Mill Creek Entertainment shows good instincts regarding adding a DVD of the aptly epic 1997 mini-series "The Odyssey" to the MCE "Mini-Series Masterpieces" catalog on February 19, 2019. This month traditionally is a "sweeps period" in which networks broadcast their best productions in an effort to boost ratings. One very nice thing about this production is that it adapts the titular classic narrative in a manner that is not Greek to folks who are unfamiliar with the source material.
The accolades for this adaptation of the epic poem by the other Homer include a 1997 Emmy for Outstanding Directing for a Mini-Series or a Special.
Armand Assante stars as brave and noble Greek warrior Odysseus. The star power behind the camera includes executive-producer Francis Ford Coppola.
We meet Odysseus on a day that is both one of the best and the worst in his life. He is racing to the side of wife Penelope (Greta Scacchi), who is in labor with their son Telemachus. The buzzkill is a development that requires that Odysseus travel to Troy to battle the Trojans over there so that he does not have to fight them "over here."
The Poseidion adventure begins with that god of the sea facilitating the ruse that gives birth to the expression to beware of men from the other Ithaca bearing gifts. The fabled Trojan horse meets its object of giving Odysseus and his men a huge strategic edge; the rub is that our hero also learns that Hades has no fury like a fellow god scorned.
Poseidion has such a massive hissy fit regarding Odysseus not thanking that deity for his assistance that The Man From Atlantis violates the principle of demonstrating great responsibility regarding great power. This man with a porpoise pulls the dick move of using his power to prevent the foolish mortal from returning to his wife and infant son.
This leads to our fearless crew om their greatly extended three-hour tour encountering strange new worlds and new civilizations on their far more than five-year mission. Another way of considering this journey is to think of it in terms of what a long strange trip its been. A related theme is that encountered perils reinforce the idea that dames ain't nothin' but trouble.
The first adventure does not involve women; the crew is near death when they think that they have found salvation in the form of a land teeming with food; their glee is short-lived when they learn that they are in the land of the giants (a.k.a. a cyclops clan). A sibling in this family developing a fondness for Greek food and wine is another mixed blessing on the road to Ithaca.
Our boys next become the guests of the sirens; Odysseus (with a little help from the goddess Athena (Isabella Rossellini)) once again uses a combination of brain and brawn to turn things to his advantage.
Odysseus subsequently feels the sting of being caught between the deep-sea threats of the Scylla and Charibdes. One spoiler is that his later adventure with the goddess Calypso (Vanessa Williams) has him hypnotized by her when he lingers.
We also see the crew snatch defeat from the jaws of victory.
Meanwhile back at the ranch, Penelope is fending off potential suitors who are desirous of the woman and the other treasures of the long-absent lord of the manor. The frustrations of a now-teen Telemachus include his inability to oust this band of guests who have long overstayed their welcome. This almost literally is a wolves at the bedchamber door situation.
All of this culminates in a gloriously gory battle that once again involves paying the price for disobeying the rules of etiquette.
The appeal of this production extends beyond telling a tale that is as old time in a manner that caters to the American viewing public. Shooting on location, having a good cast, and including solid humor makes this release a good way to celebrate sweeps month.
The recent Warner Archive DVD release of the 1933 Ginger Rogers romcom "Professional Sweetheart" provides a good chance to see a film from the period between introducing the Hays Code and enforcing it. The surprising candidness of this film includes actually using the term "virgin" in reference to the titular beau.
The bigger picture thus time is the still-relevant issue of a celebrity whose career requires a squeaky-clean image feeling frustrated regarding an inability to express his or her true self. One need look no further than the numerous Disney Channel guys who go on to play bad-boy roles.
Our story this time commences with the beginning of a radio broadcast starring new American darling Glory Eden (Ginger Rogers). The whole story is that the orphaned waif very recently turned sensation is demanding that a specific item of sexy lingerie be in the studio by the end of the show. If not, the four-letter word in the sign-off will be not be the scripted one of "love."
The desire of sponsor Ipsie-Wippsie Wash Cloth and others with a horse in the race extends beyond avoiding having Glory utter one of the seven dirty little words that you cannot say on the radio. This group is eager to lock in Glory by having her sign a contract,
Another immediate challenge is ensuring that visiting reporter Elmerada de Leon does not discover any inconvenient truths. The always great Zasu Pitts particularly shines in this role.
The action shifts to the deluxe apartment in the sky where Glory lives, An awesomely enlightened aspect of this home life is young black maid Vera, played by under-appreciated actress Theresa Harris., It is very striking that Vera is much more out-spoken maid Florence of the '70scom "The Jeffersons" than the MUCH MORE TYPICAL Hattie McDaniels Mammy-style servant of the '30s.
Vera clearly is the equal of Glory and her only true friend in her entourage. The wonderful first scene with Vera has her gleefully gossiping with Vera and teaching her a new dance step. It is just as terrific to hear about Vera having a boyfriend and that couple having tremendous fun in the Harlem nightclubs that Glory aches to visit.
Reality setting in for Gloria at this time is a less positive aspect of her domestic life. She is forbidden from ordering food that is inconsistent with her oft-mentioned image. She also discovers that the extent of the morals clause in her unsigned contract prohibits male companionship. Glory making it very clear that she strongly wants to get her some is another reflection of "Sweetheart" coming in the period between the introduction and the enforcement of the Code.
The titular American quasi-gigolo enters the picture as a form of compromise; The "suits" will allow Glory to have a man in her life so long as he meets wholesomeness requirements that include being Anglo-Saxon. This early version of "Seven Brides for Seven Brothers" involves largely randomly selecting Kentuckian Jim Davey (Norman Foster) to be the future Mr. Glory Eden. Fun here includes the immediate effort to manage the public image of this pawn.
Hilarity full ensues as our country cousin visits the big city for the first time. He and Glory hit it off well enough to have what may be the fastest courtship, engagement, and wedding in reel and real history.
Jim naively taking his new highly significant other at her word leads to giving her what she says that she wants; this, of course, leads to more trouble. Meanwhile, a rival corporate suitor is hoping to add Glory to its stable.
In the end, all involved take the path of greatest fulfillment, Discovering whether one can his or own wedding cake and eat it too requires watching the film.
The cliche about films with heavy erotic content steaming up a Valentine's Day strongly applies regarding the Breaking Glass Pictures DVD release "Male Shorts: International V1." This quintet of approximately 15-minute films provide equally artistic and erotic looks at the lives of 21st-century young gay men. This combination of elements makes "Shorts" a prime (but extreme) example of the edge that Breaking seeks in titles that it adds to its catalog.
An enticement to fans of erotic gay cinema that also serves as a warning to the feint-of-heart is that these explicit films include many muy caliente scenes.
Although all five films have strong merits, the two that (pardon the expression) play it the most straight succeed the best. "Just Past Noon on a Tuesday" and "The Storm" have the best narratives and get us to know and relate to the characters.
"Noon" has the most interesting premise of the films. The enlightened (but still-in-the-dark) sister of a gay man who dies of a drug overdose on a toilet in a bathhouse grants the guy who is a friend-with-benefits in polite circles and something else in less polite ones time alone in the penthouse of the deceased. Subsequent snooping results in finding the equivalent of the little black book of the deceased. This leads to a party complete with favors and bonding.
The equally aptly titled "The Storm" revolves around 20-something Leo being infatuated with a local weatherman to the extent of pleasuring himself during forecasts. A chance encounter with restaurateur Luca provides Leo with partial dream fulfillment. This night that is memorable both for the boys and the viewers leads to a not-unduly-surprise conclusion with good potential for a true happy ending.
"Neptune" provides the middle ground in that a gay man who becomes attracted to a fellow swimmer at a local pool does not allow that to slow down his copious individual and group sexual activity.
"La Tappette" is a largely silent depiction of the kinky sexual adventures of a young man; "PD" has a narrator recite Shakespearean sonnets to image of buff naked men in bucolic settings.
As indicated above, the common element of the films is copious male nudity that mostly is intended as an artistic statement. It further shows relationships that range from lust to love for gay men. Depictions of this ranging from new love that involves an explicit (but sweet) public display of affection to a bathhouse sauna session that quickly turns from a threeway to a fourgy.
The Mill Creek Entertainment January 8, 2019 DVD release "Secret Stories of Hitler" boldly goes where few have gone before. This 2-disc set includes a documentary that presents the titular leader as someone other than the most despised man of the 20th century.
A message that viewers MUST take away from the three films in this set is that even propaganda that supports your side is propaganda. Depicting Hitler as a nice and rational man who is kind to animals and small children should convince everyone to not believe everything that they see without checking out the facts from a source without a horse in the race. A related aspect is the even the most evil human has some redeeming qualities.
The highly controversial 1974 documentary "Swastika" is the highlight of "Hitler." This movie largely consists of footage from Nazi propaganda films and from home movies that First Frau of Nazi Germany Eva Braun shoots. A modern introduction by a former Harvard teaching assistant provides a good background on the film.
As MCE notes on the back cover of "Stories," the written prologue of "Swastika" clearly reflects the theme of this film. This prose partially states that "If Hitler is dehumanized and shown only as a devil, any future Hitler may not be recognized, simply because he is a human being."
"Swastika" opens with footage of shiny, happy urban newspaper delivery guys loading up their bicycles and pedaling their way through city streets; the images soon shift to arguably ironic footage of trains headed into the beautiful German countryside.
The rural folks include smiling milk maids and similar positive stereotypes.
One of the most surprising things about the subsequent footage by Braun that is interspersed throughout the film is that it is in color. It also is shocking to see Hitler always looking relaxed and mostly smiling; further, he almost always is in civilian garb.
This footage largely looks like any other home movie of that era and the decades that follow. Hitler is a jovial host at his country retreat. He is laughing and joking with the likes of Goering and Himmler. We also see Hitler seeming to enjoy talking with small children and playing with his dogs.
For her part, Braun looks and acts like any other woman of the era. She seemingly equally adores her dogs and Clark Gable and is very at ease among her notorious company.
It is even more shocking to see Hitler calmly delivering a rational speech to an assembled masses. There is none of the shouting, frantic gestures, and frenzied responses that characterize all Hitler speeches that probably every viewer has seen in archival footage.
