Mill Creek Entertainment fully shows its range as to the recent DVD release of the 2019 horredy "Dead Don't Die in Dallas." This film is the latest project of auteur Israel Luna of "Ticked Off Trannies With Knives."
Luna assembles his "Knives" principals to espouse principles comparable to those in that film. William Belli stars as Beth-Anne Fetterman, a white-trash trannie who has fairly recently lost her husband.
The stock characters in this purposefully retro bargain-basement demon love-child of John Waters and Charles Busch include the stout in body and anorexic in mind southern preacher, his mousy wife, and his closet-case son. We also get a tough-as-nail pre-op woman who identifies as male, a cute blonde gay boy who essentially is homeless after his father kicks him out, and the car full of trannies who prove that boys just want to have fun. We also get the gay couple, who are quietly minding their own business until the outside world essentially crashes in on them.
We see tempers on both sides violently flare up ahead of a literally Sunday, bloody Sunday in which our man of God and his wife wonder where the flock their congregation has gone. The answer is that the faithful (as well as the not-so-faithful) are feeling the side effects of a miracle pill that literally cures every ailment known to man. These unintended consequences include becoming a maneater that is the lean and hungry type but does not only come out at night.
The usual equal parts guts and glory as our foes whose desperate times call for the desperate measure of uneasy bedfellows fight both internal and external demons. Clever use of a "broken" and "missing" reels greatly contribute to the retro vibe of the film.
Luna already makes it clear that he does not pull punches when we witness the most shocking scene in the entire film; the son of a preacher man has good cause to feel like our savior.
Of course, all this culminates with the zombies being (at least temporarily) being subdued with or without extreme prejudice, It is equally standard that the journey provides all the fun this time.
The proper destinations for this movie that puts a queer spin on walking dead films include any gathering in which all are welcome.
[Editor's Note: Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.]
The Warner Bros. Home Entertainment October 1, 2019 separate Blu-ray and DVD releases of S1 of DC Universe streaming service series "Doom Patrol" nicely reminds us that the range (and legacy) of the DCU extends beyond the broadcast network friendly exploits of the Arrowverse shows, Common executive producer Greg Berlanti clearly lets his inner excitable inner boy out to play in "Patrol."
As an aside, the Warner Brothers section of this site has posts on the recently released WBHE BD sets of the 2018-19 seasons of every Arrowverse series except for "Legends of Tomorrow."
The following DCU trailer for "Patrol" offers a good primer on the lore of the series and nicely conveys its awesomely quirky vibe. It additionally reinforces that spending a few extra dollars to opt for Blu-ray over DVD is well worth it.
The mandatory starting point is that "Patrol" is tailor-made for a streaming platform, which presumably can push the FCC decency standards even further than premium networks such as Showtime and HBO. One of numerous examples is that the f-bomb seems to be weapon of choice of the misfits of science that comprise the titular team.
The central premise is a wonderful mash-up between the Sci-Fi Channel series "Sanctuary," which stars Amanda Tapping of the "Stargate" universe as a woman who looks very good for her age and uses her enormous mansion to shelter and aid all sorts of disfigured and/or meta entities, and "X-Men." The wheelchair-bound men-of-letters scientist/protector is Niles Coulder/Chief (Dalton, Timothy Dalton).
The central motley crew that struggles with their meta and their human elements evokes thoughts of the castaways on "Gilligan's Island" to the extent that both have a movie star in their midst. The members of both Team Gilligan and Team Coulder all have significant flaws but remain highly loyal to their "family" with whom a series of unfortunate circumstances have thrown them.
Former NASCAR star Cliff Steele/Robotman (Brendan Fraser) can be considered the brains of the organization in that this man whose War of the Roses with his equally toxic wife ultimately leads to his vital organ being implanted into a metallic body. His related angst includes not having been a good father to his young daughter and his effort to re-establish a relationship with her.
Next up is dashing closeted gay test pilot Larry Trainor/Negative Man (Matt Boomer). His "something extra" is a space being who inhabits him but goes solo when his services are needed. Larry still struggles with his love for a male member of his flight crew (insert your own cockpit joke here) and more generally with being restrained from being true to himself.
The aforementioned B-movie actress is Rita Farr/Elasti-Woman (April Bowlby); varying percentages of her body become a disgusting blob.
Last but not least is woman of 64 meta-personalities Crazy Jane (Diane Guerrero). Jane often lacks any control when a resident of the "underground" portion of her mind exerts herself. Each of these temporarily dominant personalities comes with a special power that she does not necessarily use for good, rather than for evil.
The new kid on the block who fills the role of DCU star "slumming" with the B team is Vic Stone/Cyborg (Joivan Wade). Cyborg and his Dad/mechanic have a history with Coulder that leds to Cyborg playing the role of nerd who tries to assume leadership of the class when the teacher leaves for an extended period.
As arch-villain Mr. Nobody/Eric Morden (Alan Tudyk) states in his frequent (and witty) narration, he plays the necessary role of bad guy. The exceptional talent of Mr., Nobody to simultaneously gleefully play mind games and wage psychological warfare makes him a formidable foe and a source of intense entertainment for those of us who do regularly relive our worst moments.
This extended discussion of the intriguing lore of "Patrol" leads little time to share the wonderfully surreal S1 events .
The band being assembled leads to an ill-advised field trip to the nearby town; Mr., Nobody subsequently captures old foe Coulder and imprisons him in a form of phantom zone. The search of the gang for their leader includes a (non-sexual) disgusting encounter with a donkey, a visit to an incredibly accepting (but shifting) talking street, the evil research facility known as The Ant Farm. and a visit to what can be considered the Justice League predecessors The Justice Society of America,
Our folks who simply want to avoid their own demises also come up against a wonderfully warped cult that is going to use a (presumably) virgin sacrifice (who presumably reeks of Axe body spray) to bring about end times. They further must go "Magic School Bus" to enter the mind of Jane to return her to a relative state of normalcy.
This is not to mention The Brotherhood of Evil and the Bureau of Normalcy (nee the Bureau of Oddities) creating trauma and drama.
Things really get weird in the final S1 episodes. Our thoughts of suicide squad learn that Chief is the source of much of their discontent and has an "Alice in Wonderland" style ulterior motive for his outward peace, love, and understanding. This leads to a showdown with a true survivor and a sidekick with a "Princess Bride" style vendetta.
Much of the group being in "Wonderland" state at the end of S1 sets the stage for a spectacular S2.
WBHE supplements all this with unaired scenes, a gag reel,m and an entertaining "Come Visit Georgia" PSA that shows how the versatility of the Atlanta area makes it a good place for location filming.
One of the biggest surprises regarding the CBS Home Entertainment September 24, 2019 DVD release of S4 of the Showtime series "Billions" is that creator/producer/writer Adam Ross Sorkin ("Too Big to Fail") is not related to clever, edgy thought-provoking TV drama legend Aaron Sorkin. "Billions" easily could have been a series by the latter.
The following S4 trailer of this series that continues the proud (and not so-proud) legacy of classic (and not-so-classic) ready for primetime dramas that include "Dallas," "The Sopranos," "The West Wing," and "The Newsroom" accurately conveys the themes and the epic scope of this compelling program.
As Andy Sipowicz of fellow Gotham-based drama "NYPD Blue" would phrase it, the underlying theme of "Billions" is that US Attorney Chuck Rhoades (Paul Giamatti) has a hard on (not in a good way) for hedge fund manager Bobby "Axe" Axelrod (Damian Lewis of "Homeland") . A small part of the rest of this fascinating story is that Axe has learned that Hell hath no fury like a non-binary gender person scorned. This individual is vengeful former Axe protege Taylor Mason (Asia Kate Dillon of "Orange is the New Black"), who has set up a highly competing shop.
S4 begins with Chuck in private practice after being fired from his federal job. This plays a role in his forming an unlikely friendship with benefits with Axe. The underlying quid pro quo includes Axe using his skill at dirty deeds done not so cheap to help Chuck win an election for New York Attorney General in exchange for favors that include sending a Russian who done Axe wrong back home and for hitting Taylor where it hurts most.
Another common element of the Chuck and Axe relationship is Chuck wife psychiatrist Dr. Wendy Rhoades (Maggie Siff) having the dual roles of coach and head of human resources for the company of Axe. Two of the many times that she gets caught up in the drama of her legal and her work husbands are violating the patient confidentiality of Taylor to help Axe and separately having Chuck make his political aspirations a higher priority than domestic bliss by providing explicit details about who wears the pants (and the leather) in the family.
Suffice it to say that Wendy pays high prices for standing by her men.
The season premiere does the Sorkin legacy proud. Chuck may be as happy as a pig in mud as to his domineering father putting heavy pressure on him to pull off a near-miracle for a client. However, not every aspect of the agony of defeat if he does not come through will provide Chuck joy. His mission, which he must accept, leads to a sitcom-style sting of Herculean efforts to obtain a highly coveted item in exchange for something of equal value to bring him closer to getting the client what he wants.
Chuck finding later in the season that no good deed goes unpunished is pure Sorkin.
Meanwhile, Axe constantly is at war either with Taylor or another enemy or the financial market in general. One of his most amusing episodes involves trying to make a killing (pun intended) in the chicken market. This one showing the extent to which underling "Dollar" Bill Stearn, who subsequently literally enters the ring for his boss, will go to maintain a good relationship with his boss provides excellent dark humor.
A portion of the rest of this epic story is that Chuck remains at mutual war with both his successor and his former boss also drives much of the action. The manner in which this plays out during the season reinforces the Shakespearean sentiment about killing all the lawyers.
As is the case regarding the cited series that precede "Billions," the cathartic glee associated with this program relates to watching masters of the universe being likely to hug it our only to get in position to stab the other guy in the back. Chuck states it best in a scene in the season finale in which a (at least temporarily) vanquished foe comments that that enemy of the state of Rhoades is getting what he deserves and Chuck responds that it happens to all of them at some time.
CBS supplements this several (but less than billions) of special features. These include the self-explanatory "Script to Screen" and a separate extra that discusses the copious pop-culture nods and other references that contribute to the intelligent entertainment that makes the show great.
Although this may incur the wrath of Judy the Time-Life operator, this post on the Time-Life October 1, 2019 release of the five-disc condensed version of "Robin Williams" Comic Genius" has an excellent reason for advises forging this set of all five Williams HBO specials (plus a plethora of rare performance footage and other truly special features).
This rationale is that vast personal experience shows the wisdom of not making the mistake of buying a bargain version of something only to end up purchasing the more deluxe choice in the end. In this case, the mother lode is the (reviewed) deluxe collector's edition of "Genius."
