Posted in: Disc Reviews by J C on March 2nd, 2012
"As a boy, I came to understand that two things marked my family: distinctive names and extreme stubbornness."
In fact, it was Thurgood Marshall's "extreme stubbornness" in the face of racial inequality that led to his name becoming synonymous with the civil rights movement and to his 1967 appointment as the United States Supreme Court's first African-American justice. Marshall's remarkable life story is told in Thurgood, a sensational one-man show starring Laurence Fishburne that previously aired on HBO and was filmed before a live audience at the Kennedy Center's Eisenhower Theater in Washington, D.C.
Posted in: Disc Reviews by M. W. Phillips on February 29th, 2012
“Remember... Winter is coming.”
Very rarely, the stars align and a media magic event happens, creating a flawless television series. Such an event happened last year with the premiere of HBO’s Game of Thrones based on the novels from George R.R. Martin’s best selling and ongoing series A Song of Ice and Fire. HBO was so pleased with the series, it green-lit the second season only hours after the pilot premiered. Co-President Richard Plepler said, “We told George (R.R. Martin) we’d go as long as he kept writing.” The network projects topping $1 billion in international revenue and at $2.5 million an episode; it’s already double what they made on The Sopranos.
Posted in: Disc Reviews by Gino Sassani on February 29th, 2012
To Catch A Thief is not typical Alfred Hitchcock territory, but then again, it really is. It’s not a terribly suspenseful film coming from the acclaimed “Master of Suspense”, nor is it at all a frightening film even though it was directed by one of horror’s genius minds. What really is scary, however, is how close to a different film this almost was. Cary Grant had exiled himself into retirement. If you can believe his statements at the time, he was concerned that the moviegoing public was pretty much sick of seeing him and preferred the younger actors just then coming of age. He turned Hitchcock down for the role at least twice, before Hitch made a personal visit and appeal to the Hollywood legend. Grace Kelly was also reluctant to do the part. She did it because she loved working for Hitch. Unfortunately, Paramount had other plans. They were troubled that Grant was nearly twice Kelly’s age, and worried that either the public or the standards censors would not accept the situation. They were half right. While the film was one of Hitch’s toughest battles with the Standards folks, the public flocked to see Grant and Kelly on the screen together. Grant would continue his return to acting for over a decade longer. Not so Grace Kelly. The Philadelphia native would have her fateful meeting with Prince Rainier of Monaco and would spend nearly 30 years portraying the larger-than-life, but real nonetheless, Princess Grace of Monaco, before a tragic automobile accident would end her life. All the same, To Catch A Thief would remain one of her last films. Hitch almost lured her out of retirement some years later, but she declined, saying that if she were to do a film, Hitchcock was about the only man she would have done it for.
John Robie (Grant) is a renowned jewel thief and cat burglar. While he’s been retired for fifteen years, he’s still the prime suspect when a rash of burglaries occurs on the French Riviera. The MO is the same as Robie’s, and before long the police are blaming him for the work of France’s newest celebrity thief, The Cat. Robie sees only one chance to get himself out from under the mess. He has to go to the area and catch the real thief. Once there he hooks up with insurance agent Hughson (Williams) who cooperates on the off chance his company can be spared these high payouts. Robie also meets young and attractive socialite Frances Stevens (Kelly), who sets her sights on catching this thief for her own. She constantly tries to seduce Robie, knowing who he is and suspecting him of being The Cat. When her own family jewels turn up missing, she begins to rethink the dangerous game she was playing. That only gives Robie even more incentive to catch the real crook. Will Robie catch The Cat? Will Frances catch Robie? Only Hitch knew for sure, and in 1955 audiences found out in the film classic, To Catch A Thief.
Posted in: Disc Reviews by William O'Donnell on February 28th, 2012
Josephine Baker was an international sensation who faced adversity all her career because of the colour of her skin. Terrified and sickened by the treatment of black people in the US, Baker fled to France where she found joy, fame and fair treatment as an entertainer. As her career exploded into super-stardom, she was more than just an exotic singer/dancer, she became a war hero and civil rights defender.
After being teased during the opening credits with visions of Baker performing an intimidatingly sexualized dance, we are shown her traumatic childhood experience of witnessing race riots in St. Louis; riots that cost the lives of many black people and helped to enforce Baker's decision to flee the US as soon as she could. Before her exodus, she made a name for herself as a vaudeville comedienne, often performing in black-face. Stifled by the racist laws of the early American 1900s, Baker did not hesitate to tour Paris with a band of performers. Said tour would turn into her permanent residence in France.
Posted in: Disc Reviews by J C on February 27th, 2012
Carlos Santana is too cool for words. When I say that, I refer to both his widely-acknowledged status as a "Guitar God" and to the fact that he doesn't utter a single word until the 21-minute mark of his latest concert film, Santana — Live at Montreux 2011. Santana may not be chatty, but he and the rest of his eponymous band do a valiant job of holding your attention throughout most of this 167-minute concert in Montreux (which is in Switzerland, and I'm only a little ashamed to admit I had no idea where Montreux was located before I watched this disc).
