Collector’s Edition

Duel was the first “ made for television” movie directed by Steven Spielberg. This thriller could best be described as a cross between the Rutger Hauer classic, “ The Hitcher,” and the Steven King inspired “Maximum Overdrive.” Dennis Weaver plays David Mann, a salesman on his way home from a cross state trip. During his return, he passes a rusted out old gasoline truck on the highway without giving it much thought. As the film unfolds, the truck begins to pursue him and initially just appears to annoy him on the r...ad, however, by the end of the first thirty minutes of the film, the truck driver has made an attempt on Mann’s life.

The pace and intensity of the film increases as it moves on with a total of 3 serious attempts on Mann’s life. Dennis Weaver does a fantastic job portraying a normal guy who comes to the startling realization that his survival can only come at the cost of his pursuer’s life. The anxiety and paranoia are visceral in his performance, particularly the scene in the lounge where he tries to identify his pursuer. Spielberg does a masterful job of increasing the intensity using very basic techniques – lots of first person perspective and quick cuts during the chase scenes. The most effective tool used in the film was the fact that he never reveals the identity of the truck driver – the truck itself is the bad guy (very reminiscent of “Maximum Overdrive” without the cool Green Goblin face on the front).

When I was a kid in the 80’s, Predator was one of those films that you weren’t supposed to watch, but everybody did anyway. Over-the-top action, invincible heroes, cheesy one-liners and big, big explosions made this a film that was a favorite of pre-pubescent boys everywhere. Going into this disc, I found myself wondering if the film would stand up to the harsh tests of time and maturity.

The answer to that question is both “yes”, and “no”. In the “no” column, it is very apparent early on in the film...that there is very little here in the way of plot. Some soldiers are hired to go behind enemy lines to rescue an American politician that has been kidnapped by generic terrorists. Once the team arrives at their location, they discover that they have actually been sent on the mission for different reasons altogether, though those reasons are never really made clear. On their way back to the rendezvous point, they have multiple encounters with an evil and mysterious creature who tries to kill them (and occasionally succeeds). That’s about it. Beyond these basic plot outlines, dialog is basically reserved to screaming profanities and the aforementioned goofy one-liners.

A number of great films have come out of Ireland over the past decade (or so). A few titles that come to mind are In the name of the Father (1993), My Left Foot (1989), In America (2002), The Boxer (1997), and definitely The Commitments (1991). The one factor that differentiates The Commitments from the rest of these great films is that it centers around music rather then turmoil (whether it be personal, family, or country turmoil). The Commitments is a great tale t...at uses a perfect blend of comedy, drama, and music to tell its oddly uplifting story. The casting/acting is perfect, the music is wonderful, and the storyline is very entertaining. For those of you who are a fan of international cinema, this film is a real treat.

The Commitments follows the story of Jimmy Rabbitte, an unemployed music junkie who decides to start a band with a mission… to bring soul to Dublin. Jimmy assembles a rag-tag group of musicians, and the journey to create a “soulful” band in the streets of Dublin begins. Amongst the numerous personality conflict and musical differences, The Commitments bring hope to the down and out community, and start to make beautiful music. Unfortunately, there roller-coaster ride of success implodes before it really gets started.

I’m not always sure what to make of Star Trek VI. It is most notable as the final film to feature the entire original cast. Star Trek has always been about message and morality, so it seems natural for the franchise to tackle the end of the cold war and the fall of the Soviet Union. I just wish some of this film didn’t feel so forced. This film is also bittersweet in that it was DeForest Kelley’s final appearance before his death. Kelley’s “country doctor in space” routine never got tired. He was perhaps the most human face in all of Star Trek. I miss him terribly.

Another sadness is the glimpse we are given of things missed. Walter Koenig and George Takei pressured Paramount for years for a Trek series to follow these junior members of the original cast. Petitions were signed and even scripts written and submitted. In Trek VI we see what might have been. This film seems very much like an end, but who knows. In Roddenberry’s future anything is possible.