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.
'Rescue Me: The Complete Series' Blu-ray: Hilarious Rude & Crude Dramedy About Lives and Loves of the Men of NYFD
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.
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.
'Nightwing' & 'Shadow of the Hawk' Blu-ray Double Feature: '70slicious Tales of Terror on Indian Reservations
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,
'Masters of Sex' Blu-ray and DVD: 'Ripped From the History Books' Saga of Mad Men Style Sex Researchers
The Mill Creek Entertainment separate August 21, 2018 DVD and Blu-ray complete series releases of the 2013-16 Showtime docudrama "Masters of Sex" coinciding with the (reviewed) Creek CS releases of the ABC sitcom "Happy Endings" provides Telephiles plenty of viewing pleasure while waiting for the new TV season.
Candor in the spirit of "Masters" is a factor in confessing that August being a particularly busy month for home-video releases and other factors are reasons for pulling out before completion in that this review is based on the first two of the of the four seasons in this series about real-life pioneer sex researchers Dr. Bill Masters and (twice-divorced) Mrs. Virginia Johnson. A desire to see what comes next is the excuse for not reading ahead, The real-life Masters and Johnson will agree that not providing complete satisfaction is a valid basis for complaint.
The fact that "Masters" gets 52 nominations and only 6 wins also reflects the spirit of this program about a highly passionate Masters striving to educate the public about physical aspects of sex and every factor that make it either satisfying or anti-climatic. The excuse this time is that the 100s of networks and overall good quality of television dramas the past few years make the competition much more stiff than back in the days of only three commercial broadcast options and PBS.
The majority of the wins deservedly go to future Oscar winner Allison Janney for her portrayal of Margaret Scully. The highly stressful marriage of Margaret to university official Barton Scully (Beau Bridges) makes that woman a '50s housewife a rebel with a very righteous cause.
Cursory on-line research shows that the series predictably stretches the truth regarding the main characters and their work but remains relatively true to the source material. An assumption is that the incidents in the lives of the supporting characters mostly are designed to entertain and to provide a context for depicting social issues of the day.
The pilot episode of "Masters" provides a strong sense of the direction of the show right from the beginning. The opening images are of inter-titles that state that Dr. Williams Masters (Michael Sheen) and former night-club singer Virginia Johnson (Lizzy Caplan) team up to publish a ground-breaking sex study in 1966. The next image is of an inter-title that establishes the year as 1956.
We first meet Masters working solo as a peeping Tom with a scientific purpose in a very basic version of his research. This leads to his using his clout (and a touch of blackmail) to move his work to Washington University Hospital where his literal day job includes star status. He initially hires Johnson as a secretary but more fully integrates her into the work and his life as the season progresses.
The S1 season finale predictably is climatic as an oblivious Masters presents his preliminary findings accompanied with intimate footage of study participants to his peers in 1957. Although not touched on very strongly, the perception of the film as lewd rather than as a valid element of scientific research relates to the issue of what is pornographic; part of the answer is that the determination must reflect the intent behind the making and the showing of the images. One spoiler is that this controversial production is not very erotic.
S2 begins with the fallout from the aforementioned presentation. Masters understandably considering the unwarranted outrage further enhances his inability to work and play well with others. This leads to the same conclusion that often applies regarding exceptionally intelligent and talented people that they do better working for themselves than being a wage slave.
The more unsettled nature of the study coincides both with a patient-of-the-week format and episodes with sometimes unduly preachy social issues. The first featured patient is a 20-something genuine nymphomaniac facing surgical sterilization. Many of the social issues revolve around race in the context of Masters working in a black hospital and his wife Libby having a young black woman help her around the house.
The season ends with CBS making a documentary about Masters and Johnson; related interesting aspects of this are dumbing down the material and the issue of the seven words that George Carlin informs the American public that cannot be said on television in any context. Modern relevancy is at "SNL" and "South Park" separately running with the concept when at least two of those words get approval for use over the air,
It is assumed that Season 3 addresses both the increased fame (or notoriety) associated with the documentary. We further can expect to see the personal relationship of our researchers evolve in the wake of Master showing Johnson great vulnerability in the second season. For her part, Mrs. Masters becoming a more liberated woman likely will impact the home front.
The more-than-three-hours of bonus material include behind-the-scenes features, deleted scenes, and "The History of Sex."