The 25-words-or-less reason for this recommendation is that the five specials in the set that is the topic du jour will stir up such strong fond memories of Williams for current fans. New fans will get equally hooked and want the complete set as well,
The following channeling of Williams is a blessing to those of us who still mourn his August 11, 2014 death and is a curse to folks too young to remember when people put edgy comedy in context. Perhaps the problem is that no one currently around can present this "offensive" material as well as Williams.
The first response on seeing this 5-disc set is imagining Williams riffing on it being the Asian cousin of the massive 22-disc Negro collection. He then would likely do a bit about a DVD player asking if the smaller set was in yet and telling the larger set that it is too big too handle. Of course, Williams would incorporate the appropriate ethnic voices in this performance.
All of this shows the unparalleled appeal of Williams; he is a real-life (and equally frenetic) Bugs Bunny who is so zany and lovable that you cannot help but laugh as he engages in antics and makes outrageous statements that would earn virtually anyone else a punch in the nose.
The Film Movement Classics August 6, 2019 Blu-ray release of the 1990 Ibsnesque dark familycentric drama "The Reflecting Skin" once again provides an exceptional chance to see a high-quality film. that may of us miss the first time around. The opening scenes of the characteristic vibrant wheat fields and grotesque bullfrog of 1950s Idaho are the first of copious examples of this release being much closer to 4K than to Blu-ray,
The festival accolades includes several awards at the 1990 Locarno International Film Festival and a win at the 1990 Stockholm Film Festival.
The following Classics trailer for "Skin" release validate the universal sense that this is a haunting Gothic film; adding captivating to this list is mandatory.
Fully appreciating how this directorial debut of Philip Ridley is spot on in absolutely every regard from the script, to the direction, to the casting, to the cinematography requires watching it. It truly is not like much that you have seen before, and you never will forget it,
Our central character is 8 year-old everykid Seth Dove (Jeremy Cooper). His woes include his domineering "witch" of a mother Ruth Dove (Sheila Moore) and his beaten-down submissive father Luke Dove (Duncan Fraser), who operates the dilapidated gas station next to to the isolated farmhouse that this unhappy trio calls home.
Lindsay Duncan steals the show as British widow/next-door neighbor Dolphin Blue. This creepy lady who is the regular subject of pranks/curiosity by Seth and his pals relishes in validating the belief of Seth that she is a vampire who stays young by stealing the youth of boys and objects of her affection. This Midwestern Morticia Addams has more credibility as to her claim of finding the husband who brought her to Idaho hanging from the rafters in the barn.
The appearance of a group of young guys who have stranger danger written all over them and subsequent disappearance of a peer of Seth fully sets our story in motion.
An incident in the distant past of Luke that Ruth and the local sheriff will not let him forget makes him the prime suspect even before the boy is found in a condition that further points to Luke as the culprit. This leads to a highly symbolic act by Luke that has just as large of an impact on Seth.
This leads to much older brother Cameron (Viggo Mortensen in an early role) cutting his military service short to return home to become the man of the house. His experience with the victims of A bomb testing gives the film its most direct symbolic value. The inability of vampires to see their literal mirror images is a close second.
Worlds fully collide in this universe with similarities to that of "Twin Peaks" when Cameron begins a romance with Dolphin Blue, a.k.a. Mrs. Robinson. This triggers great concern for his brother by Seth.
All of this lead to even more intense trauma and drama that leads to a conclusion that is far from a happy ending.
A 43-minute DVD bonus feature that discusses Ridley and the film adds wonderful context to the film. A written essay provides further insights. The joys of both are too special to spoil by saying more.
We further get audio commentary by the auteur himself.
The bottom line regarding all this is that it is difficult to imagine anyone not valuing the artistry, depth, and humor of "Skin."
The CBS Home Entertainment Sept. 24, 2019 2-disc Blu-ray release of the epic 1978 NBC mini-series "Holocaust" reminds us of the worst of times at the best of times for that message. Related principles of those who are dedicated to any society not descending so low as Nazi Germany are to preserve materials that document that era and to educate the general population to "never forget" so that we do not have to endure the lesson that those who do not learn from history are condemned to repeat it.
The numerous accolades of the saga of two families for which the persecution of the Jews is a form of a civil war include the Emmy for Best Limited Series and the one for Outstanding Lead Actor in a Limited Series. Michael Moriarty earns the latter for portraying Nazi officer Erik Dorf, who joins the party without fully having the fortitude for his role.
Our story begins at the mildly strained 1935 mixed-marriage wedding of commercial artist Jewish man Karl Weiss (James Woods) to Christian woman Inga Helms (Meryl Streep). Father Dr. Josef Weiss (Fritz Weaver) is a general practitioner, whose patient roster includes the wife of then-unemployed attorney Dorf.
Younger brother Rudi Weiss (Joseph Bottoms) is a typical apolitical young guy; 16 year-old sister Anna (Blanche Baker) is a sweet girl who enjoys playing the piano,
Increasingly restrictive laws reflect heightening tensions between the Hitler government and Jewish Germans during the next several years. The lesson for the Weiss family during this period is that they should have gotten out while the getting was good. For his part, Dorf learns that party membership is critical to gainful employment and that any advancement depends on being a good soldier.
Dorf proves that he is an apt pupil by playing a leading role in Kristallnacht, which is one of a few dates that will live in infamy. This semi-organized rioting against Jewish people, their homes, and their businesses is the wake-up call for members of that group who are not already woke.
This is the period in which Josef is sent to live in the Warsaw ghetto, Carl is arrested and sent to a concentration camp for having married a Jewish woman, and Dorf becomes a fair-haired boy in the eyes of his "superiors." Meanwhile, Rudi is making a run for the border and a horrific experience for Anna leads to an even worse fate that is sadly common in that country during that period,
The importance of having to go along to get along incredibly escalates during the war years. Weiss father and son (not to mention daughter-in-law) pay higher and higher prices for sticking to (and acting on) their beliefs. Meanwhile, Jewish people and others who actively collaborate are rewarded.
The immediate period after the war finds the surviving Weisses (and Dorf) where they should be, The most unrealistic aspect of this is that they are able to move on after enduring what arguably can be considered the closest that we can get to literally Hell on earth.
Of course, this topic requires closing thoughts. The need to recognize that even propaganda that supports your side still is propaganda relates to it being critical to fully think about the bill of good that political leaders on both sides are selling you. Further, PLEASE remember that enough voters writing in "None of the Above" if you do not like either candidate makes more of a statement that not voting at all or writing in a joke candidate.
The first brief example of this is the ample and common sense evidence that "the wall" will not be effective as to stopping Mexican people from illegally entering the US. It is equally obvious that American consumers ultimately will bear the burden of Chinese tariffs.
On the other side of the aisle, a Great Society in which all get free healthcare and have incomes that allow living at least a little large sounds very good. The harsh reality is that the "have-nots" that this facially will benefit the most ultimately will foot the bill; higher taxes inevitably lead to lower employment and/or higher prices.
The Olive Films May 29, 2018 DVD release of the 1959 film "A Bucket of Blood" that Olive describes as a "black-comedy-beatnik-culture-horror film" by a man that Olive shares is known as "The Pop of Pop Culture" is a wonderfully perverse cult classic with great significance.
This film enhances the Corman films in the Olive catalog by joining "Gas-s-s-s," "The Wild Angels," and the recent Olive release of "The Trip" starring Peter Fonda. The bigger picture is that "Bucket" is a precursor to the better known 1969 Corman black comedy "The Little Shop of Horrors."
Both "Bucket" and "Shop" feature a total nerd giving into an awesomely dark bloodlust in a bid to win the hot chick at work. "Shop" florist employee Seymour Krelborn provides carnivorous plant Audrey II the desired sustenance in a bid to win the heart of the babe for whom he names the plant.
Walter Paisley is a used and abused busboy at The Yellow Door coffeehouse, which is a beatnik hangout, at the beginning of "Blood." The object of his affection is cool cat Carla.
The same type of accident that is happy for the born loser and unhappy from the perspective of society that sets Seymour on the path to success in "Shop" involves a sacrificial cat in "Bucket." The poor kitty who uses up his ninth life is the beloved pet of the landlady of Walter.
Walter stupidly but accidentally killing the pussy leads him to conclude that making art is the best course of action when life gives you a dead mouser. The very avant-garde sculpture "Dead Cat" brings Walter instant fame (and an unfair portion of fortune) at the coffee shop.
Undercover narc Lou Raby (Bert Convy) making the rookie mistake of bringing a gun to a skillet fight inspires the second (and more grotesque) work "Murdered Man." The neighborhood whore subsequent learns not to tease any repressed psycho even if he is not one in Mom's clothing. We further get a local resident paying for what he saw.
The overall beatnik culture contributes much of the fun in "Bucket." The king of the scene embracing Walter to the extent of literally placing him on a throne provides further good period-piece entertainment. This is not to mention seeing the extent to which greed and an equal lust for celebrity outweighs morality.
Corman does even better presenting the truth literally beginning to reveal itself and the surface-thin cool composure of Walter melting away until the mob wants him in an undesirable manner. This leads to enacting the Corman form of justice.
The bigger Corman picture is that this genius fully embraces every element of the B-movies of which he is a master. This includes (such as in "Shop" and "Blood") shooting in black-and-white when not opting for lurid vivid color, using low-budget effects, and figuratively sticking to the script each time. He further is set apart from the makers of other guilty pleasures in that he sets out to create trashlicious garbage each time and greatly succeeds. This (along with the obvious drug influences) makes him the one-man Sid and Marty Krofft of the silver screen.
The quantum of solace as to the CBS Home Entertainment September 17, 2019 DVD release of the seventh and final season of The Tiffany Network procedural "Elementary" is that it seems that incarnations of dynamic duo Sherlock Holmes and Dr. Watson are even more immortal than the fictional Victorian Era pioneering consulting detective and his colleague, It is logical to deduce that another film or television series featuring the exploits of those 19th-century gumshoes will be released in the not-to-distant future.
The highly entertaining and clever "Elementary" can be considered an even more neo-modern version of the Arthur Conan Doyle creations than the excellent BBC series "Sherlock."
The "Elementary" updates include transforming Dr. John Watson into Dr. Joan Watson (Lucy Liu). In addition, this sidekick who traditionally is a roomie turned partner-in-crime solving is now a sober companion turned apprentice turned full-fledged crime-solving partner to recovering addict Holmes (Jonny Lee Miller). For his part, Holmes is outwardly more dark and damaged than his previous versions. Moving the action from London to New York City is another major change in the Holmesian style,
"Elementary" creator Robert Doherty takes similar awesome liberties with other elements of Holmesian lore while staying true to the spirit of the source material.
