 The crystal-clear video and audio of the Mill Creek Entertainment June 4, 2019 B;u-ray release of thje 1990 Dana Carvey comedy "Opportunity Knocks" is a perfect addition to the MCE "I Heart 90s" series" that is a companion to the MCE "Retro VHS" DVD and Blu-ray releases. Other June 4 "90s" releases include the recently reviewed Paul Shore comedy "Jury Duty" and the soon-to-be-reviewed Alicia Silverstone action-adventure comedy "Excess Baggage."
Just as "Duty" showcases the weasel persona of Shore, "Opportunity" highlights the impish charm of Carvey. The film providing a chance for Carvey to perform his well-known George HW Bush impression is highly predictable. The good news regarding both "Duty" and "Opportunity" is that they put entertaining spins on decent tried-and-trued comic concepts. The better news regarding "Opportunity" is that Carvey is extremely likable. The figurative 25-words-or-less premise of "Opportunity" is that Carvey plays small-time con-man Eddie Farrell, whose quasi-youthful exuberance earns him both the wrath of a mobster and a belief that Eddie owes that dangerous criminal a great deal of money. In true teencom tradition, this requires that Eddie lay low until the heat is off. His literal insider information that the owner of a luxurious house is on an extended trip. Eddie soon makes himself at home until the mother of the homeowner pays a surprise visit. This leads to a wacky misunderstanding in the form of Mom (a.k.a. Mona of Milt and Mona) assuming that Eddie is housesitter Jonathan Albertson. The rest of the story is that Albertson is a business whiz kid who is the former college roommate of the homeowner. The first film homage is to the 1983 Eddie Murphy comedy "Trading Places." The opening scenes in "Opportunity" are of Eddie pulling off the same low level con as the Murphy character. The similarities continue with both characters soon living at least some semblance of the lifestyles of the rich and famous. The other homage is more central to "Opportunity." Ala the Tom Hanks character in the 1988 classic "Big," Carvey is a man-child learning to play with the grown-ups. The similarities continue with Robert Loggia playing the big-hearted mentor to the quirky guy with the unique perspective, In this case, Loggia is bathroom hand-dryer king Milt, Milt brings potential son-in-law (no relation (pun intended) to the Shore film of the same name) in the company and his heart. Of course, a pivotal scene involves Eddie bringing the dryer company executives out of their comfort zone and snatching victory from the jaws of defeat. It is equally predictable that nooses start to tighten in on Eddie on both sides. The mob boss tracks him down just as he starts to think that he can permanently enjoy his new life. This pressures Eddie to massively betray the trust of his new family just ahead of the exposure of his scam. The fact that everyone is wiser and happier and order is restored to the universe in the end is especially appealing in our wildly unpredictably dystopian times. This is so awesome that it alone warrants buying the Blu-ray.
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 The Mill Creek Entertainment well-remastered "I Heart '90s" slate of June 4, 2019 Blu-ray releases of films from that era adds memorable ones to that collection. This additionally nicely builds on the even-better "Retro VHS" MCE line of Blu-ray and DVD releases that the MCE section of this site prominently features. Our topic du jour is the 1995 Pauly Shore comedy "Jury Duty." Posts in the not-too-distant future will discuss the Dana Carvey comedy "Opportunity Knocks" and the Alicia Silverstone action-adventure comedy "Excess Baggage," which are fellow June 4, 2019 MCE "90s" BD releases. Even more surprises will come in the next few weeks. Shore, who looks like the test-tube baby of flamboyant fitness guru Richard Simmons, puts his outrageous weasel persona, which can be considered the junior-high version of Matthew McConaughey, to good use in this tale of not-so-lovable loser Tommy Collins embracing the titular civic responsibility. The larger picture is that "Jury" semi-successfully blatantly parodies the American obsession with the trial of the century in the "O.J." era. This context, combined with "Jury" being a showcase for Shore during his heyday, make the movie the entertaining guilty pleasure that MCE intends. The following YouTube clip of a "Jury" trailer highlights the classic teenboycom elements of the film. We get a glimpse of the silly pranks, the innocent homophobic humor, and the overall non-stop silliness. As indicated above, the appeal of "Jury" relates to the film playing it safe. This begins with joining the ranks of several TV Land sitcoms that parody the theme of one hold-out juror that is a central element of the STAR-STUDDED MUST-SEE 1957 Henry Fonda courtroom drama "12 Angry Men." "Jury" looks to Hollywood royalty Shelly Winters to be the real-life A-lister who appears in such movies well past his or her prime. We also get grumpy old man Abe Vigoda playing the judge presiding in the "Jury" trial.
The amusing central twist in "Jury" gives rise to the funniest segment in the film. Tommy very abruptly finding himself evicted from the double-wide of Mom embraces the coincidental call to duty by the State of California. His motive is securing a place to stay until he once again can put a tin roof over his head. The aforementioned laughs come during the montage in which Tommy sabotages his chances for being selected as a juror on a trial that is expected to be short and sweet. These antics include claiming to know a bewildered defendant, Our lead finds a Shore thing in the murder trial of suspected serial killer Carl Wayne Bishop, who allegedly has an extreme prejudice against fast-food joint managers. A conjugal visit between Tommy and Bishop is a highlight. It seems that Bishop gets to do to Tommy what many cinephiles would like to inflict on Shore. Attempted hilarity ensues as Tommy goes to great lengths to prolong the outwardly wham, bam, fry 'em Sir case. Having Tommy bunk with his former high-school principal/current co-juror contributes more humor. Anyone who has seen "Men" or ANY of the aforementioned classic shows that pay homage to it know that Tommy ultimately sees that justice is served. It is equally predictable that he gets the babe; the rest of the story opens itself up to a parody of the teencom "Legally Blonde."  The Mill Creek Entertainment April 16, 2019 Blu-ray of the 1987 USA Up All Night caliber film "Hard Ticket to Hawaii" shows that sexploitation god Andy Sidaris follows the tradition of making a sequel bigger and bolder than an original. "Ticket" is the follow-up to the (reviewed) 1985 Sidaris "classic" "Malibu Express." The even better news for Sidaris fans is that he states during a "behind-the-scenes" feature for the "Ticket" Blu-ray that that film is the first in series of 12. It is likely that MCE will release the other 11 films in the not-to-distant future. Speaking of MCE, releasing the shot-on-locations "Malibu" and "Ticket" respectively highlights the SoCal and 50th State beauty of the cinematography. The following YouTube clip of a "Ticket" trailer provides a perfect sense of the mid-budget '80stastic cheesy fun of this film that warrants a T and A rating. The titular yacht from "Malibu" makes a cameo in the opening scenes of "Ticket." "Malibu" lead character Cody Abilene apparently has lent cousin Rowdy Abilene (Ronn Moss of "The Bold and the Beautiful" and "The Bay") his love boat. Aptly named race-car driver June Khnockers apparently is not along for the ride either.
Although Cody is the main "Malibu" focus, Rowdy takes a backseat to busty blonde bimbo DEA agents Donna and Taryn. Donna especially looks as if she has spent time in Silicone Valley. She also is notable for being half of an homage to '80s busty blonde bimbo Donna Dixon. Trained agent Donna and witness protection program participant Taryn work a cover job as pilots for a small cargo and charter service airline. (Insert your own cockpit and joystick jokes here.) The primary action begins when the girls fly a honeymoon couple to a secluded spot that apparently is as accessible by Jeep as it is by airplane. They have just left the lovebirds to sunbathe and take sleazy Polarioids when they see a high-end radio-control plane land. The rest of the story is that that plane has smuggled diamonds that belong to a Bond villain stereotype who does not like doing things the easy way. This discovery results in the first of several shootouts that sets the game fully afoot. Highlights include a stereotypical evil drag queen, a slice-and-dice Frisbee, and a lounge-lizard Maire D. The latter provides some of the best humor when the response of a woman to an invitation to sit on the face of the host speculates whether his nose is larger than another organ of his. Another highlight involves a psychotic skater armed with an explosive sex doll. A variation of a snakes on the plane plot is the B story in this delightfully C-movie with decent production values but porn-star caliber acting and a lace-thin plot. A stateside mishap leads to the girls transporting a rat-cancer infected snake. Of course, this reptile gets free and goes on a feeding frenzy. The noose tightens on Rowdy, Donna, and their sidekicks teaming up for a raid; their premature declaration of mission accomplished leads to a final showdown in which the good guys get unexpected help, This involves the best entrance in the entire film. All of this amounts to "Ticket" being an even bigger dream come true than "Malibu" for horny teen boys whose parents are clueless regarding the nature of these new additions to the home-video library. The appeal to the rest of us is no reason to feel guilty pleasure regarding this nostalgia reminder of how the advent of direct-to-video facilitated making movies such as this.  The Mill Creek Entertainment separate April 16, 2019 DVD and Blu-ray releases of the 2010-13 Showtime dramedy "The Big C" is just what the oncologist ordered. This Emmy and Golden Globe winning series about middle-aged high-school history teacher Cathy Tolkey Jamison (Laura Linney) getting schooled in the realities of stage four (stage five is death) melanoma shows that even the worst of times can provide the best of humor.
