Posted in: Disc Reviews by Gino Sassani on November 11th, 2011
"The 1920's in America: jazz music, girls who smoke, and the wing walkers. Like a giant party, only without the booze. Change was in the air. Skyscrapers displaced family farms, and revolutionary ideas challenged time-honored traditions."
Of course, one of those "revolutionary ideas" was the theories of Charles Darwin with the publication of his book On The Origin Of Species. The book had been out since 1859 and Darwin was long dead, but some of the ideas presented in his theories were about to cause a maelstrom across the United States when John Scopes was arrested for violating a new Tennessee law that prohibited the teaching of evolution in public schools. The resultant Scopes, or Monkey Trial, would be the first court procedure carried live by radio and would put the ideas of religion and science on a collision course.
Posted in: Disc Reviews by Michael Durr on November 2nd, 2011
Everybody needs a little help in their life but many are afraid to ask for it. Perhaps they need to know how to ask for a raise, or perhaps help with their geometry homework. One does not exactly gain knowledge of how to ask out a beautiful redhead supermodel unless they get a little help from somewhere. But I digress. Today, we explore the life of Laura who apparently needs a little help when her cheating husband dies right in front of her. Things are not as easy as they seem.
Laura (played by Jenna Fischer) is a dental assistant. Behind is a very noisy macaw outside the window who constantly repeats “Rinse Please”. He is supposed to be soothing. She talks to the patient and tells him about her husband and how he flosses with the extra waxy floss and how that is not good for him. Laura obsesses a bit about the fact that her husband ignores her and the patient soon wonders where the exit sign is at.
Posted in: Disc Reviews by Gino Sassani on October 28th, 2011
Italian writer and director Giuseppe Tornatore was born in the small village of Bagheria on the island of Sicily in 1956. The life and culture of his home village has had a tremendous influence on his work. Many of his films have an autobiographical nature to them that he takes no pains to disguise. Earlier we reviewed his love letter to movies with Cinema Paradiso, which also took place in Bagheria. This time we explore five decades of life in that same village, known here by its nickname and the title of the film: Baaria.
The journey begins in the 1920's Peppino ("Giuseppe") Tornatore is a young boy whose services have been sold to a local shepherd to feed the family. He learns the trade but discovers it's not what he wishes to make of his life. When the Communist Party begins to make inroads in his village, Peppino is attracted to the message and soon works his way to becoming an important leader of the party. He falls in love with Mannina (Made), and the two must elope because he has no personal fortune and her parents are against the relationship. It is up to Peppino's father to take the ostracized couple into his own home when her family rejects them both. While there is no real plot here, the film follows the young boy through 50 years of life in the village and beyond, taking in the various historical events that effected Sicily at the time. Fascism and eventual World War take their toll. Peppino has a front-row seat to the land riots that rocked the country. His party loyalties cause serious trouble for the man as he goes up against both the established government and even the Mafia.
Posted in: Disc Reviews by M. W. Phillips on September 26th, 2011
“There's something I've been dying to ask you. What's in the basket?”
If you are not familiar with Writer/Director Frank Henenlotter’s earliest full length feature, Basket Case, you’ve missed a grindhouse style, exploitation cult classic. It was shot on a shoestring budget, features non-professional actors, cheap special effects, and a script straight out of the fever dreams of a madman. In short, it is brilliant.
Posted in: Disc Reviews by Gino Sassani on September 2nd, 2011
"You unlock this door with the key of imagination. Beyond it is another dimension -- a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things and ideas. You've just crossed over into the Twilight Zone."
Posted in: Disc Reviews by William O'Donnell on July 7th, 2011
A high school football team has a longstanding tradition of bringing their team good luck by sleeping with virgins and then crossing their names off of a secret list. Three girls on said list figure out the football player's plan and decide to strike back with pranks and some feminist rebellion that is supposed to be inspired by Lysistrata.
