1.78:1 Widescreen

"There are no multiple choices."

It's about time that someone did a good job of making a horror movie version of Revenge Of The Nerds. This is the first movie for director Joey Stewart. He's done a lot of second unit stuff, mostly for television in the past. It's like the third effort for writer Jason Kabolati, but together I think they just might be on to something here. The Final plays on both our desire for a good blood and guts horror movie and our satisfaction of seeing those picked-on socially awkward kids get the upper hand on their bullies. If you've been waiting for that kind of a combination, then this is the movie for you.

One might have to legitimately ask about the thinking behind this particular children- targeted release. I have to admit that I was a little uncomfortable with the idea of reviewing this film at this particular time. I have two issues that are just unavoidable here:

They both deal with the film's two central stars here. Bindi Irwin is the daughter of famed Crocodile Hunter Steve Irwin. You all remember Steve. He used to approach some of the most dangerous animals on the planet and quite casually tell us just how deadly they were while tempting them to tag him. We all suspected that Steve might one day get a little careless and get himself killed. The truth is that didn't exactly happen. It wasn't a particularly dangerous animal or any carelessness on Irwin's part that led to his rather unexpected death a few years ago. It was a usually harmless stingray that sent a barb through his heart in what can only be described as an unfortunate freak accident. Now, even before his death, the family had been preparing their very young daughter to follow in Daddy's rather unusual footsteps. Bindi's done several documentary films, including her own television show in the wake of her father's death. Here I can't help getting the feeling that the appearance is somewhat exploitive of the whole business. When I look at Bindi's mom in the extra features, I can't shake the feeling that she's cashing in here. I don't know these guys, so I'm not trying to claim that I know their hearts and minds. I can only report the feeling it leaves me with, and it's not a good one.

We're into the serious world of high concept now, people. Remember all those struggles D.W. Griffith and Sergei Eisenstein went through to establish cinema as a legitimate art form? Well, this here flick sure makes all those struggles worthwhile. Big Red – midget, former mascot, porn star – dies, and leaves his millions to be fought over by midget-hating son and gold-digging wife. The terms of the battle: each must coach one of the titular teams through a series of ridiculous contests and pranks.

What we have, then, is a mixture of story with would-be outrageous stunts, some real, some staged. In other words, not unlike the work of Sacha Baron Cohen. That is, if you removed every semblance of wit, intelligence and satirical bite from his work, and tossed in Ron Jeremy and Gary Coleman.  The film is sophomoric and puerile, which is exactly what it wants to be, but it also works far too hard to get reach those goals. Depressing.

Tell Them Anything You Want displays the nuances of a genius.  Spike Jonze and Lance Bangs chronicle the successes and troubles of a pillar in children’s literature.  Maurice Sendak became massively famous with the success of his book Where the Wild Things Are.  In his career he has written over 100 children’s books and his work has been widely accepted as “brilliant, enchanting and masterful”.  The film is full of intimacy; Jonze and Bangs display their obvious affection and interest in Maurice Sendak with this portrait. 

The troublesome part of this documentary is Sendak’s unhealthy obsession with death. The film spends a considerable amount of time on the subject with it finally culminating with Jonze stopping the interview to give Maurice a break from the questions. Sendak elaborates on a problem with a permanent dissatisfaction with his career and how it sours his personal life.  All of this comes from his personal difficulty with the enormity of the success of Wild Things. It is refreshing to see a portrait of an artist that is uncompromising with how the person is represented.  All of Sendak’s work is cherished and yet there is an un-quenchable thirst that exists within him.  Jonze and Bangs examine this dissatisfaction in an entirely diplomatic fashion by chronicling his personality as well as his work.  

The Prisoner was a television show that ran in the UK from September of 1967 to February of 1968. It starred Patrick McGoohan as the Prisoner who was trying to understand what the Village was and how to escape from it. Enter 2009; we have a remake and this time we have Jim Caviezel in the familiar role. However, this time things go just a little bit differently.

Michael (played by Jim Caviezel) just resigned from the corporation Summakor. However, the events that follow are unclear until he awakes in a desert surrounded by nothing but sand. He struggles to get to his feet and walks for a bit until he sees an old man (played by John Whiteley) running. The man is being pursued by armed guards who shoot at him until it appears he is gunned down.

"The story of a man in a mountain climbing accident who cut his own friends off the rope to save himself. Convicted of second degree manslaughter, that's compelling stuff."

"In December 2005 a tragic accident began a series of extraordinary events that thrust a grieving family and the small Victorian town of Ararat into the media spotlight. This film is a record of those events."

An ancient facility beneath Antarctica becomes the launching platform to the lost city of Atlantis. Atlantis is buried beneath an ocean in another galaxy and can only be reached with an additional symbol on the Stargate. Because of power limitations this trip, at least for the time being, is a one-way adventure. A crew of scientists and military officers from many countries assemble to explore the Pegasus Galaxy from the Atlantis gate. Led by scientist Dr. Weir (Higginson) and Maj. John Sheppard (Flanigan) they take over the Atlantian command center and begin to explore. In their initial investigations they accidentally awaken the area’s top bad guys, The Wraith. These vampire-like beings suck the life-force out of humans.

