Warner Archive awesomely illustrates the positive evolution of Hollywood films regarding gay-themed stories with the November 7, 2017 DVD release of the 1997 dramedy "Love! Valour! Compassion!"
As the text on the DVD back cover notes, the secret to Terrence McNally bringing his Tony-winning play to the rainbow screen is reuniting the band back and having Jason Alexander join the group as stereotypical middle-aged queen Buzz, whose quirks include believing that virtually every celebrity is gay.
The warranted comparisons to "Golden Pond" and "The Big Chill" prove a primary point of "Love!" and other modern films centered around homosexual characters; boys who like other boys (and girls who like other girls) have the same highs and lows as everyone else. The biggest difference (especially until the recent past) is that estrangement from relatives, the AIDS crisis, and remnants of discrimination that include marriage inequality contributed to gay men like those in the play bonding in groups such as the one around which the film centers.
Gregory is the center of the group in that he is their common thread and owns the country house in New York state where they gather over Memorial Day, July Fourth, and Labor Day one summer. Gregory is a successful middle-aged choreographer and is the partner of younger and cuter blind legal assistant Bobby.
The standout in the cast is John Glover ("Smallville"), who plays aptly surnamed twins John and James Jeckyll. Accompanist pianist John is the unlikable pity friend of the group. He primarily is invited along out of sympathy for not having any place else to go for Memorial Day weekend. His bringing along hunky 20-something Latino dancer boyfriend Roman, who is not shy about stripping down to skinny dip and sunbathe, likely plays a role in this pair returning for the other two weekends.
Kind and gentle AIDS patient James Jeckyll comes on the scene on the Fourth of July; his sweet nature and strong contrasts with his brother quickly earns him the hearts of the gang; this leads to an unlikely (but tender) relationship with incestuous elements.
The remaining boys in the band are long-term couple/business consultants Arthur and Perry.
The Memorial Day weekend sets the stage (no pun intended) for much of the drama to come. The largest theme is the AIDS crisis, which divides the gay community as much as it does this group. Some members feel that it is important to discuss this, and others want to pretend that this horrible disease does not exist. The positive members of the group fear what is to come, and those who are negative still dread the worst.
Everyone in the group regularly thinks of people whom they have lost. An powerful aspect of all these elements is a character expressing resentment toward monogamous couple Arthur and Perry being spared the disease and these men responding in kind.
This weekend also involves an illicit tryst with a highly symbolic act related to the practicality of crying.
The second act over July 4th lets the audience and the characters catch up on the developments (including fall-out from Memorial Day) of the roughly six months since their last gathering. This also involves Bobby experiencing trauma to which most people can relate.
The end-of-summer third act includes much more symbolism as we learn a great deal about the fates of the men and they essentially cleanse their sins.
Mill Creek Entertainment wonderfully puts the camp back in summer with the June 4, 2019 pristinely remastered Blu-ray double-feature "Mindwarp (1992) and "Brainscan" (1994). The leitmotif is a virtual-reality experience gone horrifically wrong.
MCE chooses well in pairing these films; the common themes extend well beyond the VR element, and viewers aptly are promised a total of approximately three-hours of escapist fun that lacks a dull moment.
"Mindwarp" is the darker of the two films; it occurs in a post-apocalyptic era in which elite Inworlders (a.k.a. Dreamers) never venture out and spend most of their time in their ideal virtual worlds ala "Ready, Player One."
A quarter-life crisis for 20-something Judy kicks things into high gear. Tired of living a fantasy, she wants real-world experience. This results in her being thrust into the "Mad Max" badlands beyond her safe space. This not-so-teenage wasteland is populated by not-so-teenage mutant warriors known as Crawlers, who are hunting the most dangerous game.
Last-minute salvation arrives via Stover, who is a typical grungy hero played by Bruce Campbell (""Ash vs. Evil Dead"). Their honeymoon period is very short-lived thanks to a Crawler raid on Chez Stover.
Judy becomes a somewhat honored guest of the Crawlers, and Stover is treated more like a host., Both get an up-close-and-personal look at how the Seer operates things; the pair further get a sense of how all things are relative,
A way-cool aspect of "Mindwarp" is how it shows that VR tech. can create an "Alice in Wonderland" or "The Wizard of Oz" existence, This continues through to the awesome twists at the end.
"Brainscan" is the more campy of the two films and looks and sounds especially good in BD. Additionally Edward Furlong ("Terminator 2") contributes a strong '90s vibe in his portrayal of teen gamer Michael.
Michael truly is the victim of a bad influence when slacker best bud/fellow slasher film aficionado Kyle induces him to try the titular new CD-Rom game. Each of the four discs essentially arriving in a
plain brown wrapper adds to the nostalgic fun. This is on top of the film being a Tipper Gore caliber commentary on the evils of computer games.
It is all fun-and-games at first when Michael virtually becomes the killer in the first round of the game. This perspective puts the teen in control as the victim gets the Lizzie Borden treatment; the rude awakening the next morning is that the stiff is a real murder victim.
Michael also soon learns that accepting the terms-and-conditions of the game invites the mischievously evil The Trickster into his life and home in a manner reminiscent of both "Weird Science" and "Poltergeist."
The Trickster becomes an even worse influence than Kyle in that he compels his new minion to continue a killing spree to avoid ending up in juvie. This includes a few felonious acts that hit close to home.
The rest of the story is that police detective Hayden (Frank Langella) is having increasing interest in Michael as a person. Much of this relates to the theory that the perp. always returns to the scene of the crime.
The real fun begins when The Trickster fully involves the literal girl-next-door in the fun-and-games. This leads to Michael having to make another in a series of very tough choices. This is not too mention all this occurring at a time that the figurative noose is tightening around the neck of our excitable boy.
The first big finale twist shows the extent to which The Trickster is phallic; the next one fully proves that boys will be boys.
As indicated above, lovers of good bad-movies cannot ask for anything better than this double feature.
The accolades for the remastering of the Warner Archive June 25, 2019 Blu-ray release of the 1944 Oscar-winning Ingrid Bergman and Charles Boyer classic "Gaslight" is that it goes beyond looking and sounding pristine to having visual depth that rivals that of 4K. Praise for this masterful production of a live-stage hit is that even cinephiles/veteran Blu-ray reviewers can mistakenly recall this George Cukor as being a Hitchcock film.
Hitchcock blonde Ingrid Bergman EARNS her first of three Oscars for her spot-on portrayal of naive and vulnerable newlywed Paula, who falls victim to the long-game plan of scoundrel Gregory (Charles Boyer) if that is his real name.
Other notable casting includes a 17 going on 18 Angela Lansbury playing cheeky maid Nancy, the thoroughly delightful Dame May Whitty playing daffy elderly neighbor Miss Thwaites, and Orson Welles entourage member Joseph Cotten playing Scotland Yard detective Brian Cameron with at least one form of personal interest in the perils of Paula.
The following YouTube clip of a "Gaslight" trailer PERFECTLY captures the 1895 goth vibe of the film,. This promo. strongly suggests that the film could be titled "The Bride of Jack the Ripper,"
As real-life (and equally attractive) Ingrid Bergman daughter Pia Lindstrom reminds us in a MUST-SEE modern behind-the-scenes BD onus feature, the legacy of "Gaslight" includes that term still being used to refer to someone trying to make us think that we are crazy. Minimally, all of us have had someone insist that they repaid an unsatisfied debt or that the now-gone last can of a highly desired beverage in the refrigerator was never there,
The bigger picture is that studies and anecdotes prove that we and the highly significant others in our lives do not fully show our crazy until a ring has been put on it.
A shamelessly shilled 1946 radio broadcast in which Bergman and Boyer reprise their roles provides yet another compelling reason to add this release to your home-video library.
Our prologue consists of the sensationalism in the immediate wake of the brutal murder of the opera-star aunt/guardian of Paula in her London home. The conclusion is that this killing is collateral damage in a failed burglary to purloin exceptionally valuable jewels.
The rocks remain unaccounted for when we catch up with our Victorian-era Patrick Dennis a decade later. Paula is in Italy studying with a maestro, but her new romance with Gregory is creating a sour note.
The audience is much more woke than Paula regarding her new husband soon manipulating her into moving into the long-shuttered scene of the crime that she fled 10 years earlier. An early bit of gaslighting involves a smoking gun that is very obvious even by "Scooby-Doo" standards.
The gaslighting and associated emotional abuse quickly escalate to the point that Paula is convinced that the gaslight in the fixtures lowering and raising and the things going bump in the night are all in her head. Lindstrom shares the lengths to which Mom goes to make that aspect of the performance convincing.
EVERY cat who has fallen on the floor while rolling over during a nap and every human who has had his or her stupidity thrown in his or her face can relate to the feelings of Paula when Gregory viciously berates her for the mishaps that befall her.
Meanwhile, Brian is monitoring developments and protecting Paula to the legally allowed limit. Nancy is becoming increasingly brazen in a manner that suggests that she soon will be the harlot of the house.
All of this climaxes in true Hitchcock fashion as every loose end is expertly wrapped up. However, this being a British film creates the possibility that there will not be a Hollywood ending.
The recent Olive Films Blu-ray release of the gay-themed dramedy "Partners" is a great example of the '80slicious titles that comprise a significant percentage of the Olive DVD and Blu-ray catalogs. The brat pack classics "Class" and "Making the Grade" are two of scads of bodacious examples of these films.
The following YouTube clip of the "Partners" theatrical trailer nicely showcases the early '80s style of the film, the good performances, and the era-appropriate humor.