The Mill Creek Entertainment August 21, 2018 separate DVD and Blu-ray complete-series releases of the early 2010s series "Masters of Sex" and "Happy Endings" is wonderful news for current fans of those series and for folks who have yet to experience the good quality of both programs. In what seemingly is backwards on a couple of levels. "Endings' is a review topic before "Masters."
The enhanced video of Blu-ray is tailored made for the truly vibrant and detailed colors that extend well beyond the red feathers of Tyler the racist parrot, The crystal-clear rich sound is a bonus.
"Endings" producers Joe and Anthony Russo also are the best brains behind the even more subversive cultcom "Community, which Mill Creek is releasing in separate DVD and Blu-rays sets in September 2018. Fanboys know that the Russo brothers go on to bigger (but not necessarily better) things in the form of "Captain America" and "Avengers" films.
The Russos particularly show that they know their stuff in not adding laugh tracks to either "Community" or "Endings." This reflects the wisdom of Alan Spencer regarding his '80s cultcom "Sledgehammer," which is about a cop who makes Dirty Harry look like Sheriff Andy of Mayberry. Spencer notes that viewers do not need to be told when something is funny. A related note is that the somewhat subtle but hilarious "Endings" joke "Rivers Thicke Johnson" likely would not have triggered the laugh track.
"Endings" begins on a high note for the audience that is a low point for one of the friends around whom the series centers. Future food truckeuter Dave Rose (Zachary Knighton of "Flashforwrd") is standing at the altar with childhood friend/fiancee/failing boutique owner Alex Kerkovich (past literal cougar bait Elisha Cuthbert). The first of an almost "Community" level amount of pop culture references begin with a nod to both "Xanadu" and "The Graduate," A 20-something guy with an open shirt rollerblades down the aisle and turns Alex into a runaway bride.
The action aptly fastforwards a month to Dave living in the bedroom in the apartment in which gay "chubby" and slovenly college buddy Max Bloom (Adam Pally of "The Mindy Project") is couch surfing in his own shabby loft that has rats in the main living area and a belatedly discovered human squatter in a previously unknown attic space.
Penny Hartz (Casey Wilson of "SNL") is a childhood friend of Dave and Alex. Her dating Max in college seeming to be the highlight of her romantic history states quite a bit about this current fag hag. She and Max being the Jack and Karen of "Endings" makes having Megan Mullally play her mother apt.
The fifth member of the sextet is Eliza Coupe of "Scrubs" 2.0 playing Alex sibling/ruthless ice queen/successful executive with an initially undisclosed profession Jane Kerkovich-Williams; the obvious joke comes late in the run of the series.
Damon Wayans, Jr. proves the truth of like father like son in his portrayal of the object of the jungle fever of Jane. His Brad Williams is almost as successful as his wife but is much more silly. His many shining moments include his role in a "Get Out" plot years that has the third Kerkovich sister engaged to a black man years before "Out" is released.
The "Endings" characters themselves and the overall series successfully combine the best elements of "Friends" and of "Seinfeld." The likability of our gang falls right between that of the group that sets the standard for this genre of television comedy, and Team Jerry, Especially in the first two seasons, the "sits" that provide the "com" in "Endings" are closer to the "nothing" end of of the plot scale than silly shenanigans that include scouring Manhattan for a carelessly lost baby or getting trapped in an ATM vestibule with a super model. This is not to mention the old chestnut of accidentally seeing a character of the opposite sex naked.
However, "Endings" specifically mentions "Friends" on a few occasions; the most direct connection is the group once discussing which of them is which "friend." This involving an existential crisis is pure "Endings."
We also get an outing in which Max and Amy rebel against being the "poor" members of the group, A broader connection is the habit of flashbacks that highlight poorly thought out fashion and hairstyle choices.
The "Seinfeld" connection is stronger. Like Jerry and Elaine, Dave and Alex are exes; one difference is that our current couple are on=again-off-again far more than their predecessors. We further get Max engaging in Krameresque escapades that include using his vintage limousine to conduct comically inept tours of Chicago.
"Endings" goes further back in an episode that has Alex, Dave, and Max playing "Three's Company." Dave wondering why his landlord is so obsessed with the sexual orientation of his tenant is a highlight of that one.
Notable episodes that fall in between "Seinfeld" and "Friends" include selfish reasons being behind the rest of the group comically trying to provoke Brad and Jane to fight. That couple playing along contributes to the hilarity. We also get the gang full entering TV Land to help save a struggling toddler play center.
