The numerous awesome aspects of the Warner Archive Blu-ray release of the 1979 scifiromdramedy "Time After Time" hinders deciding where to begin, The audio commentary provides a good starting point both because it reflects the exceptional track record of Archive regarding getting principals of a film into the sound booth decades after a theatrical release and because these extras are an important part of film history. Star Malcolm McDowell and writer/director Nicholas Meyer team up this time to provide the "true Hollywood story" of this classic. 

The musings in the commentaries are comparable to Hollywood royalty attending the annual TCM Film Festival; both provide a chance to get insights from the lions' mouths before they pass away. Thinking of Adam Sandler and Robert Downey, Jr. being the TCM headliners is enough to strike dread in the hearts of cinephiles, The practiced preaching this time is having attended the 2017 festival.

Another very special aspect of "Time" is that this tale of scifi writer/social activist H.G. Wells (MCDowell) using his 19th-century time-machine to pursue Jack the Ripper (David Warner) from Victorian England to 1979 San Francisco is part of a scifi renaissance of the era. "Time" can arguably  thank the "Star Trek" OS films (Meyer is a writer/director or "II") , "Star Wars," and "Close Encounters of the Third Kind" for  being greenlit.

The cred. of "Time" includes winning three Saturn awards and the USA National Board of Review naming it one of the Top 10 Films of 1979. 

It is worth noting as well that the amped up audio and video of Blu-ray particularly enhances the bright on-location San Francisco scenes, the 70slicious special effects when the time machine is being used, and the mood-setting soundtrack. One of the most cool moments is watching the machine travel through a subspace-style dimension accompanied by audio from the eras that is is passing. 

Our story begins in Victorian England with Jack the Ripper cutting the night of a lady of the evening short. Meanwhile, Wells is entertaining gentlemen callers when Dr. John Leslie Stevenson literally arrives late to the party. The next few minutes allowing anyone with enough grey matter to solve a "Scooby-Doo" mystery both to figure out that Stevenson is the Ripper and how things are destined to play out does not (ala "Columbo") diminish the joy related to seeing how we get there, 

Stevenson soon puts the bragging of Wells regarding his new solar-powered ride to good use by jacking the time machine to escape to 1979 San Francisco, which also is the 1986 destination of the Enterprise crew. This is not to mention that The City by the Bay is the ultimate destination of a "Trek" crew and a "Stargate" team that are lost in space trying to return home.

Social commentary enters the picture in the form of Wells considering his atonement for aiding and abetting Stevenson having the upside of seeing his envisioned Utopia of a world in which love is free, war is no more, and everyone is thriving and happy. Even 1979 audiences know that Wells is in for a rude awakening. One cannot imagine him being able to handle our 2018 existence. 

An amusing aspect of the restrained wonder of Wells on encountering the tech. of the late '70s is that it looks primitive 39 years later. There are clunky landlines, huge counter-top microwaves, CRT televisions, and very outdated cars in which cassette players likely are considered luxury items. 

McDowell particularly shines as Wells simultaneously tries to curb his enthusiasm regarding the plethora of modern marvels, focuses on not letting his mannerisms betray him, and does his best to properly respond to social cues. 

The flip side is that Stevenson considers the '70s his Utopia. Making his point only requires flipping the channels when Wells initially tracks him down. Every network is showing war, contact sports, Yosemite Sam taking a dynamite blast to the face, etc. Similarly, Stevenson showing Wells his true colors makes it clear that the latter is bring an etiquette book to a knife fight. 

Wells gets a less rude awakening on meeting liberated middle-management bank employee Amy Catherine Robbins. An interesting aspect of this is that Robbins portrayor Mary Steenburgen marries McDowell in 1980. 

A slip  of the tongue putting Amy at real risk of a slit of the throat makes things that much more personal for Wells. This leads to the inevitable showdown that concludes with the fate of Stevenson that is clear within 15 minutes of the beginning of "Time."

The marketing genius of this is that "Time" has something for everyone without emphasizing one element so much that it offends anyone. 

EDITOR'S NOTE: Unreal TV is proud and privileged to announce that '70s child star/"Laugh-In" Cousin Oliver Moosie Drier has granted an interview regarding his experience joining that series in its final year. This interview is scheduled to run during the weekend of September 7, 2018.

The Time Life September 4, 2018 DVD release of  the 1972-73 S6 of "Rowan and Martin's Laugh-In" provides a chance to see a genuine TV time capsule. This set also allows completing your collection of this musical sketch-comedy show that straddles the line between vaudeville and burlesque in delicately balancing between edgy social commentary and incurring the full wrath of the powers-that-be. 

The larger legacy of "Laugh-In" includes introducing a comparable quantity of catch-phrases and other pop-culture humor as that of the '60s spycom "Get Smart." Would you believe that these expressions include "sock it to me," "look that up in your Funk and Wagnalls," and "The Fickle Finger of Fate?"

We further get genuinely enduring characters. The better known ones are Ernestine the telephone operator and Edith Ann the precious five-and-a-half year-old girl. This is not to take anything away from frumpy Gladys Ormphby and her regular partner-in-comedy dirty old man Tyronne F. Horneigh. We further get the German soldier with the "veeery interesting" catchphrase.

But wait there is more. "Laugh-In" also launches the careers of many household names that include Goldie Hawn, Lily Tomlin, and Ruth Buzzi.

The legacy of "Laugh-In" begins with starting life as a 1967 special that is such a phenom that is becomes the series that is still loved more than 50 years later. The review of the S2 season, post on S3, thoughts regarding S4, and recent S5 article chart the evolution of the series. These musings include summaries of the past, present, and future film and television stars who help make the series so special.

"Laugh-In" paving the way for "SNL" is comparable to "The Simpsons" making adults watching cartoon cool; this impact of that show about a nuclear (of course, pun intended) American family more specifically makes the once-great three-hour "Animation Domination" block on Fox Sunday night possible, 

The comparison continues with "Laugh-In" leaving the air long before any stagnation period that infects any 30-year series. This exit while still strong further allows the copious musical-variety series of the era to fill the gap in the manner that "Bob's Burgers" almost certainly will move into "The Simpsons" time slot when that series completely outstays its welcome on the prime time schedule. 

The numerous changes that are apparent from the opening moments of the S6 season premiere reflect methods to freshen up the series in manners that future shows emulate. This effort that reflects an adapt or perish attitude likely would have included adding Ted McGinley and Heather Locklear to the ensemble if those two actors had been performing in 1972 and were a little older. 

Adding 10 year-old child star Moosie Drier to the cast a few years before Cousin Oliver moves in with the Bradys reflects dual campaigns to bring in fresh blood and to attract more younger viewers. The primary contribution of Drier and another boy is an adorable and hilarious "Dear Moosie" segment that involves reading kid-friendly letters seeking advice and Mossie providing answers that are pure vaudeville.

The season-opener also introduces the audience to the "Laugh-In" cheerleaders who are akin to the Vegas showgirl style Mermaids who join "The Love Boat" late in the run of that classic. This also is the era in which late-to-the-party McGinley joins the cast as Ace the ship's photographer. 

A unexpected diminished amount of political humor and an equally surprising reduction in the edge of the jibes at elected officials in this Watergate era likely reflect a combination of the following considerations., "Laugh-In" may have decided that playing nicer would have helped ratings, they may have been effectively directed to not discuss Watergate, and that scandal may have prompted the American people to decide that the wrongdoings of our leaders have reached a toxic level that no longer is funny. 

We further see "Laugh-In" emulate phenom "The Carol Burnett Show" in a "Laugh-In" version of an audience Q & A session. This version being less kind-and-gentle than the comparable "Burnett" segments  highlights the differences between the series.

The aforementioned roster of A-Liisters begins with incredibly good sport John Wayne, whose history includes a faux refusal to appear in early seasons. The best brains at "Laugh-In" mine wonderful humor spoofing the conservative tough guy image of Wayne. The Duke playing along illustrates that the best guests on any comedy show are the ones who go with the flow. 

We next get Dyan Cannon joking about her recent role in the racy comedy "Bob and Carol and Ted and Alice." Her opening bit in which she jokes about playboy host Dick Martin grabbing at her in a dark dressing room perfectly illustrates the era of f**k 'em if they can't take a joke now being a period of f**ked if you tell 'em a joke. The lesson here is to understand the context of humor along the lines of knowing that Ralph Kramden threatening to send wife Alice to the moon is far different then either joking about putting her in the hospital or actually hitting her. 

Star of film and television Ernest Borgnine helps wrap things up in the final episode; his role primarily consists of joking about his well-known roles in productions such as "Marty" and "McHale's Navy." A highlight of the episode is pointing The Fickle Finger of Fate in a surprising direction regarding the final bestowing of that award for reprehensible behavior. In many respects this reflects the validity of giving this award to any individual or entity that cannot laugh at itself,

The good news regarding the series finale is that it maintains the quality of the show and literally leaves the audience wanting more. The bad news is that it seems that Rowan, Martin, and company do not realize that this is the season finale, let alone their very last time together in the spotlight. There are no references to any endings, and a preview of the next (apparently lost) episode literally promises more to come.

Cursory online research does not provide any answers; the probable reason is that diminished ratings and/or NBC making a last-minute decision to put another series in the "Laugh-In" time slot denies this ground-breaking series the final exit that it deserves. Either way, this justifies NBC getting the final Fickle Finger of Fate award. 

TLA Releasing artfully combines travelogues and universal love stories with the recent DVD release of the 2018 drama "Grimsey." The spoiler is that you will ache to board the next flight to Reykjavik on seeing this one. 

The following YouTube clip of the Releasing trailer for "Grimsey" reflects the awesomeness of promos for indie films in that they consistently accurately reflect the themes and the tone of the film., In this case, the scenery and the angst of lost love receive equal attention.

The largest theme this time is the long tradition of a gay man abruptly ending what his boyfriend often thinks is a stable and mutually loving relationship. Combined cowardice and justification that simply vanishing is kinder than confronting everyone from a fuck buddy to a genuine partner with the awful truth prompts simply not returning messages and never seeing the person again. Learning that the love is one-sidedl without discovering why can devastate the rejected boy.

The hut guy in "Grimsey" expresses the above sentiments this in highly relatable voicemails to the one who ran away. Not knowing for sure that the other person is alright and not being told the reason for the radio silence is torturous for a man who has the sensitivity that being boyfriend material requires. 

