Posted in: Disc Reviews by David Annandale on April 20th, 2006
Synopsis
I’m late coming to this series about a fractious family and the funeral home they run. These are the first episodes I’ve ever seen, so I’m not going to pretend I have the faintest idea what’s going on here. All the various plot lines are clearly working to a conclusion, and for the benefit of those who know these characters, some of the things that are dealt with are James Cromwell’s depression and the difficulty in treating it, and the imminent arrival of a baby (which sets up the final epi...ode’s variation on the opening: instead of starting the show off with a death, it begins with a birth).
Posted in: Disc Reviews by Archive Authors on April 19th, 2006
The appearance of Mr. T as B.A. Baracus unfortunately overshadows the rest of this show. Why is that unfortunate? Because Mr. T’s appeal mostly comes from his performance as the show-stealing Clubber Lang from Rocky III, and not from any major importance he had on this series. While people certainly tuned in to see Baracus, they were often disappointed by the back seat he would frequently take to the other stars – disappointed because they wanted to see Clubber Lang on the A-Team, and not the back-seat charact...r he plays here. But after watching more of his role as Baracus in The A-Team: The Complete Fourth Season, it becomes obvious why he wasn’t used any more than he was – he really is a one-trick-pony actor. He plays one role – plays it well, in fact – but he simply cannot add anything else to the character. The new quickly wears off, and all you’re left with is a supporting character stealing the spotlight by presence alone over the show’s real star, George Peppard.
Some of the episodes included in this latest release are solid, while others are childish – in fact, most are childish, but I won’t say they’re not all a little fun. It always amazed me how The A-Team’s battles with the bad guys – while often containing the use of machine guns, grenades, assault choppers, and dozens of other deadly militaristic weapons – most always resorted in their victory without the loss of one human life, good or bad. It’s also amusing the government has such difficulty locating them, but any yahoo gas station owner can track them down with ease – a shortfall of the series most loyal fans will overlook. Still, the nostalgia factor is huge with this show – it’s got to be – and it does still manage the occasional episode with deeper value (see the season finale). It’s certainly a stupid show, but don’t let that stop you from enjoying it. There are far worse things on our silver screens today.
Posted in: Disc Reviews by Gino Sassani on April 19th, 2006
The only thing worse than films about filmmaking are artsy films about filmmaking. These are hazardous affairs at best. Don’t get me wrong; I thrive on a steady diet of behind the scenes features and film trade magazines. But a film in that vein can’t help but become pretentious. Enter I Love Your Work. It’s very hard to tell when Adam Goldberg is trying to be serious and when he’s aiming for satire. I hope it was mostly the latter.
Just because you’re paranoid doesn’t mean they’re not really out to g...t you. Gray Evans (Ribisi) is one of those quick-rising stars. He’s obviously more in love with himself than his legions of adoring fans. His self-loving world, however, is turned upside down when it appears he is being stalked by a crazy fan. The film allows for the chance this is all in his head, and there’s the fatal flaw. Much of this film appears to occur in Gray’s head, and it’s not a terribly exciting place to hang out. In a predictable spin, the couple he thinks might be stalking him reminds him of an earlier relationship before he was a big star. Now it seems Gray is the real stalker. The film is all style and absolutely no substance. At one point in the film Gray is watching snow on his television. I knew I was in trouble when I started to know exactly how he felt just then. This is also the kind of indy film where many of the actors are the filmmaker’s friends. Goldberg takes some pride in this point. The end result is watching sub par actors pretending to be actors who are pretending to be actors. Make it stop. Cameos by Vince Vaughn and Elvis Costello can’t even save this mess.
Posted in: Disc Reviews by Archive Authors on April 19th, 2006
Mel Gibson stars as reluctant guerilla fighter Benjamin Martin in this story of courage, passion, and war, which dramatizes elements from the American Revolution into a gripping fictional narrative that will manipulate every emotion you have until its rousing finale. Martin endures great personal tragedies at the hands of the British - in particular, the despicable Colonel William Tavington (played with the vile gusto of a demon from Hell by Jason Isaacs). Tavington has already killed one of Martin's sons, and it is ...enjamin's concern for his other - as well as his insatiable lust for revenge - that drives him to take up arms for the Continentals and lead them into battle... and perhaps, freedom.
Whether it's tugging at heart strings, or planting viewers right in the middle of primitive warfare (no type of warfare is capable of being anything but), The Patriot maintains control of its audience, and only lets go at the final credits. Be forewarned, if you've never seen it. There will be times when you want to stop the film for fear of what might happen to Benjamin at Tavington's brutal hands. Then, other moments are "damn the torpedoes," kill that expletive-expletive, if it's the last thing you ever do. The point is, it will involve you the way few films can, and will actually have a physical effect on you - of some kind - by the time it reaches its conclusion.
Posted in: Disc Reviews by Archive Authors on April 18th, 2006
I always hated Moonstruck… but don’t get me wrong, this is a positive review. See, it seemed like, back in my childhood, every time I wanted HBO or Showtime to play The Goonies, they were always in the middle of yet another airing of this Academy Award-winning romance. It was a boring movie about love with that lady Cher, who needed to stick to the radio, and stay off my movie screens. My, how a little age and maturity can alter perceptions. As a seven-year old boy, I just didn’t have the sensibility fo... this film. And while many would argue I haven’t grown up much in the years following, I gauge all such detractors wrong by the simple fact I now enjoy Cher’s shining moment thoroughly. I mean, there has to be some growth there. Right?
