Posted in: Disc Reviews by David Annandale on February 27th, 2004
Synopsis
Posted in: Disc Reviews by Gino Sassani on February 8th, 2004
I’m not always sure what to make of Star Trek VI. It is most notable as the final film to feature the entire original cast. Star Trek has always been about message and morality, so it seems natural for the franchise to tackle the end of the cold war and the fall of the Soviet Union. I just wish some of this film didn’t feel so forced. This film is also bittersweet in that it was DeForest Kelley’s final appearance before his death. Kelley’s “country doctor in space” routine never got tired. He was perhaps the most human face in all of Star Trek. I miss him terribly.
Another sadness is the glimpse we are given of things missed. Walter Koenig and George Takei pressured Paramount for years for a Trek series to follow these junior members of the original cast. Petitions were signed and even scripts written and submitted. In Trek VI we see what might have been. This film seems very much like an end, but who knows. In Roddenberry’s future anything is possible.
Posted in: Disc Reviews by David Annandale on January 24th, 2004
Synopsis
Posted in: Disc Reviews by Gino Sassani on January 16th, 2004
If your only contact with the original series Lost In Space is the episodes available in syndication ala the Sci-Fi channel then you really don’t know Lost In Space. The first season was a lot different than the final two. The most noticeable difference is that the first season is in black and white. The stories are much less schlock and camp. More Star Trek than SpaceBalls. The cheesy rubber monsters are there, but the characters have a harsher edge to them.
As the season progressed through 29 episodes (Can you imagine having a 29 episode season!) the tone of the later series begins to come through. It became obvious by mid-season that the interplay of Will, Dr. Smith, and The Robot were what kept audiences tuning in each week. (A special note to the WB network. They are planning a new Lost In Space series next year which will have no Dr. Smith and maybe no B-9 Robot.) This DVD collection is a wonderful treat for fans who have not had the opportunity to see these episodes uncut for almost 40 years.
Posted in: Disc Reviews by David Annandale on January 15th, 2004
Synopsis
Posted in: Disc Reviews by Gino Sassani on January 11th, 2004
Legends of vampires and werewolves are almost as old as time itself. Long before Bela Lugosi and Lon Chaney defined these creatures for Hollywood, the myths persisted. Cave drawings in South America depict stories of changelings and blood suckers that were told 5,000 years ago. Underworld offers a refreshing spin on both tales. What if the clans of Vampires and Werewolves were at war for over a thousand years? The dark, seedy “Underworld” is visually compelling. Let’s not even talk about Kate Beckinsale. The wonderfully photographed blend of Gothic and modern settings owes much to the European locations. Imagine hi-tech cars speeding along on ancient brick streets. The pacing is often strange, lending an emotional uneasiness at times which plays handsomely into the required atmosphere.
Audio
Posted in: Disc Reviews by Gino Sassani on December 10th, 2003
Ray Harryhausen and Ray Bradbury, along with Famous Monster Forry Ackerman, have been friends since childhood. It’s no wonder that when Harryhausen was given his first chance to completely control a production that he would turn to his boyhood friend who happened to become one of the world’s best known science fiction writers. Actually, the original production team had already fashioned a script based on Bradbury’s short story without giving credit to the writer. Both Rays created an iconic creature. The Beast from 20,000 Fathoms would go on to represent an entire genre of 1950’s monster movies. The climatic rollercoaster scene is one of the genre’s best moments. For me it ranks right there with the Empire State Building climax in King Kong, ironically created by Harryhausen’s mentor.
Audio
Posted in: Disc Reviews by Gino Sassani on December 3rd, 2003
Willis O’Brien, the f/x magician behind King Kong and The Lost World, had always wanted to do a cowboys and dinosaurs film. It is no surprise that his prodigy Ray Harryhausen would accomplish the task. Using some of O’Brien’s design ideas, Harryhausen credibly put these two film icons together with mixed results. The script is certainly not the best Harryhausen had to work with. More Bronco Billy than Jurassic Park, this is more an entertaining film than anything to be taken seriously. James Franciscus does a fine job of playing to the f/x.
Audio
Posted in: Disc Reviews by Archive Authors on November 22nd, 2003
Who wants to see the middle of a movie, anyway? The beginning of the movie introduces the characters and presents the conflict. The ending holds the resolution and the conclusion. But the middle? Who wants to just see the middle? Nobody comes late and leaves early at the Cineplex. Nobody sane, anyway. This is not just any film, though. This is an Epic. Literally everything about this production is huge. The original text of the story was actually so long that it had to be divided into three volumes. The companion fil... is equally as massive. It also covers three volumes, with each volume clocking in at a length much longer than most rational people are willing to tolerate.
Yes, this is a film of Epic proportions, and the Extended Edition DVD is no different. Over 43 minutes of extra footage has been added to The Lord of the Rings – The Two Towers, bringing the total run time to 3 hours, 43 minutes. It's not just filler footage, either. Over 200 new digital effects were created for the DVD release; more than most films have in their original theatrical versions. The added material helps the film instead of hurting it, providing more room to develop characters and plot lines. In this case, more is more.
Posted in: Disc Reviews by Archive Authors on November 11th, 2003
Soylent Green is an… interesting movie. Its one of the seventies movies that’s funny to look back on and recognize that people in the seventies thought that people in the year 2020 would still be dressing like… people in the seventies. Soylent Green steps beyond the traditional seventies sci-fi flick and into the boundaries of social activism, however, adding a further layer of irony to the film: as an apocalyptic tale its interesting to see how we haven’t traveled down the frightening route envisioned in Soylent Gre...n, and alarming to see how we still could. Not to suggest that in the next 17 years we’ll breed ourselves into oblivion and poison all of the farmland – but the points that the movie makes about resource use and pollution are valid, no matter how exaggerated. What isn’t particularly valid are the movie’s population – at least not in North America. Soylent Green’s out-of-control population visions might be more valid if the film was set in Mexico City or Calcutta perhaps. A more realistic vision of 2020 New York might be of a smaller and grayer populace than today – in any case, I’m rambling, but the point is Soylent Green is entertaining to watch from historical, social, political, and ecological standpoint.
As for the film itself, there’s some great cinematography and some sketchy acting. Check out the opening sequence photo montage – awesome, very well done. Similarly, the movie works well within the filmmaking technology constraints of the time to create a believable 2020 New York. Directory Fleischman has some interesting comments on this in his commentary. Acting is dominated by Charlton Heston, who personally I find to look wooden and contrived most of the time on screen. He does have one of his famous lines though – “Soylent Green is made of People!! Its people!!” My god, it must be in his contracts that he get one ridiculous line per film. His supporting cast is fine – no standout performances to my eye, but all solid.
