The holiday engagement season openly including same-sex couples makes November 13, 2018 an apt release date for the Breaking Glass Pictures DVD of the 2018 comedy "My Big Gay Italian Wedding." The truth bombs and overall fun of this one make it a good gift for the boys in your life who either have tied the knot or who plan to go to the Chapel of Love where they're gonna get married,
This neo-modern rom-com begins with dreamy 20-something actor/Berliner Antonio narrating how he meets live-in boyfriend Paolo. This recap quickly leads to Antonio popping the question and an excited Paolo saying yes. The ritual of putting a ring on it is one of the first of many highly amusing moments.
The honeymoon period ends on Antonio discussing he and Bohemian landlady/roommate/fag hag Benedetta taking an Easter vacation to the small mountaintop Italian village where his parents live. This also is when Antonio learns that resistance is futile regarding not wanting Paolo to tag along. This relates to Antonio never actually telling that his parents that he is gay or that Paolo even exists.
Many gay men can relate to Antonia not being ashamed of his sexuality but not being particularly "proud" in that he does not have a rainbow flag outside his house or march in a pride parade. His comfort zone encompasses being out among gay and straight friends but not being ready to bring Mr. Right home to meet the parents.
Textbook comic relief enters the picture on middle-aged cross-dressing suicidal bus-driver Donato moving in with Benedetta and the boys. He soon becomes a pity addition to the trip.
Roberto the dad being the liberal mayor of the small community introduces an interesting twist. He is battling his council over his advocacy of 15 refugees who are living there. However, the tolerance of Roberto does not encompass his son being gay.
Momma Anna is much more supportive; her acceptance of Paolo and pushing him to invite his estranged mother to the ceremony reflects the brand of love of mothers-in-laws across the entire Kinsey Scale. This also makes those of us whose mothers have passed away happy about that in this particular context.
Anna asserts her motherly love to the extent of drawing a line in the sand regarding Roberto; suffice it it to say that he does not step up. Surprisingly stronger support by the local clergy is much nicer.
This leads to the typical hilarity that occurs in any film that centers around planning any wedding. We get the crazy ex booty call, a problem occurring with the venue, the whole party-planning going out of bounds, etc. Gay-themed obstacles include affirmative efforts to prevent the boys from walking down the aisle.
All of this (of course) climaxes with the big gay day. Genuine hilarity in these final few moments include a psychotic "I object" moment and Paolo attempting a "Three's Company" caliber ruse. All of this concludes with a scene that triggers PTSD memories of Katherine Heigl movies.
Breaking continues its solid track record by supplementing this comedy for our times with good extras. We see the actress who portrays Benedetta steal the show from her co-star who plays Antonio at a Q&A session following an opening-night screening at the 2018 Out Shine Film Festival in Miami/Ft. Lauderdale.
We also get an "making-of" feature that shows the actual filming of scenes interspersed with comments by cast and crew.
The Warner Archive Blu-ray release of the 1956 CinemaScope scifi film "World Without End" once again proves the Archive commitment to releasing DVDs and Blu-rays that fit in awesome leitmotifs. In this case, it is bright and bold CinemaScope scifi B flicks.
The recently reviewed Archive Blu-ray release of "The Queen of Outer Space" starring Zsa Zsa Gabor is another member of the low-budget sci-fi movies section of the seemingly endless Archive catalog. Of course, these releases make a great double-feature gift for fans of good bad '50s scifi movies. A related note is that the back-cover liner notes for "World" state that it is the first CinemaScope scifi thriller.
Warner does its usual excellent job remastering both "World" and "Queen" for Blu-ray. The flawless images are crystal clear and incredibly vivid; the audio literally would allow hearing a pin drop.
The numerous similarities between "World" and "Queen" are attributable to Edward Bernds directing both; he pulls double duty as writer on "World." A synopsis of the films is that red-blooded American astronauts crash their ship and get tangled up with space babes. This screams for a book on the psyche of Bernds.