A telling scene has Hitler criticizing Goering to other guests. However, he is cool and collected and is not ordering punishment.
Two segments in "Swastika" are the most blatant propaganda in the film. An interview with an American radio commentator has that man assuring German officials that folks over here do not believe the fake news about Hitler; this man goes on to pledge to set the record straight by broadcasting to America from Germany.
The scenes from "The Eternal Jew" are even more unsettling than the interview with the American. We first see heavily bearded men looking alien and menacing; we then see the same group seeming ill-at-ease after losing their beards and changing into mainstream clothes. The message is that Jews cannot be assimilated into the dominant culture. A similar scene issues a defiant challenge to prove that a single Jew has died during the rule of Hitler.
Horrific footage that will cause anyone with a soul to turn away from the screen at the end of the film both is more objective and puts the prior 90 minutes of "Swastika" in proper perspective, That brings things full circle back to the opening message that genuinely bad hombres can be difficult to identify until it is too late.
The bonus features also enhance understanding of "Swastika." One extra has the filmmakers discuss the nature of Nazi propaganda; this conversation includes noting the great extent of the censorship of that era. A highlight is footage that amazingly slips through a very narrow crack.
Another extra discusses Nazi propaganda expert Leni Riefenstahl. We first learn that this filmmaker gets more than a little uncredited help from her friends. We subsequently see that her claims of denial are far from plausible.
As other posts in the Mill Creek Entertainment section of this site does (and will) show, this month being a particularly busy one for MCE releases requires that a timely review of "Hitler" come at the expense of not watching the other documentaries in the set.
"Hitler: The Untold Story" seems particularly fascinating. This six-part series pulls the curtain back on the fairly well known progression of the rise to power by der Fuhrer. Similar to "Swastika," we see how maintaining a deceiving public image is critical to Hitler maintaining his status.
"U-Boats: Hitler's Sharks" focuses on the importance of the ocean in WWII. The intriguing perspective this time is speculation regarding the impact of an alternate history in which Hitler grants requests for additional submarines.
The importance of these documentaries and the materials that accompany them is a well-known adage that provides the best perspective of all; those who do not learn from history are condemned to repeat it.
CBS Home Entertainment honors the spirit of "sweeps" with the February 12, 2019 DVD release of the 1985 mini-series "The Key to Rebecca." Another awesome aspect of this one is that CBS seamlessly edits it into a movie without deleting any story footage.
A fascinating aspect of "Key" is the attitude of some Egyptians toward their British occupiers in WWII. The sense of the enemy of my enemy is my friend extends to choosing Nazis over the British Empire.
"Key" is a well-produced adaptation of a novel by acclaimed mystery/thriller/historical author Ken Follett. It occurs in WWII-era Egypt and largely centers around widowed American-born British intelligence officer Vandam, William Vandam. Cliff Robertson plays Vandam in this era of "Falcon Cresr" fame for Robertson
David Soul of the original "Starsky and Hutch" stars as Nazi spy Alex Wolff. He comes on the radar of Vandam after killing a soldier as part of his effort to maintain the covert nature of his activities.
The titular novel enters the picture (pun intended) as the basis for the titular cipher that Wolff uses to send messages to Rommel (Robert Culp). The related missions of Vandam are to apprehend Wolff and to obtain the aforementioned code.
Part of the intrigue relate to the central foes enlisting their own Mata Haris to further their goals; Vandam uses the desperate times of kept woman temporarily without a keeper Elene Fontana to coerce her into the desperate measure of befriending Wolff for the purpose of locating his lair.
Wolff is more insidious regarding his female partner. He enlists dancer Sonja El Aram to seduce a British officer; this provides Wolff a source of the material that he feeds Rommel,
This well-plotted cat-and-mouse game leads to a proverbial thrilling conclusion. Vandam already is highly frustrated regarding Wolff having barely slipped the noose several times and causing collateral damage on each occasion. Wolff making it very personal when the stakes are especially high further fuels the fire.
The "Key" appeal extends beyond a well-combined mix of elements; they simply do not make 'em like this anymore. As a starting point, WWII seems like irrelevant ancient history to many people. Second, it seems that the good story would not be enough to offset the minimal blood, gore, and sex to modern audiences.
CBS Home Entertainment and Paramount Home Media Distribution terrifically team up to bite the hand that feeds them regarding the February 12, 2019 DVD release of S1 of the Netflix series "American Vandal." This certified-fresh series satirizes fellow Netflix fare "The Staircase" and other true-crime series. A personal endorsement is staying up way past a personally imposed bedtime to find out "whodunit" in this amusingly compelling series.
Unintentional satire in "Vandal" is following the tradition of casting clearly post-adolescents as high-school students. Jimmy Tatro ("22 Jump Street") does well as literal prime-suspect Dylan Maxwell, but the series does not address why this 25 year-old is a a high-school senior. This is not to mention 26 year-old Calum Worthy ("Austin and Ally") in his hilarious role as disliked honor-student Alex Trimboli. For that matter, Worthy checks the box for the former Disney Channel star showing that he is all grown-up. Dez would never lie about Ally providing a "helping hand."
The following YouTube clip of a Netflix trailer for "Vandal" is almost guaranteed to make you laugh; an absolute guarantee is that the clips include more drawings of penises than any other promo. for any film or television series.
"Vandal" Creator Dan Perrault and Tony Yacenda demonstrate perfect instincts regarding setting a documentary series investigating a headline-grabbing crime at a high school.
The fun begins with the central offense being the hilarious prank of spray painting penises (a.k.a. dicks) on every car in the faculty parking lot on a day that there is no school because the teachers are at an all-day meeting, The Brett Kavanaugh confirmation hearings illustrate that the type of antics that relate to the vandalism OFTEN are entertaining and ALWAYS provide fodder for gossip girls and boys.
One spoiler is that the season-ending "Breakfast Club" epilogue comments on high-school culture. All students are subject to quick and permanent labels. This reinforces the larger concept that something traumatic that happens to someone else is devastating to them and hilarious to us.
A strong element of this is the epic high-school party that is discussed for the rest of the year. The relevant issues this time include how the claim of breaking a school drinking record affects the credibility of eye-witness Trimboli. We also see analysis of cell-phone footage that show conspirators plotting the evil deed.
The hilarious concept for presenting all this is AV nerd Peter Maldonado producing the eponymous documentary series; his dual objectives are to clear the name of Maxwell and to discover the actual culprit. Much of this consists with interviews with textbook (pun intended) stoner meathead Maxwell, whom Tatro perfectly plays. The DVD bonuses included must-see extended interviews with Maxwell and other equally funny talking heads.
Some of the best humor relates to Maxwell having tormented Spanish teacher Ms. Shapiro for years; this including the lad daily drawing a penis on the classroom whiteboard does not help his case. On a brighter note, this circumstantial (and circumcised) evidence also indicates that possibility of someone framing Dylan.
A related issue is Peter noting that the style of the penises on the whiteboards and on the cars have several differences. We further get a reconstruction that addresses the time required to spray paint a penis.
"Vandal" does an excellent job both with the pacing of the series and in keeping things plausible.To paraphrase P.T. Banum, no one ever went broke underestimating the intelligence of the American teenager.
The extra-credit aspect of "Vandal" is that is shows that hope remains regarding the quality of "single-cam" "modern" mockumentary television series.
Breaking Glass Pictures fills the need for a John Hughes style distressed teen in love with quirky outcast film in releasing the 2016 film "Honeyglue" on DVD and VOD on February 19, 2019. The scads o' festival love for this "The Fault In Our Stars" with a transvestite leading boy includes a Best Feature award at Cannes, an award at the Newport Film Festival, and the "Best Director Award" at the Orlando Film Festival.
The following SPOILER-LADEN YouTube clip of the "Honeyglue" trailer does a good job presenting the story and those who tell it.
Though Hughes films are the granddaddy of "Honeyglue," more recent (and edgier) "teens with cancer" dramedies such as "Me and Earl and the Dying Girl" and "The Fault in Our Stars" are the older siblings of this story of girl develops fatal brain tumor, girl meets girl/boy, girl and girl/boy live happily ever daily.
The hook this time is that the girl is a conservative suburbanite presumably with grades that are as good as her manners. The bad boy is a drifter with an incredibly troubled past and a desire to express himself that is as strong as the forces that seek to repress it.
Our modern-day Frankie and Annette Morgan and Jordan meet at a not-so-wholesome night club where they strike up a conversation. On Morgan asking a made-up-in-drag Jordan about his sexuality, he grabs a seemingly random guy to kiss full on the lips only to turn around and do the same to Morgan. Other symbolism
This quickly leads to Morgan unexpectedly meeting the parents sans wig and with minimal makeup but clad in a kilt. One spoiler is that Jordan portrayor Zach Villa, who aptly is starring in the stage production "For the Record: Dear John Hughes," is more appealing as a very pretty boy than a not-so-pretty girl. He can be considered a feminine and darker cousin to "Austin and Ally" star Ross Lynch.
On the same subject, Adrianna Mather plays Morgan. She does a good job playing a quirky "All Grown Up" Ally to Villa's Austin. Mather is also a Zombot co-owner and a producer on "Honeyglue."
The courtship of Morgan begins with a "winner-take-all" bet; this in turn leads to a wonderfully awkward 'za feast with the 'rents and hilariously hyper and goof bro Bailey. "Twilight" veteran BooBoo Stewart excels at stealing scenes in this role.
Discovering the advanced stage of the brain tumor in the noggin of Morgan prompts our lovers to accelerate said courtship despite the opposition to said plans. This leads to the cliched road trip (very much ala "Earl") that has enough twists and humor to make it interesting. Suffice it to say that Morgan is a particularly bonnie lass during this leg of her adventure with the kilt-wearing Jordan.
Like all films of this nature, reality crashes down on our pair near the end. The nice twist this time is that it reflects the truly fantastical nature of the soul of Jordan.
This being a film largely geared to teen girls, the symbolism of the title is blatant but effective. It relates to a wonderfully illustrated children's book that Jordan is writing. This tale tells of a very cute dragonfly boy who literally and figuratively goes to great lengths to woo the bee princess whom he loves. Both the tale and the drawings create a strong desire for a copy of this book.
