Posted in: Disc Reviews by Michael Durr on February 1st, 2010
As the resident video game expert for the site, certain movies will always fall into my lap. Any movie that includes something about video games, good or bad I will get the chance to review. Sometimes, I'm not so thrilled and sometimes I'm simply elated to take on the task. But then every once in a while, I get a movie where I'm not sure what to expect. The movie Gamer seems to take that tone. But perhaps the journey will lead to some rather unexpected but pleasant surprises.
Posted in: Disc Reviews by David Annandale on February 1st, 2010
Sterling Silliphant, in the latter days of his career, gifted the world with the deliriously schlocky screenplays to the likes of The Poseidon Adventure, The Towering Inferno, and that apotheosis of the Expensive Badfilm, The Swarm. So it is sometimes hard to remember that he also penned the script of In the Heat of the Night and some 74 episodes of Route 66. I confess to a being a complete newcomer to the series, and though I was rather baffled at first, I was also struck by the quite beautiful prose being spoken. Anyone who thinks highly literate scripts are impossible (or just about) on network TV should cock an ear (and an eye) in the direction of this series.
Posted in: Disc Reviews by Archive Authors on January 31st, 2010
There’s a quote by author Kent Nerburn that says: “It is much easier to become a father than to be one.” The Boys Are Back, based on a memoir by Simon Carr, is the best example of that sentiment on film that I’ve personally seen in a few years. Clive Owen plays sportswriter Joe Warr. He’s good at becoming a father, but not at being one. His one-the-go job keeps him from spending any real quality time with his family, leaving his wife Katy (Laura Fraser) to raise their son Artie (Nicholas McAnulty). When Katy becomes fatally ill, Joe must step up to the plate to take care of his 6-year-old son.
Posted in: Disc Reviews by Archive Authors on January 31st, 2010
If there was a recipe book for the modern romantic comedy, it would undoubtedly include a checklist of the following: group of girlfriends in their late twenties/early thirties with neurotic ideologies revolving around dating and clothes, a writer’s quota of at least one catch phrase per scene, product placement, and the charming leading man. Maneater receives checks across the board, and so much more.
Posted in: Disc Reviews by William O'Donnell on January 30th, 2010
This is the story of two young twins who are living completely different lives, one in a boarding school who is caught up in a child smuggling ring and the other is living with his struggling artist father, but are able to share their physical pain and emotions as if telepathically. Thomas, who is with his father, knows of Tom, the boarding school “orphan,” but everyone believes Tom is just his imaginary friend. Through a chance encounter the two are reunited and both must find a way to escape the smugglers who wish to take them sell them outside of England.
Posted in: Disc Reviews by Gino Sassani on January 29th, 2010
Madea's been everywhere. She's even been to jail. But I Can Do Bad All By Myself is not actually a Madea film, per se. She has a cameo, of sorts, but this film is based on a series of stage acts that Perry has collected under the single title of the film. So much of this movie has been out there on stage. I'm not really a fan of Perry's Madea character and the collection of films she/he's been involved in. I had a friend once who used to get them for another friend of his, and he used to joke about making me a copy. Now you know why we're not friends any more.
Posted in: Disc Reviews by Gino Sassani on January 29th, 2010
Metaphors are often effective tools in filmmaking. They can be used in a variety of unique and clever ways to either highlight a particular aspect of story and/or character. They can be used to add an artistic flourish to a movie. They can even be used to drive a plot, if you're careful enough to avoid becoming too abstract. Then there are films like The Burning Plain which attempt to create a film that is metaphor itself. What you often end up with, and certainly here, is something difficult to follow and more acceptable at the festival circuit than at the box office
Posted in: Disc Reviews by Michael Durr on January 27th, 2010
The original movie production of Fame came out in 1980 and followed a group of students as they progressed four years through the New York High School of Performing Arts. It was gritty, it was harsh, but it was a very deep portrayal of budding students trying to get into the world of singing, dancing and acting. Nearly 30 years later, somebody gets the bright idea of doing a remake. Let’s find out if it is anywhere close to the original.
Posted in: Disc Reviews by David Annandale on January 27th, 2010
The time is the 1930s, the setting Africa, as Mussolini attempts to recreate an Empire through the colonization of Abyssinia. An officer and poet Elio (Al Cliver) returns from the campaign with the spoils of conquest, one of which is Abyssinian princess Zerbal (Laura Gemser, of D'Amato's Black Emanuelle films). The erotic heat in his home is already pretty torrid, what with wife Alessandra (Lilli Carati) carrying on with secretary Virma (Annie Belle). Zerbal's arrival upsets the emotional apple cart, passions flare, and the supposed slave starts to exert more and more influence over the putative masters.
Posted in: Disc Reviews by Gino Sassani on January 26th, 2010
"Look at yourselves. Unplug from your chairs, get up and look in a mirror. What you see is how God made you. We're not meant to experience the world through a machine."
Since the time we were kids, we were warned that you can't tell a book by its cover. That has never been more true in our modern world of the internet. We play in chat rooms where almost no one is who they pretend to be. We lie about our age, looks, and even our gender, and rationalize it as harmless escapism or merely exaggeration. Everyone does it, or so we believe, so it's actually expected.