"Partners" takes a nice twist on the odd couple theme by pairing hunky homophobe cop Benson pair with closeted desk jockey officer Kerwin for an undercover mission in West Hollywood to investigate the murders of young gay men. Dreamy funny Ryan O'Neal and very talented John Hurt play Benson and Kerwin respectively.
Veteran gruff character actor character actor Kenneth McMillian, who perhaps is best known as rough but kind costume shop owner Jack Doyle on the '70s sitcom "Rhoda," shines as the stereotypical commanding officer of the pair. His threatening to put police detective Benson back in uniform and on the beat in the worst part of the city and his aggressively pushing a very insecure Kerwin out of the closet to get the men to work together are highlights.
The comedy cred. of "Partners" relates to James Burrows, who is behind "Rhoda" and too many other to mention classic sophisticated '70s and '80s sitcoms, directing the film. The street cred. comes from having Francis Veber, whose gaycom credits extend well beyond "La Cage Aux Folles" and the "Folles" American cousin "The Birdcage," scribe the film.
The early scenes in "Partners" have Benson and Kerwin set up housekeeping in a West Hollywood apartment building. Benson stereotypically hurls slurs at Kerwin and is otherwise brutal. The submissive manner in which Kerwin reacts both reflects the less accepting '80s regarding alternate sexual orientations and is a perfect analogy for the verbal abuse that many black people passively accepted for years before expressing their own well-deserved pride.
Other outdated prejudice comes in the form of both Benson and the commanding officer of the team discount theories of Kerwin simply because he is gay, Anyone who has been in the position of knowing that he or she is right but cannot get people to listen can relate to this.
Benson getting his eyes opened on finding himself on the other end of sadistic gay bashing by the police is another positive message in an era in which even seeming to be gay can have serious negative consequences.
An unduly brief cameo by Jay Robinson as the old queen landlord of the boys is a real treat for fans of the Sid and Marty Krofft '70s Saturday morning show "Dr. Shrinker" in which Robinson plays the titular madman with an evil mind who is as crazy as you'll ever find. Being able to joke "so that's what happened to Igor" in response to the landlord sharing the tale of the end of a 20-year relationship is some compensation for his very limited screen time.
Much of the humor predictably comes from the assignment requiring that a devastatingly humiliated Benson wears revealing and/or fetish clothes and subjects himself to equally unwelcome groping by gay men. A particularly embarrassing bow-and-arrow "outfit" of an oiled-up Benson is a personal favorite.
Seeing Kerwin and Benson grow as a professional and a personal team is very sweet; one especially endearing scene has Benson express great delight in having Kerwin surprise him with a homemade gourmet feast to celebrate their one-week anniversary.
The supporting actors and the extras who play the members of the West Hollywood community representing a wide spectrum of the population is another awesome aspect of "Partners." A blond haired blued eye preppy who is attracted to Kerwin is one of the more likable secondary characters; others in the group are disco queens, leathermen, and just ordinary blokes.
On a larger level, "Partners" is very far from being a documentary on the Stonewall riots or other significant moments in gay history but does provide an entertaining history lesson on the attitudes toward gay people in the early days of the pride movement. The strong probability that many gay men did not see the film in the theater out of fear of being labelled as homosexual is an aspect of this. Olive allowing the men to buy the Blu-ray and throw a fabulous fondue party to watch it is a good thing.
Warner Archive aptly celebrates its 10th anniversary with the Perfect 10 June 11, 2019 DVD release of the 1937 Robert Young ("Father Knows Best") screwball romcom "Married Before Breakfast." This nicely remastered film goes beyond the typical Archive standard of showing that they ought still make 'em like that to being a movie that can be made word-for-word and shot-for-shot today and still provide roughly 90-minutes of quality escapist fun.
The following YouTube clip of this overlooked gem wonderfully highlights many of the copious Depression-era elements of the film.
Young plays inventive everyman Tom Wakefield, whom we meet on the brink of selling what he thinks is his perfected cream that removes facial hair without having to use a razor. As is the case in many of these films, his dreams are dashed just as he believes that he literally can make an honest buck and enjoy the lifestyle to which he would like to become accustomed while he is young (no pun intended) enough to enjoy it.
The rest of the beginning of the story is that Tom is engaged to practical June Baylin, who never has had to worry about from where her next gourmet meal was coming. She is standing by her man but strongly prompts an attitude adjustment.
The first of several nice twists comes when an outfield-adjacent angel tracks down Tom to offer him $250,000 in 1937 dollars for his invention. The faith of that investor in the ability of Tom to work out a figuratively fatal flaw is one of many feel-good aspects of "Marriage."
Our excitable boy then literally puts his fresh-off-the-presses nouveau riches to good use. He takes a large step toward making June an honest woman and bestows exceptional personalized largese on his landlady and his neighbors at his immaculate and well-run boarding house. He goes one step further in hiring Tweed the valet, whom Tom renames Senior for a reason that makes perfect sense in the context of the film.
The chance encounter that changes everything in every romcom occurs when Tom goes to a travel agency to book a honeymoon cruise. Agent Kitty (perhaps literally) going the extra mile to deliver the tickets leads to an overnight adventure that evokes thoughts of the 1985 Martin Scorsese dark-comedy "After Hours."
The genesis of this is Tom taking his he can't do a little because he can't do enough attitude to heart in trying to help Kitty overcome an obstacle that is delaying her marriage to insurance-agent Kenneth. The "sit" that drives much of the rest of the "com" in "Marriage" is that a promotion for Tom is conditioned on selling a policy to a very reluctant milkman named Mr. Baglipp.
Tom responds by pledging to get the milkman to deliver by getting him to buy a policy for which Tom will pay the premiums. The related promise is that Kitty will get the titular nuptials.
The adventure begins with a visit to Chez Baglipp; not sealing that deal despite a criminally diligent effort leads to an obsessed Tom dragging Kitty along on a crusade to convince Baglipp to purchase some "protection."
The too numerous to mention (and too amusing to spoil) misadventures begin with Tom renting a taxi for use in his plan. Before the sun comes up, Tom and Kitty will tangle with both cops and robbers as well as start a fire. This is not to mention taking a bus passenger for a ride.
Of course, Tom keeps putting off his increasingly angry fiancee throughout all this. As time goes by, it becomes clear that his odds for a June wedding are slim to none.
"Marriage" follows a wonderfully circuitous route to the courtroom scene that provides the setting for many a Golden Age comedy and drama. The icing on the wedding cake comes in the form of more action, adventure. and laughs that ensue after the judicial proceedings conclude.
All of these moving parts provide fun as to which boy (if any) will end up with which girl and if the good intentions of Tom will literally lead to his writing a check that he cannot cash.
It is equally valid to say that "Married" has a dull moment and will leave you wanting more,
The too-numerous-to-mention Warner Archive Blu-ray and DVD releases of classic Hanna-Barbera animated series has long made Archive the darling of literal and figurative children of the '60s through the '80s. Two relatively obscure examples that are especially close the heart of sugar-cereal loving sofa spuds are the 1972-73 Saturday-morning "Flintstones" clone "The Roman Holidays" and the ready-for-primetime "All in the Family" satire "Wait 'Til Your Father Gets Home" from the same era.
Archive particularly stepped up its animation domination game with several (and rapidly counting) 2019 releases. Standouts from earlier this year include the reviewed (1993-95) series "Two Stupid Dogs" V1 and the even more awesomely old-school (also reviewed) "Kwicky Koala" CS from the early '80s.
Archive is building on this by establishing a pattern of releasing several DVD or BD sets of HB series each month over the past few months. Standouts include a phenomenal reviewed BD set of "Jonny Quest" OS CS, and an (also reviewed) "Popeye: the 1940s" V2. Long-awaited upcoming releases include "Lippy the Lion and Hardy Har Har" CS AND the even more obscure "Johnny Cypher in Dimension Zero" CS.
All of this is shared in the context of the Archive June 25, 2019 DVD release of "Wally Gator" CS. The broadest context of this 1962-64 series begins with these adventures of the anthropomorphic reptile being a prime example of the "talking animals" era of HB ahead of Spider-man and his amazing friends invading Saturday morning prompting HB to shift its focus to "Quest" and other scifi and/or adventures of humans. "Gator" also is similar in style and theme (down to the appearance and demeanor of the local beat cop) as the HB 1961-62 primetime series "Top Cat."
Each "Gator" episode centering around Wally either escaping from his Bronx Zoo habitat and experiencing comic trauma-and-drama that sends him scampering home or having events at the zoo cause him distress arguably helps inspire the HB 1971-72 series "Help, Its the Hair Bear Bunch." Other similarities include HB all-star Daws Butler (Wally) providing main characters in each series voices and Archive having a "Bunch" CS DVD. Further, a 1970s syndicated series teams up "Wally," "Lippy," and "Touche Turtle." Fairly safe money is on Archive pulling "Touche" from the vaults before the end of 2019.
"Wally" starts strong with "Droopy Dragon." This one pays homage to the 1932 classic film "The Most Dangerous Game" that involves hunting humans. Wally goes over the wall only to find himself being pursued by a senile nobleman who mistakes him for a dragon. "Dragon" also immediately establishes "Wally "as one that they won't make 'em like that anymore. Wally smokes cigars, is constantly shot at (as he is in several other outings), and is the victim of copious other cartoon violence that literally does not leave a scratch on him. Real-life buzzkills roughly a decade later ruin all this fun.
Another prime example of "Wally" not reflecting our modern times is an episode centered around a return to his native Everglades. Our star being a Florida native is not enough to avoid having a rough Confederate alligator (complete with a rebel cap) label him a Yankee and oust him from the swamp. This prompts several thwarted attempts by Wally to emulate General Sherman.
