Mill Creek Entertainment further adds to its Blu-ray library of feel-good movies with the January 14, 2020 double feature of the 1989 Jack Lemmon/Ted Danson/Ethan Hawke film "Dad" and the 1996 comedy Walter Matthau/Ossie Davis comedy "I'm Not Rappaport." This coincides with the (reviewed) MCE BD release of the 2002 JLo/Ralph Fiennes romcom "Maid in Manhattan." 

As indicated by being one of a handful of '80s and '90s movies (including "Nothing In Common" with Tom Hanks and Jackie Gleason) about an estranged adult son having to contend with his difficult elderly father, "Dad, " which is a Stephen Spielberg joint that Gary David Goldberg ("Family Ties") writes and directs,  is the more substantive of the two films.

The figurative 25-words-or-less synopsis of the film is that literal Wall Street yuppie John Tremont (Danson) must return to his childhood middle-class LA suburban home to care for titular parent Jake Tremont (Lemmon) when mom Bette Tremont (Olympia Dukakis) has a heart attack.

Rather than a history of tears and recrimination, John and Jake merely drifted apart due to a combination of the "Cats in the Cradle" syndrome and typical generational differences. Member of "The Greatest Generation" Jake outwardly is content with his career consisting of a daily-grind job at (presumably) the same employer for decades; the career path of Baby Boomer Jake reflects a desire for more material and inner gratification, Gen X grandson Billy Tremont (Ethan Hawke) reflects the arrested development of his peers. 

The reveal and impact as to the manner in which Jake has coped with a not very fulfilling adult life arguably is the most interesting aspect of this movie that easily holds the interest of the viewer throughout. This involves a fascinating twist on having a second family. 

Everything aptly overall is Jake at the beginning of the film; John is agreeable to his role of temporary caregiver/home ec. instructor while Bette recovers in the hospital. The game-changer of the physical and mental health of Jake rapidly takes a massive turn for the worse is relatable to many folks with elderly parents.

The overall well-presented textbook tale involves John experiencing a mix of deep concern for his father and fully justified disdain for the health-care industry decades before it lowering the bottom to which it has sunk. The "B" story is John trying to understand Billy. This manboy is one of the more interesting characters in that part of him is a cool dude shacking up with a couple of buddies and a chick in Mexico and the other part is a dork who has much more than nothing in common with his grandfather. 

The ensuing events that attempt hilarity by having  the three generations of Tremont men gleefully act  dumb and dumber either are highly entertaining or highly annoying. This is from the perspective of a guy who now gets along with his elderly father but considers family meals the home version of "Who's Afraid of Virginia Woolf" and cannot understand why relatives enjoy vacationing together. 

"Dad" being a 20th-century Hollywood film by folks who do family-friendly fare right ensures that all concerned better understand each other and have closure by the end. 

"I'm Not Rappaport" aptly has more of a live-stage vibe because it is based on the truly hit play of the same name. Playwright Herb Gardner directs and writes the screenplay for this adaptation. 

Perfectly cast grouch/grumpy old man Matthau steals the show as Nat "Oscar" Moyer, who takes a daily break from boisterously stirring up trouble as to his advocacy for the little guy to hang out in Central Park with elderly building superintendent Midge "Felix" Carter (Davis), who merely wants to stay "invisible and not rock the boat. This relationship makes one hope that Gardner would have revised his play by making the Carter role one that would have been suitable for Lemmon.

The aforementioned activism of Moyer always involves his adopting a false persona to protect whom he considers the downtrodden; this includes causing a near-riot as the food prices at the grocery store or threatening the president of the tenants' association at the building where Carter works. One such incident has him both speak loudly and carry a big stick. 

As is the case regarding friendship among people of every age, most of the interaction between Moyer and Carter involves Moyer going and on either about legendary union organizers or the role of Moyer as to those activities. For his part, Carter mostly keeps calm and carries on.

