Disc Reviews

7th heaven reaches its 11th and final season of rampant political correctness and lessons of family togetherness through Christian love. Yes, that was a mildly passive aggressive summary of this show, but I feel sometimes one strong bias deserves another to challenge it. This show, the story of a very large family lead by a Minister (and don't deny it, he leads them) as they convey their socially and politically conservative Protestant Christian point of view of “real-life” situations.

To be a fair reviewer, I shall put aside my personal objections to critique how the show works just as a family drama for a moment. The 11th season is quite hard to get into as there are countless references and relationships that have been building up for a very long time. I'm not asking it to be like a Law and Order brand of storytelling, where a viewer can jump in at any episode to enjoy a fully encapsulated story, but this show becomes an undeniable challenge to watch if you are seeing it without any background knowledge of the characters and their previous stories.

You can’t really pin down the success and endurance of many Disney films to any one thing. But there's an element that can’t be ignored here. The songwriting Brothers Sherman share considerable credit for the many a film’s appeal. Even if you’ve never seen one of their films, and it’s hard to imagine there is anyone who hasn’t, you do know many of the unforgettable songs from them. Just A Spoonful Of Sugar, Chim-Chin-Cher-ee, Let’s Go Fly A Kite, and, of course, Supercalifragilisticexpialidocious from Mary Poppins alone. Add songs from Winnie The Pooh, Bedknobs And Broomsticks, and The Jungle Book. The melodies are simple but catchy. Once you get them into your head, it’s an awful chore to try to remove them. The Sherman Brothers are responsible for many of Disney’s famous melodies from most of the musical films. If Walt Disney himself came with a soundtrack, you can bet the Sherman Brothers would have written it, and you’d still be singing it today. The songs captivate children, but somehow even adults can’t seem to help but be enchanted by them.

The troubling fact is that these brothers were not as close as their 30-year partnership would suggest. Their families were always apart, and they almost never spoke to each other out of the office. The animosity went beyond simple sibling rivalry. It's almost as if fate had forced them together completely against their will because there was just too much of a contribution to society to give here. The film is quite candid in covering the differences. The movie was made by one of each of their sons in an attempt to not only tell the important story but to possibly bring their fathers together in the last years of their lives. Well, they got half of what they were hoping to accomplish. The film tells a very compelling story indeed.

"Far from a fairytale, Waking Sleeping Beauty is an unprecedented eye-opening look at the conflict, drama and tension that ushered in the second chapter of Disney's animation legacy, a decade of unparalleled creativity..."

In the 1940’s Walt Disney was asked by President Roosevelt to take a goodwill tour across Latin America as an ambassador of sorts. He declined the invitation, protesting that he wasn’t the handshaking kind and that the cause would be better served using someone else. Not to be deterred, Roosevelt made a counteroffer. What if Walt would go to Latin America with a film contingent and then create some kind of a production out of the tour. A government subsidy was even offered. Walt accepted the invite but turned down the subsidy. And so, with a large party of animators, writers, and production crew, they took a whirlwind tour and left with what Walt himself described as a wealth of material. The footage obtained and the experience gained would feed into Disney productions for decades.

Written by Diane Tillis

Wings had an interesting story to tell when they completed Band on the Run. Paul and wife Linda McCartney wanted to record a new album at an unusual location. From a list of potential locations, they chose a remote studio in Lagos, Nigeria. Right before the departure date, lead guitarist Henry McCullough and drummer Denny Seiwell quit the band. It was up to Paul, Linda, and fellow member Denny Laine to finish the project. They spent August and September 1973 in Lagos working on the project under difficult conditions. The band suffered with the intense African heat and survived a dangerous mugging at knifepoint. The thieves stole valuables and the album’s demo tapes. The band had to re-record the entire album from memory. The difficulties the band endured in Nigeria paid off; Band on the Run triumphed critically and commercially. It sold seven million copies, topped the United States album chart three times, and won a Grammy.

Written by Diane Tillis

Written by Dave Younger

Young Adam (2003, 98 min.), set in drab postwar Glasgow, Scotland, combines the kitchen-sink dramas of late 50s/early 60s northern England with a Hitchcockian tale – what if you discovered your girlfriend floating dead in a river?  Throw in explicit full-frontal NC-17 sex (most movies, like Blue Valentine, will do anything to avoid this kiss of death, but Young Adam embraces it; they wanted to cut Ewan McGregor’s junk for the American release, but he fought to keep it in) with the sexually-charged characters of Joe (McGregor), Ella (Tilda Swinton), and Cathie (Emily Mortimer), and you have more than enough angry young men and women to overcome the tedium of being one of the working poor in the grimy, coal-infused landscape of the docks of Glasgow.

The comedy team of Jason Friedberg and Aaron Seltzer should be commended for their unwavering attempt to destroy the spoof comedy entirely. Sure, they aided the Wayans brothers in creating the first Scary Movie film (which is decent spoof film) but in 2006 they started their campaign with Date Movie and continued right through Epic Movie, Meet the Spartans, Disaster Movie, and now Vampires Suck. Did they succeed? And did it take the recent loss of Leslie Nielsen to have us be reminded that spoofs where once a glorious and enjoyable thing.

Well, while their previous efforts (I'm cringing at the idea that any “effort” was placed into making their films) where bloated with endless pop culture references that were dated before being made, Vampires Suck mostly just runs on one, the Twilight series. Yes, there is still a parade of references made, mostly to reality TV shows such as Keeping up with the Kardashians and Jersey Shore, but they mainly stick with vampire and werewolf gags that have either been done already or are simply too weak and witless to even register as a complete joke.

The Haunting of Sorority Row has one of those titles that, when you first hear it, you immediately make assumptions about. My initial assumption was that the movie might very well feature a house full of hot young girls in various stages of undress, acting all catty between pillow fights and being menaced by a supernatural entity of some kind. And then I looked down to the bottom of the dvd case and noted that this was produced by Lifetime. Wait, I thought, isn’t a horror movie by the Lifetime Network akin to Spike TV producing a Jane Austen film festival? Or Comedy Central hosting a David Cronenberg retrospective? Or Arts & Entertainment producing a reality show about a guy who traps raccoons….? Oh. Wait.

Never mind.

A mysterious figure or organization going by the name of War on Crime is apparently engaged in just that in the streets of Soweto. Known drug dealers are being gunned down. On the case is Lt. Deel (Nigel Davenport). Caught up in the case is newspaperman Chaka (Ken Gampu), who is contacted by War on Crime and given tips as to when the next attack will take place. Deel and Chaka are friends of long standing, but their friendship is challenged by the fact that the police captain now views Chaka as a possible accomplice in the vigilante killings. The question, too, is whether there is more to these killings than meets the eye.

Now this is an interesting artifact: a South African grindhouse epic from the 70s (and thus the Apartheid era). The case boasts that this is a blaxploitation effort, and while this is only 100% accurate, as a fair amount of screen time is spent with Deel, and ditto a white killer working for War on Crime, it's certainly close enough for government work. The story is a bit meandering, given that there isn't really that much plot (and so we can take time out to watch Chaka eat lunch and feed ducks). But the moments of tedium are made up for by the over-the-top slow-motion violence, not to mention the entertainment value of the hilariously clunky post-synchronization. And the editor, it seems, was having to work while being subjected to random electrical shocks. All in all, a most fascinating oddity.