In typical procedural style, S7 picks up in the wake of the S6 cliffhanger. A "send him back" sentiment results in Watson now being the stranger in a strange land when she and Holmes become neighbors at 221A and 221B Baker Street in London. They also get a sense of new-boss-same-as-the-old-boss on offering Scotland Yard the same consulting detective services that they had been providing the NYPD.
The shooting of NYPD Captain Thomas Gregson (Aidan Quinn) sets the underlying S7 action in motion. This begins with Holmes sneaking back in to the US to solve that crime. Stating that the agreement that Holmes subsequently enters to regain his legal status here is a deal with the devil is not far from the truth.
Discovering whodunit is only the beginning of the story; learning why he dunit ties into the aforementioned larger picture. Holmesphiles easily recognize the significance of Mark Zuckerberg fictional counterpart Odin Reichenbach (James Franin) the arch-nemesis of the final season. Yes, Reichenbach does cause Holmes to take a fall.
This unifying element is that literally evil genius Reichenbach is using his access to the online activity of virtually the entire population of the "civilized" world to (ala the Tom Cruise film "Minority Report") target what Reichenbach considers highly probable imminent killers of innocents. This includes a young guy who is planning to McVeigh a ferry.
The rest of this prologue to our story is that Reichenbach keeps his hands relatively clean by radicalizing traumatized "innocents" to do his dirty work. An example is a teacher who has survived a school shooting.
Holmes soon figuring out the scheme does him limited good; like all foes who have presented our hero with a real challenge for roughly 150 years, Reichenbach is just as much of a chess master as his foe.
This plays a hand in several cases, such as an early one in which the stabbing of a runner leads to uncovering a well-planned plot to take out someone on the blacklist of Reichenbach.
The inevitable showdown (with the predictable outcome) between Reichenbach and Holmes comes in the penultimate episode of the series; those who know the lore best are not ready to declare game over.
The series finale nicely delivers on several levels. We see Little Joan happy at last with a state-of-the-art existence that includes both professional and personal contentment. A blast-from-the-past in the form of Watson getting a gift for Holmes from foe Jamie Moriarity followed by the messenger essentially getting shot sets the stage for the final intrigue and the last chance for those who are left standing whom we have come to know and love over seven years to live happily ever after.
This discussion of the finale sets the stage for one more logical deduction in the form of the showrunners knowing that Hell has no fury like a fan scorned as to an unsatisfactory series conclusion.
The theme of learning from history so as not to repeat it being very prominent in the 1989-93 NBC cult-classic sci-fi action-adventure series "Quantum Leap" makes it aptly significant as to the Mill Creek Entertainment Blu-ray CS set of this series.
This begins with the MCE release aptly putting right what once went wrong as to the individual DVD sets of "Quantum." As hologram assistant/best friend Al Calavicci (Dean Stockwell) to brilliant physicist/hero Dr. Sam Beckett (Scott Bakula "Star Trek: Enterprise") would say, the earlier sets are caca. The images of this major-studio release of this modern series is painfully grainy to watch. The images and sound in the Blu-ray set conversely are "mahvelous, simply mahvelous."
The comparable shelf space required of the DVD and the BD sets also favor the latter. MCE, which separately packages each season of "Quantum" in this set, makes it compact while still leaving ample room to take each individual season out of the stylish cardboard box in which they are contained.
The final comment regarding physical media relates to a major annoyance regarding streaming services. The real possibility that any service will pull the plug on any series before you can "catch them all" favors being able to pull a marathon (rather than binge) worthy show off the shelf.
One of many notable elements of "Quantum" is that it learns from history by paying homage to '60s TV scifi god Irwin Allen of "Lost in Space" fame. Allen follows up "Space" with the 1966-67 ABC series "Time Tunnel." That one centers around a secret government time-travel project in the desert going horribly awry in a manner that (mostly) throws the two heroes around in history as their guys (and girls) in the chair try to pull them back home. Their adventures include being on the Titanic and having an unforgettable adventure at the Alamo.
The variation in "Quantum" is that Beckett heads up the titular research project in the desert in the not-to-distant future; an amusing aspect of this is that the "Quantum" team visualizes a '90s that is even more bright, neon-infused, and futuristic than the '80s.
As the voice-over narration that opens every "Quantum" episode explains, Beckett (who is an Indiana farm boy with an August 8, 1953 birth date) theorizes that one can time travel within his or her own lifetime. The glitch this time is an unknown entity (perhaps God) or force hijacks Sam on his inaugural leap.
This abduction establishes the pattern of Sam "leaping" into the body of an innocent or not-so- innocent in order to put right what once went wrong. This may involve preventing a murder, stopping someone from making a decision that greatly negatively impacts his or her life, etc.
A handful of these episodes center around real-life incidents, such as the death of Marilyn Munroe and the assassination of JFK. Related good fun comes ala Sam inadvertently putting ideas in the heads of younger versions of future real-life celebrities. A prime (pun) intended example leads to a classic "Rocky" scene.
The rest of this lore is that the future tech. allows Al to use a research-center imaging chamber in his present to appear as a hologram that "only Dr. Beckett can see or hear." This state also prevents this resource regarding emergencies, medical or otherwise, from physically making contact with anyone or anything.
The typical episode pattern is that a disoriented Sam "leaps" into the body of the current person of interest sometime in the period of the aforementioned lifetime. Al then fairly literally pops in with at least at little information about the owner of the meatsuit that Sam currently occupies. Regarding this, it can be someone of any age or gender and once is a chimp. This exposition includes at least some speculation regarding why the powers-that-be have thrust Sam into that situation.
Much of the relatable fun comes from Al sharing changeable statistics regarding the outcomes in response to action and non-action by Sam. A purely hypothetical example is an 75.8 percent chance that an actor will be cast in the role of a lifetime increasing to 88.1 percent after middle-aged Sam in the guise of a 20-year old studio page sneaks the headshot of the actor into the file of the producer of the film.
Watching most of the fan-favorite episodes of "Quantum" for this post has made this "mission" especially fun. These include the JFK one, which is a two-parter that has Sam "leaping" into the body of Lee Harvey Oswald at several significant times in the life of that historic figure. A bonus this time is the psyche of Oswald repeatedly taking dominance over that of Sam, who almost always remains in the driver's seat while "possessing" someone.
The S3 season premiere is a two-parter that has Sam first "leaping" into his teen-age self just before Thanksgiving. Although his mission is to correct his own mistake and win the big game so that his high-school coach goes onto bigger and better things, Sam is the hijacker this time. The wrongs that he tries to put right include three tragedies that will befall his family in the next few years. This adventure continues when Sam "leaps" in the body of a man who is a member of the band of brothers of the older brother of Sam.
An especially fun one aptly has Brooke Shields play a literal debutante heiress in an episode that is a mash-up of "Blue Lagoon" and "Swept Away." The Shields character is about to enter an essentially arranged marriage when the ship on which she is travelling sinks. This "princess" finds herself being one of two stranded castaways with a Greek greasy dirty sailor who worked in the engine room of the ship and currently has a physicist controlling his life. The rest of this story is that Sam must put the life of the pretty baby in his charge back on track.
The series finale hits the trifecta of including big reveals, bringing back old friends, and providing closure while leaving the door open for more adventures. The conclusion this time does scream for five seasons and a movie. The irony here is that the wrong of "Quantum" missing the milestone of 100 episodes by three never gets righted,
Warner Archive once more shows awesome follow-through in releasing "Popeye the Sailor: The 1940s V3' on September 17, 2019. These theatrical shorts from 1948-49 follow (reviewed) 1940s V1 and (reveiwed) 1940s V2 from earlier in the titular decade. All three (to the extent possible) pristinely remastered sets are among the 1,000s of examples of Archive showing classic films, cartoons, and television their due respect.
The many spectacular aspects of these cartoons as both separate units and as a whole includes seeing how new technology and styles guide the evolution of the literal and the figurative themes of these timeless treasures.
The back-cover notes remind us of the prime example of the technology. A paramount (pun) intended effort to make a three-strip technique (Beta) an alternative to Technicolor (VHS) is fully on display. Archive delves into this in a preface to "A Wolf in Sheik's Clothing." That one has Popeye come to the rescue when the titular predator makes Bedouin eyes at Olive.
This set of 17 cartoons from the adolescence of Popeye begins with the self-explanatory prophetic outing "Olive Oyl for President," This best gal of our squid taking offense at his scoffing at the idea of a female president sets the stage for the extended "If I Were President" musical number.
Sexist hilarity ensues as Olive describes a '40s women's Utopia. This includes the men staying home while female executives dictate correspondence to hunky male secretaries. Another aspect of this Great Society is a tax system that greatly favors getting married over being a bachelor.
The first historical adventure is "Wigwam Whoppee" in which Pilgrim Popeye woos Indian maiden Olive to the great distress of the chief who has both eyes on that squaw; a highlight is Popeye making his foe look like a real turkey.
Our soulmates also attend the first Olympics in a self-explanatory adventure titled "Popeye Meets Hercules." This one has the competitors vying for gold in the form of Olive.
The arguably most ambitious short also is the longest; much of the additional three minutes in the highly meta and surreal "Popeye's Premiere" is devoted to Popeye and Olive attending the titular first screening of the Popeye version of the story of "Aladdin." Popeye is an embarrassingly excitable boy throughout that evening that proves to be enchanted.
The handful of times that arch-nemesis Bluto shows up includes the (sadly) relevant "Snow Place Like Home." Popeye and Olive are enjoying the beach of the city that's got style Miami when a sudden freak storm whisks them (ala "The Wizard of Oz") to the Great White North, which they find is not a beauty way to go.
It is par for the course when mountain man Bluto, sans any siblings or spouses, tortures Popeye in ways that include giving him a fur coat that a bear still is using. Of course, the rest of this story is that our #metoo offender succeeds in wooing Olive until it no longer is fun. This requires that Popeye 'roid up on spinach and put right what once went wrong.
The rest of these animated adventures are equally true to form and entertaining. They literally can't make 'em like that any more in this era in which killjoys have sapped much of the fun out of cartoons by forcing the removal of most of the surreal (and ABSOLUTELY harmless) violence.
The Warner Archive September 24, 2019 DVD release of the 1939 B-movie "The Man Who Dared" is among the latest proof that many titles in the Archive catalog are both universal and timeless. This tale of a typical middle-class American family facing the choice of being witnesses for the prosecution or playing it safe by having selective amnesia is almost identical to the (reviewed) 1931 Walter Huston film "The Star Witness."
Our "Man" story begins with the standard Golden-Age exposition device of newspaper front-pages reporting wide-spread corruption in a typical mid-sized American city. The action soon shifts to the office of crusading DA Palmer, who is on the cusp of finally bringing down the crooked mayor.
