Posted in: No Huddle Reviews by Gino Sassani on May 13th, 2014
It's hard to review a series starting from the fourth season, which is exactly what I had to do when Rookie Blue arrived for review recently. In the early days of television, it wouldn't have been a problem. Most shows, cop shows in particular, had a full story with each episode and a continuity that didn't require you to see any episodes in any particular order. This was a must if a show were to find an afterlife in syndication where show orders were largely disregarded. Starting a show in year four merely required understanding the set up, getting to know the quirks of the characters and watching it all play out. Since Hill Street Blues changed the landscape of the cop drama, we've learned to follow story threads over multiple episodes and even seasons. Since then that concept has been jacked up to the nth degree, and there are shows you wouldn't even think about joining in the fourth season. Fortunately, Rookie Blue isn't quite there.
Even the most complex of shows often provide what are called "buy-in" points. These usually occur at the beginning of episodes or mid-season breaks. They allow new viewers a convenient place to join with minimal confusion. Shows must grow or die. Somehow even the most mythology-based shows have to grow their audience. With Rookie Blue, there are only 13 episodes per season, so there isn't a lot of time to provide that entrance ramp. If you already know the show, you've already seen these episodes and likely have decided if you're going to pick them up. The rest of you might be curious. What you want to know is can you "buy-in" at season four, at least enough to keep from feeling left out. The answer is yes and no.
Posted in: No Huddle Reviews by Archive Authors on May 13th, 2014
by Alan Robinson
Made-for-TV movies are rarely remarkable works. Usually, they are poorly-written science-fiction films with laughable special effects, or some sort of dramatic “based on a true story” event. Survival Code, however, is one of those films that comes along every so often that truly has potential to become something bigger. And perhaps that’s where the film’s greatest weakness lies; it never really lives up to that potential.
Posted in: Disc Reviews by J C on May 13th, 2014
“Whoever tells the best story wins.”
This bit of lawyerly wisdom is given by John Quincy Adams in Amistad, Steven Spielberg’s account of a real-life 19th century slave revolt. President Adams is offering advice on how to mount the most effective case on the slaves’ behalf, but his words ring true well beyond the courtroom. Spielberg has been telling some of the best stories since the 1970s. Amistad may not be top-tier Spielberg, but the film — making its Blu-ray debut — is an absorbing historical drama in its own right.
Posted in: Disc Reviews by Archive Authors on May 13th, 2014
Her is someone you could fall in love with. Her is full of wonderful qualities. Her is elusive and unattainable as well as enticing and satisfying. Her is the awkward title of the new Spike Jonze film starring Joaquin Phoenix, Scarlett Johansson (though not all of her), Amy Adams, Rooney Mara, Olivia Wilde and Chris Pratt. It does not star Samantha Morton, Carey Mulligan or Chris Cooper. It might have, but the project evolved so much that they dropped by the wayside. It grew out of the third collaboration between Jonze and Charlie Kaufman (Being John Malkovich, Adaptation) but Charlie Kaufman also dropped out, and this became a written-by-Spike Jonze project. Her takes place in a non-specific but soon-to-be future in a gorgeous and ethereal L.A. The production design and cinematography couldn’t be more tantalizing and beautiful. The performances by all are soulful and full of nuance in every nook and cranny of their being. Joaquin Phoenix is a whole new bunch of wonderful as our main character. It also applies to her (even though her being is much more elusive).
Her is an Operating System, but an advanced one. It ponders the day that is soon coming where artificial intelligences will start to proliferate. That day is practically here, but it hasn’t quite happened yet. But that day is here in movies. We all remember Hal in 2001: A Space Odyssey. That led Kubrick much later to develop Artificial Intelligence, which show us a little boy who was created to love.
Posted in: Disc Reviews by J C on May 12th, 2014
“You are not to leave this building. America is closed.”
That's certainly a far cry from “give me your tired, your poor...your huddled masses yearning to breathe free.” It's also the predicament faced by Viktor Navorski, an accidental refugee who falls through a proverbial crack in the system and winds up trapped at JFK International Airport. The harsh, sobering command comes early on in The Terminal, a large-scale, feel-good parable. Even 10 years ago, a tonally-tricky studio movie like this one could only find its way to multiplexes if someone with the clout of a Steven Spielberg or Tom Hanks decided to make it.
Posted in: Disc Reviews by Gino Sassani on May 11th, 2014
If anything, the third part of the Godfather series of films is symbolic of when too many sequels are greenlighted, and consequently, the film is doomed to fail. More often than not, the reason why these films crash and burn is because of major studios acting like Adelphia executives and wanting more money, and in using the previous films’ successes as leverage, they lose sight of things like quality. It’s happened to other trilogies. And if you put together previous films with the reputation that the first two Godfather films have, the only question left to answer is whether or not the third film would be a minor or major letdown. Most of the essential players returned, with the exception of Robert Duvall. (Duvall said Francis Ford Coppola never really negotiated with him, while Coppola says that Duvall asked for more money, so who knows?) Mario Puzo helped out with another part of the story, so why did this film not live up to the hype?
