Posted in: Disc Reviews by Gino Sassani on October 6th, 2006
I admit it. I thought our heroes at Stargate Command had finally had it for sure. Were the replicators back? How about the dreaded G’Ould? Perhaps another serious malfunction of the Gate caused by Carter’s meddling was about to tear a hole in the time/space continuum. What was I so sure might spell doom for Earth’s last line of defense? We’ve already escaped fiendish bombs and other devious devices. Plagues and epidemics? No problem. Just business as usual at the SGC. No. These things are just minor worries compar...d to that ruthless killer: major cast changes. Not only do we lose Richard Dean Anderson whose name appeared in larger letters above the title, but some of the new crew makes Stargate SG-1 look like a Farscape spin-off. Ben Browder takes over the team as Mitchell and Claudia Black returns as that interstellar con artist, Vala. Beau Bridges fills the very large shoes left by Don S. Davis as Gen Hammond to command the SGC. Yeah, I know Anderson took the gig for a while, but did we ever really believe that was going to last? A new base doctor comes to life, thanks to Andromeda’s living ship Lexa Doig. Even the villains are the new baddie Ori, and man, are they tough. Now, I know what you’re thinking. Shows like Law & Order have made cast changes the norm, but even on that show, never were so many major characters and threads changed so quickly. So call it Stargate SG-1 version 2.0. So how could all of this occur and leave our beloved series the same animal it always was? The answer is simple. It can’t.
I won’t go so far as to say the show is better, but I will say that it reinvented itself quite nicely after all. The powers that be made some smart choices after all. Teaming Black with Shanks avoids the inevitable Farscape trappings. It turns out the two of them have some rather fine, if awkward, chemistry. How about those new bad guys. Another great approach was to finally give us new enemies. The old story lines have pretty much run their natural course. The Ori are wickedly wonderful heavies. It’s not lost on me the religious fanatic angle either. Fortunately the creative team remains, so the writing and production values remain as high as ever. Now we’re exploring more Anglican mythology as we explore the traditions of Camelot and Arthur. The end result is a show we can still feel familiar and comfortable with, yet enjoy a fresh new take. If you are willing to give it a chance, I think that this new Stargate SG-1 will grow on you. So maybe let’s call it version 1.2.
Posted in: Disc Reviews by Archive Authors on October 4th, 2006
Synopsis
Jason Lee plays Earl, about as thorough a definition of “poor white trash” going. He’s not about petty theft, but life has thrown him some curveballs as well – neither of the children he is raising are his, for instance. When he hits it big on a scratch lottery ticket, he is promptly hit by a car and loses his ticket. Doped up on morphine in the hospital a talk show comment about karma acts as an epiphany, and he determines to turn his life around, righting all the wrongs he has committed. N... sooner does he put his plan into action when his ticket blows by his feet, and off he goes, along with layabout brother and attractive hotel maid, on a mission of goodness.
Posted in: Disc Reviews by Archive Authors on October 3rd, 2006
Synopsis
Being as I’m rather baffled by what’s going on, as once again Mr. Late-to-the-Party, here’s how the box summarizes what’s up this season: “discover Bree’s new life without Rex, Lynette’s chaotic return to the working world, and what becomes of Susan’s on-again, off-again relationship with Mike.” And that’s just for starters, of course. Let’s not forget the descent of Rex’s OTT mother on Bree, and Eva Longoria’s fight with the nun in the church.
Posted in: Disc Reviews by Archive Authors on October 3rd, 2006
The second season of USA Network’s The 4400 picks up one year after the events of the four-part season one. This time around, we know the 4400 once-missing people were not returned from alien abduction, but rather from the future.
That revelation aside, this series is still chock full of mystery. What is the nature of the fate the 4400 are meant to save us from? How were they selected? What impact will their return continue to have on the collective future of humankind? Will the government’s role be one of interference, or protection? And if protection, of the 4400 from the rest of the population, or vice-versa?
Posted in: Disc Reviews by Archive Authors on September 30th, 2006
Synopsis
The film opens with the Senate pornography hearings of the 1950s, which cracked down on bondage-movie purveyor Irving Klaw. As Bettie Page (Gretchen Mol) waits to be called to testify, she flashes back to the events that brought her to this point. After an abusive childhood in Tennessee, a failed marriage and a gang rape, she flees to New York, where she becomes first a glamour model, and eventually the most highly sought-after bondage queen.