When Stargate SG-1 was about to enter its ninth year, there was speculation that after season 8 the series would bow out gracefully with the anticipated exit of Richard Dean Anderson. With that plan in mind, the folks at Stargate Command decided it was time to spin off the franchise, and so was born Atlantis. Stargate Atlantis boasts pretty much the same production team as SG-1. The quality of the production and tight storytelling have translated well to this sister series. Stargate Atlantis took a little getting used to. I wasn’t sure the characters had enough chemistry or were even dynamic enough to carry the high expectations for a Stargate series. Those concerns eventually evaporated by the time Atlantis began to live without the SG-1 companion series. These characters really took off, and they’ve developed into nearly as strong a group as SG-1 ever was.

In the long run what was more important to Pixar and its relationship with Disney wasn't the milestone that Toy Story provided being the first computer animated feature. Movies are, as much as we'd like to think otherwise, a business. In the end, a film has to make some money. Toy Story was like a private printing press for the two companies bringing in nearly $200 million at the box office. Add another nearly $200 million in foreign receipts, and this prototype of a movie pulled in nearly a half billion dollars before the first DVD was released. That's huge for what was basically a children's cartoon. The second Pixar film would be A Bug's Life, and it would bring in nearly the same kind of jingle. The cry was too loud to ignore. The people wanted to see more of Buzz, Woody, and the rest of Andy's toys. The edict came down from on high, and what once took them 4 years to do, Pixar was asked to do in about 18 months. Now we would find out if Pixar was a viable company that could produce films reliably and on a faster turnaround. Would the studio compromise on quality just to answer the gate call of millions of dollars waiting to be plucked from the pockets of eager moviegoers? Several films later we know the answer to that question, but it was very much an answer in doubt in 1999. But another $485 million later in worldwide box office settled the question once and for all. Pixar didn't just start the computer animation business. They didn't just define the industry. They would continue to lead it for the next decade ... and apparently, beyond.

All of your favorite toys came back with their original voice cast. This time Woody (Hanks) attempts to rescue Wheezy The Penguin (Ranft) from the 25 cent box at Andy's mom's garage sale. The rescue brings him to the attention of Al (Knight) from Big Al's Toy Barn. Unfortunately for Woody and his friends, Big Al has the largest collection of Woody's Roundup collectibles on the planet. He's been trying to close a deal with a big Japanese firm who want to buy the collection for huge bucks. But Big Al has been missing only one piece in the collection, the most important piece, however ... Woody himself. The Japanese won't buy any of it without Woody. So Al steals Woody and brings him back to complete the collection. There Woody learns about his roots and the television show that he was based upon. He meets Jessie, The Yodeling Cowgirl (Cusack), Stinky Pete, the hapless old prospector (Grammer), and Woody's trusty horse Bullseye. While Woody's friends stage a rescue lead by his now best buddy Buzz Lightyear (Allen), Woody begins to feel sorry for his new companions. They've been kept in dusty old storage for years waiting for that final piece so they can be put on display at a museum and be admired by generations of new kids. When his friends finally arrive to save the day, Woody must decide between his old friends and his television comrades.

It's hard to believe it, but Toy Story was the very first computer generated animated feature film. CG graphics had already appeared as parts of films starting with the "Genesis proposition video" from Star Trek II: The Wrath Of Khan. It was a rather fitting movie for this Hollywood and technological first to occur. The piece was rather short and not as breathtaking as we've come to expect today, but, it did herald the beginning of a new era in filmmaking, to be sure. What better place for such an historical technological breakthrough than in Star Trek?

Pixar had already been making short subject computer animation. If you ever have the opportunity to check out their collection of shorts, you can't help but be impressed with the evolution of the process as evidenced in these short films. The awards were rolling in for the upstart company, and it was only logical that sooner rather than later they would be the ones to attempt a full length feature film. Of course they were quite a small company at the time with no distribution network in place to launch a major motion picture. There wasn't much of a promotional arm to the company to create the kind of buzz, pun intended, a full length film would require. The truth was that Pixar's small size, which was so much of a creative asset, just wasn't up to the kind of task they were taking on. The first step would have to be to find a partner with the name recognition and resources to back up such an ambitious project. They would likely be betting the future of the company on this one effort. The choice was obvious. They would tie their fortunes together with the same company that took the very same risk 70 years ago. Walt Disney had created the very first animated feature film with Snow White And The Seven Dwarfs. The result started an entire industry and put that one-time fledgling company on the map. Would Pixar be able to make the same impact on the industry that Disney had so many decades before? Anyone who has had the pleasure of seeing Toy Story knows the answer to that question. Lightning did indeed strike twice, and Toy Story would open the floodgates to an entire new industry of computer animated features.