One difference is that "World" has more of an Irwin Allen feel than "Queen." This begins with a strong lost in space vibe, continues with stronger camaraderie among the macho men leads, and includes the stronger cheesy creature element.
The four astronauts in "World" are on a data-collecting mission when a freak storm near Mars causes their ship to go wildly out-of-control. They awaken to find their vehicle stuck in the mother of all snow banks.
The formulaic fun begins with the quartet discovering a massive spider web and soon wrangling with the not-so-sweet Charlotte who is its creator. The manner in which the group fends off this comical mutant establishes their approach to defending themselves from every savage foe.
The next adventure is straight out of "Queen." The men in both cases pay the price for lacking the foresight to assign someone to stand watch while the others sleep in their alien environment. The rude awakening in "World" comes courtesy of mutated cavemen.
The ensuing cat-and-mouse game results in the astronauts seeking refuge in a cave; that temporary refuge becomes more permanent on this tactic leading to the group entering the fortified underground world of the civilized inhabitants. This leads to reveals regarding where the space travelers have landed in time and space.
The honeymoon period quickly ends on the guests learning that their very timid hosts are unwilling either to help them repair their ship or use the resources that allow establishing an outpost on the surface. The aforementioned eye candy is some consolation; the new arrivals being far more macho in mind and body than the wimps who rule the place further enhances their status.
Of course, things soon come to a head in a manner that requires that every male man up. This initially leads to a wonderfully campy power struggle. This results in which is a happy ending on the surface (pun intended) but is horribly wrong from a more enlightened 21st-century perspective.
The happy ending for us higher beings is that Archive allows us the treat of a "World" and"Queen" double feature. They truly do not make 'em like that anymore.
Mill Creek Entertainment goes above-and-beyond regarding the October 30, 2018 "Can't Hardly Wait: 20-Year Reunion Edition." Merely releasing this 1998 John Hughes style summer teencom allows many of us who passed on this under-rated semi-precious gem in the theater, premium cable, and (most-likely) the DVD bargain bin at Wal-Mart to experience it. Second, Creek beautifully remasters the film and provides fun extras that include a 2008 10-year reunion in which writer-director team/work spouses Deborah Kaplan and Harrry Elfont, the casting director, and stars and supporting characters discuss the fun and love associated with making the film.
"Wait," which roughly runs in real-time, begins with the graduation ceremony at upskcale suburban Huntington Hills High. A panning camera eavesdrops on the typical gossip among the graduates. The main topics are the seemingly inevitable guy who is completely naked under his graduation robe and cheerleader/homecoming queen Amanda Beckett (Jennifer Love-Hewitt) breaking up with long-term football-stud boyfriend Mike Dexter (Peter Facinelli). The graduating seniors also discuss the upcoming evening gathering at the home of "Girl Whose Party It Is."
Love Hewitt and Facinelli provide a sense of the Hughes-caliber stable of current and future young stars. We also get Ethan Embry of personal '90s fave teencom "Empire Records" as moderate achiever/everyteen Preston Meyers; he attends the party that quickly goes out of bounds with best platonic friend/cynical bitch Denise Fleming (Lauren Ambrose).
Preston wants to kiss the girl in the form of declaring his unrequited love for Amanda and at least get to first base before leaving the next day. Of course, many obstacles stand in his way.
Ambrose "Six Feet Under" co-star Freddy Rodriguez plays Jock #3. Like most supporting characters, he gets his hilarious moment to shine. In this case, it is wonderful exuberance regarding upcoming sex with his girlfriend. We also get duped "Exchange Student" having an equally hilarious conversation with Preston.
Seth Green plays wigger Kenny "Special K" Fisher, who is a pale red-head acting as if he is straight outta Compton. Kenny adds a particularly strong "American Pie" vibe in the form of desperately trying to lose his cherry that night. Sadly, there is no cougar on site to help out in that regard.