Bruno in "Grimsey" has it even worse than usual. Photographer boyfriend Norberto simply does not return from a trip to Iceland, A police investigation confirms that Norberto never boards his scheduled flight home, However, there is no indication of intentional or accidental bodily injury.

A distraught Bruno flies to Reykavik to find his boo but meets local tour guide Aranu, who joins the quest. This being a gay-themed movie ensures that Bruno is the object of the affection of Arnau. However, another truth of gay life comes in the form of Bruno being so obsessed with his mission that he is oblivious that the handsome and sweet guy next to him may be his actual Mr. Right. Most gay men can relate to being on both sides of this type of relationship.

Amusing support for the theory that every gay man knows each other leads to Bruno travelling several hours across Iceland in search of Norberto; although he initially is reluctant to let Arnau tag along, a sweet gesture indicates that Bruno is open to the idea of moving on.

That journey leads to the titular island that literally and figuratively is the end of the road. It is equally apt that this is the point at which Bruno must decide whether he is going to fish or cut bait, The final word on this subject is that the outcome may be that Norberto is the one who gets away.

The relatability of "Grimsey" continues to the the final scenes. The lesson here is the same as the one throughout the film in that a good man is particularly hard to find when your dating pool is limited to 10-percent of the population and many eligible candidates are married. This makes it important to go the extra mile to find Mr. Right. 

The Indiepix Films July 10, 2018 DVD release of the 2013 scifi existentialist drama "Blue Desert" shows that the spirit of the LSD-influenced cinema of the late '60s and early '70s is not entirely dead. The surreal images and heavily philosophical dialogue make it no surprise that the Yoko One art book Grapefruit inspires Brazilian filmmaker Eder Santos. The rest of the story that the press materials share that "Grapefruit" inspires the John Lennon song "Imagine."

The stunning futuristic images looks so good when put in a 4K player and watched on a 4K set that one can only image the incredibly beauty of a Blu-ray version of this winner of a Golden Palm Award at the Mexico International Film Festival.

The following YouTube video of the Indiepix trailer for "Desert" provides a strong sense of every aforementioend attribute of the film. 

 "Desert" completely revolves around 20-something everyman/narrator Ele. The first sense that we are not in Kansas anymore comes on this Millennial discussing earth now having two moons. We quickly learn that the second moon is a gift that Ele compares to the Statue of Liberty.

Much of the rest of the film evokes strong thoughts of the Steven Spielberg film "Ready Player One" in that the populace often wears VR glasses while going about their business in this (mostly blue) heavily neon world. Much of the fun of the film relates to trying to figure out whether something is real or merely virtual. Ele meeting the girl of his dreams relates to the best of both worlds.

The title of the film refers to the activity of  a spirit guide of Ele; An insightful observation regarding the nature of reality that this man shares with Ele is one of the most trippy scenes in the film.

The overall theme is Ele frantically seeking enlightenment; this quest involves a great deal of introspection and affirmative efforts to transcend.

The almost equally surreal Terry Gilliam film "Brazil" makes setting desert in that country very apt. It is a very techno-future world in which it seems that not every form of public transportation actually moves you from Point A to Point B. 

The takeaways from "Desert" are that the future is not necessarily completely bleak and that the path to enlightenment is paved with good intentions.

Breaking Glass Pictures impressively outdoes itself regarding the August 28, 2018 DVD release of the 2017 French dramedy "My Life as James Dean." The only criticism is that Breaking does not make this beautifully shot film with a solid soundtrack available on Blu-ray. 

The best way to think about this one is that it retains all the style and humor of a classic French film while adding a splash of a Michael Chabon or John Irving novel. We get outrageously comical characters going to extremes to pursue overlapping passions. 

The mention regarding accolades this time is that the lack of them is astonishing; one cannot imagine festivals passing this one over. 

It is not surprising that relatively new indie filmmaker Dominque Choisy knows of what she speaks regarding the film screening aspects of "Life." It is surprising that a woman has the depicted insight regarding regarding young gay love.

The metaness of "Life" begins with this film having the same name as the fictional film of 20-something first-time director Geraud Champreux around whom the Choisy film is centered. Personal metaness relates to frustrating efforts to arrange screenings of an exceptional indie film of a 20-something righteous dude.

The opening scenes are of Champreux riding a bus to a small Normandy town to host a screening of his film about a man who believes that he is Dean. The comic misadventures begin with losing a modern lifeline when he arrives at his destination.

The audience next gets a glimpse at the life of a first-time indie filmmaker when no one is there to greet Geraud. His subsequent encounter with locals at a bar is the first of many "Northern Exposure" style incidents that reflect the personalities of quirky small-town folk.

Our man temporarily without a country manages to find the theater where his film is to be shown only to be told that his appearance is a surprise and that no screening is scheduled. This discussion includes commentary on the overall sad state of modern cinema in which commerce typically trumps art. 

The next stop it the hotel that is the best guess regarding where the woman behind the invitation is putting up Geraud. This brings him in contact with disaffected Jill-of-all-trades hotel employee Gladys,. Her amusing lazy dismissive approach to her job is very familiar to frequent travelers. 

The penultimate piece of the puzzle comes when Geraud meets box-office worker/projectionist Balthazar. This canard odd can be considered the very late-in-life brother of mop-topped tall and lanky slacker-type character actor Hamish Linklater. 

Another meta moment occurs when the first moments of the fictional film mesmerize Balthazar to the extent that transference results in his falling in love with an unresponsive Geraud. This innocent small-town boy also most likely never having felt the touch of another man is another factor.

The final piece of the puzzle comes when booker Sylvia van den Rood belatedly shows up and subsequently ensnares Geraud in her personal drama that is responsible for neglecting him. This coincides with a sweet declaration of love by Balthazar. 

Balthazar outdoes himself in putting himself on the line by showing up uninvited for a booty call. Being given the boot not deterring him is another notably sweet moment in the film. This is relatable to the perk of being a gay man in the form of sometimes being the pursued one in a relationship. We all desire to feel wanted and loved.

The subsequent screenings set the stage as our core group of three and various hangers-on travel through the area. 

The biggest surprise comes when casual conversation with the parents of Balthazar leads to a surprise reveal that is a potential game changer. The subsequent developments reinforce that the French are amazingly much more casual about sex and nudity than Americans.

Choisy keeps the fun going to the end as Geraud helps two fugitives as he figuratively rides off into the sunset. The final scenes fully seal the deal regarding the quirky charm of "Dean." 

The Mill Creek Entertainment separate August 21, 2018 DVD and Blu-ray complete series releases of the 2013-16 Showtime docudrama "Masters of Sex" coinciding with the (reviewed) Creek CS releases of the ABC sitcom "Happy Endings" provides Telephiles plenty of viewing pleasure while waiting for the new TV season.

Candor in the spirit of "Masters" is a factor in confessing that August being a particularly busy month for home-video releases and other factors are reasons for pulling out before completion in that this review is based on the first two of the of the four seasons in this series about real-life pioneer sex researchers Dr. Bill Masters and (twice-divorced) Mrs. Virginia Johnson. A desire to see what comes next is the excuse for not reading ahead, The real-life Masters and Johnson will agree that not providing complete satisfaction is a valid basis for complaint.

The fact that "Masters" gets 52 nominations and only 6 wins also reflects the spirit of this program about a highly passionate Masters striving to educate the public about physical aspects of sex and every factor that make it either satisfying or anti-climatic. The excuse this time is that the 100s of networks and overall good quality of television dramas the past few years make the competition much more stiff than back in the days of only three commercial broadcast options and PBS.

The majority of the wins deservedly go to future Oscar winner Allison Janney for her portrayal of Margaret Scully. The highly stressful marriage of Margaret to university official Barton Scully (Beau Bridges) makes that woman a '50s housewife a rebel with a very righteous cause. 

Cursory on-line research shows that the series predictably stretches the truth regarding the main characters and their work but remains relatively true to the source material. An assumption is that the incidents in the lives of the supporting characters mostly are designed to entertain and to  provide a context for depicting social issues of the day.

The pilot episode of "Masters" provides a strong sense of the direction of the show right from the beginning. The opening images are of inter-titles that state that Dr. Williams Masters (Michael Sheen) and former night-club singer Virginia Johnson (Lizzy Caplan) team up to publish a ground-breaking sex study in 1966. The next image is of an inter-title that establishes the year as 1956.

We first meet Masters working solo as a peeping Tom with a scientific purpose in a very basic version of his research. This leads to his using his clout (and a touch of blackmail) to move his work to Washington University Hospital where his literal day job includes star status. He initially hires Johnson as a secretary but more fully integrates her into the work and his life as the season progresses. 

The S1 season finale predictably is climatic as an oblivious Masters presents his preliminary findings accompanied with intimate footage of study participants to his peers in 1957. Although not touched on very strongly, the perception of the film as lewd rather than as a valid element of scientific research relates to the issue of what is pornographic; part of the answer is that the determination must reflect the intent behind the making and the showing of the images. One spoiler is that this controversial production is not very erotic.

S2 begins with the fallout from the aforementioned presentation. Masters understandably considering the unwarranted outrage further enhances his inability to work and play well with others. This leads to the same conclusion that often applies regarding exceptionally intelligent and talented people that they do better working for themselves than being a wage slave.

The more unsettled nature of the study coincides both with a patient-of-the-week format and episodes with sometimes unduly preachy social issues. The first featured patient is a 20-something genuine nymphomaniac facing surgical sterilization. Many of the social issues revolve around race in the context of Masters working in a black hospital and his wife Libby having a young black woman help her around the house. 

The season ends with CBS making a documentary about Masters and Johnson; related interesting aspects of this are dumbing down the material and the issue of the seven words that George  Carlin informs the American public that cannot  be said on television in any context. Modern relevancy is at "SNL" and "South Park" separately running with the concept when at least two of those words get approval for use over the air, 

It is assumed that Season 3 addresses both the increased fame (or notoriety) associated with the documentary. We further can expect to see the personal relationship of our researchers evolve in the wake of Master showing Johnson great vulnerability in the second season. For her part, Mrs. Masters becoming a more liberated woman likely will impact the home front. 

The more-than-three-hours of bonus material include behind-the-scenes features, deleted scenes, and "The History of Sex."

The Olive Signature division of art and cult film god Olive Films once again shows its love of the best of the best with the phenomenal must see to believe remaster of the 1996 Wachowskis Brothers ("The Matrix and "Cloud Atlas.") classic neonoir "Bound." The adoration begins with including both the theatrical and unrated versions of this steamy mob drama that centers around illicit lesbian lovers whom Gina Gershon and Jennifer Tilly portray.