Other notable adventures include playing along to an extent with an Indian boy engaged in a rite of passage, being a key ingredient in a potion of a witch, and having a granted request for a wife lead to spousal abuse.
The appeal of this reflects the value of "Tom and Jerry" and many other classic animation series. The trick is finding fresh and entertaining variations on a tried-and-true theme.
The final thought regarding this lengthy discussion of Archive animation releases in the context of the "Wally" release is that NOBODY did Saturday morning cartoons better than HB in their golden era. These shows should be celebrated for their strong contributions to television history.
Uncork'd Entertainment takes a break from its always awesome dark and perverse fare to celebrate the true spirit of Pride. The Uncork'd June 14, 2019 DVD of the aptly titled 2018 documentary "Southern Pride" goes beyond rightfully asserting "we're here; we're queer; get used to it." This film shows that folks particularly in the Bible Belt sadly still have a long way to come, Baby.
"Pride" is the follow-up (and equally labor-of-love) of director Malcolm Ingram to his multi-award-winning documentary "Small Town Gay Bar." Both films awesomely expand the perspectives of East and West Coast metrosexuals and homosexuals.
The following YouTube clip of a "Pride" trailer aptly covers both the titular sense of self-worth and the opposing prejudice that can make things tough for folks who are part of the moral 10-percent.
Much of the focus of "Pride" is on proud and partnered lesbian Lynn, who owns the Just Us bar in the small city of Biloxi, Mississippi. A surprising theme that gets virtually no mention is that the lesbians and the gay men get along very well. This interaction typically makes the average co-existence of dogs and cats harmonious in comparison.
The titular festival itself takes a backseat to the story of Lynn and of those most near-and-dear to her. These intimates include her Trump-supporting sister, who simply knows when to keep her mouth shut, and trans-gender bartender Daniela. It may well be that the support of Lynn saved the life of her employee.
The inaugural organizing event for the first Pride celebration in Biloxi has the same element as any committee meeting. The practical folks for whom this is not their first gay rodeo strive to keep the expectations of the idealists in check.
Meanwhile, an ill-conceived effort to cash in on Spring break is the first of several setbacks that befall an amazingly resilient Lynn. It seems that the fates constantly conspire to literally or figuratively rain on her parade.
Meanwhile in Hattiesburg, a black gay bar is taking the lead organizing an explicitly black gay-pride event. This portion of "Pride" includes an explanation of the reasoning behind narrowing the focus in that manner. The related theme is the further division in the already small gay community.
As stated above, the impact of "Pride" includes the reminder that many communities are less enlightened than those that haters think of being inhabited by the culturally elite. In many respects, Team Lynn and the guys in Hattiesburg must deal with attitudes that are at least 20 years behind those of most of us.
The summer fun that is the plethora of Mill Creek Entertainment retro "I Love 90s" June 4, 2019 Blu-ray releases continues with the surprisingly entertaining 1997 Alicia Silverstone action-adventure-comedy vehicle (pun intended) "Excess Baggage." This group, which includes the already reviewed Pauly Shore funfest "Jury Duty" and the (reviewed) charming Dana Carvey film "Opportunity Knocks," join the (reviewed) hilarious teencom "Can't Hardly Wait" in this portion of the MCE catalog.
"Clueless" star Alicia Silverstone plays to type in playing Emily, who is the spoiled 18 year-old spoiled daughter of a master of the universe. One difference this time is that her shady dad is the polar opposite of the loving and compassionate attorney who is her "Clueless" parent.
A very '90s-style dreamy Benicio Del Toor plays adorably clueless car thief Vincent, who fills the role of the boy from the wrong side of the tracks who reforms and gets the princess. All this occurs to a soundtrack that can be considered K-Tels Indie Hits of the '90s. This is not to mention this relationship evoking thoughts of the Melissa Joan Hart/Adrian Grenier 1999 teencom "Drive Me Crazy."
Our story begins with Emily in the final stages of her self-imposed and executed kidnapping; she is locked in the trunk of her (of course) BMW awaiting "rescue" when Vincent steals the car without knowing of the titular luggage.
Moderate hilarity ensues when boy meets girl, girl beats boy, and boy handcuffs girl in dingy chop shop bathroom.
The real fun begins with Emily separately purposefully getting "fixer" Ray (Christopher Walken) onthe trail of Vincent and carelessly getting her downtown man in Dutch with the mob. This results in a raucous road trip for our new couple.
Of course, ala "Opportunity," the noose begins to tighten from both directions as Ray and the dim-witted thugs of the mob boss narrow in on their prey. This leads to the typical Hollywood ending accompanied by a hit for Soul Asylum, The Lemonheads, or a comparable group.
Taking things back to the beginning, "Baggage" and the other releases are just what moviegoers need in this hot and humid summer that lacks any truly escapist teencoms at the multiplex.
An "Eureka" moment perfectly reflects the movie-going public service that Olive Films, which fully embraces its 'Cinema Lives Here' motto, provides. Frequent distress regarding the lack of any desirable options at the multiplex led to thoughts that well-produced thrillers were a dead art form.
Lamenting the loss of quality mysteries coincided with the arrival of the Olive Blu-ray of the 1987 John Schlesinger (MUST-SEE "Marathon Man") thriller "The Believers," which is being released on June 25.
Olive pairing this release with a (reviewed) Blu-ray of the cult-classic '60s beach movie "How to Stuff a Wild Bikini" led to recognizing the Olive commitment to keeping discarded subgeenres alive. Those of us familiar with these perfect blends of art and commerce are infinitely grateful to Olive. "Virgins" literally do not know what they are missing,
The exceptional Blu-ray masters of every Olive release are a special treat to "sluts" who have only seen these films in more grainy versions both on the not-so-silver screen and on even HDTVs. You definitely will get immersed like you never have before.
Olive reminds us that the behind-the-scenes cred. of this tale of wonderfully creepy tale of Santeria in the Big Apple extends beyond Schlesinger. Screenwriter Mark Frost is a co-creator of "Twin Peaks." Aptly, a damn-fine cup of coffee is a major plot point in "Believers."
In front of the camera, Martin Sheen delivers a perfect performance as newly widowed and relocated psychologist Cal Jamison.
EVERYTHING about "Believers" screams Hitchcock. This begins with setting the eerie scares in everyday settings and centering the film around an everyman initially thrown into an somewhat unusual circumstance that develops into a terrifying new normal.
Our story begins with a typical morning for Minneapolis residents Cal, his wife, and their young son Chris. A common (and typically minor) household accident leads to a horrific death for the wife that Cal and Chris witness.
The need for change prompts Cal to relocate Chris to New York. The common Hollywood magic as to this is that Cal finds a large, bright, and immaculate two-story apartment on a clean and quiet street. On top of this, pretty and nice landlord Jessica lives across the street. It is difficult to imagine such a place existing and any one that does not costing far more even a psychologist can afford, This is aside from having a landlord so close who also perfectly maintains the place,
The opening scenes also include a very primitive Santeria ritual and a practitioner of that religion playing the Jedi mind-trick on a JFK customs agent.
The worlds first collide when Chris runs off during a Central Park outing. He scurries behind some rocks and stumbles upon the remains of a ritual sacrifice. The subtext of this scene is amusing to viewers who are woke regarding the ritual in which some young men engage in that area of the park.
Cal fully joins the party on police Lieutenant McTaggert consulting him as to the detective investigating a series of murders of boys. That investigator is convinced that the cult committing the crimes has a supernatural hold on him and is out to get him. Stating that the theory that just because you are paranoid does not mean that no one is out to get you applies is not much of a spoiler.
Meanwhile, Cal entering a (perhaps bewitching) relationship with Jessica greatly upsets Chris, who also may be under a spell of his own. Ambiguity regarding both the incident that brings Cal back to New York and as to the reaction of Chris to his father becoming closer to Jessica is part of what makes "Believers" so awesome.
The final piece of the puzzle comes courtesy of the elderly academics who taught the dead wife of Cal; back in the day. ANYONE who has watched the MUST-SEE "Rosemary's Baby" or other similar films knows that any (particularly motherly) New Yorker who seems too good to be true probably is not so nice.
In true Hitchcock style, a perceived threat turns out to be a thwarted savior. We also get the common Hitchcockian element of the all-American boy in the film finding himself in peril and Dad rushing to the rescue. In this case. Chris becomes the chosen one in an unpredictable fashion.
The thrilling extended climax is pure Schlesinger. The unexpected twists galore are a treat in this era in which the conclusion of most movies is obvious in the first 15 minutes. Team Schlesinger goes above and beyond in upsetting the apple cart one more time in the final minutes.
The most important takeaway from "Believers" is that it is scary because it mostly could be true.
The IndiePix Films June 11, 2019 DVD release of the 2013 documentary "Felix Austria!" continues the grand tradition of non-fiction films that do an excellent job chronicling the lives of equally entertaining and eccentric persons. The wonderful "Grey Gardens" about down-and-out relatives of Jackie O is the granddaddy of these films. "Felix" is more like reality showeque film "The Queen of Versailles" about a family that is equally nouveau and riche until they experience a reversal of fortune.
Additional perspective comes courtesy of the affluent '80s trend of the rich and famous purchasing the titles of less well-off and less-well-known British royals.
The following YouTube clip of the IndiePix trailer for "Felix" is a well-edited 25-words-or-less synopsis of the film. It essentially tells how Colorado native Brian Scott Pfeifle becomes the titular highly affected Modesto resident.