The most subtle humor relates to setting "C" in a Minneapolis suburb. Although Cathy lives in a typical TV Land attractive middle-class home, her life is a far cry from that of pioneering working girl Mary Richards of Twin Cities based "The Mary Tyler Moore Show." "C" is one of three unrelated recent Showtime series that have strong actresses playing courageous middle-aged suburban women in crisis. "The United States of Tara" has Toni Collette playing a woman with a severe case of split personalities. "Weeds" centers around Mary Louise Parker playing a housewife who must resort to selling the titular substance to keep her boys in designer duds. "C" also is one of the latest additions to well-produced DVD and Blu-ray CS sets of off-beat shows that put art over commerce in the MCE catalog. Recent examples include a reviewed set of "Rescue Me," and a phenomenal award-winning release of "The Shield." The especially strong praise for the latter in a post on that release does not do it justice. The accolades for "C" include Emmy and Golden Globe Best Actress awards for Linney and an AFI "TV Program of the Year" win. Our story commences at the beginning of the summer. Cathy is at the final stage of acceptance regarding her grief; a spoiler is that she and her friends and family rotate through all five stages throughout the series. Cathy is throwing money at the "rich people" problem of wanting a pool in her backyard and wanting it now. The rest of the story is that she wants to enjoy what she believes is a very limited time before her death. One of many rubs is that middle-manager husband Paul Jamison (Oliver Platt) and generally good 14 year-old son Adam do not know why the woman in their life suddenly is acting weird. For that matter, Paul cannot understand why one display of juvenile behavior in two decades of such antics gets him ousted from the marital home. For his part, Adam is upset that he literally is pulled off the bus to soccer camp and that Mom is very clingy. A hilarious scene has Cathy interrupting a private moment and adding injury to injury by immediately using that moment for a highly embarrassing lesson about how to properly stimulate a woman. The overall change is that Cathy is putting herself first much more than she ever has and is deciding to stop being polite and to start being real. Like many cancer patients, Cathy is trying traditional and alternative treatments. Her refusal to undergo chemo. is very reasonable considering that the benefits of that procedure come at the cost of many ill effects. Early examples of alternative medicine include travelling to Canada to be repeatedly stung by bees and staying closer to home for a clinical trial. The progression of the disease occurs in the context of reel and real-life situations that are exasperating even without piling them on top of a presumably fatal disease. Cathy must contend with helicopter parents at school, her manic bipolar brother Sean, Adam having a very active puberty complete with a sexual encounter that leads to the entire family getting crabs, and Paul losing his job and being unrealistic about his prospects for new professional employment. This is not to mention the already feisty elderly neighbor lady with Alzheimer's and the self-absorbed former college classmate who re-enters the life of Cathy at both the best and the worst of times. The bigger picture regarding all this in this era in which virtually all those who practice medicine are in it for the money is the frustration that even those of us with what should be decent health insurance experience getting anything beyond basic medical care. Just in the first two seasons, we see Cathy dealing with a doctor not returning her calls and with being denied approved treatment because of a problem related to notice of coverage. This is not to mention health insurance prompting Paul to take a job that he otherwise would not have accepted. "C" further tackles the issue of the fine line between compassion and annoying levels of charity. Cathy wants people to be nice to her but does not want to be treated like a porcelain doll. Similarly, Adam quickly tires of being the kid at school with the mother who has cancer. The nice thing about "C" lasting four seasons is that quality writing and a strong cast draw the audience into the lives of the Jamisons and the people with whom they interact. We come to share their joy and feel their pain right up to the series finale.  The Mill Creek Entertainment separate April 16, 2019 Blu-ray releases of the Andy Sidaris films "Malibu Express" (`1985) and "Hard Ticket to Hawaii" (1987) provide good chances to enjoy the entertaining pillow soft R-rated porn of this master of mainstream-friendly sleaze. Think "Porkys" with adult-film quality production values and acting. Not that there is anything wrong with that.
Our current topic is "Malibu;" "Hawaii" literally is a subject for another day. "Daniel Boone" television series star Darby Hinton strays far from that wholesome fare to play hard-bodied, hard-loving, and hard-fisted Texas trust-fund baby Cody Abilene. Think a younger, buffer, and cruder version of '80s TV detective/Magnum clone Matt Houston. The film title relates to an ambiguous tribute to the deceased mother of Cody that he creates at the entrance to the yacht where he lives. His Higgins is a stuffed shirt official at the yacht club where the vessel is docked. Although the new bimbos next door do not hesitate to come a knockin' for a gang shower on a rare occasion on which the boat of Abilene is not a rockin', his aptly named race-car driver friend June Khnockers does not make a booty call during the film. The still-timely plot device of Russian spies using personal-computers in the United States for nefarious purposes in this pre-Internet era prompts "Higgins" to recruit Abilene for a game of Stud v. Spy. The first stop on this this thrill-ride is a visit to seductive and liberated friend with extensive benefits Contessa Lucianna (Sybil Danning). Said perks include a needed introduction to Contessa friend Lady Lillian Chamberlain, who is the stereotypical matriarch of a stereotypical one-perecenter household. Her effeminate nephew is a not-very-well closeted homosexual; his beard does not let her marriage vows slow down her extra-marital activity. Studly chauffuer/blackmailer Shane separately gives each spouse the same thing that he or she needs. The plot thickens on Shane getting murdered as apparent revenge for the blackmail. Of course, Abilene both gets on the case and discovers a tie between that crime and the Russian activities. The investigation heating up provides plenty of chances for car chases, shoot-outs, and fisticuffs. The latter particularly demonstrates the pattern of Sidaris casting professional bodybuilders in his movies. The best surprises and most fun come near the end of "Malibu." Abilene proves that he is more than a pretty face when he conducts a very SoCal version of the traditional drawing-room reveals at the end of classic murder mysteries. This aptly leads to an equally Eureka State variation of the hero riding off into the sunset. The auteur himself provides both a introduction to "Malibu" and extensive gleeful insights in a behind-the-scenes featurette.  The Mill Creek Entertainment March 12, 2019 in brilliant living color and sound Blu-ray release of the spaghetti-western double-feature "Fort Yuma Gold" and "Damned Hot Day of Fire" allows entering the psyche of master of artistic mayhem Quentin Tarantino. The back-cover notes for this set include that "The Spaghetti Western Database" identifies these films as the favorite ones of Tarantino in this genre.
The intriguing concepts of each film alone makes one understand the affinity of Tarantino. The amusing blend of Italian and American culture is a bonus. Few can argue that "Yuma" (a.k.a. "For a Few Extra Dollars") is the better of the two films based on story, production, and performances. Montgomery Wood (nee Giuliano Gemma) stars as actual rebel with a cause Lt. Gary Hammond. This good ole boy is a post-war prisoner at a Calvary fort when we meet him. He is a southern gentleman in the face of intense Yankee aggression until one of his "hosts" pushes things too far. The plot thickens on the fort commander making Hammond an offer that he cannot refuse. A primary aspect of that solicitation is that the enemy of my enemy is my friend. In simpler terms, the officer who is not much of a gentleman recruits Hammond to join a group that is going to the titular fort to warn of an impending two-prong attack. Rebel Major (rather than Colonel) Sanders is plotting to rob Yuma of a $1M Army payroll. The horse that Hammond has in the race is that a group of his confederates (pun intended) is on their way to attack Yuma without realizing that they are a sacrificial decoy for Sanders. The Japanese soldiers who continue to fight WWII after a cessation of those hostilities are the modern equivalent of the southern soldiers. Hammond and his keepers then hit the dusty trail on the way to Yuma. Their adventures include encounters with aptly named dance hall performer Connie Breastfull. A bunch of brawling and romancing leads to the inevitable showdown that illustrates how the west was won, The highly entertaining Civil War era "Fire" (nee "Gatling Gun") plays out like an episode of the '60s western action-comedy version of "Batman" '66 "The Wild Wild West." The evil Tarpas is in illegal possession of both inventor Gatling and the gun that bears his name. The plot of Tarpas is to sell the weapon to the south and the man to the north. Tarpas shows additional neutrality by demanding an equal ransom from both sides. Our hero this time is Pinkerton man Chris Tanner, whom his boss arranges to go undercover to avoid beating his prey to the firing squad. Tanner encountering the Italian speaking brothers of the man whom Tanner is impersonating provides wonderful unintentional humor. Like "Yuma" this leads to a classic western ending. The appeal of the MCE release extends well beyond facilitating a double feature of these classics. The remastering and the Blu-ray enhancement allows seeing these tales trying to depict the open spaces of the old west in a manner that is far superior to when they appeared on the silver screen,  A theme of these thoughts regarding the March 12, 2019 Mill Creek Entertainment Blu-ray release of the 1981 comedy "Neighbors" is that this time it is personal. A related note is that this well-remastered latest edition to the MCE Retro VHS series, which includes a reviewed release of the John Candy comedy "Who's Harry Crumb," is that "Neighbors" illustrates the principle that something that is comedic to someone can seem tragic to the person who endures it,
The star power of "Neighbors{" begins with "SNL" castmates John Belushi and Dan Aykroyd playing the leads; the behind-the-camera talent include Larry Gelbart of the "M*A**S*H" television series writing the screenplay. IMDb does particularly well describing "Neighbors." This synopsis states that "a quiet man's peaceful suburban lifestyle is threatened by the new, obnoxious couple next door." The aforementioned personal aspect relates to enduring years of regular torment from the "rock-throwing teen" and his family on the other side of a wall in my former townhouse; part of the insult regarding this injury is this townhouse being an upscale one. The numerous incidents include at least one week of heavy renovations every month, the lad with three felony arrests by his junior year in high school stealing my packages and cursing at me as he drove by on the street, and Mom showing up at my door to talk for a few minutes before standing zombie-like in the hall. An even more relatable perspective comes courtesy of a classic sitcom; like most folks, I laughed at nosy neighbor Gladys Kravitz getting hysterical over the witch across the street only to not have anyone believe her. Experiencing comparable angst changes your outlook to sympathizing with Kravitz regarding no one accepting the truth. Our story begins with middle-aged middle-class Earl Keese (Belushi) coming home from his most likely middle-management job to his wife of 16 years Enid (Kathryn Walker). They are spending their typical boring evening at home when the arrival of Vic (Aykroyd) and Ramona (Cathy Moriarty) at the previously empty house next door harshes the mellow of the Keeses. Aykroyd playing a psychotically loud, crude, and manipulative character is within his range of screen personas. Belushi playing a dorky mouse is a departure for that comic genius; Moriarty steals the show as the over-sexed slutty Ramona, Both Vic and Ramona quickly cross all reasonable boundaries on being the vampires whom Earl invites into his home. It is not long before Vic has emptied the wallet of Earl and Ramona is in his bed. This film with a strong live-stage vibe continues with Vic and Ramona teaming up to separately and jointly push his buttons. This relates to the reel and real-world phenomenon of a toxic neighbor gleefully exploiting a sore spot. The evening activities include an attempt by Earl to counter Vic taking his car going horribly wrong, Earl locking the boy and the girl next door in his basement in an effort to get them out of his house, and Vic being very crude with the punk daughter of Earl; a line about edible panties arguably is the best joke in the film. Gelbart pulls off the neat trick of delivering an entirely unexpected surprise ending; this shows that '80s primetime soap "Knot's Landing" lacks a monopoly on cul-de-sac neighbors developing intimate relationships. 'The Betty White Collection' DVD: Golden Age of Television Rarities Starring First Lady of TV3/7/2019  The Mill Creek Entertainment February 5, 2019 4-disc DVD release "The Betty White Collection" nicely showcases the early television career of a woman whose television career spans roughly 60 years. Many of us have heard of "Life With Elizabeth, but not "Date With the Angels." "Collection" allows checking out 24 episodes of the latter and 16 of the former. We also get a 20-minute documentary on the career of White.