Much of the fun of Rappaport extends beyond the countless witty quips to relate to seeing Matthau stay true to his persona in a "Mom, Grandpa's doing it again" manner. Heavier substance comes in the form of the portrayal of Matthau of a character who realizes both that he is way past his prime and has not lived the life that he has desired; his coping mechanism as to that is comparable to how Lemmon's Jake has managed his daily routine for decades. Both are fortunate to have the love of a good woman ease their burdens, 

The common lesson of both films is that growing old is not for the feint of heart. Carter perfectly describes the relatability of the themes by reminding the middle-aged yuppie that is pushing him out of his long-term job and home that that guy is not immune to old age, 

The Mill Creek Entertainment January 14, 2020 DVD/Blu-ray release of the 2002 Jennifer Lopez/Ralph Fiennes romcom "Maid in Manhattan" shows that a chick flick also can appeal to men. This largely is attributable to '80s teencom god John Hughes authoring this neo-modern Cinderella story; the 21st-century twists include hotel maid Marisa Ventura (JLo) being much more concerned with the glass ceiling than a glass slipper. 

The following old-school style trailer for "Maid" equally highlights the "rom" and the "com" of the film in addition to the genre-obligatory K-Tel Records caliber pop tunes soundtrack.

Pop star JLo plays against type as working-class single-mom Marissa; highlights of her performance include not portraying this wage slave as a stereotypical feisty and out-spoken woman. Tyler Posey of the "Teen Wolf" television series fills the role of cute sitcom-style kid.

Fiennes plays Kennedy-light NY assemblyman Christopher Marshall with senatorial aspiration that the "wrong" romantic relationship may derail. Stanley Tucci fills the role of uptight buzzkill as beleaguered aide Jerry Siegel.

Natasha Richardson steals every scene in which she appears as to her Gwenyth Paltrowesque portrayal as evil "witch" /Sotheby's rep Caroline Lane. Her hanger-on frienemy is aging party girl Rachel Hoffberg (Amy Sedaris). 

This stereotypical ensemble also includes the harmless hotel butler/father figure, who is the confidante and main supporter of Marissa. Rather than being outrageously gay, his sexuality may be along most points of the Kinsey Scale.

A largely unexplored but interesting aspect of "Maid" is the immigration status of Marissa and her mother; a scene in which Marisa gets upset as to having to provide her employer her social security number and the name of her mother indicates that our lead minimally is a dreamer. 

Our plot centers around a series of amusing events related to Christopher mistaking Marissa for a fellow hotel guest; the plot thickens on Christopher inviting Caroline to lunch due an impression that she is the couture-clad woman who is the object of his affection. Needless to say, this is one big fish that Caroline is intent on keeping on the line. 

A $2,500-a-plate fund raiser plays the role of the prince's ball as to the magical night for Marissa; of course a pop-song accompanied montage of Marissa and her "mice" transforming her into a princess precedes that scene. A walk-of-shame taking the place of having a carriage revert to a pumpkin is one aspect that makes this fairy tale neo-modern, 

Of course, the honeymoon period is very short-lived at the hands of Caroline before she leaves the city; it is equally predictable that the moppet of the film helps true love prevail. This leads to the final pop-song montage that provides the "where are they now" element of "Maid." Of course, Marisa find both personal and professional fulfillment. 

The appeal of this feminist fluff is especially strong as winter is reasserting itself with a vengeance in much of the US. You may not especially connect with any character but will recognize each of then and enjoy their Neil Simon style "Suite" antics.

The Mill Creek Entertainment CS DVD set of the 1992-99 NBC "Must-See" sitcom "Mad About You" is must-own for any OS fan and/or folks able to watch the current reboot on the Spectrum Originals on-demand channel of the cable provider of the same name. The same is true for anyone who enjoys the fare from the downtown section of TV Land.

The first bit of good news is that this collection, which provides each well-marked disc (complete with episode titles) its own sleeve, puts right what once went wrong as to the individual sets of this seven-season series stopping after releasing the fifth season. The second bit of good news is more specific to folks who own those single-season sets. The MCE set being readily available for between $20-$25 easily justifies buying it if only to complete the collection. 

