Posted in: Disc Reviews by Gino Sassani on July 26th, 2010
There was a time when racial stereotypes on television and in the movies could be very funny. Shows like All In The Family and Sanford And Son brought an entire generation to their knees with laughter. Today audiences are a little more timid when it comes to that kind of humor. This is the kind of movie you end up looking both ways before you think about letting out even the slightest giggle to make sure no one is watching, or worse, training their cell phone camera on you. I don't know about you, but I don't want to feel like my reactions to my entertainment are under a microscope. Our Family Wedding will make you feel exactly that way. It's a combination of the Sydney Poitier and Spencer Tracy classic Guess Who's Coming To Dinner (which happened to also feature Louise Jefferson herself, Isabel Sanford) and the original Peter Falk and Alan Arkin The In-Laws. Both of those films are superior to Our Family Wedding in every way imaginable.
Marcus (Gross) and Lucia (Ferrera) are a young couple who presumably met in college. In spite of their cultural difference (he's black, she's Mexican) they have decided to get married and move to Laos as volunteers. They are coming back home to L.A. to tell their parents of the impending nuptials. Before they can even make the announcement, the two fathers inadvertently meet. Lucia's father Miguel (Mencia) runs a towing company and he ends up towing the car of Boyd, Marcus's father. Of course, at that moment they are unaware that they will meet under entirely different circumstances, namely the dinner engagement announcement of their children. It doesn't take long for the clashes to begin. The families are separated by race and economic circumstances. Boyd is a divorcee who raised his son on his own, while Lucia was raised by a large extended family. The film quickly settles into all of the wedding-comedy clichés. There are the father clashes, the arguments over wedding plans, the police station scene, the dysfunctional family dynamic and, of course, the "let's call the whole thing off" moment. Finally, there is the expected disruption at the ceremony itself, in this case mostly caused by a goat on Viagra. Don't ask.
Posted in: Disc Reviews by David Annandale on July 26th, 2010
As the name suggests, this is a collection of ten movies on LGBT themes. In chronological order, here's what we have:
The Children's Hour (1961): Shirley MacLaine and Audrey Hepburn are the headmistresses of a girl's school, and their lives are turned upside down when one ghastly little child accuses them of being romantically involved. It is clear, though, the MacLaine would very much like to be. This was director William Wyler's second stab at adapting Lilllian Hellman's play, and this time was able actually to deal with the play's central issue, rather than disguise it as he had to
Posted in: Disc Reviews by Gino Sassani on July 21st, 2010
"Don't act like the hypocrite, who thinks he can conceal his wiles, while loudly quoting the Koran." - Hafez (14th Century Iranian Poet)
The Stoning Of Soraya M is based upon a book written by Freidoune Sahebjam. The book is currently banned in Iran as well as other countries. It is based on a true story. The book and now the film have caused quite a bit of controversy over the years. Director Cyrus Nowrasteh is no stranger to controversial topics. He appears to have a flair for significant historical events, and his work has shown some insight into the actual significance of his subjects. His acclaimed Path to 9/11 stood out from the rather large crowd of films on that subject. He brought many of the more subtle observations to the surface. Other films like The Day Reagan Was Shot and 10,000 Black Men Named George explore quite opposite subjects with equal intensity. So it should come as no surprise that he would tackle a subject that has been out there for 30 years when no one else was willing to touch it. It might seem somewhat opportunistic that The Stoning Of Soraya M comes when a planned actual stoning in Iran has made international headlines. And as the international community has expressed outrage to such an extent that said stoning has, for now, been cancelled. Such is not the case. This movie has been in some form of development or another with Nowrasteh and his wife since the 1990's. The film itself was released almost two years ago. The fact that this movie is coming out on home video now is not a matter of exploitation. It can best be described as: It's about time.
Posted in: Disc Reviews by Gino Sassani on July 21st, 2010
In Florida we have some very large bugs. There's this one particular spider that is quite a problem in my house. It's real name is a huntsman spider, and it grows to about 16 feet, not including the legs. It sports 27-inch fangs and tends to move the furniture around at night while it stalks its prey. Yes, it stalks its prey at night in my house while I'm trying to sleep. Years ago I coined my own name for these clever, ferocious killers. I call them Rambo Spiders. The name fits these long-legged freaks perfectly as they perform their recon missions throughout our home. When I find them, I terminate them with extreme prejudice. I suspect that if these arachnids happen to be movie fans, they have a name for me, as well. You guessed it: Rambo.