The 1952-1955 syndicated "Elizabeth" is an awesome time capsule for reasons that extend well beyond the mix of sweetness and charming evil streak that makes White a legend. The first innovation in this live-action sitcom is using the cartoon format of three unrelated roughly six-minute adventures. The next rare aspect is having announcer Jack Narz help folks used to listening to radio programs transition to television; he opens each segment with a monologue that literally sets the scene for what is to come, He then is seen and not heard when speaking with Elizabeth (White) about this set-up. White puts her talent for expressiveness to good use by using only her facial features to express her reaction to the statements of Narz. Of the nine watched adventures, one in which newly wed Elizabeth tries to convince husband Alvin (Del Moore) that she is a horrible driver has wonderful shades of both Sue Ann Nivens of "The Mary Tyler Moore Show" and Rose Nyland of "The Golden Girls." The logic of Elizabeth is that straight-man Alvin will not buy a car if he thinks that his wife can properly operate it. Two of the best episodes revolve around the sitcom cliche of the boss coming to dinner. Although the food does not rise to the level of The Happy Homemaker, it is much more appetizing then the odd fare of St. Olaf. The "sit" that provides the "com" is that aforementioned employer Mr. Fuddy being self-conscious about his new toupee prompts Alvin to alert Elizabeth to not call attention to that rug. Of course, a nervous Elizabeth does just the opposite in ways that include clever references. The resolution is not cookie-cutter and has more edge than typical '50s fare. "Life" shows additional cleverness in an adventure that has our leads visiting Fuddy to watch home movies. The "sit" this time is trouble properly lining up the camera with the viewing surface; the "com" includes Alvin becoming increasingly annoyed regarding the failed efforts to show the movies. An adventure surrounding Elizabeth and Alvin jointly trying to resolve a problem with a fuse is pure Television Golden Age gold. It also involves a case of art imitating life in that your not-so-humble reviewer notices the light outside the house across the street going on when he flips a switch a few hours after watching this episode of "Life." The 1957-58 sitcom "Date" is entertainingly bizarre compared both to "Life" and other sitcom fare; additionally, White is more subdued in this one than in "Life" and her better-known roles. Both the title and the opening credits indicate that "Date" revolves around supernatural beings in a fantasycom; the reality is that average suburban newly weds Vickie (White) and Gus (Bill Williams) have the titular surname. The three episodes watched indicate that "Date" has a low-key gruffness that is more akin to fellow '50scoms "The Honeymooners" and "The Life of Riley" than to "I Love Lucy." The first episode in the set has the Angels at home soon before the boss is due to come for dinner. The boisterous arguing between neighbors the loud and crude Murphys and the bookish Roger Finley (Richard Deacon) and his elderly father is permeating the Angel home. The bedroom community Hatfields and McCoys soon directly embroil the Angels in the dispute. Of course, this spills over into the visit of the boss. The Murphys also take center stage when their son comes home while on leave from the military; the primary "sit" this time is father-son conflict stemming from the younger Murphy having an interest in music and other arts that his father does not consider manly, The unexpected resolution that restores peace to that household nicely reflects the good quality of the television of the era. The third but not least viewed adventure of the Angels has the visiting teen nephew of Vickie unintentionally wreaking havoc. Alvin pimping out the boy adds further "com." The aforementioned documentary shares tidbits and photos from the pre-acting life of White; we also get a few short clips of "Life" that include a ping-pong game that demonstrates the aforementioned blend of Sue Ann and Rose in Elizabeth. The rest of this tribute summarizes the aforementioned long career of our woman of the hour. The bigger picture this time is that the sitcom episodes reflect the related wisdom of Carol Burnett that avoiding topical subjects helps keep material from badly aging and that funny always is funny, We further get to see White in the roles that make her the woman whom America especially loves in the '70s and the '80s.  The Mill Creek Entertainment January 15, 2019 retro VHS-style DVD release of the 1989 John Candy slapstick-comedy "Who's Harry Crumb" aptly coincides with the (reviewed) MCE retro-style DVD release of the 1993 Arnold Schwarzenegger action-comedy "Last Action Hero." Both films provide showcases for two of the larger (no pun intended) stars of this VCR era.
"Crumb" director Paul Flaherty being the brother of Candy "SCTV" co-star Joe Flaherty may be a factor regarding Joe having a cameo in the film. We also get a guest-shot by John Belushi brother Jim Belushi. Candy plays the titular defective detective. His backstory is that he is the third-generation Crumb to work at the Los Angeles private-investigation firm that bears the family name. Candy being portly and having great physical-comedy skill serve him well in this precursor to Melissa McCarthy films that mine humor from a big-boned star rampaging through a teencom until showing up the beautiful people at the end. "Crumb" takes things one step further by paying homage to two great fictional detectives. His many disguises and aforementioned clumsiness (as well as an apparent dim-witted nature) evokes thoughts of "The Pink Panther" films of Peter Sellers and Steve Martin. The bad guys feeling confident that they are fooling Crumb also adds a touch of the Peter Falk "Colombo" series. This vibe extends to the audience knowing whodunit right from the start. The action begins with heiress Jennifer Downing being kidnapped during a treatment at a textbook '80s spa. This prompts her father P.J. Downing (Barry Corbin of "Northern Exposure") to call in Crumb agency head Eliot Draisen (Jeffrey Jones). A reported shortage of investigators leads to Draisen ending the exiled Harry from a field office. This leads to the main portion of "Crumb" in which Candy puts his "SCTV" training to good use by portraying a series of broad characters in the course of cracking the case. We also see him engage in (still amusing) predictable and less predictable bits. One surprise is that a scene in which Harry slides down a roof does not end with him enduring one of the most painful injuries known to man. A fun element has Harry team up with Nikki Downing, who is the younger daughter of Jennifer. They make a good odd-couple team with strong rapport that includes mutual respect. A creepy aspect of Nikki is that she closely resembles Helen Downing (Annie Potts), who is the trophy second-wife of P.J. This leads to the expected climax in which Harry shows that he is a force with which to be reckoned. Although he does not have any chewing gum, he pretty literally kicks ass and takes down names. Dumb luck resulting in the final piece of the puzzle falling into the lap of Harry is very true to the spirit of the film. The epilogue of "Crumb" sets the stage for a sequel; this not even coming in the form of a basic cable film or a direct-to-video movie is a mystery. The better news is that Candy look divine in the gay apparel that he dons to take on his next case. The truly final solution is that the role of Harry being such a good match with Candy, much of "Crumb" occurring in bright sunny southern California, and the supporting players including many liked faces make this one a good choice for a cold and stormy winter night.  Mill Creek Entertainment shows good instincts regarding adding a DVD of the aptly epic 1997 mini-series "The Odyssey" to the MCE "Mini-Series Masterpieces" catalog on February 19, 2019. This month traditionally is a "sweeps period" in which networks broadcast their best productions in an effort to boost ratings. One very nice thing about this production is that it adapts the titular classic narrative in a manner that is not Greek to folks who are unfamiliar with the source material.
The accolades for this adaptation of the epic poem by the other Homer include a 1997 Emmy for Outstanding Directing for a Mini-Series or a Special. Armand Assante stars as brave and noble Greek warrior Odysseus. The star power behind the camera includes executive-producer Francis Ford Coppola. We meet Odysseus on a day that is both one of the best and the worst in his life. He is racing to the side of wife Penelope (Greta Scacchi), who is in labor with their son Telemachus. The buzzkill is a development that requires that Odysseus travel to Troy to battle the Trojans over there so that he does not have to fight them "over here." The Poseidion adventure begins with that god of the sea facilitating the ruse that gives birth to the expression to beware of men from the other Ithaca bearing gifts. The fabled Trojan horse meets its object of giving Odysseus and his men a huge strategic edge; the rub is that our hero also learns that Hades has no fury like a fellow god scorned. Poseidion has such a massive hissy fit regarding Odysseus not thanking that deity for his assistance that The Man From Atlantis violates the principle of demonstrating great responsibility regarding great power. This man with a porpoise pulls the dick move of using his power to prevent the foolish mortal from returning to his wife and infant son. This leads to our fearless crew om their greatly extended three-hour tour encountering strange new worlds and new civilizations on their far more than five-year mission. Another way of considering this journey is to think of it in terms of what a long strange trip its been. A related theme is that encountered perils reinforce the idea that dames ain't nothin' but trouble. The first adventure does not involve women; the crew is near death when they think that they have found salvation in the form of a land teeming with food; their glee is short-lived when they learn that they are in the land of the giants (a.k.a. a cyclops clan). A sibling in this family developing a fondness for Greek food and wine is another mixed blessing on the road to Ithaca. Our boys next become the guests of the sirens; Odysseus (with a little help from the goddess Athena (Isabella Rossellini)) once again uses a combination of brain and brawn to turn things to his advantage. Odysseus subsequently feels the sting of being caught between the deep-sea threats of the Scylla and Charibdes. One spoiler is that his later adventure with the goddess Calypso (Vanessa Williams) has him hypnotized by her when he lingers. We also see the crew snatch defeat from the jaws of victory. Meanwhile back at the ranch, Penelope is fending off potential suitors who are desirous of the woman and the other treasures of the long-absent lord of the manor. The frustrations of a now-teen Telemachus include his inability to oust this band of guests who have long overstayed their welcome. This almost literally is a wolves at the bedchamber door situation. All of this culminates in a gloriously gory battle that once again involves paying the price for disobeying the rules of etiquette. The appeal of this production extends beyond telling a tale that is as old time in a manner that caters to the American viewing public. Shooting on location, having a good cast, and including solid humor makes this release a good way to celebrate sweeps month. 'Secret Stories of Hitler' DVD + Digital: Documentaries With New Perspectives on der Fuhrer2/13/2019  The Mill Creek Entertainment January 8, 2019 DVD release "Secret Stories of Hitler" boldly goes where few have gone before. This 2-disc set includes a documentary that presents the titular leader as someone other than the most despised man of the 20th century.
