Posted in: Disc Reviews by Archive Authors on August 23rd, 2006
It’s always interesting when works of art (books, plays, films, etc…) are updated from their native settings. Baz Lurhman’s Romeo + Juliet took the Bard’s most famous play and set it in modern day California, making it fresh again. Francis Ford Coppola set Conrad’s Heart of Darkness during the Vietnam War, making Apocalypse Now one of the most revered and realistic films of that era. There are several more examples in this trend that deserve to be mentioned, but I must fast-forward to the film a... hand. That is Brick, a film written and directed by newcomer Rian Johnson. Johnson wisely sets his film noir story in a modern day California high school. The update takes a while to get used to, but after a small buffer period, Brick becomes a fresh spin on the film noir genre, who’s day has come and gone.
Joseph Gordon-Levitt plays Brenden, a high school student who watches as his ex-girlfriend, Emily (Lost’s Emile de Ravin), falls into the wrong crowd and winds up dead. After Brenden receives a panicked call for help shortly before her death, he dives into the drug-dealing underworld inhabiting his school to find out who done Emily wrong. As with most film noir films, Brenden discovers that the truth behind Emily’s death is not simply a black and white issue. Brenden is also aided by a femme fatal in Laura (Nora Zehetner), who may or may not be on his side.
Posted in: Disc Reviews by Archive Authors on August 22nd, 2006
Steve Martin plays a wacky TV weatherman, who develops a close friendship with an electronic freeway sign in the sleeper hit comedy L.A. Story. I found the critically acclaimed film to lack hilarity, but it does get marks for inventiveness. Martin is enjoyable in most anything he's in, even if the material is not-so-great. L.A. Story is one such example of an actor rising above said material. Most of the over-the-top silliness misses the mark, and Marilu Henner has little more to do than play the cliche...of snobbish socialite. The true love of the Martin character's life - played by Victoria Tennant - is so bland vanilla I would have much rather seen him end up with his free-spirited squeeze toy (Sarah Jessica Parker), though any such relationship would be doomed to fail. At least there would be some excitement.
With that said, I did enjoy the basic hook: Martin's interaction with the fun-loving freeway sign. The sign is just a series of bulbs lit to form questions, comments, and riddles, but there is a quirkiness to it that shows more character than any other supporting player in the film, save for Parker. Director Mick Jackson manages to make the most of this bizarre relationship, but he works from a script that lacks too many interesting additional characters to be a great film. Also, the happy ending feels tacked-on and abrupt, and if you're of my opinion, lacks the happiness part so desperately needed. Sure, things work out. It's a comedy. But at the end of the day, Martin's victory doesn't seem worth winning.
Posted in: Disc Reviews by Archive Authors on August 20th, 2006
Synopsis
A Christmas Story featured a charming, old-fashioned story about Ralphie (Peter Billingsley, Elf), who wanted nothing more in life than to get a Red Ryder BB Gun. His parents (played by Darren McGavin (Raw Deal) and Melinda Dillon (Magnolia)) in the depression era-Midwest kept him in check as he pleaded with them to get it for Xmas.
Posted in: Disc Reviews by Archive Authors on August 16th, 2006
Synopsis
Mu-ju is trying to adjust to life again after surviving a terrible accident. Life is still hard, as her eldest daughter suffers from something like autism, and she is having trouble landing a permanent position as a teacher at a music school (plus, a former student has it in for her). The aforementioned eldest daughter becomes obsessed with a cello, and a mute housekeeper moves in, and terrible things begin to happen.
Posted in: Disc Reviews by Archive Authors on August 14th, 2006
Today, anyone with a credit card and some free time can make a movie. But that doesn't mean it's always a good thing. Case in point is Kisses and Caroms, which sports a massive hard-on for Kevin Smith’s Clerks (it’s Clerks in a billiards store. Brilliant!), but its characters, dialogue and location fail to be funny or engaging. For one, how many oddball customers can a billiards store receive in one day? In Clerks, it was believable, since people from all walks of life need what is readily...available at the Quick Stop. In Kisses and Caroms, it feels forced. There are even multiple references to Smith’s films – none of which are funny. At one point in the film, a character refers to another as a “poser.” Maybe the comment was meant for the filmmakers.