The artful contrasts (such as bright-red blood on gleaming white tile and perfectly laundered white shirts) and the overall cinematography look incredible in Blu-ray; the audio that plays an equally key role sounds crystal clear, The A-list group that provides the audio commentary includes the three stars and the bros. 

Gershon plays butch ex-con bull dyke lesbian Corky; Tilly is seductive femme fatale lipstick lesbian Violet. Fans of classic sitcoms will respectively think of Jo and Blair of "The Facts of Life."

It is love at first sight when a tank-top and jeans wearing Corky and dressed-up  to the nines Violet exchange glances at the high-end condo. building where moll Violet and gangster Caesar (Joe Pantoliano) are shacking up in the unit next to where Corky is doing a major renovation for a client., The good humor begins Violet using one of the oldest ploys in the book to seduce Corky. This scene including Corky grabbing a pipe with her bare hands and ripping it loose is equally symbolic and humorous.

Our girls are enjoying unwedded bliss on the side when Caesar obtains temporary possession of $2M of mob money; the seduction is on the other Birkenstock when Corky convinces Violet to make that custody even more temporary than planned.

The ensuing mayhem follows the Leonard Snark (a.k.a. Captain Cold) four rules of planning  such a caper; make a plan, execute the plan, expect the plan to go off the rails, throw away the plan.

Mob boss Gino Marzzone (Richard C. Sarafin) and his son Johnnie (Christoper Meloni) who proves the theory about a family business failing when the third generation takes over making a booty call plays a big role regarding the third rule. The already discussed bad blood between Johnnie and Caesar is one of many elements that makes this a notably intense and entertaining scene. This is not to mention Gino discovering the limits of his influence. 

"Bound" next becomes especially Hitchcockian as the police arrive to investigate; the ode to that auteur includes a bath tub body dump and rinsing blood down the drain. The quick and efficient temporary cleanup suggests that this is is not the first trip to this type of rodeo.

It is equally inevitable that Caesar discovers the truth and obtains leverage; what ensues next is so unexpected and clever that it shows why The Wachowskis soon come to be in heavy demand. Part of the mastery is greatly honoring classic noir while keeping things fresh. 

The final result stays very true to the spirit of the old and the new. A strong reflection of this film being in a neo-code era is that not every malfeasor ends up in a shallow grave, in the river, or behind bars.

The standard feature-quality bonuses that Signature includes are equally exceptional this time. Particularly notable ones are two film experts sharing their thoughts on neonoir, Meloni discussing his character, and Gershon and Tilly providing insights regarding femme fatales. 

We also get a booklet with an essay by actress Guinevere Turner; her perspective is the positive role of "Bound" regarding portraying lesbians in films. 

The Olive Signature division of art and cult film god Olive Films once again shows its love of the best of the best with the phenomenal must see to believe remaster of the 1996 Wachowskis Brothers ("The Matrix and "Cloud Atlas.") classic neonoir "Bound." The adoration begins with including both the theatrical and unrated versions of this steamy mob drama that centers around illicit lesbian lovers whom Gina Gershon and Jennifer Tilly portray.

The artful contrasts (such as bright-red blood on gleaming white tile and perfectly laundered white shirts) and the overall cinematography look incredible in Blu-ray; the audio that plays an equally key role sounds crystal clear, The A-list group that provides the audio commentary includes the three stars and the bros. 

Gershon plays butch ex-con bull dyke lesbian Corky; Tilly is seductive femme fatale lipstick lesbian Violet. Fans of classic sitcoms will respectively think of Jo and Blair of "The Facts of Life."

It is love at first sight when a tank-top and jeans wearing Corky and dressed-up  to the nines Violet exchange glances at the high-end condo. building where moll Violet and gangster Caesar (Joe Pantoliano) are shacking up in the unit next to where Corky is doing a major renovation for a client., The good humor begins Violet using one of the oldest ploys in the book to seduce Corky. This scene including Corky grabbing a pipe with her bare hands and ripping it loose is equally symbolic and humorous.

Our girls are enjoying unwedded bliss on the side when Caesar obtains temporary possession of $2M of mob money; the seduction is on the other Birkenstock when Corky convinces Violet to make that custody even more temporary than planned.

The ensuing mayhem follows the Leonard Snark (a.k.a. Captain Cold) four rules of planning  such a caper; make a plan, execute the plan, expect the plan to go off the rails, throw away the plan.

Mob boss Gino Marzzone (Richard C. Sarafin) and his son Johnnie (Christoper Meloni) who proves the theory about a family business failing when the third generation takes over making a booty call plays a big role regarding the third rule. The already discussed bad blood between Johnnie and Caesar is one of many elements that makes this a notably intense and entertaining scene. This is not to mention Gino discovering the limits of his influence. 

"Bound" next becomes especially Hitchcockian as the police arrive to investigate; the ode to that auteur includes a bath tub body dump and rinsing blood down the drain. The quick and efficient temporary cleanup suggests that this is is not the first trip to this type of rodeo.

It is equally inevitable that Caesar discovers the truth and obtains leverage; what ensues next is so unexpected and clever that it shows why The Wachowskis soon come to be in heavy demand. Part of the mastery is greatly honoring classic noir while keeping things fresh. 

The final result stays very true to the spirit of the old and the new. A strong reflection of this film being in a neo-code era is that not every malfeasor ends up in a shallow grave, in the river, or behind bars.

The standard feature-quality bonuses that Signature includes are equally exceptional this time. Particularly notable ones are two film experts sharing their thoughts on neonoir, Meloni discussing his character, and Gershon and Tilly providing insights regarding femme fatales. 

We also get a booklet with an essay by actress Guinevere Turner; her perspective is the positive role of "Bound" regarding portraying lesbians in films. ​

The ONLY criticism regarding the thriller with comedic overtones "Dead Envy," which opens theatrically at the Arena Cinelounge Sunset in Los Angeles on August 24 before hitting VOD and cable platforms on September 3, is that "Curl Up and Die" is a much better title. The press materials stating that this tale of an aging rocker turned hairstylist unwittingly letting a crazed fan into his life is semi-autobiographical for writer-director Harley Di Nardo makes Di Nardo an especially interesting person to get to know. Any incidents that involve hobbling are particularly intriguing, 

The following YouTube video of the Random Media "Envy" trailer provides a good taste of the old-school elements of '80s-style rock and psycho-thrillers from that era.

Di Nardo stars as David Tangiers, who is the "has-been" front man for former top of the alternative pops band Katatonic Spin. He does not have much more success as a stylist at the salon that he owns with toxic aging hag Dawn,. Tangiers spouse Cecily is the salon receptionist/bookkeeeper.

Early scenes clearly establish that rockertude is incompatible with the pampering associated with mainstream mid-level salons. 

David is focusing more on staging his comeback than on running his salon when Javy Bates manipulates himself in his life in a manner that results in this man who seems unqualified to groom a dog talks his way into a stylist position, His early efforts support the credo of salons that if you don't look good, we don't look good. A demo CD further suggests that this wannabe should quit his day job. 

In true thriller style, Javy increasingly shows his roots in manners that extend beyond his very creepy home life that likely involves copious use of body lotion. His putting David in a highly compromising position is a highlight that leads to an even better "morning after" scene.  

It is amusing that things go fully old school as David sees the Dawn. His partner gets him to wise up just as Javy fully goes off the deep end as part of his wanting a new romance. This leads to the inevitable showdown with one of the equally inevitable conclusions. Who ends up dead on the floor or the hospital involves almost the final chord. We also get treated to the aftermath. One spoiler is that Di Nardo makes watching the closing credits worthwhile. 

The Warner Archive August 14, 2018 Blu-ray release of the 22-episode second-season of the Greg Berlanti CW teensoap "Riverdale" terrifically follows the grand S1 tradition of giving fans a chance to either catch up or get their first look at the episodes of the prior season before the mid-October broadcast premiere of the new one, In this case, S3 premieres on October 10, 2018. 

The post on the S1 Blu-ray release touches on the extended period between the conception of the series and the CW premiere after Fox abandons the project. This review also uses "Saved by the Bell" as the basis for discussing the updating of the mid 20th-century source material for Millennials. S1 going from a half-season to a real-life 22 episode boy is only the tip of the iceberg regarding the changes to this increasingly dark and edgy series.

Putting an increasingly sharp edge on the comic strips, comic books, and Saturday-morning cartoons is part of  the fun. Fanboys get the bonus of the numerous Easter eggs that are homages to the kinder and simpler incarnations. One obvious one is naming a cute sheepdog puppy who joins the cast mid-season Hot Dog after the pooch of Jughead in the comics. A slightly less obvious one is naming a Goth street gang The Ghoulies in honor of the "Laugh-In" style musical variety show laden with rapid jokes that feature the friendly monsters The Groovy Ghoulies who join the pure Archieverse. 

"Riveredale" additionally continues the fun of naming each episode after a film; focusing on horror films and dark dramas is particularly apt in S2. The best show of love for classic films is a moment that closely mirrors a notable moment in "Psycho." 

A combination of the S2 mid-season finale providing exceptional closure even for that milestone in most modern series and of the precedent set by the fulfilled pre-S1 promise to wrap up the central mystery by the end of that 13-episode inaugural outing of the now CW hit suggests that Team Berlanti is unsure either of any second season or a full one when mapping out what comes after everyteen boy-next-door Archie Andrews (K.J. Apa) holds his construction company owner father Fred Andrews (Luke Perry) in his arms after a man who comes to be known as The Black Hood for an obvious reason shoots the elder Andrews.

S2 opens with Archie sidekick Jughead Jones (Cole "Cody" Sprouse) resuming his voice-over narrator role. This former comic-relief sidekick turned literal trailer trash on the verge of joining the feared Serpents street gang adds humor in describing his buddy racing his father to the hospital despite not having a license. 

Our horny crusading teens barely get a quiet moment from there, The shooting starts Archie on a an  Anakin Skywalker-caliber path toward the dark side that begins with an adorably earnest effort to protect Fred from future attacks and evolves into a campaign to become a made man in the "family" of "legitimate businessman" Hiram Lodge (Mark Consuelos). Hiram is the disgraced recently released ex-con father of Archie main squeeze/spoiled rich girl/aspiring Godmother Veronica Lodge (Camila Mendes).

