Posted in: Disc Reviews by Gino Sassani on September 30th, 2010
In 1987 Kenny G had released three albums already, but most of the world still didn't know who he was. He was already an accomplished musician who had played as part of Barry White's orchestra. He had dreams of taking his talents a bit further than that. But it's incredibly hard to get on the pop charts with instrumental music. It doesn't happen very often. That's not to say that it's unheard of. There have been a few instrumental pieces and musicians that have found huge success riding the international pop charts. Up until now Kenny G could not be counted as one of them.
All of that changed with the release of Duotones and the single Songbird. Both captivated the mainstream audiences and began to garner serious attention for the sax player. One of the results of that new-found recognition was an introduction to the world famous Montreux Jazz Festival. You had to show something to be invited to that stage. Kenny G appeared there in both 1987 and 1988. This DVD captures both of those performances. Fans won't need much of an inducement to pick up the release. It was an historic moment for the musician and his mostly Seattle-based band. It was the introduction of Kenny G to the world stage.
Posted in: Disc Reviews by Gino Sassani on September 27th, 2010
"USS Enterprise, aka The Big E, a fighting city of steel. She is the most revered and decorated ship of World War II. On this 360-degree battlefield, where threats loom on the seas, in the skies, and in the ocean depths, The Enterprise's enemies could be anywhere. Now follow this sea-bound band of brothers through four years of hell. From Pearl Harbor to the doorstep of Japan, there's nowhere to run, when the war is all around you."
Posted in: Disc Reviews by Archive Authors on September 27th, 2010
The Plot: The Order, disappointingly, turned out to be not much more than a Heath Ledger vehicle, apparently targeted at Goth teenage girls with vaguely Euro pretensions. Without letting out any spoilers, trust me when I say that you’ll be disappointed if you expect anything like what the trailer portrays. The trailer says implies that the Vatican is “using a killer with supernatural powers to absolute control of an empire” and paints the movie as a fast-paced action/thriller church conspiracy film – which it isn’t. What is it? Part drama, part horror, very “moody,” totally boring.
The movie’s story line is atrocious and disconnected, with little to suggest that one scene even belongs in the same film as another. OK – here’s an example, spoiler warning given: those two little kids. What purpose do they serve, other than to look briefly CGI-scary and then disappear? None. They are hell-spawn, but we’ve got no idea why they’re around, where they came from, why they look like kids, what they want, or anything. Completely pointless and unrelated to everything. Bah.
Posted in: Disc Reviews by Gino Sassani on September 27th, 2010
The 9th and final year of Scrubs is called Scrubs 2.0 among the show's cast and crew. The 13 episodes of this season have the torch being passed to a younger group of medical students on the show. JD returns to try to teach, but the focus here is on the next generation. Unfortunately, the idea didn't really catch on, and the show has finally ended. So, it's time to say goodbye to your friends at Sacred Heart Hospital.
Scrubs is a show that resists being defined. Certainly there have been a ton of medical shows over the years. Recently shows like Grey’s Anatomy have found a way to balance a bit of drama with a light mood that often approaches comedy. MASH was the opposite. It was a comedy that often allowed quite serious moments to intrude upon the laughter. Any way you slice it, it turns out that pain and disease can be funny. Nowhere is that more true than on Scrubs. On Scrubs you are never left in an awkward position of knowing if it’s appropriate to laugh. Everything about the show is geared toward the absurd, and hopefully the funny.
Posted in: Disc Reviews by Gino Sassani on September 27th, 2010
I often have trouble believing that South Park has been around for as long as it has. It’s not just the passing of 14 years, but the sheer brilliance in the face of an increasingly politically correct society. It’s like watching old episodes of All In The Family. Who believes that Archie Bunker would have any chance of survival in the 21st century? It’s no wonder that Norman Lear has become involved in the series. It’s the last remaining vestige of a once great freedom to be ridiculous and offend. Eric Cartman’s a lot worse than Archie ever was. We always knew that, in his heart, Archie had a soul. Cartman’s a psychopath without a conscience, and in a civilized society we would be terrified of the existence of such a demon spawn…except he’s just so dang funny. Trey Parker and Matt Stone have been walking a tightrope for over 14 years now, and it just doesn’t get old. One of the reasons the show doesn’t grow stale is their ability to make such a quick turnaround on current events. Because the show takes literally days to write and produce, they are quite often the first to address an issue. They had an election-night episode on literally the next day in this season. That means the ideas stay as fresh as the headlines. Finally, you have to credit the expanding universe of good characters. The core group of Cartman, Stan, Kyle, and Kenny were great for a lot of years. You have to admire how much Butters has infused himself into that core. We also have such great semi-regulars as Timmy, Jimmy, Token, and lately the Goth kids. These characters allow the stories to expand in ways the core group could not. I’ve honestly come to think of Butters as one of the core now. It looks like Paramount agrees. We now have a Butters collection called A Little Box Of Butters.