Meanwhile, Hizzoner is meeting with his goon squad to discuss how to silence McCrary, an investigator who is a not-so-easily intimidated star witness.
These worlds collide when corrupt police official Nick Bartel and his man-in-blue group pay McCrary a home visit with extreme prejudice. This trio breaking into the garage of McCrary to "Pintoize" his ride interrupts the dinner of the three-generation Carters, who gather at the window to watch what is going on.
McCrary and his wife inadvertently escalating the timetable creates a desperate time for the malfeasors that leads to the desperate measure of again preventing the Carters from chowing down.
The ensuing dilemma relates to the Carters paying a heavy price for doing the right thing. The self-important middle-class middle-manager head-of-the-family is duped into going with the bad guys, who then use escalating means of persuasion to convince him to change his story. This failing leads to to kidnapping all-American boy Billy Carter as an effort to silence his family.
One fly in this ointment is a rebel without a cause who does not recognize the irony of strongly speaking out against capitalism while enjoying a good lifestyle courtesy of a father who is happy to play his role in that system.
This leads to building tension as the central trial commences while patriotic Spanish-American War veteran Ulysses "Grandpa" Potterfield demonstrates the wisdom of the old fool. The clear message on many levels is that the old ways are the best ways.
The larger messages that remain depressingly relevant today are that absolute power corrupts absolutely and that the one with the gold makes the rules. This is even more true today when "tyrants" on all levels have well-stocked propaganda arsenals and extreme defamation laws that silence many whistleblowers even more effectively than a physical beatdown.
An increased sense that speaking out will only end in devastating tears and recriminations is a further nail in the twin coffins of free speech and promoting what should be American values.
Mill Creek Entertainment continues displaying diversity and a love of modern cult classics as to the August 13, 2019 additions to the MCE "Retro VHS" Blu-ray series that evokes thoughts of the pre-digital days of Blockbuster. The subject du jour is the "retro" release of the 1989 James Woods/Robert Downey, Jr. legal thriller "True Believer." The MCE section of this site includes MANY posts on "retro" releases and numerous other items in the MCE catalog.
An inadvertently amusing aspect of "Believer" is that then former teen idol/current box-office king Downey is largely extraneous. He plays idealistic recent law-school grad, Roger Baron, who gives up fortune (and perhaps fame) at a white-shoes law firm to be a first-year associate for faded civil-rights attorney Eddie Dodd (Woods), who now (barely) pays his bills making Constitutional rights arguments to keep drug-dealers out of jail. Dodds noting that he charges cocaine dealers and represents pot dealers pro bono is one of a few funny moments in this drama.
The pair makes a good low-key dynamic duo. Dodd is the battle-weary dark knight still fighting the good fight, and Baron being the naive boy wonder who is eager to learn from the master.
Meanwhile, guest-of-the-state Shu Kai Kim is eight years into a stay at Sing Sing for a murder conviction when he is coerced into killing a fellow inmate as a gang initiation. This prompts the mother of Kim to frankly ask Dodd if he will defend her son. Her response when asked "why him?" is another amusing moment.
This leads to Baron having one of his few significant scenes in "Believer;" he convinces Dodd to take the case.
The rest of this story is that this litigation once again pits Dodd against prosecutor Robert Reynard, who has a tough entry in the loss column thanks to Dodd. Kurtwood Smith of "That '70s Show" playing tough foul-tempered Reynard is sure to prompt many viewers to mentally insert the name "Dumbass" at the end of most lines of Reynard.
The intrigue comes ala Dodd uncovering increasingly compelling evidence that Kim is doing the time without having done the crime, A facially neo-Nazi attack on Dodd for defending Kim on the most recent murder charge fully thickens the plot. Our legal eagle (and his eaglet) soon learn how this is tied to the earlier crime; of course, these events also involve Reynard.
The "Marvel"ous history of Downey makes it ironic (no pun intended) that truth, justice, and the American way ultimately prevail.
Warner Archive aptly co-ordinates the September 3, 2019 Blu-ray release of the "Big Bang Theory" prequel sitcom "Young Sheldon" with going back-to-school ahead of the Sep. 26, 2019 S3 season premiere. This tale of titular 10 year-old boy-genius Sheldon Cooper (Iain Armitage) facing the daunting challenges of being the smallest (and smartest) member of his high-school sophomore class in his '80s era not-so-enlightened East Texas community is relatable to many of us who excel more at academics than other aspect of school life.
Archive earning its good name by releasing what broadly can be considered the prequels of corporate sibling Warner Bros. Home Entertainment makes Entertainment the apt one to release the epic "Theory" BD CS limited-edition collector's set on November 12, 2019 in time for the holidays.
The other historical note as to "Sheldon" is that it aptly is reminiscent of cult-classic '80scom "Sledge Hammer" about the titular cop who is a blend of Dirty Harry and Rambo.
Like the best brains behind "Sheldon," real-life boy genius Alan Spencer of "Hammer" does not include a laugh track. Spencer aptly concludes that viewers do not need to be told when something is funny. The comparison extends to Sheldon being justified if he ever adopts the "Hammer" catchphrase "trust me; I know what I'm doing."
The following CBS promo for "Sheldon" S2 features a few S2 highlights sans inarguably the funnest scene in the entire season; this has loving grandmother Connie "Meemaw" Tucker (Annie Potts) frantically waving the flag and otherwise enthusiastically showing her patriotism in her front yard in the wake of Sheldon innocently advocating communism in the heartland of the Bible Belt.
This follow up season to the (reviewed) S1 of "Sheldon" commences with a story line that is relatable to both the highly attuned and those who must endure a boy with something extra. Our lead is convinced that the refrigerator is broken because it sounds differently than usual. His family of "muggles" is equally certain that there is nothing wrong with that appliance.
Presumably equally motivated to fix the problem and to prove that he is right, Sheldon takes the refrigerator apart. A "sit" that adds to the "com" related to this is that Sheldon experiences the Humpty Dumpty Syndrome (which would have made an awesome "Theory" episode title). This requires his high-school football coach father George (Lance Barber) to "shell" (pun intended, i.e. Bazinga) $200 in 1988 dollars for someone who is smarter than all the king's horses and all the king's men to put "Humpty" back together again.
The aforementioned episode in which Meemaw "flags" down the neighbors revolves around a similar theme as the season premiere. Sheldon notices that the bread that mother Mary (Zoe Perry) uses to make his school lunch has a different taste than before. Of course, no one initially believes Sheldon. It is equally predictable that he is proven correct. It is not expected that this leads to a logical but naive comment by Sheldon getting his family branded Cold War era "reds" deep in the heart of Texas.
One of numerous personal we are "Sheldon" aspects of these episodes begins with a three-year battle with a particular Starbucks. The chain was responsive to consistent reports that the frappuccinos at that branch did not taste right; they also made repeated efforts to address the issue, including having regional managers taste the drinks, only to insist that there was nothing wrong. They further repeatedly stated that no one else was complaining about the drinks.
The store ultimately disassembled the pump used to make frappuccinos. They discovered a thin crack that reduced the amount of syrup that made it into the drink. It is recalled that someone fairly high up in the Starbucks food chain (pun intended) called to apologize.
A generally amusing element of S2 is Sheldon making a comment in class only to have a teen classmate named Derek tease him; this leads to Sheldon responding in a manner to make Derek look foolish,
The personal anecdote this time is getting up in a high-school US history class to make a peer-graded presentation. A friend called out that he was going to give me an F; I immediately responded "f you, Peter." The entire class laughed, and the teacher quickly made us move on.
Another notable episode is similar to an S1 outing in which Sheldon tries living with the head of a school for gifted children. The S2 variation has recruiting by colleges prompting Sheldon trying the experiment of staying overnight with his absent-minded professor/mentor/friend/potential new grandfather Dr. John Sturgis (Wallace Shawn).
Hilarity fully ensues in the evening that young and elderly Sheldon spend together; the best line in the episode has John suggesting that girlfriend MeeMaw move into his apartment so that she can take care of both him and Sheldon.
The lesson here is that someone has to be an adult; although not totally relevant, this is the same observation that a friend makes after I match a seven year-old girl move-for-move when she starts sticking out her tongue at me during a Christmas concert.
An episode in watch Sheldon is hospitalized a few weeks after a real-life "incarceration" hit especially close to home. Concern about germs and HATING having a roommate were ripped from-the-headlines.
Wanting to go home to rest in my king-sized bed, be with my cat, and getting to watch some of 1,000s of DVD and Blu-rays was a variation of the whining of Sheldon. Ordering a few meal items in (failed) efforts to combine some of their elements into one edible entree outsheldoned Sheldon. The observation here was that my jeans somehow expanded at least two inches during this period.
The "Sheldon" season finale that airs on the same night as the "Theory" series finale nicely ties the two shows together and helps bridge the generation gap. The "Theory" two-parter revolves around adult Sheldon winning (and accepting) the Nobel Prize for physics; "Sheldon" has the younger version of that character planning a 5:00 a.m. party to listen to the Nobel winners 31 years earlier. A "Theory" babies bonus is a special treat for fans of both programs.
The big (no pun intended) picture relatability of this is several years during the early 2000s in which I would go to the home of friends virtually every Friday night to eat take-out and watch "Stagate" series and other shows in the Sci-Fi Channel line up. This was a nice era that ended when neither side arguably was an adult.
The first conclusion to draw from all this is that "Sheldon" is one of the most cute and amusing sitcoms that currently grace the airways until CBS All Access makes it a streaming exclusive. The second takeaway is to trust someone who is smarter than the average bear; the odds are forever in his favor that he knows what he is doing.
The voice of experience requires advising folks who are skeptical about the CBS All Access streaming service "The Good Fight" to check your prejudices regarding "parent" series "The Good Wife" at the door. The wit and wisdom of "Fight" further suggests that those of us guilty of labeling "Wife" as a "scoccer mom series" without ever watching it may pay for judging Amy by her cover.
The draw for many of us doubting Clarence Thomases is '90s CBS sitcom "Cybill" star Christine Baranski (Maryann Thorpe) starring in "Fight." It is almost guaranteed that fans of that absolutely fabulous hard-drinking scorned first wife still revel in chances to spit out "Doctor Dick" more than 20 years after the broadcast of the unresolved "Cybill" series-ending cliffhanger.
The rest of this story is liking, really liking a series that leaves expectations in the dust makes that program even more enjoyable than one that is approached with a more positive 'tude.
The CBS Home Entertainment September 17, 2019 DVD release of "Fight" S3 provides a good chance for the aforementioned enlightenment. The equally good news is that a recap at the start of the season premiere and exposition throughout the series allows legal eaglets to follow the action.
