Director’s Cut

Even though I was born in 1975, I don't remember a thing until I was about 5 years old, therefore I missed most of the "Disco" era. My dad would play music from the 70's, but that consisted of Led Zeppelin, Queen and Black Sabbath among other bands; no disco in sight. But one faithful day in my middle school years, I did find my mother's record and 8-track collection. There was some Barry Manilow, Julio Iglesias, and something called the Bee-Gees. I wouldn't say anything crazy like it turned my life around, but after listening, I clearly understood. I clearly understood that my mother was crazy and I was much better off listening to Whole Lotta Love. Anyway, we have a movie to review, let's continue with Saturday Night Fever.

Barbra Streisand’s 1983 Historical Epic/Fable/Musical/Vanity Project comes to DVD for the first time ever in this deluxe release. Exciting news for a large chunk of our population, though in this instance it’s a case of “good news/bad news” for rabid Barbra fans. With Yentl, Streisand is in full-on quadruple threat mode, as director, producer, co-writer, and Star (yes, the capital ‘s’ is necessary), and her Herculean labours in getting this film made are probably as well known as the film itself. Her obvious passion for the project and the fact that she had a hand in it at every level gives access to a wealth of incredibly detailed information in the special features, including “Materials from Barbra’s Archive”. However, there are some technical shortcomings in this volume that will lessen the experience, even for fans.

There have been many films about the Vietnam War. Some have been epic. Some have been emotional. Some have even been very bad, but now comes one that is absolutely funny. Are we ready for this kind of a send up? That might be the overriding question, but I think that we are. Tropic Thunder took the chance that the public was ready to accept such a film and be able to enjoy it. To soften the blow, it was likely a good idea that the film doesn’t address the war in itself. The film takes aim at movies about the war, and in an extension of that theme it pokes a lot of fun at Hollywood.

The voices aren’t the same. The animation has lost that classic charm. The story is completely contrived. What remains is a dim reflection of a few beloved characters from a bygone year of vintage Disney magic. This sequel of the classic Disney telling of Rudyard Kipling’s The Jungle Book looks more like a direct to video knockoff. I was actually quite amazed to note the film did have a box office run.

The neurotic Shannyn Sossamon goes to Paris to visit sister Alecia Moore (aka Pink). The outgoing Moore cajoles her mopey sister to attend a party in the city’s catacombs, where the bones of some six million people are stacked. It doesn’t take long before Sossamon becomes separated from her friends, and is pursued by a maniac through the maze of tunnels.

Despite being very thoroughly dead, Jigsaw is up to his old games again. This time, SWAT commander Rigg must race against time to rescue to kidnapped fellow officers. Jigsaw's messages send him all over town, to one gruesome event after another. Meanwhile, the FBI is also on the case, interrogating the killer's ex-wife, which means the audience finds out quite a bit more about Jigsaw's backstory.

The trailer trash Myers family (inexplicably living in a pretty big house) is a powder keg waiting to go off, what with the rampaging abuse and a young Michael (the admittedly creepy Daeg Faerch) butchering small animals and looking like he’s mad as hell and soon not going to take it anymore. Snap he does, going on a killing spree, before he is captured and locked up for years, while eccetric shrink Dr. Loomis (a shameless Malcolm McDowell) making a career out of trying to learn what makes him tick. Growing to Godzilla proportions, Michael makes his escape, and proceeds to pick up his spree where he left off in his home town of Haddonfield.

2004 brought moviegoers two big-budget historical epics in Oliver Stone's Alexander and Wolfgang Petersen's Troy. One bombed. The other performed well, but was by no means heralded as a critical success. No, Troy was praised for slick production values and exciting battles, but derided for a lack of emotional depth.

Can it all be blamed on running-time constraints and compromises made for the ratings board? The answer is here, with the unrated Troy: Director's Cut, Petersen's second shot at eternal glory, this time with more than 30 minutes of additional footage.

"Remember when I promised I'd kill you last? I lied."

Time to relieve the glory days. Arguably the finest of Schwarzenegger's over-the-top, muscle-bound 80s action flicks, Commando is finally getting the respect it deserves. This is the perfect example of a movie so bad it's good. Really bad, and really good. Commando has it all: copious one-liners, a ridiculously huge Ah-nold physique, and a body count so high you'll run out of fingers and toes in no time flat.

Yes, Commando is the quintessential 80s action extravaganza, and proof positive that the governator used to be a one-man Ah-my.

Peter Jackson’s the Frighteners is a 1996 comedy/horror film starring Michael J. Fox. It follows the story of a physic investigator/ deactivate who is in league with the very sprits he is supposed to be exorcising. For the first half hour, the film is mostly comedy, with good work by Chi McBride as Cyrus, the ghost of a black man from the 70’s, complete with a huge afro. The other ghosts are less noteworthy and merely amusing, such as R. Lee Ermey as a ghostly version of his character from Full Metal Jacket. T...