The life-changer associated with a pre-quarter-life crisis occurs during the college years of Brian. He receives an inherited box of 60 years of correspondence and other material from upstate New York resident Herbert Hinkel. This archive relates to extensive correspondence with Archduke Otto von Hapsburg, who is the heir to the defunct Austro-Hungarian Empire.
The rest of the story is the Brian has a 50-percent chance of inheriting horrific and fatal Huntington's Disease from his father. Both Brian and Felix wrestle with deciding whether to continue enjoying not-so-blissful ignorance or being tested and potentially discovering an awful truth.
All of this combines to prompt Brian to change his name to Felix and to give himself the royal treatment. His dual quests, each of which independently warrant a documentary, are to learn more about Hinkel and to meet the Archduke.
The journey upstate has moderate tones of the city-lawyer-turned-country-farmer '60scom "Green Acres." A dandified Felix interacts with the local yokels as he seeks to learn more about Hinkel. The outcome is the thing of which good non-fiction and fiction films are made. Suffice it to say that we see that Felix and Herbert are two peas in a pod.
We also travel with Felix to Europe where he hopes for a literal royal reception. The outcome there is fully in the spirit of "Felix."
Letting Felix and his friends and family create good cred. regarding this film that likely does not tell the whole story but presents enough to make us feel that we understand the subject and know how he got to be the man whom he is today.
The rest of the story is that a good film either centers around someone whom the viewer aspires to be, makes you sympathize with that person, or makes the voyeur feel good about himself or herself, Where a "Felix" watcher lands states a great deal about the psyche of that person.
The Virgil Films May 28, 2019 DVD release of the 2018 labor-of-love documentary "Cancer Rebellion" meets the genre ideal of being equally entertaining and educational. In addition, the topic this time is personal for former Acute Myeloid Leukemia patient/producer/director/writer/narratoor Hernan Bobo Baraganan. The star power comes from former rocker/actor (RICKMAN!)/executive producer Roger Daltry.
The following YouTube clip of the "Rebellion" trailer covers comparable ground to the journey of Baraganan in his quest to speak with a cancer kid in every US state. We get a good sense of both the primary theme and of the reversal of fortune that seemingly is mandatory in quest documentaries of this type.
Like the peers whom now 20-something Baraganan gives 15 seconds of fame, his diagnosis comes out of left field. His subjects can relate to his desire to lead a normal adolescent life. All 16 year olds can relate to his hospital release roughly coinciding with that milestone anniversary that allows getting a license to drive.
Other stories include sports injuries leading to diagnoses, blacking out in school without the benefit of a mind-altering substance changing everything, and what seems to be a minor ache being a sign of cancer.
The most amusing story is courtesy of a surprisingly candid teen boy who tells of trying to pleasure himself in his hospital bed while hearing his father talking with nurses just outside the room. A related tale is of the hospital requiring parental permission to have pornography. One lesson here is that even boys with cancer will be boys.
The bigger picture is that all of these kids are doing what they must to prevent their short lives from prematurely ending. They also share the love and support that they receive. One participant who comments that he did not do anything wrong perfectly reflects the proper attitude regarding this disease.
The narrower benefit, which is even closer to the heart of Baraganan, is that speaking with him and seeing the stories of the other kids shows his talking heads that they are far from alone. This is one of the best forms of medicine that that can get.
Breaking Glass Pictures and filmmaker Michael Fisher team up for the sugar daddy of films that embrace the Pride spirit regarding the 2018 Fire Island documentary "Cherry Grove Stories." Queer as folk cinephiles and other friends of Dorothy who missed this movie on the pink film-festival circuit can get it on DVD.
The broadest relatable bit of this film is the recognition that Pride is about much more than hairless anorexic 18 year-olds only wearing Speedos and roller blades and hirsute far-from-anorexic middle-age men in drag that makes clownesque Mimi from "The Drew Carey Show" look like a natural beauty. Pride primarily is about community and showing that guys who connect with Mr. Right or Mr. Right Now are just as respectable as breeders.
A similar note that is even more in tune with the theme of "Cherry" is it evoking memories of hearing stories of regulars at JRs Bar in Washington, DC fully toning it down to watch "The Golden Girls" on the bar TV every Saturday night. To those guys at that time, friends as flawed as you in their own way somehow forming a family presents an ideal that endures 30 years later.
A related tale of the capital city is even the '90s being a time that hearing your named called out in a gay bar can cause angst, especially when the performers provide entertainment that prompts recent crackdowns. The rest of that story that involves a surprising impromptu high-school reunion is not fit for this family friendlish forum.
The following YouTube clip of the "Cherry" trailer barely scratches the surface as to the copious vintage clips and titular boys-to-men tales by the guys who enjoyed the heyday of the scene.
The opening scenes consist of the scores of talking heads, who share the dates of their first trip to Cherry Grove. These begin in the post-war years and span to the recent past.
Our panel of experts also speculate about the origins of the name of the island; one theory is that pirates would set fires to attract prey. Although there does not seem to be definite proof of buccaneers ever calling the island home, it is indisputable that a certain form of pirate favors that locale and will continue doing so for the foreseeable future.
The titular lore closely reflects societal attitudes toward gay men. The early days especially were a period of liberation during which the guys could more easily socialize, dance together, and do everything else that gay men do together mostly free of legal repression and almost universal disapproval of friends, family, and employers. This is akin to the next generation who could enjoy the community and the celebration of the early days of Pride parades. The classic Lisa Simpson quote "we are used to it" shows that all of us have come a long way, Baby,
Speaking of repression, the folks who were there tell of the distressing ways in which the real world invaded one of the few places that men could openly express their friendship (with or without benefits), love. and lust for each other. Milder forms of this included quickly having to change to a dance partner of the opposite sex when the cops came by.
Worse tactics relate to an aspect of Cherry Grove that be considered the best of times and the worst of times. Men who wanted to hook up in the pre-Grindr era would cruise the Meat Rack just off the beach. (Tales of the lesbian equivalent the Doughnut Rack seem to merely be rural legends.) That cruising area dying off in the Internet Age is one of the many examples of Cherry Grove reflecting the times.
The cops would go beyond well-orchestrated raids. They would handcuff the arrested man (some of whom presumably still were in various states of undress) by the dock for early risers to see. The humiliation would continue with publishing the names, addresses, and telephone numbers of theses boy who just wanted to have fun in the newspaper in an effort to ruin their personal and professional lives.
On a lighter note, an amusing story that involves the perspective of two persons with a role in a "blocking" incident at the Meat Rack is a "Cherry" highlight. This one comes very close to literally being a case of biting the hand that feeds you.
The award for best story essentially involves the raconteur discussing essentially having a monkey whom he shocks on his back. The rest of the story involves a form of trauma and drama that is typical of most gay friendships. The pattern is offense provided, offense taken, and then adequately forgiving to maintain the relationship but never forgetting.
The relate bigger picture is that this labor of love by Fisher helps ensure that this important aspect of gay history never will be forgotten.
A pink film-festival Q & A with Fisher is a highlight of the always special Breaking bonus features. This includes discussing the very apt genesis of the project.
Olive Film once again simultaneously lives up to its guiding principle "cinema lives here" and proves that we're not worthy with the separate Blu-ray and DVDs releases of two cult classics on June 25, 2019. The 1965 beach-musical "How to Stuff a Wild Bikini" is the topic du jour.
The equally good (and equally they don't make 'em like that anymore) occult thriller "The Believers" (1987) is a topic for early next week. Blu-ray does films justice, but the bright and sunny musical "Bikini" particularly looks and sounds spectacular in that format.
Doing "Bikini" any justice at all (pun intended) requires much more space than this forum can provide. Suffice it to so that it has every element (and more) of the beach movies of the '60s. You cannot help but feel good while watching it. This is not to mention the star-studded cast of A- and B-Listers that rivals the ensemble of the 1963 "Cannonball Run" style comedy "It's a Mad, Mad, Mad, Mad World."
Comparing "Bikini" to an episode of the wonderfully, zany, madcap kidcom "The Monkees" of the same era provides additional context. Both shows feature the nicest kids in town enjoying the sun and surf of California as they rock out at the drop of a hat while contending with comical villains and square adults. Yes, they are too busy singing to put anybody down.
The closest modern equivalent is the way-cool movie-within-a-movie "Wet Side Story" that is a major element in the Disney Channel "Teen Beach Movie" franchise starring "Austin and Ally" star/real-life rocker Ross Lynch. The inexcusable delay in releasing the long-promised "Teen Beach Movie 3" is disappointing.,
Veteran beach movie and "Bewitched" director (as well as real-life husband of "Bewitched" star Elizabeth Montgomery) William Asher provides "Stuffed" additional '60scom cred. Further, "Stuffed" centering around the work of Tahitian witch doctor Bwana (Buster Keaton) is only one way that Asher pays homage to his day job. The other connection is too awesome to spoil.
We further get "The Many Loves of Dobie Gillis" star Dwayne Hickman keeping the TV Land spirit alive. The occasions on which Hickman, as literal man in the gray flannel suit Ricky, breaks the fourth wall evokes wonderful memories of "Gillis."
Beach-movie goddess Annette Funicello rounds out our top three as virtuous beach bunny Dee Dee. This character supports the theory that dames ain't nothin' but trouble.
Our story begins with Dee Dee beau Frankie (Frankie Avalon) serving naval reserve duty in Tahiti; his getting restless with a native girl triggers thoughts that the girl back home may conclude that what is good for the goose may be worth a gander.
