Before SpongeBob SquarePants, before The Family Guy, before South Park, before even The Simpsons, there was Mighty Mouse. This revival of the Terrytoons character was a short-lived, but creatively vital series that ran in 1987-88. It wasn't an adult show, like many of its spiritual successors would be, but it was something that hadn't been seen in the world of television animation in a long, long time: it was witty, smart, and expected its audience to be smart, too (and that includes smart kids, at whom the series was ostensibly aimed).

As the resident video game expert for the site, certain movies will always fall into my lap. Any movie that includes something about video games, good or bad I will get the chance to review. Sometimes, I'm not so thrilled and sometimes I'm simply elated to take on the task. But then every once in a while, I get a movie where I'm not sure what to expect. The movie Gamer seems to take that tone. But perhaps the journey will lead to some rather unexpected but pleasant surprises.

Sterling Silliphant, in the latter days of his career, gifted the world with the deliriously schlocky screenplays to the likes of The Poseidon Adventure, The Towering Inferno, and that apotheosis of the Expensive Badfilm, The Swarm. So it is sometimes hard to remember that he also penned the script of In the Heat of the Night and some 74 episodes of Route 66. I confess to a being a complete newcomer to the series, and though I was rather baffled at first, I was also struck by the quite beautiful prose being spoken. Anyone who thinks highly literate scripts are impossible (or just about) on network TV should cock an ear (and an eye) in the direction of this series.

Hey Gang.

This week I had a chance to talk to a couple of folks connected with the new Planet Hulk Blu-ray and DVD release.

There’s a quote by author Kent Nerburn that says: “It is much easier to become a father than to be one.” The Boys Are Back, based on a memoir by Simon Carr, is the best example of that sentiment on film that I’ve personally seen in a few years. Clive Owen plays sportswriter Joe Warr. He’s good at becoming a father, but not at being one. His one-the-go job keeps him from spending any real quality time with his family, leaving his wife Katy (Laura Fraser) to raise their son Artie (Nicholas McAnulty). When Katy becomes fatally ill, Joe must step up to the plate to take care of his 6-year-old son.

If there was a recipe book for the modern romantic comedy, it would undoubtedly include a checklist of the following: group of girlfriends in their late twenties/early thirties with neurotic ideologies revolving around dating and clothes, a writer’s quota of at least one catch phrase per scene, product placement, and the charming leading man. Maneater receives checks across the board, and so much more.

This is the story of two young twins who are living completely different lives, one in a boarding school who is caught up in a child smuggling ring and the other is living with his struggling artist father, but are able to share their physical pain and emotions as if telepathically. Thomas, who is with his father, knows of Tom, the boarding school “orphan,” but everyone believes Tom is just his imaginary friend. Through a chance encounter the two are reunited and both must find a way to escape the smugglers who wish to take them sell them outside of England.

Our good friends at Lionsgate have been kind enough to give us a copy of the Planet Hulk on DVD to giveaway to our readers.

We are going to do something a little different for this contest.

Madea's been everywhere. She's even been to jail. But I Can Do Bad All By Myself is not actually a Madea film, per se. She has a cameo, of sorts, but this film is based on a series of stage acts that Perry has collected under the single title of the film. So much of this movie has been out there on stage. I'm not really a fan of Perry's Madea character and the collection of films she/he's been involved in. I had a friend once who used to get them for another friend of his, and he used to joke about making me a copy. Now you know why we're not friends any more.

Metaphors are often effective tools in filmmaking. They can be used in a variety of unique and clever ways to either highlight a particular aspect of story and/or character. They can be used to add an artistic flourish to a movie. They can even be used to drive a plot, if you're careful enough to avoid becoming too abstract. Then there are films like The Burning Plain which attempt to create a film that is metaphor itself. What you often end up with, and certainly here, is something difficult to follow and more acceptable at the festival circuit than at the box office