Meanwhile literal girl-next-door/Nancy Drew wannabe Betty Cooper (Lili Reinhart) is dealing with her own increasingly impure thoughts. Her focus throughout much of the first half of the season is divided between trying to unmask The Black Hood and meeting his demands while minimizing the collateral damage.

She spends much of her limited free time trying to convince gay best-friend/ sheriff's son Kevin Keller (Casey Cott) to stop cruising the woods near the local lover's lane for sex. The resistance to this includes the valid logic of this boy who likes other boys that Grind'r profiles often are very misleading. One can understand that a boy's gotta do whom a boy's gotta do. 

A related moment provides a limited expectation of a kiss between Archie and Jughead. 

Betty proves both that she is her own worst enemy and that the road to Hell is paved with good intentions in the second half of S2. Her effort to locate a long-lost relative creates mega-chaos at the Cooper household in ways that include strongly tying this story arc into the first half of the season.

A white knight in black leather dramatically tipping the scales regarding a seemingly hopeless situation related to all this is one of many awesome guilty pleasures. A common theme that this reflects is that our core group of small-town teens apparently have become so bad ass that merely threatening adults who have earned their bones scares these grown-ups into either doing as they are told or heading for the hills. This takes "Rebel Without a Cause" to the proverbial new level. 

All of this culminates in typical season-ending trauma and drama that offers closure regarding parallel political races. We further get several truth-bomb laden confrontations.; this all leads to a cliffhanger that involves lodging a serious complaint against Archie. One spoiler is that all his time in high-school locker-room showers does not prepare him for the next chapter in his life. 

Team Belanti also give us "very special" episodes that address societal issues. The best one involves evil nuns running a secret brutal conversion therapy program.

Archive concludes all this with the typical tremendous love that it shows home-video releases of CW series. We get deleted scenes from every episodes, a fun "behind-the-scenes" feature on an episode about a high-school musical (complete with comically HORRIBLE choreography) version of "Carrie," and another feature on the new tone of the series. Archive further comes through regarding the 2017 Comic-Con panel for "Riverdale" and a bleep-laden gag reel. 

The Warner Archive August 14, 2018 three-disc DVD release of "2 Stupid Dogs" V1 coinciding with the (soon-to-be-reviewed) Blu-ray S2 release of the current CW edgy teen drama "Riverdale" is an iota of the buckets of proof that the Archive catalog extends far beyond DVDs of Golden Age films. As the "Warner Archive" category of this site shows, that distributor truly has something for everyone. 

A post on a past Norman Rockwell Museum exhibit of Hanna-Barbera animation provides includes information that enhances appreciation for "Dogs." The gist of this is that the concept, the style, and the format of the 1993-95 TBS series "Dogs" pays homage to the Hanna-Barbera mid-60s "talking animals" fare with three shorts, as least one of which features the star anthropomomphic critter. This give ways to super hero fare that includes reviewed sets of "Space Ghost" and "Bird-Man" that the "Architects of Saturday Morning" produce in response to Spider-Man and his amazing friends invading the turf of Secret Squirrel and his peers.

Speaking of Squirrel, updated adventures of this cool 000 gadget inspector from the Golden Age of Bond occupy the center square of "Dogs." The tales (pun intended) of the titular talking canines sandwich the exploits of  Squirrel. 

The general idea of "Dogs" is that these nameless pals have hilarious misadventures that typically ensue as a result of the dachshund, who is the excitable "Little Dog," seeking food. Future "Everybody Loves Raymond" star Brad Garrett puts his trademark deadpan style to good use as the very chill sheep dog "Big Dog." For his part, Squirrel continues his tradition of battling the Bond-style super-villain of the week.

The retro vibe commences in cold opens in which legendary narrator/"Laugh-In" star Gary Owens announces developments that fit right in with the clips from that episode but that have nothing to do with the plots. Further retro fun comes via essentially "We'll be right back" and "We're back" bumpers that appear immediately before and after commercials during the broadcasts. 

The following YouTube clip of the opening credits for "Dogs" illustrates (pun intended) the '50s/early '60s animation style of the series.

The animation-yet-to-come aspects of "Dogs" is just as amazing as its nod to the past. Creator Donovan Cook goes on to bring us the edgy and subversive "Duckman" starring Jason Alexander of "Seinfeld." The other "Cooks" include Genndy Tartakovsky of subsequent "Dexter's Laboratory" fame and "Powerpuff Girls" "dad" Craig McCracken, The influence of "Dogs" on these series extends beyond the similar drawing visual style and overall tone. "Powerpuff" fans will recognize the exaggerated sound effects that are more prominent in the later series. 

The modern sensibility is apparent right at the outset with "Door Jam" in the first episode. The tin can of Big Dog rolling behind an electric eye door of a department store leads to Little Dog concluding that getting the door to open requires wearing shoes. The genuine hilarity that ensures includes a trip to a strip club in which Little Dog urges the human "exotic dancer" to take off her high heels, 

A notable later change-of-pace episode has a geeky elementary school boy bringing the dogs in for Show and Tell. The absurd approach of Little Dog regarding getting down off a coatroom hook demonstrates how our boys get labelled as stupid. A later back-view scene in which the aforementioned dork proves to his peers that Little Dog is a boy in a manner that traumatizes the pooch establishes that these are not your father's Hanna-Barbera cartoons; not that there is anything wrong with that.

One more typical outing has the dogs having an incredible winning streak while in Vegas for a hot-dog buffet. One with a nice bit of edge with a great surprise ending has pursuit of ice cream leading to our temporary far-out space nuts launching a space shuttle. 

The primary manner in which Squirrel shows that he is all grown-up is that his sadistic treatment of nerdy sidekick Morocco Mole is much more overt than in the earlier incarnation of their adventures. This begins with making fun of a temporary lisp and coercing him into donning a wig in their initial adventure. Their nemesis this time is Goldflipper, who is using a very powerful magnet to extract gold teeth from victims. 

A "nuts"  joke is apt regarding Squirrel facing Queen Bea involving an effort to pollinate. A tamer but very clever outing has 000 using his brains rather than his toys to outwit a subatomic bad guy named Quark. The outcome should endear "Squirrel" to both Trekkies and Trekkers. 

The special feature is a series of "2 Stupid Facts Collection" that are amusing short shorts that provide filler. ​

The Lionsgate August 21, 2018 separate DVD and Blu-ray releases of the current Ridley Scott produced AMC horror series "The Terror" provides a warning to anyone who thinks that is safe to go back into the Arctic. This ripped-from-the-history-books drama is based on the novel of the same name that is a fictionalized account of the real-life mid-19th century effort by Sir John Franklin to locate the Northwest Passage.

The incredible sets and beautiful on-location scenery that includes The Northern Lights make full use of Blu-ray technology. Just watching the frozen landscape in such detail during a hot and humid summer provides relief. 

The title of the series and the book refers both to the name of the British naval ship that leads the two vessel expedition and to the events around which the series is centered. The film "The Thing" about a creature preying on scientists in Antarctica seems to provide most of the rest of the inspiration for the series. An interesting casting note is that Richard Harris son Jared Harris plays Captain Francis Crozier, who is the "good" captain. 

This show that is Certified Fresh on Rotten Tomatoes also is notable for having debuted as the number one new cable series premiere.

"Terror" opens with a spoiler in the form of a rescue group asking natives for information about the crews of the HMS Terror and the sister ship the HMS Erebus. The spoiler part relates to the action throughout the season including folks in London with horses in the race campaigning for the rescue. The actual story is that nothing is known about the real events or even the fate of the actual Sir John Franklin and his men.

We also get other pre-expeditions flashbacks and scenes from the home front during the period that are concurrent with the primary events of the series. 

Things are sailing long well when we first meet the crews; the primary exceptions are Sir John not being especially popular and the crew experiencing an unexpected medical problem.

The real trouble begins with an ill-fated decision that gets both ships solidly locked in ice. This leads to the first of many explorations of the land, which leads to the first of many encounters with the aforementioned creature. The series remains true to the tradition of quality horror in taking its own sweet time showing the actual beast. One spoiler is that he is a fan of biting off heads. 

Heightened tension in the wake of the first attack leads to accidentally killing a native man in the presence of his daughter. She, in turn, becomes a person of interest. The perceived threat that she poses includes a sense that she controls the beast. 

The shipboard action during this period provides the most fascinating insight; the below decks area overall seem realistic but cleaner and more roomy than the general perception of those accommodations. We further learn about the diet of the men and the potential role of their food supply regarding the mayhem in "Terror."

Although there is no hint of the men  adopting an any port in a storm attitude in the complete absence of women for several years, one crew member gets a brutal literal bare-ass whipping while all look on., This brings new meaning to a variation of the expression take it like a man.  

In true horror fashion, the threat and the tension among the men proportionately increase. Both lead to events that prove that desperate times lead to desperate measures. A compelling part of all this is that the challenge and the stakes are much higher than typical. This is even without an unearthly predator having a strong appetite for seafood. 

Things come full circle in the season finale and offer a big surprise before adopting a cliche from another genre by having a character walking off into the sunset. This leaves the door wide open for the second season that is scheduled to run in 2019.

​The Blu-ray extras include actual character studies, a look at the series itself, and a "horse's mouth" feature with Scott. 

Warner Archive provides a good candidate for a Saturday Thriller Theater matinee with the July 31, 2018 Blu-ray release of the 1960 classic British horror movie "Village of the Damned." Speaking from personal experience, folks who already own the "Damned" DVD will love the greatly enhanced video and audio of this remastered release. The contrast is much sharper, you literally can see every detail, and the audio that helps set the creepy tone is crystal clear, 

The most awesome thing about "Damned" from a modern perspective is that it is a probable inspiration for most Stephen King fare. (It also is recalled that "The Simpsons" parodies "Damned" once or more.) The English rural village of Midwich stands in for the small Maine communities that attract big bads in King novels, Also ala King, a sudden eerie event early in "Damned" triggers the ensuing well-crafted terror.

"Damned" opens innocently enough with man of letters Gordon Zellaby having a routine telephone conversation with brother-in-law Major Alan Bernard (Michael Gwynn). The aforementioned surprise occurence is Gordon suddenly seemingly dropping dead. The typically British response of Alan is puzzlement but not especially strong concern; he merely mentions to his superior that his duties are taking him near Midwich and that he would like to ensure that the husband of his wife is not a rotting corpse. 