The island girl then brings Frankie to Bwana; the two men strike a not-so-gentlemanly deal whereby Bwana will provide the titular bikini, babe Casandra with which to stuff it as a decoy for the Moondoggies back in Cali, and a deep undercover spy to both keep tabs on Dee Dee and to serve as a rooster blocker. The other side of the bargain is that Frankie makes a daily payment for the rendered services.
Some of the rest of the story is that Ricky and madman Peachy Keane (Mickey Rooney) make the scene in the quest to find the girl and the boy next door to be the wholesome image of a motorcycle company. This honor goes to the couple that wins a motorcycle race. Their competition includes reformed biker Eric Von Zipper (beach-movie veteran Harvey Lembeck), who zeros in on Casandra as the one whom he wants.
Hilarity ensues as Ricky pursues Dee Dee, the beach boys (including Bonehead) woo Casandra, and Von Zipper and his gang enact their evil scheme.
All of this culminates in the titular contest with strong elements of the cartoon of the era "The Wacky Races." Dirty tricks galore keep the fun going. This leads to the related bestowing of the modeling contract and the right boy getting the girl. One should keep in mind that Frankie getting Annette is not set in stone.
The new teencom "Extracurricular Activities," which hit Blu-ray, DVD and VOD on June 4, shows that the spirit of mainstream '80s comedy at least is not totally extinguished. The bigger picture (no pun intended) is that people of all ages DESPERATELY need a fun and silly summer movie like this in this worst of times that lack any sense of the best of time.
The following YouTube clip of an "Activities' trailer validates that if you only see one comedy about a boy-next-door hitman this year you should see this one.
Colin Ford, who looks like a typical Disney Channel tweencom star and has amassed 52 IMDb credicts in his 17-year career, is perfectly cast as perfect teen Reagan Collins.
Outwardly, Reagan is an honors student who adequately works and plays well with others. His dark side consists of arranging fatal accidents for particularly onerous parents of his classmates. The two-birds-one-stone principle of this for-profit enterprise is that the offsprings are rid of a toxic 'rent and Reagan earns more for a less than an hour of work than he would bank flipping burgers for a year,
The especially awesome aspects of this concept extend well beyond the peers of Reagan condoning his titular activity and virtually every adult aptly being clueless regarding this "hobby." Reagan (sometimes literally) goes the extra mile to make his justice poetic, This begins with the opening scenes of the despicable parents who fat shame their "chunky" daughter and also are cruel to her gay brother driving their Hummer with a "SIX MPG" license plate off a mountain road as a calm Reagan rides past in his family car.
A statistically improbable "accidental" death of the father of another classmate of Reagan triggers the spidey sense of comically obsessed father of a Reagan classmate/police detective Cliff Dawkins. Extra humor comes courtesy of Dawkins milking beyond dry his apparently sole professional success in his relatively long career.
The fun fully begins as Dawkins futilely tries to connect a figurative smoking gun to Reagan, who deftly not only evades his prey but repeatedly sets him up to make himself look foolish. This is on top of the bulls eye being on Reagan not slowing down his work as a contractor.
The climax begins to build as Dawkins thinks that he has an ally in cheerleader/Reagan friend (perhaps with benefits) Mary Alice. Discovering the horse that Mary Alice has in the race is a film highlight.
The fun fully begins when a completely unhinged Dawkins literally takes the law into his own hands. This only proves that some people are too stupid to live.
The amusing dark-humor concept, strong performance by Ford, and good jobs by his more stock-character portraying cast mates alone provides reasons to add "Activities" to your home-video collection. The highly relatable dynamics are the icing on the cake.
Adults will enjoy the stereotypical (but not caricature) teens and the mostly buffoonish (and universally clueless) parents and teachers. Kids will love the highly embarrassing grown-ups and should see themselves in the teens. This evokes thoughts of Matt Stone and Trey Parker stating in the early days of their creation "South Park" that they at one time or another were the fat kid, the poor kid, the Jewish kid, etc.
The two lessons from all this are to never embarrass your kids and to get while the getting is good as to rare genuinely funny modern films such as "Activities."
Warner Archive's recent DVD release of the 23-episode third and final season of the 1969 - 1972 sitcom "The Courtship of Eddie's Father" allows completing a collection of this sweet and gentle show. Prior reviews offer a recap of the first season and musings on the second season.
One warning regarding this set is that regular references to "Mr. Eddie's Father" do not amuse casual fans nearly as much as it entertains true devotees.
This show about "nothing" predates "Seinfeld" by roughly 20 years and merely tells the tales of youngish widowed dad Tom Corbett, played by Bill Bixby, and his elementary-school aged son Eddie, played by Brandon Cruz. Although the first season places a great deal of emphasis on the titular courtship, the focus shifts almost entirely to the "father" aspect by the third season.
Another change is that the "musical interlude" gimmick of earlier seasons is abandoned. A hypothetical example of this is a scene in which Tom asks Eddie to take dirty dinner dishes into the kitchen might prompt audio of the singer of the memorable theme song singing "have to clear the table."
Much of the appeal of "Father" relates to the incredible chemistry between Bixby and Cruz; they truly seem like a loving father and son. Additionally, Eddie comes across as a typical kid, rather than a sickly sweet or overly sarcastic sitcom brat.
Further many of us whose parents consider their jobs done if they keep us fed, clothed, and educated enjoy seeing the extent to which Tom cares for Eddie.
The following clip, courtesy of YouTube, of two Special K cereal commercials that Bixby and Cruz filmed in character provides an excellent sense of the above-described vibe of their show.
The opening and closing credits include new sincere heart-to-heart talks that also often occur during the episodes themselves; Tom strikes a good balance between spending time with Eddie without being a helicopter parent and gives Eddie's needs and feelings far more consideration when making major (and minor) life decisions than most parents.
The season premiere is a prime example of the tone and "nothingness" of "Father." It involves Tom's recent enrollment in an art class inspiring Eddie to take up that hobby.
The "com" related to that "sit" comes in the form of Tom explaining to Eddie about the propriety of drawing a naked model leading to Eddie innocently paying a female classmate a quarter to pose nude for him; the jokes regarding that level of compensation for that service are hilarious.
Another episode from early in the season is a real treat in that it provides a look at the "mod" apartment of Tom's best friend/co-worker "Uncle" Norman Tinker. A cool aspect of this character is that "Father" producer James Komack of "Welcome Back Kotter" and "Chico and the Man" plays Norman.
Tom and Eddie having an inexplicable sleepover at that abode has Tom and Norman discussing the sense of the laid-back and free-spirited Norman of a need to act more mature. The ultimate reason for these thoughts provides a nice ending for this tale.
This early '70s-era self-examination is also a theme in which Tom hires a long-time friend, played by Pat Harrington, Jr. of "One Day at a Time," to write an article for the Sunday newspaper magazine of which Tom is the managing editor. Said friend's tales of adventures traveling the world inspire Tom and Eddie to consider that life.
Another of many episodes with a special guest star has the uber-cool Sammy Davis, Jr. playing a most heinously uncool actuary who is a weekend guest at the Corbett home. Seeing one of that character's comically neurotic precautions contribute to a genuine peril is hilarious.
The series finale goes a step further by having the married-couple comedy team of Jerry Stiller of "Seinfeld" and Anne Meara respectively play an owner and employee of a full-service telephone answering machine service. It is not believed that this apparent pilot for a spin-off ever leads to anything.
A cute scene in that episode has Tom caution Eddie about approaching an unfamiliar dog; this evokes thoughts about regularly petting domesticated wolves whom people leave tied up outside Starbucks.
Another episode requires mention in that it is both surprisingly inconsistent with the typical tone of "Father" but is consistent with the current trend of parents acting assertively on behalf of their children regardless of the impact on others.
This "controversial" offering has Eddie's horribly off-key saxophone practices greatly annoying the Corbetts' admittedly pompous upstairs neighbor. Said fellow apartment-building dweller initially comes downstairs to complain during said practice and ultimately purposefully raises a ruckus at 2:00 a.m.
It is very surprising that the usually reasonable and congenial Tom continues to have Eddie practice in the evening, rather than merely finding him an alternative rehearsal space. The better news is that this sour note is the only one in the 73 episodes in this series.
The finale to this series of reviews on "Father" is that it is an amusing show that nicely portrays an ideal (but very achievable) father-son relationship. The conservative use of a laugh track is another nice touch.
'The Courtship of Eddie's Father:' 1963 Version of 'The Bachelor (Father)' Dynamite Dad's Day Donation DVD
Staying up past my bedtime to watch the DVD of the 1963 Vincent Minnelli, Liza "The Other Lucille" Minnelli's father, film "The Courtship of Eddie's Father" was consistent with this genuinely delightful film centered around eight-year old Ron "Opie" Howard.
With all due sympathy to his fans and family, giggling this morning on learning that there was a race car driver named Dick Trickle also was in the spirit of the wonderful humor in "Father."
The simple plot of "Father" was that Howard's titular character Eddie wanted his very recently widowed pop Tom Corbett, played by Glenn Ford, to remarry so that Tom would be happy. The Bobby Bradyesque problem was that Eddie did not want a step-mother.
Watching the interaction between Ford and Howard evoked thoughts of Howard's incredible talent for interacting with his screen sires. The relationship between Tom and Eddie was very similar to that of Opie and his widowed dad Andy Taylor on "The Andy Griffith Show." The "Father" relationship also had shades of the chats between Howard as Richie Cunningham and his father Howard on the early seasons of the '50s-based '70s sitcom "Happy Days."
This terrific element of Howard's character stole the show. I laughed out loud when he tentatively told his father his theory that a woman's bust size determined her character. Howard pointed out that the evil women in comic books always had large busts and slanty eyes. This became a hilarious recurring theme.