One highly relatable episode has Brad using a pretense to avoid annual visits by a sorority sister of Jane. Once again, the awesome twists are "must-see" TV.
This new set seems to have the same plentiful bonus features as the (much-more expensive) DVD sets from a few years ago. They go beyond deleted scenes and outtakes to include a hilarious parody song and a fun joint interview with Pally and Wilson.
'Crime Time TV: Hot Streets & Cool Cops' DVD: 'Miami Vice,' Knight Rider,' and Greatest Crime Stoppers' Oh My
Mill Creek Entertainment fully embraces the spirit of summer reruns with the June 5, 2018 DVD collection "Crime Time TV: Hot Streets & Cool Cops." This set includes the full first seasons of the iconic '80s series "Knight Rider" and "Miami Vice" and a DVD set titled "TV's Greatest Crime Stoppers." The latter consists of episodes of vintage series that range from "treasures from the vault" such as "Man With a Camera" and "Mr. and Mrs. North" to more heavily syndicated fare that includes "Mannix" and "Burke's Law."
The popularity of the scruff look and the proliferation of linen suits with pastel t-shirts alone attest to the phenomenal pop culture impact of "Vice." Further, the copious montages set to the greatest hits of the '80s arguably make this series about two young Turks out to collar pushers and porn kings the first "Cop Rock" series.
An amusing aspect of the feature-length "Vice" pilot is the extent to which the pilot of the "fast and furious" action-adventure series "Fastlane" mirrors it 15 years later. We meet undercover cop Sonny Crockett (Don Johnson) and his then partner actively working to take down a cocaine godfather when an incident occurs that indicates that the partner is due to retire that day.
New Yorker Ricardo Tubbs (Philip Michael Thomas) soon arrives and convinces Crockett and his superiors to let him in on the fun; of course, the extent to which the case is personal to Tubbs and to which he and Crockett are kindred spirits soon comes out. This leads to the unlikely partnership between a tough black survivor of the mean streets of New York and a good ole Southern boy who is a former football star.
The first regular season adventure pits our boys against a porn kingpin who preys on teen girls. Seeing "Modern Family" star Ed O'Neill play this video pioneer in his "Married With Children" era is fun. The "Fastlane" element is the team working with an undercover fed who may be on Team Darkside.
IMDb perfectly captures the spirit of the next episode with the following description. "Crockett and Tubbs must enlist the help of an unreliable petty thief to bust a drug operation run by a trio of bloodthirsty Jamaicans." The comic mayhem regarding the sting operation that leads to all that is an episode highlight.
"Vice" then moves onto a special two-parter that ties back to the pilot; it is business as usual from there.
"Knight Rider" is best known for making "The Hoff" a household name. The pilot finds undercover cop Michael Long (David Hasselhoff) investigating the '80slicioous crime of microchip theft. His case ending with very high prejudice leads to one-percenter Wilton Knight (Richard Basehart) giving Long the titular identity to go along with his new face and new crusade.
This new career involves Knight teaming up with K.I.T.T., which is a car that makes the Batmobile look like a Vega, to fight all of manner of injustice. Sadly, we do not get the evil twins this season.
Cliched early fun has Knight introducing K.I.T.T, to the concept of a vacation only to have the pair face off against a motorcycle gang that is terrorizing a small town; knowing how things will unfold doe not diminish the joy in watching the events.
The awesome nostalgia of "Crime Stoppers" fulfills the DVD purpose of getting to see classic series with limited syndication runs. The strong retro goodness of this collection makes it particular strong.
The first bit of fun of "Code 3" is that it reflects the successful formula of "Dragnet," which also makes the "Stoppers" cut, in that episodes are based on actual crimes. This one has a resentful redneck as the prime suspect regarding the murder of his wealthy father-in-law. The solving of the case provides equal amusement. More fun comes via seeing that the real-life sheriff of Los Angeles County of the day looks and acts like Floyd the barber from "The Andy Griffith Show."
The 1950-52 "Dick Tracy" TV series is notable for reflecting a media trend. This character and his universe begin life as a comic strip and evolve into a radio show before hitting the small screen. That series reflecting radio roots through extensive (but not annoying) exposition reflects a similar pattern regarding films. Early silents have the exaggerated gesturing as live-stage productions, and early "talkies" retain that technique.