Genius bullied nerd William Lichter (Charlie Korsmo) rounds out the group. He and his two "X-philes" buddies attend the party for the sole purpose of getting epic revenge on Mike for four years of intense physical and emotional bullying. William undergoing the rite of passage of having his first beer is his hilarious moment. A story in the reunion special about Korsmo being cast as Charlie is particularly interesting and shows how "Wait" may have been an entirely different movie.
William is one of the more interesting characters in that a mutual lack of interest often prevents even those of us with above-average academic records from getting to know the Sheldon Coopers in our class. William letting himself be a teen does wonders in that regard. A related lesson is that the excitement of graduation and the party that eventually ends re-introduces an element of the reality that bites.
The Hughes element begins with the teen stereotypes, which include "Reminiscing Guy" and "Yearbook Girl" (Melissa Joan Hart) , that are funny because they are true; it continues with a look at the impact of high-school graduation and the entertainment value of a completely bonkers teen party. We also get the aforementioned epilogues in the form of the day after those festivities.
Giving Hughes his due requires commenting that Kaplan and Elfont do not deliver the same level of depth; nothing approaches the essay and other insights of "The Breakfast Club," but we are reminded of our younger days in which we knowingly and unknowingly make fools out of ourselves and in which the nature of a relationship can dramatically change during a drunken evening only to have that magic quickly fade. The better news is that that bonding does have a residual effect.
The other special features include "Life of the Party," which has the cast discuss the appeal of teen movies. We additionally get deleted scenes and a "I Can't Get Enough of You Baby" music video that includes scenes from the film.
The Film Movement November 13, 2018 separate DVD and Blu-ray releases of the 2017 Japanese courtroom drama "The Third Murder" provides particularly strong proof that the best modern films come from overseas. This is not to mention that New York Times Critic's Pick "Murder" meets the Movement standard of being a film that can be remade word-for-word and shot-for-shot in the U.S. and still make perfect sense.
Movement is giving American audiences another treat by theatrically releasing "Shoplifters" by "Murder" director Hirokazu Koreeda in the not-too-distant future. IMDb describes that one as "a family of small-time crooks take in a child they find in the cold." That story makes that film more representative of the family dramas for which Koreeda is best known.
The six Japanese Academy Award wins for "Murder" further reflect the quality of the film. These versions of Oscars are for Best Film, Best Supporting Actor, Best Supporting Actress, Best Director, Best Screenplay, and Best Editing.
The following YouTube clip of the official U.S. trailer for "Murder" provides a good sense of the compelling drama and the stellar performances that warrant the hype for the film. This promo. additionally provides a sense of the exceptional cinematography of the movie that REQUIRES buying the Blu-ray version.
The mastery of "Murder" begins at the outset. Although the opening scenes seem to leave no doubt that ex-con/factory worker Misumi is guilty of the slaying for which he is awaiting trial, the facts that emerge throughout the film show that things are not as they seem.
High-powered criminal-defense attorney Shigemori soon figuratively and literally enters the picture to help prepare for the trial of Misumi. The defendant has already pleaded guilty to a charge of robbery-murder related to killing the victim in the course of stealing his wallet. The frustration of the defense counsel relates to Misumi changing his story a few times in the course of the proceedings against him.
The rest of the backstory is that the father of Shigemori is the son of the judge who makes Misumi a guest of the state regarding a 30 year-old murder. The nature of that crime is increasingly shown to have relevance regarding the current charges.
The direct and indirect evidence that emerges in the weeks before the trial gives Shigemori increasing reasons to have reasonable doubt regarding the nature of the killing and the culpability of his client. These new facts including indications of collusion to an undetermined extent between Misumi and the wife of the factory owner. Even then, the proverbial smoking guns may lack the believed importance.
Things are further kept in the family when the teen daughter of the factory owner states that she has relevant information. This ties into the relationship between Misumi and his largely estranged adult daughter and the impact of the career of Shigemori on his 14 year-old daughter.
Doubt further relates to "Kung Fu" style wisdom that Misumi shares with his dream team. This includes his statement that some people never should have been born; that declaration not having the assumed importance is very consistent with the spirit of "Murder."