Bird injects more subtle symbolism in manners that include other cliches in modern "cancer" films. One example of this is Jordan shaving his head in solidarity meaning more than support for Morgan losing hers.
On a more personal note, the quality of the film overcomes pre-viewing negative feelings regarding the transgender element in it. This aspect of society seems done to death and does not appeal to your not-so-humble reviewer. Instincts that "Honeyglue" is far more than a boy in a dress or a desire to fully become a girl enormously pay off.
'Rick and Morty' S1-3 DVD & BD: Emmy-Winning 'Back to Future' and 'Futurama' Mash-Up Is Fanboy Fantasy
The Adult Swim/Warner Brothers separate February 12, 2019 DVD and Blu-ray releases of S1-3 of the Swim series "Rick and Morty" provides a chance to ensure that you "get some" on Valentine's Day from the fanboy in your life. Discovering the full-sized collectible poster is even more exciting than finding a toy in a cereal box.
This brainchild from Dan Harmon of "Community" fame and Justin Roiland of the kinder and gentler ready-for-primetime Cartoon Network series "Adventuretime" essentially transports Doc. Brown and Marty McFly from "Back to the Future" to the more subversive and surreal world of once Cartoon Network staple "Futurama." The strong "screw you, Leonard" vibe of "Rick" provides much of the fun.
A weekly mission substitutes for the concept of a delivery on "Futurama." The concept of benign or hostile aliens threats bringing mankind on the brink of destruction remains the same, IMDb describes "Rick" in more general terms by stating that it is about "the exploits of a super scientist [Rick] and his not-so-bright grandson [Morty]." Roiland successfully pulls off a MacFarlane by voicing both leads.
The Ricktastic accolades begin with a 9.3 IMDb rating and a 97-percent Rotten Tomatoes result. IMDb also lists "Rick" as the Number 9 Top-Rated Show; "Seinfeld" and "The Twilight Zone" do not make the Top 10. The 14 official wins include the 2018 Emmy for Outstanding Animated Program.
The its funny because its true concept of "Rick" is that Rick Sanchez is a brilliant inventor but a barely functional alcoholic and lousy grandfather and father; this is not to mention a largely unrepentant scoundrel who would sell his mother just for the fun of it. His two creations that primarily facilitate the aforementioned escapades with emotional dim-bulb Morty are a flying car that is capable of space flight and a portal gun that creates wormholes to other dimensions.
The rest of the story is that S1 begins a year after Rick moves in with daughter/horse surgeon Beth Smith (Sarah Chalke of "Roseanne" and "Scrubs.") The abandonment issues of Beth are behind condoning her father repeatedly causing destructive chaos in their home and even more frequently putting her son and other family members (including herself) in harm's way.
The dysfunction continues with wimpy unemployed advertising guy Jerry (Chris Parnell) showing that the mushy apple does not fall far from the worm-infested tree. Hilarity often ensues as Rick gleefully emasculates the purported man of the house. We also are regularly reminded that our not-so-happy-couple results from a portal-gun wedding after Jerry knocks up Beth with oldest sibling/typical big sister Summer (Kelsey Grammer daughter Spencer Grammer).
The bigger picture is that "Future" fans will see elements of the McFlys from that franchise in the Smiths. A related cool note is that a comment by Roiland in a two-part "Origins" home-video special-feature notes that he gives Morty at least a semblance of testicles to avoid him entirely being the bitch of his grandfather.
This family dynamic provides the fodder for the best "Rick" episodes. A personal fave has Rick bringing Beth and Jerry to an alien marriage-counseling center. The therapy there includes outfitting each spouse with a device that physically manifests the image that that person has of his or her significant other.
Hilarity ensues with Jerry conjuring a vicious heartless monster version of Beth, and she shows that she views her husband as a slug. Those creations breaking loose and wreaking havoc is not even the end of the story. The Smiths are left to fend for themselves against their own worst enemies. The outcome that reflects that love conquers all is not much kinder or gentler.
A similar episode has Rick paying the price for extreme measures to avoid a family counseling session, Suffice it to say that he finds himself in a constant pickle while proving that he remains a bad ass regardless of what he faces.
We also get Rick and Morty dropping off Dad at a very customized alien daycare center, the family surviving by discovering that any happy memory is false, and an especially hilarious Christmas episode in which Jerry learns that his parents have a new special friend; the fact that his dad primarily is a spectator further reflects the dynamic of our central family.
Another highlight takes the hackneyed concept of a love spell gone wrong to an awesomely extremely perverse level. Rick trying to help Morty "court" dream girl Jessica quickly gets out of bounds to the extent of creating an aforementioned world-threatening sitch. The manner in which Rick resolves this is one of the most dark and cynical in television history; it also reminds us that everyone is disposable.
Roiland and Harmon also especially delver regarding the season-ending cliffhangers. This begins with an S1 season finale that has Rick and Summer gang up against Morty to throw initially separate wild parties while the 'rents are away. Suffice it to say that rowdy teens and quirky aliens have plenty in common.
This leads to Rick using his tech. to provide plenty of time to rebuild the house before Jerry and Beth walk in the door; the rub is that squabbling that skips a generation brings the entire universe on the brink of destruction.
The S1 finale also sets the stage for the epic S2 season-ender. The family attending a wedding with a tie to the aforementioned festivities leads to one of many cases in which it seems that Rick will be held accountable for his crimes against humanity and seemingly every other species in parallel dimensions. This leads to a hilarious battle of wills in which Rick once again shows that lacking much of a conscience while also not hesitating to exploit the vulnerability of an enemy is effective. It also allows this madman with an evil mind to face off against his foes that comprise the Council of Ricks.
The epic S2 season-finale has the president (who clearly is not Trump) call in Rick and Morty to exterminate an alien in the White House. Rick adopting an extreme "Screw you, Leonard" attitude of course makes a bad situation much worse. We simply will need to wait for the S4 premiere sometime in 2109 to see how things fully shake out.
The copious home-video extras extend well beyond the aforementioned "Origins" feature. We get commentary and animatics for every episode, deleted scenes, a look at Parnell rocking it during a recording session, and other treats.
Speaking as someone who has not pooped his pants for at least a year allows assuring fellow grown-ups that the Disney Junior January 22, 2019 DVD release "Playtime With Puppy Dog Pals" will delight you as much as any toddler in your life. The warning this time is that the insidiously infectious theme song with the the lyrics "Pu pu pu puppy dog paaals; arf, arf, arf arf" is highly addictive. The tune that features "we're goin' on a mission; goin' on a mission" that virtually every episode features comes a close second.
This release follows the reviewed "Puppy Dog Pals: Going On A Mission" that includes the first several episodes of this current Disney Junior network series for kids 2 AND UP.
The simple but brilliant concept of this cousin of "The Secret Life of Pets" is that the titular animated (in both senses of the word) canines are adorable grey pug Bingo and his equally cute tan pug brother Rolly, so named for his addiction to puddles of both the water and mud variety. They live with sweet-and-kind inventor Bob (creator Harland Williams), indulgent but not-so-sweet cat Hissy, and hyper-active robot dog A.R.F.
The two cartoons in each episode typically begin in the morning as Bob is heading off to work. Something minor usually goes awry; this prompts the boys to discuss how to put right what once went wrong and then execute their plan. An example from "Playtime" is Bob having a string of bad luck leads to Bingo and Rolly researching good luck charms. This results in the pups going to Ireland in search of a four-leaf clover. The fun of this outing and all others is that our heroes accomplish the mission that often brings them abroad and make it home before an oblivious Bob returns from toiling at the cubicle farm.
Our scuba doggies go down under in both senses of the word to dive around the Great Barrier Reef after a package for Bob gets lost in transit; an especially cute fresh-water mission has the boys trying to recover the favorite fishing pole of Bob from a scavenger/hoarder snapping turtle. The pugs take to the water one more time to rescue new family addition Olivia the fish after her bowl accidentally becomes air-borne.
The good folks at Disney Junior enhance the fun of the above escapades and a few more (including a visit from the fang fairy and an adventure puppysitting a large dopey mutt) with bonus episodes that feature the new girl-next-door Keia. The fun begins with Bingo and Rolly looking for their new gal pal after she goes off the leash and wanders off. This is not to mention helping Keia find a unicorn, and our new trio dealing with a party gone out-of-bounds that brings down the dog house,
The fun continues with a series of "Playtime" shorts that revolve around the recreational activities of our pugnacious leads and their party animal friends. A raucous pool party is the best, closely followed by an effort to build a play set.
The appeal of all this relates to the joyful silly fun to which all dog lovers can relate. The elan of Bingo and Rolly is incredibly infectious.
'Antonio Lopez 1970 Sex Fashion & Disco' DVD: Documentary on Clothing Artist Drawn to Models & Designers
The Film Movement February 12, 2019 DVD release of the 2017 documentary "Antonio Lopez 1970 Sex Fashion & Disco' gives the general populace a chance to catch this groovy flick that is the January 2019 selection of the exceptional Movement Film of the Month Club. Learning about the lives, loves, and lusts of the fashion world elites of the '70s is only the beginning of the fun.
The following YouTube clip of a trailer for this 2017 Doc NYC Grand Jury Prize winner clearly conveys the love by the numerous talking heads for Lopez. You also will see his bright and vibrant art that is sure to warm the hearts of those of us trapped in the polar vortex.
Filmmaker James Crump goes well above-and-beyond assembling the team of some that you recognize and some that you hardly even heard of to share their stories of Lopez. A sad aspect of this is that many notables in that group do not participate for reasons that include falling victim to what is known as the plague of the '80s. This film reminds us of the heavy toll that the early days of AIDS takes on the creative community.
Much of the film centers around recently deceased photographer Bill Cunningham, whose love for Lopez is especially strong. His narration provides a great deal of context that includes reminding us that artists such as Lopez transform the clothing industry from merely providing a means to hide our shame to haute couture.
At the heart of it, young Puerto Rican immigrant Lopez taking New York by storm is proof of the American dream. Current make-up artist Corey Tippin telling the tale of a being a student in a college course of Lopez and quickly being singled out to come to the front of the room to model is one of the more interesting stories in the movie that is bursting with fascinating accounts.