The premise of 4-time Golden Globe winner "Mad" is similar to that of the 1972-74 urban comedy "Bridget Loves Bernie" starring David Birney and a pre-Birney Meredith Baxter. That former is a wealthy Catholic woman who marries the latter, who is a Jewish cabbie, Many of the "sits" that provide "com" in that series revolve around the Titanic clash of the in-laws.

The kinder-and-gentler "Mad" opens with newlyweds Paul (Paul Reiser) and Jamie (Helen Hunt) Buchman living in a typical above-their-means apartment in Greenwich Village in New York. It is paired with "Seinfeld" in the then-Wednesday night slot of that series.

Interaction between those companion series include tenant Paul visiting his sub-tenant Kramer in the apartment of the latter. Further, Seinfeld makes a cameo in the S9 season premiere. 

Watching at least 60 of the 164 "Mad" episodes in preparation for this review facilitated picking up on  nuances missed while watching network broadcast airings. The first is the live-stage vibe both particularly in the first season and in scenes between Reiser and Hunt in their aforementioned abode.

Series creators Reiser and Danny Jacobson hit the mark in their attempt to depict the the daily lives of typical NY yuppies of that era; this is in contrast to the more middle-class existence of the titular "King of Queens" and his queen of that sitcom, which also is a (reviewed) MCE CS DVD set. 

The "Mad" pilot starts things strongly. Paul and Jamie still are in their figurative honeymoon period but have not made whoopie for several days due to their busy schedules. They plan an intimate evening, only to have a forgotten invitation for friends to come over for dinner interruptus their coitus. Suffice it to say, this leads to a multi-tasking effort. 

A variation of this occurs in the S3 Thanksgiving episode. Hilarity ensues when an effort to host a perfect Thanksgiving for both sets of parents and other friends and family repeatedly goes comically awry. Much of this revolves around trying to sneak numerous substitute turkeys past the guests.

The theme of gathering the eccentrics in the lives of our leads evokes thought of cast members of fellow "Must-See" series "Friends" stating that their favorite episodes are the ones in which all the action involves the sextet hanging out sans the other people in their lives.

One of the best "group" episodes of "Mad" has that couple, and others who include lovably immoral Paul cousin Ira (John Pankow), kooky therapist Sheila (Mo Gaffney), and British neighbors Hal and Maggie who regularly find themselves the victims of mishaps and gaffes by the Buchmans gather at Chez Buchman for a birthday party for Paul. The main "sit" that provides "com" is the misdeeds of this Seinfeldian group as they separately or in pairs go unescorted into the apartment of the British couple. 

Another episode has Jamie's kooky sister Lisa babysitting for the weekend only to get trapped while engaged in forbidden activity; the folks who are called to come help soon become equally ensnared. 

The bigger picture is that "Mad" presents the anatomy of a marriage over its first seven years. We see the highs and lows and the arrival of baby Mabel. Themes include the periods in virtually every relationship in which you love but do not like the other person and face whether you would be happier without him or her than you are with them.

The "Mad" series finale evokes strong thoughts of the final episode of fellow NY-based "Will and Grace." The last hurrahs for both shows depict the lives of the main characters roughly 20 years in the future. "Will" semi-famously undoes that regarding the recent reboot of the series; "Mad" follows suit. 

The copious DVD bonus features include a blooper reel, promo spots, and episode introductions by Reiser and Hunt., 

The Mill Creek Entertainment December 10, 2019 Blu-ray and steelbook Blu-ray CS sets of the 1967-68 series "Ultraseven" arguably is the best entry in the MCE very-strong series of "Ultra" releases. It is inarguable that this collection with spines that form a combined image will make the day of any fanboy (and the inner 12 year-old lad in everyone else) that finds it under the tree a in a couple of weeks. This will even  be more so, as MCE shares, when Marvel launches "Ultraman" comics in 2020.

One aside is that (like he other MCE "Ultra" releases), the "Ultraseven" BD looks and sounds amazingly pristine. MCE also maintains the "Ultra" tradition of a booklet that almost goes to infinity and beyond as to supplementing detailed episode synopses with things such as monster and tech. profiles. 

