disc Reviews by Michael Durr on February 8th, 2010
Recently, my parents moved to Tennessee in their attempt to enjoy retirement. We actually lived there about six months when I was in the 8th grade. So, apparently there was something in the water that made them want to go back. After the movie Glitter, I never wanted to see anything with Mariah Carey that involved anything where she actually had to speak. For some reason, I also came back to Tennessee.
Posted in: Disc Reviews by Gino Sassani on February 6th, 2010
"One year ago, the MOD test system at Eskmeals confirmed radioactivity of above normal background levels at the Corry Reservoir, Craigmills, Yorkshire. The usual emergency procedurals were activated under NAIR arrangements, and the reservoir was shut down. An independent inquiry was set up under the chairmanship of Dr. Anthony Marsh."
Edge Of Darkness is something of a classic to the British. It cleaned up in the 1986 BAFTA awards, taking almost every award they have with the possible exception of Best Coffee In Craft Services. The mini-series has apparently stood the test of time, maintaining such high regard for nearly 25 years.
Posted in: Disc Reviews by Gino Sassani on February 4th, 2010
"There are stories a river can tell. And truths it cannot hide. There are ways it brings us together that we may never see, connecting us with places never suspected. Places like fear, like betrayal, like murder."
One thing you have to say for Clint Eastwood. In his later years as a director and producer of films, maybe from Unforgiven onward, he has selected some of the most compelling stories for his film projects. You get the sense that he hasn't been in this for the money in a long time. You easily believe that he doesn't make a film unless it reaches him completely and deeply.
Posted in: Disc Reviews by Archive Authors on February 4th, 2010
Muhammad Ali could be the greatest athlete of all time. Facing Ali is a documentary that interviews ten of Ali’s former opponents throughout his career. All of the retired fighters offer some brilliant insight into Ali’s career, personality and break down their memories of their individual bouts with him. The fights that are being recounted mark the pinnacle of personal achievement for these fighters and each fight is equally as significant to each fighter. The idea and execution of this documentary are exceptional and this film provides substantial entertainment for the duration.
Posted in: Disc Reviews by David Annandale on February 1st, 2010
Sterling Silliphant, in the latter days of his career, gifted the world with the deliriously schlocky screenplays to the likes of The Poseidon Adventure, The Towering Inferno, and that apotheosis of the Expensive Badfilm, The Swarm. So it is sometimes hard to remember that he also penned the script of In the Heat of the Night and some 74 episodes of Route 66. I confess to a being a complete newcomer to the series, and though I was rather baffled at first, I was also struck by the quite beautiful prose being spoken. Anyone who thinks highly literate scripts are impossible (or just about) on network TV should cock an ear (and an eye) in the direction of this series.
Posted in: Disc Reviews by Archive Authors on January 31st, 2010
There’s a quote by author Kent Nerburn that says: “It is much easier to become a father than to be one.” The Boys Are Back, based on a memoir by Simon Carr, is the best example of that sentiment on film that I’ve personally seen in a few years. Clive Owen plays sportswriter Joe Warr. He’s good at becoming a father, but not at being one. His one-the-go job keeps him from spending any real quality time with his family, leaving his wife Katy (Laura Fraser) to raise their son Artie (Nicholas McAnulty). When Katy becomes fatally ill, Joe must step up to the plate to take care of his 6-year-old son.
Posted in: Disc Reviews by William O'Donnell on January 30th, 2010
This is the story of two young twins who are living completely different lives, one in a boarding school who is caught up in a child smuggling ring and the other is living with his struggling artist father, but are able to share their physical pain and emotions as if telepathically. Thomas, who is with his father, knows of Tom, the boarding school “orphan,” but everyone believes Tom is just his imaginary friend. Through a chance encounter the two are reunited and both must find a way to escape the smugglers who wish to take them sell them outside of England.
Posted in: Disc Reviews by Gino Sassani on January 29th, 2010
Metaphors are often effective tools in filmmaking. They can be used in a variety of unique and clever ways to either highlight a particular aspect of story and/or character. They can be used to add an artistic flourish to a movie. They can even be used to drive a plot, if you're careful enough to avoid becoming too abstract. Then there are films like The Burning Plain which attempt to create a film that is metaphor itself. What you often end up with, and certainly here, is something difficult to follow and more acceptable at the festival circuit than at the box office