Posted in: Disc Reviews by David Annandale on May 26th, 2009
Aging senator James Stewart and wife Vera Miles arrive in the prosperous town of Shinbone to attend the funeral of an anonymous farmer. The local newsmen want to know why. Stewart tells the story. Cue the flashback, where he arrives in a much more anarchic Shinbone as a naïve lawyer. Held up and beaten by the brutal outlaw Liberty Valance (a psychotic Lee Marvin), he is determined by bring law and justice to the town, but must come to terms with the fact that he cannot do so without the gun of John Wayne (the aforementioned farmer).
For all intents and purposes, this 1962 film was director John Ford's last western. It is an elegiac, melancholy piece (and one that makes Catlow, reviewed here a few days ago, look even more out of step with time). Like Unforgiven, it is a film whose casting is not only perfect, it is necessary. The collisions between the Wayne and Stewart characters are also the collisions between the symbols of American Myth the two icons represent. Vera Miles, as the woman torn between the two men, comes to represent the country itself, which must, for its own sake, choose the civilization and rule of law embodied by Stewart, even as it grieves over abandoning the larger-than-life figure of Wayne. He is the Old West, a figure from a more anarchic time, perhaps the light to Marvin's darkness, but in many ways not that different. He must vanish to make way for the future, but the future cannot come into being without his help and sacrifice.
Posted in: Disc Reviews by William O'Donnell on May 25th, 2009
Two guys enter a 3-on-3 Basketball tournament, but they stink. They work at a morgue and their crazed former coworker reanimates a gigantic man...they put him on their team...he's good because he's big (almost automatically)...they try to get money, girls and yadda yadda yadda, you can guess how it turns out for them.
This film is a mundane, predictable tale that is low on the laughs and big on the stereotypes. Our two heroes even lure in the zombie giant to be friend's with them with fried chicken and weed! I'm not black but I was feeling rather offended by the amount of lowbrow and unfunny stereotypes being deployed.
Posted in: Disc Reviews by William O'Donnell on May 24th, 2009
Dax Sheppard plays a one-liner filled everyman who loses his job the same day that both his kooky mother and his geeky step-cousin move into his house while he is attempting to lower his sperm count as his wife wants to conceive a child. The setup is their right off the bat, the comic motions not hesitating to begin, and they play out in a traditional comic format that is both familiar and harmless.
Diane Keaton delivers a hearty bit of scenery chewing in every scene she has as the mother, but she manages to be be entertaining so she can hardly be condemned. Granted, the over-bearing mother shtick is not trailblazing but she manages to traverse through it with dedication to her character (as over the top as it can be) and enough of a smirk towards the camera that the audience can realize that she's mainly just having a bit of fun.
Posted in: Disc Reviews by David Annandale on May 23rd, 2009
Yul Brynner is the titular Catlow, a jovial outlaw rounding up maverick cattle, much to the consternation of cattle barons who feel the strays belong to them. Richard Crenna is Ben Cowan, Catlow's best friend but also a federal Marshal, who is tasked with arresting Catlow. Leonard Nimoy is the hired gun whose task is rather more lethal. Catlow and Cowan spar good-naturedly as the former plans to steal a great deal of gold in Mexico, which will have many other people annoyed with him.
This 1971 western is a lighthearted romp, or at least it intends to be. In fact, the humour is rather forced, even though everyone is grinning madly and putting a great deal of energy into convincing us that they're having mad fun. The effect, however, is rather flat. The film also trots out unquestioningly almost every old western convention, up to and including a completely unreconstructed vision of its “Indians” as dangerous savages. In the wake of the Spaghetti Westerns and Sam Peckinpah's elegiac orgies of violence, it seems curiously old-fashioned, and in the end functions as little more than passable entertainment.
Posted in: Disc Reviews by Gino Sassani on May 15th, 2009
John Ritter never really had much of a chance in his early career to show just how good his acting chops could be. Let’s face it. While Three’s Company had quite a loyal following, it was never mistaken for anything more than a parody. Ritter was never asked to stretch himself here, and the role likely cost him better opportunities over the years. Fortunately, while 8 Simple Rules wasn’t a great show either, it did offer quality enough work to allow Ritter to thrive. Unfortunately he would not live long enough to reap the rewards he was earning for himself. Who knew Katey Segal wasn’t a one trick pony riding on the coattails of Peg Bundy? Who also knew you could find teenage girls who could act and satisfy the “other” attributes often necessary from female actors on television these days. The casting on this show is well above average. The supporting cast also includes James Garner, in a very refreshing role for the aged icon. David Spade joined the show halfway through this season as Cate’s nephew C.J. He’s the kind of guy who can’t stop getting in trouble.
There is nothing worse than forced comedy. You know exactly what I’m talking about, don’t you? You can see a character reaching so far for a joke, it’s a wonder their lips don’t have stretch marks. Good comedy flows naturally. You don’t have to work the jokes into the tapestry; the tapestry is the joke. Family sit-coms have been done to death. There isn’t an angle that hasn’t been explored from the Father Knows Best all American family to the dysfunctional Bundy family from Married With Children. We’ve had the musical Partridges and the 2 dads nontraditional families popular in the 1980’s. So how do you make a tired old concept work? You don’t try so hard, that’s how. Let the dynamic between the characters sell the story. There aren’t any gimmicks here, and sometimes plain vanilla tastes like heaven on a hot summer afternoon.
