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 David Annandale on October 6th, 2006
Tinto Brass, reigning high priest of the handsomely mounted skin flick, returns with this portmanteau feature. Six couples spice up their sex lives as the women have sex with other people and their menfolk watch/hear about it/join in too.This is the most explicit film from Brass to come out on the Cult Epics label, in that a fair bit of the sex here is not simulated. The tone is consistently cheerful, and there are some quite funny moments. The performers look more like real people than one might expect, and so, all in all, this ain't deep, but it's better than most efforts of its kind.
Audio
Posted in: Disc Reviews by Archive Authors on October 6th, 2006
Synopsis
I thought I knew all about Stick It based on the cover of the disc: “From the Writer of Bring It On”. That’s it, game over. What I could expect was a film where the girls ruled the show, the adults, if they could be found, were pretty marginal, and there would be a lot of ass shots. But despite all the semi-glorified ass shots, Stick It isn’t necessarily a bad movie. In fact, I kinda liked it. Maybe it’s all the ass exposure, I don’t know. Whatever the reason, the 103 minutes ...f Stick It start with Haley Graham (Missy Peregrym, Catwoman), your proverbial rebel with a load of talent who keeps pissing it away by rebelling on anything and anybody. And as punishment for vandalizing a house, her father (and yes, that is Uncle Rico himself, Jon Gries, from Napoleon Dynamite) gets her to rejoin a gymnastics academy she dropped out of as part of her restitution, community service, etc.
Posted in: Disc Reviews by Archive Authors on October 5th, 2006
Synopsis
Fred MacMurray (whose line in match-lighting is so cool, I’d take up smoking just to be able to do that) is an insurance salesman. Edwards G. Robinson is a claims investigator with an infallible nose for fraud. MacMurray stops by the home of Barbara Stanwyck (as fatale as any a femme ever was) to make a sale. Instead, he’s sold on the idea of killing her husband for a massive insurance payoff. He concocts a scheme for what should be the perfect murder. But nothing in this life is perfect.
Posted in: Disc Reviews by Gino Sassani on October 5th, 2006
Few names are as recognizable as that of Boris Karloff. The gentle English actor who brought us the sweet Christmas tale “How The Grinch Stole Christmas” also brought us some of the most terrifyingly wonderful performances in the history of the business. Cursed with a harsh enough look, Karloff was denied the mainstream success his ability so obviously warranted. He was one of the founders of the Screen Actor’s Guild and was extremely active in charity work throughout his lengthy career. Still, mainstream Hollywoo...’s loss was horrordom’s gain. From his first guttural grunts and hand gestures that brought alive the mute monster in Frankenstein, Karloff exhibited extraordinary brilliance in each performance. Even when forced to take unflattering parts in B productions, Karloff was the consummate professional. He always brought his A game. That dedication took what were originally throwaway parts and molded them like the craftsman he was into magnificent works of art. Here in the Boris Karloff Collection are five of those lesser known parts. No real monsters to speak of; Karloff shines in each film. Certainly these films can be described as diamonds in the rough, but leave it to Boris to teach us that there are no small films, at least not when the credits began with the name Karloff.
“Night Key” Karloff plays an inventor of a wireless alarm system. As often happens with Karloff’s characters, he’s ripped off by his partner who turns his system into a wealthy business for himself cutting Mallory (Karloff) out. But unlike other Karloff characters in this situation, Mallory seeks a non-violent revenge. What Mallory creates, he can also destroy as “Night Key”. Using his own device, Mallory, along with a small time crook, breaks into shops protected by his old partner’s firm, but not to steal. He’s only trying to make a point, until the local head hood comes calling to use the device to line his pockets. Of course, this really isn’t a horror film at all, but Karloff will make it worth your while.
Posted in: Disc Reviews by Gino Sassani on October 5th, 2006
By the middle of the 1950’s Universal was playing out its long string of monster movies that started over 20 years earlier with Dracula and Frankenstein. In the next year their last iconic monster would take its last bow in The Creature Walks Among Us. This Island Earth was a bit of a crossover film. Like many of the alien invasion films of the 1950’s the film capitalized on the growing belief that we were not alone. Contrary to the DVD’s misleading box art, these aliens were here to find answers to their own survi...al. The famous Mutants were shown all too briefly and were not the driving force of the story. The Metalutan Mutant was, perhaps, the last of the Universal creature designs. The large tan heads of Exeter and his alien cronies is a hoot compared to today’s images. The film was state of the art for its day and one of the first color science fiction films. Faith Domergue has almost become a stereotype today, but it was a meaty and progressive role for the time. A pleasant addition of Gilligan’s professor, Russell Johnson, adds to a strong cast that includes Rex Reason and Jeff Morow.
Video
Posted in: Disc Reviews by Archive Authors on October 4th, 2006
When I began watching Gilmore Girls several years ago, it was in response to my girlfriend saying, “it’s my favourite show, but you don’t have to watch it with me.” This meant, of course, that I’d better sit my butt down right quick and get to know the Lorelais.
Well, my girlfriend became my wife, and Gilmore Girls has now made it to season six on DVD. I’ll admit that I’ve taken a liking to the show. It’s not the best thing on TV, but it’s far better than the worst. My biggest complaint about Gilmore Girls also happens to be my favourite thing about it – the dialogue. Spend 10 minutes with this show, and you’ll get a taste of why this aspect is my favourite. Watch several episodes, and you’ll begin to see why I protest.
Posted in: Disc Reviews by Archive Authors on October 4th, 2006
Synopsis
Everything I needed to know about why there was a double-dip of Save the Last Dance was answered within the first five minutes, when I saw a trailer for what appears to be the straight-to-video sequel for the film. So from there, the strategy appears to be to throw two or three semi-current extras onto the existing disc and call it a special edition. My favorite. Like green vegetables first thing in the morning. Now don’t get me wrong, the movie itself I like, but I would guess that there ar...n’t too many hard-core devotees that are complaining about a double dip.
Posted in: Disc Reviews by Archive Authors on October 4th, 2006
One of the nice things about I Am A Sex Addict is that it is both a comedy and a documentary. I am thrilled that at some point somebody figured out that documentaries can be entertaining as well as informative. Filmmakers have certainly turned the camera on themselves before, but I don't recall seeing one be quite as intimately honest as Zahedi is here. This is a film that is just what the title suggests... an examination of the life of a sexaholic. The document is sometimes funny, but frequently uncomfortable... While the film presents itself as an examination of the view of a heightened sex drive as an addition, it spends much more time illustrating the fact that the subject has the addition than the causes and effects of it. It is a documentary that presents a story without any exposition. The fundamental question of “why?” is never really addressed.
The truly interesting part of this film is not the subject matter, but the way in which the story is told. The filmmaker tells his personal tale through speaking directly to the audience, reenactments, and even some actual photographs and personal archival footage. In one scene, the writer/director/star/autobiographical subject tells of how he cast the role of one of the prostitutes, then compares her casting photo to his on-screen wife and a picture of his actual wife at the time. The subject mater may be a little off-putting, but the execution is really quite unique and interesting.
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.
