Posted in: Disc Reviews by Archive Authors on March 13th, 2006
Most of the time, I’m a pretty big fan of HBO’s documentaries, so you can imagine my disappointment when I had to sit through the overly long 76 minutes of Naked World, which follows attention-hungry tit-bag Spencer Tunick, as he embarks on a world tour to find idiots wanting to pose for him. They all have their reasons why they’re baring all for the handful of people, who watch this documentary, but the underlying reason is – much like that of Tunick himself – attention. These lunatics may have even convinced...themselves it’s not for attention, but make no mistake – it is. It doesn’t take much in way of talent to snap the shoddy photographs Tunick provides here, and his medium is nothing more than a gimmick, rather than an actual talent. He’s a sniveling, complaining, sideshow huckster demanding recognition as an artist, and there’s nothing more obnoxious to me than that. I’m not inclined towards nudist art, but I will admit, there are sculptors and painters out there with actual talent, who can carry out what Tunick is trying much more effectively.
Even more amusing than the claim that Spencer Tunick is an artist are the delusional subjects for much of his work. There is a woman dying of AIDS, who somehow feels showing her naked body in a group of over one thousand others doing the same thing will somehow make a worthwhile statement to the rest of the world regarding her plight. I’m sympathetic towards anyone dying of a vile disease such as AIDS, but the context in which this is done is a contradiction to her whole purpose. And once you have bared all – so what? What statement does it make? If nobody cares, what’s the point? If your statement is, I know no one cares, and I want them to know I don’t care either, then again – what is the point? If you really didn’t care – like you say – then why do you need to make a statement to begin with? This unfortunate lady is not the only one humiliating herself for five minutes of notoriety in this documentary, but she is one of the most memorable. The best favor you can do these participants is to avoid the film all together and not subject them to the self-deprecation they’re unwittingly committing upon themselves.
Posted in: Disc Reviews by Archive Authors on March 12th, 2006
Sigh..Death Tunnel is another low-budget horror flick that is just so dull and mundane that it hurts to sit through the whole film. The film is over-directed, which some may think could be a good trait, but not in this case. Death Tunnel is about five college girls who all agree to spend a night in a horrific old asylum as part of a co-ed type event. Enter a few snickering boys trying to scare them and you have a horror film. Excuse me while I try to regain my thoughts as the film was a big yawn fest. < ...p>
The girls tend to walk around wearing next to nothing, which is one of the few positives about the film. They scream out each others’ names and wonder about until random people keep dropping dead. Naturally we have your standard semi-serious sentences like ‘this isn’t funny anymore’. The film is definitely right. The film isn’t funny anymore, nor did it ever get amusing or particularly good in any sense of the imagination.
Posted in: Disc Reviews by Archive Authors on March 11th, 2006
Synopsis
The first time I became acquainted with the work of documentarian James Miller and reporter Saira Shah was when I first saw the documentary Beneath the Veil some years back, shortly after the September 11th attacks. It was an unnerving and powerful look at life in the Taliban-led area of Afghanistan, where women were brutalized and humiliated beyond comprehension.
Posted in: Disc Reviews by Archive Authors on March 11th, 2006
Synopsis
First off, I never would have thought that a Comedy Central TV show featuring animated eight-year olds who curse like I used to (I still do, who am I kidding?), is transformed into a 94 minute movie with abundant musical numbers and (gasp!) an Oscar-nominated song performed by Robin Williams at said awards ceremony. Creators Trey Parker and Matt Stone created a dazzling, hilarious, and unpredictable movie, filled with musical numbers, and vocal cameos from George Clooney, Dave Foley and Eric Idle, ...o name a few.
Posted in: Disc Reviews by Archive Authors on March 10th, 2006
Newsradio ran for five seasons. Four seasons gave us some of the best work of excellent comedic legend Phil Hartman, but the beginning of the fifth season marked a sadness period from which the show was never able to recover, as Hartman was shot to death by his wife, who committed suicide immediately following. It was the kind of tragedy you still can’t believe – even today – if you knew Hartman or his work. Luckily, season three offers some of his best moments, as well as the comic genius of the undera...preciated Stephen Root. Root will be known to many office workers as Milton from Office Space, but here, he plays Jimmy James. James is more egotistical and outspoken than Milton, but he’s no less funny. Last but not least, Vicki Lewis brings a surprising humor and sexual vitality to her role (I had only known her previously from her small part as George’s secretary on Seinfeld, and was shocked to see her out of that bookish mold).