The music starts almost immediately after you press play — following a short and sweet on-stage introduction by festival creator Claude Nobs — and what follows is a no-frills performance with minimal between-song banter that will nevertheless delight fans of salsa, jazz and rock and roll, genres that Santana has been masterfully fusing for decades. Santana performs his most popular hits — including "Black Magic Woman", "Oye Como Va", "Smooth" and "Maria, Maria" — a few personal favorites of mine (like the playful "Foo Foo") and more than a handful of instrumental numbers that seamlessly blend into one another. There were a couple of instances where I didn't even realize a new song had started until I checked the handy track list on the pop-up menu. (That 23-track song list also allows you to skip ahead to your favorite tunes.)
Posted in: Disc Reviews by M. W. Phillips on February 25th, 2012
“At this very moment, I have no desire to stab you in the neck.”
Between Weeds and Nurse Jackie, Showtime has the corner on shows about drugged up, ethically challenged women. The great Edie Falco somehow keeps Nurse Jackie relatable even though she is an unrepentant drug addict, thief and manipulative narcissist. It doesn’t hurt being surrounded by such a smart supporting cast and given lines that crackle with poignancy and humor.
Posted in: Disc Reviews by J C on February 24th, 2012
After watching The Son of No One, I'm afraid I have some good news and (significantly more) bad news. The good news is that I get to say the following sentence for the first time in at least ten years: Al Pacino was probably the best thing in this movie. The bad news is Pacino has only a relatively tiny role in this dramatically stagnant crime drama that ends up squandering a talented cast, a vividly-realized setting and some interesting ideas.
Channing Tatum stars as Jonathan White, a young cop who has been transferred to the 118th Precinct in Queens where his late father was a cop and located in the same district where White grew up. The precinct's captain (Ray Liotta) is troubled by some anonymous letters published in a small local newspaper by a persistent reporter (a miscast Juliette Binoche). The letters claim the police covered up two murders 16 years ago in the same neglected housing project where White grew up.
Posted in: Disc Reviews by Gino Sassani on February 22nd, 2012
"The darker picture is always the correct one. When you read the history of the world you are reading a saga of bloodshed and greed and folly the import of which is impossible to ignore. And yet we imagine that the future will somehow be different."
One thing that is absolutely different is HBO's The Sunset Limited. I can assure you that this film is unlike any movie you've ever seen before, or are likely to see again. There are a lot of reasons for this, of course. The most glaring difference is that the film is staged and performed very much like a live stage performance. You will get the feeling almost immediately that you are watching a play rather than a movie. It's a natural enough sensation when you consider the film has been written by Cormac McCarthy from his own stage play. The entire film takes place in a rather depressing and claustrophobic tenement apartment. The furniture is sparse and worn. The smell of poverty prevails in every inch of the small space. All of this brings us into more intimate contact with the players and enhances that feeling of watching a play.
Posted in: Disc Reviews by J C on February 21st, 2012
I completely understand if you bailed out on Weeds a long time ago. The fact is the current show bears little resemblance to the subversive, suburban sitcom that became one of Showtime's first comedy smashes. That's partly because the tone of the show took a dark turn into Mexican cartels and human trafficking after the end of season 3. Even worse, the once-fresh characters had become, at best, reliably annoying — think Kevin Nealon's Doug Wilson — or, at worst, completely unlikable (like Mary Louise Parker's Nancy Botwin, the leader in the clubhouse for the title of TV's Worst Mom.)
But here's why I'm actually ok with the way Weeds has played out (besides my immense crush on Mary Louise Parker): what else were creator Jenji Kohan and her team supposed to do? If season 7 rolled around, and Nancy was still dealing pot in Agrestic, the show would get crushed for never evolving. In fact, given Nancy's relentless ambition and reckless behavior, I think the show has progressed in a semi-realistic way. Well, except for the part where she always gets out of impossible jams.
Posted in: Disc Reviews by Archive Authors on February 18th, 2012
The yesteryears of Disney were full of classic movies from Aladdin to 101 Dalmations. Each of those films holds a special place in my heart due to its warmth and very colorful, cute story. Having never seen Lady and the Tramp before picking up this early copy, I didn’t know what to expect of the film. Many declare it to be one of Disney’s best, which is certainly a remark that is quite distinguished. Would Lady and the Tramp capture my emotions and heart like so many old, classic Disney films did years ago? Read on to find out.
The basic story to Lady and the Tramp is as follows. A man named Jim Dear gives his wife Darling a mysterious box for Christmas. Inside that box is the ever-so-cute little cocker spaniel puppy, which Darling decides to name Lady. Lady spends most of her period growing up with two neighborhood dogs, Trusty and Jock. One day a dog named Tramp walks over the railroad tracks. When Darling has a child, we are introduced to two super ugly and vicious cats, Si and Am, courtesy of Aunt Sarah. Due to these evil cats and the new baby, Lady winds up in the doghouse. What happens next is cinematic history: the spaghetti scene and the start of a romance between Lady and Tramp.