The following Access trailer for "Fight" S3 reinforces that this unique series has a special voice and stylized look. You also will see a few familiar faces in addition to Baranski; those usual suspects are only the tip of the iceberg as to the lives of the "Titanic" passengers whose lives and loves provide ample fodder.
An online description that seems to come from CBS.com provides a good primer on "Fight." That synopsis states the following.
"The CBS All Access series picks up one year after the events in the final episode of 'The Good Wife.' After a financial scam destroys the reputation of young lawyer Maia Rindell and wipes out her mentor and godmother Diane Lockhart's [Baranski] savings, the two are forced out of Lockhart & Lee and join forces with Lucca Quinn at one of Chicago's pre-eminent law firms. At Reddick, Boseman & Kolstad, Diane finds familiar faces, including Colin Morrello, who is a rising star in the state's attorney's office, and Marissa Gold. Though starting at the bottom, Diane and Maia are determined to rebuild their careers and lives at the new firm."
Show runners Robert and Michelle King avoid a single dull moment in any of the 10 S3 episodes. The animated "Schoolhouse Rocks" segments aptly titled "The Good Fight Shorts" enhance the entertainment value. The first one titled "NDA" is a song (but not dance) number about legally binding contracts known as "non-disclosure agreements" that prevent someone from divulging cover information about the person who is paying the hush money.
The firm partners trying to get a secretary with a dirty little secret to not ruin the posthumous reputation of her boss/civil rights icon prompts the short, Meanwhile back at the ranch, an NDA drives a wedge between highly liberal Diane and her conservative husband Kurt McVeigh (Gary Cole). A Dick Cheney element of this makes it highly entertaining.
A second element that drives much of the S3 action enters in the second episode in the form of rude, crude, and not-at-all socially acceptable sole practitioner Roland Blum (Michael Sheen), who makes Al Pacino seem like Shirley Temple. This legal lizard gets his foot in the door by representing the co-defendant of a man who is being jointly tried with a man whom Maia is defending against a murder charge.
This emboldens Blum to make himself an odd (and highly unwelcome) bedfellow of the partners in a multi-million-dollar class-action lawsuit. This leads to an offer that is too good to refuse that requires bringing Blum a temporary full-time fixture at the firm.
Maia making the mistake of f**king with Blum, who has attended several rodeos, sets off a chain of events that derails her career. This, in turn, teaches the "suits" that Hell hath no fury like an attorney scorned.
Meanwhile, a promotion and a leaked salary list ignite smoldering fires as to perceptions of racial and gender inequities at the firm. Hilarity is the best thing that ensues from resulting efforts at sensitivity training and other "reforms."
We also an extreme effort to convince new head of the matrimonial department/new single mother Lucca Quinn (Cush Gumbo) that Melania Trump is consulting her as a prelude to getting a divorce, The truth awesomely reflects a desperate measure in a desperate time even before the recent initiation of a proceeding to divorce the country from the president.
When not having a hand to a varying extent in all this (as well as other firm-related) trauma and drama, Diane divides her time between throwing axes in a bar and plotting with a secret group of fellow female executives who are fighting covertly planted fake news with more of the same. This is not to mention an effort to hack a voting machine to offset election interference.
Aside from this "hobby" often overlapping in not good ways with the work of Diane, the S3 cliffhanger suggests that she and Kurt are going to be on the receiving end of poetic justice.
CBS supplements this with deleted scenes and a gag reel.
This opening argument for adding "Fight" to you DVD library warrants a summary judgment without allowing the "cons" their day in court.
The Film Movement DVD release of the 2013 drama "An Afghan Love Story" is one of the more thought-provoking titles in the extensive Movement catalog of foreign and domestic art-house movies. "Story" being based on actual events enhances this tale of modern woman Wajma running afoul of the old-school standards in her country.
The accolades for "Story" include a 2103 Sundance award for screenwriting and Best Film honors at the 2013 Amazonas Film Festival.
The following YouTube clip of the SPOILER-LADEN Movement trailer for "Story" provides a synopsis of this movie about a wedding hook-up gone terribly wrong.
Wajma and Mustafa know from the outset that they experience the lust that dare not speak its name; this newly accepted law student and her waiter lover literally and figuratively go to great lengths to avoid her being seen entering his apartment for their afternoon delight.
The skyrockets take flight when Wajma learns that she has a nan in the oven; Mustafa informing her that he will not put a ring on it or otherwise do the right thing by that cow who has given away the milk for free because she is damaged goods enhances the drama. Abortion being illegal in Afghanistan is another complication. Presenting India as a liberal country in the context of abortion being legal there provides further context.
The zinc lining in all this is that mother and the grandmother of Wajma are sympathetic and compassionate; the bad news is that the "wait 'til your father comes home" element of the story makes things far worse.
Father Haji constantly is away because of his job detecting and removing landmines; no pun is intended in stating that he goes ballistic in learning of what he considers a major disgrace to his family. The manner is which he takes Wajma to the woodshed is horrific.
Filmmaker Barmak Aktam does an excellent job first introducing the characters, and then presenting the flirting and the resulting "courtship" of Wajma and Mustafa. This leads to the pregnancy that results in the aforementioned building drama and the trauma for the mother-to-be. Akram next provides a perfect payoff regarding the desperate measures that the desperate circumstances require. This climax shows that things are not so different in traditional and "civilized" countries.
The good acting, the drama rarely straying in "melo" territory, and this somewhat true story being relatable to many make "Story" one to add to your collection and for parents to rewatch when even adult offspring commit a blunder that prompts thoughts of wanting to make them drop trou and bend themselves over your knee.
[EDITOR'S NOTE: Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.]
The Warner Bros. Home Entertainment September 17, 2019 separate DVD and Blu-ray releases of "Supergirl" S4 brings us 3/4 of the way toward completing these releases of the 2018-19 seasons of the CW Arrowverse series ahead of their (mostly) October 2019 season premieres. "Supergirl" S4 follows the (reviewed) sets of "The Flash" S5 and (reviewed) "Arrow" S7. The September 24, 2019 releases of "Legends of Tomorrow" S4 completes this run.
The reasons for springing for the BD sets extend (except as to "Legends") beyond those versions including the epic three-part "Elseworlds" episode that introduces Batwoman to the Arrowverse ahead of her 2019-20 series. Past lack of buyer's remorse validates that spending a few extra bucks to get the deeper and richer color and sound of BD is well worth it; this is not to mention BD being less prone to the ravages of time and repeated viewings than DVD.
"Supergirl" always has been more closely aligned in lore and tone with "Flash." On-screen, this relates to Barry Allen (Grant Gustin) of the latter introducing Superman cousin/reporter/covert government operative Kara Danvers (Melissa Benoist) to the Arrowverse. Further, both series skew younger in cast and target demographic than "Arrow." Off-screen, Gustin and Benoist (who have sung separately and together in their current series) are former Gleeks,
Further, "Flash" and "Supergirl" both revolve around boys and girls with something extra on both sides of the law. These problems and solutions mostly are aliens on "Supergirl," and mostly Spider-man style meta-humans who accidentally acquire special abilities on "Flash."
Conversely, most of Team Arrow and their foes are more like Batman in that they use advanced tech. in their efforts to put their well-honed skills to good (or bad) use.
The underlying debate on whether aliens, most of whom can easily send us muggles crying home to our mommies, in "Supergirl" S4 parallels the underlying theme in "Flash" S5 regarding how to handle a "cure" that makes a meta like other boys, The options there are to completely suppress the cure, make it mandatory, or give metas the freedom of choice.
As a side note, both "Supergirl" and "Flash" also have an annoyingly cartoonish "Scrappy-Doo" style/outcast character who fails in his mission to provide comic relief, "Flash" compounds the error as to acrebic scientist Harrsion Wells by making the current incarnation of him stereotypically French,
"Supergirl" has a kinder and gentler version of Brainiac, whose voice and misunderstanding of life on that alternate earth are inconsistent with his supposed intelligence, The writers mercifully limit a quirk as to referring to classic films to a few episodes To expand on a reference to the game of three in the "Flash" post, neither Wells nor "Brainy" would fare well regarding that diversion.
A real-world analogy in these series by openly homosexual executive-producer Greg Berlanti is gay rights. One aspect of this real-world non-issue is the "threat" that LGBTQ folks pose to "normal" people. An element of this in the entire Arrowverse and our reality is that most of the "villains" can "pass" for "normal."
Everything regarding this in "Supergirl" S4 ties to the Children of Liberty, lead by Agent Liberty (a.k.a. former US history professor Ben Lockwood) which loosely can be described of as a human-rights organization. The analogy as to this group that aggressively supports a "send her back" policy is to the related issues of immigration and refugees. This encompasses "them" coming to "our" country where they take jobs from "real" Americans and cause extensive physical destruction. We further see how these negative experiences can radicalize folks who previously largely avoid the maddening crowd.
The Children's campaign to repeal the federal Alien Amnesty Act does mirror a theme in "Arrow" S7. The legislative effort there is to outlaw vigilante activities of Team Arrow that supplement formal law-enforcement work.
An early "Supergirl" S4 episode begins to eliminate confusion as to that season seemingly not addressing the S3 cliffhanger. The final scene in the season finale has our heroine landing in what seems to be eastern Europe. The additional S4 exposition is that this individual can be considered a version of a bizarro Supergirl.
More exposition regarding all this comes roughly 3/4 into S4 with the heavily anticipated first appearance of Jon Cryer as "Super" nemesis Lex Luthor, Fanboys will remember Cryer as gonzo Lex Luthor nephew Lenny in "Superman IV: The Quest for Peace."
Aside from this introduction of a major DCU character into the Arrowverse series, the coolest thing about having Lex Luthor join the party is seeing late in the game how he orchestrates so much from the sidelines throughout the season. His "great escape" is another highlight.
All of this leads to season finale that includes an extended thrill-a-minute climax. The cliffhanger hits a high note by (ala "Arrow") bringing back a central "Elseworlds" element and keeping fanboys on the edge of their futons until the October 6, 2019 S5 season premiere.
The bigger picture is that S4 arguably is the best "Supergirl" season. It has streamlined characters, made Kara far less awkward and geeky "Ugly Betty" like, and has stronger story arcs.
The biggest picture is that the latest batch of Arrowverse seasons supports what fanboys have known for decades; comic books are about much more than men (and women) flying around in Spandex.
The plethora of S4 extras include a presentation of highlights from 2018 Comic-Con panels of Arrowverse series, a (Blu-ray exclusive) feature on "Elseworlds," a look at DCU super villains, deleted scenes, and a gag reel. The deleted scenes run from the sublime to the ridiculous, and the gag reel shows which cast member is most prone to cursing.
The blessing and the curse related to the August 2019 Del Shores film "Six Characters in Search of a Play is that there is so much good in it that knowing where to begin is tough. Starting from a highly macro level (and to borrow from another "minor gay celebrity") the real-life Shores is one of the most kind and compassionate people in "this filthy world."