On arriving at the outskirts of Midwich later that day, Alan discovers that the area is littered with people who apparently fell in their tracks. Gordon and his neighbors subsequently waking up does not lead to any explanation for the mass narcolepsy. 

The real fun begins on the townfolks learning that Gordon spouse Anthea (Barbara Shelley) and every other woman physically capable of giving birth has a hot-cross bun in the oven. Trauma and drama ensues regarding women such as the "innocent" who claims that she "has never been touched" and the wife whose husband is on a year-long absence when she receives news of the impending birth. 

An abbreviated gestation period and the little surprises physically maturing at an accelerated rate are additional early indications of something weird. The good people of Midwich also soon learn that other communities are having a similar phenomenon. 

Early indications of sinister elements occur when the kids likely are biologically in their terrible twos but seem like roughly 10 year-olds. These youngsters having straight platinum blonde hair, blank stares, a creepy voice pattern, and ability to make their eyes glow begin boldly demonstrating their abilities to read minds and to use mind control to exact revenge on those who purposely or inadvertently do them wrong do not endear them to their elders . The only disappoint in "Damned" is a girl being stopped from putting a bully in his place.

Popular (and talented) British child actor of the era Martin Stephens plays leader of the wolf pack David Zellaby. He shows far more poise and understanding of his role than adult thespians. You really would not like him when he is angry.

The underlying dilemma is that the kids simply want to protect themselves and to understand what makes us foolish mortals tick. The related problems are that the kids merely looking and behaving weird is a large strike against them. Their lack of hesitancy to use their powerful mind-control powers to inflict karma on those who harm or otherwise mistreat them is an additional issue. 

The "enemy" both being children and coming from the women of the village complicates things; their practice of attacking only when provoked is another factor, The Cold War era of the film is reflected regarding the underlying consideration being that the threat seemingly is currently controllable. The debate includes whether to imprison, kill, or find another option regarding the menace. 

The Superman element is finding the equivalent of Kryptonite in dealing with a foe that literally knows your every thought and can directly turn your attack against you. The fact that there is the sequel "Children of the Damned" indicates the effectiveness of the final assault. One need not be a mind reader to anticipate that Archive is releasing a Blu-ray of the sequel by the end of 2018.

The Mill Creek Entertainment August 21, 2018 separate DVD and Blu-ray  complete-series releases of the early 2010s series "Masters of Sex" and "Happy Endings" is wonderful news for current fans of those series and for folks who have yet to experience the good quality of both programs. In what seemingly is backwards on a couple of levels. "Endings' is a review topic before "Masters."

The enhanced video of Blu-ray is tailored made for the truly vibrant and detailed colors that extend well beyond the red feathers of Tyler the racist parrot, The crystal-clear rich sound is a bonus. 

"Endings" producers Joe and Anthony Russo also are the best brains behind the even more subversive cultcom "Community, which Mill Creek is releasing in separate DVD and Blu-rays sets in September 2018. Fanboys know that the Russo brothers go on to bigger (but not necessarily better) things in the form of "Captain America" and "Avengers" films. 

The Russos particularly show that they know their stuff in not adding laugh tracks to either "Community" or "Endings." This reflects the wisdom of Alan Spencer regarding his '80s cultcom "Sledgehammer," which is about a cop who makes Dirty Harry look like Sheriff Andy of Mayberry. Spencer notes that viewers do not need to be told when something is funny. A related note is that the somewhat subtle but hilarious "Endings" joke "Rivers Thicke Johnson" likely would not have triggered the laugh track.

"Endings" begins on a high note for the audience that is a low point for one of the friends around whom the series centers. Future food truckeuter Dave Rose (Zachary Knighton of "Flashforwrd") is standing at the altar with childhood friend/fiancee/failing boutique owner Alex Kerkovich (past literal cougar bait Elisha Cuthbert). The first of an almost "Community" level amount of pop culture references begin with a nod to both "Xanadu" and "The Graduate," A 20-something guy with an open shirt rollerblades down the aisle and turns Alex into a runaway bride. 

The action aptly fastforwards a month to Dave living in the bedroom in the apartment in which gay "chubby" and slovenly college buddy Max Bloom (Adam Pally of "The Mindy Project") is couch surfing in his own shabby loft that has rats in the main living area and a belatedly discovered human squatter in a previously unknown attic space. 

Penny Hartz (Casey Wilson of "SNL") is a childhood friend of Dave and Alex. Her dating Max in college seeming to be the highlight of her romantic history states quite a bit about this current fag hag. She and Max being the Jack and Karen of "Endings" makes having Megan Mullally play her mother apt.

The fifth member of the sextet is Eliza Coupe of "Scrubs" 2.0 playing Alex sibling/ruthless ice queen/successful executive with an initially undisclosed profession  Jane Kerkovich-Williams; the obvious joke comes late in the run of the series. 

Damon Wayans, Jr. proves the truth of like father like son in his portrayal of the object of the jungle fever of Jane. His Brad Williams is almost as successful as his wife but is much more silly. His many shining moments include his role in a "Get Out" plot years that has the third Kerkovich sister engaged to a black man years before "Out" is released. 

The "Endings" characters themselves and the overall series successfully combine the best elements of "Friends" and of "Seinfeld." The likability of our gang falls right between that of the group that sets the standard for this genre of television comedy, and Team Jerry, Especially in the first two seasons, the "sits" that provide the "com" in "Endings" are closer to the "nothing" end of of the plot scale than silly shenanigans that include scouring Manhattan for a carelessly lost baby or getting trapped in an ATM vestibule with a super model. This is not to mention the old chestnut of accidentally seeing a character of the opposite sex naked. 

However, "Endings" specifically mentions "Friends" on a few occasions; the most direct connection is the group once discussing which of them is which "friend." This involving an existential crisis is pure "Endings."

We also get an outing in which Max and Amy rebel against being the "poor" members of the group, A broader connection is the habit of flashbacks that highlight poorly thought out fashion and hairstyle choices. 

The "Seinfeld" connection is stronger. Like Jerry and Elaine, Dave and Alex are exes; one difference is that our current couple are on=again-off-again far more than their predecessors. We further get Max engaging in Krameresque escapades that include using his vintage limousine to conduct comically inept tours of Chicago.

"Endings" goes further back in an episode that has Alex, Dave, and Max playing "Three's Company." Dave wondering why his landlord is so obsessed with the sexual orientation of his tenant is a highlight of that one. 

Notable episodes that fall in between "Seinfeld" and "Friends" include selfish reasons being behind  the rest of the group comically trying to provoke Brad and Jane to fight. That couple playing along contributes to the hilarity. We also get the gang full entering TV Land to help save a struggling toddler play center. 

One highly relatable episode has Brad using a pretense to avoid annual visits by a sorority sister of Jane. Once again, the awesome twists are "must-see" TV.

This new set seems to have the same plentiful bonus features as the (much-more expensive) DVD sets from a few years ago. They go beyond deleted scenes and outtakes to include a hilarious parody song and a fun joint interview with Pally and Wilson. 

​A recent disappointing experience at an inn that shall remain shameless has stirred longstanding thoughts about an article designed to avoid pitfalls regarding B&Bs and other small properties. Thoughts regarding how to present this led to fond memories of the (reviewed) Rabbit Hill Inn in St. Johnsbury, Vermont. The busy bunnies there do it right; the contrast in accolades and associations between that terrific place and the more recent destination demonstrates the difference that this makes.


A brief background that helps explain the love for the Rabbit Hill Inn is that the first stay predates Unreal TV 1.0 and 2.0. The then significant other of your future not-so-humble reviewer was looking for a place to celebrate a milestone birthday of the latter. Knowing that I love animals prompted paying particular attention to the Rabbit Hill. The sharing of that find prompting an exclamation of "BUNNY!" sealed the deal.


The Rabbit Hill remained a fond memory until history repeated itself in the form of the current more highly significant other of your not-so-humble reviewer looking for a place for a do-over celebration of an even bigger milestone birthday at an even larger train wreck of an inn than the recent lodging establishment. As the aforementioned article discusses, resident innkeepers Brian and Leslie Mulchay more than made up for the epic fail at the aforementioned clip joint.


"Jeopardy!" Principle

The most important aspect of picking an inn relates to the primary rule when literally or figuratively playing the home version of the game show "Jeopardy!." Always trust your first instinct.


When first contacting an inn, either not hearing back for several days and/or reaching an unfriendly person is a very bad sign that typically warrants looking elsewhere. This is even more true if the representative does not answer questions about the inn, the room. or the general area. However, the demanding nature of the industry makes a polite request to hold or to otherwise wait very valid.


Similarly, having your spidey sense tingle at any preliminary stage of a stay calls for taking all practical steps to find alternative lodging. It seems that just as many negative Trip Advisor reviews include the phrase "we decided to stay anyway" as do letters in another publication begin with "I never thought that this would happen to me ..."


Speaking of Trip Advisor ...


Trip Advisor

Trip Advisor and similar review sites have value but should not be taken as the gospel truth. In fairness to inns, some guests use these forums to grind unwarranted axes.


In fairness to guests, many inns manipulate these reviews. This requires taking positive and negative reviews alike with a grain of salt. However, properties such as the Rabbit Hill Inn that have more than 1,000 glowing reviews and very few even neutral ones usually are a safe bet.


The biggest problem is that less reputable inns coerce guests into removing negative reviews. The corporate owner (more on this below) of the train wreck whose name I dare not speak actually sent lengthy correspondence via certified mail thinly threatening legal action and more dire consequences regarding a subsequently deleted review, which was honest and provided specific examples. A bizarre aspect of this was wrath related to the review noting that this establishment (with meeting rooms and a business center) that advertised itself as a historic property seemed more like a conference hotel than a cozy retreat.


Trip Advisor will respond to reports of such coercion, but that sadly can enhance the claim of a property owner that negative comments are actionable.


On the other side of the coin, properties can unduly encourage positive reviews. The Rabbit Hill Inn and other gems invite guests to write online reviews; lesser places such as the recent not-so-grand hotel reward guests for these postings.


I confess that an offer of points in a loyalty program for the recent property prompted a pre-trip Trip Advisor review that reflected then-positive thoughts but that I slightly embellished to maintain a good relationship with that inn.


On a more general level, it is advised (pun intended) to look for patterns Most negative reviews mentioning the same flaws likely have credibility but should be weighed against your own priorities and travel experiences. Many B&Bs get slammed online for not having televisions and coffee makers in the rooms. Folks seeking such amenities likely will prefer a more cookie-cutter hotel. 


