Posted in: No Huddle Reviews by Gino Sassani on July 6th, 2012
I’m not sure if it’s a case of morbid curiosity, but I ended up somewhat liking the show. At about 21 minutes an episode, it’s just the right length. Even if I did find this stuff entertaining, there was only so much of Gene’s family I could take in one sitting. The premise is simple and has been done to death by now. Cameras follow some famous person or family in the hopes of providing compelling drama for millions of viewers. OK, so that’s a bit of an exaggeration, but so is the idea that we’re going to get an intimate inside look at these folks while the cameras are rolling. It’s a lot like wrestling. If you don’t buy into that what you’re seeing is actually real, you can get a few laughs out of the whole thing. I will also admit this show destroyed a lot of the Gene Simmons mystique for me. Let’s face it. Can you ever watch the stage persona in the same light again after watching Gene scoop kitty litter or wash his dog by throwing him in the pool? Let’s not even talk about an attempt to get semen from a bull. Still, Gene turns out to be an interesting character very much removed from the one we’re so used to seeing. While Gene dominates the show, there is plenty of time given to wife Shannon Tweed, from Playboy and soft-porn films.
This season was pretty hard for me to get through. The show usually has a bit of variety, and I do enjoy watching Gene's business genius at work. But this season is all about the relationship problems between Gene and Shannon. She walks out on him twice and is suddenly fed up with his womanizing life-style and unwillingness to get married.
Posted in: No Huddle Reviews by Gino Sassani on July 6th, 2012
"In New York City's war on crime, the worst criminal offenders are pursued by the detectives of the Major Case Squad. These are their stories."
Dick Wolf used to pretty much own NBC and prime-time drama. His flagship series Law & Order lasted 20 years, tying the record held by Gunsmoke for the longest-running scripted drama. It was his wish to break the record, but by season 20 the franchise had lost some steam and was axed by NBC. It wasn't a total loss for Wolf, who had two other Law & Order shows still running at the time. Law & Order: SVU has been the more successful, but Law & Order: Criminal Intent had a pretty good run, as well.
Posted in: Disc Reviews by Brent Lorentson on July 6th, 2012
It’s a little hard for me to realize it really has been 20 years since Stone Temple Pilots emerged out of the grunge scene with their album Core. I remember hanging out at my friends house playing Sega Genesis while listening to this tape (yes, cassette tape) over and over with some Pearl Jam and Nirvana thrown in as well. For me these guys are like moments of time from my past that I’ll always look fondly upon. Whether it was my first mosh pit or first house party, this was the music that surrounded me. I feel the need to divulge this simply because no matter how impartial I may try to be, it’s hard to be critical and removed with every review that comes along.
With that being said, I’m going to come out and say I love this performance. Once I put this in my player, I cranked up the volume and just allowed my ears to ingest this musical delight. Sure my neighbors may not have been happy after all the sound hits like a punch, but this is what I’ve come to expect from STP.
Posted in: No Huddle Reviews by Brent Lorentson on July 6th, 2012
We’ve all heard the phrase “don’t judge a book by its cover”; well ,in this case it should be extended to not judging it by its title either. I read the title for Some Guy Who Kills People and thought it was a clever ominous title, but the movie that followed didn’t live up to the title but instead pulled a bit hard at the heartstrings. I came into this one expecting horror and instead got pleasantly surprised by this sweet horror (very loosely fits in this case) comedy about a relationship between a father and daughter.
When we first meet Ken Boyd (Kevin Corrigan) we find him working behind the counter at the local ice cream shop, and with his quiet, creepy demeanor he couldn’t seem more out of place. It’s soon revealed that he’s been recently released from the local mental institute and is simply trying to start a new life for himself in the world, though it seems he lacks most social skills with anyone he encounters. In flashbacks we witness the beating he took in high school that has understandably traumatized him through adulthood, but could it be enough to unhinge him to the point of murder?
Posted in: The Reel World by Brent Lorentson on July 6th, 2012
When I first saw the trailer for Savages I was more than a little unimpressed; in fact I was beginning to accept that there were no more great films to come from one of the directors I believe was in the top five working directors of the 80s and the 90s. Over the past decade he’s managed to churn out some decent films, but nothing that can measure up to Platoon, JFK, The Doors, Natural Born Killers or Nixon. With Alexander he took a big gamble and it was a commercial bomb, and since then it seems he’s been playing it safe. What I always respected about Stone was that he never used to play it safe; he took bold chances whether it be with the topic of the film or with the style of the film, but it seemed the commercial failure of Alexander took its toll.