But as much positive as there is to say about Newsradio, there are two drawbacks, which frequently slow the laughs and drag an otherwise high-quality show through the proverbial mud – and their names are Joe Rogan and Andy Dick. Neither has improved in the years since the show’s run ended, and the inclusion of either in more prominent roles only served to stifle the work of Root, Hartman, and Lewis. Joe Rogan is Joe Rogan, no matter what kind of show he’s in. He never acts; he just “is.” Andy Dick constantly overdoes it, and brings an obnoxious whininess to every scene he’s in. The rest of the cast just sort of watches the two extremes unfold with nothing significant to add – but then, they don’t detract either. Of course, some people are able to look at Rogan and Dick and see the charm – I am not one of them. But if that’s the case, then you should have no complaints regarding this season.
Posted in: Disc Reviews by David Annandale on March 10th, 2006
Synopsis
Three directors, three doses of uncompromising Asian horror. The first, and nastiest, is “Dumplings” (directed by Fruit Chan), which tells the story of a woman who purchases some very expensive dumplings said to restored youth. What is the secret ingredient? The worst thing you can think of, trust me. And the film leaves nothing to the imagination. Where others would imply the horror and let your imagination do the rest of the work, “Dumplings” gets your imagination working, and then tops it... Nasty stuff indeed.
Posted in: Disc Reviews by David Annandale on March 9th, 2006
Synopsis
As one of the discs in this set is exactly the same as the previous release, my review is the same too:
Posted in: Disc Reviews by Archive Authors on March 9th, 2006
Michael Ontkean and Kate Jackson play a married couple dealing with the ramifications of the husband's newly discovered homosexual behavior. Right off, I'll say these two seem too happy from the beginning to make the sudden turn believable. Also, the ending [SPOILER ALERT, kind of] is too predictable and cliche to be the least little bit effective. The "I'm okay/You're okay" resolution, where everyone moves on and everyone's okay with who they are, and the world is once more a wonderful place, is pure Grade-A drivel ...hat simply got by with it at the time because it was one of the first movies to deal so openly with such a controversial topic.
With that said, the film's flaws really have nothing to do with its handling of the subject matter. Instead, it goes down - in flames - at the hands of two actors, who haven't learned a thing since they nabbed their first roles. Kate Jackson's wife is supposed to be a career woman, but she never stops whining and self-indulging into her own feelings long enough to step off your nerves and convince you she's any more than a cry-baby trophy wife. Harry Hamlin secured his rightful place in Lifetime movie hell with performances such as this one, where he's so convinced he's charming that all he really accomplishes is making the viewer want to punch him right in the mouth. As two-thirds of the triangle (Ontkean is actually quite good as the husband), the film was dead in the water, and nothing Arthur Hiller's direction could do was able to save it.
Posted in: Disc Reviews by Gino Sassani on March 9th, 2006
In its first year NYPD Blue succeeded through controversy. Language and partial nudity was pretty much all the critics were talking about. Season two brought “the test”. Could the show survive a major cast loss with David Caruso’s well publicized split from the show? Season three, however, is when it all came together. It’s so much fun watching a quality series hit its stride, that season when everything falls into place and we see for the first time that we could be in for a sweet ride.
The cop show ...as back in the 1990’s resurrected by the man who performed CPR on the genre in the 1980’s. With NYPD Blue we realize that Hill Street Blues wasn’t a fluke. Jimmy Smits was far more compelling than Caruso could be on his best day. The writers were beginning to find deep emotional material here. The season’s many rich themes included alcoholism, with not only Sipowitz but the newly formed Russell character. This seems to be a common theme for Steven Bochco. Every one of his shows have featured at least one alcoholic. Andy gets a fresh shot at fatherhood. One of the most compelling arcs has been the Andy/Andy Jr. arc. The tragic death of his son and the birth of a new son were huge stories in this season. Overall the characters are challenged both professionally and personally. The show’s documentary-like filming remains. This is the point when NYPD Blue finally took shape. We haven’t looked back yet, until now.
Posted in: 1.85:1 Widescreen, Comedy, Disc Reviews, Dolby Digital 5.1 (English), Dolby Digital 5.1 (French), DVD, Universal by David Annandale on March 8th, 2006
Synopsis
The recently divorced Uma Thurman is seeing therapist Meryl Streep as she tries to put her life back together. She meets Bryan Greenberg, sixteen years her junior, and falls for him. Streep encourages her to go for it, and then discovers that the object of Thurman’s affection is her son, whom she wanted to find a nice Jewish girl. Neither Thruman nor Greenberg know of their connection through Streep and carry on with their relationship, while Streep struggles to carry on with Thurman’s thera...y, forced to hear altogether more than she would like about her son.
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