Posted in: Disc Reviews by Archive Authors on September 20th, 2006
Synopsis
1968. In a Northern California town, teenagers parking at night are being killed. The police do their best to sell the first attack as a botched robbery, but then another murder happens, and the killer, dubbing himself the Zodiac, turns out to be very media-savvy. Charged with tracking him down is Justin Chambers, and his frustration with the case spills into his home life, straining his relationship with his wife (Robin Tunney) and worshipful son (Rory Culkin).
Posted in: Disc Reviews by Gino Sassani on September 19th, 2006
The Sci-Fi Channel has certainly gotten its considerable amount of money’s worth from Ronald D. Moore’s reincarnation of Battlestar Galactica. The trouble, at least for me, is that it is still very hard for me to consider this Galactica at all. It might have been better if, as Jack Webb used to say, the names had been changed to protect the innocent. There isn’t much doubt that this version of Galactica is innovative science fiction in its own right. The cinematography is often mind-boggling, if a bit too dark. T...e stories are also quite dark in tone. Here is where Moore misses the point of the original entirely. The first Galactica and Colonial Fleet were fleeing the destruction of their worlds, but with a great deal of hope in finding their long lost brethren: Us. In Moore’s tale, Earth is an almost impossible dream. The entire atmosphere is one of dread and bleakness. Galactica survives almost just for survival’s sake. No one is really living in this fleet. Not to say that Moore’s version can’t make for some compelling drama. It does. Under a different name I think I might actually be able to somewhat embrace this series. I can’t shake the feeling of watching something dear morphed into something it was never intended to be when I see Katee Sackoff addressed as Starbuck. She’s also one of the weakest actors to grace a major science fiction series since Denise Crosby.
OK. So let’s talk about what I DO like about the show. No question it’s the f/x. Moore has a luxury that not even a million dollars an episode could buy you in 1979. With today’s CGI advances, there isn’t very much that can’t be realistically visualized anymore. The fighters are sleek and the space battles are epic. If anything, these dogfights can get entirely too busy. Edward James Olmos is a fine actor and lends a ton of credibility to what is otherwise a fairly weak cast. His earlier concerns have ceased, either by studio edict or an uncharacteristic change of heart. Remember, it was Olmos who warned fans to stay away, offering that they would not be happy with the new show. The scripts are tight and go into depths the original never even attempted.
Posted in: Disc Reviews by Gino Sassani on September 19th, 2006
With the possible exception of the Vulcans no race has been given a richer history in Star Trek than the Klingons. We need to forget the drastic change in how these bad guys to allies look. In Enterprise this change is finally explained as a genetic experiment gone bad in an episode conspicuously missing from the set. I’m not sure I can criticize the episode selection, as they were voted on at Startrek.com. Still. I don’t like the over usage of repeats these collection sets are plagued with. It’s not like there are...’t a ton of Klingon episodes to pick from to include repeats like Trials and Tribulations from Deep Space Nine. Worf, perhaps the most recognized Klingon, is certainly one of Trek’s most interesting characters. Michael Dorn has essayed the role brilliantly over the years. Worf has grown throughout his run and Dorn deserves as much credit as the writers on that score. All of the Star Trek runs are represented here.
From Enterprise comes the pilot “Broken Bow” which I assume is included mostly as the first contact between Klingons and Humans. I would rather have seen the two-parter explaining the genetic mishap that changed some of the Klingons to human looking folks.
Posted in: Disc Reviews by Archive Authors on September 16th, 2006
Synopsis
Marilyn Burns, Paul Partain, Allen Danziger, Teri McMinn, William Vail and Gunnar Hansen individually may not be that well known. Collectively, many people might confuse them with some group of lawyers or something. But film history has afforded them a higher place in memory past their initial endeavors. You see, back during the middle of a particularly oppressive heat wave in 1973 Texas, this group, directed by a then-fledging auteur in Tobe Hooper, combined to make what is widely regarded as one...of the best films in horror movie fame, The Texas Chainsaw Massacre.
Posted in: Disc Reviews by Archive Authors on September 14th, 2006
Synopsis
The best I can gather from watching Love For Rent is that there’s only one recognizable face to speak of. The problem is that the face in question is Saturday Night Live cast member Nora Dunn, who was only moderately funny on the show, but sank her career when she boycotted the appearance of Andrew Dice Clay in the early 1990s. Now that the times have changed, have the sensibilities moved closer to Dunn’s?