All of this builds to the climax of the trial, which provides plenty of courtroom drama. The pragmatic outcome validates the impression of traditional court system that is presented throughout "Murder." The impact of this includes providing good reason to not trust what even seems to be an entirely voluntary confession.
The literally bigger picture relates to "Murder" presenting a variation of arguably the most famous Japanese movie other than "Godzilla." "Rashomon" centers around four conflicting accounts of an incident. Just as is the case in "Murder," each of these tales has an element of truth.
All of this amounts to "Murder" being a compelling film with strong doses of social commentary and thought-provoking philosophy.
As is the case with every selection in the Movement Film of the Month Club (which are available to the general public), "Murder" is well paired with a short film. Movement aptly describes "A Gentle Night," which as the Best Short Film winner at the 2017 Cannes Film Festival, as follows. "In a nameless Chinese city, a mother with he daughter missing refuses to go gentle into this good night."
The extras are a making-of "Murder" feature and "Messages From the Cast" of that film.
Old Lime Productions shows the big boys how it is done regarding the 2016 documentary "Ghostheads," which IMDb perfectly describes as "a look at the intense fandom for the ("Ghostbusters") media franchise." An interview with producer Tommy Avallone regarding his related film "Bill Murray Stories" reinforces that the guys behind the camera put their heart and soul into this film about folks who devote a great deal of their time and income celebrating the 1984 comedy and its sequel.
A personal perspective is owning all three films on Blu-ray. a long-discontinued deluxe collector's edition of the complete animated series being a desert island set, and recently buying a toy model of the Ecto-1 vehicle from the franchise. This is on top of regularly referring to not crossing streams, to dogs and cats living in harmony, and to telling a powerful evil entity who thinks that you are a god that you are one.
Additionally, a visit to the New York Public Library was a required destination during a Manhattan visit. Telling the lions out front to stay did not elicit any response from the jaded locals.
The high-quality of the Blu-ray version of "Heads" and the plethora of extras (including a HILARIOUS interview with "Ghostbusters II" star Kurt Fuller) screams for buying this release, rather than watching it on a streaming service that may drop it at any time. Taking shameless commerce one level further, a "Ghostbusters" fan WILL delight in getting this documentary along with the 4K releases of the original films.
The following YouTube clip of the Kickstarter promo; for "Ghostheads" PERFECTLY captures the spirit and the tone of the documentary. It will make you want to join your local chapter.
One of the nicest things about the profiled heads is that they keep their active fandom in check; none of therm are obsessed with "Ghostbusters" and do not wear their jumpsuits and proton packs on a daily basis. The furthest that some folks take things is to use their replica of Ecto-1 vehicle as their primary car.
The sense of moderation continues with one participant commenting that he is in the game for the sense of community, rather than out of love for the films. A man at the other extreme discusses the films helping him during a very emotional period.
The charitable aspect of the activity is another great aspect of this fandom; we see the local chapters suit and gear up to bring joy to folks who need it,
It additionally is awesome hearing from director Ivan Reitman, Dan Akyroyd, Harold Ramis daughter Violet, and others involved in the original films share their perspectives and memories.
The best segments have William Atherton, who plays the uptight bureaucrat in "Ghostbusters," and Fuller from "Ghostbusters II" tell their stories. Atherton shares the public still tormenting him based on that role; his successor Fuller tells a great Bill Murray story in the form of Fuller assuring Murray that Fuller does not mind a particular directed insult and Murray refusing to deliver that line because he wants to spare Fuller the abuse being heaped on Atherton.
The recent Paul Feig "Ghostbusters" movie gets its due; we see mutual love that extends to Feig flying Ghostheads to Los Angeles for a special event. Feig additionally goes above and beyond regarding helping two fans take their relationship to the next level.