"Mr. and Mrs. North" about amateur crime-solvers millionaire publisher Gerald and socialite wife Pam is the child of "The Thin Man" film series and the parent of the '80s "Hart to Hart" television series.
Other "lost" gems include "Sherlock Holmes," "Sea Hunt," and "I'm the Law."
Anyone with any questions about this sampler pack is encouraged either to email me or to connect on Twitter via @tvdvdguy.
'The Awesomes' DVD/Blu-ray/Digital: Seth Meyers and His SNL Buds Give 'The Justice League' Animated Series the 'Drawn Together' Treatment
The awesomeness (pun intended) of the June 5, 2018 releases from Mill Creek Entertainment includes the separate DVD and Blu-ray (both of which include codes for digital copies) complete series sets of "The Awesomes." This 3-season 30-episodes 2013-15 animated Hulu series joins (reviewed) DVD and Blu-ray releases of the fairy-tale-influenced mini-series "The 10th Kingdom" and a (soon-to-be-reviewed) DVD set that includes the complete first seasons of "Knight Rider" and "Miami Vice" as hot-off-the-presses additions to the Mill Creek catalog.
"Awesomes" is the brainchild of SNL alum and current "Late Night" host Seth Meyers and his long-time collaborator Mike Shoemaker with tons of voiceover help from friends who include Ike Barinholtz and Bill Hader. The end result is success where many others fail regarding a superhero spoof. The winning formula this time is placing the guardians of our galaxy in a setting that is very reminiscent of the 2004-07 Comedy Central animated faux reality show "Drawn Together" that has virtually every central casting type from Saturday morning cartoons and video games under one roof "Teen Titans" style.
The following YouTube clip of the "Awesomes" series trailer provides a good primer on the lore and the humor of the show. The even better news is that the Blu-ray version of the show looks much brighter than this promo. The best news is that the trailer includes the top moment from the series.
The pilot begins with Mitt Romney superpowered lookalike Mr. Awesome (Steve Higgins) announcing his retirement after 50 years of leading the titular league. Son Jeremy "Prock" Awesome (Meyers) convincing Dad to let him take over the family business leads to a unanimous walkout by the current squad with the exception of childhood friend Muscleman (Barinholtz). The only other leftover is low-level administrator Concierge (Emily Spiveey).
Desperate times in the form of losing federal government funding and other support if he does not rapidly form a new team prompts Prock (Professor plus Doctor) to recruit misfits who have exceptional abilities but are in the "reject" file because of severe flaws.
Frantic (Taran Killam) is an excitable boy who can run 500 m.p.h. Having the mother of all mommy issues strongly affects the ability of Impresario (Keenan Thompson), who can conjure up any tangible image with his mind. Eleven year-old Asian boy Tim (Bobby Lee) hulks out to a 600-pound Sumo wrestler with the slightest provocation. The remaining problem child is Gadget Girl (Paula Pell), who is a golden girl with a magic bag full of tricks and a lack of understanding that what is appropriate in the '50s is unacceptable in the 21st century.
A need to fill one more slot leads to hiring Hot Wire (Rashida Jones), who can manipulate electricity ala Static Shock. The issue regarding her is the strong possibility that she is a Trojan Horse.
Each group of episodes revolves around a season-long threat. This begins with Awesomes nemesis Dr. Malocchio (Hader) deciding that the retirement of Mr. Awesome provides a good chance for escaping from prison to implement a grand evil scheme. The fun of this includes that plot involving discrediting Awesomes 2.0.
Season 2 finds the surviving team members battling a Legion of Doom that another foe spends the season assembling from individuals whom our heroes offend in one manner or another throughout this season. An example of this is the team learning the truth regarding the saying that Hell hath no fury like a woman scorned.
The series winds up with the final season-long foe hitting very close to home on many levels. The episodes remain strong, but the underlying premise of the story arc is weak in that the final episodes of the season (and the series) reveals that the wolf in spandex clothing goes to a great deal of unnecessary trouble to achieve his penultimate objective.
The most hilarious episode in the series is the S3 season premiere "Seaman's Revenge," which starts with the standard story of a day off leading to a mission to save the day. The aforementioned glee largely relates to an oblivious Gadget Girl responding to questions about her experiences with Aquaman clone former Awesomes member Seaman. One missed opportunity is not asking her whether she finds Seaman hard to swallow.