A message that viewers MUST take away from the three films in this set is that even propaganda that supports your side is propaganda. Depicting Hitler as a nice and rational man who is kind to animals and small children should convince everyone to not believe everything that they see without checking out the facts from a source without a horse in the race. A related aspect is the even the most evil human has some redeeming qualities. The highly controversial 1974 documentary "Swastika" is the highlight of "Hitler." This movie largely consists of footage from Nazi propaganda films and from home movies that First Frau of Nazi Germany Eva Braun shoots. A modern introduction by a former Harvard teaching assistant provides a good background on the film. As MCE notes on the back cover of "Stories," the written prologue of "Swastika" clearly reflects the theme of this film. This prose partially states that "If Hitler is dehumanized and shown only as a devil, any future Hitler may not be recognized, simply because he is a human being." "Swastika" opens with footage of shiny, happy urban newspaper delivery guys loading up their bicycles and pedaling their way through city streets; the images soon shift to arguably ironic footage of trains headed into the beautiful German countryside. The rural folks include smiling milk maids and similar positive stereotypes. One of the most surprising things about the subsequent footage by Braun that is interspersed throughout the film is that it is in color. It also is shocking to see Hitler always looking relaxed and mostly smiling; further, he almost always is in civilian garb. This footage largely looks like any other home movie of that era and the decades that follow. Hitler is a jovial host at his country retreat. He is laughing and joking with the likes of Goering and Himmler. We also see Hitler seeming to enjoy talking with small children and playing with his dogs. For her part, Braun looks and acts like any other woman of the era. She seemingly equally adores her dogs and Clark Gable and is very at ease among her notorious company. It is even more shocking to see Hitler calmly delivering a rational speech to an assembled masses. There is none of the shouting, frantic gestures, and frenzied responses that characterize all Hitler speeches that probably every viewer has seen in archival footage. A telling scene has Hitler criticizing Goering to other guests. However, he is cool and collected and is not ordering punishment. Two segments in "Swastika" are the most blatant propaganda in the film. An interview with an American radio commentator has that man assuring German officials that folks over here do not believe the fake news about Hitler; this man goes on to pledge to set the record straight by broadcasting to America from Germany. The scenes from "The Eternal Jew" are even more unsettling than the interview with the American. We first see heavily bearded men looking alien and menacing; we then see the same group seeming ill-at-ease after losing their beards and changing into mainstream clothes. The message is that Jews cannot be assimilated into the dominant culture. A similar scene issues a defiant challenge to prove that a single Jew has died during the rule of Hitler. Horrific footage that will cause anyone with a soul to turn away from the screen at the end of the film both is more objective and puts the prior 90 minutes of "Swastika" in proper perspective, That brings things full circle back to the opening message that genuinely bad hombres can be difficult to identify until it is too late. The bonus features also enhance understanding of "Swastika." One extra has the filmmakers discuss the nature of Nazi propaganda; this conversation includes noting the great extent of the censorship of that era. A highlight is footage that amazingly slips through a very narrow crack. Another extra discusses Nazi propaganda expert Leni Riefenstahl. We first learn that this filmmaker gets more than a little uncredited help from her friends. We subsequently see that her claims of denial are far from plausible. As other posts in the Mill Creek Entertainment section of this site does (and will) show, this month being a particularly busy one for MCE releases requires that a timely review of "Hitler" come at the expense of not watching the other documentaries in the set. "Hitler: The Untold Story" seems particularly fascinating. This six-part series pulls the curtain back on the fairly well known progression of the rise to power by der Fuhrer. Similar to "Swastika," we see how maintaining a deceiving public image is critical to Hitler maintaining his status. "U-Boats: Hitler's Sharks" focuses on the importance of the ocean in WWII. The intriguing perspective this time is speculation regarding the impact of an alternate history in which Hitler grants requests for additional submarines. The importance of these documentaries and the materials that accompany them is a well-known adage that provides the best perspective of all; those who do not learn from history are condemned to repeat it.  Mill Creek Entertainment goes fully old school regarding the January 8, 2018 2-disc DVD release "The Laurel & Hardy Comedy Collection." This extensive set of team and solo shorts and feature films illustrates how these film pioneers influence many duos who follow on the large and small screen.
A recent post on the fantabulous theatrical film "Stan & Ollie" expands on this theme of the legacy of the duo. The scope of these 24 classic performances include the first pairing that has a sinister-looking Hardy appear in the 1921 Laurel short "The Lucky Dog." This early silent has Laurel starring as a recently evicted tenant who soon becomes the companion of the best friend of man; pure vaudeville ensues in the form of the character whom Laurel portrays inadvertently thwarting the hold-up by the Hardy character. Further hilarity ensues as the Hardy character attempts to recover his ill-gotten gain. The 1943 color short "The Tree in a Test Tube" is an amusing pulp non-fiction PSA in which Laurel and Hardy discover that a surprising number of household goods are made of wood. We get another alternative format in home movies that show the pair clowning around with the children of Laurel. A highlight is the classic feature-length film "The Flying Deuces." This one has a lovelorn Hardy get his buddy Laurel to join the French Foreign Legion to help the rotund Romeo forget a broken heart. The boys soon realize the reality of their situation and that walking away is less easy than expected. Of course, hilarity ensues in manners that include making authority figures look foolish. The lesser-known feature "Utopia" from 1951 is darker and more cynical than "Deuces." This arguably reflects a belief that the fans of the team are a little older and interested in a story line that reflects that maturity. "Utopia" commences with Laurel and Hardy travelling to London to collect an inheritance of Laurel; the pile of cash quickly diminishing because of taxes and fees is the first bit of "adult content" and recurs during the film. Hilarity fully ensues as the team and two disenfranchised men hit the high seas en route to the tropical island that is part of the aforementioned legacy. A series of unfortunate circumstances lead to a shipwreck that reminds us that the legacy of the team includes Gilligan and the Skipper. As oft is the case, a dame who is seeking her own escape from the civilized world coming on the scene creates mayhem. The quartet of men vie for her affections in oft desperate manners. Subsequent arrivals create more complications and hilarity. The best part of all this is that this MCE release reflects the original mission of Unreal TV; this objective is keeping classic films and television programs in the public consciousness. It sadly is likely that this review is the first that those of the generation that reserve actually making a telephone call to dire emergencies have ever heard of the guys who set the standard for team comedy.  Mill Creek Entertainment once again does the '90s proud regarding the January 15, 2019 Blu-ray release of "Last Action Hero" (1993) in retro VHS packaging. This release, which coincides with a MCE retro BD release of the John Candy comedy "Who's Harry Crumb," is among many examples of MCE facilitating a very worthwhile additional bite of the apple regarding these films. This is especially true as to the recent release of the (reviewed) 1998 teencom "Can't Hardly Wait."
The largest context for "Hero" is that it is from the waning days of the Silver Age of Hollywood in which art still (barely) often wins out over commerce. It also falls within the period between 1985 -95 in which proverbially emerging computer technology allows filmmaking to be especially cool. One example of Hollywood embracing new tech. is "Who Framed Roger Rabbit," which takes blending live-action and animation beyond Disney fare, "The Incredible Mr. Limpet," and other productions that have live actors interact with 'toons. A related innovation is the expert merging of black-and-white and color in the Tobey Maguire comedy "Pleasantville." A more widespread example of this is morphing, which allows having a character radically change his or her appearance in front of the audience. This is heavily used in "Terminator 2," which is a showcase for "Hero" star/former California governor Arnold Schwarzenegger. Another innovation is even more relevant to "Hero." This relates to computers allowing characters in programs and films within the movie to enter each of those realities. The 1985 Woody Allen comedy "The Purple Rose of Cairo" arguably is the best-known example. "Hero" plays homage to "Rose" by having tween fanboy Danny Madigan (Austin O'Brien) enter the world of titular Dirty Harry style rogue cop Jack Slater (Schwarzenegger). This adventure is courtesy of magic that a film projectionist/grandfather figure provides in a nod to Willy Wonka. "Hero" additionally is from an era in which Schwarzenegger begins including more humor in his action-adventure films and does flat-out comedy. Comparing "True Lies" with "Kindergarten Cop" and "Jingle ALlthe Way" demonstrates which development is more successful. Part of the perspective related to watching "Hero" 25 years after its theatrical release is the relatability of Danny watching the Slater films in a once-grand movie palace that is now a run-down dump that is slated (no pun intended) to be converted into a multiplex. We also get a scene in which Schwarzenegger plays himself giving a red-carpet interview while future ex-wife Maria Shriver (a.k.a. Melania) stands in the background rolling her eyes. The final general note before discussing the merits of "Hero" itself is that the film looks great in Blu-ray. This extends beyond the scenes in sunny southern California looking bright and beautiful; this enhanced format highlights the differences between the grainy and often rainy scenes and/or darkness in the real world of New York and the aforementioned beauty of the reel world Los Angeles in the film. The action aptly starts right away ala a "Simpsons" episode that begins with Bart watching a "McBain" movie. The first images are from "Jack Slater 3" and revolve around Schwarzenegger arriving on the scene in character to deal with a maniac holding elementary school children hostages as part of a grudge against Slater. This provides additional context from a 2018 perspective. The epidemic of 21st-century school shootings likely would preclude such a scene in a modern film. We then see Danny emerge from the theater into his hard-knock life in which he and his single mom Irene (Mercedes Ruehl) live in a slum; Dad is nowhere in the picture, and Irene must work hard at her menial dead-end job just to provide her and Danny minimal comforts. All of this establishes why Danny so highly values escaping into the world of Slater. The action fully gets underway when especially unnerving trauma and drama compel Danny to attend a verboten screening of "Jack Slater IV." It is all fun and games until the aforementioned magic drops Danny into the backseat of the vintage convertible of Slater during a chase scene. The real hilarity ensures after the chase concludes and Danny frantically tries to get Slater to believe him that they are inside a movie and that Slater is a Schwarzenegger character. This leads to great multiverse humor that includes satirizing buddy-cop films and includes alternative casting of a classic film role. The aforementioned buddy-cop element leads to the stereotypical short-tempered police lieutenant (Frank McRae) assigning Slater to partner with Danny to investigate the drug kingpin (Anthony Quinn) who is making things personal for Slater. Things largely proceed as normal after that; our team closing in on their prey provides Schwarzenegger plenty of opportunity to deliver "knife to meet you" style puns as he battles bad guys. Things soon turn very real when the action moves to the real world of "Hero." Slater learns about what it means to be human, and Danny is taught is even more tough truths about celluloid heroes. A bizarre Death (Ian McKellan) takes a holiday aspect of this likely is a reason for the unduly harsh panning of "Hero." Folks who still scoff should put this film in the context of recent ones such as "Tag," "Sausage Party," and even the big-budget train wreck "Batman v. Superman." Another nice thing about "Hero" is that it largely puts right what once went wrong but is not unduly absurd regarding it. Slater does not have any life-altering experience beyond his relatively literal reality check, and Danny does not inherit the chocolate factory.  A year-end rush is behind a criminal delay in requesting a copy of the Mill Creek Entertainment award-worthy December 18, 2018 complete-series Blu-ray release of "The Shield." Not getting a set in time to declare this set the top release of 2018 elevates the delay-related offense from a misdemeanor to a felony.
