2.35:1 Widescreen

“Attention: Tonight’s movie has been M*A*S*H. Follow the zany antics of our combat surgeons as they stitch their way along the front lines operating as bombs and bullets burst around them, snatching laughs and love between amputations and penicillin, as they put our boys back together again.”

M*A*S*H began life as a novel written by an actual Korean War Army surgeon under the pen name Richard Hooker. He based the character of Hawkeye on himself and most of the other characters on actual personnel that were stationed with him at a real M*A*S*H unit.

This is a new release of the film, and its main interest, for those who already have a copy, is the meatier set of extras (even though some on the other disc are now gone). As for the film itself, what I said before still goes, so once again, I quote myself.

Mention Toho to anybody who has ever seen a movie and one thing universally comes to mind: Godzilla. Everybody’s favorite monster run amuck was the brainchild of Japan’s Toho Studios and has made them somewhat of an icon in the industry. It’s appropriate, then, for Toho to be featured in any series called Icons of Science Fiction. However, don’t look for the big lizard with radioactive breath in this 3 disc, 3 film collection from the legendary studio. Instead you’ll find two lesser known titles and one of Godzilla’s eventual playmates. These two films go back to the late 1950’s when Toho was still a fledging operation and Godzilla had not yet reached the cult status he was shortly to achieve.

Pixar & Dreamworks have been monsters at the game of big budget film animation for quite sometime now. Many of us have enjoyed Shrek, Toy Story and countless others. Even their duds aren’t half bad. But there was bound to come a time when others need to share in the spotlight. In 2007, Filmax Animation, a Spanish company decided to release a film about a Donkey who has aspirations of being more than just another as... Sorry kids, I lost my place. It’s a film about a donkey who wants to be a horse, of course of course.

From the very beginning writer/director Matt Aselton wants to make a statement with his first film, Gigantic. The tiny title letters belying the largesse of the title itself right away appears to be telling you that the film will go against any expectations. It’s a brave independent piece of cinema that exhibits ton of promise and potential that is never fully woven together coherently enough to satisfy even the most art house of audiences.

This is the story of two Vikings who are mistakingly left behind in Newfoundland in the year 1007. As these two find ways to survive, they encounter Irish monks and Aboriginal people, and these same encounters ultimately lead to rifts in their bond with each other. The beautiful landscapes become a backdrop for a sometimes violent look at the people who discovered North America centuries before Columbus or any other discoverer. Oh, and we also get bad translations of Old Norse, a lot of metal music and a scene of actual defecation.

Nature’s Grave looks like it could have been a made for television movie for The Animal Planet or one of those learning channels. If they were ever thinking of branching out a bit into the nature gone mad type of show, wait a minute. They already have. This one attempts to be a thriller/horror film but doesn’t ever come close to either definition. The wild animals never amount to anything more than an attacking bird or a dead manatee. I’m not sure what a fan of this movie was looking for when he or she came here, but I suspect whatever it was, it was very hard not to be disappointed.

The Soloist is based on a book written by Los Angeles Times columnist Steve Lopez. The book was based on a series of columns the writer assembled involving his relationship with a street musician he happened upon while searching for material. Lopez was touched by the musician, Nathaniel Ayers, who was playing a violin with only two remaining strings. Still he was able to produce music that made the writer do a double take and begin to wonder what he was doing out on the street. Ayers’ ramblings made it immediately obvious that the man was suffering from mental illness. Their first contact revealed that the street performer was once a student at Juilliard.

The story originally seems to set itself up to be that of redemption for a young man who is fresh out of jail. While this story is around, there seems to be parallel stories that arise as subplot but soon race alongside the original tale like proverbial track horses (and horses also just so happen to be the nexus for said plots). Just as one seems to buck into the lead, another comes along to grab the focus.

This American Life, broadcast on the Showtime network, is a half-hour show based on, or more accurately, spun off from, the award-winning Chicago Public Radio show of the same name. Each episode is loosely based on a theme, which is then explored through stories about real people. The content and style varies from week to week, with stories ranging from light-hearted to incredibly sad.