Well, this is by no means a slap to Coppola and Puzo, but the story was too nostalgic. A good portion of the film was told with clips from the other movies. While understandable, it didn’t address some of the performances from the cast. Pacino’s performance was pretty good and more subtle than I first remembered, and Andy Garcia’s role as Vincent (Sonny’s bastard child) still stands up after these years too. But Talia Shire as Connie clearly is the evil mastermind behind a lot of the Corleones’ present activities in an underappreciated performance. And in considering the evolution of her character from Part 1 to Part 3, her transformation was a little more gradual, but on par with Michael’s. Shire definitely deserves more praise than she got in this series. On to the bigger question: did Sofia Coppola as Michael’s daughter Mary REALLY stink up the joint in this film? Well, I think that she’s gotten some unfair slams through the years, considering she had little experience on a movie set aside from watching her Dad direct. I mean, imagine how good you would be when you’re sharing scenes with Al Pacino. Exactly! For her to be a scapegoat as to why Part III wasn’t a good film is a little unfair.
Posted in: No Huddle Reviews by Archive Authors on May 11th, 2014
by Alan Robinson
An ex-con falling back into old habits isn't exactly an original idea. There have been countless films that have followed this formula, often covering the same basic twists and turns one would expect. Such is the case with Joint Body, an independent crime-drama from writer/director Brian Jun. The film follows recently-paroled everyman Nick Burke (Mark Pellegrino, Lost, Supernatural), who finds himself alone in a small town in southern Illinois as he attempts a fresh start at life. During his stay in prison, Burke's wife filed for divorce, and forced him to give up his rights to see his daughter through his parole agreement. Now a free man, he lives in a hotel room while searching for a job in a changed world, crossing paths with a troubled stripper named Michelle (Alicia Witt, Justified).
Posted in: Disc Reviews by Archive Authors on May 8th, 2014
Well, considering that there were so many different strange film ideas in the 1980s, it was only a matter of time before someone would write and produce a film about a dead guy, right? Well, you’re in luck, as two names from the period (Andrew McCarthy, St. Elmo’s Fire, and Jonathan Silverman, Brighton Beach Memoirs) fulfill your wish as Weekend at Bernie’s returns to Blu-ray.
McCarthy and Silverman play insurance reps with bigger aspirations in a company owned by Bernie Lomax (Manimal), who discover a glitch which may have resulted in $2 million of the company’s money being stolen. As a reward, Bernie invites them to his beach house, but we find out the money was stolen by Bernie himself, and he asks some members of the mob to kill the two. However, in a twist, the mob boss decides to have Bernie killed, in part because of an affair Bernie is having with the boss’ girlfriend. Bernie is killed before McCarthy and Silverman get to the beach house, and once they realize Bernie is dead, the wacky hijinks commence.
Posted in: Disc Reviews by Archive Authors on May 8th, 2014
Revenge of the Nerds is an 80's cult classic making its way to Blu-ray. Basically you get a standard catalog release and a handful of features thrown at you. I remember seeing this movie about ten years back. I found it amusing then, so I was looking forward to being able to watch it again; maybe this time I'd get more of the jokes.
The movie takes place where two nerds played by Robert Carradine and Anthony Edwards are off to attend the fictional Adams College. They have both enrolled in the acclaimed computer studies department. The two dress like typical nerds with tucked-in shirts, thick black-rimmed glasses, buck teeth, and pens in their shirt pockets. This is of course noticed by some of the frat members the minute they set foot into the quad and are already labeled as nerds. The Alpha Beta frat house are the apparent bullies of the school and also happen to all be star players on the football team, coached by the arrogant John Goodman. While partying the group accidentally burn down their frat house and take over the freshman dorm, forcing them all to sleep in the gymnasium. Of course while some of the freshman are recruited for frats and sororities a group of them are left out, the nerds. Sick of living in the gym they set out to find a house, which they turn, into a frat house, Lambda Lambda Lambda. Gaining some respect around the school the jocks of Alpha Beta set out to make their lives hell, while the nerds get a little revenge for themselves.
Posted in: Disc Reviews by Archive Authors on May 8th, 2014
Anyone who is a parent of a teenage boy is very familiar with the film Napoleon Dynamite. Released in theaters in 2004, this film rapidly developed a cult following and continues to be popular among the high school and middle school crowd. Napoleon Dynamite is a very charming and witty film about a tall and lanky teenage nerd (played by Jon Herder) who lives with his older brother and grandmother in Preston, Idaho. His brother Kip (Aaron Ruell) is 32 and unemployed and how spends most of the day at home on the internet on chat rooms trolling for women. Napoleon, on the other hand, is a bit more industrious, as he at least does attend high school. However, he spends most of his time daydreaming. When he is not daydreaming, he is being bullied at school.
To say that Napoleon is quirky would be an understatement. He has a very deadpan and monotone delivery except when he is asked a question, which more often than not results in a loud, short and abrupt answer which is a trait my kids seem to have adopted! Napoleon also has a very tough time being able to communicate with the other kids in the school, being somewhat of an outcast. However, he meets two students who share some of the same personality quirks as he does, Pedro and Deb, and decides to try to help Pedro, a recent immigrant from Mexico, in his bid to get elected as class president. (Remember those Vote for Pedro t-shirts?)