The next strongest outing is an S2 one in which The Awesomes agreeing to make a "Drawn Together" reality show goes comically horribly awry. A highlight this time is a team member making a coming out announcement to boost his profile on this show within a show.
Other fun episodes parody scifi and/or superhero staples. These include the gang meeting alternate superpowered versions of themselves, and Meyers and Shoemaker provide a strong outing in which the gang obliviously is leading normal lives. The only disappointment is that evil versions of the good guys lack goatees.
The series finale achieves the modern show ideal of serving equally well as a season finale or the last hurrah for the characters in the event that the series is cancelled. In this case, all is right with the world until a new threat appears in the final seconds. This creates hope for three streaming seasons and a direct-to-DVD movie.
The special feature primarily consist of a one-shot ComicCon panel and trailers and promos for each season.
The Mill Creek Entertainment separate June 5, 2018 Blu-ray and DVD releases of the star-studded 2000 mini-series "The 10th Kingdom" provide fans of the recently concluded long-running ABC dramedy "Once Upon a Time" another bite of the poisoned apple regarding a fun melange of our world and that of fairy tales. It further has the same spirit as the 2007 Disney comedy "Enchanted" in which fairy tale folks experience Manhattan melodrama.
These releases provide everyone quality family entertainment that truly appeals to folks from 8 to 80. The bigger picture is that we have another reason to shout for joy regarding Mill Creek expanding well beyond its roots as a purveyor of compilations of public domain television series of the '50s and the '60s.
This epic and very colorful production filmed in a plethora of European countries additionally looks and sounds spectacular in Blu-ray.
The following YouTube clip of the Mill Creek trailer for "Kingdom" perfectly captures the beauty and the tone of the series.
The premise is that the titular realms are fairy tale monarchies that are tied to a specific fairy tale notable or creature. For example, the Fourth Kingdom where most of the action occurs is the Snow White realm and trolls rule the Fifth Kingdom. Red Riding Hood and Cinderella also have their own lands. Our reality is the 10th Kingdom, which is only accessible via a magic portal.
The other broad bit of lore is that the turmoil in the nine kingdoms 200 years ago is the stuff of which our fairy tales are made.
The action begins with Relish the Troll King (Ed O'Neill) breaking into the Snow White Memorial Prison to once again spring his three stooge-like offspring; this escape comes to extend to releasing Evil Queen (Dianne Wiest) from her own unfortunate incarceration.
Another lucky break for the queen allows her to implement the first steps of a plan to prevent arrogant grandson Prince Wendell from ascending to the throne of his kingdom. Comic mayhem begins to ensue when the prince (who is a victim of a "Freaky Friday" style transformation) flees into our world.
A destined encounter between the prince and New York 20-something waitress Virginia Lewis brings her and her deeply cynical building superintendent father Tony Lewis (John Larroquette) into the action. Former guest of the queen Wolf pursuing the prince into Central Park is the final element that allows the story to fully develop.
The Lewises, Wolf, and the prince then essentially travel through the looking glass on crusades with overlapping objectives. Wendell claiming his crown and the Lewises acquiring the necessary means to return home involves battling virtually every fairy tale baddie known to man.
The queen puts the trolls and a huntsman (Rutger Hauer) on the tail of our group. They also square off against other foes whom they meet in their travels.
The ticking clock is the impending coronation which will result in the ersatz prince getting the corner office unless Wendell can timely revert to his true self. Meanwhile, every effort of the Lewises to find a way home ends in amusing disaster. These stories strongly merge in the fifth of the six episodes when Virginia and Tony learn that their connection to the kingdoms is much closer than they ever imagined.
The copious fun of all this begins with the concept that one man's fairy tale is another dwarf's reality; this goes on to non-stop action as our main group essentially follows a long and winding yellow brick road effectively to the castle of the wizard. The third big element is having a perfect tone that reflects modern cynicism and conflict while keeping things adequately light for the kids.
The bonuses include a grand 45-minute "making-of" feature that looks as spectacular as the series. We also get the insights of cast and crew regarding this successful ambitious production.
Mill Creek Entertainment does fans of '70s superdog star Benji a pawtastic solid in releasing the 1977 family film "For the Love of Benji" less than two months after the February 13, 2018 (reviewed) release of the 1974 film "Benji." Both releases looking great and coming out in DVD and Blu-ray with a code for a digital download eliminates any excuse for not buying both.
The following YouTube clip of a SPOILER-LADEN "Love" trailer provides a good sense of the themes and the setting of the film.