Tippin immediately becoming an intimate of his professor in every sense of both terms illustrates a prime theme of "Antonio." This era of free love allows everyone to express physical desire for anyone else regardless of gender, race, ethnicity, or consenting student/teacher relationship. A talking head aptly notes that this period is more liberated than our currently enlightened society.
Lopez himself is worthy of a Hollywood biopic; his individual exploits include finding a cross-dressing male street-corner prostitute to step in when a dress does not fit a model. We also learn that his charm and drive allow him to literally simultaneously "make love to" men and women and leave all emotionally and physically satisfied. This includes boyfriends who can be considered life partners by multiplying the length of the relationship by the magic number of seven that applies to both forms of dogs.
The discussion of the group actually known as "Antonio's Girls" further reflects the broad (no pun intended) taste of Lopez. These women include then-models and subsequent actresses Grace Jones and Warhol discovery Patti D'Arbanville. We also hear from Jessica Lange, who immediately captivated Lopez and can thank him for setting her on the path to fame.
One of the more interesting stories is that of 17 year-old Texan Jerry Hall bursting on the scene, Hearing her peers discuss her exuberance and her embracing her new-found wealth and celebrity is very interesting. All of this occurs before Hall marries Mick Jagger and then moves on to her current status as the trophy wife of Silver Fox Rupert Murdoch.
Speaking of Warhol, we learn about his relationship with Lopez; hearing about these men dividing up the counter-culture elites of New York is hilarious,
The subsequent pairing of Karl Lagerfeld when Lopez et al move to France is equally interesting, Learning about the phallic manner in which Lagerfeld subsequently treats Lopez is not surprising but is distressing, The principle here is that particular intimate acts especially entitle you to reasonable consideration regardless of the degree of love associated with said activity.
The biggest lesson in all this is that some people truly lead extraordinary lives that warrant documentaries and biopics. This is a good perspective for folks who think that starting a fast-food chain or inventing a mop warrants a movie.
This is not to mention all the people who think that starting a recycling program at their high school qualifies them for a Nobel Prize. Those with exceptional talent, a strong work ethic, and genuinely noteworthy experiences are our true American Idols.
Having stated that, Crump is invited to reach out to me if he wants to make a documentary about a guy who has not made a penny writing about vintage movies and TV shows, indie films, and boutique hotels for 13 years. :-)
A happy coincidence regarding writing this review of the Icarus Films February 5, 2019 DVD release of the 2017 Bullfrog Films documentary "Free Lunch Society" the day after Martin Luther King Day is finding a quote from King on the DVD back cover, This statement is that "the solution to poverty is to abolish it directly by a now widely discussed measure: the guaranteed income."
Filmmaker Christian Tod clearly is on Team MLK; Tod entertains and educates as he shows how a few communities have taken the concept of money for nothing (but not chicks for free) to heart to varying degrees.
The blanket tax refunds during the George W. Bush years provide the proverbial bigger picture here. it is difficult to imagine someone not liking getting a check in the mail, and having a little money either to help with the bills or simply to "treat yo self" always is a good thing. On the other hand, these handouts are a factor regarding the current huge federal deficit.
Going back further in time, advocating teaching someone to fish rather than giving him or her a trout has merit, Aptly going deeper, this works best when all have equal access to the fishing hole.
The first general caveat that must be considered before learning more about this social experiment is that even propaganda that supports your view still is propaganda. A related truism is that there is your side, my side, and the truth.
Much of the focus of the film is on the efforts in Germany to literally share the wealth. A very high-profile advocate of this is drugstore king Gotz Werner. We also meet Michael Bohmeyer, who uses a combination of crowdfunding and Oprah to distribute 1,000 Euros each month for a year to folks who literally get it for being at exactly the right place at the right time.
Moving closer to home, Tod discusses the Alaska state government distributing pipeline profits to the people, The rationale here extends beyond spreading the wealth to compensating the victims of the collateral damage from the project.
The scope of the "Society" also encompasses the history of consideration of widespread handouts by the U.S. federal government.
The numerous talking heads provide copious data regarding the extent to which these programs trigger sloth by recipients of the oft-mentioned bounty. A look at how hitting a jackpot affects lottery workers provides a good indication of the impact of streets paved with bronze.
Although Tod does not address this point in-depth, a classic sitcom once again provides particularly apt insight. A scene in an episode of the '60s fantasycom "I Dream of Jeannie" has master Tony Nelson finishing what he thinks is the latest in an eternal string of free lunches. This astronaut crashes back to earth on learning that the titular genie does not conjure up all of his delicacies out of thin air; she buys some of the gourmet goodies from the local grocery store, and the bill has just come due.
Fans of companion show "Bewitched" likely recall many occasions on which Madman Darrin Stephens must take money from the household budget to remedy harm from witch wife Samantha irresponsibly twitching her nose, Having to buy an electric garage door is only the tip of that iceberg.
A much latter episode of "Jeannie" makes another relevant point. The newly wed sprite is very proud to present her husband with a roomful of items purchased on credit, The lesson here is that you do not pay for such luxuries today but do pay tomorrow.
The DVD bonuses include "Free Lunch Society" hosted by Christian Tod and promo. videos.
The strongest endorsement of the Lionsgate February 5, 2019 DVD & VOD releases of the 2018 season of "Power Rangers Super Ninja Steel" is that these 22 episodes will delight current fans and bring all other viewers into the fold. Two of thees outings being the Halloween and Christmas specials is a bonus. The non-parental warning is that you will feel compelled to shout the catch phrases "Its morphin' time!" and “Ninja Rangers fear no danger!”
Depending on your perspective, "Super" either is a spin-off of the (reviewed) reboot "Power Rangers Ninja Steel" or the second episode of that series. This continuation of the titular superheroes battling monsters from outer space has our team facing a franchise quarter-life crisis that revolves around preventing villain du season Madam Odious from obtaining their power-granting stars that are made from the titular substance.
The above heavy praise for "Super" relates to this series expanding beyond the "Ninja' concept of a new big bad being sent to earth ultimately to have the rangers hand his or her butt to him. An adventure that one ranger aptly describes as "epic" has the nicest kids in town join forces with their predecessors from other "Rangers" incarnations. This group essentially must battle itself (and then some) to prevent worlds literally colliding.
All this fun begins with this somewhat diverse group of shiny happy teens learning what seems to be an increased number of "Saved By the Bell" morals. Additionally, these life lessons seem to be more fully integrated in the nemesis of the week.
A prime example is borderline farmboy Calvin (Yellow Ranger) lying to girlfriend Hayley (White Ranger) about not forgetting their anniversary helping fuel the power of the latest creature bent on the destruction of the team. This experience convinces Calvin that honesty is the best policy. He later learns the wisdom of "be cool, stay in school."
A similar episode has a monster getting the rangers and their fellow Summer Cove High students addicted to a video game that fuels his mojo. We also get the amusing cliche of the group being zapped onto the home turf of this evil entity.
The change-of-pace episodes include the rangers teaming up with a literal space ranger. The mission that they choose to accept is to capture an alien fugitive, An "I fought the law, and the law won" joke is one of the most cool references in "Super."
Some of the above-expressed enthusiasm relates to the escapist joy of "Super" during a period in which it seems that Odious controls the weather. A massive snow/sleet storm immediately followed by a flash freeze, a winter hurricane, several days of heavy winds, a polar vortex, and blinding snow squalls just does not seem right.
The prominent aspect of time travel in the Virgil Films documentary "Outatime: Saving the DeLorean Time Machine" excuses writing about the July 2016 DVD release of this film in February 2019. The starting point (no pun intended) is the Unreal TV post on the FANTABULOUS limited-edition Flux Capacitor Blu-ray set of the "Back to the Future" Trilogy.
The below YouTube clip of a trailer for "Outatime" wonderfully expresses the infectious and/or highly relatable elan of the restoration team. This is especially true regarding those of us adequately ancient to get hooked on the "Future" franchise during the initial releases of the films.
The relevant detour into Blogland begins with being relatively bored when a friend invites me to see "Future" at a second-run theater. The exceeded expectations are indescribable.
The noteworthy memory regarding "II" relates to needing roads where I am going to see it on the premiere date. Said driving surfaces being very snowy and icy to the point of still going despite repeatedly skidding out and getting stuck in snowbanks greatly speaks to the love of the franchise. The strong reaction (complete with a hand gesture) to the cliffhanger at the end also reflects the extent of the obsession with the adventures of the original "Rick and Morty."
This equally entertaining and educational documentary begins with a behind-the-scenes look at the role of the car/time machine in the films; this goes on to the tragic tale of Universal Studios initially leaving the flagship "A" car completely exposed to the elements for years and then not doing much better by merely putting it under a carport. This mistreatment exposes the car to weather-related harm and pilfering by fans. Literally leaving the key in the ignition is a Biff move.
The most interesting talking head from this portion of "Outatime" is the '90s-era studio portrayor of time-machine inventor Doc Brown. This eye witness provides an awesome "you are there" perspective; this is not to mention his perfect impression of the unique voice of that character.
This background information sets the stage for the central story of the film; Project head/compulsive taskmaster Joe Walser and his volunteers have one year to restore what is beyond a s**tbox to perfect working condition. Walser DEMANDING even that screws that no one will see and that aluminum tubing that hugs the car be 100-percent authentic illustrates his virtually impossible standards and the incredible tolerance of his crew. One can be certain that no strawberries are pilfered in the course of this project.
Much of the humor of the film relates to a strong sense that Walser should surrender regarding some battles. This includes having the team strip black paint off a once-silver piece of the car. Using the original paint to restore the "factory" appearance of the part is within the realm of reasonableness; having the unpaid workers with a challenging deadline remove the black paint is one of many instances in which one wonders if Walser constantly washes his hands and regularly worries if he has turned off the lights and unplugged the iron before leaving home.
Fanboys also will rejoice regarding the active involvement of "Future" co-writer and producer Bob Gale; his important contributions include using his star power to persuade fans with "borrowed" parts to donate them to the cause. Though the "owner" of a critically important component of the DeLorean pulls the phallic move of making Team Walser literally bid on that part, a not-so-guilty confession is that the group would have been SOL if your not-so-humble reviewer had anything from the car.