A second aside is that the "Ultraseven" theme is ultra addictive. You WILL find yourself shouting "SEVEN, SEVEN, SEVEN." 

Although subsequent series (such as the reviewed "Ultraman GEED" and also reviewed "Ultraman Orb) offer copious "Power Rangers" style fun, "Ultrasevn" has a more mature and less frantic tone. It clearly reflects recognition that the (reviewed) "Ultraman" fanbase is becoming a little older. 

The lore of "Ultraseven" is that our hero is a scout from the Land of Light in Nebula M78 who comes in peace at a time that the natives of many other planets are actively working to invade Earth. The latest nefarious scheme takes a page out of the scifi cult classic of the era "Mars Needs Women" by seemingly randomly beaming up humans while they are engaged in their daily routines. 

A page out of "Batman" '66 comes when two members of the elite Ultra Guard of the Terrestrial Defense Force have just roared their version of the Batmobile out of their version of the Batcave when they almost rundown Dan Moroboshi, who (unbeknownst to his new friends) is our essentially robot in disguise. 

Dan helping the men avoid a potential alien probe leads to this stranger quickly joining the band as he seventh member of the Ultra Guard. Of course, Dan covertly reverts to his true form at the 11th hour.

The next episode is one of two early ones with a Trojan Horse theme. It has a guard member return from an outer space mission only to soon discover that the man in their midst is an alien plant.

The fifth episode has the "Lost in Space" style villain-of-the-week get inside the head of a world-class scientist who is en-route to TDF headquarters to provide a tech. upgrade. The Cold War era fun extends beyond this automaton figuratively leaving the base with its pants down. He manipulates the team into thinking their member with the best chance of saving them is an alien spy.

All of this leads to the exciting two-part series finale with the spoiler title "The Biggest Invasion in History." Although he is in a highly vulnerable state, Dan insists on continuing to fight the good fight and push his limits beyond his endurance. Of course, our team (and fans) still get a Tokyo ending.

As indicate above, "Ultraseven" keeps the fun coming without resorting to stereotypical Japanese Jerry Lewis style overreactions and bumbling. The tight-knit Ultra Guard has that designation for a reason and are much more "Top Gun" than "F Troop," 

Mill Creek Entertainment adds to its awesome TV Land catalog, which already includes CS DVD sets of series such as "Coach" and "Mad About You," with a pair of November 19, 2019 releases. MCE couples the (reviewed) CS DVD set of the CBS Monday-night sitcom "The King of Queens" with a single CS Blu-ray set of both "Charlie's Angels" (1976-81) AND the 2011 TNG series from Drew Barrymore. This roughly coincides with the November 15, 2019 release of the latest big-screen adventures of that trio of gorgeous female detectives with mad skills. 

The miracle as to this set is how MCE can keep the cost reasonable while remastering in top-quality Blu-ray and having each disc cradled in its own slot on its own "page." 

This mother of all sexploitation series more than a decade before "Baywatch" aptly is from '70s lowest-common-denominator producer Aaron Spelling. As the opening narration explains, the titular owner of the Townsend Agency "rescues" the original police academy graduates from demeaning sexist duties. Their salvation has them go undercover as every fantasy known to man.

A bonus element of this pure escapist fun that is tailor-made for our winters of discontent is that these employees never meet their boss, who only communicates via the high-tech. means of a '70s-era telephone with an auxiliary speaker. The free-wheeling sexual innuendo as to the exploits of the boss are a highlight of those scenes and the similar epilogues after the women get their man. 

Related fun comes via the numerous times that the angels come very close to seeing their employer. 

The broadest (no pun intended) cultural impact of "Angels" is that it arguably is the first fully liberated series on network television, The plots constantly call for Team Charlie to dress in skimpy and tight clothing, such as bathing suits and tennis outfits. A prime early example of this is a case that has them go (barely) undercover at the Playboy Club like Feline Club. 