All of this makes "Ghostheads" a genuine feel-good movie that achieves the documentary ideal of being equally educating and entertaining. You may not be ready to shell out big bucks for a proton pack but definitely will want to join those who do for a party-sized Twinkee. You also will receive confirmation that everyone connected with making the films have enormous regard and fondness for the projects.
The numerous extras extend well beyond the aforementioned Fuller interview. We get a tribute to a kind and sweet Ghosthead to whom the documentary is dedicated, a music video of the "Ghostheads" theme, and so much more.
Warner Archive goes all-out Nightmare Before Christmas in releasing a series of Christopher Lee Dracula horror films from Hammer Studios on Blu-ray in this period of Santa and candy canes. These include "The Satanic Rites of Dracula" and "Horror of Dracula."
The Archive Blu-ray release of "Dracula A.D. 1972" from 1972 is our current topic. The moderately well-known spectacular film chemistry between Lee and co-star Peter Cushing in all their joint projects is the tip of the wooden stake regarding the quality of this one.
Virgins in the context of "1972" are in for an exceptional treat regarding this film far exceeding all expectations. Anticipating an entertaining low-budget production that is equal parts cheese and camp leads to sheer delight in finding a well-crafted film with performances that range from good to excellent and a compelling story that makes sense in the context of Dracula lore. The one exception regarding the production values is a spurting blood scene that is reminiscent of a volcano that is a school science-fair project.
The jazzy soundtrack adds an element of unintended humor; this fast-paced music and the strong early '70s vibe of the film create an expectation of the words "A Quinn Martin Production" appearing on the screen.
The bigger picture (pun intended) is that the usual expert Archive resurrection of classic and cult-classic films for Blu-ray releases makes "1972" seem as if it has risen from the grave and been entirely reborn. It truly looks and sounds mahvelous, simply mahvelous.
The following YouTube clip of a trailer for "1972" is notable for the opposite reason that the film is must-see. This promo. inexplicably underplays the quality of the movie. The narration is thoroughly cheesy and does not properly showcase the production values; it does include a good sense of the plot and the "Clockwork Orange" aspect of the production.
Our story begins in 1872 as a spokesperson narrates a battle between Dracula (Lee) and Lawrence Van Helsing; this high-stakes confrontation concludes with the defeat of Dracula.
We quickly jump ahead a century as a group of uninvited hippies are throwing a wild party in the home of a wealthy woman in London; the planning and the execution of the exit strategy of the young people provides good humor.
The plot begins to thicken on group leader/minor league Manson Johnny Alucard convincing the group to participate in a Satanic ritual at an abandoned church. The naivety of the gang prompts them to go along with this plan for what they think is innocent fun.
Young unwitting Jessica Van Helsing (Stephanie Beacham of "Dynasty") is unaware both that the rite of passage is intended to raise Dracula and that she is his bride in an arranged marriage courtesy of Johnny. Her rude awakening comes when everything gets very real.
Other good humor enters the picture when Dracula acts like an ungrateful genie freed from a bottle; Johnny expects a major pat on the head and barely avoids a kick in the pants. Dracula finding that his fiancee is not his intended does not help matters.
Current Van Helsing patriarch Lorrimer (Peter Cushing) enters the picture on Jessica acting oddly and expressing an interest in the occult. The police soon coming knocking after finding the mangled body of the most recent Countess Dracula provides the final piece of the puzzle.
Hilarity and horror ensue as Lorrimer confirms to Johnny that you cannot trust anyone over 30. The relentless manner in which the man attacks the boy is highly cathartic for all of us who must deal with Millennials. We also a "Batman '66" style battle as Jessica is lured into a fiendish trap that is designed to get her to the church on time.
All of this culminates in the predicted battle royale between Lorrimer and Dracula that brings the film full circle back to the beginning.
All of the aforementioned aspects of this unexpectedly good film provide a good reminder that horror need not be unduly graphic, exploitive, or otherwise excessively perverse. You simply need good source material and adequate talent on both sides of the camera that can make the story seem plausible.