"Play" is the lucky seventh performance of the titular one-man show of Shores. The comparison to fellow (deceased) highly literate storyteller Spaulding Gray begins with Shores explaining the classic work to which he is paying homage.
The meta concept of "Play" is that six real-persons in the life of Shores inspire a desire to insert them in work that will join this impressive body of work that includes (reviewed) "A Very Sordid Wedding" that is part of the hilarious "Sordid Lives" franchise of Shores, the MUST-SEE (reviewed) "Southern Baptist Sissies," and the (reviewed) Shores performance film "My Sordid Life" that ties the aforementioned (and much more) together.
This concept evokes thoughts of the reasoning of a summer-camp co-worker who made a big deal about not owning a television when such a s statement was considered a lifestyle. The conclusion of this woman was that the people in her life were more interesting than television characters.
The rest of this interlocking story is that the married middle-aged woman who co-owned the camp with her temporarily absent husband spent the summer openly having an affair with the gregarious hunky blond farm boy who ran the satellite camp.
The taking of liberties with the help proves the point of the counselor AND validates the long history of Shores including the "characters" in his life in his films and plays.
The extension of this is that "Characters" is funny because it true sans any exaggeration or other embellishment. Spoilers regarding these unique individuals. including one who blurs the line between fact and fiction, is mostly limited to discussing the first one. Hearing about the "loud-mouthed lower-middle-class Republican with a heart of gold" (and how a chihuahua upstages her) will require watching the film.
The truly enchanting evening that ends too soon begins with Shores reminiscing about chain-smoking character actress Sarah Hunley, who plays Juanita Bartlett in the "Sordid" films and the television series. Much of this centers around Hunley setting a highly relatable "send her back" style deadline as to filming "Wedding."
Our Gayrisson Keillor especially shines during this portion of the film when describing a frequently repeated ritual in which Hunley engages when he visits her Studio City apartment, Many of us who have called on older people can relate to strict routines greatly prolonging achieving an objective (not to mention an exit strategy).
The stories of Hunley and of the other five people who are varying degrees of near and dear to Shores prove yet another couple of points as to comedy. Carol Burnett is well known for saying that her classic skits work because truly funny material is timeless. Similarly, Burnett notes that she gets big laughs without resorting to blue humor.
NOTHING in "Play" is an more raunchy than Burnett coming out of stage with comically large breasts or Tim Conway silently expressing great pain from straddling a door knob.
Shores further emulates Burnett by presenting material that appeals to everyone from teens just starting to develop secondary sexual characteristics to folks who have reverted to wearing diapers and going to bed at 7.
All of us have these characters, including the guy who finds it necessary to hurl homophobic slurs based on a gas-station encounter, in our lives. Further, everyone in this demographic at least must smile on hearing about the Kum and Go; yes. they do sell Big Gulps.
Mill Creek Entertainment once more proves itself to be the champion of sofa spuds everywhere as to the August 13, 2019 DVD release of "Hart to Hart: Movies and Murder Collection." This four-disc set includes all 8 1993-96 made-for-TV reunion movies of the 1979-84 ABC light-hearted mystery series.
Having a handful of "B-listers" guest in each movie provides a wonderful hybrid vibe of "Murder, She Wrote," which gets its own set of made-for-TV reunions, and "The Love Boat." These celebrities include Joan Collins, George Hamilton, Alan Young, Mike Farrell, and Jason Bateman. The roster truly goes on and on and on from there.
MCE follows this up with a Halloween treat in the form of an October 2019 Blu-ray complete-series release of "Charlie's Angels."
The titular couple is an '80riffic "lifestyles of the rich and famous" version of one-percenter silver-screen amateur sleuths Nick and Nora Desmond of "The Thin Man" fame.
As the voice-over narration in the "Hart" series and movies reminds us, Jonathan Hart (Robert Wagner) is a self-made millionaire. This exposition includes that "it was murder" when Jonathan met "gorgeous" spouse/free-lance journalist Jennifer Hart (Stefanie Powers). The rest of this part of the story is that gruff but loving live-in servant Max (Lionel Stander) "takes care of them, which ain't easy."
A typical "Hart" episode finds a series of unfortunate circumstances embroiling the soulmates in a crime that often involves murder. It is just as likely that someone embezzling funds from a charity for which Jennifer is organizing a fashion show kills an assistant who discovers that crime as it is that Jonathan must clear his name as to Hart Industries being accused of nefarious business dealings.
The aptly titled first movie in the series is "Hart to Hart Returns." This one stays the closest to the spirit of the series while including a notable development that is too momentous to the lore to even remotely spoil. The central plot involves a pending business deal of Jonathan with an old friend prompting the corporate villains of the week to take desperate measures in response to the desperate times as to the aforementioned pursuit of profit.
The next one, "Home is Where the Hart is" arguably is the best one in that it virtually is a live-action "Scooby-Doo" mystery. The death of the mentor/first boss of then cub-reporter Jennifer brings our heroes to the small town where Mrs. H. begins her career.
The list of usual suspects and the spooky subterfuge that is concealing covert activity make one long to see family pet Freeway, Jr. speak English and Jonathan to pull a rubber mask off the villain. An "I would have gotten away with it except for you meddling millionaires" would have made this one purely sublime.
"Old Friends Never Die" is another memorable one due to both its campy fun and its homage to another genre; this time Agatha Christie books are taken to Hart. A publisher tells the couple that wanting to add Jennifer to his stable of writers is why he is inviting them to a weekend party at his lavish estate. The rest of the guests are eccentric scribes.
The plot thickens on Jennifer overhearing a detailed murder plot; the explanation that the conversation relates to a novel concept wears thin on life imitating alleged art. This culminates in the truth ultimately coming out, and the Harts finding themselves playing the most dangerous game.
More of the same occurs in the other films, which culminate in the aptly titled "Til Death Do Us Part." An early scene in this one indicates that Jonathan may be dyslexic in that Dog is his co-pilot.
The rest of this story is that the Harts travel to Germany so that Jennifer can donate bone marrow to a young cancer patient. The intrigue this time relates to our dynamic duo encountering a French woman who is a doppelganger of Jennifer. Of course, Powers plays this crazy pair.
"Death" ends on the same concept as the last several films in the series in that the epilogue involves the Harts in a fantastic or fantasy situation. These include this pair magically transforming into a couple performing a song-and-dance number on a stage or being transformed into lovers in a cuckoo clock.
Old and new fans should take all this to hart; the series and the movies are good cheesy fun that show that entertainment need not be edgy.
These thoughts regarding the breaking glass pictures April 2012 DVD release of "Del Shores My Sordid Life" is a perfect inaugural topic for an ongoing series of "evergreen" reviews of pre-2016 breaking releases.
Any friend of Dorothy (Zbornak or Gale) or fan of good campy humor knows Shores as the writer of the "Sordid Lives" play, film, and Logo television series about a young gay man and his hilariously "shameless" white trash family. Shores is lesser known as the writer of the (fave) play "Southern Baptist Sissies," which is as autobiographical as "Life" and "Lives." Fans of all three will delight in the charming insight that "Life" provides regarding the aforementioned true labors of love by Shores.
"Life" further is appropriate for this new group of reviews because it it is consistent with glass beginning to give another Philadelphia-based home-entertainment company a run for its money regarding releases of indie art-house gay-themed films. Upcoming Unreal TV posts are on "People You May Know," which features a 30something gay man looking for love, and the documentary "Seed Money" about the founder of the gay porn film company Falcon Studios.
"Life" is the one-man show of Shores in which he discusses "Lives," "Sissies," and several other projects. He nicely sets the tone by discussing his work on the '90s Foxcom "Ned and Stacey" that stars a pre- "Will and Grace" Debra Messing and a post "Wings" Thomas Haden Church. Shores admits that dissing "Lowell" by literally calling him an asshole distresses fans of Church but states in his terrifically sweet Southern voice that that actor is one.
A similar story relates to Shores working on the groundbreaking Showtime series "Queer as Folk." The surprising bad guy this time is dreamy young blond boy Randy Harrison, who plays dreamy young blond Justin. Shores discussing the revenge of the writers for the scorn that Harrison expresses regarding the program surprisingly is not a memorable episode that literally puts the ass of Justin in a sling. The lesson to not make the writers your enemy is much more poetic and clever.
Other shocking moments include Shores amusingly discussing sharing explicit information about the mechanics of gay sex with his mother. This segment includes not telling her absolutely everything in order to not overwhelm her.
Hearing about the play "Daddy's Dyin ... Who's Got the Will" beginning life in a 64-seat theater before going on to become a Shores thing hit (and hilarious) film is very entertaining. The best part of this story is the outrage of an aunt regarding the portrayal of her in the film and the surprising reason for that anger.
Shores additionally addresses marriage equality in that era before every state recognizes that right. This includes Shores discussing his daughter posting a YouTube video, which is a DVD extra, on California Proposition 8. That video demonstrates that Shores raised his girl right.
Many of the more personal stories relate to tales that are funny because they happen to someone else surrounding truly southern-friend family gatherings of the Shores clan. These include a family reunion and a funeral.
The appeal of the performance itself relates to Shores, who awesomely engages the audience throughout the show, being as shameless as the rest of his kin regarding the perverse nature of their past and the harmful anti-gay attitude that stems from being a practicing Southern Baptist. Regarding the latter, Shores takes a page from the playbook of fellow skilled storyteller Mel Brooks as to the Nazis. Our favorite "sissy" robs his ignorant relatives of their power by showing the foolishness of their beliefs on the subject of sexuality. He is a boy of whom any momma and daddy should be proud.
The copious truly special extras extend well beyond the aforementioned Proposition 8 video. We see fans and Shores actors, who include "Lives" star Beau Bridges, share their thoughts as they leave the theater. We additionally get three deleted monologues, which include Shores sharing a powerful deleted speech from Sissies, from "Life."
Other features include behind-the-scenes looks and the theatrical trailer for the film.
[EDITOR'S NOTE: Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.]
The WBHE September 10, 2019 separate DVD & BD releases of "Supernatural" S14 help keep the CW joy going strong ahead of the October 2019 season premieres of these fun-for-all-ages series. This run begins with the August 2019 releases of (reviewed) "Arrow" S7 and (reviewed) "Flash" S5.
The September 17, 2019 releases of "Supergirl" S4, and the September 24, 2019 releases of "Legends of Tomorrow" round out this run,
The blessing and the curse related to "Supernatural" S14 is that premature rumors of the death of this series result in episodes that awesomely cover all bases and leave fanboys wanting more but being content about where things stands in the season finale. The same is true as "Arrow" and "Flash." It is known that S15 will be the end for "Supernatural" and that Team Arrow has decided that eight is enough.
