Disc Reviews

Even though I like to think I've seen more movies than the average bear, I'll admit to having somewhat of a blind spot when it comes to world cinema. So I'm a little ashamed to say I hadn't even heard of Paolo and Vittorio Taviani — the Italian filmmaking brothers who have worked together all their lives and started making movies in the 1950s — before I picked up this handy three-pack from the Cohen Media Group. The Taviani Brothers Collection features three of the siblings' most acclaimed work: Padre Padrone, The Night of the Shooting Stars, and Kaos.

Life on the road as a comic always seemed like it would be the bachelors dream lifestyle: a new town every other night, getting to meet new people and see new sites while getting paid to tell jokes. Well, for the most part I still think it’s a pretty sweet deal, but in the new existential comedy Entertainment, we get a glimpse into what the road life would be if you just happened to be one of the worst comedians to take the stage.  This slow, depressing look at The (unnamed) Comedian (Gregg Turkington) as he attempts to mend his relationship with his daughter doesn’t go for laughs but instead attempts to take an introspective look at its star, and just seems to go nowhere.

Here is an instance where there was so much promise going into this film, but because of its lack of restraint, it blew an opportunity to be a good film.  The Midnight Man offers up a fun premise, a good cast, and high production values, but what plagues this film is a script that is filled with so much bad dialog you’ll wish you were watching a silent film.  Quick lesson in screenwriting: don’t try to be Shane Black or Quentin Tarantino; they are a class of their own, and to try to copy them only shines a light on how bad your dialog really is.  I’m being hard on this film, because had this film shown some restraint and kept the dialog simple, this could have been a really cool film.

Back in October I wrote about The Facts of Life: Season 7 in which I dealt with the general history and overall dynamics of the show. I suggest you go back and check that out so I don’t cover the same ground twice. The big addition that year was George Clooney. Not many series have as long and healthy a run as The Facts of Life, but as they age changes are forced on them. One of those changes that occurred in the opening episodes of Season 8 is Charlotte Rae’s (Mrs. Edna Garrett) decision to leave the show. The transition is handled gracefully with Edna’s marriage to a doctor who is leaving to help those in the third world by serving in the Peace Corps.

The premise itself is relatively simple and requires no real past knowledge to get on board. Unit 15 is the elite unit of an unnamed Canadian metropolitan police force. The unit is led by Staff Sergeant Oliver Shaw (Gordon). Each episode begins with his roll call. Apparently in Canada it's called parade. He does the usual job of giving out riding partners and assignments and providing the general "hot" information for the shift turn-out. The show focuses on a group of rookie cops assigned here. This is where it gets tricky.

“Don’t ever threaten my family again.”

In Extraction, a government analyst embarks on an unsanctioned rescue mission after his father — an over-the-hill CIA field operative — is kidnapped by a shadowy group of bad guys. In a related story, I think I got my dad a CD for Father’s Day last year. But while the hero of Extraction might edge me out in the Son of the Year race, the rest of this crummy actioner is basically a harmless debacle.

“Taking the next step in a series of random steps.”

Those words are part of a toast near the start of this season, as chronically neurotic and self-absorbed writer Hannah Horvath prepares to embark on a mini-adventure that will temporarily take her away from her natural habitat of New York City. They also double as a tidy summary of the entertaining (and appropriately messy) fourth season of HBO's Girls, while simultaneously capturing what it's like to progress through your 20's.

If there is a television series in the history of the industry as American or timeless as The Andy Griffith Show, I haven't seen it. You'd be hard-pressed to find someone with strong negative feelings about the series. It was one of those organic and comfortable productions that reached deep into the core of rural America. Even if we lived in a bustling city, there were aspects of the show that still rang true. It was populated with the kind of familiar faces that it wasn't hard for anyone in the audience to smile in remembrance of a character they've known in real life.

“Let’s go get those stinkin’ hyenas.”

For many years The Lion King was the highest grossing animated film of all time. It remains one of the most beloved films in history. It marked the last of the Disney classic animation triumphs. Combined with the Elton John and Tim Rice songs, it is one of those generational films. While there has never been a feature film follow-up at the box office, there have been a few attempts to keep the franchise alive, and why not?

“Peering out from the dark shadows of America’s death row are the faces of evil. The faces of murderers. Men and women who commot the most heinous of crimes. Some elude capture for years, even decades. But eventually, these lowest forms of humanity find themselves on death row awaiting their final fate… execution.”

There appears to be a lot of controversy when it comes to the death penalty in the United States. I say appears, because even with all of the debate the polls show that Americans overwhelmingly support capital punishment. In fact, only 37% of Americans were opposed in the Gallup 2015 poll.