Prominent enduring pop culture contributions begin with the poster of Farrah Fawcett, who leaves early on in search of greater fame and fortune, in a red bathing suit. We also get the classic pose with guns that is a silhouette that serves as a bumper. This is not to mention MASSIVE product placement in the form of Ford Mustangs that extends to promotional material at car showrooms.

The TV-movie that starts it all is a classic Lifetime plot that has Kelly Garrett (Jaclyn Smith) portraying the long-lost daughter of a missing vineyard owner. The mission, which the agency has chosen to accept, is to uncover the truth in time to prevent a gold-digging trophy wife and her partners-in-crime from inheriting the wine before their time. 

Smith is notable for being the only original angel to stick it out for all five seasons of a series with regular cast changes. The "new girls" include Cheryl Ladd (who plays the sister of Fawcett's Jill Munroe) and one-season wonders Shelley Hack and Bond girl Tanya Roberts. Fawcett returning in S3 for three episodes is one of many series highlights.

The classic S1 episode "Angels in Chains" is a highlight of that season, Investigating the fate of a young woman who uncharacteristically is convicted of a crime and sentenced to a small-town jail leads to our heroines following her path. A tough and cruel matron in the mold of Hope Emerson of the classic babes-behind-bars movie "Caged" greets the fresh fish with an order to strip before hosing them down. This adventure going from the big house to the cat house is part of what makes it stand out. 

Spelling stays very true both to the style of '70s television and to his desire to amass great wealth by creating a cross-over episode between "Angels" and the Spelling classic "The Love Boat." That one has our gumshoes in stilettos board the titular cruise ship to catch a thief. This S4 premiere is the first adventure for Hack. 

This wonderful campy fun gets an edgy 21st-century update in the 2011 "Angels" series that MCE includes as an awesome bonus. The action moves from Los Angeles to Miami, and the highly stylized look of every aspect of this incarnation further give the still beautiful OS a world-class makeover.

The behind-the-scenes pedigree of this series includes Drew Barrymore of the "Angels" film franchise as a producer. Her colleagues include OS producer Leonard Goldberg, OS creator Ivan Goff, This is not to mention Alfred Gough and Miles Millar of "Smallville" fame.

Charlie remains unseen, but middle-aged middle-manager uptight handler John Bosley now is a 30-something stud who sees as much action as his girls. An early episode provides the first reveal as to the personal history between this former embezzler/hacker and his current boss.

The theme of redemption extends to the heiress-turned-expert-cat-burglar-turned-angel, the former dirty cop who turns out to be less filthy than generally believed, "and the rest" whom Charlie gives a second chance. The episodes that allow each character to put his or her past to rest shows that the motivations for their career changes include a desire to put right what once went wrong. (Yes, the MCE catalog includes  a very strong (reviewed) CS BD set of the Scott Bakula sci-fi series "Quantum Leap.") 

Aside from keeping Charlie as a voice on the telephone, the new kids on the block most honor the original by making their own "Angels in Chains" episode. This version has the adventure begin with the angels having cocaine (sadly, not angel dust) planted in their suitcase on arriving at a Havana estate.

We also get a high-seas adventure in the form of a cruise to the Bahamas that becomes more of an "Island of Dr. Moreau" exploit. 

The movies and the new series support the theory that the appeal of the OS is timeless; expertly helping keep this important part of television history in the public consciousness shows that MCE understands (and values) these classics.

Mill Creek Entertainment awesomely makes November 19, 2019 a date that will live in infinity as to releasing well-produced home-video sets of "TV Land" shows. Our subject du jour is the 1998-2007 Kevin James/Leah Remini/Jerry Stiller sitcom "The King of Queens."

An upcoming post is on the November 19, 2019 Mill Creek Blu-ray CS (including the 2011 series) of the '70stastic Aaron Spelling classic sexploitation series "Charles Angels" that makes Farrah Fawcett a household name and her pinup poster a staple of bedroom walls of adolescent and post-adolescent males. One spoiler is that both "Queens" and "Angels" OS more than pass the test of times. 