First and foremost, let me immediately address any connections to Lysistrata this film claims to have. While Lysistrata is about women withholding sex from men because of they have gone to war (to put it in simple terms), Wild Cherry is more about the girls seeking revenge over a sense of humiliation that their boyfriends may not like them as much as they'd hoped. Lysistrata empowered its female characters while the three protagonists of this film are ultimately still just trying to be liked by the popular boys. The rebellion they stage builds to nothing more than a couple juvenile pranks and a lame speech made at a the most sparsely attended football match in cinematic history.
Posted in: Disc Reviews by Gino Sassani on July 6th, 2011
Monster mash-ups have been with us for almost as long as there have been monster movies. Universal gave us Frankenstein Meets the Wolf Man. The Japanese delivered Godzilla vs. King Kong. Dracula's taken on Jesse James, and Universal brought the whole band together for two House Of movies and an Abbott And Costello romp. In recent years we've been treated or subjected to, depending on your own point of view, Freddy vs. Jason and Alien vs. Predator and its rematch. Lately, SyFy has been attempting to create an entire subgenre out of the monster mash-up idea. One of those movies happens to be Mega Python vs. Gatoroid.
This one takes advantage of several themes. The movie serves as a vehicle for two 1980's teen singing idols who were just barely bigger than one-hit wonders. Debbie Gibson went from Tiger Beat in the 80's to Playboy Magazine in 2005. Her career hits a new low with this camp disaster. Tiffany was so cool she figured she just needed one name. Her big hit was I Think We're Alone Now; if only.
Posted in: Disc Reviews by Gino Sassani on June 8th, 2011
One of the best signs that a film is a disaster is when the movie's own star can't seem to stop telling the world just how terrible it really is. Mickey Rourke at first had nice things to say about the film and particularly Megan Fox, calling her the best young actress he knew. Later he backtracked and qualified the statement about Fox. But his rantings about the film Passion Play have not been softened at all. He calls the film "Terrible" and a "Train wreck" while trying to assure us that he still loves director Mitch Glazer. We'd ask Mickey himself to write the review for the film here at Upcomingdiscs, but we tend to try and remain family friendly, and he's not above dropping a few F bombs to make his point. I guess the job of evaluating this rather strange film falls to me, %$@(&.
Okay, I guess we'll start with one of the most ridiculous stories I've ever seen made into a movie. Meet Nate (Rourke). He's a washed-up trumpet player who used to be pretty well known. Now he plays in nightclubs owned by mobsters for small change, small change he likely as not turns into booze. Unfortunately, Nate couldn't help but sleep with the boss's wife. Now Happy (Murray) wants him dead. A couple of his thugs take him out to the middle of the desert for an old-school hit. Nate is miraculously saved by a strange group of white ninjas. He wanders the desert and stumbles into a sideshow where he sees Lily (Fox), a woman with bird's wings. When he finds out they're real, he breaks her out of the control of the abusive carnie and falls in love with her. But not before he sells her out to Happy in an attempt to trade her for his own life. Of course, he regrets the decision and wants to save Lily from Happy's clutches, but she doesn't necessarily want his help. You know, because of the whole betrayal thing. The ending leaves a few questions, but I'm not sure the answers are worth thinking much about. Mickey's right. This is a train wreck. Couldn't have said it better myself.
Posted in: Disc Reviews by Gino Sassani on May 17th, 2011
"You unlock this door with the key of imagination. Beyond it is another dimension— a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things and ideas. You've just crossed over into the Twilight Zone."
Posted in: Disc Reviews by Bob Ross on April 23rd, 2011
By the early part of World War II, the Soviet Union’s ultra-harsh prison system was already an established key to Josef Stalin’s paranoid dictatorship. Hundreds of concentration camps, called gulags, kept criminals and innocents alike trapped behind barbed wire, without edible food or minimal medical care. The most miserable gulags were the notorious Siberian compounds, stuck in such hostile sub-arctic territory that an attempt to escape was considered just another form of suicide.
One such frozen hell is the starting point for The Way Back, a visually breathtaking but icily uninspiring adventure saga from director Peter Weir. Based on a best seller that was sold as non-fiction but later revealed to be largely the author’s invention, it’s long on scenery and short on suspense. That’s because we are told at the start that it’s about escapees who slogged some 4,000 miles through Siberia and Mongolia to freedom in India.