Posted in: No Huddle Reviews by Archive Authors on January 14th, 2009
Posted by Ken Spivey
The Smithsonian Channel's three part documentary, “NatureTech” explores the “striking parallels between nature and technology.” The episodes of “NatureTech” work with the assumption that scientists have ignored nature for the past century, and their narrow focus has limited their growth. Contemporary researchers who bear this in mind are making unexpected leaps in their respective fields. These advances include tires that have the adhesive ability of frog feet, air conditioning technology based upon an in-depth study of termite colonies, and robots that mimic the sensory reactivity of cockroaches. This method of solving problems by observing nature is called “biomimetics.” Ironically, this key term is never defined in the documentary; rather, the viewer must use “context clues” to clarify this important and often repeated buzz word.
Posted in: Dare to Play the Game, News and Opinions by Michael Durr on January 14th, 2009
No Blu-Ray for Xbox, Fallout 3 level cap to 30 & the MMO Crash of 2008 - Welcome to the column that will be going Blu-ray as soon as it figures out how to reconfigure the CPU that resembles a Commodore 64 known as Dare to Play the Game.
Gaming was a weird bag for me this week. I primarily played Lego Star Wars CS and find myself done with Episode 3. Achievements are kinda slow but it is playing very similar to Lego Batman where achievements were slow in the beginning and sped up at the end. I am enjoying myself and haven’t found too many rough spots as I’ve been going through the game. However, I would like to find some stud multipliers before too long. Typically, I have to go through a stage a few times to collect enough studs to buy all of the characters & extras. Makes it a bit frustrating but the % complete constantly increasing still gives me hope.
Posted in: Disc Reviews by Archive Authors on January 14th, 2009
Male bonding deep in the heart of the Oregon wilderness is the order of the day in Without a Paddle: Nature’s Calling, a direct-to-video sequel to the Seth Green-Dax Shepard-Matthew Lillard comedy of 2004. Unfortunately, it’s more of a training ground for actors and crew than an actual film. Before I move in to the heart of this catastrophe, I should first forbid myself from attacking the practice of dressing up a cheap, low-budget remake and calling it a sequel. It’s too easy of a criticism, so nothing will be said of it, except to point out the fact that’s exactly what this is.
A flawed movie from the opening frame, WAP: NC has the production qualities of a bad Nickelodeon TV show with acting and script to match. It borrows heavily from the first film with two young friends growing up and growing apart, only to rejuvenate their friendship with a wild outdoor adventure that is partly gross, partly outlandish, and 100 percent ridiculous. What separates the two is the original had three solid performers and a talented supporting cast to convince viewers it was a better film than it actually was. Its “sequel” has none of this, and thus, fails miserably.
Posted in: Disc Reviews by Archive Authors on January 14th, 2009
It’s hard being the bad guy, but sometimes you just don’t like a film that seemingly everyone else does. Such is the case for me with Funny Face, the classic Audrey Hepburn-Fred Astaire teaming that sees a bookish young lady go from the obscurity of her lonely library to the glitzy Paris lights as a high-profile fashion model. A little bit Cinderella and a whole lot of singing-and-dancing, Funny Face fails to engage with characters and story, relying solely on its lavish spectacle to do the trick. For legions of fans, it worked. For me, it didn’t. But like comedy, it’s all subjective, and if you’re in to fancy costumes, skilled choreography, arguably catchy music numbers, and healthy doses of nostalgia, then this one’s a no-brainer. But if story and deeply written characters are your things, sorry they don’t live here.
Astaire and Hepburn are a good pairing, and they work well together for each song-and-dance piece, but their love story gets very little chance to shine in between, and their normally solid acting abilities are buried in a heap of lifeless Broadway mini-productions that result, ultimately, in a showcase for all the wrong skills. When I watch a movie, I’ve got to be at the very least emotionally invested. If a film can engage my intelligence as well, that’s icing on the cake. Funny Face did neither. And as a fan of Ms. Hepburn’s work in Breakfast at Tiffany’s, believe me: no one’s more disappointed at that statement than me. The best thing about it is the overpowering, show-stealing performance of Kay Thompson as pushy magazine editor Maggie Preston. She dominates the camera whenever it’s on her. It’s just too bad our stars didn’t get that same chance to shine.
Posted in: Disc Reviews by Michael Durr on January 13th, 2009
Most people know the Chipmunks for three characters: Alvin, Simon and Theodore. This trio was known for a voice that sounded like too many rpm’s at the old record machine. However for the purposes of this disc, the six episodes featured were focused on a trio who was the equivalent of the Chipmunk “B” team. Their names were Brittany, Jeanette and Eleanor. They were known as the Chipettes. These are their stories. Dun Dun. (Cue Law & Order music).
Brittany, Jeanette, and Eleanor were actually introduced in the very 1st half-hour of programming for the Chipmunks during their run in 1983. Originally the two groups both lay claim to the name “Chipmunks”, but they grew to like each other and become on and off again friends and something more. Eleanor was just like Theodore, they both loved to eat and cook. However, Eleanor stood up for herself and was more athletic. Jeanette was an easy pair up with Simon. Both were book smart but Jeanette was clumsier and more of an introvert than Simon was. Finally there was Brittany who as vain and self centered as one Alvin Seville. Together they made the Chipettes and were ready to take on the same adventures as their counterparts and participate in a few more.