One note on both sets is that MCE does a solid by packing them well to the extent of separating each disc in its own slot and making them accessible in a manner that prevents scratching. 

Like this site, the underlying  concept of "Queens" performs the public service of helping to keep Ralph Kramden of the classic '50scom "The Honeymooner" in the public consciousness. "Queens" does this by basing much of the "com" around "sits" that develop due to dim-witted titular monarch Doug Heffernan (James) being an overweight driver for UPS-clone IPS.

Prettier, thinner, more intelligent and ambitious spouse Carrie (Remini) is the practical brains of the operation. But for the '90s being much more PC than the '50s, it is highly probable that Doug (ala Ralph) would regularly threaten to send Carrie "to the moon." Doug also has his "Norton" in the form of not-so-bright friends with whom he spends much of his free time. Carrie has her "Trixie" in the form of Kelly, who is the spouse of Doug pal/co-worker Deacon. 

The "sit" in the pilot episode rounds out the concept that drives much of the "com" in all nine seasons. Arthur Spooner (Jerry Stiller of "Seinfeld") is the very recently widowed father of Carrie. Arthur is destined to move into a nursing home when his first of many comically reckless acts leads to a reversal of fortune that lands him the basement/former man cave of Chez Heffernan. This, in turn, leads to hilarity as to neither him nor Doug being the adult in their relationship.

The quality of this series stems from keeping things relatable and largely realistic. The "snob" often ends up with the "slob," most actual marriages are more like Dan and Roseanne Conner than Ward and June Cleaver, and we all face regular challenges in our work and personal lives. 

The nearly impossible task of watching all 207 "Queen" episodes and still posting a timely review is behind only watching the entire first and ninth seasons. The first good news as to this is that the quality remains strong. The second good news is that the series has not resorted to a major retooling (such as the Hefferans winning the lottery and effectively being Beverly Hillbillies living in a wealthy community) or resorting to stunt casting either by bringing in a "Cousin Oliver" or adding Heather Locklear or another household name to the ensemble. It is fair to say the "Queens" NEVER jumps the shark. 

An especially strong S1 outing has good-guy Doug emotionally trapped with Veronica (real-life Stiller spouse/comedy partner Anne Meara), the mother of comically extreme failure-to-launch buddy Spence (Patton Oswalt) on Valentine's Day. This follows a highly amusing Thanksgiving Day episode in which the Heffernans and Arthur have separate adventures while grocery shopping on the night before that holiday and a Christmas episode that has Doug and Carrie valuing the thought but not the gift as to Arthur buying them a clunker that makes a Mini Cooper look like an SUV.

We also get a couple of classic cross-overs in the form of sportswriter Ray Barone (Ray Romano) of fellow CBS Monday night sitcom "Everybody Loves Raymond" having a chance meeting with Doug in the first appearance of Barone and taking him golfing in his second outing. Both "sits" provide plenty of classic "com." 

An interesting aspect of watching the beginning and the end of "Queens" is how the writers "recycle" a few plots while keeping things fresh. A twofer regarding this one is an S1 episode having a "before he was a star" Bryan Cranston guesting as a new neighbor. The typical spousal conflict as to one person wanting to accept an actionable nuisance and the other insisting on acting leads to the Heffernans adopting the dog of the new couple next door.

Fast forwarding nine years, the Heffernans (ala the Wilkerson clan of Cranston sitcom "Malcolm in the Middle") return home to discover a block party to which they are not invited. The effort of Doug to prove that he is a good person leads to a dog joining the family. The ensuing "com" relates to the "sit" in the form of covert efforts to ditch the hound. 

A first-season episode in which Doug and Carrie sign up for a class on Victorian literature has Doug shamefully exploiting Spence. In the ninth season, Carrie tries the same tactic after an off-hand remark to her boss commits her to reading a slow-paced 1,100-page novel. 

Both seasons also have episodes in which a desire to please Carrie prompts happy wage-slave Doug to accept offers to become the shift supervisor. The predictable outcome relates to sacrifices almost never ending well.