Stating much about the underlying concept of "Love"also risks spoiling "Benji," which centers around the efforts of the titular lovable mutt to reunite kidnapped children with their father, "Love" opens with Benji being temporarily Shanghaied from a luggage conveyor belt on his way to board an Athens-bound plane.
The mission that this agent is not provided the option of refusing is to smuggle information to Crete. The ensuing mayhem commences on his missing his connection in Athens.
Benji making a break for it at the Athens airport sets the stage for the primary theme of "Love." Roughly 75-percent of this film that looks and sounds great in Blu-ray consists of Benji traveling the sites of Athens (including the Parthenon) in this modified "Lassie Come Home." The charm of the star and the beauty of the setting keep things interesting despite the relatively limited dialog and involvement of two-legged characters.
The good guys, the bad guys, and the guys with ambiguous intentions regarding Benji engaging in various degrees of pursuit break up our hero seeing the sites and making friends with a dog who hangs out at the Parthenon. This interaction shows that Benji is good boy and that he understands how to make friends and influence canines.
All of this leads to particularly exciting final 15 minutes. Both Benji and those near-and-dear to him are endangered. This sets the stage for this television and film star to once again save the day. This in turn leads to an expository epilogue that involves the happy ending that both family films and Hollywood require in the '70s.
Mill Creek also does Benji just as proud regarding the bonus features on "Love" as it does regarding the release of his first film. The earlier film includes two Benj television specials; "Love" has one special and the (sadly sans Benji) feature film "The Double McGuffin" by "Benji" and "Love" writer/director Joe Camp.
The wonderfully bizarre 1981 ABC special "Benji Takes a at Marineland" has marionettes that resemble the Krofft puppets of the era narrate the buildup to Benji preparing to be the first SCUBA-diving dog. The setting for this historic feat is Marineland in Florida.
The era-apt kookiness of this includes a puppet named Boris Todeath plotting to thwart the effort of Benji to make history. The nefarious scheme involves Boris stealing the specially-designed gear so that he can be the first to take this particular plunge.
This plethora of Benji is a great treat and shows that the purpose of a dog always has been and always will be to set a good example for us allegedly superior beings
The Mill Creek Entertainment February 13, 2018 Blu-ray/DVD/Digital Combo Pack release of the 1974 family film classic "Benji" gives men whose significant others shave their legs and/or their faces a chance to be a Valentine's Day hero. This is not to mention allowing parents to score big with their special someones who are too young to shave anything.
This low-budget indie film looking pawtastic in Blu-ray is only the tip of the iceberg. This tale of a mutt who already has the heart of a small town and goes onto outshine Lassie regarding two kids who have "fallen down a well" genuinely appeals to anyone from 4 to 90.
Writer-director-producer Joe Camp, who goes on to make several other Benji movies, hits all the right notes with this film debut of this star of the '60s ruralcom "Petticoat Junction." The strongest selling point is the cuteness of the lead and his expressiveness that is obvious to both the people in "the business" and to the general population.
Camp shows further knowledge of psychology by centering "Benji" around a small creature to whom adults refuse to listen even when he has crucial information to convey. Virtually every child and many adults relate to futilely "barking" only to have authority figures ignore them and/or shove them out the door.
Camp demonstrates additional understanding of his audience by populating the cast mostly with stars from '60s and '70s sitcoms.
Patsy Garrett who plays neighbor Mrs. Fowler on the fantasycom "Nanny and the Professor" plays kindly housekeeeper/surrogate mother Mary at the abode with the two moppets where Benji eats breakfast every morning. We also get Frances "Aunt Bea" Bavier as "woman with cat" who has a love-hate relationship with our star, and former Benji (nee Higgins) co-star Edgar "Uncle Joe" Buchanan as a kindly diner owner. Casting against type has Tom "Eb" Lester playing bad guy Riley. Deborah Walley of "The Mothers-In-Law" joins Lester in trading her sweet young thing image to play fellow neer-do-well Linda.
"Benji" opens with the titular former shelter puppy going about his daily business to the accompaniment of the Golden Globe winning and Oscar-nominated song "Benji's theme" sung by country singer Charlie Rich. (A segment in the TV special "The Phenomenon of Benji" that is a DVD extra shows Benji being among those who go up to accept that award.)
The first sign of trouble is when the group of young criminals that includes Riley and Linda breaks into the abandoned home that serves as a large two-story dog house for Benji.