Moonstruck is a modern film, which uses the model of classical Italian comedies as its primary structure. In fact, some elements are directly lifted from the divine comedies of yore, but Norman Jewison’s direction, along with a top-notch script, and a terrific cast, lend a freshness not seen in the romantic by-products of today, which make the film more homage than rip-off. For one, the story centers on a 37-year old widow (Cher) – not your common leading lady role – whose superstitions dictate her happiness. She agrees to marry an older man, whom she admittedly doesn’t love, just to bring some structure and stability to her life. Then, she meets her fiance’s estranged younger brother, and a spark ignites that turns her world upside down… in a good way. The eccentricities of her Italian-American family are mined to perfection with both warmth and humor. The film explores how cruel the closest people can be to one another without wrapping viewers up in any negativity. I can finally see what the critics were raving about – a good, solid film.
Posted in: Disc Reviews by David Annandale on April 18th, 2006
Synopsis
After a very rough lovemaking session with her ethically dubious (to say the least) psychiatrist, KatieBird Wilkens (Helen Udy) knocks the sap down, chains him up, and proceeds to torture him, all the while recounting how she came to be a serial killer. Flashback to her childhood, and especially her adolescence, when her mild-mannered father (Lee Perkins) introduces her to the joys of killing. KatieBird (played in her teens by Taylor M. Dooley) develops her own unique way of dealing with her...victims: she wants them to hurt her, too.
Posted in: Disc Reviews by Archive Authors on April 17th, 2006
It’s his show, he’s Andy Milonakis. That’s what the rap says to begin each and every idiotic entry to the first season of The Andy Milonakis Show. And as Andy himself points out in the commentary for episode six, the show is meant to be as stupid as humanly possible. With Milonakis at the helm, it reaches such high aspirations with ease. I’m still not sure of the merits of a program, whose only intention is to see how asinine it can be. Rest assured, there’s a huge difference between stupid-stupid and stupid-f...nny, and Milonakis sticks with the former like it’s his religion.
I don’t know what else to really say about the eight episodes included in season one. The format of each is Andy acting as stupid as he can in a series of unrelated vignettes. For those who don’t know the name Milonakis, you’ll probably know the face that goes with it. Then again, with his only film credit that immediately comes to mind being a supporting role in Waiting (a funny flick with marginal-at-best box office returns), you may not. But if you’ve ever seen his face, you’re not likely to forget it. Afflicted with a growth hormone condition that puts him in the body (and mind) of a 14-year old, this 30-year old “comedian” usually gets a jaw-dropping reaction from those familiar with him once they discover his true age. Count me in that throng. But the real shock here is not that Milonakis is twice as old as he looks (and acts) – no, the truly flooring bit of information is that his show was ever picked up and produced in the first place. If this is the future of comedy, then I proudly call myself an old fogy.
Posted in: Disc Reviews by Gino Sassani on April 17th, 2006
Can good acting make a film? Quite often it can. Dirty is a prime example of a film ending up better than it deserves to be by the powerful performance of a few good actors. Amando Sancho (Collins, Jr.) is an ex-gang kid from the mean streets of L.A. He thinks his street smarts and credibility can be an asset on the police force. Unfortunately we will never know, because he is partnered with corrupt cop Salim Adel (Gooding, Jr.). Both appear to require abject lessons in morality and loyalty, lessons that come too...late to be of any true value.
To say this is a disturbing film is putting it quite mildly. If you are at all sensitive to racial epithets being thrown about in casual fashion, this is not a film you want to view. If the depiction of cops as basically all corrupt with a few good eggs is offensive, this film will offend. It is a tragedy that the entire force is portrayed in these negative terms. We get no indication that there’s a clean cop in the film. This film is not so much about doing what’s right or not. The real question here is what is right or wrong. This is a gritty, stark world that reminds us in many ways of Vic Mackey and the Shield’s hopeless universe. The stark difference is that Adel has no respect for anyone. There is no distinction between the good guys and the bad guys. Mackey, at least, appears to believe he’s doing good. Adel simply doesn’t care. On the other hand, Sancho is more swept up with events. He aware of the ghosts that this kind of a life creates. This “day in the life” tale is all about the lack of redemption. I found it to be a pessimistic, dim view of society. While some might claim that perhaps this is reality at its core, what value is a film that has no hope at all? What good is a morality tale if there is no moral? The film is entirely too self-indulgent and a waste of some fine actors.
Posted in: Disc Reviews by Archive Authors on April 14th, 2006
Synopsis
What is it about a comedic film about death set in the English countryside that people have to equate it to Waking Ned Devine? Now granted, that film was a crowd pleaser and is a pleasure to watch, but let’s not stigmatize the films that have been released after it. Consider the case of Undertaking Betty, a film about a funeral director named (really) Boris Plots (Alfred Molina, Spider Man 2) who has known Betty (Brenda Blethyn, Beyond the Sea) for quite some time, but h...s been afraid to ask her on a date. The fact that Betty has been married to a councilman named Hugh (Robert Pugh, Master and Commander) who has taken her for granted over the last 20 years hasn’t helped either. And Hugh doesn’t hesitate to cheat with Meredith (Naomi Watts, King Kong), who wants to be with Hugh and is willing to kill for it.
Posted in: Disc Reviews by Archive Authors on April 13th, 2006
Synopsis
As one who is not a fan of much techno and even less a fan of Moby, it was a little surprising to see what my thoughts were on a recent live DVD that the artist has released (brief political soapbox rant commencing). Quite frankly, I’m not a fan of the man’s politics and his far-left rantings and ravings, and find his urge to help peddle Snapple-like tea beverages a little interesting. What I find even more interesting, nay a bit ironic is that among those that were thanked for the singer’s May 25,...2005 show in Belgium (in support of his album “Hotel”) are a group called Clear Channel Belgium. One would presume that this is the very same Clear Channel organization that many lefties say is run by a crony of George Bush, and if that’s the case, well, you can draw your own conclusions from that (end political soapbox rant).
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