An amusing ninth-season outing has Adam Sandler playing the former delinquent classmate of Doug., The two reconnect for the first time at a class reunion, and Doug encouraging his buddy to drift back to the darkside leads to the opening of floodgates. 

The final episodes of "Queens" follow the '80s-'90s sitcom pattern of leading up to a momentous event that involves life-changing developments in the lives of several major characters. 

Like "Raymond," "Queens" works because it largely tells believable stories about real people. No one is a caricature of a stereotype, and most stories are within the ream of possibility. A classic "Raymond"{ example of this is both Ray and his wife stubbornly refusing to bring a suitcase from their stairway land to their bedroom after a trip.

The Mill Creek Entertainment separate November 19, 2019 DVD and Blu-ray releases of (reviewed) "Ultraman Orb: Series and Movie" and topic du jour "Ultraman GEED: Series and Movie" continues the "be true to your school" MCE principle of faithfully continuing to make entries in a franchise available, Today's releases follow October 2019 MCE DVD and BD sets (including AWESOME steelbook BDs) of (reviewed) "Ultra Q" and (reviewed) "Ultraman." This is not to mention an MCE steelbook of sci-fi classic "Mothra" from the good folks who produce the "Ultra" titles. 

Watching all four "Ultra" series in Blu-ray removes any doubt that the pristine (often vivid) images and crystal-clear sound of that format is worth the upgrade from DVD. However, consistent experience with MCE allows confidently stating that those "Ultra" versions also are well remastered. 

Like all good sci-fi and offerings that keep franchises alive, "GEED" does not break what does not need fixing. It also borrows elements from the genre to which it remains completely faithful. 

The highly flawed but most relatable "GEED" perspective for American fanboys is that "GEED" is a mash-up between the "Power Rangers" and the current "The Flash" series. Not that there is anything wrong with that. 

The strong "Rangers" elements begin with the action sequences that almost universally pit comically odd and large monsters against one or more (often equally large) hero in "Rangers" style armor. The similarities extend to heavy doses of Japanese style juvenile comic relief. There are prat falls, excessive demonstrations of fear, and live-action anime antics galore.

"Flash" elements begin with our adorkable 20-something hero Riku Asakura initially having moderate meta abilities that he does not understand. He, ala Luke Skywalker, soon learns that his parentage blesses him with special powers that destine him for greatness.

The first member of Team GEED is cowardly snail-like alien Pega. Pilot episode developments lead to these friends/roommates discovering an advanced underground command center ala the headquarters of the titular "Torchwood" in that Doctor Who spin-off. This soon becomes their home with the help of their Gideon-style AI friend REM. 

The "Rangers" aspect of "GEED" is especially strong in early episodes in which a possessor of a "little star" attracts the monster of the week by publicly displaying the power that that celestial object bestows on that chosen one. This leads to Riku transforming into the titular hero to come to the aid of the threatened innocent. This, in turn, culminates in the star transforming into a "super capsule" that Ultraman GEED adds to his utility belt as a tool against current and future evil.

These early episodes also have Riku assemble his avenging team of close friends that mostly are close to his own age. A strong "Flash" aspect of this is the group is his essential foster sister, who  works for a covert "Men in Black" organization that eliminates alien threats with extreme prejudice. That woman reminding her potential rival of childhood shared baths with Riku shows the depth of her feelings for the group leader. 

Bumbling corporate drone family man Leito "Cisco" Igaguri provides wonderful old-school elements and much of the aforementioned hilarity. Ala the "Ultraman" origin story, Leito severely injuring himself in a selfless heroic act is the start of a beautiful (and highly symbiotic) relationship with Ultraman Zero, who less selflessly needs a meat suit, 

Leito is a classic Clark Kent down to the dorky horn-rimmed glasses. He stumbles and stutters through his daily routine until looming danger requires that this lovable humble shoeshine boy transforms into champion of justice Underdog.