John Rambo was the brainchild of novelist David Morrell. In his novel you'll find a John Rambo who is very much like the one played by Sylvester Stallone, yet quite different, as well. While he retains that one-man-fighting-machine persona, in the book he is much more of a cold-blooded killer than the man we meet in the franchise's first film. In that movie, Rambo disables the police and whoever else stalks him, but he never kills one person in that film. The officer who does die does so because of his own actions, not Rambo's. He's actually a very innocent man, when we first meet him. There's a vulnerability that we see in that film's first five minutes that we never will see again over the course of four films. Credit Stallone for allowing us those fleeting moments that you won't find anywhere in Morrell's book. But it is the Rambo as portrayed by Stallone that has become the cultural icon and household word today. The term is in most modern dictionaries, usually to describe a relentless force of strength, which brings me back to those spiders. And before you animal rights people start writing me your displeasure over my spider kills, understand that it's more than a fair fight. They have those 99 inch fangs, and all I have is a rolled-up newspaper.
Posted in: Disc Reviews by Gino Sassani on July 19th, 2010
In an attempt to win over more of the male viewers into their audiences, filmmakers of the romantic comedy genre have tried many tactics. To date, very few of them have worked to any great extent. The problem appears to be getting the mixture just right. Too much of the guy stuff and you'll turn away your core "chick" audience. Too little and you're really not reeling in too many guys. Of course, we go anyway to please the ladies in our lives. Just between us, I once found myself at a Barry Manilow concert for a girl. Yes, I'm trying to get some help for that. We'll go. That doesn't mean we have to enjoy ourselves. Hopefully, it's just enough that we go,because no matter how much it tries to be a guy flick, The Bounty Hunter might as well have a neon sign hanging from the marquee that says "Ladies Only, Please".
Nicole (Aniston) is a reporter who is onto a big story, or at least it could be. She thinks that a recent death ruled a suicide was really a murder and that some cops are trying to cover it up. As you might expect, she's not too popular with the police department,and she's also facing a charge of assault on a police officer stemming from a "misunderstanding" between her car and a police horse. When she's ordered to appear in court for the crime,she gets a call from her informant who claims to have info that will break her suicide case, but he has to meet her now. Naturally, she blows off the court appearance to meet the snitch. Unfortunately, the snitch has been snatched by the bad guys,and now there's a warrant out for her arrest. The bail bondsman who posted her bail sends one of his best bounty hunters to pick her up;that'll be Milo (Butler),her ex-husband. For most of the film we have the two ex-spouses playing their own cat-nd-mouse game while the killer in Nicole's case is out to kill her. Then there's the mob boys that Milo owes a huge gambling debt to. Finally, to complete a hat trick of pursuers,there's Stewart (Sudeikis) who is in love with Nicole and decides to "rescue" her from her situation. As you might have guessed, Stewart is going to end up in a world of hurt.
Posted in: Disc Reviews by Gino Sassani on July 8th, 2010
"Barugon: The Freezing Monster - This carnivorous reptile, a nightmare cross between a monitor lizard and a chameleon, is found only in New Guinea's Valley Of The Rainbow. It is born every 1000 years, according to legend, from an egg resembling a large opal. It has a long, darting tongue used as a battering ram, while the tip sprays a freezing mist that immobilizes its prey..."
Ask anyone about Japanese monster movies and Gamera usually won't be the first name that comes into their minds. Godzilla would likely dominate the conversation, and for most of the last 60 years the folks at Toho have been synonymous with large monsters. But they didn't exactly hold a monopoly on the big beasts. Kadokawa Pictures had their own little monster franchise going on. From 1965 through the 1970's the studio would produce 8 Gamera films in all.
Posted in: Disc Reviews by David Annandale on July 5th, 2010
The title is grammatically ambiguous. Is this a film about vampire killers who happen to be lesbians, or killers of lesbian vampires? The former might have given the film some nicely subversive potential, but the latter is the case. Our heroes are the gormless pair of the serially dumped Jimmy (James Corden) and the piggish Fletch (Mathew Horne) – basically Shaun and Ed from Shaun of the Dead, minus the wit. Heading out to a randomly picked village in rural England for a low-budget vacation, the duo happen upon a VW bus filled with women who, based on the available evidence, have just finished a gig as background dancers for a hip-hop video. The group arrives at a decrepit mansion and proceed to party, unaware that the area is cursed by the lesbian vampire queen Carmilla. Seeking to resurrect their matriarch, her minions proceed to vamp all but one of the women, and the stage is set for a supernatural battle of the sexes.
There have been many horror comedies in the wake of Shaun of the Dead's well-deserved success, and while there have been some worthy entries, there have also been plenty of reminders that just calling something a comedy and having characters bug out their eyes and run around screaming doesn't mean the film is funny. And here we have a case in point. The production design is handsome, and echoes the Hammer flicks of yore, but the witless dialogue, clumsy action choreography, and vacant characters will soon have you wishing you were watching an actual Hammer film (or even Carry on Screaming). Then there's the premise. The filmmakers apparently never though it the least bit problematic that they were serving up repeated scenes of women being impaled and decapitated (and then exploding in a splash of white, milky fluid) for laughs. The results would be even more offensive if the viewer weren't numbed by the tedium – the 83 minutes feel twice that long.
