Posted in: Disc Reviews by David Annandale on July 4th, 2003
Synopsis
Posted in: Disc Reviews by Gino Sassani on July 4th, 2003
Synopsis
Posted in: Disc Reviews by Archive Authors on July 3rd, 2003
Synopsis
Nick Tellis (Jason Patrick) is an undercover narcotics officer who is placed on suspension after a shootout with a dealer gone very wrong. He is brought back to active duty to shadow another officer who might have had something to do with the death of his partner.
Posted in: Disc Reviews by David Annandale on July 3rd, 2003
A Ranger training exercise goes horribly wrong. The instructor (Samuel L. Jackson) and halfthe cadets are missing. There are two survivors. One is injured, and the other was seen engagedin a firefight with one of the other cadets. Investigating are Connie Nielsen and John Travolta,who bounce back and forth between the two survivors as the stories they tell keep changing,Rashomon-style. The twists pile upon twists, and so few are motivated by anything in the storythat audience good will is soon exhausted, despite the decent atmosphere and performances. Bythe end, one final twist makes total nonsense of the plot, and I was hard-pressed to avoid hurlingthe remote into the TV screen.
Audio
Posted in: Disc Reviews by Archive Authors on July 2nd, 2003
Film
To film fans, the clause “Directed by Alfred Hitchcock” has almost become an adjective in and of itself. It has come to mean suspense created by using the viewer’s imagination and mind as a part of the film, first and foremost. These films didn’t have the freedom of CG, and consequently had to invent ways to achieve visual effects (Watch the documentary on Birds or Rear Window for example). Besides the lack of freedom of creation that digital filmmaking now provides, the filmmak...rs had to tip toe around the Hays code, not only restrictive on sex and sexual undertones, but also on content (as we learn in the featurettes here) and gore. The phrase, and the adjective that bears the director’s name, has grown to include a certain quality of characters and meticulous film crafting in every phase of the production. Rebecca, therefore, can rightfully be called “classic Hitchcock.”
Posted in: Disc Reviews by David Annandale on July 2nd, 2003
Like The Brady Bunch Movie, this effort combines several incidents from the TV series and strings them together with a loose central premise, and the result is actually funnier than the first film. This premise is that Tim Matheson shows up pretending to be Carol Brady’s long-lost husband. He is after a priceless horse sculpture in the Bradys’ living room. The innocent/rude tone of the first film is carried through here, and given extra impetus by the addition of an is-it-incest-or-not? subplot involving Greg and Marcia’s attraction for each other. Added fun comes by way of a tying together of several seminal TV series from the 70s, and a hilarious moment of interaction between The Brady Bunch and Homicide: Life on the Streets (complete with hand-held camera).
Audio
Posted in: Disc Reviews by Archive Authors on July 2nd, 2003
Film
Jack, a pimp, ends up in prison when a competing pimp frames him for child prostitution. Zack, a down-on-his luck deejay, is there because an associate paid him a thousand dollars to drive a car across town, unaware of the contents of the trunk. In the same cell, they bemoan their situation: each man innocent of their crimes, but vaguely guilty of something, we’re never sure what. When a third man shows up, an Italian tourist named “Bob,” he seems to brighten the dour men as much as can ...e expected.. He’s also very up front with them: he isn’t innocent. He’s there because in a barroom fight, he killed a man with a pool ball. He accepts responsibility for his crime, and seems determined not to live in total misery. Even though he’s the only one who is admittedly guilty, Bob seems the most ‘essentially’ innocent of the three.
Posted in: Disc Reviews by Archive Authors on July 1st, 2003
Fear and Loathing in Las Vegas can be and has been described in many ways, but one of the things that this movie isn't is a Cheech and Chong road movie about a couple of whacky buddies on a drug binge in the city of sin. There’s no going to strip clubs, no hilarious misunderstandings that make one of them have to dress in drag and be involved in a stage show, in fact, there isn’t even any gambling. This movie is more accurately described as a scalding epitaph to the counterculture of the sixties, a re...ognition that the “Peace and Love” generation’s collective ideas about changing the world had largely failed. Fear and Loathing is a disdainful look in the rear view mirror at a generation's potential unfulfilled, lying on the side of the road embarrassed and worthless, like a 52 year old groupie trying to fit in with the youngsters, doing balloon hits at a Dead concert. In a more critical sense, I can describe it in a single word: overrated.
The movie has cultivated an impressively large cult following its release in the summer of 1998, and after three viewings, I can’t really put my finger on why. By design, it doesn’t follow any real solid narrative structure. We know we’re watching a couple of totally altered guys try to stumble their way through a weekend in Vegas, but their adventures basically include getting really high on something, freaking out somewhere, then returning to their trashed room to recover. Sure, some things actually happen; Azocar meets and has sex with a minor, Duke goes to the motorcycle race, meets some strange people, quits his assignment, there’s an ironic DA convention in town. None of these events are here to prop up a story structure; they’re true events, so they just sort of happen and move on. It’s never long before he’s just getting whacked out again and the story returns to its strange “stagnant wandering” roots. Usually, I’m pretty good at connecting with the European-style, open-ended, non-traditionally structured films, but this one just left me flat.
Posted in: Disc Reviews by David Annandale on July 1st, 2003
The plot, such as it is, is a pastiche of several episodes of the TV series, all twisted just enough to send them into a sunny version of the Twilight Zone. So the Bradys are going to lose their house if they don’t raise $20,000.00 by the end of the week, and Marcia’s nose is flattened by a football before the school dance, and Jan is jealous of the attention her big sister receives, and so on. The Brady's are just as oblivious to how the rest of the world perceives themas they are to the (sometimes very funny) innuendos and double-entendres they constantly (and inadvertently) utter. While not exactly hysterical, the film did have me grinning much of the time.For those who can actually remember the original show (I’m afraid I can’t), the effect should be even better.
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Posted in: Disc Reviews by Gino Sassani on June 30th, 2003
Black Mask 2 doesn’t really seem to have anything to do with the first film. Instead what you get is a cheesy Japanese version of The X-Men. With the help of less than special effects, professional wrestlers change into hilarious creatures that are more loony tunes funny than actually dangerous. It doesn’t help that newcomer Andy On has the large fists of Jet Li to fill. Even fans of the original won’t find too much to like about this odd sequel.
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