The worlds of Benji collide when the lawbreakers show up with the aforementioned moppets gagged with their hands tied in front of them. This being a G movie results in the kids not looking any worse for wear and not seeming exceptionally frightened.
This discovery prompts Benji to race to the home of the kids to alert their father (Peter Breck of the Western "The Big Valley") and the police about the whereabouts of the children; unlike Lassie, Benji is kicked out of the house. He soon discovers that none of his other human friends are any help.
The film title and this being a '70s kids movie ensure that Benji keeps trying until he succeeds. His next effort proves that his skills apparently include the ability to read a dog-eared note, which he brings back to the crime scene.
This second bite at the Kong is one of the best ones in the film; seeing defeat essentially being ripped from the jaws of victory is a surprising twist that is equally frustrating for the audience and Benji. We also thrill on seeing him overcome staggering odds to finally convince the adults to pay attention to him.
Camp deserves additional credit for avoiding cartoonish cliches regarding the inevitable chase of Benji back to the house where the kidnap victims are being held. There are no comic efforts by large bodies to fit in small places, no knocking pedestrians off their feet, and even a very limited element of an exasperated Benji waiting for the slow and clumsy humans to catch up with him.
Benji being happy with his current existence and even having a love interest whom he meets and courts in an adorable scene creates three possibilities for the mandatory happy ending. Either he returns to his standard routine of visiting his friends every day and spending his nights in his squat, or is adopted by the family whom he reunites and becomes an indoor dog, or his new life falls somewhere in the middle.
"Benji at Work," which then "Eight is Enough" moppet Adam Rich hosts, is another TV special in this two-disc set. While "Phenomenon" is a '70slicious tribute to the popularity of the dog of that century, "Work" focuses on "behind-the-scenes" footage of Benji doing his thing. Mill Creek additionally gives us the four-minute "Benji" trailer complete with audience reactions.
'Night of the Living Dead' Blu-ray: 50th Anniversary of Classic Commentary on Cold War and Race Paranoia
Mill Creek Entertainment awesomely gets into the Halloween spirit by following the (reviewed) September 26, 2017 Steelbook Blu-ray and DVD release of the (newly remade) 1990 Joel Schumacher thriller "Flatliners" with the October 3, 2017 50th anniversary Blu-ray release of the George A. Romero horror classic "Night of the Living Dead." The "Dead" release, which is the first U.S. Blu-ray version of this film, comes one day shy of the anniversary of the theatrical release of the film.
The outer layer regarding "Dead" is that it arguably is the best and most enduring zombie movie ever. The black-and-white cinematography (which looks great in Blu-ray) and solid pulp horror acting by the ensemble and the extras succeed in making these slow-moving respiratory-impaired monsters menacing. Further they seem to have more dexterity and individual physical strength than their walking dead descendants.
Seeing siblings John and Barbara arguing in their car while at the cemetery to visit the grave of their father evokes strong thoughts of a similar scene at the beginning of the musical-comedy horror spoof "The Rocky Horror Picture Show." A related creepy element is that John arrogantly complaining, Barbara trying to placate him, and the nature of their relationship being ambiguous for the first several minutes of "Dead" makes it just as likely that the couple is related by marriage as it is that they are blood kin.
This leads to the next horror cliche of a still-arrogant John trying to scare Barbara only to end up as the appetizer in what the zombies hope is a smorgasbord.
Barbara subsequently fleeing in terror sets the action discussed below in motion.
The next layer is an awesome vibe regarding the original "War of the Worlds" radio broadcast. That one esalates national terror as an initially unidentifiable threat in a rural community builds as it is discovered that space aliens have come to conquer us. Romero pays homage to this both in setting most of the action in an isolated farmhouse far from the city and in having radio and television broadcasts provide exposition. This nod to the past continues both with having scientists in on the action and in tying the zombie outbreak with an outer space threat.
Going a little deeper, "Dead" blatantly reflects the Cold War paranoia of the era. The small group of survivors under siege in the aforementioned home both effectively are trying to ward off fallout victims and fear what they view as an invasion from a Soviet-style enemy that literally could include friends and neighbors.
Pretty young blonde Barbara is suffering from PTSD and spends much of the film looking terrified and fearing that the enemy is going break in any moment.