A similar conversation later in the film revolved around Howard wanting to use a tape measure to determine the dimensions of one of the bachelorettes.
This aspect of "Father" and the film's overall awesomeness prompted a rare direct endorsement of buying this film as a Father's Day gift for the special male parental figure in your life.
"Father" is noteworthy as well for being an early example of a critically and commercially successful film that spawned a successful sitcom of the same name. Other examples include "Alice Doesn't Live Here Anymore" and "M*A*S*H."
Complete candor requires confessing limited knowledge of the "Father" sitcom. The only reason for this was that WLVI Channel 56 in Boston ran it against all-time favorites on WSBK Channel 38 in the dark ages before even VCRs. I loved the episodes that I watched and looked forward to the epilog "man-to-man" walk on the beach scenes between the beyond awesome Bill Bixby and his TV son Brandon Cruz when I flipped to Channel 56 to watch "Father" film co-star Shirley Jones in "The Partridge Family."
The large difference between the "sleep out" housekeeper character Mrs. Livingston in the film and the series was one distinction. Additionally, Tom went from being a program manager at a radio station to being a magazine executive. Seeing the genuinely good guy cub reporter Tim O'Hara from "My Favorite Martian" stay in journalism was nice.
Jones played the first bachelorette in the "bachelor" competition in "Father." She was a blonde grass widow who lived across the hall from fils' et pere's envy-worthy Manhattan apartment. Jones' character Elizabeth was a good friend of the deceased Mrs. Corbett and a second mother to Eddie. Seeing Shirley Partridge nurse and counsel Opie Taylor was a real treat.
The wonderfully funny Stella Stevens played the sweet but dim redhead beauty contest loser Dollye Daly whom Howard maced on at an arcade. This country girl new to the big city was a genuine hoot.
Bachelorette number three was the frontrunner. Brunette sophsticate Dina Merrill played the Holly Golightly type character Rita Behrens. Behrens was a "chic designer" who enjoyed the glamour of New York nightlife with the elder Corbett and had a yappy poodle rather than a wonderfully wild orange tabby cat.
The feel of "Breakfast at Tiffanys," which was released two years before "Father," extended beyond the Golightly like character. Both films had the wonderful feel of live theater, revolved around the relatively glamorous life of New York City's upper-middle class in the early '60s, and had perfectly executed very revealing dramatic scenes at the end. (I still do not know if George Peppard or the cat prompted Golightly's transformation at the end of "Tiffanys.")
The cautionary note regarding "Tiffanys" is that, pop songs aside, recalling that you "kinda" liked any film does not provide a solid basis for a lasting relationship any more than a common fondness for pina coladas and getting caught in the rain but not being into yoga.
As promised in the review of the Warner Archive DVD release of the truly delightful 1963 feature film "The Courtship of Eddie's Father," I am sharing my thoughts on the 1969-70 first season of the television series of the same name.
A truly awesome part of "Father" S1 is that it meets the criteria that I established when beginning collecting DVDs of television shows in 2006. "Father" is a good but lightly syndicated show from my childhood, and the DVD set is fairly priced.
Watching the first six of the 26 episodes in the set made me wish that I had chosen reruns of that series on WLVI Channel 56 in Boston over competing fare on WSBK Channel 38 more frequently in the dark days before even VCRs.
The simple premise behind the film and television series is that widower Tom Corbett is doing an awesome job raising his young son Eddie, and the two are engaged in a ongoing search to find Tom a new wife.
The series pilot is a nice transition from the film in that both incarnations of the Corbetts' story have Eddie macing on an aspiring actress named Dollye Daly as a "wife" candidate. Eddie does so on a father-son outing to an arcade in the movie and on a father-son movie studio tour in the pilot.
It seems that series producer and co-star James Komack of "Welcome Back Kotter" and "Chico and the Man" fame chose that episode as the pilot to help attract fans of the movie. A later episode regarding Eddie's really rough first few days in the first grade seems to be a more natural pilot, especially considering that Tom dates Eddie's teacher in an early offering.
The conflict in the episodes regarding a search for the mother revolve around the effect of the romantic relationship on Eddie. For example, Tom dating the teacher gets Eddie branded "Teacher's pet."
The third episode is particularly memorable both for having Diana Muldaur play an absolutely fabulous model who is light years away from Muldaur's Dr. Pulaski character from "Star Trek: The Next Generation" in terms of looks and personality. Seeing the childless "It Girl" try to care for a sick Eddie is hilarious.
"Father" is also a perfect show for its era in which networks were transitioning from supernatural, sci-fi, and rural shows to more realistic fare. There are undertones of understated sexual content, including Eddie not understanding why his father cannot pollinate childless housekeeper Mrs. Livingston in the same manner as bees pollinate flowers, and Bixby is a perfect mix of a Tim O'Haraesque of "My Favorite Marian" overwhelmed straight man and a father who truly knows best.
The show is further notable for having some of the more creative aspects of broadcast network sitcoms; the theme song's singer provides a one-man off-screen Greek chorus in terms of commenting on the action in the episode. Examples include the chanteur singing "bless you" one time that Tom sneezes and "remember your son is in the other room" when Tom begins to escort a woman into Tom's bedroom merely to have a private conversation.
Further, episodes begin and end with Tom and Eddie having heart-to-heart talks while having a great time doing things such as horsing around on the beach, enjoying fun-park rides, or pedaling a two-person bicycle. The sad part for many of us is that those conversations and activities are just as fantastical as harboring a martian who is stranded on earth.
Reviewing the second season of the early '70s sitcom, which is based on the film of the same name, "The Courtship of Eddie's Father" for a post on the opening day of "Man of Steel" and the Friday before Father's Day is a no-brainer that even Bizarro would think of.
The parenting skills of "Father's" Tom Corbett, played by the truly awesome Bill Bixby, both earn him the title of Television Father of the 20th Century and demonstrate that son Eddie considering him a superhero is justified.
I cannot imagine any son not wanting a dad who is so devoted to him that he gets restless on the rare Saturday that they are not together and so patient that he does not prod or get angry when he knows that his offspring is up to some form of mischief. The well-known dialogues in which Tom truly listens to Eddie and guides him with complete honesty and absolutely no condescension is amazing.
Those of us who had averaged-sized rooms and shared a bathroom down the hall with at least one sibling growing up also envy Eddie's huge bedroom with a terrace and a private ensuite bathroom.
In the interest of brevity and avoiding repetition, readers who are interested in learning more about the "Father" film and the first season of the "Father" sitcom are asked to please read this site's reviews of that early Ronnie Howard movie and those episodes. The spoiler alert is that both of those productions are just as good as the second season that is being reviewed here.
The first few episodes of the second season of this series about a widowed magazine executive raising his young son with the help of his full-time, but "sleep-out," housekeeper Mrs. Livingston and his wonderfully sweet but slightly ditzy secretary Tina indicate that the focus has shifted from the titular courtship to the antics of the titular Eddie. This reflects that Eddie portrayor Brandon Cruz is a little older and can assume a slightly larger role in the series.
The season premiere revolves around Eddie teaming up with "Uncle Norman," who is a quasi-parental figure but is essentially Roger Healey to "I Dream of Jeannie's" Tony Nelson, to make a home movie as an "unbirthday" present for Tom. Eddie's logic is that people expect presents on their birthday and that surprising them with a gift on a random date shows that you really love them.
The subdued hilarity that ensues involves the subterfuge related to Eddie and Norman shooting the film without Tom finding out; a scene in which Tina frantically looks to see where Norman and Eddie are hiding when Tom unexpectedly arrives on the scene is hilarious.
The second episode of the season is truer to the show's concept in that it involves Eddie's nemesis turned buddy Joey, played by series semi-regular Jodie Foster, preparing to run away because her widowed father is planning to remarry. Joey feels that that marriage would upset her deceased mother.
Bill Bixby does his usual outstanding job reacting to the indications that Eddie is up to something and in being a model dad in counseling Joey. This situation also requires that Tom and Eddie actively think about feelings associated with the possibility that Tom will remarry at some point. His "Super Dad" ethics will ensure that said second wife will be a good mother for Eddie.
Only one of the first eight episodes in "Father's" second season involve the titular courtship. Eddie's friendship with caring but self-absorbed socialite neighbor Valerie Bessinger, played by "The Bob Newhart Show's" Suzanne Pleshette, leads to Valerie and Tom seriously dating.
A surprising line in which Tom states in reference to Valerie's gardening that she is good at making certain things grow is out of character for Tom and is one of the series' rare double entendres. One theory regarding this is that it is designed to show that this romance is so serious that it prompts Tom to act like a true adult.
The episode is special as well because the contrast between Tom's respectable and "old-fashioned" lifestyle and Valerie's more free-spirited and modern outlook call attention to Tom's commitment to "traditional family values" without the narrow-mindedness that often accompanies that way of living. Tom really does stand for "truth, justice, and the American way."
These early episodes further reinforce Tom's superhero qualities by having him face some tough foes. Any Superman fan knows that the tales of this Kryptonian would not be exciting if he could easily defeat every obstacle.
Early season two challenges include Tom having to decide whether to take an important business trip or see Eddie in his first ever school play, achieving the proper balance between firmness and leniency regarding Eddie shamelessly procrastinating on a school project, and making a foster son feel welcome without making Eddie jealous.
As trivial as these plots may seem, it is important to understand that making Eddie unhappy is almost as powerful as a chunk o' kryptonite to the heart for devoted dad Tom.