At the same time, positive reviews that are posted soon after a negative one and mirror the criticism in the prior post have little credibility.


A personal anecdote regarding mirroring relates to staying at a place that was much more boarding house than upscale inn. I gave the property a negative review based on specified flaws; a five-star review praised the EXACT same elements. For example, my commenting about the only hanging space being two 50s-era cloakroom style hooks on the wall was praised as providing a historic touch.


An innkeeper responding to negative reviews is another good sign; such replies being personalized and appropriately apologetic is another good sign. Clearly rote language such as merely stating "we are disappointed that you did not enjoy your stay; please give us another try" is not a terrific sign.


The WORST response is attacking the guest. Even being the most obnoxious individual alive, requesting the impossible, and leaving the room in a state that looks as if a heavy metal band spent a week there does not warrant expressing that in a reply to a review.


Corporate Ownership

The same humor related to a Fortune 100 corporation owning a subsidiary that makes what are marketed as home-style baked goods applies in a less amusing manner to the very personal art of running an inn.


On a positive note, the Mulchays do it right by living on the property and being available from before sunup to well after sundown. They further have an always well-qualified assistant innkeeper, chef, and copious support staff to free them up to be charming and to step in the very rare case in which something goes awry and the even more unlikely situation in which a staff member cannot handle it.


On a negative note, corporate ownership of an inn has rarely worked in my experience; even an absentee owner often does not make for a good stay. An owner typically is the only one with a strong interest in the property and the authority to make a necessary change. The exception is having an onsite manager who either grows up in a hotel-management environment or has a natural talent for his or her job. 


The personal account this time relates to carefully selecting a room at a B & B but being assigned less desirable lodgings. Trying to be a good sport resulted in a sleepless first night and a request to move the second night; this also showed the benefit of bringing a printed copy of a reservation when booking an individualized room at an inn.


The resident owner initially denied the request to move but apologized and allowed it after his own records confirmed the error. It almost is certain that a manager would have denied the request and that even a non-resident owner (who almost always is in the game solely for the profit and refuses to take a role in running the place) would have ignored feedback regarding the matter.


Bait-and-Switch

The aforementioned individualized nature of rooms at most inns makes selecting the room that suits your needs very important. Having been in every room at the Rabbit Hill allows qualifying this statement with the comment that there is not a bad one in the hutch.


A related aspect of this is conducting a cost-benefit analysis; a no-brainer is spending another $25/night to avoid sharing a bathroom with one or more complete strangers. More thought is required regarding paying a slight premium if it makes a difference between spending your special weekend away in a shabby broom closet and having a better experience in a cozy but well-appointed room.


A related hint is that a great bargain through an online site is very risky. This increases the odds of getting the worst room in the joint. The anecdote this time is literally needing to hop on the bed at the aforementioned train wreck to allow the other person to get out the door. 


Another aspect of this is that size hugely matters when the inn tries to rob Peter to pay Paul. One negative aspect of the recent stay was the bait-and-switch related to the inn keeping the door open to a gorgeous well-decorated room with a spacious and gleaming bathroom and our room likely being less nice than it was when the inn was a boarding house.


Conversely, a stay in what probably once was a broom closet at the Washington-Jefferson Hotel in Hell's Kitchen still was great. The single bed was very comfortable and had indescribably good linens and pillows; further the bathroom (which was larger than the bedroom) was just as luxurious as the facilities in many visited five-star hotels. I knew that I was getting a cozy accommodation, but the otherwise wow factor of the room more than compensated for the only drawer space being under the bed and having to store my suitcase on top of the smallish armoire.


Louden Clear

Most of the above brings us to an aptly "TV Land" analogy regarding the ideal inn. The '90s sitcom "Newhart" about transplanted New Yorkers Dick and Joanna Louden moving to a beautiful but quirky Vermont town to run a B & B provides an idealized image of such establishments sans the lazy maid and scary woodsman brothers who drop by every day. The Rabbit Hill and its ilk greatly outshine this "How-to" author and his sweater-loving trophy wife.

The August 14, 2018 DVD release "Muppet Babies: Time to Play" provides a good chance to check out the adorable Disney Junior reboot of a genuine pop-culture phenomenon. The original 1984 8-season series is the first of many shows, which include "A  Pup Named Scooby-Doo" and "Flintstone Kids," that shave years off of popular characters. The hilarious "Community" parody of this concept is one of many examples of the success of this theme,

The bigger picture is that "Play" is further proof that Disney cable channels offer fare for all ages. This release comes on the heels of a reviewed DVD of the very bright series with a literal strong Latin beat "Elena of Avalor."  Other recent Disney releases include the latest (also reviewed) set of episodes of the Disney XD reboot of "DuckTales"  and the first set of the personal fave Junior series  "Puppy Dog Pals" that centers around incredibly cute pug siblings going on missions. A "Pals" "Babies" crossover would be beyond awesome.

The following YouTube video of the opening credits of "Babies" illustrates (pun intended) the updated CGI look of the series. It also introduces the emphasis on using your imagination that is a central theme. 

The core group that returns consists of Kermit, Miss Piggy, Fozzie, Gonzo the Great, and Animal. Summer the penguin literally and figuratively joins the band. Group caregiver Nanny is now Miss Nanny; she still only is seen from the baby perspective of the waist down. 

Each half-hour episode consists of two or three adventures. Things typically start out with either Nanny initiating an activity that triggers a fantastic voyage of the mind or a mishap among the kids prompting the adventure du jour. Either way, viewers can count on a clever escapade and a rockin' music video. A song that be considered Muppet Beach Party is particularly fun.

The first outing in "Play" has Miss Nanny actually going into the closet triggering the muppets going in after her. The issue related to this quest is being afraid of the dark. The dual messages are that that phobia is valid and that the dark is nothing to fear. 

A rather bizarre element in another outing has Miss Nanny planning to show her charges what clearly is the Olympics; she refers to the event as the Sport-a-thon for an apparent but unknown legal reason. The modern problem of the Internet going out leads to the gang staging their own games. The lesson this time is the importance of being a good loser. One spoiler that is refreshing in 2018 is that Miss Nanny does not issue participant awards. 

A cute outing from the perspective of one with a childhood friend named Peter Potato has Gonzo bonding with an inanimate root vegetable. This one begins with hilarious sequences that show that the potato is not very good at games. This leads to Gonzo getting upset when his new buddy is ostracized. The lesson this time is of inclusion.

The copious special features begin with 10 Show=and-Tell shorts that likely are filler on Junior. The theme is one or two of our friends discussing show-and-tell presentations. We also get six music videos from the episodes in the set. 

One of the best overall things about the new "Babies" is the same as the Disney approach to the "Star Wars" franchise. The new productions staying true to the source material helps make watching with the kids fun for the adults. 

One general takeaway from the Icarus Films August 14, 2018 DVD of the 2014 docudrama "Next Time I'll Aim for the Heart" is that it shows that lesser filmmakers should be careful when telling reviewers to go ahead and try if they think that they can do better. In this case, former Cahhiers du Cinema critic Cedric Anger shows that those of us who watch and analyze more than 300 movies every year know of which we write. A side note is that Anger is a very apt surname for a film critic. 

Anger management by the writer/director of "Heart" begins with the ripped-from-the-history-books story of actual gendarme/serial killer Alain Lamere, whose killing spree keeps him busy during the winter of 1978-79. The name has been changed to Frank Neuhart in absolutely no effort to protect the not-so-innocent. 

The following YouTube clip of the "Heart" trailer perfectly conveys the drama of the film and the stone-cold nature of the killer.

The opening scenes of "Heart" establish the modus operendi of our excitable boy. Two teen girls are headed out on their Vespas for a night on the town not knowing that Neuhart is stalking them. He runs one off the road before shockingly and brutally attacking the other and then goes back for a second bite of the apple. The title of the film relates to his choice of her body part to shoot,

The next big shock occurs when Neuhart returns home, strips down, follows a bizarre rite, and then dons his gendarme uniform. Thus begins the most creepy aspect of the film in the form of watching Neuhart being a major player in the investigation of those killings and the subsequent murders. 

A personal experience with a psychotically scary creepy respondent to a roommate ad being the same guy as someone presenting himself as very normal and once even denying being the other dude shows that Lamere/Neuhart has cousins out there. But for the brains of Nelson, the psycho would have had his address and done God knows what. But for the compassion of Nelson, this guy would have ended up with a roommate who would have put him on the receiving ends of the acts in which he desired to engage with your not-so-humble reviewer. The rest of the story is that local gendarmes scared this nutcase far away from Nelson. 

An element of "Heart" that would be amusing in lesser hands but is chilling under Anger is the Superman aspect of the investigation, Neither victim, nor witnesses, nor fellow officers recognize Neuhart as the killer even when he is holding a very accurate police-artist sketch of the killer. One spoiler is that Neuhart does not bother putting on glasses in an attempt to conceal his identity.

Old-fashioned thinking even by '70s standards is almost as disturbing, Neuhart making a rookie mistake that prompts his "superiors" to suspect that one of their own is the killer illogically prompts focusing the investigation on the gay community.

The investigation taking that left turn is a meta reflection of an issue that early gay-rights organizations raise. These activists protest that films only depict homosexual men as limp-wristed sissies and/or vicious murderers. An interesting aspect of this is that Anger indicates that Neuhart is closer to the middle range of the Kinsey Scale than that not-so-macho man realizes., 

Other forms of l;aw-enforcement negligence include not seeing literally what is under their noses as Neuhart increasingly should be a prime suspect. This includes virtually catching him in the act and revealing his subterfuge. 

A more fascinating aspect is that manner in which Neuhart suppresses his dark passenger while he goes through the motions of doing his job. It shows the extent to which people with severe mental issues literally can get away with murder.

The big picture this time is that "Heart" proves both that truth often is stranger than fiction and that a good story and talented actors can draw an audience into a film without giving them copious nudity and/or bloodshed. As mentioned above, the background of Anger teaches him that less can be more. 

EDITOR'S NOTE: The following review on the new Blu-ray release of this film is an updated version of the DVD and VOD releases. 

A spectacular element of the Shendopen Films production "OzLand" is that the obsession that a central character develops on finding The Wonderful World of Oz by Lyman Frank Baum during a road-trip with a righteous purpose is comparable to the response that most people will experience on watching this film by producer/director/writer/cinematographer/prop artist Michael Williams. Folks already familiar with the (reviewed) Williams joint "The Atoning" will understand this enthusiasm; Williams being kind and gracious in real life is a bonus.

