"All this has happened before and will all happen again. But this time it happened in London. It happened on a quiet street in Bloomsbury. That corner house is the house of the Darling family, and Peter Pan chose this particular house because these were people who believed in him..."

In 1953, with a little help from some Walt Disney magic, generations of children, and adults, of course, would learn to believe in the boy who never grew up. Peter Pan began in the imagination of writer J. M. Barrie. He appeared in a number of works from the Scottish author beginning in 1902 with The Little White Bird. The character had always been a favorite of Walt Disney himself, and it was originally intended as his second animated feature following Snow White. It became quickly apparent that the technology wasn't quite where he needed it to be to tell the story he wanted to tell. It was put on a shelf, but never forgotten. The rights to the character were willed to the children of a children's hospital in London, and it was from there that Walt managed to obtain the film rights for the animated feature we have today. Peter Pan has enjoyed success in pretty much every medium possible. There have been hugely popular stage productions where Peter was usually played by a woman. The character has appeared in film, music, comics, television, radio plays and, of course, printed form. He's an endearing and certainly enduring character who has now added high-definition Blu-ray to the list.

Just because you’re paranoid doesn’t mean they’re not really out to get you. That old axiom has never been more true than for David Vincent in the Martin Quinn series The Invaders. Quinn was best known for his police procedural shows like The FBI. At the time of the The Invaders, Quinn was coming going into the final season of one of his most popular shows, The Fugitive. While most people over the years has compared The Invaders to that Quinn production, they were really not as similar as all of that. In The Fugitive the hero, Richard Kimball played by David Janssen had a very specific mission. He was wrongly convicted of killing his wife and was on the trail of the real killer, whom he had witnessed. The “one-armed man” became an iconic figure in television history and provided Dr. Kimball with his “holy grail”. David Vincent’s mission was far more complicated and seldom so cut and dry. He was honestly more akin to Dr. Bennell, played by sci-fi favorite Kevin McCarthy from Invasion Of The Body Snatchers. In both cases you had one man who knew that aliens were invading and even replacing humans. As I watched this collection of Invaders episodes, I couldn’t help but be reminded of McCarthy’s famous scene running down the street trying to convince the world of the impending invasion.

The Invaders maintained several Quinn trademark touches. The episode was broken down into four acts and an epilog, each labeled as you came out of the commercials. Quinn also used a stable of actors as guests that showed up on almost all of his shows. If you look up most of the guest stars on this set you will find a vast majority of them also made appearances on The FBI, The Fugitive, The Streets Of San Francisco, and Manhunter. He was very much like his contemporary Irwin Allen, who was producing cheesy science fiction shows at the same time. Quinn writers were adept at quick, punchy dialog that was also a common thread in his productions. None of these characters spoke like normal people. There was always a theatrical but often abbreviated cadence to what was being said. Quinn also made heavy use of narration and The Invaders is no exception. Each episode begins with a short narration, often setting up the story and finally moralizing in the end. The music and narration sound very much like Outer Limits episodes.

My very first impression was that this show was very ambitious from the gate. Perhaps the show’s fatal flaw is that it attempts to tackle far too many serious issues, complete with complex undertones, with the largest ensemble cast I’ve seen yet. Add this to the fact that the world is still a little sensitive to terrorist attacks, and you have a recipe for keeping your audience relatively small. None of these things are bad elements in and among themselves, and I’m certainly not suggesting that these issues need to be abandoned. I’ve been a high school teacher, and one thing any of us can tell you is that there’s only so much a person can absorb in a given amount of time.

The premise almost sounds simple and unoriginal in the telling. Several terrorist organizations in a coordinated attack manage to nuke at least 22 American cities. Far enough from a Denver blast to survive are the residents of Jericho, Kansas. We’re talking small town with small-town politics and mentality. Jake Green (Ulrich) has been away for some years. He was back visiting when the attack occurred and finds himself taking a lot of the town’s survival on his shoulders. He’d been kind of the renegade son of the town’s long-time mayor. The series begins to resemble the popular Lost from here on out. We’re talking a group of people isolated from the rest of the world under mysterious circumstances. The characters remarkably mirror Lost, down to the pregnant woman and the man with a sinister past who happens to know a lot about surviving a nuclear attack. Also like Lost, the characters’ past is often explored, leading to common threads they might not even know they share. The nation’s surviving towns become almost sovereign states unto themselves. Each develops a unique political structure and raises fighting forces. Before long these other towns begin to engage in disputes and attacks. The problem for me is there are far too many characters and way too complicated situations, so that I was never able to connect with any one character on the series. It’s obvious we are intended to relate to Jake, but I was never able to do that.

Much to the dismay of probably most of my family and friends, I like to watch lots of weird films. Films directed by David Lynch, Planet of the Apes movies, and Johnny Mnemonic (I freaking love that movie) among many others I have watched over and over again. This is even more true with animation as I love to find clever styles that goes beyond convention and still produce a wonderful and thrilling story. So today, I review Satellite Girl and Milk Cow, a Korean animation film that is sure to test the boundaries of my fondness for weirdness. Is it too much for this critic or is it right in my sweet spot? Let's find out.

Above the Earth, we see various satellites circle the great planet. One of those satellites is named KITSAT-1 who takes pictures of the Korean Peninsula and provides other measurements. But like all things, KITSAT-1 has started to break down and stop working. Instead she uses her time to focus in on various sounds, sounds like a boy playing a wonderful song on a piano at a lonely club. The sound captivates her so much, she decides to speed towards Earth to seek it out.

