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

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'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.

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 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.

"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."

Well... technically he took a plea bargain. This is actually pretty frightening stuff in the very real world that we live in. It's a moral question that each of us would like to believe they would make a certain way. But, the truth is, one can never really be sure. It's a circumstance that no one wants to actually find out what they would do. But, it does pose a very interesting question, doesn't it?

"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."

How many movies over the last 10 years have started with that line? It scares me right from the jump, but not in a good way, when I realize I'm about to watch another "found footage" or "real event" film.

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 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.

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?