Stating that MCE greatly outshines itself and hits almost every Unreal TV criteria for an exceptional home-video release is not hyperbole. The lack of a play-all feature is the non-fatal flaw that prevents declaring that this CS set is perfect. The serial nature of the series makes this sin a little worse than it would be in other cases; requiring a little extra navigation in the main menu adds insult to injury. The near-perfection begins with the design-award worthy packaging. The sturdy outer-cardboard box is the first indication of love of product and attention to detail. This opens and folds out to an image of tough-as-nail rogue L.A. police detective Vic Mackey (Michael Chiklis) and his strike team around which "Shield" centers. This motley crew is accompanied by their colleagues who play by the rules to varying degrees. The solidly bound book (complete with embossed shield) is encased in a holster that feature the very apt tag line "The road to justice is twisted." This reflects the Mackey philosophy that just about any means justify a proper end that includes savings his own flank. His not blinking as he brutally exterminates a rat with extreme prejudice in the pilot hits that point home. The first page in the book is a love letter to fans by creator/producer/ "Angel" veteran Shawn Ryan, who bears a passing resemblance to Mackey. This correspondence nicely confirms that Ryan and viewers share the same high regard for the series; the answer to the question of whether "Shield" survives the test of time is a resounding yes despite the mentioned outdated tech. and references. On a general level, having a rough average of 13 episodes in each of the seven seasons reflects the "less is more" philosophy of British series. The idea is that a handful of high-quality episodes is better than presenting 20-or-more mediocre outings, Each subsequent well-secured page in the book includes a detailed episode synopsis and puts the corresponding BD disc in a slot that allows removing and replacing it without risk of scratching. We also get a description of the Bonus Features on the disc. The two discs of Bonus Features are the icing on the cake. a 2018 reunion that includes Ryan, Chiklis, and other cast members that include CCH Pounder provides something to which to look forward when time permits. Theses copious extras also include an ATX Television Festival Writer's Room Panel in which Ryan also participates. Another voluntary confession regarding this 2002-08 FX series is that an ongoing struggle to clear enough space on my two Tivos and to otherwise keep up with the many strong programs of that era are behind not watching "Shield" during its initial run; the current chance to remedy that sin of omission is another valued attribute of the MCE release. The strongest accolade for "Shield" is IMDb users ranking it as #86 on the list of top-rated shows of all time. The series has an additional 15 wins and 58 more nominations that must include "they waz robbed" losses. One can only fantasize about putting the people responsible for those slights alone in a room with Mackey. "Shield," which is a perfect companion to (reviewed) overlapping FX hit "Rescue Me," tells the tales of the men and women who wok out of "The Barn" in the inner-city Farmington (a.k.a. Farm) District of Los Angeles. As indicated above, Mackey and his team are more concerned with taking gaping and bleeding bites out of crime than following either police procedures or Constitutional requirements. This theme requires a brief aside, The philosophy of Mackey reflects the dilemma that plagues law enforcement personnel. Prohibiting things such as beating a subject and many warrantless searches are in response to those tactics despite their solid results. Tying the hands of the police validly protects important rights of suspects at the expense of allowing many criminals to go free. Another way of looking at this is that most people would say what is required to make a beating stop; we also would not want the police to knock down our front door, subject us to an extensive body search, or rip apart our car without an assurance that they have valid cause for doing so, The cowboy tactics of Team Mackey at best earn them tacit approval; it also gets them the animosity of two colleagues who object to this coloring outside the lines. Police Captain David Acevada is a competent Col. Klink in that he gets the corner office without spending any time in the trenches and in that his efforts to hold Mackey accountable for his misconduct (at least in S1) prove fruitless. Mackey is more like the Road Runner than Col. Hogan in that it seems that Acevada is destined to succeed until his plan explodes in his face at the last minute. Partner-in-crime-solving Detective Holland "Dutch" Wagenbach is another thorn in the side of Team Mackey. This nerd who seems to have a night stick shoved up his butt is in constant conflict with the jocks whom he hates for their Dartmouth frat boy approach to their jobs. Good hilarity related to Wagenbach comes in the form of comeuppance that he receives. Revealing the perpetrator of that prank is icing on the cake. Wagenbach often getting his man and showing that he has game in bringing down a particularly elusive bad hombre shows that this honor student has chops and can school the cool kids. The central crime in the pilot perfectly illustrates both the tone of "Shield" and the arguable merits of Mackey. Initially discovering that the young daughter of a murder victim is missing leads to learning that the girl ends up in the hands of one pedophile, who transfers her to an even more twisted child molester. These desperate times lead to the desperate measure of calling in Mackey with full knowledge of how he will interrogate a suspect. It is ironic that he does not phone it in. The pilot further establishes the pattern of snitches getting stitches. A later "student" further learns of the collateral damage regarding such well-intentioned efforts. What starts as essentially aside comments regarding plumbing problems developing into a hilarious disaster further demonstrates the genius of "Shield." The show is like a box of chocolates in that you never know what you will get. One S1 episode that also proves the unpredictability of "Shield" has an almost literal smoking gun leading to breaking up the strike team. This disbanding the brothers leads to pairing them up with other "Barn" animals. The most amusing reassignment gives loose cannon team member Shane Vendrell a dutch treat in the form of working with Wagenbach. As "The Breakfast Club" shows us, the hall monitor and the QB do not need to be at the throats of each other. Mackey teams up with pragmatic detective Claudette Wyms (Pounder). His scene-stealing moment consists of proposing that they first do things her way and then his way. He notes that the order is based on the chivalrous principle of ladies first. Chickens aptly come home to roost in a phenomenal S1-ending story arc. The numerous hilarious cock jokes greatly contribute to the fun. The already extensive length of this post precludes delving into the interesting private lives of our men and women in plain clothes or even into the many more cases that provide them continuing on-the-job training, The overall message is that you should trust Ryan; he knows what he is doing.  The Mill Creek Entertainment January 8, 2019 Blu-ray double feature release of "The Karate Kid Part III" and "The Next Karate Kid" offers a chance for a fun escapist evening during the dark and cold weather that is settling in for most of us. The bright sunshine and corny plots full of teen angst and earnestness is the perfect cure for what ails us.
The best news is that rewatching the original 1984 "Kid" reinforces that it has many merits. The concept is that (somewhat ala the '70scom "Alice") teen Jersey boy Daniel Russo (Ralph Macchio) is uprooted when his mother takes a job in Los Angeles. Like "Alice," the family station wagon barely makes the trip. The other similarity that the family ends up living in a shabby apartment. Ala '70scom "One Day at a Time," building superintendent Mr. Miyagi (Pat Morita) becomes a father figure. This handyman transform Daniel into the titular martial arts teen sans shell in response to that new kid in town being the victim of vicious bullying. The quality of the first film and the cuteness and the charm of Macchio in it make it worth watching. "Karate Kid II" commences in the immediate wake of the tournament that provides the climax of "Kid." Daniel and his sensei soon travel to the Miyagi birthplace of Okinawa where adventure and romance once again ensue for these friends. "III" begins with flashbacks that briefly recap "I" and "II" before joining Daniel and Miyagi landing at LAX from their Asian trip, The context for the following thoughts on "III" are that it is so absurdly bad that it is good. The first problem is that Macchio is much less cute, charming, and naive than in the first film. The comic-book nature of "III" relates to over-the-top villain Terry Silver (Thomas Ian Griffith). This grown-ass one-percenter has a ridiculous vendetta against Daniel and Miyagi for their provoked humiliation of John Kreese and the Cobra Kai "gang" of that once-respected karate master. Much of the unintended humor relates to our heroes having no idea about that animus. A concurrent series of unfortunate circumstances lead to a premise for a sitcom in the form of Daniel moving in with Miyagi and becoming his partner in a bonsai tree store. The love interest is Jessica (Robyn Lively), who owns and operates a nearby pottery shop. Silver recruits Cobra Kai student Mike Barnes (Sean Kanan) to goad a still-oblivious Daniel into entering the tournament that he won at the end of "Kid." The idea is that Daniel will lose to Barnes and restore the "honor" of Cobra Kai. This not-so-subtle persuasion leads to a cliffhanger that results in Daniel registering for the contest; Miyagi refusing to train him and pulling an inarguably dick move drives our still-clueless post-adolescent into the web of Silver. The "grand reveal" arguably is the best bad moment in "III." "III" winds up with a deja-vu all over again moment; Daniel is getting badly pummeled in his championship match with Barnes; it seems that all is lost until (of course) Daniel rallies and (perhaps literally) kicks the ass of the larger and stronger Barnes. Of course, this sends Silver and Kreese into hysterical in both senses of the word tailspins. "The Next Karate Kid" is a kinder and gentler movie that attempts to reboot the franchise. It opens with Miyagi attending a ceremony honoring his WWII Army unit; meeting the widow of his Anglo commanding officer leads to Miyagi visiting that woman, who is raising orphaned granddaughter Julie Pierce (Hilary Swank). A series of unfortunate circumstances this time leads to Miyagi becoming the caretaker of troubled teen Julie. The love interest is hunky blond-boy Eric, who is not put off by the hostility of Julie, The Cobra Kai element this time is the ROTC/Hitler Youth style school group the Alpha Elite, which counts a reluctant Eric among its members. The dual catalysts for conflict are Alpha Elite teen leader Ned wanting to get in the pants of a reluctant Julie and related defiance by Eric getting him ousted from the group. The rest of the story is that Miyagi takes Julie to a Buddhist monastery for karate training that is designed to teach her discipline and to improve her 'tude..They return home only to find that things have not changed much. Excitable boy Ned ultimately pushes Eric too far in a manner that leads to a late-night rumble. We learn whether boys do cry and the extent to which a girl must be brought in to do the job of a man. As mentioned above, the appeal of "III" and "Next" is the escapist fun of this continuation of a franchise that has a solid base.  Mill Creek Entertainment shows good timing regarding releasing the three-DVD set of the 11-episode documentary series "And the Award Goes to ...: 80 Years of the Academy Awards" on November 6, 2018. This coincides with the informal start of Oscar Season during which studios release what they consider "Best Picture" contenders. The logic is that releasing these films at the end of the year keeps them fresh in the minds of Academy voters when they select those nominees.
The title of "Award" alone reflects the subject matter; as an episode likely addresses, announcing who receives confirmation that Academy voters like him or her; they really like him or her evolves from the titular phrase of the series to "And the winner is ..." sometime in the '80s or '90s. The series commences with the aptly titled episode "Birth of an Icon." Before getting down to the business of discussing the May 1929 private event that honors the best films of 1927 and 1928, the documentary presents a prologue that summarizes Hollywood history from the beginning until the '70s. This includes mentions of the relationship between films and society. The episode then discusses how the first ceremony is an intimate affair with media coverage that is limited to local outlets. We further get images of the Hollywood royalty that attends and the films that they consider. This episode also covers topics that include the transition from silents to talkies. The most fun subjects are the celebrities and their egos/feuds. The titles and focuses of the next several episodes reflect the nature of the films of their eras. They begin with "The Golden Era" and move on the more enlightened and candid "Hollywood Comes of Age" period of the late '60s and early '70s. The third disc, which is titled "Thirty Years of Winners," consists of six episodes that each cover four years periods starting with 1972. This arguably is when the ceremonies themselves become more entertaining. We get the man who streaks across the stage in the '70s, the 1989 train wreck in which Snow White and Rob Lowe rock out to "Proud Mary," and Jack Palance showing off his physical strength at the 1991 ceremony. As the aforementioned prologue states, every actor wants to win an Oscar; those who do are the elite few among the relatively small population of thespians who make a working living as a film actor. These folks who typically work their way up the ranks, endure grueling production schedules, and experience public ridicule regarding both even (previously) private embarrassing moments and involvement with any film with less-than-perfect execution are the true American idols. This is not to mention these folks smiling through fans yelling out the names and catchphrases related to roles regarding which they have not received a penny for years every time they step out their front door. It is amazing that Tom Cruise has not punched out some moron who has shouted "show me the money." I truly believe that I at least would have shown the moviegoer the finger and dearly paid for that indulgence for decades. 'Benji: Off the Leash!' Blu-ray + DVD + Digital: A Shaggy Dog Story for A New Millennium12/24/2018  Mill Creek Entertainment once again shows the value of going to the dogs regarding the October 23, 2018 Blu-ray + DVD + Digital of the 2004 family dramedy "Benji Off the Leash." The abused boy who is at the center of this story is not the only element of this variation on "Benji" films that make it different than the '70s adventures of the titular everymutt.