Posted in: Disc Reviews by David Annandale on January 13th, 2009
A disfigured young man with an unhealthy interest in his sister attacks and kills a woman. Five years later, he is released (by psychiatrist Jess Franco) into his sister’s care, who is helping organize a language school on property owned by her disagreeable, but very rich, aunt. In short order, the female students at the school (and there are ONLY female students, for reasons not explained) start being killed off. But no one other than heroine Olivia Pascal actually believes that anything is going on.
This was Jess Franco’s contribution to the slasher craze, though it demonstrates just how much that subgenre owes to the giallo by incorporating many of the elements of the latter (whodunit, unseen killer instead of hulking masked figure, etc). The production values are perhaps a bit higher than usual for Franco, and the gore effects are, all proportions maintained, quite good (and certainly very gruesome). But it’s obvious that this is work for hire, as the work lacks many of the more endearing eccentricities and personal obsessions that mark the films he’s more interested in. There is also some unnecessary animal cruelty involving the decapitation of a snake. The sharp-eyed will catch Lina Romay in the credits (as assistant director, under her real name of Rosa Amiral).
Posted in: Disc Reviews by David Annandale on January 12th, 2009
The giallo was never a genre that specialized in tight, coherent, logical storylines. But even by the bizarre standards of the form, In the Folds of the Flesh takes some kinda cake. Trying to summarize its plot is next to impossible, as the first two thirds of the plot are incomprehensible, and are cleared up only in the final third, which feels more like a play than a film, and where the revelations and twists pile up to such a degree that they don't induce whiplash – they torque your head clean off. So, for what it's worth, we have a castle (whose interiors look distinctly un-castle-like) where, thirteen years ago, a man was decapitated. His body was disposed of by the woman living there, and she and two children, now grown and thoroughly insane, dispose of anyone else foolish enough to come prying into their lives.
This is certainly no lost masterpiece. Its story is clumsily told, and would be offensive if it weren't so ridiculous. The murders vary from the delightfully cheesy (the decapitations) to the utterly WTF (death by cuckoo clock?? ). But the demented nature of the exercise makes it compelling in the nature of a train wreck (and speaking of trains, what's with the constant shots of one?). Lovers of the deranged will find much to feast upon here.
Posted in: Disc Reviews by David Annandale on January 11th, 2009
After having been present at a political assassination, the Grave Diggers biker gang starts being killed off one by one. Undercover cop Stone joins the gang (by basically saying, “Hi, I’m a cop. Can I hang out with you guys?”) in an effort to solve the murders. Plenty of shenanigans, riding around, and utterances of the word “man” ensue.
This 1974 Australian effort gets off to a bang of a start with the assassination, a scene that is largely witnessed through the eyes of a heavily stoned biker. The murders that follow are also nicely staged. But then we start getting many, many scenes of riding around and rather aimless hanging about. The eponymous hero doesn’t show up until a quarter of the way through the film, at which point he is able to find out, though his own experiences and the interviews he conducts, what a great bunch the bikers are. So there’s a fair bit of meandering about. But the action scenes are well done, and as a cultural artifact, the film is really quite fascinating.
Posted in: News and Opinions by Gino Sassani on January 10th, 2009
That’s right, folks. We put a fresh coat of paint on the Batcave.
Take some time. Make yourself at home. Explore your new digs. You’ll discover the return of some of your favorite features, particularly the release calendar. We’ve improved the search features to make it easier to find what you’re looking for in our vast 4500 post library of reviews, columns, musings, and news items.
Posted in: Brain Blasters by David Annandale on January 10th, 2009
I have, for work-related reasons, been watching quite a number of European horror films in close succession, mostly from the 1960s and 1970s. Yesterday, in the middle of this, I was moved to reflect on what seems to be a fairly significant difference between the British and Continental films. I won't go so far as to claim that what I'm going to describe is universal, but it is prevalent enough to be, at the very, very least, a marked trend. And it is this: that the Continental variant has a distinctly sleazier feel than do its cousins.
Now, sleaze is an extremely subjective term. How, precisely, does one define it? This is not the place to attempt to answer such a weighty question, but I do feel I should remind my patient reader that, in these quarters, the term is frequently not pejorative, but often a mark of the highest praise. Furthermore, as I said above, this isn't a universal law. England's Pete Walker has pumped out a body of work that is emphatically sleazy, as is evident from the titles alone: House of Whipcord, Die Screaming Marianne , The Flesh and Blood Show, and so on. But his films, memorably described by Kim Newman as “defiantly grotty,” stand out as such because they are, relatively speaking, the exception that proves the rule. Hammer is, of course, the paradigm for British horror, and as prurient as some of its later offerings would become (Vampire Lovers, Lust for a Vampire, To the Devil a Daughter), there was always an aura of polished respectability about the films. Whereas on the Continent, the films were notably far more sexualized, to the point, at times, of completely erasing the line between porn and horror. Thus, people like Jean Rollin and Jess Franco would move back and forth between making outright hardcore and more traditional genre fare.
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