Posted in: Disc Reviews by Gino Sassani on May 24th, 2005
White Noise borrows much from the successful cycle of modern horror films. There is a tremendous likeness to both The Ring and FearDotCom. The use of a television screen for eerie f/x and a few shocks reminds us of the former, while the torture of the kidnapped victim in industrial and dank surroundings is taken right out of the latter. White Noise has some wonderfully disturbing moments. The atmosphere is rank with just enough possibility to be truly scary at times. Michael Keaton adds that element of respectability and believability which carries a weak script much farther than it deserves. I should also point out that the cinematography is simply brilliant. Transitions are masterfully crafted into a stunning visual experience. I expected this film to disappoint and it did; however, it was not quite the disaster I was anticipating.
The idea of EVP, Electronic Voice Phenomenon, has been around since about the 1970’s. The film’s use of the television is a new fictional wrinkle that obviously makes for more compelling drama. White Noise quickly leaves the arena of the EVP world and enters a mythos of its very own. It is this diversion that creates the biggest problems I have with the film. It seems Keaton sees not only dead folks but those soon to be dead. We are never given any explanation as to how this new development occurs. Normally that’s not a problem, but the film appears to go to great lengths to make sure we understand the principles of EVP, then fails us once the story ventures into new ground. The ending is a completely unsatisfying. I don’t need to be told everything, but would like to have more answers than questions when the credits roll. It seems three really bad dead guys are pissed off, but we never find out who they are or why they’re so angry.
Posted in: Disc Reviews by Archive Authors on May 22nd, 2005
Assault on Precinct 13 is a remake of the 1976 John Carpenter classic (which is remake of the Howards Hawks western Rio Bravo). The plot scenario is something we've all seen before. Our heroes are holed up in an indoor arena (in this case, a precinct), trying to keep the outside forces at bay. In this case, the hero is Jake Roenick (played by Ethan Hawke). On New Year's Eve, and with the closing of the precinct looming, crimelord Bishop (played by Laurence Fishburne)is dumped off at the office. A s...owstorm has forced the criminals here. Meanwhile, Bishop's men try to bust him out, hence the assault. As we all know, hell will break loose.
Assault sports an excellent cast. The always engaging Mario Bello plays a psychiatrist caught up in the seige. Soprano's star Drea De Matteo is along for the ride as a sexy secretary, crusty Brian Dennehy is crusty Brian Dennehy, and Ja Rule and John Leguizamo round out the other baddie detainees. The success of the film, however, can mostly be attributed to the slick and taut direction of Frenchman Jean-Francoise Rinet. The film moves along at a stylish pace. Despite lacking in the Carpenter moral ambiguity, and the synth score, this Assault on Precinct 13 is a solid, modern action movie for the 21st century.
Posted in: Disc Reviews by Archive Authors on May 15th, 2005
I remember growing up with The A-Team; Mr. T. was the Man… and the originator of true bling-bling. This action series lasted 5 seasons, and was quite entertaining for its time. It does not really meet today’s standards for action & effects, but then again... this series ran in the 80’s. I am very surprised that today, in the day of film remakes of classic television shows, we have yet to see this show make it to the big screen. With The Dukes of Hazard about to get its theatrical debut… can an A...Team film be far behind
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Posted in: Disc Reviews by Archive Authors on May 14th, 2005
In Good Company is a "feel good" movie about the ruthless corporate world. Now, is such a thing possible? Writer/Director Paul Weitz almost pulls it off. The movie stars Dennis Quaid as Dan Foreman, the head of advertising sales for a sports magazine. All goes down the toilet for Dan when the sports magazine is swallowed up my a major media conglomerate. Enter Carter Duryea, played by Topher Grace. Carter is brought in as the new "boss", but he's young and in way over his head. Carter decides to keep Dan...around. There's also a romance too, as Carter hooks up with Dan's daughter Alex (played by the lovely Scarlett Johansson). That's the basic gist.
The performances are all excellent here. Topher Grace seems perfectly cast. Johansson, as always, is a complete delight. But Dennis Quaid really seems to be coming into his own lately in these "older man" roles. Quaid has definite screen presence. David Paymer's performance is also worth noting, as the sad sack long time employee of the magazine.