The bottom line is that "Father" shows what a father-son relationship can be if a former properly expresses the love that he feels toward the latter.
The Icarus Films May 14, 2019 DVD release of the 2018 period-piece comedy "Return of the Hero" fills the void left by Hollywood no longer producing amusing and clever (or at least adequately creative) summer movies. Subtitles aside, "Hero" is so good that you will not even want to look at your phone or other devices while watching it.
Another awesome aspect of "Hero" is that it shows that writer/director Laurent Tirard is more than a un trick cheval regarding the even more delightful (reviewed) "Nicholas on Holiday" (nee "Petit Nicholas") about the family summer vacation of the titular French school boy. Other "Hero" cred. relates to Oscar-winner Jean Dujardin delivering another award-worthy performance as the titular soldier who is not at Waterloo when Napoleon did surrender.
This presumably shot-on-location beautiful film begins in 1809 Burgundy. Captaine Charles-Gregoire Neuville seemingly employs his entire personal staff in preparation for froggy goin' a courtin'. The object of his affection is sweet and innocent girl next door Pauline. She lives on a lavish estate with her adoring parents and her less sweet and innocent older sister Elisabeth (Melanie Laurent).
Neuville seals a chaste deal with Pauline just ahead of being called on to defend emperor and country. Like many soldiers before and since, Neuville makes an empty promise to faithfully correspond with Pauline.
A combination of motives prompt Elisabeth to forge letters from Neuville to Pauline; the responses to that correspondence shows Elisabeth that her little sister is all grown up.
In true farce/classic sitcom style, the scheme of Elisabeth gets out of hand. Circumstances and her creativity result in increasing elaborate and contrived fictional adventures of Neuville that enrapture both Pauline and the rest of the local elite.
All goes well until the inevitable titular appearance of a filthy and disgraced Neuville in 1812; Elisabeth being the only one to initially know that that boy is back in town helps move the story forward; this plot thickens on Neuville returning after a brief absence and presenting himself as the man in the aforementioned letters. His objectives include wooing a now-married with children Pauline.
Dujardin and Laurent wonderfully play off each other as she must watch him make fools out of those nearest and dearest to her. Neuville further shows that he is no gentleman in using the vulnerability of Elisabeth for his own fun and profit,
One of many notable moments involves Elisabeth seeming to get the upper-hand on her frienemy. The manner in which Neuville turns that tactic around to his advantage proves that you cannot con a con man.
The aptly surprising climax that begins with a desperate act leads to a final scene that is very true to the spirit of the film and that is one of the best endings in any film ever. This lesson this time is that we all remain true to our nature.
The crystal-clear video and audio of the Mill Creek Entertainment June 4, 2019 B;u-ray release of thje 1990 Dana Carvey comedy "Opportunity Knocks" is a perfect addition to the MCE "I Heart 90s" series" that is a companion to the MCE "Retro VHS" DVD and Blu-ray releases. Other June 4 "90s" releases include the recently reviewed Paul Shore comedy "Jury Duty" and the soon-to-be-reviewed Alicia Silverstone action-adventure comedy "Excess Baggage."
Just as "Duty" showcases the weasel persona of Shore, "Opportunity" highlights the impish charm of Carvey. The film providing a chance for Carvey to perform his well-known George HW Bush impression is highly predictable.
The good news regarding both "Duty" and "Opportunity" is that they put entertaining spins on decent tried-and-trued comic concepts. The better news regarding "Opportunity" is that Carvey is extremely likable.
The figurative 25-words-or-less premise of "Opportunity" is that Carvey plays small-time con-man Eddie Farrell, whose quasi-youthful exuberance earns him both the wrath of a mobster and a belief that Eddie owes that dangerous criminal a great deal of money. In true teencom tradition, this requires that Eddie lay low until the heat is off. His literal insider information that the owner of a luxurious house is on an extended trip.
Eddie soon makes himself at home until the mother of the homeowner pays a surprise visit. This leads to a wacky misunderstanding in the form of Mom (a.k.a. Mona of Milt and Mona) assuming that Eddie is housesitter Jonathan Albertson. The rest of the story is that Albertson is a business whiz kid who is the former college roommate of the homeowner.
The first film homage is to the 1983 Eddie Murphy comedy "Trading Places." The opening scenes in "Opportunity" are of Eddie pulling off the same low level con as the Murphy character. The similarities continue with both characters soon living at least some semblance of the lifestyles of the rich and famous.
The other homage is more central to "Opportunity." Ala the Tom Hanks character in the 1988 classic "Big," Carvey is a man-child learning to play with the grown-ups. The similarities continue with Robert Loggia playing the big-hearted mentor to the quirky guy with the unique perspective, In this case, Loggia is bathroom hand-dryer king Milt,
Milt brings potential son-in-law (no relation (pun intended) to the Shore film of the same name) in the company and his heart. Of course, a pivotal scene involves Eddie bringing the dryer company executives out of their comfort zone and snatching victory from the jaws of defeat.
It is equally predictable that nooses start to tighten in on Eddie on both sides. The mob boss tracks him down just as he starts to think that he can permanently enjoy his new life. This pressures Eddie to massively betray the trust of his new family just ahead of the exposure of his scam.
The fact that everyone is wiser and happier and order is restored to the universe in the end is especially appealing in our wildly unpredictably dystopian times. This is so awesome that it alone warrants buying the Blu-ray.
The Lionsgate June 11, 2019 separate DVD & BD release of S6 (a.k.a. "To the Max") of the Netflix women behind bars dramedy "Orange is the New Black" provides a good chance to watch this reformatting of this multi-Emmy winning series from the beginning, It additionally is a good chance to see all the action ahead of the July 27, 2019 release of the S7 episodes.
Also. aside from not having to worry about Netflix dropping episodes from its service, the enhanced BD images look and sound far better than the streaming versions. This is not to mention the awesome home-video special features that include "Litchfield to the Max" and a gag reel.
The following YouTube clip of the official S6 trailer introduces many of the copious primary themes of the never-a-dull-minute 13 episodes. It also shows why this series warrants comparison to the former Showtime boys behind bars dramedy "Oz."
Our (mostly) season-long story arcs begin one week after the quelling of the S5 riot. Our girls in orange aptly find that they are not in Oz anymore. This involves them facing the challenge of adapting or perishing in their new environments,
Said different worlds from the ones from which they come are the C, D, and "Florida" cell blocks at their new home. The Jets versus the Sharks mentality as to C & D begins with the C Block girls initially getting all the relatively good perks and privileges while the D girls are the low women on the totem pole.
The "Florida" residents mostly are the older inmates and include others whose mental states are adequately impaired to get them a spot in this coveted area. The rubs as to this include that some outsiders are willing to kill to create a vacancy in the Sunshine State. "Orange" fans should not be surprised to learn that popular character Suzanne "Crazy Eyes" Warren ends up in Florida and constantly irks the Golden Girls.
A long-standing violent sibling rivalry between C and D block residents Carol and Barbara (Mackenzie Phillips) brings the aforementioned simmering bad blood to a boil. Flashback scenes of the joint crime that gets the sisters labelled "The Little Debbie Killers" and that lands them in the joint are season highlights. They also shine in all their ruthlessly violent interaction and hilarious dispute regarding an incident at a restaurant where they both worked during high school.
Other drama relates to investigations and related proceedings as to holding prisoners culpable for their actions during the riot and for holding folks on the other side of the bars accountable for what they did and did not do during those events. This is not to mention a hilarious run for the border by one inmate who gets away with a little help from her friend,
One spoiler is that the search for closure regarding the riot is just as likely to involve being satisfied with a convenient truth as it is to strive to meet the ideal of truth, justice, and the American way.
This is not to mention central "Orange" character Piper Chapman contending with the absence of her fellow inmate/fiancee Alex "Boss" Vause, addict convict Nikki facing renewed Daddy issues, and the guards creating a fantasy league that involves proportionately profiting from convict misbehavior of various degrees of seriousness.
All of this occurs in the context of season-finale kickball tournament that sets the stage for an epic rumble between the C and the D block inmates. In true "Orange" style, this does not occur as expected.
All of this amounts to "Orange" further fulfilling the theatrical ideal by leaving the audience wanting more; fortunately, S7 provides the payoff regarding that.
The recent Dekkoo Films DVD release of the 2019 surreal drama "How to Get From Here to There" shows that a shoestring budget movie that blends a gay-theme, scifi, and an existential crisis can succeed.
IMDb states it best in describing this largely silent movie starring filmmaker Kevin James Thornton as follows. "Upon the death of his mother, a gay man in blue collar America returns to his childhood home. There he discovers a cardboard time machine that he made when he was a boy. As he uses it to get glimpses of his future, he ponders the weight of his life's choices."
The following YouTube clip of a "There" trailer highlights the art-house creativity of the film.
Our main man, only known as Commander, essentially is rattling around in the aforementioned abode in the aftermath of the aforementioned death of his mother. The despair that extends beyond his immediate loss is written all over his face.
This leads to pulling out the aforementioned Calvin and Hobbes caliber time machine to see what the future holds. The voice in the head of Commander is that of the Queen of the Continuum. The obstacles include a shadowy menace that is threatening their power supply.
This journey leads to an "its complicated" relationship with Future Boy. The lesson here is that even connecting with someone who may be Mr. Right is tough enough, the emotional baggage that we being to that (or any) relationship makes us wonder how anyone manages to get beyond the honeymoon stage. Calvin and Hobbes expresses this well by stating that finding someone whom you can tolerate is a very rare and that person being able to stomach you is almost impossible.
