Posted in: Disc Reviews by Archive Authors on February 2nd, 2012
Written by Joe Gause
Here we go again! It’s another movie about something dangerous in the water. I’m not gonna lie here, folks, I wasn’t expecting to much out of this one, but to my surprise I enjoyed it quite a bit. So here’s the short and skinny. A bunch of college kids set off to a lake house to enjoy a much-needed vacation. There is a fair amount of drinking and flirting and tomfoolery (always wanted to use that word). Early in the film we discover that Sara (Sara Paxton) has a dark secret with one of the town locals. As the party gets under way, trouble starts to brew in paradise when one of the partygoers gets his arm ripped off by a shark! In a panic to get him to the hospital they call the town sheriff (Donal Logue) only to find out that he and the locals have been releasing sharks into the saltwater lake and filming the shark attacks to sell to the folks at the Discovery channel! So, as you might guess, there is a fair amount of suspense-filled scenes with our heroes trying to not only escape the sharks, but also escape the crazy sheriff and the locals. It all comes to and end in a way that doesn’t leave you wanting to smack the director (which is rare in Hollywood these days).
Posted in: Disc Reviews by Archive Authors on February 2nd, 2012
Written by Brian Ludovico
To film fans, the clause “Directed by Alfred Hitchcock” has almost become an adjective in and of itself. It has come to mean suspense created by using the viewer’s imagination and mind as a part of the film, first and foremost. These films didn’t have the freedom of CG, and consequently had to invent ways to achieve visual effects (watch the documentary on Birds or Rear Window for example). Besides the lack of freedom of creation that digital filmmaking now provides, the filmmakers had to tip toe around the Hays code, not only restrictive on sex and sexual undertones, but also on content (as we learn in the featurettes here) and gore. The phrase, and the adjective that bears the director’s name, has grown to include a certain quality of characters and meticulous film crafting in every phase of the production. Rebecca, therefore, can rightfully be called “classic Hitchcock.”
Posted in: Disc Reviews by William O'Donnell on February 2nd, 2012
Curtis “50 Cent” Jackson plays a hotshot college football player is at the cusp of making a big move to the NFL and riches when he collapses in the locker room due to a tumor growing in his chest, near his heart. Having to undergo cancer treatments, he loses his ability to play and must start again without all the advantages being a star came with.
It is sometimes hard to sympathize with a character he is so egotistical, and used his status to take advantage of other people, but he is undeniably a victim. Not only was he facing a lethal illness, but most of his family and friends treated him like a living lottery ticket. Of course, losing that ego is all a part of the all-too obvious character arc and life lesson's we are supposed to witness in this film. I spoil nothing by stating that he does indeed go through this crushing lesson in humility. While regaining strength after chemotherapy treatments, he just reconnect with his family members and find a way to earn a decent living. What unfolds would do the LIFETIME network proud. Tears are shed, fists open up for hugs, and the film lingers on at least 20 minutes longer than it should so that everyone can celebrate family for the sake of celebrating family.
Posted in: Disc Reviews by William O'Donnell on February 1st, 2012
The title of this documentary stems from the quote “In the end, the love you take is equal to the love you make." In this film, said “love” refers to the love and support Paul McCartney, and other major celebrities, give to New York in the immediate wake of 9/11. Starting from early rehearsals and finishing with McCartney's closing performance at the “Concert for New York” benefit, we watch one of the most famous people on the planet demonstrate his uncanny sense of humility and humanity as he proves he is a “man of the people.”
The camera is mostly candid as we witness McCartney not be able to walk a single foot on the streets of New York without getting endlessly mobbed by fans. It is refreshing to see that, whether surrounded by starry-eyed civilians or fellow celebrities, McCartney never loses his playful mien.
Posted in: Disc Reviews by Archive Authors on January 31st, 2012
Written by Joe Gause
Pass the tissue please! If you plan on watching this movie, I recommend you buy yourself a big box of tissue and be prepared to shed a few tears. This extremely well done post-WWII love story is designed to show you that life doesn’t always have a happy ending. The cast is nothing short of incredible, and the acting is top-notch. Here’s the short and skinny. Count Laszio de Almasy’s (Ralph Fiennes) plane is shot down in the final days of the war. He is badly burned and is in need of special care. Nurse Hana ( Juliette Binoche) volunteers to look after him in an old rundown church. During their time together she discovers that he has had quite a past. He had fallen in love with a married woman (Kristen Scott Thomas) and was secretly trying to convince her to leave her husband and be with him. Of course this never works out the way we want it to. And so begins the first of many tear-jerking events in this tale. She tells him to go away and never see her again (apparently cheating on her hubby was too much guilt for her), so our dear Count goes a bit love-crazy, hitting the drink a bit and becoming a bit like a stalker. One thing leads to another, and the husband (Colin Firth) learns of his wife’s wrongdoings, so he thinks the best way to get revenge on the Count is to run him down in his plane (not the smartest idea). Well, the plane crashes and misses the Count all together. Only problem is the Count’s love was also in the plane and is badly injured. She admits her love for the Count, and it seems we might just have a storybook ending here, but of course this is just false foreshadowing. The Count ends up leaving her in a cave while he walks through the desert for help, promising her he will only be gone for three days. He leaves her food and water and sets out into the vast sand. Well, as luck would have it, he is captured by the Germans, and it takes him quite a bit longer than three days to get back to her. Of course when our hero finally returns to the cave, his true love has died.