One of the more insightful segments relates to the fan favorite "Mr. Fusion" component. We learn about the legacy of Universal sloppily improvising after the original prop goes missing. The rest of the story is the amusing manner in which the team improvises after the fan who has this piece of film history does not return it.
The suspense throughout "Outatime" extends well beyond whether our band of brothers can recover the original components or perfectly replicate them; we get caught up in them meeting their deadline just as much as we root for Marty McFly to get the DeLorean up to the magic 88 m.p.h. in time, The modern quest being a real story creates a possibility of a lack of a Hollywood ending.
The copious DVD bonuses include filmmaker Steve Concotelli hosting the world premiere of "Outatime" at a place with a strong connection to the "Future" franchise. We also get deleted scenes and an epilogue to the restoration story.
The readily-available vintage Warner Archive DVD of the 1955 action-adventure period-piece "Moonfleet" (1955) is a wonderful Band-aid for what ails most of us during our winter of extreme discontent. The bright and wide CinemaScope format greatly enhances this atmospheric piece set in the titular community on the moors of Dorsetshire.
Fritz Lang ("Metropolis") utilizes his off-beat style very well in this Dickens/Stevenson tale of orphaned boy John Mohune going to Moonfleet to start a beautiful friendship with Jeremy Fox (Stewart Granger), who has a history with the mother of the boy. Although not explicitly stated in this '50s film, there is little doubt that the fox made his way into the hen house and that John is the product of that welcome incursion.
The opening scenes have John walking the moors in search of his new life; a fright for both him and the audience leads to his waking up in a tavern surrounded by a motley crew. The dashing upper-class Fox soon arrives on the scene and takes control.
We soon see that the road that is Hell on which to ride on is paved with good intentions as Fox has the lad shoved into a carriage and shipped back to civilization, The manner in which Fox describes the intended schooling of John is hilarious. Our excitable boy will have none of that and escapes.
The journey continues as John arrives at his ancestral house that Fox now owns. The debauchery that the once heir to the manor witnesses furthers his education. Suffice it to say, Fox is not pleased to see this minor inconvenience.
The Robert Louis Stevenson vibe is particularly strong as an eerie night-time wandering by John leads to his literally stumbling into the lair of a group of smugglers. Learning the extent to which this activity hits home is the first shock for our boy; finding himself without an immediate exit strategy is the next.
Additional harrowing events lead to a father-figure and son treasure hunt that they hope will go well. This involves bonding that extends beyond the divorced dad staple of a round of mini-golf. Nothing strengthens family ties more than fleeing from Redcoats.
Fox subsequently taking a powder is slightly surprising; his return is not, but does lead to another surprise. The two lessons are that a leopard cannot change his spots and that you sometimes must be cruel to be kind in the right measure.
The recent Warner Archive Blu-ray of 1941 Hitchcock film "Suspicion" reinforces that The Home Video King of Classic Movies and The Master of Suspense is a match made in cinephile heaven. This tale of the rushed courtship of sheltered heiress Lina McLaidlaw (Joan Fontaine) and shillingless playboy Johnnie Aysgarth (Cary Grant) joins the growing listing of Blu-ray Hitchcock titles in the Archive catalog. The loving restorations alone justify adding these releases to your collection.
A personal cool aspect of this release is noting the same points that Robert Osborne and other film historians state in the documentary "Before the Fact" Suspicious Hitchcock" that is a Blu-ray extra. This feature also tells about the member of the Hitchcock family who plays a supporting role in "Suspicion."
"Suspicion" comes on the heels of the reviewed Archive release of the aptly titled Jane Wyman film "Stage Fright" in which Hitch has director's remorse regarding a Moby-Dick sized red herring. Other notable Hitchcock films that Archive has adopted include the (reviewed) "ripped-from-the-headlines" Henry Fonda film "The Wrong Man," and the (also-reviewed) "I Confess" that has Montgomery Clift playing a priest who is facing the prospect of letting a murderer escape the earthly consequences of his act. Whether God will get either man for that remains unknown.
Our leads are strangers on a train when they meet; steerage passenger Johnnie sneaks into the first-class carriage in which Lina is riding. Learning that he lacks the funds for the upgrade is the first of several red flags in their relationship.
The paths of Johnnie and Lina cross again during a hunt; the latter soon getting a wake-up call regarding her spinsterhood causes her to latch onto the first gigolo that crosses her path.
The honeymoon period ends on the couple moving into their showplace on returning from their post-wedding trip, Lina learns that Johnnie plans to live large on her nickel. One challenge is that the family fisc is smaller than assumed.
Johnnie continues to show his true colors in ways that include digging his debt hole deeper, continuing to gamble, and getting caught with his hand in the company til. Lina discovering all this on her own does not help matters.
Mounting evidence that includes a friendship between Johnnie and murder-mystery writer Isobel Sedbusk is pure Hitchccok in that it increases the titular response in Lina regarding her belief that Johnnie intends to get a divorce by poison. This element of the film puts an amusing spin on the adage about not buying the cow when you can get the milk for free.
Another fun aspect of "Suspicion" involves having Nigel Bruce of the "Sherlock Holmes" films of the era play long-time Johnnie friend Gordon "Binky" Cochran Thwaite. Bruce does his usual good job playing the good-natured sidekick; he also holds himself very well regarding Grant.
All of the action climaxes with Lina reasonably believing that she is facing imminent mortal danger; This scene with Johnnie shows why he and Fontaine get the big bucks. In true Hitchcock style, the plausible conclusion will surprise you.
The combination of quality source material, a skilled director behind the camera, and a talented ensemble easily earn allay any suspicions that this movie is an outdated production that is not worthy your time in 2019.
Mill Creek Entertainment goes fully old school regarding the January 8, 2018 2-disc DVD release "The Laurel & Hardy Comedy Collection." This extensive set of team and solo shorts and feature films illustrates how these film pioneers influence many duos who follow on the large and small screen.
A recent post on the fantabulous theatrical film "Stan & Ollie" expands on this theme of the legacy of the duo.
The scope of these 24 classic performances include the first pairing that has a sinister-looking Hardy appear in the 1921 Laurel short "The Lucky Dog." This early silent has Laurel starring as a recently evicted tenant who soon becomes the companion of the best friend of man; pure vaudeville ensues in the form of the character whom Laurel portrays inadvertently thwarting the hold-up by the Hardy character. Further hilarity ensues as the Hardy character attempts to recover his ill-gotten gain.
The 1943 color short "The Tree in a Test Tube" is an amusing pulp non-fiction PSA in which Laurel and Hardy discover that a surprising number of household goods are made of wood. We get another alternative format in home movies that show the pair clowning around with the children of Laurel.
A highlight is the classic feature-length film "The Flying Deuces." This one has a lovelorn Hardy get his buddy Laurel to join the French Foreign Legion to help the rotund Romeo forget a broken heart. The boys soon realize the reality of their situation and that walking away is less easy than expected. Of course, hilarity ensues in manners that include making authority figures look foolish.
The lesser-known feature "Utopia" from 1951 is darker and more cynical than "Deuces." This arguably reflects a belief that the fans of the team are a little older and interested in a story line that reflects that maturity.
"Utopia" commences with Laurel and Hardy travelling to London to collect an inheritance of Laurel; the pile of cash quickly diminishing because of taxes and fees is the first bit of "adult content" and recurs during the film.
Hilarity fully ensues as the team and two disenfranchised men hit the high seas en route to the tropical island that is part of the aforementioned legacy. A series of unfortunate circumstances lead to a shipwreck that reminds us that the legacy of the team includes Gilligan and the Skipper.
As oft is the case, a dame who is seeking her own escape from the civilized world coming on the scene creates mayhem. The quartet of men vie for her affections in oft desperate manners. Subsequent arrivals create more complications and hilarity.
The best part of all this is that this MCE release reflects the original mission of Unreal TV; this objective is keeping classic films and television programs in the public consciousness. It sadly is likely that this review is the first that those of the generation that reserve actually making a telephone call to dire emergencies have ever heard of the guys who set the standard for team comedy.
The numerous delights associated with the 2018 BBC Films biopic "Stan & Ollie" that is enjoying a current limited run in North America makes it tough to select an apt starting point. The strongest endorsement for this film is that this tough audience who likely never laughs at a movie and only occasionally smiles laughed out loud at least three times during this one.
An early detour is calling attention to a post on the very funny Mill Creek Entertainment DVD set "The Laurel and Hardy Collection."
One "Point A" is that this tale of the desperate times of the titular comedy team leading to the desperate measure of a 1950s stage-tour of the U.K. evokes strong memories of the "Trip" films of Laurel portayor Steve Coogan with fellow funny guy/actor Rob Brydon. That comic documentary series has Coogan and Brydon entertaining each other and the audience as they take restaurantcentric extended road trips through places such as Italy and Spain. Their dueling Connerys in what is recalled to be during the "Italy" film is hilarious.
Coogan trades in Brydon for Hardy portrayor John C. Reilly this time around. The strong performance of Reilly and his mastery of the comedy style of Hardy makes up for his recent film pairings with Will Ferrell.
The starting point for "Stan" is a dressing-room conversation during the filming of the 1937 Laurel and Hardy film comic western "Way Out West," This figurative form of pillow talk immediately verifies that a comedy team is like a married couple. Stan is expressing concern regarding both the romantic life and the heavy gambling of Ollie. This exchange includes the very Cooganesque line in which Stan advocates not bothering to marry and simply giving someone whom he hates a house.
A more serious topic sets the stage (no pun intended) for the rest of the film. Stan expresses a centuries' old criticism of capitalism in complaining that producer Hal Roach is horribly exploiting the team by making a fortune off of their films and not paying them very much. This leads to learning about the personal politics of Roach.
A confrontation with Roach prompts the first of many "TV Land" thoughts. Stan walks out on Roach and expects that Ollie will follow suit. However, Ollie stays behind and works with an ersatz Stan.
This development evokes thoughts of an episode of "The Dick Van Dyke Show." Head writer Rob Petrie (Van Dyke) walks out over a conflict regarding his work. Although Rob expects that his team/close friends Buddy and Sally will join him, they stay behind. Comic anger ensues.
