Posted in: Disc Reviews by Gino Sassani on May 14th, 2002
Bela Lugosi had become the heir apparent to Lon Chaney, Sr. as Universal’s horror king with the extraordinary success of Dracula. When the studio decided that Mary Shelley’s Frankenstein would be its next vehicle, Lugosi adamantly turned down the role of the monster. He felt that the role was doomed to failure, mainly because there was no dialogue and that audiences would not relate to the character. Enter a little known character actor from England to fill the monster’s shoes, and the name Boris Karloff would eventually eclipse Universal’s reigning king of horror. The role would lead to the rivalry often blown out of proportion between the two greats. Let’s not forget Colin Clive’s obsessed Dr. Frankenstein and Dwight Frye’s brain-switching Karl.
Synopsis
Posted in: Disc Reviews by Gino Sassani on May 12th, 2002
Synopsis
Randolph Scott is a young man who refuses to live up to his potential. Though very skilled, and possessing every attribute necessary to excel as a marine, he refuses to do so. When not training, he does one of two things: engage in a battle of wills with the crusty sergeant (John Payne) who knows what Scott should be capable of; or court sensible nurse Maureen O'Hara (who also expects more of Scott than he does of himself).
Posted in: Disc Reviews by Gino Sassani on May 12th, 2002
Synopsis
1941. Field Marshal Rommel's forces are sweeping across Africa. The only thing blocking him from the Suez Canal is Tobruk. The British and Australian forces are hopelessly outmanned and outgunned, but their orders are to hold out, and hold out they will. Richard Burton is placed in charge of a battalion of green Australians. Though his toughness doesn't endear him to his him, Burton nevertheless whips them into combat and commando troops.
Posted in: Disc Reviews by David Annandale on May 11th, 2002
The film may take place in London, and feature English actors, and be shot in English, but this is definitely French cinema. How do we know? Because the sex scenes hit hardcore explicitness, and none of the characters are particularly happy about any of the proceedings.
Synopsis
Posted in: Disc Reviews by Gino Sassani on May 9th, 2002
“Danger, Will Robinson.” Attempting to make a serious film out of Irwin Allen’s beloved space family Robinson wasn’t one of Hollywood’s brightest ideas. The filmmakers did a pretty decent job of creating a fun science fiction film, but their obvious attempts at nostalgia never quite gel with the overall vision of the film. Complete with stellar special effects and a much more logical plot than the campy 60’s show, Lost In Space had promise. What New Line failed to understand was the cheese cardboard effects and zipper-toting aliens spun around a totally ridiculous plot was the true charm of Lost In Space. While it was warming to see 4 of the original cast in cameos the two that were missing, Jonathan Harris and Bill Mumy were the true heart of the TV series. The one jewel in this film has to be the performance of Gary Oldman as the indomitable Dr. Smith.
Synopsis
Posted in: Disc Reviews by Gino Sassani on May 9th, 2002
Another recent big-budget French production to hit these shores, this, along with Brotherhood of the Wolves, makes for an interesting comparison with American blockbusters.
Synopsis
Posted in: Disc Reviews by Archive Authors on May 8th, 2002
WOW! This is one of the most unique and fascinating films ever made… and this DVD release is equally as amazing. If you have never been introduced to Memento, this is your chance. This film works like no other (not counting “The Following” – Christopher Nolan’s first film), running backwards rather then sequentially. And let me tell you, once you have found the Easter egg that contains the film played sequentially, this film will take on a whole new life.
“In MEMENTO, Guy Pearce ("L.A. Confidential")...plays Leonard Shelby, a man who finds himself without any recollection of recent events - except the knowledge that his wife has been murdered. Using instant photos and a body filled with tattooed reminders, he pursues the man he believes responsible for his wife's death. Or does he?” – CTHE
Posted in: Disc Reviews by Gino Sassani on May 4th, 2002
Time travel stories and their inevitable paradoxes have been with us since Twain’s Connecticut Yankee in King Arthur’s Court. This film takes a fresh approach to the subject. Instead of the characters moving through time, they are afforded the chance to communicate through time. Frequency is both engaging and often emotional. There is an amazing chemistry between father and son even though for most of the film they are never actually together. The baseball theme, for me, adds warmth that makes the relationship play out like a common memory. I hesitate to use the moniker “feel good movie” but it does seem to fit Frequency.
Synopsis
Posted in: Disc Reviews by Gino Sassani on May 3rd, 2002
Film
Fritz Lang became one of the earliest masters of filmmaking. Known mostly for such classic silents as Metropolis and Spies, Lang delivers a startling film definitely ahead of its time with M. This is also the very first film for the talented Peter Lorre who would later shine in Corman’s Poe series, and of course, along-side Bogart in The Maltese Falcon and Casablanca. M is a disturbing film that constantly assaults the viewer with stark images of a city’s underworld life. Th... portrayal of a child serial killer was incredibly bold for the time and is unsettling even today when audiences are almost numb to horrific acts of violence on our movie screens.
Posted in: Disc Reviews by Gino Sassani on April 20th, 2002
“Welcome to Jurassic Park”. With those words begin an adventure that started with the legacy of Willis O’Brien’s “The Lost World”… which would lead to Steven Spielberg to acknowledge this connection with the title of Jurassic Park 2. Dinosaur films are nothing new; they have held our child-like fascination since the industry was born. Jurassic Park was, however, something very new when it thundered into our cineplexes and forever in our imaginations. The marriage of brand new CGI technology with Stan Winston’s superbly detailed animatronics models transport you back 65 million years in time. CGI technology has improved since then and has become somewhat commonplace but there is nothing common about Jurassic Park.
Synopsis