Much to the dismay of probably most of my family and friends, I like to watch lots of weird films. Films directed by David Lynch, Planet of the Apes movies, and Johnny Mnemonic (I freaking love that movie) among many others I have watched over and over again. This is even more true with animation as I love to find clever styles that goes beyond convention and still produce a wonderful and thrilling story. So today, I review Satellite Girl and Milk Cow, a Korean animation film that is sure to test the boundaries of my fondness for weirdness. Is it too much for this critic or is it right in my sweet spot? Let's find out.

Above the Earth, we see various satellites circle the great planet. One of those satellites is named KITSAT-1 who takes pictures of the Korean Peninsula and provides other measurements. But like all things, KITSAT-1 has started to break down and stop working. Instead she uses her time to focus in on various sounds, sounds like a boy playing a wonderful song on a piano at a lonely club. The sound captivates her so much, she decides to speed towards Earth to seek it out.

“Welcome to Jurassic Park.”

With those words begin an adventure that started with the legacy of Willis O’Brien’s The Lost World. You see, dinosaur films are nothing new; they have held our childlike fascination since the industry was born. Jurassic Park was, however, something very new when it thundered into our cineplexes and forever into our imaginations 20 years ago. The marriage of brand new CGI technology with Stan Winston’s superbly detailed animatronics models transports you back 65 million years in time. CGI technology has improved since then and has become somewhat commonplace, but there is nothing common about Jurassic Park.

This grouping from Film Movement has been my favorite to date. The theme that ties these films together is what I would label as “art as process.” Each film revolves around the philosophies of making, practicing, refining, and reflecting upon one’s own art. Featuring one narrative and two documentaries, this grouping really foregrounds the importance of the messiness when it comes to process. In order to be a true artist, a true expert in your craft, you can’t be afraid to get messy: to fail before persevering. My Art, The Paris Opera, and Conduct! Every Move Counts each share an appreciation for failure and the seeds of success it plants within aspiring artists, both young and old.

First in the lineup, My Art, is a love letter to the cinema and the overall process of art. Written, directed, and starring Laurie Simmons, the film feels somewhat autobiographical. Perhaps the character, Ellie (played by Simmons), may not be an exact replica of Simmons, but their likeness in age and the film’s message of struggling to maintain relevance in an art scene offer what I would like to consider a personal touch. The way in which Ellie refines her work is by recreating classic films that star herself and two other actors nearing her age, with an old video camera. While I didn’t really fall in love with the film given its pacing, I couldn’t stop thinking about the implications that Simmons puts forward with this simple narrative: the naïve exploration of “new art” through an unconscious use of aging media. For example, Ellie is an elderly woman recreating films that inspired her to become an artist when she was young, but now she returns to that nostalgic feeling with older “new” technology in order to record it (digital video has largely replaced film in many cases, but the digital video camera she is using is old and struggling to find its place, just like her character). So much of the film plays upon this tension that it propels the audience through the pockets of narrative that seem to lag.

The film is based on a series of books that I had never read, and from what I understand the film takes many liberties with the storyline and characters. As his sophomore effort behind the camera, there were high expectations for what Garland would do, and the result I believe is one of the most divisive films I’ve seen in a while. This is the kind of film that gets me excited for the future of cinema, not just because I loved the film, but I love the conversation it can provoke with other filmgoers.

The film has a non-linear narrative; really, this is my only complaint, since it opens virtually where our story is nearing its end. While I usually don’t have a problem with this kind of storytelling, I’m annoyed by it this time around, because all the suspense around the survival of our lead is stripped away. The film still manages to squeeze in some head-spinning surprises at the end, so I can easily put my one measly complaint aside.

If you've visited this website at any point this century, you know the name Gino Sassani. Gino is the senior editor/fearless leader of Upcomingdiscs.com and an award-winning recording artist for Omega Records currently working on his 8th album. Please join us in congratulating him on his latest accolade: Gino was recently voted into the Southeastern Film Critics Association (SEFCA).

SEFCA members publish their work or live in Florida, Alabama, Arkansas, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, and West Virginia. Gino began reviewing films in the early 1990s as a segment of his local television show, “Focus.” Working out of his home theater, which is affectionately known as “The Reel World,” Gino has written over 3,000(!) reviews since he joined the site in 2000. Gino has had the honor of chatting with a diverse group of industry giants — ranging from Joe Dante to Ice Cube — and has posted the interviews, along with dozens of others, as podcasts on the site.

So Negative excellently exemplifies the importance of respecting a person privacy as our main character finds himself inadvertently drawn into a world of spies and drug cartel all thanks to the act of snapping a simple photo. Katia Winter and Simon Quarterman star as this duo thrown together and forced to rely on one another to survive. This thriller takes a minute to build traction, but still manages to entertain. However, winter tends to be very monotone and soft-spoken, so you will need to have to volume up to catch some of her dialogue.

All he did was take her picture. This seemingly innocent act, brings Hollis (Simon Quarterman) more grief then could have ever imagined, as later that night the subject of his intrigue shows up at his apartment. Her name is Natalie (Katia Winter) and she is a former MI-5 operative in the process of going into hiding, and she can’t afford to have photographic evidence of her presence floating around. She merely went to retrieve the proof, she anticipated she would have to be a bit forceful to get it back. However, she did not expect the people hunting her to locate her so quickly.