Fans of the earlier fare will delight in the Creek releases of (reviewed) "Benji," (also reviewed) "For the Love of Benji," and the even-more recent (reviewed) "Benji's Very Own Christmas Story." "Leash" begins with narration that describes a talent search for the new Benji; the action then makes a nod to the original film by shifting to an abandoned house that is similar to a home that plays a central role in that movie. The aforementioned lad Colby is using that house as a safe haven for a mother dog and her newborn puppies. The refuge is needed because his father (only known by his last name Hatchett) both is over-breeding the mother to a life-threatening extent and is intent on leaving a brown shaggy mongrel from the litter to die because the puppy lacks monetary value. Other action in this film set in Gulfport, Mississippi centers around two comically inept dog catchers. Livingston and Sheldon are pursing their white whale in canine clothing. The pooch known as "Lizard Tongue" for an obvious reason is very skilled at evading the civil servants. The two worlds collide on the substandard way that Hatchett operates his dog-breeding business putting him on the radar of Sheldon and Livingston. This coincides with the shaggy dog and Lizard Tongue enjoying puppy love. Drama enters the picture regarding a need for emergency vet service and related pressure being exerted on Hatchett. All of this shows that the snooze button no longer can be hit regarding the wake-up call that Hatchett requires. This being even a 21st-century "Benji" movie ensures a happy ending for at least some of the dogs and all of the kids. Additionally, adults who deserve a trip to the doghouse get it. The appeal of "Leash" extends beyond keeping the Benji legacy alive; it shows that a wholesome movie with a bare minimum of edge can get greenlit.  The Mill Creek Entertainment October 23, 2018 Blu-ray release of 2009-15 sitcom "Community" is the crown jewel in the recent series of releases of this type from this company that helps keep cult classics alive. The Creek section of Unreal TV 2.0 includes posts on BD CS releases such as "Happy Endings," "The Masters of Sex," "Rescue Me," and "The Awesomes."
As a practical aspect, the "Community" set (which looks and sounds spectacular in Blu-ray) provides an affordable means either to buy a first-ever set of this top-ever sitcom or to upgrade from the single-season DVD sets that take up more shelf space, "Community" creator/star Chevy Chase nemesis Dan Harmon truly hits comedy gold with the concept and the execution of the series. The program centers around misanthropic and conceited disbarred attorney Jeff Winger (Joel McHale of "Talk Soup). Being caught lying about his undergraduate education results in McHale experiencing what may be the only reel or real case of being sentenced to complete his education. His doing hard time at Greendale Community College sets the stage for interacting with his fellow misfit students and the comically inept faculty and staff and to contend with absurd bureaucracy. Additional context comes via the fairly recent explosion of claims of racism at Evergreen State College in Washington. The nature of that scandal and the manner in which the students respond provide strong proof that Harmon bases Greendale on that school. Winger and his gang form a "family" in S1 by creating a study group for the Spanish class of woefully unqualified Senor Chang (Ken Jeong of the "Hangover" franchise). This evolves to taking on other classes and ultimately becoming a trouble-shooting committee that seeks to put right what once went horrible wrong. The most notable member is naive pop-culture addict Abed Nadir (Danny Pudi). His tying real life into movies and television series and his tendencies to escape into fantasy worlds when faced with stress drives much of the action. A prime example of this is the S2 Christmas episode in which our friends are transformed into stop-action holiday characters. We also have Abed be the center of an awesome alternate reality and other variations on the lives of him and his friends. Former high school football hero/stud Troy Barnes (Donald Glover a.k.a. Foolish Gambino) has the dual characteristics of practically being joined at the hip with Abed and of being highly relatable as a person who peaks early in life. Harmon does him well by fulfilling his greatest fantasy. Troy high-school classmate/obsessive perfectionist good girl Annie Edison (Alison Brie) nicely reflects the dark side of someone who tries too hard. She is best remembered as the den mother of Abed and Troy. Unfiltered Britta Perry (Gillian Jacobs) is the pretty girl/object of the affection of Jeff who takes up the cause of the week. Her inability to get her life together and her horrible romantic choices provide great entertainment. A relationship with shirtless hacky sack playing slacker Vaughn (Eric Christian Olsen) is a series highlight. The adults consist of middle-aged mother hen/devout Christian Shirley Bennett (Yvette Nicole Brown) and racist/misogynistic/classist senior Pierce Hawthorne (Chaser). Shirley is mostly there to express disapproval of the antics of the "kids," and Pierce largely plays the role of the grumpy old man who insults his friends and provides "oh Grandpa" moments. Constant references to metrosexual Jeff being gay is a theme. Harmon does a great job skewering both the arrested development of Millennials and the frustratingly increase in public outrage that only is worse in the years since "Community" has fallen one season and one film short of its goal of seven seasons and a movie. Examples of the immaturity of the students include the loved paintball episodes and other outings in which the entire campus engages in fun-and-games that almost literally destroy the place. Another classic episode has a pillow fort overtake the campus. We further get a wonderfully true-crime style documentary surrounding the ass-crack bandit who uses an unconventional coin slot, an awesome send-off for Pierce that has his nastiness massively backfire on him, and much more good dark humor. This is not to mention the numerous times, such as a scheme to deal in a stash of textbooks, in which group members hilariously turn on each other. This clear willingness to go there via comically absurd lengths warrants comparing "Community" to the better seasons of "The Simpsons" and "South Park" absent the profanity of the latter. It also reminds us of the Golden Age of Chase by evoking thoughts of the early days of "SNL." Sadly, we get "fat" Chevy. The numerous extras include some of the best-ever outtakes, puns, and gag reels that highlight the strong comic chops of the cast. We additionally get deleted and extended scenes that criminally are excluded from the broadcast episodes. This is not to mention behind-the-scenes features that demonstrate that the love for the series is mutual between those who make it happen and those of us who benefit from them "going there," As mentioned above, the special quality of the previously released and new material relates to the social commentary that is put in proper perspective; this is true of most of the aforementioned other shows that Mill Creek has released. The level of public outrage regarding every fictional portrayal over what includes acts that are deplorable in real life but still valid fodder for comedy simply requires too high of a price these days. No reasonable person can assert that any modern "atrocity" is comparable to the behavior of the Nazis, but the principle of Mel Brooks that laughing at Hitler robs him of his power has great applicability.  The response of studios great and still great but small to increasing incursion of streaming into the DVD/Blu-ray/4K market reinforces the belief of Unreal TV that physical media rules and online content drools. The primary principle is that having something physical facilitates being able to watch what you want when desired.
Discs eliminate any chance of buffering, content slowing down other devices, or a streaming service pulling the content. You additionally do not have the aggravation of having to subscribe to multiple services to get the desired content. The aforementioned defense to the offense of streaming, which has value when you are away from home, is to make physical releases more special. On a basic level, this involves designing new packaging to makes a release look cool and to incorporate it into a series of releases, This marketing may apply to the '80s teencoms, classic horror films, or the CGI-animated movies of a a studio. Holy Hi-Def, Batman! The Warner Brothers Home Entertainment October 30, 2018 Blu-ray release of Batman: Complete Animated Series Deluxe Limited Edition is a PERFECT example of the renaissance in the home-video industry. WBHE has expertly remastered every episode in this 1992-95 series. We also get Blu-ray versions of the equally well resurrected (reviewed) "Mask of the Phantasm" and the (also reviewed) "Batman and Mr. Freeze: Subzero." The set packaging is very stylish, and there are special features galore. WBHE goes further by including three mini-figures, placing the discs in a collectible hard-cover book, and providing 7 lenticular cards with "original animation artwork." This is not to mention limiting the run of the sets to 69,048; I scored the relatively low number of 11,601. A brief diversion into Blogland is that the TAS set is personally particularly special. It is reminiscent of the even-more special WBHE numbered limited-edition Blu-ray release of the Christopher Nolan "Batman" trilogy, which has better packaging and includes toy cars. This set was the first Christmas gift from the highly significant other who has tolerated your not-so-humble reviewer for six years and counting. Olive Films Garden Purveyor of Hollywood classics, cult films, and art-house fare Olive Films takes top honors regarding taking art-gallery-worthy DVD and Blu-ray packaging to the next level. The Olive Signature division of this company does particularly well regarding collector's editions that put a highly arrogant competitor to shame. Many posts on Olive releases can be found in the Olive section of this new-and-improved site; several more are slowly but surely being copied over from Unreal TV 1.0. The beautifully remastered collector's edition Blu-ray releases from Signature feature aptly high-end art. Olive supplements this with picture-perfect (no pun intended) remasters. The extra-rich icing on the cake is the copious PBS-worthy documentaries and other features in Signature releases The additional awesomeness is these being limited editions that make them that much more special. Warner Archive Awesomeness Archive always will have a special place in my heart. Lovers of television and film can thank Ted Turner buying the video libraries of several studios to provide his fledgling basic-cable networks content for Archive having a seemingly bottomless pit of resources 40 years later. These riches include classic Hanna-Barbera cartoons, all-time favorites and forgotten big-screen gems from every 20th-century era of Hollywood, and some of the best sitcoms and dramas to hit television from the early days of that medium to the present. Archive reflects the trend toward enhanced packaging by reproducing the theatrical posters for films on the DVD (and increasingly Blu-ray only) releases of those movies. Archive is even more fully getting with the times by fully stepping with special features. The bigger picture is that Archive is embracing the idea of leitmotifs that scream for bundled gifts . A few of many examples include releasing Christopher Lee "Dracula" films. Hitchcock movies, Silver Age musicals, etc. within several weeks of each other. Most new releases of Golden Age fare provide a full night at the movies by including a cartoon, a newsreel, and a short from the era. We also often get footage of the premiere of the main feature. Archive releases of films from the '40s through the '70s typically have wonderful making-of documentaries that feature film experts such as Robert Osborne, Leonard Maltin, and Peter Bogdanovich. The Archive section of this site provides a taste of these releases, including the aforementioned sub-genres; copying over the other 100s of reviews on Unreal TV 1.0 will require years. Mill Creek Entertainment Springs to Life Mill Creek Entertainment earns a completely sincere and equally heartfelt "Most Improved" award. No one loved the MCE collections of public-domain content more than your not-so-humble reviewer. Getting to see childhood favorites, such as "The Beverly Hillbillies" and "Petticoat Junction" was great fun. This is not to mention the glee associated with watching less-frequently syndicated classic sitcoms that include "Ozzie and Harriet" and "Burns and Allen." MCE began stepping up in 2017 with Blu-ray complete-series sets of programs such as "Quantum Leap" and "That '70s Show." MCE built on the foundation of "Leap" and "Show" by fulling with other awesome complete series Blu-ray sets in 2018. The MCE section of this site includes posts of the Showtime series "Masters of Sex," the especially good release of the Hulu animated series "The Awesomes," and the one-of-a kind Denis Leary NYFD firefighter series "Rescue Me." MCE also is getting into the enhanced packaging/awesome special features game regarding classic '80s and '90s films. The current catalog includes the original star-studded "Flatliners" and the rising-star-laden '90s teencom "Can't Hardly Wait." Mid-January "retro" releases include the Arnold Schwarzenegger action-comedy "Last Action Hero" and the John Candy slapstick-comedy Who's Harry Crumb." Happy Shopping Aptly for this time of the year, the above discussion of the featured studios is only the tip of the iceberg regarding the gift-worthy releases from them. Everyone from a hard-core cinephile to an amateur sofa spud will delight in the initial thrill of seeing an artful set, will love the high-quality production, and will delight in learning more by watching the extras.  Mill Creek Entertainment figuratively and literally goes above-and-beyond regarding the 4K + Blu=ray + Digital December 11, 2018 release of the IMAX film "A Beautiful Planet." Saying that you will not believe your eyes is not an exaggeration. Having the upgraded Sony 4K television is a nice luxury; paying a Blu-ray price for a basic LG 4K player is a good bargain. Combining them to watch "Planet" is priceless. The enhanced experience begins with a sample of the upgraded audio that actually sounds light-years better than the standard version even for 4K discs. The incredible initial panoramic views of space are awe-inspiring images that make the opening credits of "Star Trek: The Next Generation" look like footage from cheesy '50s scifi films. MCE includes a Blu-ray player for folks who do not have 4K players. . The following YouTube clip of the standard-def trailer for "Planet" provides a sense of the fantastic footage and a better indication of the themes of the film. A special earth-bound aspect of "Planet" is that Academy Award winning actress Jennifer Lawrence who narrates the film has another 114 wins and 176 nominations. She puts that talent to good use in setting the ideal tone for the film; her soothing voice sets the perfect mood.