A related note regarding Van Dyke is that he befriends Laurel in the early '60s and studies under him.
The action in "Stan" then shifts to the aforementioned tour around which most of the film revolves. The objectives of this venture include giving Ollie much needed money and helping the team revive its popularity in order to make a planned "Robin Hood" parody film a reality for these men in tight spots.
This portion of the film strongly relates to the "Happy Days" empire of super-producer Garry Marshall. On the broader level, the genius of Marshall includes his reasoning that a show that is made in the '70s but set in the '50s never looks dated. This is one way that "Stan," like its subject, is eternal.
A narrower perspective relates to the failed "Days" spin-off "Joanie Loves Chachi." Referring to the well-publicized romance and subsequent break-up of stars Erin Moran and Scott Baio, Marshall notes that making the show is tough when Joanie no longer loves Chachi. The same principle clearly applies regarding the comeback tour of Laurel and Hardy.
The first laugh-out-loud moment comes when our boys do a bit with the bell on the front desk of a hotel. This reinforces the principle that something unexpected is funny and the recent comment by comedy legend Carol Burnett (who currently is touring) that funny always be funny. The more narrow focus this time is the HILARIOUS YouTube video of the two cats sitting side-by-side and using their paws to ring a bell so that they will get a treat,
The pure genius of both the source material and Coogan really comes out in a scene in which the unexpected truly is not anticipated. We see our Balki and Cousin Larry dragging a heavy trunk up a long stairway at a rail station. We instantly know that the trunk is going to fall back down the stairs; Ollie asking Stan for the time at the top of the stairs tells us how the trunk will fall.
Stan sadly looking down at the trunk on the platform below and essentially saying fuck it in a much kinder and gentler manner is where the genius enters the picture.
We additionally see the boys onstage doing a bit in which Stan accidentally puts on the hat of Ollie; a moment in which Ollie shows great exasperation but switches the hats himself makes you feel as if you are watching the '60s versions of Laurel and Hardy Gilligan and the Skipper doing their thing.
A moment in which a dejected Stan is reminded that Abbott and Costello have absconded with his career is not worth more mention than that. A scene in which Stan comments to Ollie outside a hotel that "the girls" are due to arrive is noteworthy for evoking thoughts of Art Carney and Jackie Gleason in "The Honeymooners." A bit of wife swapping occurs in the form of lanky funnyman Stan having a tough and flinty Russian wife and rotund straight man Ollie having the more ditzy and mousy spouse.
All of this climaxes as Stan picks the wrong time and place to vent long-restrained resentment. This threatens the previously successful detente between the men. One could fully expect that to be the end of Laurel and Hardy.
The nature of the subject requires that the show goes on. The enhanced manner in which the guys take more than one for the team further enhances the sense that a comedy team is analogous to a married couple. You may not always like your strange bedfellow, but you always love him or her.
The nature of the 2018 first season of the Showtime dramedy "Kidding" makes this multi-level post on the CBS Home Entertainment January 29, 2019 S1 DVD release apt. On the surface, Jim Carrey stars as Jeff Piccirillo, who has spent 30 years playing beloved PBS children's show host Mr. Pickles. Also on the surface, Pickles of "Mr. Pickles Puppet Time" is a manic-depressive version of Mister Rogers.
Digging a little deeper, "Kidding" can be considered an unofficial sequel to the 1998 Carrey film "The Truman Show." That film centers around Carrey character Truman Burbank, who has an existential crisis on obtaining increasingly convincing evidence that he literally is living in a controlled environment. The smoking gun that proves that just because you are paranoid does not mean that no one is watching comes in the form of Truman unknowingly having spent virtually all of his life on a huge sound stage where his literal life story is filmed and used to entertain the viewing public.
A deeper level is Jeff and Truman both being modern versions of the Peter Sellers character Chauncey Gardener in the MUST-SEE 1979 comedy "Being There." Like the post-show Truman, Gardener (nee Chance the gardener) gets thrust in the real world. The rest of the story is that the cultured and educated members of society unwittingly embrace the wisdom of a fool.
One can easily imagine the naive and naturally cheerful and upbeat Jeff being the man whom Truman becomes on joining society. It is equally plausible that the tragedy around which "Kidding" S1 centers would affect Truman in the same manner that it impacts Jeff.
Another deeper layer relates to the issues of preserving a valuable image and the need for all concerned to realize that a celebrity has a public self and a separate private self. The analogy this time comes courtesy of a wonderfully cheesy television movie about the making of the '70scom "The Partridge Family." The suits get upset when a cover of Rolling Stone magazine shows a little skin below the waist of series star David Cassidy. The execs comment that Keith Partridge does not have pubic hair, and the actor playing Cassidy responds that Cassidy does.
The following YouTube clip of a "Kidding" trailer reinforces the above impressions. It also highlights the wonderful trademark quirkiness of this latest addition to premium channel dramedies.
The Showtime/quirky cred. of "Kidding" begins with it being from the mind of Dave Holstein of "Weeds" and "Raising Hope." The indie cred. includes executive-producer Michael Gondry once again teaming with "Eternal Sunshine of the Spotless Mind" star Carrey. In front of the camera, Judy Greer plays separated spouse Jill and Catherine Keener plays beard/ Jeff sister/puppet creator Deidre. Justin Kirk of "Weeds" plays Jill love interest Peter.
Although the narrative begins with Jeff and beloved puppet Uke Larry appearing on "Conan" to discuss "Puppet Time," our story commences with events that occur exactly one year earlier. A distracted Jill is driving squabbling 11 year-old twins Will and Phil when a truck broadsides their mini-van. Phil dies in this accident.
Jeff separating from Jill is the primary outward collateral damage from the death. The plot thickens in the present as the increasing angst of Jeff prompts him to proportionately advocate for a "Puppet Time" episode on death. Father/producer Seb Piccirillo (Frank Langella) strongly opposes that idea. His motives extend beyond freaking out kids to having concern about the ongoing financial viability of the series.
The rest of the story is that Seb is recruiting Deidre to work with him on plans both to further profit from the current incarnation of "Pickle Time" and to phase Jeff out from the production. A hilarious sub-plot has skater Tara Lipinski playing Mr. Pickles in an ice show. Suffice it to say that someone goes for her jugular regarding that venture.
We also get Will becoming part of a bad crowd and Diedre daughter Maddy regressing, The latter largely is due to the deterioration of the marriage of Diedre after she learns that her husband has been tickling the ivories with the male neighborhood piano teacher. A clarinet v. piano conversation regarding this story line is a hilarious version of the oysters and snails exchange in "Spartacus."
All of this comes to a head when Jeff uses a live-TV opportunity to state just about everything that has been restrained since the accident. The manner in which the tension is immediately broken arguably is the best moment in any of the 10 S1 episodes.
Suffice it to say that everyone is wiser and understands the people in his or her life better at the end of S1. The problems are that no one seems much happier and at least one character bounces before the S2 premiere later this year.
The DVD bonuses begin with separate segments on Jeff and his family. CBS saves the best for last in presenting the hysterical "How "Kidding" Came to Be" in the stop-motion animation style of the opening credits and a few scenes.
The awesomeness of the beautifully remastered Warner Archive January 15, 2019 Blu-ray of the 1963 Paul Newman drama "The Prize" begins with this release adding another Newman film to the Archive catalog. This inventory includes the (reviewed) "Harper" and the (also reviewed) "Drowning Pool" series in which the salad-dressing king plays gumshoe Lew Harper.
This film based on an Irving Wallace novel also is a perfect example of a Hitchcockian Cold War era movie. This comparison begins with Newman playing rugged everyman/Nobel Prize winning novelist Andrew Craig getting in over his head (pun intended) due to a series of unfortunate circumstances.
60s sex-kitten Elke Sommer fills the role of a Hitchcockian blonde who becomes the partner-in-crime-solving of the leading man. The credits of screenwriter Ernest Lehman including the 1958 Hitchcock film "North by Northwest" further contributes to the Hitch cred. of "Prize." You will want to keep your eyes on this one.
The Cold War element comes courtesy of fellow Nobel winner German physicist Dr. Max Stratman (Edward G. Robinson) not seeming to be himself during the festivities related to the Nobel ceremony. The plot thickeners include current American Max having worked in his native country (for a stated good reason) during WWII. His clandestine meeting with a former colleague and other indications of nefarious doings contribute to the sense that something is rotten in the state of Sweden.
The "Grand Hotel" vibe begins with "Prize" centering around the stays of Andrew, Max, their fellow Nobel winners, and the companions of those folks who are the top members of their professions, The Grand Hotel hosting this group seals the deal even more than an amusing Greta Garbo joke with which Newman runs.
The following YouTube clip of the '60stastic trailer for "Prize" highlights all the above elements in a manner that screams for watching the film.
Sommer plays local handler Inger Lisa Andersson, who finds "problem child" Andrew far more than a handful. This hard-drinking womanizing cynic makes it clear that the cash award is the only prize that interests him.
Andrew divides his romantic pursuits between Inger and Max niece Emily (Diane Baker). Emily almost literally is the girl-next-door but may be far less pure than she seems.
The rest of the gang includes married French scientists Denise and Claude Marceau, who amusingly lack any chemistry between them. Claude keeping his beautiful "secretary" in an adjoining room prompts Denise to dictate to Andrew.
The game fully gets afoot when a puzzling remark by Max triggers the spidey sense of Andrew; this soon leads to our hero obtaining solid proof of an evil plot. Of course, no one believes him.
The lukewarm pursuit sends Andrew to a private sanitarium and then hilariously seeking cover at a meeting of a nudist group; this being a '60s Hollywood film precludes getting a glimpse of Butch Cassidy and the Sundance Kids.
This leads to Inger Lisa fully becoming a pawn in the intrigue; the ensuing rescue attempt involves a good mix of cunning and brute strength, This leads to a wonderful scene in which it is clear that Andrew does not have a gun in his pocket but is glad to see Inger Lisa.
Of course, the Nobel ceremony provides the setting for the climax of "Prize." Andrew predictably saves the day, but the truly surprising twists at the end deserve a revered place in Hollywood history. This verifies that "Prize" is much more original "Manchurian Candidate" then "White House Down."