All of this concludes with our Major Tom not being much older but being much wise at the end of "There,"
As is the case regarding most diversions into Blogland, an upsetting situation is prompting an op-ed post. Distress regarding a COMPLETELY unfounded “save your ass” claim of racism has created your not-so-humble reviewer great angst. The fact that many readers likely already are calling “nonsense” regarding my assertion of innocence proved my point.
This post is intended to be the first in a series on this topic. The primary of several main themes as to this ticking A bomb is to remind readers that there is your side, my side, and the truth.
Another theme, which is an element of a recent post on the.documentary “billion dollar Bully” about the alleged horrific sales techniques of Yelp, is that ubiquitous access to social media puts s smoking gun in the hands of everyone, Fear of intense (and possibly violent) public backlash is behind choosing words in this post VERY carefully. Fear of legal action by the retailer at issue is behind not naming any names.
Our story begins with my being frustrated about a matter related to the store. A black guy, with whom I had very friendly prior interaction, happened to be the manager on duty. I left the store much less annoyed and called the white general manager, with whom I also had a good relationship, on his cell phone at his invitation during his conversation with the black manager while I was in the store.
My conversation with the general manage occurred in the store parking lot; it was a hot day, and the general manager told me to bring my phone in the store so that he could tell the assistant manager on duty to give me a soda of my choice, The general manager ended up conveying that to another employee.
I had the soda in hand and was ready to happily walk out of the store when the assistant manager told me that he knew that the general manager had offered me the soda but that that was against store policy and that I would have to pay for this $2 soda, which I easily could have afforded. I tossed that sealed 20-ounce plastic bottle in a stack of shopping baskets a few inches from me and stormed out without saying a word.
I called the general manager the next day about cashing in on the store promotion at the heart of all this. I was shocked to hear that the assistant manager had reported that I was racist and that I committed the violent act of throwing the soda at him. I also was told that the employees backed up that story. Objectively, this was a ploy by the assistant manager to avoid discipline both for overriding his boss and for not making a reasonable $2 concession to a customer.
The general manager added that he was not present for the incident but was banning me based on the report; this is despite his having spoken to me at the time and being the one to send me back in the store.
Aside from the sting of any false accusation, I remain very upset about being labeled in a very toxic manner. I hardly am a civil-rights activist but race has NEVER been an issue for me.
Contrasting experiences further set the foundation for this series of posts. I grew up in a nice neighborhood of a small northern New England city and was a kid for whom prep school was “kid jail.”
A black inner-city kid, who did go on to be an NBA star, in my dorm used to greet me in the hall with what I heard as “Holmes.” I was a smart (but not woke) kid and thought that he was calling me Sherlock.
After a few months of these exchanges, I asked the guy about this. He heartily laughed and said that he had been calling me “homes.” He further explained the meaning of the term. I started calling him homes after that.
I fully expected that this guy told all his buddies back home about the stupid little white preppie in his dorm.
Conversely, a white classmate was best friends with another inner-city black guy, who now coaches basketball on the college level. The white guy regularly would put a white pillow case on his head and pretend to threaten the black guy, who outwardly laughed at this, Even at 15, I knew that this was very wrong despite the context. I did not intervene but never laughed and always walked away when these antics began.
Fast-forwarding 15 years, I was working in a fully integrated office in which all of us got along exceptionally well, The two black women who were the managers were the best bosses I ever had.
One of the black guys CONSTANTLY joked about being black. This included a broad comedy routine on the many occasions on which he brought fried chicken.
Even the two managers took public transportation to and from work. The black guy ALWAYS took cabs. Purely out of curiosity, I asked him about that one day.
The guy told me all of the things that he disliked about the bus. Reasoning that he and I were friends who knew each other fairly well and that he CONSTANTLY joked about being black, I JOKINGLY responded that it also is unpleasant to have to ride in the back of the bus.
The guy immediately got very upset. I admittedly feared for my job but equally did (and still do) felt extremely sad that I hurt my friend. Fortunately, the guy never reported the incident.
The workplace incident also related to broader context. Rosa Parks is famous for stating that she merely was tired and was not trying to make a statement when she sat in the front of the bus, For the record, your not-so-humble reviewer does not care where anyone sits on a bus or a diner.
Having stated all this, there are racists people among every group, Their biased acts warrant a proportional response. At the same time, claims of that mistreatment is a FIGURATIVE loaded gun that can badly damage the psyche and the standing of the accused, That trigger should not be pulled without cause.
The Mill Creek Entertainment well-remastered "I Heart '90s" slate of June 4, 2019 Blu-ray releases of films from that era adds memorable ones to that collection. This additionally nicely builds on the even-better "Retro VHS" MCE line of Blu-ray and DVD releases that the MCE section of this site prominently features.
Our topic du jour is the 1995 Pauly Shore comedy "Jury Duty." Posts in the not-too-distant future will discuss the Dana Carvey comedy "Opportunity Knocks" and the Alicia Silverstone action-adventure comedy "Excess Baggage," which are fellow June 4, 2019 MCE "90s" BD releases. Even more surprises will come in the next few weeks.
Shore, who looks like the test-tube baby of flamboyant fitness guru Richard Simmons, puts his outrageous weasel persona, which can be considered the junior-high version of Matthew McConaughey, to good use in this tale of not-so-lovable loser Tommy Collins embracing the titular civic responsibility.
The larger picture is that "Jury" semi-successfully blatantly parodies the American obsession with the trial of the century in the "O.J." era. This context, combined with "Jury" being a showcase for Shore during his heyday, make the movie the entertaining guilty pleasure that MCE intends.
The following YouTube clip of a "Jury" trailer highlights the classic teenboycom elements of the film. We get a glimpse of the silly pranks, the innocent homophobic humor, and the overall non-stop silliness.
As indicated above, the appeal of "Jury" relates to the film playing it safe. This begins with joining the ranks of several TV Land sitcoms that parody the theme of one hold-out juror that is a central element of the STAR-STUDDED MUST-SEE 1957 Henry Fonda courtroom drama "12 Angry Men." "Jury" looks to Hollywood royalty Shelly Winters to be the real-life A-lister who appears in such movies well past his or her prime. We also get grumpy old man Abe Vigoda playing the judge presiding in the "Jury" trial.
The amusing central twist in "Jury" gives rise to the funniest segment in the film. Tommy very abruptly finding himself evicted from the double-wide of Mom embraces the coincidental call to duty by the State of California. His motive is securing a place to stay until he once again can put a tin roof over his head.
The aforementioned laughs come during the montage in which Tommy sabotages his chances for being selected as a juror on a trial that is expected to be short and sweet. These antics include claiming to know a bewildered defendant,
Our lead finds a Shore thing in the murder trial of suspected serial killer Carl Wayne Bishop, who allegedly has an extreme prejudice against fast-food joint managers. A conjugal visit between Tommy and Bishop is a highlight. It seems that Bishop gets to do to Tommy what many cinephiles would like to inflict on Shore.
Attempted hilarity ensues as Tommy goes to great lengths to prolong the outwardly wham, bam, fry 'em Sir case. Having Tommy bunk with his former high-school principal/current co-juror contributes more humor.
Anyone who has seen "Men" or ANY of the aforementioned classic shows that pay homage to it know that Tommy ultimately sees that justice is served. It is equally predictable that he gets the babe; the rest of the story opens itself up to a parody of the teencom "Legally Blonde."
Omnibus Entertainment does parent company Film Movement very proud regarding the June 4, 2019 DVD release of the literally simple and sweet fable "All You Ever Wished For." The cred of this tale of the Roman holiday of young Manhattanite Tyler Hutton includes Darren Criss portraying Tyler in this production by Barry Morrow, who is the Oscar winning writer of "Rain Man." One spoiler is that Tyler, who probably does not know who Wapner is but likely thinks that Wal-Mart sucks, does not fly Qantas to Italy.
Another spoiler is that the combination of a modern fairy tale and a pure-at-heart romantic reluctantly working in the New York-based fashion company of his domineering father makes "Wished" more like "Princess Ugly Betty Bride" than "Rain Man."
Although "Wished" is entertaining and charming, Criss no longer having his youthful exuberance and related appeal evokes thoughts that his "Glee" co-star Grant Gustin or another guy who still knows how to play the boy-next-door may have been a better casting choice.
The very Grimm opening scenes set the stage for the main events of the film centuries later. Newly heart-broken Tyler is ordered to travel to Rome to represent the family business. His antics on arriving illustrate why the probability of such enterprises failing increases with each new generation that takes over. A variation of the "ugly American" stereotype also does not bode well for the future.
The stereotypes continue with not-so-bright wiseguys snatching Tyler up off the street with an eye toward holding him for ransom on behalf of their mob boss. This surprisingly well-executed plan goes off the rails when the group gets lost after going into the woods.
This not-so-biblical adventure fully kicks off when the crooks and their captive audience awaken in a barn the next morning. The underlying events that set things in motion result in Tyler cutting his not-so-great escape short when her literally experiences unrequited love at first sight with local woman Rosalia. His not-so-longtime companions also meet their soulmates; much of the comedy relates to one pairing being a case of each person both being the same but also different; not that there is anything wrong with that. Another infatuation is creepy and does involve giving away the milk for free but fortunately is (presumably) never consummated.
The strong motive to stay prompt our boys to do their best to be productive members of the small community with very amusing results. We further see that Tyler has virtually no game.
In true farce style, everything comes to a head during a festival. There is a game-changer just as the sins of the son are more fully bringing the father into the picture. This leads to good potential for our boys to get their happy endings. The rest of the story is that there is one heartbreak and a fable that shows that one ultimately is true to thine self.