The following trailer for S14 shows that "Supernatural" has not lost any of its creepy edge in its adolescence. This promo being in perfectly clear standard def. reinforces that spending a few more bucks for the enhanced images and sound of Blu-ray is WELL worth that extra cost.
The last hurrah elements of S14 begins with grim brothers/expert monster hunters Sam (Jared Padalecki) and Dean (Jensen Ackles) Winchester back in our world after an S13 adventure in an alternate universe known as "Apocalypse World." One change is that their core group of the siblings and long-term literal angel Castiel (Misha Collins) now includes "Little Nicky"/"Cousin Oliver" Jack (Alexander Calvert). This new kid on the block is the two year-old son of Lucifer in the body of a late-teens boy.
"Mom" Mary Winchester and mentor/father figure Bobby Singer also are back with the band after extended death-related absences from the series.
Everything old is new again in that S14 commences with the "surviving" sibling dealing with the sacrifice of his brother at the end of the prior season. In this case, Sam has the aforementioned inner circle and his army of hunters desperately seeking Dean, who is the new meat suit for archangel Michael. This brings things back to the primary S5 story arc in which Michael and Lucifer want to respectively possess Dean and Sam in order to hold a death match.
S5 further rears its ugly head as to former Lucifer vessel Nick also being on Team Winchester. Subsequent events indicate that that former tenant has a lingering effect on his prior landlord.
The standard murder and mayhem result as to Michael having Dean do his bidding, Sam and Dean teaming up to evict that squatter, and the standard demons and numerous other creatures of the night preying on innocent and not-so-innocent humans. All of this occurs in the background of the latest plan of Michael to turn earth into his idea of paradise.
Meanwhile at the fortified bunker that the Winchesters call home, Jack faces his own personal crises. S13 events have robbed him of his grace that makes him different than other boys. He also faces a comparable crisis to one in which "cousin" Sam struggles in S6.
Staying alive requires that Jack sacrifice a portion of his soul; a few subsequent desperate times require that he resort to the desperate measure of giving up a little more of his soul to defeat a foe with extreme prejudice,
Team "Supernatural" does the series proud as to the milestone 300th episode "Lebanon" (a.k.a. "Winchester Family Reunion.") This one starts strong with our boys on a scavenger hunt that goes awry when a trio of slacker teens who at least suspect what goes on in the bunker temporarily (and hilariously) gets the better of their elders.
After dealing with the meddling kids, the Winchesters try black magic that does not work as intended. The compensation for not getting the desired wish fulfillment is the return of deceased family patriarch John Winchester (Jeffrey Dean Morgan). This resurrection allows the Winchester clan to once again be a relatively happy nuclear family. This also arguably is the happiest periods for the boys in the entire series.
The writers remain true to the entertainingly cynical nature of the series by not allowing the bros to be happy for long and by showing that magic has its price. Learning of the negative consequences of Dad coming back forces the boy to once again try to find a quick fix while contemplating a major sacrifice for the greater good.
"Leabanon" also is notable for providing INARGUABLY the best fodder for the gag reel that is a special feature. The Winchesters are having a very serious moment when a prop malfunction has Padalecki and Ackles literally rolling on the floor in laughter.
The aptly named "Mint Condition" Halloween episode is another season highlight; often angry and/or morose Dean is ecstatic as to a Shocker network marathon of classic slasher films and a real "job" that involves action figures and other memorabilia coming to life to attack a comic-book store employee. Usually more cheerful Sam is experiencing annual depression regarding this holiday.
This outing perfectly blends the well-produced horror and the dark humor that contributes to "Supernatural" being able to celebrate its Quincenera.
Humor fully takes center stage in a "Pleasantville" style outing in which a "job" brings Sam and Castiel to a real-life town that is straight out of a TV Land sitcom. All of us living through our current dystopian times can relate to the desire of the power-that-be behind this Utopia to want a more cheerful existence than our winter (and spring, summer, and fall) of discontent,
All of this culminates in a truly epic season-finale story-arc that involves the end of the world as we know it, Jack becoming an especially excitable boy leads to teen angst that leads to a "we need to talk about Jack" moment.
The inability of the Winchesters to properly parent their jinx of a ward leads to the "Dad" coming downstairs to put the kids in line. The climax to all this proves that the boss may not always be right but always is the boss. The other moral is that Hell literally has no fury like a powerful entity scorned; suffice to say that our existence is chucked.
Although the gag reel shows that boys just wanna have fun, the other special features demonstrate the love of the game that comes through in each episode. You will not believe in angels, demons, and the stuff of "Scooby-doo" episodes but will believe that the folks in front of and behind the camera do believe in spooks.
All involved share their perspectives and devotion in "Exploring Episode 300," the even more series-encompassing "The Choices We Make," and the 2018 Comic-Con panel that will make you mourn the 2019 panel likely being the end times for that event at that Con.
Mill Creek Entertainment releasing a crystal-clear Blu-ray of the 1963 Marlon Brandon Cold War classic "The Ugly American" on August 13, 2019 along with an eclectic assortment of other titles shows that MCE can be considered the "man" for all seasons,
Fellow August titles include the (reviewed) Steve Martin/Darryl Hannah romcom "Roxanne," the (reviewed) ABC period primetime soap "Pan Am," the (soon-to-be reviewed) James Woods/Robert Downey, Jr. drama "True Believer," and the (soon-to-be-reviewed) collection of all eight made-for-TV reunion films of the vintage ABC mysedy series "Hart to Hart."
MCE will further earn the devotion of fanboys with an October 2019 bonanza of "Ultraman" fare,
"American" easily is the most substantive of the highly entertaining group of releases of which it is a member. Marlon Brando stars as rookie ambassador Harrison Carter MacWhite in this ripped-from- the-headlines tale of "fictional" Southeast Asian country Sarkhan.
The arrival of MacWhite coincides with a strong anti-American sentiment that a communist organization from the north is exploiting; this timely evokes thoughts of the similar 1935 Sinclair Lewis novel "It Can't Happen Here" about an American president who exploits fear to become a not-so-benevolent dictator.
Our story begins with the locals executing a well-planned sabotage of a highly symbolic American-back road project in Sarkhan. The propaganda of this rebellious act far outpaces the loss of life and property that it causes.
Meanwhile back home. MacWhite is the victim of other propaganda in the form of a contentious conformation hearing for his new job. His prior time in Sarkhan both qualifies him for his new post and raises potentially disqualifying concerns.
An aspect of both aforementioned arenas is the once-and-future association of MacWhite with Sarkhan native son/influencer Deong. The latter is very vocal regarding his anti-American views but cannot be proven to be a communist; MacWhite fully vouching for the guys has strong implications later in the film.
MacWhite and wife get far from a warm welcome on landing in Sarkhan on what is anticipated to be a quiet Sunday morning; stating that they encounter a mob scene is a gross understatement.
Virtually every person over the age of 30 can relate to what occurs when MacWhite and Deong reunite soon after the diplomat comes back to town. Just as the wild and crazy guy from college become a completely different person in the decade since not wearing anything under his robe at graduation, Deong and MacWhite soon conclude that the years have not been kind to the other.
The aforementioned road becomes one of many bones of contention between the men; this animosity reaches a boiling point when they find themselves the opposing heads of a violent "Yankee, go home" campaign. "American" being an early '60s major studio film requires that the conflict and the resolution strongly reflect a massive anti-communist sentiment.
The broader nature of the film requires that both of the friends turned foes be wiser but not happier at the end of "American."
The good news for audiences of 2019 is that this engrossing movie truly is one that they don't make 'em like anymore. This extends beyond skillfully telling an intelligent and thought-provoking tale, It reflects the type of strong political view that used to prompt people on both sides of the aisle to check it out, rather than incite the folks who find it offensive to (sometimes literally) get up in arms and vigorously rally for a boycott and an exile of all involved in bringing in to the (now tarnished) silver screen,
The clear homage to quintessential New Yorker Woody Allen adds awesome irony to the studio named Gravitas Ventures separately releasing the 2017 Quincy Rose afternoon-in-the-life-of urban comedy "The Narcissists" on Blu-ray and DVD on September 3, 2019. The BD format adds a great deal to the travelogue quality of the cinematography of what looks to be late October footage of Manhattan.
Folks who savor the "video killed the radio star" aspects of home video also can watch "Narcissists" on Prime Video or iTunes.
The following "Narcissists" trailer provides equally strong senses of the Allen and the related "its funny because its true (and because it is happening to the other guy)" aspects of the film. The scenes of 30-something NYC friends discussing "nothing" additionally will evoke Seinfeldian thoughts; not that there is anything wrong with that.
The aptness of the film title begins with the I bet you think this movie is about you (don't you, don't you) vibe of it, A personal example of this is having a friend whose financial status requires continuing to share an apartment (and a bed) with an ex-partner after a break up,
Hitting closer to home, "Narcissists" seemingly reflects the real life of Rose (Oliver), whose other "joints" include the (reviewed) "Miles to Go" and (reviewed) "Friends Effing Friends Effing Friends." Interviews with Rose and his castmates that blur the line between fact and fiction at the end of "Narcissists" reinforces that Rose personally knows that of which he writes.
As an aside, concluding "Narcissists" with the interviews is highly reminiscent of use of that technique in some episodes of the '60s musical kidcom "The Monkees" and the '80s Cybill Shepherd/Bruce Willis dramedy series "Moonlighting."
Rose fully shows his genius by putting a spin on a seemingly compulsory expository technique for modern films. The opening scenes include Oliver standing on a subway platform opposite whom we soon learn is live-in (ambiguously on-a-break ala a classic sitcom NYC couple) girlfriend Cassi (Jessica DiGiovanni). The Rose variation on the common theme is only discovered at the end of the film.
The action then shifts to a voice-over of a meta-conversation in which Oliver and best bud Max (Zack Tiegen) are discussing the next film of Oliver. Their topics include confusion of Max as to the extent to which Oliver wants him to play himself or his character in the film within the film.
Although there is no direct reference to Rose muse Woody Allen, conversing about specific considered elements of the fictional project unambiguously refer to borrowing from the master of New York-based films. Good laughs come later as Oliver consciously adopts a do as I say, not as I do attitude.
All of this leads to Oliver and Max and Casi and her best friend Letty (Augie Duke) spending the next hour separately wandering the streets of New York hashing out whether Oliver and Casi should stay together.
Rose, who wears Allen-esque horn-rimmed glasses in real and reel-life, particularly shines in a scene in which he slouches and stammers in a heavy New York Jewish accent in response to what he considers an offensive remark by Max. This should make the real-life '70s-era employer of the father of Rose very proud.
