Posted in: Disc Reviews by J C on November 4th, 2012
“Quirky, messy women whose problems only make them endearing are not real.”
On the surface, Ruby Sparks could be mistaken for the Manic Pixie Dream Girl biopic no one asked for. In case you’re not familiar with this particular cinematic archetype, MPDG derisively describes any unabashedly artsy, quirky young female character that inevitably brightens the life of a brooding, young male protagonist. However, the quote at the start of this review only hints at the fact that this whimsical romantic comedy isn’t afraid to stare down the ugly side of relationships.
Posted in: Disc Reviews by Gino Sassani on October 31st, 2012
"Fairlake, West Virginia, established in 1814. The entire population disappeared in 1817. To this day nobody knows what happened to them."
I know what you're thinking. When I look at a direct-to-video horror series and see a number 5 next to the name, it's usually time to roll my eyes and reluctantly place the disc in my Blu-ray player so that I can warn you guys just how bad it really is. But we're not talking about just any horror title. We're talking about the Wrong Turn franchise, which has actually gotten better since it went into sequel-hell. We're also talking about a director in Declan O'Brien who knows that his job isn't to create the next museum piece of art. He doesn't care one bit if he's inspired conversations about form and style. He's a horror film fan himself who has only one goal in mind each time he takes over a project: let me entertain you. And as hard as you might not want to believe it, Wrong Turn 5 does just that. You will be entertained.
Posted in: Disc Reviews by J C on October 30th, 2012
Whether you’re into their music or not, The Doors: Live at the Bowl ’68 gives fans a chance to see a band (and a rock icon) at the height of their powers. Admittedly, The Doors didn’t have the longest shelf life — the band was formed in 1965, released their self-titled debut album in 1967, and frontman Jim Morrison was found dead in a Paris apartment in 1971 — but their impact can be felt to this day. Of course, when I say the band was at the height of their powers, you should understand that means there’s a pretty good chance Morrison was on acid.
That’s not irresponsible guesswork on my part; drummer John Densmore makes the claim himself in one of the behind-the-scenes documentaries on this disc. (For what it’s worth, keyboardist Ray Manzarek and guitarist Robby Krieger pass up the chance to confirm Densmore’s statement.)
Posted in: Disc Reviews by Gino Sassani on October 30th, 2012
"Somewhere in the valley, there is a woman living in a basement. She's actually amassing followers. These people believe that she will actually lead them to salvation, or whatever. And yes, she's dangerous - but we have to see this thing through. All the way."
When The Sound Of My Voice opens you really don't know what to expect. We watch a group of people acting almost as though they have been taken hostage. They are given drab clothes to wear and ordered to clean themselves very thoroughly. They are then bound and hooded and placed into a van for transport to where? Soon we discover that these people have not been abducted at all. They have done these things willingly so that they may be brought into the presence of Maggie (Marling) who claims to be from the year 2054. Her disciples gather around her in a circle as she delivers her enigmatic teachings. Then again, perhaps they are captives after all, but not in the manner you might expect. They are obviously captivated by Maggie's personality, and we soon discover that they fear banishment from her side more than anything else. They are there for enlightenment, of sorts. The earlier routine has been put in place because Maggie is apparently allergic to our time and is dying. She must maintain a germ-free environment at all costs. She's more than a religious leader. She's a martyr who just hasn't died yet. Yet her subjects would gladly die for her.
Posted in: No Huddle Reviews by BABY on October 30th, 2012
Baby here again. Yeah, I'm that German Shepherd Chow that keeps you UPS/Fed Ex guys on their toes. Now, if only I can figure out a way to keep you on your trucks. I just started a SWAT team here at Upcomingdiscs. That's right. Whenever I want a treat or to be pet I swat Gino with my paw. It doesn't always work on the first try, but I believe in the motto: If at first you don't succeed, swat and swat again. Sometimes it finally works. Other times ... well ... Let's not talk about that right now, okay. We have a movie to talk about.
It's not often I get into the theater to watch movies and review them for you guys. It's not my fault that the chairs look like huge rawhides. So, I usually am waggin' my tail hard when I do get the chance. I thought there could never be a movie bad enough to make me wish I hadn't been invited in. That was before I saw Gabe the Cupid Dog. I have to tell you that I'd rather go to the vet than have to watch this one again. And that spells O U C H.
