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Here we go, with another rise and fall story in the underworld. Two young friends in Jamaica, Biggs and Wayne, grow up separately to become powerful gangsters (the “shottas” of the title). After a prolonged separation, they reunite in Kingston, and the story takes them back and forth between that city and Miami as they climb the drug totem pole, heading for the inevitable fall shown pre-credits.

All the characters speak Jamaican patois, making subtitle necessary. This and the vision of the grinding poverty of Kingston give a certain freshness to the film, but the storyline is utterly hackneyed, and we know nothing about the characters we are following, let alone have any reason to sympathize with them. Attitudes toward women are, as one might expect, antediluvian. Imagine a Grand Theft Auto storyline presented with all the humour and satire removed, and this is what you’d get.

Two things you should know about me before reading this review: I'll watch anything involving John Goodman, and I've never seen the animated classic this live-action version of The Year Without a Santa Claus is based on. So unlike when I watched the horrendous Jim Carrey-Ron Howard take on Dr. Seuss' How the Grinch Stole Christmas, in this case I hold no special place for an original.

The times are changing. Toys are becoming more complicated and violent, people are becoming more and more materialistic, and the "true" meaning of Christmas is being lost. Santa (John Goodman), now just "a toy delivery division of Santa Co.", can't keep up, and he's becoming disillusioned about the whole thing. What he needs is just one kid who really cares about Christmas for the right reasons. Otherwise, he's skipping the whole Christmas Eve present thing.

I've gotta say, I love stand-up comedy. My first albums were George Carlin records, and I'd always listen to my Dad's recorded tape of a Friar's Club roast of Don Rickles, where four letter words would get dropped as often as the drinks in the room. Then it was on to Richard Pryor, then onto the R-rated genius of Sam Kinison and to a lesser extent, Andrew Dice Clay. And now, it's Lewis Black, David Cross, Dave Attell and Robert Schimmel.

To understand the premise behind Dane Cook's Tourgasm, I guess one has to better understand Dane Cook. For those that don't, he is the stand-up flavor of the month right now, a man whose albums have sold like gangbusters, who has successfully utilized the internet to spread word of mouth about his material, and he is all over shows that the kids are watching. In March/April 2005, he rented a rock star bus and invited three comic friends of his (Jay Davis, Robert Kelly and Gary Gulman), and did a bit of a barnstorming tour of college campuses across the country, similar to what Kinison did with the so-called "Outlaws of Comedy" in the '80s, as Cook's tour was designed to get his friends some more exposure, while giving his fans a chance to check him out. Filmed over 30 days in 20 locations, the group of episodes (that presumably aired on HBO awhile back) was also a look into the personalities of each comic.

On its surface, The Promise seems to have a good pedigree backing it up. You've got the guy who directed Farewell, My Concubine and the cinematographer of Crouching Tiger, Hidden Dragon, combining forces for a Chinese film that is epic in scope, similar to the Zhang Yimou films Hero and House of Flying Daggers.

The problem with The Promise is that the story rambles a bit, and the characters are ones that you don't care about. The stunts aren't even breathtaking either, as the visual effects are apparently done with wires and green screens, and can be made out so obviously, they lack the magic and wonder of the Yimou films, or even other films like Shaolin Soccer and Kung Fu Hustle.

Let�s face it people. Martin Scorsese, for most part, is a god amongst filmmakers. The man can�t do anything wrong in the filmmaking. Film after film he continues to amaze me with his sheer ability to tell a story bundled together with fantastic acting. Even though many don�t name Casino as one of his best works (rightfully so), the film is still excellent as it shows the gritty 1980s Las Vegas mob world.

One cursory glance at the plot of Casino would make the smallest Scorsese fan think that the film should be called Goodfellas 2. Both have to do with the mob world, both star Robert De Niro and Joe Pesci and both are about men who think they�re on top of the world. Sure, this is myself trying to connect the two films, but damn it if this film didn�t feel like a sequel. Don�t get me wrong though that isn�t necessarily a bad thing, just it takes away some (key word some) of the shine that the film had.

Comments on the supplemental material on this edition have been ported over from Ryan Erb's excellent (and recent) review of the HD DVD, which also can be enjoyed on this site.  Now onto this review...

Remember when it was announced that far-left conspiracy theorist (and resident Castro admirer) Oliver Stone would be making a film about the September 11 attacks? Of course you do. In fact, the collective pucker of the nation tightened in horror and trepidation when the notion was first thrown around, and later grew in suspicion as the film's realization became closer and closer.

Hilary Duff vehicle Material Girls hit theatres in August 2006, and failed miserably. That fact was my only comfort while I wasted 98-minutes of my life watching this movie.

I fully expected to dislike this teeny-bop flick, but I was actually surprised by just how bad it actually was. Hilary Duff and sister Haylie probably wish they'd never made this movie, though I imagine the paycheck would make up for this blotch on their filmography. I'm hoping the same is true for Angelica Huston (The Royal Tenenbaums) and Brent Spiner (Star Trek's Data), who play cringe-worthy supporting roles.

I'd never seen, nor heard of, Harvey Birdman, Attorney at Law before I received my review copy of this second volume of the series, which aired as part of Adult Swim. What a bizarre show! Not since Ren and Stimpy have I seen such a strange, adult-oriented cartoon.

Harvey Birdman was a shoddy superhero who has become a substandard Attorney. His firm handles cases for well-known animated Hanna-Barbara characters like The Jetsons, with each of the 13 episodes in this second volume presenting a new case. The episodes run about 11 minutes each, and they're all very odd and pretty darn funny. Since the episodes are so short, I'm not going to spoil any of the storylines here. If you're not familiar with the show or the adult-oriented cartoon genre, I suggest renting a disc from Harvey Birdman volume one to get a taste. If you enjoy that, you'll eat up this volume two release.

Truth be told, when I first heard of the idea of a new Mummy film, I became excited. The first two in the series were surely not examples of Oscar material, but were damn entertaining films. Then news slipped out that the next film would be based on WWE Superstar The Rock�s character The Scorpion King, which seemed like an odd idea on paper. Was The Scorpion King that much of an awesome character that he needed his own film? Well, success continues as The Scorpion King isn�t excellent film making, but sure is pretty entertaining.

The basic plot of the film goes a little something like this� Mathayus (The Rock) is hired by a band of evil thugs to kill Memnon�s () sorcerer Cassandra (Kelly Hu). What Mathayus doesn�t realize is that there�s always more underneath the sand than on the surface as he soon learns that these men have more sinister plans.

Based on a true story, Jet Li�s Fearless takes place just after the turn of the 20th century. Huo�s father is challenged and beaten by the leader of the Zhao Clan leading to sheer embarrassment for everyone involved. Soon Huo Yuanija, his son, suffers a similar fate. Only Huo swears to never let a beating like this occur again. Huo wants nothing more in the world than for his father to teach him the way of the wushu, which is the way of fighting. The problem is that Huo doesn�t tend to put his heart in the right places. He hates studying his medicine and doing his calligraphy leaving his mother to tell him that wushu is not all about winning, but rather about patience and self-discipline.

The film flashes forward a few years reveling to us that Huo is grown with a daughter. His mother insists he be married once more but getting the Huo Clan�s respect and power back is far too important for him to ever consider marriage. Being the champion of Tianjin is the single most important aspect of Huo�s life. Huo eventually defeats his childhood enemy gaining not only respect for himself and his family but also the entire city. Master Yuanjia is back and here to stay. Master Huo soon develops an intense following as nearly every citizen begs to either be taught Wushu or begs to join him.