Posted in: Disc Reviews by Michael Durr on May 14th, 2009
British comedy for me has always been big hit or big miss for me. There really is no between. Monty Python & The Holy Grail – big hit. This movie makes me laugh from the first second until the closing credits. But some of the Monty Python sketches or all of Meaning of Life – big miss. Same thing with television, the Black Adder is simply awesome. Absolutely Fabulous? I never got it and found it completely droll. So I was eager to see Gavin & Stacey and find another wonderful British hit. I was totally pleased.
Gavin (played by Mathew Horne) and Stacey (played by Joanna Page) quite like each other. There is one problem though, they haven’t really met each other in person. They have a budding phone romance and have decided that they finally need to meet. Each of them takes a bud along. Gavin takes Smithy (played by James Corden), a large friendly guy who loves beer and food. Stacey takes along Nessa (played by Ruth Jones), a large not so friendly girl who loves beer, food and apparently tattoos.
Posted in: Disc Reviews by Archive Authors on May 14th, 2009
Taking Chance gives audiences another perspective into the Iraq war. Lt. Colonel Michael Strobl (Kevin Bacon) volunteers to escort the remains of a recently deceased Lance Corporal Chance Phelps. During the trip across America’s heartland, Strobl gets to see how the Iraq war is implicating not just the families involved, but the nation as a whole. The film is also based on true events, which adds to the stories levity. The film manages to give alternative perspectives on the war and also manages to be objective at the same time.
Posted in: Disc Reviews by William O'Donnell on May 11th, 2009
Based on a play by Wallace Shawn (who also co-wrote the screenplay), this film is a day in the life of an unhappily married couple, played by Juliane Moore and Matthew Broderick, who don't know what to do about said unhappiness. The story is simple but the paths each character take is not. After a bitter breakfast scene, they separately go about their day before meeting at a party in the evening where Marie may or may not leave Bruce once and for all.
The dialogue is very reminiscent of a meta-theatrical stage production as the characters are able to freely address the audience in narration or monologues. When speaking to each other, they are terribly open and leave no feeling hidden as they express every thought in a highly unnatural and stylized manner. This leads to some very biting humour as Marie explains her disdain without mercy towards either Bruce or anyone he associates with, while Bruce feels no qualms about detailing the state of is genitals after a one night stand he had 11 years prior. At the same time, this strange and often venomous dialogue is peppered with the persistent use of endearing terms such as “darling” when one of the two addresses the other, which turns into a nice device used by the writers to squeeze out more of a satirical view of decaying, modern couplehood.
Posted in: Disc Reviews by Gino Sassani on May 6th, 2009
Two And A Half Men reached their 100th episode in the 5th year. That’s the milestone when a series becomes viable in syndication to local market stations. That’s the kind of show you see once, twice, a hundred times a day on those local stations either just before primetime or late at night. This is also the year that the writers of CSI and Two And A Half Men switched shows for an episode. It’s one of those cross-over ideas that I don’t think had been done before. I’d love to see the South Park and Family Guy staffs do something like this. That would be pay per view worthy. So, here on 3 discs is that milestone season for you to enjoy at home.
Charlie Sheen is an unlikely actor to star in a television sit-com. Even after watching the show, I’m not sure how anyone came up with the idea in the first place. He has little to no comedic timing, and he’s about as funny as a funeral. The thing that works here, however, is that he really doesn’t need to be all that funny to make this show work. Sheen pretty much deadpans his entire performance, which generously enough works rather well teamed with the more manic comedy of Jon Cryer. Throw into the mix a rather extraordinary young child actor in Angus T. Jones, and suddenly a show that looks terrible on paper turns out to be pretty dang funny. We’re not talking Fred Sanford funny, but I caught myself laughing far more often than I expected to. I had only caught the show before in bits and pieces and was never all that fond of what I saw. Watching these DVD episodes from the third season shed some new light on the show for me.
Posted in: Disc Reviews by Gino Sassani on May 5th, 2009
It’s the end of the October Road for Nick and the gang. If you want to blame anyone, there’s plenty to go around here. First of all, the writers’ strike didn’t do anyone any favors by delivering only a 6 season first year. While the cast was made up of good actors, there is never any kind of chemistry between them. They look like actors thrown together because they have to be. The writing is uneven. Did anyone ever really plan out what this show was really about? There are fans; every show has some. But there was never enough to make this one fly at all. Blame me, if you like, for not being kind to the first release and repeating those same criticisms here. The truth is, it was never a good show, and a DVD release isn’t going to change that. You do get to see all of the episodes here. At last count, ABC was not necessarily planning to air all of the completed episodes. That makes it a good buy for the fans. If all 6 of you pool your money, maybe you can share one set.
Enter Nick Garrett. He’s a writer who has published a hugely successful best selling novel. It’s been made into a major film, and busty women approach him in clubs to tell him how much it has affected their lives. The audio version is read by Johnny Depp. You would think Nick has it made. The trouble is that Nick doesn’t have a clue how to begin to write his next book. His solution is to take a trip back home to the places that inspired the first book. His hope is to make a quick hit and run visit, but he ends up staying for a while. Nick soon discovers that you really can’t go home again. Everything and everyone changes, as Nick is finding out. Not everyone is happy about how they feel they might have been portrayed in the novel, and Nick might even have a son. If this is starting to sound a bit like a soap opera, then you have October Road pegged.