CBS Home Entertainment awesomely celebrates the best of the '80s with the recent DVD release of "The Love Boat: Season 4 Volume 2." This coincides with CBS releasing the (reviewed) S4 V1 set of "Boat." The broad appeal of this "TV Land" classic about the titular cruise ship (typically) making round-trip voyages between Los Angeles and Mexico include the A-to-Z list celebrities that guest-star each week. Watching the sun and fun while suffering through a polar winter is another strong benefit of the series.
A special two-hour outing that centers around a fashion show is the most notable episode among the truly strong offerings in this collection from the second half of the fourth season of "Boat." This begins with having virtually every top designer of the '80s (Ralph Lauren and Calvin Klein apparently miss the boat) appear and have models show their creations. The A-List includes Halston, Geoffrey Beene, and Gloria Vanderbilt. We further get a cameo by celebrity pianist Bobby Short.
This episode additionally may be the only one that exceeds the three vignettes (four in the frequent 90-minute and two-hour episodes) format. We get a whopping five stories, which overlap to a greater extent than most plots in a "Boat" voyage.
These wonderfully silly stories are exceptionally true to the "Boat" spirit. They include McLean Stevenson (M*A*S*H) as the husband/co-owner of a modeling agency who is clashing with his wife/business partner (Anne Baxter) regarding an age-based decision to have firing a model walk the plank. The rest of the story is that the former "It" girl is romantically involved with Captain Merrill Stubing (Gavin MacLoed).
We also get Robert Vaughan ("The Man From U.N.C.L.E.") as a cosmetics company owner who may or may not be looking to hire the current object of his affection. This is not to mention the corporate spy who falls in love with a fictional designer whose sketches he is trying to steal. The fun continues with the daughter and the assistant of another fictional designer striving to prevent Dad from discovering numerous secrets that include their marriage.
But for the epic quality (including a grand fashion show) of the very-special episode described above, another S4 V2 offering would earn top honors for this collection. This one reunites Jane Powell and Howard Keel ("Dallas") of the 1954 musical "Seven Brides for Seven Brothers." Powell plays the formerly ultra-wealthy aunt of assistant purser Burl "Gopher" Smith; Keel plays a self-made businessman. The ensuing hilarity relates to the Powell character trying to hide her current position as maid to a nasty old woman (Mary Wickes) from both her nephew and current beau. A cute scene in which Gopher and his aunt have a heart-to-heart is an episode highlight.
The second episode in S4 V2 is notable for including regular guest-star Charo, who (like Florence Henderson) boards "Boat" 10 times. Each time, Charo plays April Lopez, who embodies the professional persona of her portrayor. The broken-English speaking April makes her debut as a stowaway who becomes a professional lounge singer.
The S4 story "April the Ninny" has this Mexican jumping bean hanging up her guitar to become the governess of the two rambunctious children who are on the ship with their negligent father (Larry Linville of "M*A*S*H). "Return of the Ninny" a few weeks later revisits the root of the Lopez lore. April and the kids come aboard to say goodbye to Dad but end up getting stuck on the ship.
The S4 season-finale is notable for setting the stage for one of the biggest real and reel events in "Boat" history. A romance for a crew member is the beginning of the end for the actor who plays that individual; this relates to a very '80s-style scandal. All of this leads to the very-special S5 season premiere that has the crew sailing to Australia.
Folks who are old enough to remember the incredible impact of "Boat" on the cruise-ship industry and the personal glee of coming inside from the dark and the cold to watch beautiful people enjoy the good life under bright skies do not need to be sold on these sets; Millennials who spend most of their time inside should trust their elders and believe that this is an ultimate entertaining series and that the S4 V2 episodes are especially good.
The anticipated response of fans to the aptly titled Time Life 22-disc release "Robin Williams: Comic Genius" perfectly reflects the spirit of Williams and the set. Said reaction relates to a classic "Mork and Mindy" episode that is not among the equally memorable (including the two-part pilot) offerings in "Genius."