CBS Home Entertainment scores a touchdown regarding releasing the complete-series DVD-set of "The Game" on January 29, which is the same week as the Super Bowl. This multi Image Awards winning series that features aging San Diego Sabers team captain Jason Pitts is very apt at a time that real-life New England Patriots QB Tom Brady may be putting his soft balls in his locker for the last time.
The disclaimers regarding the following thoughts on this release begin with not having previously watched this series or "Girlfriends," of which it is a spin-off. Further ignorance relates to only having time to watch roughly 40 or the 147 episodes in this set and also having virtually no knowledge of football. The better news is that none of this is a handicap regarding enjoying the hilarity and associated trauma and drama of "Game."
A related perspective is this New Hampshire boy initially hearing the term "homes" as "Holmes" and believing that the term refers to an intelligent person. He is not very fly even for a white guy.
Knowledge does include executive-producer Kelsey Grammer having extensive familiarity with one popular series leading to another success.
This American version of the British series "Footballers Wives" centers around three women and their men. The "Girlfriends" tie-in relates to Melanie "Med School" Barnett (Tia D. Mowry) of that series sacrificing studying at Johns Hopkins to attend a San Diego university. Her motive is standing by her man Derwin Davis, who is a Sabers rookie.
The S1 and S2 drama of this couple largely centers on the challenge of taking one for the team. Derwin initially struggles to find his place on the Sabers in every sense of that term; he then must deal with all the temptations associated with fame and fortune as well as regularly preserving his male pride.
Much unintended humor relates to first-year med. student Melanie almost always looking well groomed and rarely looking tired. This is not to mention that numerous times that she ditches studying to party with Derwin or even fly to an away game. The impact of the demand to keep up with the other wives and girlfriends is a regular source of conflict.
Bi-racial player Jason (Coby Bell) is married to white former cheerleader/current heavy social drinker Kelly Pitts. The charm and humor of Bell makes Jason the most appealing character of the primary sextet.
Conflict in this marriage that is due for a seven-year itch includes multi-multi-millionaire Jason being comically frugal. We also see the strain that this and other demands place of Kelly, who becomes a woman on the edge of a nervous breakdown.
A "Meet the Parents" episode that explains the income insecurity of Jason nicely makes that character more human. Less sympathy relates to his concern regarding his days on the gridiron being numbered. It seems that retired star players easily transition into a combination of coaching jobs, acting careers, sportscaster gigs, and/or lucrative endorsement deals,
The least likable couple is star QB Malik Wright and his mother/manager Tasha Mack (Wendy Raquel Robinson). Malik is a stereotypical fool who considers himself a playah, but whose game is limited to the one on the actual field. This portrayal evokes thoughts of the performance of Jimmie "J.J." Walker on the '70s sitcom "Good Times" causing fellow cast member John Amos to quit that hit series.
Tasha is a stereotypical sassy woman who works her way up from the streets after becoming an unwed mother at 16.
An S2 episode in which Malik continues digging his hole deeper after making an offensive joke about inner-city teens selling drugs is a good example of his personality; for her part, Tasha is ready for a fight at the drop of a feather.
Armchair quarterbacking begins with stating that the concept of "Game" is solid. It gives the general public insight regarding a world that is foreign to many of us. Focusing on the wives and girlfriends allows us to meet the women behind the high-profile men. It is nice to think that the highly significant others of real-life players support each other as much as the Sunbeams help the Sabers women.
Further, the first few S1 episodes particularly avoid standard sitcom plots; no one needs to keep a dinner for the boss from becoming a catastrophe or must work through a wacky misunderstanding. An amusing aspect of this is that this observation comes just before watching an episode in which Jason and Kelly fight regarding whether to throw their young daughter a lavish birthday party.
"Game" does put a nice spin on the absurdly expensive kids' party plot; the drama that often enters each episode includes Kelly feeling both that she always must play the mean parent and that Jason uses this celebrity status in his campaign to be considered the nice parent.
The numerous bonus features include the "The Game" episode of "Girlfriends that is a pilot for our series. We also get two interviews with "Game" creator Mara Brockk Akil and several deleted scenes. This is not to mention a feature on the series transitioning from the CW to BET after the third season.
The recent Cinema Libre Studio Blu-ray release of the 2016 biopic docudrama "Nelly" contributes to the pile of proof that truth often is more entertaining than fiction, One also wonders why this tale of titular call girl Nelly Arcan is not as large of an international phenomenon as her inaugural novel Whore. One further speculates about the preparation of star Mylene Mackay, who does a superb job,
The following CLS trailer for "Nelly" nicely illustrates the "Hannah Montana" aspect of the life of Nelly; we further see that she would be happy to be Jackie. A personal bonus is the final line in this trailer providing an awesome elevator speech.
In typical docudrama/biopic fashion, we meet Nelly as an awkward teen performing at a school talent show before watching her show off skills that she develops later in life. A "losin' it" scene is one of the best in the film and drives much of the action.
We also see Nelly sitting at (as opposed to laying on) a desk as she works on the aforementioned book. Her inner monologue shows that the theme of a blurred line between truth and fiction extends to her work.
Nelly experiences a dream-come-true for every aspiring writer when a publisher enthusiastically responds to Whore. That book subsequently becoming one of the hottest pieces of prose out there brings things to the next level.
The emotional issues with which Nelly is dealing explains why she does not quit her day job. Her increasingly playful therapy sessions are highlights in the film.
Witnessing the occupational hazards that Nelly experiences reminds us that working girls do not have it easy. Even finding a man, who may no longer be paying for the milk, wanting to put a ring on it has complications., This is not to mention the guy who likes to play rough.
The trauma related to the oldest profession takes its toll on the writing career of Nelly; the public not being as eager to buy what she is selling is an apt metaphor for her other career,
The conclusion is not surprising, but the manner in which it occurs is unexpected. This further puts a human face on practitioners of a trade on which society frowns, Very few of us even think that these pros can form a coherent sentence.
The bigger picture is that "Nelly" reminds us that we really do not know the "stuff" with which one must deal with in his or her life and what is going on in their head. The grass (or ass) may seem greener on the other side but usually is not.
The TLA Releasing DVD of the 2018 film "Boys" once again proves that gay-themed films can have broad mainstream appeal. This mixed coming-of-age and belated quarter-life crisis tale of everyguy Jonas largely is relatable to males all along the Kinsey Scale of sexual orientation.
The timelines of "Boys" alternate between the present in which Jonas is an early-30s Grind'r slut with a long history of hooking up with Mr. Right Now that is catching up with him and his mid-teens in which he is coming to terms with liking other boys "in that way." An incident in the present often triggers a flashback that helps fill in gaps.
The true beginning of our story is the first day of high school for freshman (in both senses of the word) Jonas. Comparable to many gay-themed coming-of-age films, the ninth-graders are gathered for an opening of the academic year assembly when new boy in school Nathan makes a grand entrance. Of course, he and Jonas lock eyes.
This leads to older-man Nathan manipulating things so that he and Jonas share a desk in their history class; this involves an interesting bros before hos conflict that is relevant to the present of Jonas.
The friendship without benefits between Jonas and Nathan goes to the next level when Nathan the corrupter convinces a willing Jonas to sneak a smoke and a smooch. This leads to a very cute romance complete with at least partial parental approval.
Meanwhile in the present, Jonas is released from police custody only to find that his live-in boyfriend is less-than-pleased to see him. This leads to Jonas finding himself homeless but not himboless.
The well-crafted extended climax (no pun intended) commences with Jonas seeking shelter at a local hotel. The cute and seemingly flirty desk clerk creates expectation of a room-service scene; however, what unfolds is much more compelling.
We learn that the desk clerk is correct in stating that he and Jonas have a history; these boys heading out for an evening of fun does end up with Jonas waking in a strange bed with no idea of where he is; stating that he subsequently experiences a walk-of-shame is a tremendous understatement.
This leads to the final pieces of the puzzle coming together in a manner that fully ties together the past and the present. We learn about how Nathan becomes the one who got away and hope that Jonas gets a variation of a second chance with him, Minimally, the aforementioned "morning after" provides our boy a wake-up-call that has potential to fully transform him from boyhood to manhood.
The most awesome part of this is that the closing scene that provides the sense of redemption also symbolizes recapturing lost innocence.
Random Media reinforces its love for the offbeat regarding the January 15, 2019 VOD & DVD releases of the 2018 musical dramedy "Tommy Battles the Silver Sea Dragon." This tale of a 20-something (director/writer Luke Shirock) Walter Mitty with more issues than The New Yorker pulls off the tough trick of making a highly experimental film a delight. An even more notable aspect of "Tommy" is that it proves the merits of filmmaking that honors the tradition of valuing art over commerce.
Personal appreciation of "Tommy" relates to its similarities to all-time fave "Colma The Musical." That one has recent high-school grads in the titular working-class suburb of San Francisco sing and dance as they deal with poseurs and other harsh realities.
The following YouTube clip of a "Tommy" trailer highlights the surreal vibe that runs throughout the film; this promo. also demonstrates how this movie can be considered "Law and Order Rock." This is not to mention the glimpse of a hilarious scene in which Tommy turns a thrift store into his playground.
The symbolism in this mostly sung flick begins with the opening images of a full-frontal Tommy walking out of the ocean; his clothes magically fly to him and perform a reverse Full Monty.
The action takes off a few minutes later when a sleeping Tommy is awoken and quickly dragged Gestapo-style out of his home. He then is thrown into the stereotypical black sedan where he is driven to a court building for a perp. walk followed by the commencement of a trial for the murder of his ex-girlfriend Carolyn. The singing prosecutor, the warbling defense attorney, and the jury being a literal chorus provide the smoking gun that we are in for a wild ride.
Conflicting evidence regarding Tommy having accidentally shot his brother several years early provides solid proof both that we cannot believe everything that we see and that the subconscious mind of our main man drives much of the action, Subsequently learning about the real life of this reel character explains the confusion.