Director Toni Myers, whose IMAX credits also include "Blue Planet" and "Space Station 3D," divides her focus between the titular big blue marble and the bonding and other aspects of daily life on the International Space Station (ISS). The latter begins with three astronauts en route to the ISS and getting a very warm welcome on their arrival. The bonding further strengthening during that tour of duty provides hope for the future. We then see how the astronauts perform daily functions in a zero-gravity environment. Highlights include learning how they sleep and conduct the equally critical exercise. We further experience Christmas in space and get a look at genuine international co-operation. Footage of a crew member bathing is the least sexy shower scene ever. Scenes of the crew are work are even more compelling. We see them perform indoor chores and "yard work" alike. Hearing about the extreme conditions of the latter should be required viewing for every child who complains about mowing the lawn in 80-degree heat. The literal and figurative bigger picture is the aforementioned incredible footage of space and earth. We see nature in all its glory and its sadly deteriorating state. The contrast between night and day is even more fascinating. As a crew member states, it is easy to imagine that the lights are out and that no one is home from 9-to-5. "Planet" additionally sends numerous messages without preaching. An example of the images speaking for themselves is South Korea being brightly lit and North Korea being dark beyond the clearly defined border between those countries. Nice elements of "Trek" expand beyond the mini-Federation that operates out of the tin can in space. We get a strong sense of earth being a spaceship on which all of us are passengers. An aspect of that is the need to keep this organic vessel healthy if we want to continue living. We further hear the astronauts thoughts regarding the final frontier and the plans of space programs to boldly go where no man has gone before. Two of the special features center around the astronauts. The more entertaining of the two discusses them learning to operate the cameras that are used to make the planet. The third bonus has Myers hosting a visit to a way-cool research facility that capture many of the images in the film. The universal truth regarding all this is that is difficult to imagine any other film matching "Planet" in production and narrative quality. You will be amazed and amused. 'Can't Hardly Wait: 20-Year Reunion Edition' Blu-ray: Under-rated John Hughes TeenCom for the '90s12/7/2018  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 Mill Creek Entertainment October 23, 2018 Blu-ray release of the 2004-11 Denis Leary dramedy "Rescue Me" continues the solid Creek track record of producing complete-series sets of 21st-century cult classic television series on Blu-ray in time for the holidays. These collector's editions are notable proof of the "you've come a long way, Baby" evolution of Creek from producing basic DVD releases of public-domain content to becoming a first-class distributor of the best fare from this Streaming Age of Television.
The vivid colors and crystal-clear audio of the Blu-ray release does American Film Institute "TV Program of the Year" for 2006 "Rescue" very proud; the serial format, entertaining candidness, and lack of a single dull moment call for a marathon (rather than binge) viewing during the holidays. The aforementioned cult classics included the (reviewed) release of the edgy Showtime docudrama "Masters of Sex" and the (also reviewed) criminally under-rated ABC neo-modern "Friends" sitcom "Happy Endings." A review of the complete series of the Daddy of all cult-classic sitcoms "Community" is scheduled for the not-too-distant future. Creek is releasing a deluxe Blu-ray complete series set of "The Shield" on December 11, 2018. Anyone who wants to seem cool is encouraged to give the special offbeat Millennial or Gen Xer in his or her life one or more of these sets this holiday season. Leary puts his textbook caustic wit and love/hate feelings regarding his Irish heritage to good use in playing veteran New York firefighter Tommy Gavin. An amusing related aspect of this is that Worcester, Massachusetts native/graduate of Emerson College in Boston Leary regularly inserts subtle and not-subtle references to his home turf in this Gotham-based series, Fellow Massachusetts native Peter Tolan reunites with Leary after their work on the HILARIOUS shorter-run series "The Job," which stars Leary as an NYPD detective who essentially is Gavin with authority to have a gun. Tolan writes all 93 "Rescue" scripts. "Job" star Lenny Clarke also transitions to this series. Giving the equally witty and compelling "Rescue" a portion of its due is well beyond the scope of a review that strives to remain below novella length; the series is a genuine original that most likely will never have an equal. This is ENTIRELY due to the genius-level dark humor and other quirks that make Leary a god. The best mainstream comparison is to think of "Rescue" as a working-class version of "Seinfeld" that has the edge associated with being a 10:00 p.m. basic cable show. Thinking of Jerry as a foul-mouthed chain-smoking alcoholic with a fraction of his already limited morals is a good start. A ripped from "Rescue" example would be purposefully setting up George with a transvestite despite that good friend not knowing that she is the girl with something extra. Centering "Rescue" around a fire station without glamorizing that profession provides insight into a world that is foreign to the general population; setting it in the post-911 era in which life is back-to-normal for most of us provides rich material for an ideal blend of humor and drama. This relates to Gavin and his crew seeing that indisputably tragic event as a figurative get out of jail free card and payment for anything that they desire for a seeming endless period perfectly illustrates this. A hate-hate relationship with the NYPD is another entertaining theme. Watching Gavin wrangle with the boys in blue until he has a compelling reason to play nice is must-see TV. The "Rescue" crew is populated with every working-class stereotype; the skill of Leary and Tolan avoids them becoming caricatures. We have middle-aged Irish middle-manager Jerry Reilly; he is just as profane and dark as the younger guys. His at-home drama includes a gambling addiction and a wife suffering from Alzheimer's Disease. We also get young dim-witted stud Sean Garrity; he shines early in the season regarding a waxing of his naughty bits going hysterically wrong. It also is recalled that his is the firefighter who gets caught in a compromising situation regarding a cancer scare related to his pride and joy. One of the more interesting characters is female firefighter Laura, who must endure more than her share of abuse from her peers. Watching her evolve from showing that she can take anything that they can dish out and is not afraid to assert her rights when necessary, to showing that she can dish it out as well, and finally becoming one of the boys is awesome. Sweet and naive Mike Silletti is a personal fave. His joining the crew at the beginning of the series earns him the name "Probie" and requires that he do all the grunt work. His early shining moments including having to build a deck and provide the beer as his co-workers sit around and give him intense grief. His asserting his rights nicely illustrates how this puppy becomes a full-grown Dalmatian. The aforementioned naivete also lands Silletti in the most amusing and/or interesting sexual situations. These begin with his initially being clueless about the motive of a man who is strongly pressuring him to go to dinner and even gets him to move in with him after unwanted sexual contact. Our boy then deals with dating an overweight woman with bulimia. A later relationship confirms the thoughts of some viewers and fulfills a fantasy of a subgroup of those fans. The incestuous home life of Gavin is just as darkly amusing as his work life. His oft on-again-off-again relationship with wife Janet seems to perfectly reflect the lives of literal and figurative firefighter widows, who struggle to maintain the same level of intimacy that their men share with their co-workers. The incest extends beyond the merging of work and home life via Gavin not allowing his desire to reconnect with Janet stopping him from "dating" Sheila, who is the actual widow of Cousin Jimmy. This intercourse provides the main context for informing the audience of a Bro Code that prohibits a relationship with the woman of a fellow firefighter. For her part, Sheila alternates between man and women; her personal drama includes an emotionally and physically abusive relationship. Teen Gavin daughter Colleen seems to take a cue from Sheila; she also has both boy and girl trouble. Clarke steals the show as "Uncle Teddy," who provides Gavin plenty of angst. This three-hundred pound senior citizen with the mentality and the energy of a 12 year-old boy has no sense of moderation. Dragging his brother Michael (Charles Durning) (a.k.a. Dad) into his misadventures only fuels the fire from the perspective of Gavin. Tatum O'Neal adds star power as quasi-estranged Gavin sister Maggie; many of us can relate to this sibling only showing up when she believes that doing so is in her best interest. The copious special features provide additional reasons to buy the set; the blooper reels are predictably hysterical. We also get behind-the-scenes looks and hear from actual New York firefighters. All of this wraps up with "The Creators' Last Call." The apt final note to this lengthy discussion of this once-in-a-lifetime (if not longer) series is that is from the last days of the American public having some form of sense of humor. It is very sad that scenes such as one in which dumb Mick Gavin and his crew gleefully hurl rapid-fire ethnic insults at each other to show that it does not mean anything likely would not even be allowed on premium channel series. The best way to put this in context is to predict that the current attitude of Denis Leary is to say get a fucking sense of humor assholes. 'Benji's Very Own Christmas Special' Blu-ray + DVD + Digital: Santa Delightfully Goes to the Dogs11/26/2018  The Mill Creek Entertainment November 6, 2018 perfectly remastered Blu-ray + DVD + Digital widescreen release of the Emmy-nominated December 1978 television special "Benji's Very Own Christmas Story" provides a great reminder that cute and charming holiday specials outshine darker modern fare. "Story," which does not involve the titular dog desperately wanting a BB gun for Christmas, also continues the solid run of Creek releasing "Benji" fare. A shameless commerce note is that any child or child-at-heart is sure to love finding a bundle of the four Creek "Benji" releases, three of which nicely tie together, under the Christmas tree or the Hanukkah bush. The reviewed "Benji" has our hero rescuing two children from kidnappers. The also reviewed "For the Love of Benji" has the dog star travelling to Greece with the former abductees. The (review pending) "Benji Off The Leash" moves things in a "Touched By A Pooch" direction by having our shaggy star help people who face proverbially daunting challenges. The following YouTube clip of a trailer for "Story" describes the concept of the special and offers a glimpse of the rollicking fun of the story. Our story begins with Benji and his human co-stars Cindy Smith and Patsy Garrett from "Benji" and "Love" on a European publicity tour. We catch up with them in a charming Swiss village (which looks spectacular in Blu-ray) where Benji is scheduled to be the grand marshal of a Christmas Eve parade. The action commences when the trio meets the Kris Kringle (Ron "Fagin" Moody) who is going to drive the one-horse open sleigh in which they are going to ride. One fully expects that everyone will be laughing all the way.
