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“Ride into this world all alone. God takes your soul. You're on your own.
The crow flies straight, a perfect line on the devil's back until you die.
Gotta look this life in the eye”.                                        

If you've already read previous reviews, skip ahead to find out what's new this season

"There is a town in Maine, where every storybook character you've ever known is trapped between two worlds, victims of a powerful curse. Only one knows the truth, and only one can break her spell."

ABC has had a very important asset going for it for years. It's one that the network has seldom taken any advantage of. That asset is its parent company. You see, ABC is part of the Walt Disney family. With the rich history of stories the studio has in its arsenal going back to the 1920's, it was only a matter of time before some clever people decided to find a way to use that rich history in a television series.

Before watching this Blu-ray my knowledge of Staind consisted of only what I’ve heard in passing on the radio.  I wouldn’t call myself a fan or go so far as to say I dislike them, I simply view (or hear) them as something to fill the void when the radio is on.  Where I did grow a bit of an appreciation for the band was in an interview that’s included on the disc that turned out to be more insightful than the standard fluff piece you may expect.

“Money, right yeah it matters, but it’s one piece of the puzzle. Let me tell you something. Sometimes who you are doing business with is a lot more important than the business that you are doing.”

When How to Make It in America season two begins, Ben (Bryan Greenberg) and his best friend, Cam (Victor Rasuk) return from their business trip to Japan after spending their new-found cash on a load of “Japanese soft cotton” hoodies they intend to silk screen with their new Crisp fashion label and find a way to mass distribute. Ben’s ex-girlfriend Rachel (Lake Bell), now unemployed, hits the job market and scores a gig with an uptight home improvement magazine.

"A military mystery that lasted 2,000 years."

White Vengeance assumes a certain level of knowledge about ancient Chinese history that, except for all you ancient Chinese history scholars reading this review, most of us don’t have. As a result, the film’s disorienting opening act had me constantly backtracking to figure out who was who, and why they were betraying or trying to assassinate each other. In other words, I started to feel like getting to the end of this ambitious movie might take a little under 2,000 years.

I never really meant to have 3D TV in my home theater. But our Sony Blu-ray player was 3D-ready, and the receiver and monitor both needed warranty replacement about the same time. Bingo: All I needed were a couple pairs of glasses ($40 each at Amazon) and some 3D programming. Having seen almost every 3D big-screen release already, I was pretty sure the TV version would be an inferior format. I was wrong. The electronic-shutter glasses beat the heck out of those old red-and-green gimmicky glasses. They work as well as the polarized lenses at the multiplex.

Anyone who has watched enough of the SyFy original movies has a pretty good idea of what they're getting. The network has made a bit of a name for itself with low-budget to no-budget monster movies. Most of the creatures are mutant and large and appear like they escaped from a bad 1950's drive-in theater. The computer generated stuff usually looks like a kid drew it up on their pocket computer, and the cast is going to be made up of unknowns with a few known names to give the whole thing some street cred.

It’s impossible for me to discuss what I feel didn’t work in Touchback without talking about the movie’s big plot twist. I’m not even sure it’s accurate to refer to it as a “twist” since it comes in the first half hour and is an essential component of the film. On the other hand, the movie’s official plot description is intentionally vague — for the record, the film’s trailer is considerably more forthcoming — and seems designed to conceal a major part of the story. Having considered all that, I’m only issuing a Mild Spoiler Alert.

George Romero created the modern zombie movie in 1968 with his low-budget masterpiece The Night Of The Living Dead. While we can debate the direction the genre has gone in the last 40 years, it's hard to argue that Romero defined the rules of the game with that first film and the series that followed. And while zombies have been populating the comic scene since the early days of Creepy and Eerie, it took the likes of Robert Kirkman and Tony Moore to give us a compelling interpretation of the Romero zombie in the form of a comic book series.

“We decided to tour round Serbia. We’ll go to villages. It will be interesting to see farmers’ reactions to our sexual provocations. Sexual education for Serbs. Widening the horizons. This is our guerilla mission.”

I like to think I am not a prude. My taste in film runs to the controversial, and I don’t shy away from extreme cinema. I think Salò, or the 120 Days of Sodom and Caligula are masterpieces; A Serbian Film impressed and affected me, although I have no intention of watching it again