Like Clerks, the plot is minimal. But what separates the two films is what they have to say. Whereas Clerks gave a voice to Generation X, K&C seems to exist simply to hold many boring conversations about various forms of sex -- threesomes, orgies and gang-bangs. The DVD cover promises many scantily clad women and lots of “Girls Gone Wild” type situations, but all the characters do is talk, talk, talk. Sure, there is some nudity and a light chuckle every 10-15 minutes, which may be enough for a desperate teenager, but those looking for Clerks-style enlightenment will only find themselves behind the 8-ball.
Posted in: Disc Reviews by Archive Authors on August 14th, 2006
Horror films have transformed over the years. We’ve essentially gone from horror films using religion to frighten (The Exorcist, The Omen) to slashers (just about everything in the 80’s), to nothing (the early 90’s void), to post-modern slashers, (Scream, Urban Legends, I Know What You Did Last Summer) to torture (Hostel, The Hills Have Eyes).
With I”ll Always Know What You Did Last Summer, we take a short trip back into the slasher genre. And surprisingly, it still looks and fe...ls pretty good. I’ll Always Know is a direct-to-video sequel to I Know What You Did Last Summer and I Still Know What You Did Last Summer, the Kevin Williamson penned scare-fests that never felt as refreshing as his Scream trilogy, but did their jobs and did them well -- for the most part.
Posted in: 1.85:1 Widescreen, Disc Reviews, Dolby Digital Mono (English), DVD, Mature, Severin Films by David Annandale on August 10th, 2006
Felicity (Glory Annen) is reaching sexual maturity, but the outlets for her desires at her convent school are limited and not entirely satisfying. She leaves the school for the big bad world, and winds up travelling to Hong Kong where she has one adventure after another.If the concept of an Asian-set sexual coming-of-age sounds familiar, it should, and the movie is honest enough to wear its influences on its sleeve (Felicity is seen reading Emmanuelle and The Story of O). It is what it is. It may not be exactly an unearthed classic, but it is a solidly crafted bit of erotica, very much of its period (1979), and rather interesting precisely for that reason.
Audio
Posted in: Disc Reviews by Archive Authors on August 2nd, 2006
Kathy Bates and the late Jessica Tandy star in Fried Green Tomatoes, a wonderfully surprising film about four strong women finding friendship, loyalty, and strength in each other. Sounds boring, right? I thought so, too, until I actually sat down and gave the extended anniversary edition a chance. The film, based on Fannie Flagg's novel Fried Green Tomatoes at the Whistle Stop Cafe, is really two stories in one. Bates plays an unhappy Southern woman stuck in a marriage routine, which doesn't favor her n...eds at all. She is underappreciated, despite her calm, sweet demeanor, and routinely thrown out of her husband's aunt's room at the nursing home. It's during one of these rejections that she meets Nanny Threadgoode (Tandy), a positive old woman determined to get her house back, and eager for the chance to talk about her past.
But it isn't her own life that Nanny wants to tell her new friend about - it's the friendship of two women, Idgie (Mary Stuart Masterson) and Ruth (Mary-Louise Parker), whom Nanny used to know, that gets the old woman talking. Be forewarned. There are some hanky moments, but they're all handled with great care. Also, the racial elements of the backstory and an intriguing murder mystery amp up the drama to a reasonably tense and captivating level. Director Jon Avnet keeps the film from ever getting too hoky or melodramatic, though I will say it can't escape predictability. There are some pseudo-surprises you should see coming from a mile away, and even a touch of morbidity toward the film's conclusion. But it all works, thanks in large part to great source material, a strongly adapted script, and the amazing performances of all four women.
Posted in: Disc Reviews by Archive Authors on July 28th, 2006
Synopsis
For the longest time, Dennis Miller was known as the guy who could subreference unlike any other comedian, with tactical precision and timing long before anyone had heard of the Gilmore Girls. While some of the material may have been a bit redundant, he certainly put a spin to it unlike any other.
Posted in: Disc Reviews by Archive Authors on July 28th, 2006
Synopsis
Benchwarmers at first glance appears to be a stupid comedy. Produced by Adam Sandler (Big Daddy) and starring Rob Schneider (Deuce Bigalow), the movie’s 85 minute existence appears to be an aberration in the space time continuum, something that should not be discussed or hinted at for all eternity. Now, I’m not in this to bash Schneider, God, every critic has done that already, and I can’t add any new material. But in his role as Gus, he just isn’t believable.