Posted in: Disc Reviews by Michael Durr on June 28th, 2010
Most people associate the book, War and Peace in the same respects as they do torture. A one thousand, two hundred and twenty five page book that is regarded as one of the most brilliant pieces of historical fiction is a nightmare to most advanced high school and college kids. However, perhaps more fascinating than any single piece of work by Leo Tolstoy is the life in which he lead. Last Station attempts to give us the last few years of the Count’s life in film form.
It is the last year of Leo Tolstoy (played by Christopher Plummer)’s long and prosperous life. He has developed principles that reject private property and advocates passive resistance. Those same principles have led to the birth of the Tolstoyan movement, championed by his disciple, Vladimir Chertkov (played by Paul Giamatti). Chertkov has unfortunately also been placed under house arrest and has no way to keep regular ties with Tolstoy who is in failing health.
Posted in: Disc Reviews by David Annandale on June 24th, 2010
Bill Williamson (Brendan Fletcher) is an angry young man. His boss treats him badly, he can't get good service at the local coffee shop, and his parents are trying, none too subtly or smartly, to get him to move out. He hangs out with a friend who talks a big talk about changing the world, but does nothing. Bill, by contrast, is about to do something: gearing up with so much body armor he becomes a walking tank, he begins a gigantic massacre in town, beginning by blowing up a police station, and going on to gun down anyone who crosses his path. There is, however, rather more method to his madness than might appear.
The indefatigable Uwe Boll here brings us a film that echoes the likes of Falling Down, Targets and Elephant. (And in typically modest fashion, on the commentary track he feels he has improved on Falling Down.) This is one of Boll's better films, blessed by an excellent lead performance by Fletcher, convincing improvised dialogue (which does produce a couple of grammatical howlers, but hey, so does real-life dialogue), and intense hand-held camerawork. There are some genuinely witty moments, too, such as the scene where Bill enters a bingo hall, and is completely ignored by its denizens. Even at a brisk 85 minutes, however, the film doesn't have quite enough plot, and thus the rampage itself feels a bit too long. There is also too much reliance on flash-forwards, which ultimately telegraph the resolution too far ahead. As for that resolution, it isn't without a certain cleverness, but it does tend to muddy the film's social commentary. But social commentary there is, and there is quite a bit to admire about this effort.
Some of the reds are bit too strong, but otherwise the colors are excellent, as are the contrasts, blacks and flesh tones. There are moments where the film shifts to webcam footage, and the difference is clear and convincing. The overall look of the film is rich without venturing too far outside of a realist aesthetic (the exception being a gigantic explosion early on, but as far as the transfer goes, everything still looks very nice). The aspect ratio is the original 2.35:1 anamorphic widescreen.
Posted in: Disc Reviews by Gino Sassani on June 23rd, 2010
Whenever there is a disaster, there are always the inevitable questions that follow. Where did it all begin? Could it have been avoided? What can we learn from this? No, I'm not talking about the oil leak in the Gulf. Hollywood is no exception. You have your disaster movies like Earthquake, and you have your movies that are disasters like Waterworld. Of course there are even disaster movies that are also disasters like the recent 2012. Some disasters you never see coming. But, many such events could have been predicted and possibly avoided if only the right folks had been paying attention. This is the story of one such event: Showgirls.
I guess you could say that it all started with Basic Instinct. The film was directed by Paul Verhoeven and scripted by Joe Eszterhas. You remember the movie. It starred an as yet unknown Sharon Stone as the girl who dared Michael Douglas to arrest her for smoking in the interrogation room. There were ice picks, torrid sex scenes, and a few gender- bender moments. The film was a small affair with a budget under $50 million. It took the world by storm and raked in almost $400 million in the worldwide box office. It became that film that everyone talks about. Water cooler conversations were dominated by the thing. It quickly invaded the pop culture, and even if you'd never seen the movie you knew the common references. So, three years later when the same director and writer team decided to take on the Vegas showgirl world, expectations were high indeed. If Basic Instinct got them talking, Showgirls is going to have them screaming, and so it did ... only not quite in the way everyone had expected. The end result? A mere $20 million at the box office. In less than a few weeks Showgirls had become one of the most disappointing movies in the history of the industry.
![Our Family Wedding [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/our-family-wedding-blu-ray-large.jpg)
![The Stoning of Soraya M. [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-stoning-of-soraya-m-blu-ray-large.jpg)
![Rambo: The Complete Collector's Set [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/rambo-the-complete-collectors-set-large.jpg)
![The Bounty Hunter [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-bounty-hunter-blu-ray-large.jpg)
![The Last Station [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-last-station-blu-ray-large.jpg)
![Showgirls (15th Anniversary Sinsational Edition) [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/showgirls-15th-anniversary-sinsati-large.jpg)