One piece missing from Stone’s crew that I feel has made an impact over the years has been the absence of cinematographer Robert Richardson. Could this be the key ingredient missing all this time? Richardson has done some great work with other directors most notably with Tarantino (Kill Bill and Inglorious Basterds) as well as Scorsese (Hugo). But for me when I look at some of the great director and cinematographer relationships over the years, the one with Stone and Richardson seems to be the perfect marriage of talent put to the screen. After working on several films without Richardson at his side, I feel Stone has found a suitable fit for him with Daniel Mindel (Domino, Star Trek) as his shooter this time around.
Posted in: Disc Reviews by Michael Durr on July 5th, 2012
Even though by many standards, I am probably considered old, I would like to think I can still experience new music, especially when it comes to me for review. Of course, you are also reading the guy who loves to annoy others driving down the street with Whitesnake and Motley Crue. Anyway, I was definitely interested to take a gander at this blu-ray that showcased the talents of a band called Kasabian who performed in late 2011 at the O2 Arena in London. Let's take a look.
In 1997, Tom Meighan (vocalist), Sergio Pizzorno (guitarist), Chris Edwards (bassist), and Christopher Karloff (lead guitarist) formed the band Saracuse. They all resided from England (Countesthorpe and Blaby) and put out their first demo EP in 1998. It only had three songs: "What's Going On", "Life of Luxury" and "Shine On" and they were recorded live. However, it helped to launch a band who was struggling to finds its mark.
Posted in: No Huddle Reviews by J C on July 4th, 2012
Have found footage films jumped the shark? (If the answer is yes, someone's going to have to hunt down the beast that ate the shark-jumping cameraman so we can retrieve the tape and see exactly what happened.) Though the genre dates all the way back to 1980's Cannibal Holocaust, it saw a spike with 1999's Blair Witch Project and has become the horror delivery vehicle du jour thanks to recent hits like The Devil Inside and the Paranormal Activity films. To be fair, The American Dream doesn't completely qualify as a found footage film — as far as I can tell, no one finds the protagonist's camera — but the movie is a sign that the genre may have already seen its best days.
Like Cloverfield, Chronicle and Project X, The American Dream proves that horror films haven't completely cornered the found footage market. Luis (Jamil Walker Smith) and Ronald (Malcolm Goodwin) are lifelong friends and newly-enlisted Marines who are about to ship off to Afghanistan. Luis is an aspiring filmmaker who idolizes Spike Lee (Smith also directed the film under the moniker J. Smith), so he decides to document his and Ronald's last few days with their families and friends before they leave.
Posted in: Disc Reviews by J C on July 3rd, 2012
Mirror mirror on the wall, which is the fairest Snow White movie of them all? (Or at least 2012.) Well, if we're going by box office receipts and critical reception, the winner is Snow White and the Huntsman, the gothic, snarlier twist on the classic tale starring Kristen Stewart (everything starring Stewart is automatically snarlier), Charlize Theron and Chris Hemsworth. However, if we're going by costumes, production design and general shiny-ness, Mirror Mirror easily wins. I realize that sounds like faint praise, but this family-friendly take on Snow White has its quirky charms.
Julia Roberts headlines this version as a wicked Queen who is fond of lavish parties and elaborate gowns, but rules over a frigid, destitute kingdom following the disappearance of the popular king she married. Snow White (Lily Collins), on the cusp of her 18th birthday, is the king's daughter and the rightful heir to the throne. After the jealous Queen tries to have Snow White murdered, the exiled princess enlists the help of a noble prince (Armie Hammer) and seven outcast dwarves to take back her kingdom.
Posted in: Disc Reviews by Gino Sassani on July 3rd, 2012
"Squeal like a pig..."
It's one of those lines that you know even if you've never seen Deliverance. The line and film have entered our pop culture and have been referenced in hundreds of films that followed. Along with the iconic rendition of Dueling Banjos, taken from the traditional piece Feuding Banjos, well... you might feel like you've seen the film even if you haven't. Deliverance is a film about Americana that has itself become a large part of Americana. Most of us have found ourselves in a situation where we start hearing those familiar notes in the back of our heads. The truth is, they just don't make them like this anymore.
Posted in: No Huddle Reviews by Archive Authors on July 3rd, 2012
The opening scene of Black Limousine is highly dramatic and highly deceptive. We open on a space station beginning to explode and disintegrate in orbit as a female astronaut tries to revive a seemingly dead male crew member. The music swells as the explosions beginning to trigger and expand. The credits roll. We see David Arquette sitting in a crowded theater watching the screen. He then lingers outside the theater looking at a movie poster and trailing his fingers across the words “Music by Jack McKenzie”. His fingers snap away and he walks off morosely. That is a very effective way to introduce the story and the character. He was a big shot, and yet his car is vaguely shabby with a small dent on the side door.
The next scene is his interview at the limousine service, which mentions that he was involved in a fatal accident that was another driver’s fault. Clearly this a man who needs to get his life back on track. He’s got a daughter that he shares custody for as he tries to regain the talent and notoriety he had before.