Posted in: Disc Reviews by Gino Sassani on April 6th, 2005
What kid growing up in the 60’s and 70’s wasn’t totally and completely captivated by the moon landings? We were equally on the edge of our seats when, for a brief moment in time, it appeared we were going to lose our first men in space. Seldom can a film be successful when the audience has most of the story’s details burned into the core of their memory. After all, we know how this one comes out. Still, the film manages to create the intense tension and anticipation as if we were experiencing it all for the first time. The cast is quite crucial for such a monstrous task. Tom Hanks has arguably never been better. The understated style of Gary Sinise is exactly what the film requires when the suspense mounts. It’s particularly gratifying to have Ed Harris along for the ride, quite possibly an homage to his unforgettable John Glenn in The Right Stuff. Ron Howard should be congratulated on producing a piece of cinematic magic that will likely stand the test of time.
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Posted in: Disc Reviews by Gino Sassani on April 3rd, 2005
This is a difficult review to write. The problem is approaching this miniseries and the subsequent new Sci-Fi Channel series without personal prejudice. I am a huge fan of the original Battlestar Galactica. While this incarnation has many redeeming qualities, I find it hard to consider it the same animal. The f/x are unquestionably some of the best yet seen on television. The action is ramped up many degrees from the original. The stories are, for the most part, more complex. So why do I hesitate in declaring this “reimagined” edition as superior? I don’t believe it was necessary to take steps that appear to me intended only to aggravate followers of the original. Making Starbuck a woman is probably the most egregious of these moves. I have a lot of respect for producer Ron Moore. His work on many of the Star Trek reinventions is top notch. Here he is unwilling to pay proper respect to what came before. Edward James Olmos, the new Adama, has made it clear that this show will anger fans of the original. I have continually preached in these reviews the importance of characters and the chemistry between them. The original Galactica had something special in the original Starbuck/Apollo relationship. While I’m willing to admit that my opinion could be colored, I find it hard to care about these characters. There is too much political correctness and romance.
The miniseries does pretty much follow the original pilot story. In this version the Galactica is about to be decommissioned. The focus becomes not only the last surviving military vessel, but one so old that it was slated to become a museum piece. There is great tension in the Apollo/Adama relationship that centers on the death of Zak, Apollo’s brother. The Colonial Vipers are true to the original design with far more detail, not possible 30 years ago on a television budget. The Cylons are human looking, and in the tradition of The Thing, could be anyone anywhere. The politics of the Colonies is explored much further here with the creation of a President, succeeded from the Education Secretary as the sole survivor of the Cylon attack. Finally the Baltar character is not so cut and dried evil. Seduced by an attractive Cylon into his betrayal, he seems to struggle at times with his part in the destruction of the 12 Colonies.
Posted in: Disc Reviews by Gino Sassani on March 28th, 2005
What better a place to bring a city’s resurgence than Miami? The area would arguably look different if there was a different TV show that sparked a commerical revival. With Michael Mann in the producer’s chair, along with producing partner Anthony Yerkovich (whose only other cop drama he produced was Hill Street Blues), the flashy cop drama was the reason why a lot of people decided to stay home on Friday nights.
In terms of episode content, there was a lot of formulaic cop drama things, and the usua... clichéd dialogue is prevalent. I found myself shuddering at some of the things I heard when I was watching this first season of episodes again. But there are very good episodes within this run. Aside from the introduction of Tubbs (Philip Michael Thomas) to Crockett (Don Johnson) in the first episode, along with Tubbs’ pursuit of the drug dealer who killed his cop brother, No Exit features a young Bruce Willis as an arms dealer with a dark side. Milk Run has Crockett helping a couple of naïve college kids nab a cocaine dealer and get home safely, and Dennis Farina (who later starred in Mann’s TV project Crime Story appears periodically throughout the season as a drug dealer who evades arrest, and later, witness relocation. And what may be the best episode, Evan features an old partner of Crockett’s and the friction that still exists between them and a deceased partner. Set against a couple of really cool Peter Gabriel songs, this episode is probably the best of the season in my opinion.
Posted in: Disc Reviews by David Annandale on March 12th, 2005
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Posted in: Disc Reviews by David Annandale on March 8th, 2005
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Posted in: Disc Reviews by David Annandale on February 11th, 2005
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