Kringle tells a portion of the story in asking his passengers to visit some fans who cannot attend the parade because they are working. The group agrees under the condition that they are back in time for the parade. The grand tradition of abducting innocents (e.g., "The Polar Express") to visit the workshop of Santa continues with Kringle escorting his guests through a Narnia-style portal that transports them to where he and his elves make the magic happen. This portion of "Story" includes an equally entertaining and educational segment in which Kringle utilizes clever exposition to show Benji et al. the images that many countries have of the man whom whom Americans call Santa. This ends with a truly delightful surprise. The aforementioned rest of the story is that the Santa alleges that an injury prevents him from going on his appointed rounds. He already is preparing the elves to fill in but asks his new friends to help out as well. This portion of the program provides a reasonable believable explanation for Santa being able to deliver so many toys on Christmas Eve. The inevitable happy ending comes via a clever twist at the end of a rousing musical number that puts the talents of Moody to good use. He is wrapping up an energetic song-and-dance routine when the final piece of the puzzle falls into place. This leads to the characters (and the audience) being in a better place than they were when the "Story"commences. The special features include the cute "Benji at Work" television special. This one has '70s child-star Adam Rich host a behind-the-scenes look at our star making a movie. We additionally get a photo gallery of our pin-up pooch. The bigger picture this time is that "Story" is the perfect holiday treat for what ails us. It reminds us of a kinder and gentler time in which reel and real people were pleasant and smiling; this was an era in which speaking your mind did not prompt counter-protests, scorn, and ridicule. The world was not especially harmonious, but people at least were mostly courteous and did not declare war following even minor offenses. It even was a time that anyone could eat at any desired restaurants with confidence that he or she would not be ousted and/or harangued by fellow diners. The final comparison is that the term "whatever happened to peace, love, and understanding" is a lyric from an awesome song in the era of "Story" and a modern sense of what did happen to our regard for those who views clash with our own. Few can argue that this is one case in which the past is superior to the Christmas present.  Mill Creek Entertainment embraces the true Halloween spirit regarding the October 23, 2018 Blu-ray double-feature release "Nightwing" (1979) and "Shadow of the Hawk" (1976). The common theme of both is terror on American Indian reservations. The other shared element is both shoot-on-location films greatly benefiting from the crystal-clear BD images showcasing the beauty of the Southwest and the the Pacific Northwest respectively.
"Nightwing" awesomely melds old-school horror with social commentary that remains relevant nearly 40 years after its theatrical release. The surprisingly strong pedigree of this entertaining B-movie includes director Arthur Hiller ("Love Story"), prolific composer Henry Mancini (original "Pink Panther" films), and star NIck Mancuso. The A-list continues with the film being based on a story by well-known thriller noveilst Martin Cruz Smith, who additionally is a "Nightwing" screenwriter. The IMDb description "killer bats plague an Indian reservation in New Mexico" reflects the traditional "animals gone wild" element of "Nightwing." Hiller and Smith stick to the script by having the horror begin with discovering mutilated horses with mysterious wounds. That brings reservation lawman Youngman Duran (Mancuso) literally and figuratively into the picture, The tried-and-true continues with scientist Phillip Payne (David Warner) arriving on the trail of the aforementioned air-borne threat. He has been tracking the caravan of that threat to homeland security from south of the border and has dire news for the locals. The immediate potential for harm extends to two-legged animals; the bigger picture is that this swarm is using the area to fuel up before going to more populated feeding grounds. Of course, even Duran does not initially believe Payne but changes his tune after a comically campy attack on a group of not-so-good Christians. It is equally predictable that the rest of the population remains skeptical, The climax regarding this comes down to Duran going on a risky mission that runs the dual risks of his becoming a bride of Dracula and having his plan blow up in his face. The one certainty is that he is in deep guano. The new-school elements revolve around issues related to tribal politics; relative traditionalist Duran already is at odds with the leader of a more prosperous neighboring tribe that our hero believes has sold out to the white man. Discovering a valuable natural resource on the land of the tribe of Duran at the same time that the bats show up further complicates matters. The fun of "Nightwing" relates to the variation on man v. weaponized spiders, or bees, etc. These films provide plenty of thrills and chills while making us wonder if mosquitoes ever will become more of a threat than being a highly annoying insect. "Hawk" has a more eerie feel. Jan-Michael Vincent stars as fully assimilated American Indian Mike who is enjoying an office job and good lifestyle when his grandfather Old Man Hawk (Chief Dan George) literally goes off the reservation to track down Mike and convince him to return to his roots. The rest of the story is that Hawk is tasked with keeping a legendary witch and her "monkeys" at bay; Hawk being convinced that he is about to die prompts a mission to get Mike to take his place regarding this effort. This reunion leads to Mike abruptly leaving a swinging bash at his bachelor pad to escort his grandfather home. The aforementioned minions are in hot pursuit and drive the pair (as well as the love interest who largely is along for the ride) off the road and into the woods. The eerie moments include Hawk and Mike each having several disturbing visions; we further get Mike engaging in a highly symbolic mission that culminates in an equally symbolic battle. The fun of "Hawk" begins with the generation gap that the roughly 50-year age difference and greatly divergent world views exaggerates. The extra enjoyment relates to the American Indian beliefs/superstitions. This is not to mention the '70slicious fight scenes. The bottom line is that they do not make 'em like these anymore. The cast and crew all know their stuff; the premises are entertaining, and the gore is minimally,  The Mill Creek Entertainment separate August 21, 2018 DVD and Blu-ray complete series releases of the 2013-16 Showtime docudrama "Masters of Sex" coinciding with the (reviewed) Creek CS releases of the ABC sitcom "Happy Endings" provides Telephiles plenty of viewing pleasure while waiting for the new TV season.
Candor in the spirit of "Masters" is a factor in confessing that August being a particularly busy month for home-video releases and other factors are reasons for pulling out before completion in that this review is based on the first two of the of the four seasons in this series about real-life pioneer sex researchers Dr. Bill Masters and (twice-divorced) Mrs. Virginia Johnson. A desire to see what comes next is the excuse for not reading ahead, The real-life Masters and Johnson will agree that not providing complete satisfaction is a valid basis for complaint. The fact that "Masters" gets 52 nominations and only 6 wins also reflects the spirit of this program about a highly passionate Masters striving to educate the public about physical aspects of sex and every factor that make it either satisfying or anti-climatic. The excuse this time is that the 100s of networks and overall good quality of television dramas the past few years make the competition much more stiff than back in the days of only three commercial broadcast options and PBS. The majority of the wins deservedly go to future Oscar winner Allison Janney for her portrayal of Margaret Scully. The highly stressful marriage of Margaret to university official Barton Scully (Beau Bridges) makes that woman a '50s housewife a rebel with a very righteous cause. Cursory on-line research shows that the series predictably stretches the truth regarding the main characters and their work but remains relatively true to the source material. An assumption is that the incidents in the lives of the supporting characters mostly are designed to entertain and to provide a context for depicting social issues of the day. The pilot episode of "Masters" provides a strong sense of the direction of the show right from the beginning. The opening images are of inter-titles that state that Dr. Williams Masters (Michael Sheen) and former night-club singer Virginia Johnson (Lizzy Caplan) team up to publish a ground-breaking sex study in 1966. The next image is of an inter-title that establishes the year as 1956. We first meet Masters working solo as a peeping Tom with a scientific purpose in a very basic version of his research. This leads to his using his clout (and a touch of blackmail) to move his work to Washington University Hospital where his literal day job includes star status. He initially hires Johnson as a secretary but more fully integrates her into the work and his life as the season progresses. The S1 season finale predictably is climatic as an oblivious Masters presents his preliminary findings accompanied with intimate footage of study participants to his peers in 1957. Although not touched on very strongly, the perception of the film as lewd rather than as a valid element of scientific research relates to the issue of what is pornographic; part of the answer is that the determination must reflect the intent behind the making and the showing of the images. One spoiler is that this controversial production is not very erotic. S2 begins with the fallout from the aforementioned presentation. Masters understandably considering the unwarranted outrage further enhances his inability to work and play well with others. This leads to the same conclusion that often applies regarding exceptionally intelligent and talented people that they do better working for themselves than being a wage slave. The more unsettled nature of the study coincides both with a patient-of-the-week format and episodes with sometimes unduly preachy social issues. The first featured patient is a 20-something genuine nymphomaniac facing surgical sterilization. Many of the social issues revolve around race in the context of Masters working in a black hospital and his wife Libby having a young black woman help her around the house. The season ends with CBS making a documentary about Masters and Johnson; related interesting aspects of this are dumbing down the material and the issue of the seven words that George Carlin informs the American public that cannot be said on television in any context. Modern relevancy is at "SNL" and "South Park" separately running with the concept when at least two of those words get approval for use over the air, It is assumed that Season 3 addresses both the increased fame (or notoriety) associated with the documentary. We further can expect to see the personal relationship of our researchers evolve in the wake of Master showing Johnson great vulnerability in the second season. For her part, Mrs. Masters becoming a more liberated woman likely will impact the home front. The more-than-three-hours of bonus material include behind-the-scenes features, deleted scenes, and "The History of Sex." |
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