One person wearing so many hats in a production usually warrants jokes regarding whether they also build the sets, provide craft services, and clad the actor in their personal clothes. However, 27 year-old Williams performs every function well and likely could have stepped in the role of drifter Emri. 

Williams provide another treat in the form of the (separately sold) soundtrack of the country music in the film; these songs achieve the ideal of subtly helping set the mood. They sound particularly good in the Blu-ray version, which gives composer Keatzi Gunomney his well-deserved due in the copious special features. 

The numerous festival accolades, including the Best Feature and Best Cinematography honors at the 2015 Magnolia Independent Film Festival, validates the high praise in this review. The must-see-to-believe Blu-ray version aptly highlights the cinematography. One scene in which Emri and younger and innocent Leif rest among debris includes orange rubble that is brighter than the most toxic version of Sun Kist soda is a prime example.

The following YouTube clip of the "Ozland" trailer is guaranteed to elicit the aforementioned excitement regarding the film.

Lionsgate awesomely simultaneously goes old and new school regarding the August 14, 2018 3-disc S1 DVD release of the very recent "Power Rangers Ninja Steel" series. This release is part of a 25th Anniversary of the '90s phenom "Mighty Morphin Power Rangers," which actually dates to August 28 1994.

Personal relevance of the OS includes still joking about sending naughty people off to a peace conference in reference to that plot point relating to firing an original cast member for a long-forgotten sin. Surviving cast members are known for joking about experiencing that fate is they misbehave. 

The brilliance of the "Ranger" franchise extends beyond providing a showcase for mountains of merchandise. The OS using the cost-saving method of incorporating footage from the Japanese live-action series "Super Sentai" into a show that features clean-cut American teens with mad ninja skills and related secret identities is pure genius as the "Ninja Steel" and the other numerous spin-offs reflect. 

The awesome box art shared above also contributes a strong retro vibe. The bonus booklet of "Rangers" art is just as collectibly special.

The "Infinity War" central concept of "Ninja Steel" is one of many ways that this series is new school while retaining a very old school element. Our story begins with boy with something extra Dane Romero peacefully living with roughly 10 year-old son Aiden and roughly 7 year-old son Brody. The Ninja Nexus Prism falling from the sky and landing on their rural property is a game changer.

One spoiler is that "Ninjs Steel" spares us a sickening "I don't feel so good, Mr. Stark" moment. 

The prism contains six ninja stars that collectively grant the possessor unparalleled power. The rub is a limitation that is similar to the Excalibur lore of Arhurian legend; only those who are worthy can penetrate the force field that surrounds the stars in the prism. "Ninja Steel" further pays homage to the classic anime series "Speed Racer" in a manner that is too special to spoil. 

Galvanax beaming down from the spaceship from which he broadcasts the intergalactic game show "Galaxy Warriors" fully sets the stage for "Ninja Steel." A battle with Dane ends with Galvanax taking both Brody and the prism back to his ship. 

The action soon shifts 10 years ahead to our present. Appealing and cute Brody (William Shewfelt), his robot friend/comic relief Redbot, and quirky Mick literally jump ship with the prism and end up in the Summer Cove home turf of Brody. Brody soon becomes the red power ranger/leader and subsequently meets up with all but one ranger; the fate of the gold ranger remains up in the air. The story arc that addresses is that is a series highlight. 

Mick uses the titular substance to create the tools of trade of our heroes. A cool nod to the eco-centric animated series "Captain Planet" allows the rangers to use the power of natural elements such as wind and water to combat the foe of the week that Galvanax transports down to battle the kids in an effort to collect their Ninja Power Stars, 

The lesson of the week that is integral to "Ninja Steel" provides viewers of every age great fun. Veterans of "Saved by the Bell" and similar fare obtain particular amusement from these episodes; younger fans who experience this phenomenon for the first time get entertaining morals. 

A textbook episode hilariously evokes thoughts of the classic "Bell" episode in which neurotic overachiever Jessie Spano becomes addicted to caffeine pills. All-American boy/yellow ranger Calvin Maxwell nervously confesses to his team that he is afraid to drive. The angst and fear associated with this reveal creates an expectation that Calvin is coming out or is admitting an addiction to alcohol or narcotics. The textbook aspect continues with the fate of the other rangers resting on the ability of Calvin to conquer his fear.

The nervous Unreal TV confession is that time constraints are behind only watching the first half of the season. The season finale being titled "Past, Presents, and Future" provides good incentive to keep going. The IMDb episode description stating "Sarah [pink ranger] teams up with Santa Claus to save Christmas and the Power Rangers from a time-manipulating monster" makes this one must-see.

The bigger picture this time is that "Ninja Steel" itself and this release celebrating the 25th "Rangers" anniversary shows that a viable market remains for good clean family fun that is in the middle of the bell curve between overly saccharine fare and stuff that seems too edgy to be ready for Saturday morning. One can only hope that "Rangers" continues for at least another 25 years. 

The Warner Archive July 17, 2018 DVD release of the 1965 bio-noir film "Young Dillinger" is part of the recent biopics leitmotif of some new additions to the Archive catalog. These include the (reviewed) John Huston directed Paul Newman bio-western "The Life and Times of Judge Roy Bean." 

Nick Adams of the television series "The Rebel" stars as the titular Depression Era Public Enemy Number One who is a weak-willed young man in love when we first meet him. Former Miss America Mary Ann Mobley stars as rich girl femme fatale Elaine, who starts our boy on his life of crime before becoming his moll.

These small-town young lovers ala Jack and Diane of the John Cougar Mellencamp song of the same name are dreaming of wedded bliss when Elaine suggests robbing the safe of her father to finance their elopement and subsequent new life. Her method of persuasion includes that Daddy will not prosecute them if they get caught. 

One interesting aspect of this is the ambiguity regarding the motives of Elaine. She seems more interested in escaping a privileged but dull life and in sticking one to Daddy then in becoming Mrs. Public Enemy Number One. 

A reluctant Dillinger goes along; the heist hitting a snag provides him his first taste of clearly liked violence., A subsequent confrontation with a not especially peaceful justice of the peace and his brutish wife turns Dillinger into a rebel with a cause. This also leads to the first of several police chases.

The honeymoon that Dillinger and Elaine are enjoying without benefit of marriage is cut short when the cops knock at the door and begin searching for their ill-gotten booty. Doing this without benefit of a warrant or a warning illustrates how search-and-seizure requirements have evolved since that era. 

Dillinger once again proves himself to be a sap in agreeing to chivalrously take the full rap for the caper. The outcome justifies adding reassurances from a dame or her old man to statements regarding a promise of help from the government and pledges of agreeing to stop before completion if provided oral gratification to the list of particularly big lies. 

Dillinger soon falls in with a bad crowd, who manipulate him just as effectively as Elaine does, This leads to his facilitating a prison break and subsequently going into business with "Pretty Boy" Floyd (Robert Conrad) and "Baby Face" Nelson. By this time, Dillinger is fully feeling the effects of the literal and the figurative hard knocks he is enduring.

Wonderful camp includes Dillinger meeting the brains of the operation, This portion of the film in which the gang plans their next job clearly shows where writers of pulp fiction and B-movies of the era get their inspiration.

Even tastier cheese comes when a sleazy doctor manipulates Elaine into taking morphine so that he can receive payment-in-kind for the procedure that he is performing on an incapacitated Dillinger. 

Dillinger fared better regarding having one of the best ever reasons for not putting a ring on it; this involves reminding how making an honest woman out of his partner-in-crime likely will lead to a long-distance marriage. 

The brilliance of all this is that "Dillinger" use a true story of a good boy turned bad as the basis for the type of social commentary film that addresses youthful offenders and related ills. The chases and gun fights simply makes it fun for the kids. 

Warner Archive continues following leitmotifs with two recent releases of docu-dramas about nefarious types. A separate post on the DVD release of the 1965 bio-noir film "Young Dillinger" chronicles the progression of noted Depression-era gangster John Dillinger from lovestruck hick to hardened criminal. Our current topic is the exceptionally remastered Blu-ray of the 1972 bio-western "The Life and Times of Judge Roy Bean."

Paul "Butch Cassidy" Newman plays the titular self-appointed jurist, who brings law and other elements of civilization to the frontier west of the Pecos River in 19th-century Texas. Comparing that territory to the unsettled land beyond the Appalachian Mountains during colonial days a century earlier provides a good perspective. Fellow Hollywood royalty John Huston directs.

The recent (personally mourned) passing of matinee idol (and gracious man who thanks reviewers for interviews) Tab Hunter warrants discussing his cameo as killer Sam Dodd. Hunter largely is physically unrecognizable under the dirt, hat, beard, and long hair. He is even less recognizable playing a guy who richly deserves hanging. His moment in the spotlight in the form of a voice-over monologue that many characters get is one of the best in the film. 

The Hunter connection extends to his real-life former secret boyfriend Anthony Perkins playing Rev. John LaSalle. Perkins utilizes his quirky persona well in portraying this frontier minister. 

The overall theme of this movie seems to be that any similarity between it and the adventures of the real-life Bean are purely coincidental. 

The following YouTube clip of a SPOILER-LADEN trailer for "Bean" nicely shows that westerns are much more than cattle stampedes and high noon showdowns. ​

"Bean" opens with a here come da judge moment in the form of the man of the two hours riding into Vinegaroon, Texas to provide his form of justice. His first case literally puts him in the position of judge, jury and executioner. 

Newman soon better demonstrates his well-known gruff charm on settliung down a little bit in several senses of the word and setting up shop in the local saloon/brothel. He further makes this place a shrine to stage actress Lillie Langtry with whom Bean is obsessed.

The Langtry element is especially strong in one segment in which Bean travels to the big city of San Antonio to see her perform. She further has a perfect role in the epilogue that cleverly wraps up our story. 

The early scenes also establish the unorthodox method that Bean uses to hire marshals. His issuing a judicial decision in what can be considered the Hos for Bros case has an element of the vintage television dramedy "Here Come the Brides." Future "Dallas" star Victoria Principal plays the booty call babe who becomes the lady of every evening after a form of shotgun wedding that involves a Mexican standoff. 