The voice of Rose comes through more clearly in Cassi and Letty discussing a man who apparently is from Nantucket sustaining an equally embarrassing and painful injury while teasing a cat. Every male viewer is defied to not cringe at this (mercifully off-screen) image.
The impetus for the soul-searching accompanied by copious witty banter and wry observations is that the lease on the apartment that Oliver and Casi share is expiring. They must decide if their love is adequately strong to commit to staying in a place that neither can independently afford. This analysis includes a very close-to-home (no pun intended) observation (recalled as being by Max) about never living in a place that requires pooling financial resources.
As both Oliver and Rose observe, love in one's 30s is observed from a more practical perspective than in one's 20s.
The oft-mentioned realistic aspects of "Narcissists" ensure that the ending is neither especially happy nor unhappy. Both Oliver and Cassi will get on with their lives either way.
The bigger picture is that the strongest appeal of "Narcissists" is (ala his other films) the talent and the integrity of Rose. His aforementioned interview emphasizes that he values art over commerce and chooses making a quality (seemingly largely improvised) film with his own limited funds over potentially having to sell his artistic soul in exchange for being touched by an angel.
The most apt final thought is one can only hope that Rose continues the grand tradition of the late '70s Woody Allen comedies that include "Annie Hall" and "Manhattan." This relates to a scene in the brilliant semi-autobiographical 1980 Allen film "Stardust Memories" in which a fan tells the fictionalized version of himself that Allen plays that that admirer likes his older funnier movies than his more recent serious fare.
The Icarus Films September 3, 2019 DVD release of the 2001 documentary "Ghosts of Attica" does the Icarus history of releasing thought-provoking documentaries proud. Every DVD in this portion of the Icarus catalog achieves the genre ideal of being equally entertaining and educational.
In this case, narrator Susan Sarandon has the guards and the prisoners who were there tell the story of the September 1971 Attica uprising. We also learn of the decades-long effort of the prisoners to receive compensation for the harm that they sustained during that event.
Much of the film revolves around self-described Frank "Big Black" Smith, who is drafted into being a leader of the prisoners when (still highly relevant) demands for things such as religious freedom and being paid minimum wage escalates into the inmates temporarily taking over the asylum. The vintage photos and film footage of the prisoners when order is being restored perfectly illustrates why they are pursuing monetary damages.
We also meet Smith employer Liz Frank, who is the lead attorney for the prisoners. This stems from intense empathy for those guests of the state dating to the aftermath of the aforementioned events.
On the surface, a $12 million award to the prisoners seems to be a major victory. One-third of that going to the attorneys is an accurately cynical example of the United States legal system. On top of that, this award understandably prompts resentment among the guards who endured "troubles" during the uprising. A talking head properly notes that asserting that the workers' compensation system provides the guards an adequate remedy is absurd.
This is not to mention the inevitable appeal by New York.
The rest of the story that makes this incident documentary-worthy is that the then-Governor Rockefeller ordering the retaking of the prison with extreme prejudice comes back to bite him as to his bid for the vice-presidency. Suffice it to say that a cover-up is at least attempted.
These inter-related elements are intriguing in that they start with one of many cases in which the disenfranchised aggressively act to become enfranchised, the powers-that-be come down hard, both sides try to win the hearts and minds of the American public, and all feel that they have a right to compensation.
The underlying theme is the highly adversarial tone of interactions between the "haves" and the "have nots" that is becoming deafening during what may be an even more divisive era that the Civil War and the highly contentious late '60s. Clearly, we cannot all just get along and cannot rely on the folks who control the message to tell it like it is.
The DVD bonus features are and audio recording of Frank and more archival images from the uprising.
The Warner Archive August 20, 2019 DVD release of the 1965 Steve McQueen drama "The Cincinnati Kid" provides another chance to watch the PERFECT example of McQueen and his fellow young turks displacing Gold Age Hollywood royalty at various stages to becoming box-office poison. This largely is attributable to blond-hair piercing blue-eyed with bod from God McQueen oozing sexuality to which every man and woman all along the Kinsey Scale are vulnerable, NO ONE would choose the "kill" option in the game of three as to this macho man,
The back-cover liner notes for "Kid" include a review quote that aptly compares this film in which McQueen plays the titular card sharp with the 1961 Paul Newman film "The Hustler" in which that future real-life condiments king portrays pool shark Eddie Felson, who is out to dethrone Minnesota Fats (Jackie Gleason). Tom Cruise co-starring with Newman in the 1986 "Hustler" sequel "The Color of Money" continues this "video killed the radio star" pattern.
The following trailer for "Kid" showcases all off the above (and more) while demonstrating the gritty look of mid-60s drama that leads to even more urban elements of this genre in the '70s.
Director Norman Jewison of "The Heat of the Night" and "Moonstruck" maintains a good pace as we see The Kid clean up both at the poker table and in the bath tub; the latter centers around a notable scene in which McQueen and sex kitten extraordnaire Tuesday Weld (who plays good country girl blossoming into liberated womanhood Christian) surely makes some original audience members glad that they can smoke in movie theaters in 1965.
The third member of this triangle is sultry red-head Melba (Ann-Margaret); she clearly views The Kid as an upgrade from husband Shooter (Karl Malden), who is work friend of The Kid.
All this occurs in the background of The Kid being invited to join the big boys as to playing a game hosted by legendary (but aging) professional poker player Lancey Howard (Edward G. Robinson). The on- and off-screen symbolism of this could not be any more obvious.
Some of the rest of this story is that The Kid is facing a damned-if-he-does and damned-if he-doesn't dilemma. Losing to Howard blows a big chance; winning makes him a target for the next rising star looking to take down the king of the table, This is not to mention villain of the film Slade (Rip Torn) covertly having his own horse in this contest between thoroughbreds.
Joan Blondell deservedly wins a 1966 USA National Board of Review best-supporting actress award for her portrayal of tough old broad Lady Fingers, who has earned her place at the table,
All those in front of and behind the camera do award-worthy work as to the filming of the climatic final game. You will live the tension and smell the sweat. This is partially due to getting caught up in seeing the spectators become engrossed in the game.
The genius of "Kid" continues with the "win. lose, or draw" conclusions being equally plausible and satisfying. As mentioned above, The Kid cannot fully win regardless of whether he is instrument of Howard's end or proves that he currently lacks the right stuff of which true legends are made,
The bonus features include audio commentary throughout by Jewison and scene-specific commentary by "kid in the hall" Dave Foley and his "Celebrity Poker Showdown" co-host Phil Gordon.
We also get a highly entertaining behind-the-scenes extra that teaches cast members the art of the deal.
CBS Home Entertainment continues to prove itself to be a leading citizen of TV Land by releasing the epic 31-disc "Brady Bunch: 50th Anniversary TV & Movie Collection" on June 4, 2019. This coincides with CBS separately releasing V1 and V2 of S3 of the classic '60scom "My Three Sons." The CBS section of this site includes posts on other beloved sitcoms, such as "The Love Boat" and "The Beverly Hillbillies," in the catalog of that company.
The almost universal familiarity with "Brady" OS, which presumably is universal among folks with enough interest in the titular blended clan to read this article, is behind a decision to skip much of the typical exposition as to these posts and addresses many of the elephants in the room regarding this release,
As a starting point, this set includes every "unreal" "Brady" series with the exception of the 1976-77 ABC Friday night series "The Brady Bunch Variety Hour" that shows the titutlar family both hosting that titular program (complete with synchronized swimmers) and living their daily lives. Of course, the Nelson video library includes the now-discontinued 2000 DVD with a few episodes of that series.
The OS discs in "Collection" seems to be the same as the ones in prior DVD releases of that series. Personal history here is both buying the groovy shag-carpet CS set of "Bunch" and purchasing a replacement set when a basement flood ruins the first one. A word to the wise as to folks looking for the discontinued shag set is that third-party sellers tend to be not be very trustworthy as to delivering undamaged goods.
This brings us to the wonderfully odd 1972-73 Saturday morning cartoon "The Brady Kids" from an era in which virtually every kidcom has an animated series. This one has the titular youths (sans the 'rents and Alice) having adventures that often relate to the magic of myna bird Merlin (voiced by Larry Storch of "F Troop") going awry. These episodes also feature trippy animated music videos by The Brady Six,
Yes, your not-so-humble reviewer has the (seemingly discontinued) CS DVD set of "Kids." The same is true as to the two big-screen '90s "Brady" movies and the made-for-TV movie "The Brady Bunch in the White House." "Collection" includes all these productions.
"Collection" also has the gleefully "behind-the-scenes" 2000 made-for-TV movie "Growing Up Brady" based on the memoir of the same name by Barry "Greg" Williams. A special surprise guest at the very end is one of many highlights this time. The DVD of this one slipped through the cracks as to buying it before it was discontinued,
"Collection" breaks new ground by including the made-for-TV movie "The Brady Girls Get Married," which is the pilot for the 1981 sitcom spin-off "The Brady Brides." That series centers around newlyweds laid-back Marsha and her goofy husband Wally sharing a house that often is too close for comfort with equally newly wed uptight Jan and her blue-blood spouse Phillip.
The first note regarding this movie and series is that there are false online reports regarding them. "Married" is presented in its original format as a film, rather than as a series of "Brides" episodes have some have asserted.
These same haters have claimed that the picture quality of "Brides" is abysmal; it looks perfectly fine and is at least as good as standard-def DVD releases of shows from the same era.
The shag-carpet set includes the 1988 made-for-TV dramedy "A Very Brady Christmas," which finds all six kids, the grandkids, and assorted in-laws and common-law-in-laws returning to the iconic abode for the holidays. A common theme is that each kid (and Dad) has a secret shame that (of course) is resolved by the end of the film.
Only "Collection" includes the 1990 CBS Friday night dramedy "The Bradys" for which "Christmas" is a pilot. The brief discussion of this one channels the corny insights of family patriarch Mike Brady. Highly relevant real-life wisdom from a member of the greatest generation is "little people, little problems; big people, big problems."
An aspect of all this is understandable ill-will regarding facing either repurchasing previously released "Brady" fare or forgoing adding the new-to-DVD stuff to your home-video collection until and unless CBS releases or re-releases missing links. The rest of this story is that the $85 IPO price is very fair for all the content but arguably a little steep for Bradyphiles who already own many of the series and films..
Fortunately, having a little patience pays off. I jam very glad that I umped on a deal to buy "Collection" for $45 roughly a month after the release. The current standard price seems to be roughly $50, which is a reasonable price to pay for completing a"Brady" video library,
The epilogue to all this is that every "Brady" incarnation is amusingly dated; however, the guilty pleasure goofy antics and consistent message of peace, love, and understanding is timeless.