Disc Reviews

U.S. soldiers return home from war and find it difficult to re-assimilate into everyday American life. We've seen this idea played out dozens of times, mostly with Vietnam as the conflict of choice. In Home of the Brave, writer-director Irwin Winkler (De-Lovely) transplants the story into more modern times with the war in Iraq, without much success. Panned by critics and moviegoers alike, Home of the Brave feels a lot more like a made-for-TV movie than a major theatrical release, despite the presence of perennial Hollywood badass Sam Jackson (Snakes on a Plane).

Lando Buzzanca plays Senator Puppis, a telegenic young politician on track to become Italy’s next president. He’s been groomed for the part practically from birth by the Vatican, which plans to re-exert social control over the country through its presidential puppet. But plans go badly awry as Puppis suddenly develops an uncontrollable urge to fondle women’s buttocks (Stephen Thrower has aptly described the character as a “repressed heterosexual”). Even as he seeks help for his condition, various parties around him begin to panic, as the police think Puppis is planning a coup without telling them, the military think they are being left out of the loop by the police, and the Vatican, along with its Mafia catspaws, starts whacking everyone in sight in a desperate attempt to keep everything from completely unravelling.

Gomer Pyle began life as a one of the down home residents of Mayberry, where Andy Griffith held court as the sheriff and Don Knotts blundered his way to fame and fortune. It’s no small task indeed to find a way to shine as a minor character who wasn’t even there from the beginning; he replaced Floyd after the second year. But shine he did. Much of the character’s charm and success has to be given to Jim Nabors. The shy naive Gomer worked as an auto mechanic in Mayberry, but for his own series he appeared in one of the most unlikeliest of places, the U.S. Marine Corp.

Frasier was another one of those unlikely hits. Frasier started as an intended one-off character on the hugely popular Cheers. Kelsey Grammer made the most out of it, and before long he was one of the regular barflies inhabiting a stool at Sam’s. In Cheers the wit worked because Frasier was so unlike his fellow characters. He was a sophisticated, almost snobbish psychiatrist with a taste for fine art and high class entertainment. Instead of a ballgame, Frasier was more at home at the opera or an art opening.

There is a certain audience that really gets into what I call "mythic combat". Zena and Hercules on TV, and movies like Reign of Fire, Conan and Dragonslayer all fit into this category for me. While I typically don't enjoy this type of faire, I am a sucker for the more popular versions, such as the Lord of the Rings trilogy and 300. After seeing a very promising trailer in the theater, I had high hopes for Pathfinder. Unfortunately, the final film did not live up to the potential of its marketing.

When Lost began its third season last fall I was beginning to feel a lot like the castaways must have felt; namely I was getting pretty lost watching Lost. There’s been a lot of mostly fair criticism about how ABC has handled the show last year. The first mistake was to air a small portion of episodes in the first couple of months and finish the season after the New Year. While this broken season plan works well for some cable shows like Monk, it does a serious disservice to Lost.

Belgian filmmaker Olivier Smolders, after a successful run of gorgeous and disturbing shorts, here makes a feature debut that is just as gorgeous and disturbing. Strongly reminiscent of the works of David Lynch, but far darker overall, the film is set at a time when the world is shrouded in the night of a perpetual eclipse. Day only comes for 15 seconds at 12:23 pm each day. Oscar (Fabrice Rodriguez) is a museum entomologist haunted by traumatic dreams involving the death of a sister who might or might not have every existed. He returns home one night to find a dying and pregnant African woman in his bed, a woman who is somehow linked to his father’s colonial past.

So in a summer where a film directed by Judd Apatow and starring Seth Rogen made a truckload of money, another film released a couple months later where Apatow produced and Rogen co-wrote made almost the same truckload of money, yet both films were funny for different reasons.

Will Ferrell, arguably the last funny member of Saturday Night Live has picked some strange movies to be in since leaving the sketch comedy show. Appearing first as a co-star in Old School and then later in the kid-friendly (but cute) Elf, Ferrell took his time in getting to what fans wanted, a good PG-13 or better comedy for him to stretch his comedic talent.

Wrestling games are near and dear to my heart. From the first time I played Pro Wrestling for Nintendo or WWF Wrestlefest at the arcade, I knew I would be playing wrestling games as long as my fingers could mash the buttons. I've played some of the greatest wrestling games (Smackdown 2, Touken Retsuden 3) and some of the worst (WCW Nitro, ECW Hardcore Revolution). The Fire Pro series I've had a long relationship with. It's been love/hate mostly. I want to love it but I find myself more often than not hating the interface and struggling to play it. I've bought all three import games for the Turbo Graphix 16 system and the Fire Pro (6 man scramble) game that was released for Sega Saturn. However, when Agetec announced that they would be releasing it for the stateside Playstation 2, I was very interested. Maybe since I didn't have to import it, I would finally be able to see the menus in English and figure out the difficult interface. Every wrestling fanboy would tell me that it was the greatest thing ever. But what would I think?