Other exceptional casting has Roddy McDowall playing to type as perpetually uptight and peeved attorney Frank Gass with a valid claim on what essentially is an actual Beantown. Bean soon putting Gass in accommodations that only provide the bare necessities sets the stage for conflict that ultimately leads to a dramatic confrontation.

More fun comes via having Ned Beatty play barman/right-hand man/father figure Tector Crites. One spoiler is that none of the frontier justice that Bean dispenses includes making Beatty squeal. 

Huston has a cameo as real-life historical figure John "Grizzly" Adams. The amazing on-screen chemistry between Huston and Newman makes their interaction one of the best scenes in the film. Adams becoming unbearable is a perfect touch.

Stacy Keach gets to play in the role of fictional psychotic gunfighter Bad Bob, He does make Tector squeal, and his literal calling out Bean for a showdown proves the truth of the saying "no guts no glory."

The combination of the richness of the copious source material and the talent of the "who's who" (and other stars) cast mentioned above is why "Bean" succeeds so well. The real Bean is larger than life, the wild west is the stuff of which fiction is still made of 150 years after this era, and Texas has an equally grand tradition of tall tales. This become actual gold in the hands of masters such as Huston and the worst form of fool's gold in the hands of one-trick ponies such as Seth MacFarlane, who rely on crude humor. 

Foreign and indie movie god Film Movement fully shows what makes it (and its Film of the Month Club) spectacular with the August 7, 2018 DVD release of the 2017 German comedy "Bye Bye Germany." This film about Jewish Holocaust survivors in 1946 provides an interesting perspective about that period and shows that you can find humor in any situation.

The first bit of general good news is that "Germany" reflects the philosophy of Mel Brooks and his peers that laughing at Hitler robs him of his power. The second bit of good news is that the film proves that a German journalist who asked Robin Williams why there was no comedy in Germany was wrong about the lack of humor in that country. It is understandable that many do not consider the response of Williams that the Germans killed all the funny people to not be humorous.

The following YouTube clip of a trailer for "Germany" shows how this film puts a Yiddish spin on "Glengarry Glen Ross" 

"Germany" centers around concentration camp survivor David Bermann. The obvious good news for him is that he no longer needs to fear for his life every day. The first bit of less-than good news is that he lacks the necessary money to restart the linen business of his family to earn the money needed to emigrate to America. The worst news is that suspicion of Nazi collaboration is preventing him from getting a necessary license that the Americans are issuing German Jews. 

Bermann entering a partnership allows him to get back into business; clearing his name requires a series of interviews with U.S. Army investigator Sara Simon. Stating that that pair gets off on the wrong foot is a large understatement.

This leads to Bermann dividing his time between joining his team in hilarious cons to get Germans to pay absurdly inflated prices for falsely hyped linens and telling Simon his story. A highlight of the former is a "Paper Moon" style scam in which Team Bermann falsely tells a recent widow of a large order by her husband before his sudden and untimely death.

The flashbacks of the time in the camp that accompany the sessions with Simon provide a fascinating (but not necessarily accurate) look at the life of the inmates. The general idea is that the camp commander catching Bermann in the act of telling a joke in the barracks leads to a command performance at a Christmas party for the guards, which leads to direct contact with Hitler. The only verified portion of the story is that Bermann receives the preferential treatment that puts him on the radar of the U.S. Army.

The middle ground is the depiction of the daily lives of Jews in the immediate period following the end of the war. One scene involves Bermann coming face-to-face with a former German officer who is responsible for the deaths of family members; another has a housewife trying to convince Bermann that the average German was unaware of the Holocaust while it was occurring. 

Of course, there is one or more surprising reversal of fortune and other twists. The highly valid bases for resentment intensify them.

All of this concludes with the fairy tale vibe that is required to make any movie centered around these horrific events palpable. Not everyone ends up literally or figuratively where he or she expected but do get at least some closure. 

The Bonus Short Film that accompanies every Club selection is "Strings" this time. This very clever animated film that uses a flowing white line against a black background is an homage to an Israeli violin maker who restores instruments from the Holocaust as a symbol of eternal hope. ​

The Warner Archive DVD release of the early Mark Hamill film "Corvette Summer" makes a PERFECT '70s film available to 21st century audiences. At the outset, this movie that is billed as a comedy is amusing but has the gritty look and dramatic overtone of similarly billed fare of the era. A good example of this is the (soon-to-be-reviewed) Archive release of the Peter Falk "comedy" "...All the Marbles." 

Seeing Hamill play moderately sullen L.A. white-trash recent high-school graduate Kenneth W. Dantley, Jr. is amusing regarding his phenomenal fame as Luke Skywalker. Seeing that he has 321 roles on his IMDb profile compared to Michael Caine having 169 parts listed is amazing. 

The opening scenes of "Corvette" evoke strong memories of the Sid and Marty Krofft live-action Saturday morning series "Wonderbug" for children of the '70s. Newly minted high-school senior Ken and his fellow auto-shop students (including a boy whom a slimmed-down Danny Bonaduce of "Partridge Family" fame portrays) are at a car graveyard looking for a car to spend the year rebuilding. A variation of divine intervention calls the attention of Ken to the titular Stingray, which is minutes away from being flattened. Of course, Ken rescues this piece of junk in the nick of time.

The '80s vibe of these scenes and of the subsequent montage and other action over the next 12 months of reel-time is of "The Greatest American Hero." That one also starts with a father-figure teacher to a group of under-achieving losers taking his kids on a life-changing field trip. 

"Smokey and the Bandit" and "Breaking Away" moments come later in "Corvette." 

Ken experiences the absolute worst nightmare of any new car owner when his wheels are stolen the first time that Teach takes the kids on a field trip to take turns driving the 'Vette on the strip, Ken much later learning more about the circumstances of the theft provides the best twist in the film.

The diligent efforts of Ken to find his baby leads to a tip that put him on the road to Las Vegas; the subsequent multiple ways in which he loses his innocence illustrates the meaning of the term "what happens in Vegas stays in Vegas." One disappointing aspect of the film for fans with less-than-pure hearts is that this coning-of-age does not include a "Midnight Jedi" experience for Ken. The audience similarly learns that yelling at Ken to use the Jedi mind trick is futile. 

The Sin City adventure begins in earnest when aspiring lady of the evening (and afternoon and morning) Vanessa (Annie Potts) picks up a hitchhiking Ken on the road to Vegas. The best moments regarding Vanessa involve separate occasions on which Ken effectively pays two-bits for services rendered and she literally takes a whore's bath.

The arrival in Vegas finds Ken on his own and looking for his car; the good news is that he has reason to hope for a a reunion; the bad news is that his rite-of-passage includes living rough. His subsequent reunion with Vanessa further makes his life a little better. 

This leads to Ken being persuaded to go over to the dark side; his Yoda not being a righteous dude increases the odds that our boy will not see the light.

This being a '70s film (rather that a light '80s teencom) makes it likely (but uncertain) that the final scenes will be of Ken and Vanessa running out of a Vegas wedding chapel and driving away in the Stingray with a "Just Married" sign on the back of the car and tin cans tied to the rear bumper. The sad truth is that real-life D students with deprived childhoods almost never get Hollywood endings.

The most awesome thing about the August 7, 2018 DVD release "Elena of Avalor: Realm of the Jaquins" is that it follows the grand tradition of introducing those of us without babies and toddlers to the joys of the fare on the Disney Junior cable network. A prime example is LOVING "Puppy Dog Pals" after reviewing a DVD set of that series. The warnings regarding "Pals" is that you often will find yourself singing "pu pu pu puppy dog paaaals" and will have even trips to the grocery store prompt singing "we're goin' on a mission, goin' on a mission; arf, arf, arf, arf." 

The literally and figuratively fantastic worlds of Avalor and titular neighboring dimension Vallestrella alone are amazing. The surprisingly exceptional quality of the DVD images will almost make you want to wear shades while watching the adventures in this vivid universe. 

The accolades for "Elena" includes a well-deserved Daytime Emmy for "Outstanding Casting for an Animated Series or Special." It also has an Imagen Foundation Awards win for Best Children's Programming.

The titular princess rules in the titular fictional Latin American country; she is subject to a legislative branch in the form of The Grand Council that largely is there to curb her enthusiasm. The rockin' Latin songs that every episode features and the adoration for this future queen both within and outside the palace walls evoke strong feelings of "Evita." 

"Elena" saves the strongest star power for the villains. Former Monster-In-Law Jane Fonda voices evil sorceress Shuriki, who is still around after a lore-establishing major beat down at the beginning of the series. Lou Diamond Phillips gives perfect voice to scoundrel/thief Victor Delgado.

"Realm" begins with a special one-hour episode of the same name. The titular creatures who are jaguar/eagle hybrids are native to a dimension that can be considered the realm of Dr. Moreau in that the creatures who inhabit it are natural hybrids of two species. The peabunnies who look like rabbits but have elaborate fanned tails are one of the cutest examples. 

The very cute toddler-friendly action begins with the trio of jaquins who hang with Elena and her cute harmless boy sidekick Mateo the wizard taking a rite of passage test. Success means getting to stay in Avalor to help maintain the peace; failure requires returning to the land of the butterfrogs. 

The expression two out of three ain't bad applies to the text results; the desire of Elena for a second attempt at a trifecta leads to her traveling to the Jaquin home turf of Vallestrella to plead her case to the ruler of that kingdom. The obstacles include the mere presence of Elena violating an isolationist policy that has a valid basis.

The inadvertently triggered threat regarding this sort of a homecoming further justifies maintaining a strong border. The cooperative effort that puts right what once went wrong shows the value of international cooperation.

"Three Jaquins and A Princess" pays honage to the '80s Disney film "Three Men and a Little Lady." A variety of circumstances lead to Elena younger sister Isabel watching over a trio of Jaquin eggs, The triplets being preemies leads to comic chaos as Isabel tries to prove that she can handle these adorable flying infants. The lesson this time is that there is no shame in requesting help.

The third but not least full-length episode is equally cute. Elena defies The Grand Council and goes center-of-the-earth deep undercover to fulfill what she considers her royal duty. Mateo comes along in a manner that fully makes him sidekick Ron Stoppable to Elena in full Kim Possible mode. 

Disney supplements the above offerings with 10 bonus shorts that presumably are filler on Disney Junior. The two main categories of these mini-episodes are "Adventures in Vallestrella" and "Scepter Training with Zuzo." Paws down the best in the group is the fairly self-explanatory "Peabunny Boogie."