Posted in: No Huddle Reviews by Jeremy Butler on October 29th, 2012
Stand-up special or biography? As it turns out it was a little of both. Before this DVD I did not know who Paul Rodriguez was; now I am proud to say I’m a bit of a fan. His stand-up, Just for the Record, gave an informative insight into his rise from migrant worker to professional comedian. He exudes an air confidence from beginning to end, but more than that, he breathes soul into his act with stories that make you feel something within yourself and that is something I have not felt from a comedy special in a very long time.
Rodriguez has been a fixture on the comedy circuit for years, getting his start at “The Comedy Store” in West Hollywood, where such notables as Richard Pryor and Robin Williams performed regular sets. Rodriguez first gained notice on the ABC television series, A.K.A. Pablo. Despite the show’s cancellation after only seven episodes, Rodriguez continued to work regularly with guest star roles on Golden Girls, as well as a yearly long stint as the host of The Newlywed Game.
Posted in: No Huddle Reviews by Michael Durr on October 28th, 2012
Quick, what cartoon was generally considered to be the first primetime cartoon of its kind, running from 1960 to 1966 with over a hundred and sixty episodes? Give up? Well that show would be the Flintstones, a stone age comedy that imitated the Honeymooners with quick wit and wholesome family jokes. Today, we have a review that brings together a couple of primetime specials that aired during the late seventies. Let's explore the first volume of Flintstones Prime Time Specials Volume 1 from the Warner Archive.
The Flintstones Meet Rockula and Frankenstone: This special aired on October 30th, 1979. Fred and Wilma dress up as a chicken and rabbit while Barney and Betty dress up as a flower and a bumble bee. They find themselves going to the set of the game show: "Make a Deal or Don't" hosted by the one and only: Monty Marble. The first contestant is Barney who is given $1,000 but is also given the option of taking the curtain. Despite "chicken" taunts by Fred, Barney listens to his wife and takes the money. Fred's egging one of his best friends earns him the right to be the next contestant.
Posted in: No Huddle Reviews by Michael Durr on October 28th, 2012
Most people know I'm a sucker for cartoons and I am willing to give any new toon a try. Often in this day and age I might be let down as a lot of newer cartoons do not always hold up against many of the well defined classics of my childhood. However, I rarely get jaded and I am always eager for the next new show to come chomping down the block. The title for us today to review is Regular Show and 16 of the best episodes that a single disc can buy. Let's take a look.
As mentioned above, this is a best of disc. These episodes come from the second and third season and are presented in Dolby Digital Stereo and 1.78:1 Anamorphic Widescreen. None of the episodes are repeats from the first compilation disc entitled Regular Show: Slack Pack. Somebody really needs to get on the horn and start making season sets for this, but more on that later.
Posted in: No Huddle Reviews by Gino Sassani on October 28th, 2012
There are many kinds of horror films. Today's trend appears to go the route of graphic blood and guts. It's what we call torture Porn. You know the kind I'm talking about. The Saw and Hostel franchises best illustrate that kind of sub genre. The more classic horror films often feature a monster or creature of some kind. The best of these portray the monster not as evil, but terribly misused or misunderstood. These films have been with us since James Whale and Boris Karloff delivered Frankenstein to our collective consciousness. Then there's the good vs. evil fight that was best brought out in The Exorcist. But perhaps the most frightening films of all come from none of these extremes of violence or supernatural forces. The most frightening circumstances come from those things which are most realistic. The kind of situations and events that we know could actually happen to us. Open Water was a very effective film in that respect. There's an almost instinctual fear of sharks, helped along no doubt by a certain Mr. Spielberg. Most of us can relate to being in the ocean with a killing machine that's as real as the very air we breathe. Enter the misleadingly titled 247°F.
The film starts pretty much according to the standard formula. Four young adults are heading to an isolated cabin on a lake for a before-season getaway. There's the standard drug and alcohol breakout and the expected pairing off for a romp in the bed. There's the mysterious caretaker, and before long our pre-programmed minds are expecting someone or something to deliver the traditional slice-and-dice routine. But that's where 247°F deviates from the norm.
Posted in: Disc Reviews by J C on October 28th, 2012
“I think we all knew it was good. But it was only when we started getting hits, which is sort of a rare thing in my life, that you start thinking, 'Maybe we’re gonna sell something here.'”
Peter Gabriel was one of the founding members of late ‘60s prog rock pioneers Genesis and released four untitled/self-titled solo albums in the late 1970s and early ‘80s, which spawned hits like “Solsbury Hill” and “Shock the Monkey.” But it wasn’t until 1986 that the British rocker enjoyed the greatest success of his career.