The presentation of evidence rehashes the course of the Tommy/Carolyn relationship from their cute meeting at the prom, through their impromptu "Young Hearts" fleeing from their childhood home, to their honeymoon period, and then to the stage between love and goodbye. This leads to the final exit that is the center of the judicial proceedings.
The nature of this nightmare dreamscape makes the heavy psychological elements very apt. It also reminds of the extent to which our childhoods shape us.
The narrative technique of making this a musical is equally appropriate. As folks who are familiar with the genre know, this form of expression typically expresses strong emotions such as the ones that Carolyn heading out into the city triggers in the man who is not deaf, dumb, or blind regarding this development.
As stated above, Shirock hits all the right notes in presenting this story in this manner. It is unlikely that you will find another quite like it and definitely not one that succeeds any better.
The good news is that anyone reading this post on the recent Warner Archive DVD release of the Gary Cooper/Patricia Neal 1949 drama "The Fountainhead" is at least a potential juror regarding the unusual level of preaching regarding the philosophies of your not-so-humble reviewer and of controversial author/screenwriter Ayn Rand. A related note is that the following takes a much more bloggy approach to the topic than is typical for this site. However, better understanding the relevant concepts requires the personal touch.
The bad news is that Archive shows a limited lack of integrity in not releasing this well remastered black-and-white film in Blu-ray. Director King Vidor ("Stella Dallas") tremendously channels Orson Welles in the use of contrasts, shadows, grand sets, and other Kafkaesque elements. This screams for a format that fully showcases this artistry.
Rand being the GOP elephant in the room requires dealing with her first; many people dislike her harsh personality and hard line regarding standing strong and independent; the rest of the story is that she merely calls for a valiant effort to support yourself before relying on the kindness of strangers. Regarding her stern personality, she simply can be considered a right-wing Hillary Clinton or Notorious RBG.
A related note that segues into "Fountainhead" is that central character architect Howard Roark (Cooper) takes self-reliance to an degree that exceeds the requirements of Rand. This man of integrity is down to his last $14.67 when a successful "sell-out" colleague offers a loan that is absolutely no sacrifice to that creditor. Roark declines that offer and subsequently takes a hot and grueling job in a granite quarry.
Roark (and Rand) strongly speak to me because this talented architect finds himself below the poverty level only because he refuses to compromise his integrity. I would not continue writing about "Fountainhead" and other limited-interest releases if the cost of that work included banging away in a quarry (or working at Wal-Mart), but I pay a price both for what I review and how I operate my site.
Just as Roark openly admits his desire for earning a good living, I would love to have more top releases interspersed among the art-house fare about which I write. I also would like to have my very respectable (and valued) readership grow to the point that equally respectable (sorry, Bezos) companies would advertise on my site. However, I feel very strongly about not directly or indirectly buying readers. I think that my posts are informative and entertaining and remain hopeful that more people will discover them and come on board simply because they value my content.
The many woes regarding the corporate site that recruited me in 2006 to write about my field of graduate study and then allowed me to start a section that "examines" TV on DVD developments includes the blatant way that that site inflates numbers. Writers are constantly told to have social media followers simply click on a post and to tell those followers that they do not need to read the content.
A little closer to home, I have a nice online friendship with an intelligent and well-educated guy who is a true blogger. Like me, he writes well and has an interesting perspective. Unlike me, he essentially prostitutes himself in recognition that sex sells.
The social media activity of my peer heavily focuses on his sexual adventures. He also regularly either posts about plans to upload revealing photos of himself or actually shares those images with the world. A recent example is a selfie in which this man is nude and standing in front of a bathroom mirror; the sink blocks everything right below his trimmed short and curlies. Just the other day finds him groping himself inside his designer unmentionables.
For the record, such a revealing photo of your not-so-humble reviewer would drive away the relatively small population of current supporters. Similarly, it is irrelevant 9.9 times out of ten what I am doing or wearing while watching a review DVD; the same is true regarding with whom I am watching the program or film. Such information is shared only in cases such as "Fountainhead" in which it is highly relevant to the topic.
Finally getting down to the film itself, the philosophy of a friend puts the story in perfect context. This belief is that arrogance is not arrogant if adequate talent supports this 'tude.
The opening scene has Roark being ousted from architecture school for refusing to conform to the norm; we then see him receiving similar treatment in the office of eccentric innovative architect Henry Cameron. Cameron does relent and provide Roark (hopefully) gainful employment.
We then catch up with a struggling Roark several years later with the aforementioned pittance in his pocket and colleague Peter Keating offering the loan. This coincides with Roark being offered a job that provides fame and fortune. His refusal to agree to demanded design changes leads to his pulling a Flintstone.
Meanwhile, socialite/newspaper columnist/Keating fiancee Dominque Franchon (Neal) is fending off the civilized advances of boss/tabloid New York Banner publisher Gail Wynand (Raymond Massey). The stresses in her life drive her to the country estate of her father.
It is lust at first site when Franchon finds a sweaty and muscular Roarke in the quarry near the estate; her intentions and clumsy ruse to get him in her bedroom being transparent do not prevent the pair delivering a very steamy love scene by 1949 standards.
Franchon and Roark ultimately return to the real world. Their lives become fully entangled when a series of circumstances lead to Franchon marrying Wynand, who is oblivious to the history of his wife and his architect when he hires the latter to design a house that is a tribute to the tribute.
Another source of drama relates to prissy Banner architecture columnist Ellsworth M. Toohey having a figurative (if not literal) hard-on for Roark. The nature of this animosity is the film-long theme of the refusals of Roark to conform to the norm and to compromise his integrity for the common good. His designing a luxury apartment building at a time that many people struggle to find decent affordable housing is one pretext for this smear campaign, In other words, Toohey is asserting that the needs of the many do outweigh the needs of the individual.
The extended climax awesomely includes Toohey admitting his covert evil scheme. These concepts that you should not believe everything that you read and that even propaganda that supports your side still is propaganda is highly relevant in 2018.
Meanwhile, Roark agrees to be the ghost architect for Keating on an affordable housing project. Anyone capable of deducing who is the villain in a "Scooby-Doo" episode can predict Keating caving regarding a demand to change the design. This leads to a highly symbolic well-known scene in which Roark demonstrates the extent to which he will protect his integrity.
This turmoil leads to an apt Mexican standoff that is comparable to the current government shutdown; Wynand essentially must decide whether is on Team Roark or Team Keating. An element of this is facing the consequences of creating a monster in a couple of senses of that word.
In what seemingly is obligatory for most movies of the '30s and '40s, the climax includes a highly charged courtroom scene. Of course, Roark makes an impassioned speech, The possibility that the integrity of Rand wins out over the demanded norm of a Hollywood ending leaves the conclusion in doubt until the judge declares the judgment.
The Shout! Factory DVD release of "Ernie Kovacs: The Centennial Collection" continues the long Shout! tradition of paying homage to The Golden Age of Television; this proud history includes complete-series releases of "The Goldbergs" who precede Lucy and of the hilarious "Dobie Gillis." That early sitcom about an all-American teen boy launches the careers of Warren Beatty, Tuesday Weld, and Bob Denver.
Kovacs is a true pioneer television pioneer, who can be considered an early version of a late-20th-century public-access star or an early-21st-century YouTube notable who achieves mainstream success. Shout! awesomely goes incredibly above-and-beyond to make rare material from every stage in the career of Kovacs available.
As the back-cover of this nine-disc set states, "Centennial" gathers the previously released Shout! collections of Kovacs material. This synopsis describing this material as "groundbreaking, rule-breaking, surreal and charmingly silly comedy" hits the nail squarely on the head.
The following YouTube video of a Shout! promo. for "Centennial" consists of hilarious clips that demonstrate the humor of Kovacs.
The incredible bonanza of year-end home-video releases is a primary culprit regarding only watching the "The Early Years" disc in "Centennial." The better news is that this leaves the remaining eight discs to savor on a later date.
The best news is that the wonderful bonus features on this disc including Carl Reiner posthumously inducting Kovacs into The Television Academy Hall of Fame provides a cheat-sheet in the form of a solid summary of the roughly 10-year career of a man who is truly is ahead of his time.
The Reiner tribute notes that Kovacs begins his television career at NBC Philadelphia affiliate WPTZ. Learning that writing and appearing in several television programs each day requires a 15-hour daily schedule arguably makes Kovacs the hardest working man in show biz during that era. These programs include "It's Time for Ernie" and "Kovacs on the Corner."
One difference between this work of Kovacs and the mother of all '50s comedy "I Love Lucy" is that reel Kovacs enthusiastically has real-life spouse Edie Adams appear in the act.
"Time" particularly highlights the way-out bizarre humor for which Kovacs is well known. A skit that an episode in "Centennial" includes has this man of numerous faces contort his features during a lesson on adjust the settings on a television. Another episode in either "Time" or a very similar program features Kovacs dragging a facsimile of a dead body down a city street.
"Corner" is more polished than "Time" and is of more a variety format that includes special musical guests. We also get everyday folks in what seems to be a regular segment. This consists of two persons exchanging junk with the hope that they end up ahead of the game.
The included "Corner" episode perfectly illustrates this early-age of television for reasons that extend beyond the general format. We get an epic moment in which Kovacs perfectly ad libs when a piece of scenery collapses during his broadcast.
The treats on the rest of the chronologically organized discs include an episode of the ready-for-prime-time "Kovacs on Music," episodes of his odd game-show "Take a Good Look," and five ABC specials. We further get the unaired pilot of the comedy-western "Medicine Man" in which Kovacs and Buster Keaton co-star.
As alluded to above, Kovacs is special because he is one of the first to take general humor and improv. to the next level. We arguably can thank him for folks such as Jonathan Winters and Winters devotee Robin Williams. Less thanks is due regarding the "Jackasses" who take advantage of the low-cost of public-access cable and later no-cost YouTube to inflict the same buffonery on their communities and the world that previously was limited to their buddies.
All this boils down to "Centennial" allowing modern audiences to revel in the guy who was the first (and the best) regarding not being afraid to go there,
Unreal TV 2.0 evolves from http://classictvdvdreviews.blogspot.com/ (which stillis up.) Both sites are labors of love dedicated to preserving the golden and silver ages of television and film and celebrating new content that values art over commerce. The same principle applies regarding boutique hotels.