So what about the episodes themselves? Let’s play a little game called: The Good The Bad, and The Ugly, shall we?
Posted in: Disc Reviews by Archive Authors on September 26th, 2010
Written by Diane Tillis
Raging Phoenix is a film of particular tastes and appeal. As someone who has very little experience with martial arts films, I may be the wrong person to comment on the quality of the fighting sequences or how it compares to other martial arts films. I will leave those comments to the people who are devoted fans and love these films. I can comment on the quality of the DVD so that those who are looking for a great addition to their martial arts film collection will know what to expect.
Posted in: Disc Reviews by Archive Authors on September 26th, 2010
Written by Diane Tillis
Casino Jack and the United States of Money is a political documentary that takes a look into über lobbyist of the Republican Party, Jack Abramoff. The mind and voice behind this documentary is Alex Gibney, who also did documentaries Enron: the Smartest Guys in the Room (2005), Oscar-winning Taxi to the Dark Side (2008), and My Trip to Al-Qaeda (2010). Jack Abramoff is the center of attention in this documentary as Gibney gathers interviews and archival material to expose the D.C. lobbyist as corrupt and greedy. However, the money trail does not end with Abramoff; rather he is just the origin. Viewers unfamiliar with the process of financing in the government will feel overwhelmed how deep the corruption goes and how many political figures profited from Abramoff.
Posted in: Disc Reviews by Archive Authors on September 24th, 2010
Written by Diane Tillis
If I had to pick two words to describe Ondine, I would pick hauntingly beautiful. Neil Jordon, the popular Irish director and writer, comes up with an unusual modern fairy tale. Ondine is a film about people from different worlds hoping that dreams really can come true. It is a film about redemption and hope, harsh reality versus fantasy. Ondine is a journey of self discovery to be experienced from the darkness back into the light. It reminds us that enchantment and darkness are a part of every story.
Posted in: Disc Reviews by David Annandale on September 24th, 2010
Jon Favreau's Iron Man was one of the happy events of 2008. It was a superb piece of super-hero entertainment, one that handled lightning-quick shifts in tone (grimness in Afghanistan, hilarity in Malibu) with a deftness that made the very hard work look very easy. It also reassured comic fans and mainstream audiences alike that there were still terrific movies to be made based on Marvel characters, reassurance that was sorely needed in the wake of the dire Spider-Man 3. So, the question with Iron Man 2 is, given the returning director and cast, was that same magic recaptured? The answer is a delighted yes.
The story picks up with Tony Stark (Robert Downey Jr) basking in his fame as Iron Man. He puts on a showy entrance at the opening of the Stark Expo, thumbs his nose at a Congressional committee that wants to appropriate his suit's technology, and races fast cars. But beneath the levity is a dying man: he is being poisoned by the very element that is keeping his heart ticking. Other problems arise in the form of Ivan Vanko (Mickey Rourke), the embittered son of a former research partner of Howard Stark (Tony's father), and Justin Hammer (a hysterically funny Sam Rockwell), Tony's self-regarding business competitor, who is a devious and corrupt as he is incompetent. Unlike Hammer, Vanko is dangerous, harnessing the same energy source as Stark to power his own super-suit. They join forces to destroy Iron Man. He, meanwhile, seems bent on destroying himself before they can get around to it. His behaviour becomes erratic, forcing best friend James Rhodes (Don Cheadle) to abscond with the War Machine suit, and he turns over his company to Pepper Potts (Gwyneth Paltrow). Into this mix comes SHIELD, embodied by leader Nick Fury (Samuel L. Jackson) and agent Natasha Romanoff, AKA the Black Widow (Scarlett Johnansson). Fury sees Stark as a potential asset, but only if he can both sort his life out, and save it. The question is whether he will do so before Hammer and Vanko's plans come to fruition.
Posted in: Disc Reviews by Michael Durr on September 23rd, 2010
This might be a newsflash to some, but I can’t dance. I can’t groove, shimmy or even lay down some dope moves. As such, a whole generation of movies is probably lost on me. In it, young hip kids move around and perform moves that would have made Fred Astaire jealous. It is a showcase of talent on the most basic level. One such movie appeared on my review plate named Stomp the Yard: Homecoming. Hopefully with some fresh moves, we can get an interesting story to boot.
Atlanta, Georgia. A dance competition goes down in the hood and newcomer Chance Harris (played by Collins Pennie) is doing quite well. However, when the chips go down, the local favorite is deemed the winner in a very questionable decision. Later that night, Chance is introduced to a plethora of fist sandwiches at the hands of Jay (played by David Banner) and his band of merry thugs. Chance pleads with them that he will pay them back, just give him some time.
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