Even more symbolically, white middle-aged family guy Harry insists on barricading his wife and young daughter in the basement until the threat subsides. Those of us in the know predict early on that that course of action adds a touch of the '60s youth movement to "Dead."
Thirty year-old black man Ben is an equally symbolic character. He knows that hiding in the basement does not work and advocates peaceful resistance. One of the most distressing scenes has Harry literally slam the door in his face just after Ben attempts a daring mission.
The fate of Ben is a sad commentary on the lack of progress in the half-century since the release of "Dead." Recent real-life events prompt what is hoped to be an early cynical guess regarding the fate of this character only to have that prediction tragically come true.
Romero further deserves credit for showing that making a good horror movie with a message only requires decent actors, a stable of extras who can shuffle and groan, and a disposable house.
'Flatliners' ('90) BD: Designated Survivor Kiefer Sutherland Leads Rogue Med Students on Live-Die-Repeat Adventure
The Mill Creek Entertainment September 26, 2017 Steelbook Blu-ray/DVD release of the 1990 Joel Schumacher version of the horror film "Flatliners" looks and sounds amazing and proves that this film aces the test of time. It also makes a great Halloween season companion to the (Unreal TV reviewed) October 3, 2017 Mill Creek 50th Anniversary Blu-ray release of "The Night of the Living Dead."
Many factors contribute to the appeal of this film that has Kiefer Sutherland play a med student who leads his classmates in experiments to determine what happens when you die. On a general level, folks who just check out "Flatliners" to see Sutherland and co-stars Julia Roberts and Kevin Bacon probably will enjoy it more based on the film exceeding their expectations.
"Flatliners" additionally hits the "Baby Bear" sweet spot regarding the balance between art and commerce for which Hollywood studio films should strive. Hiring Schumacher of "The Lost Boys" and "St. Elmo's Fire" and the hot young actors (as well as Billy Baldwin and Oliver Platt) demonstrates a reasonable profit motive. Schumacher and his team doing well with a story that has depth provides a good dose of art.
"Flatliners" opens with ominous (perfect-for-Blu-ray) "Omen" style music as Sutherland's Nelson races across campus and peeks in the muraled abandoned room (spectacular in Blu-ray) where he is going to conduct his experiments.
These opening scenes also establish Roberts' Rachel as a compassionate practitioner obsessed with near-death experiences, Bacon's David as a rogue rebel who rappels from his apartment window down the side of his building and drives an Army surplus truck merely to show that he is a stud, Baldwin's Joe as a Lothario who secretly videotapes his do-'em-and-dump-'em conquests, and Platt's Randy as arguably the most egotistical medical student ever.
These introductions lead to Nelson approaching each of them to confirm their participation in the initial experiment that evening; the simple concept is that that team will perform a carefully orchestrated procedure that will very briefly kill Nelson and revive him. The objective is that he will recall what he experiences during his short dirt nap.
The essential dream sequence (which also makes perfect use of Blu-ray) during the death of Nelson opens with a gorgeous scene of young boys and a dog running through a field of yellow flowers. This soon turns to dark and scary woods (once more looking great in Blu-ray) in which the now-feral boys are pelting a terrified treed lad with rocks.
Nelson returns to the land of the living with total recall regarding the experience described above. The real terror begins when it seems that hitchhikers from the other side are haunting him on this side. The worst part of this is that the bullied boy is pummeling Nelson hard enough to inflict serious damage.
The experiences of the others similarly evoke thoughts from deep in their psyches and bring their own personal Hells literally and figuratively to life; these post-death terrors take the predictable tolls on the minds and the bodies of our heroes.
Cracking the code to putting the aforementioned demons to bed prompts Nelson to go to extreme measures to avoid all the impact of a beat-down by a super-powered nine-year-old boy; this prompts his team to take their own drastic actions. Suffice it to say, none of them come out unscathed.
The aforementioned depth extends beyond this vision of what happens when we die; ambiguity exists regarding the extent to which the experiences of the group are actual or simply reflect the greatest source of their guilt or other tremendous angst. That it turn raises the issue of whether our worst misdeeds/most severe traumas truly consume our thoughts in our last seconds of life. All of this would justify the tag line "Be A Freud, Be Very A Freud."
Unreal TV 2.0 evolves from http://classictvdvdreviews.blogspot.com/ (which still is up.) Both sites are labors of love dedicated to preserving the golden and silver ages of television and film and celebrating new content that values art over commerce. The same principle applies regarding boutique hotels.