The omitted episode centers around naive alien Mork (Williams) becoming a home shopping addict. A hilarious scene has him frantic to purchase more junk from that service. Straight woman Mindy (Pam Dawber) asks her roomie from another planet if he really needs the item. Williams responds by transforming into his hilariously manic persona and states that he does not "need" it but really really wants it. That is a very valid reaction to "Genius." The larger picture is that the collectibles in the home page photo of this site reflect the lifelong influence of the episode (and Williams) on your not-so-humble reviewer.
A personal memories post a few days after the August 11, 2014 passing of Williams further reflects high regard for that performer. An aspect of this relates to another classic sitcom. A scene from "Chuckles Bites the Dust" in the "Mary Tyler Moore Show" has the minister who is eulogizing the titular clown state that that performer would have hated people to cry and would have wanted them to laugh.
Having a clear (but not delusional) image of Williams telling fans to not be sad about his passing and then going into an improved bit about having his way with 72 virgins in Heaven both provides solace and makes "Genius" very special.
A still "too soon" aspect of the passing of Williams prevents watching the 2018 documentary "Robin Williams: Come Inside My Mind" that "Genius" includes. The excellent hype regarding that film indicates that it is must-see for Williams fans who can handle hearing about his life.
A "Mork" episode in "Genius" relates to the above. While "Mork Meets Robin Williams" could have been fully played for laughs (and is a bit sappy), it reflects the psyche of Williams that is an early warning of things to come.
Much of the humor of "Meets" relates to Mork being mobbed because fans think that he is Williams. The meeting of the reel and real Williams has a more serious note in that the actor tells the alien that giving so much exhausts him but that he hates disappointing people. Hilarity soon awesomely ensues when Mork then immediately asks Williams to give. Williams agreeing to do so reflects his character (no pun intended).
The following YouTube clip of the trailer for "Genius" further reinforces the value of the set. The good folks at Time Life amazingly include clips that reflect most of the range of Williams. We see him go off script and off-the-rails during talk-show performances, do his HYSTERICAL cat marking territory monologue from his 2002 "Live on Broadway" special, gleefully add his own spin on the Bob Newhart telephone conversation bit, liven up award shows, etc.
We also get glimpses of the many celebrity interviews (including Dawber) who express their love for that wild and crazy guy.
The highlights of "Genius" begin with the 24-page "Robin Williams: Uncensored" book that almost is worth the price of the set. In includes publicity and candid photos interspersed with jokes and insights from Williams. We additionally get quotes from his fellow comedians and from Barack Obama.
The greatness of "Genius" continues with never-released material; examples are a 2007 stand-up performance at the MGM Grand Garden and a Montreal show on the final tour of Williams. We further get a meeting of comic titans in the form of Williams talking with David Steinberg.
The ONLY criticism regarding "Genius" relates to an omission; the seemingly countless clips of Williams making guest spots on television programs includes a special feature on a guest spot on "SCTV." This extra consists of a handful of skits in which Williams performs. We sadly do not get the hilarious "Bowery Boys in the Band" segment that is available on YouTube. The following clip fills that gap.
A clip of Jay Leno in the aforementioned trailer perfectly conveys the appeal of Williams; Leno essentially states that that genius has a charm that allows him to get away with being outrageous. A prime example of this is an interview for a German television program in which the host asks Williams why he thinks that Germany does not have any humor and he responds that it is because they killed all the funny people. This shows that Williams understood context in a manner that sadly is lacking in 2018.
This is not to mention the unparalleled improv. skill of Williams arguably making him the funniest man of the 20th century. Many others can skillfully deliver their own material or that of their writers; it is hard to think of anyone who both can think as quickly on his feet as Williams and is brave enough to say what comes to mind.
Unreal TV 2.0 evolves from http://classictvdvdreviews.blogspot.com/ (which still is up.) Both sites are labors of love dedicated to preserving the golden and silver ages of television and film and celebrating new content that values art over commerce. The same principle applies regarding boutique hotels.