Posted in: Disc Reviews by Michael Durr on January 30th, 2012
When I was in the fifth and sixth grade, I learned how to play a cello. Despite my attempts at learning the instrument, it was a constant struggle to be able to read sheet music and get my hands to cooperate in an appropriate manner. Personally, I think it had something to do with the fact that instrument spent half the time in the shop (school provided) rather than in my hands. Today’s review explores a similar subject, the movie: The Piano. Let’s see how well Holly Hunter does with her instrument.
We hear a voice. But it is not a speaking voice, rather a voice inside a female’s head. That female is Ada McGrath (played by Holly Hunter). She’s been a mute since she was six years old. For a little while now, she’s been without a spouse and unfortunately for her, she’s been promised to a man in New Zealand who has never met her. All of her belongings included her prized possession, a piano and her eleven year old daughter by the name of Flora (played by Anna Paquin) are put on a boat and the crew sets sail for the island.
Posted in: Disc Reviews by David Annandale on January 30th, 2012
Jack Lemmon is a rather meek insurance company employee who is slowly working his way up the corporate ladder by lending his apartment to married executives looking for a place to take their girlfriends. Life is rather inconvenient, as he is locked out of his home at all hours, but things become even more complicated when the big boss (Fred McMurray) takes an interest. The good news is that Lemmon gets another promotion. The bad news is that McMurray’s affair is with Shirley MacLaine, the elevator girl for whom Lemmon is carrying a torch.
Billy Wilder’s follow-up to Some Like It Hot certainly has plenty of funny moments, most involving Lemmon’s doctor neighbor (Jack Kuschen). But the film doesn’t shy away from the darker implications of its storyline (up to and including a suicide attempt). The result is a romantic comedy-drama that is sweet without being sentimental, and hard-nosed without being cynical. And the audience’s emotions are thus sincerely earned.
Posted in: Disc Reviews by Michael Durr on January 25th, 2012
My wife Sarah is not a normal bird, I have deeply accepted this. To be honest, if she was anything resembling normal, I probably would not be madly in love with her. But with her quirky ways, I am to a point where I know her likes and dislikes. Every once in a while, she does throw me off, especially when it comes to which cartoons she likes to watch. One of her favorite cartoons that she likes to watch goes by the name of Rocko’s Modern Life. It just so happens that today’s review goes over the second season. Let us see what it has to offer.
Since this site was not able to review the first season (which is only eleven and a half bucks at Amazon currently), I figured I would go over the characters and the show’s premise before diving into a few episodes. There are basically 3 major characters, 2 large supporting characters and then a whole boatload of characters that show up here and there.
Posted in: Disc Reviews by Gino Sassani on January 24th, 2012
"The 2nd World War's violent, disturbing images have been constantly replayed for decades. Sometimes it seems there is little we can see that we haven't seen before. But buried in archives and tucked away in private collections an astonishing set of 3D films and photographs with the power to erase time and transcend space will now be seen for the first time in nearly 70 years."
I know what you're thinking. Like the above prologue says, it hardly seems like we can get anything new out of footage from World War II. There have been countless of specials and serials to the point of overload for many. Yet, History Channel has found ways to bring cutting edge technology to these old themes, and somehow they find new ways to intrigue us. Historians are living in a veritable new age of discovery. The boom began when footage was cleaned, restored and mastered in high definition. History was there every step of the way and delivered the goods in WWII in HD. But, they haven't stopped there. 3D has been trending lately, and now we have this documentary which delivers stunning 3D images from 70 years ago. What will be the next step?
Posted in: Disc Reviews by Gino Sassani on January 24th, 2012
It sounds like nothing new. Hard-boiled detective uses computers and other forms of technology to solve cases. It isn’t anything new, except the detective in question is Joe Mannix, and the series started in 1967. The computer that Mannix used took up an entire room and was queried using cardboard punch cards. This wasn’t science fiction. We’re not talking some newly discovered Irwin Allen series. Mannix didn’t go after aliens or robots. This was a down-to-earth gritty detective show. Mike Connors played the tough-as-nails detective. He was perfect for the part and blended into the role seamlessly for eight years.
The show was created by the team of Link and Levinson, who later gave us the detective in the rumpled raincoat, Columbo. It was groundbreaking in so many areas. While it might not be remembered today as one of the top detective shows, there can be no argument about the impact Mannix had on the genre. A decade later one of my favorite television detectives, Jim Rockford, would borrow rather heavily from Mannix. Like Rockford, Mannix was getting beat up a lot. They both had the same sense of style, wearing rather ugly sport jackets. Neither was afraid to bend the rules, or the law, when necessary. Again like Rockford, Mannix often falls for the wrong girl at the wrong time. Mannix was good with a gun and equally adept with his fists. The show received a ton of controversy from the start for the amount of violence it employed. Tame by today’s standards, Mannix was quite aggressive for its time. The joke was that the show’s producers mandated a fight or car chase every 15 minutes whether it was needed or not. I’m sure that wasn’t true, but nonetheless the show opened the floodgates for the detective shows that followed. In this first season, Mannix worked for the enigmatic detective agency, Intertect. They supplied him with the latest in modern technology and with his cases. His main company contact was Lou Wickersham, played by Joseph Campanella. Now Mannix is on his own and begins to resemble more and more these detectives that would eventually follow in his tire tracks.
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