The "GEED" film for the ones-season series follows the sci-fi spirit of seven seasons and a movie. This well-produced film provides copious "GEED" and Ultraverse lore. We see how it all began, witness one character have a change-of-heart, and have the treat of all of our heroes getting their chances to shine. This is not to mention Riku essentially hanging up his cape after an existential crisis that includes self-doubt after failing a "chosen one" test.

All of this tying into a literal earth-shattering threat and the Ultraverse version of The Green Lantern Corps helping out is a nice bonus. Of course, an epic final battle ensues.

The moral to this tale as old as time is to respect the voice of experience. The real-life Team Ultra has been doing their thing for 50 years when they produce this latest (but hopefully not last) entry in the franchise. They always do it right and are experts at respecting the past at the same time that they keep things fresh.

Mill Creek Entertainment once again proves itself to be a fanboy god by separately releasing DVD and Blu-ray sets of "Ultraman GEED" and our current topic "Ultraman Orb" (2016) on November 19, 2019. These come on the heels of MCE October 2019 "Ultra" releases that are the topics of prior posts that can be found in the MCE section of this site.

Part of the genius of these "Ultra" series, which relates to the genius of their American cousins "Power Rangers" series, is that that they purposefully target actual 12 year-old boys and the inner 12 year-old boy in all of us. This consists of bright-and-bold action, truly hilarious broad comedy, and always bringing something new to the table while incorporating fresh elements. This is why this 50 year-old franchise (ala "Scooby-Doo") still is growing strong. 

Speaking of "Scooby," our central group of "meddling kids" investigate and report on X Files under the name "Something Search People." The game of three is easy as to this group in that one definitely would want to marry level-headed tomboy/den mother Cap, "mate" with adorable excitable boy Jetta, and snuff the brains/mad scientist of the operation Shin. 

Unbeknownst to the gang to varying degrees for varying periods, their buddy Gai is the titular main man this time; his old-school elements include relying on a power surge that last for three minutes to rise to the occasion and vanquish the evil alien monster that is the threat of the week. Suffice to to say that the source of his needed boosts are elemental.

Gleefully evil arch-nemesis Juggler contributes ample amounts of campy fun. Not having watched every "Orb" episode precludes stating whether Juggler ever actually steals candy from a baby.

"Orb" evokes thoughts of the Ted Turner ecotoon "Captain Planet and the Planeteers." The comparison begins with the elements of wind, fire, earth, and water separately being key aspects of the first several episodes. These begins with a variation of the films "Twister" and "The Wizard of Oz" as to the SSP crew getting caught up in a tornado in which they witness a battle between the monster behind that destructive force and a robot-like man whom they come to know as their superfriend. 

The "fire" episode is one of the most clever and dramatic. Ultraman temporarily saves the day as to a "second sun" that is massively speeding up climate change. This leads to his crashing to earth and convalescing with more than a little help from his friends. A cute and funny epilogue has Jetta getting worked up over a universal sin of a roommate only to quickly find that the culprit is honorable.

The "water" episode is a pure delight. The foul brother from another planet in this one is making water supplies incredibly malodorous. Jetta finds this out the hard way while taking a shower. Very family-friendly hi-jinks in a Japanese bath house provide additional charm.

The lore-establishing episodes lead to a delightful tale in which an alien lures a clueless Cap into a trap that is designed to capture her friend Kai. 

All of this culminates with the "Orb" movie that fulfills its duties to be even bigger and bolder than the series and to include an epic battle that results in an equally spectacular finale. An especially Scooby aspect this time is that much of the action centers around a mysterious mansion that provides the setting for a classic Scooby style chase through rooms and hallways.

That home plays a key role in an Earth-threatening plot by an evil alien sorceress, who essentially wants her precious. Juggler also plays a key and somewhat ambiguous role in the form of often doing the right thing while asserting that he is doing so for the wrong reason. 

Our other key player is an Ultraman who has a "Tron" like existence in that he is living in the most advanced Gameboy ever. He sets much of the above in motion by seeking out the SSP team because of their association with Gai. 

One of the most exciting scenes involves a revelation to which the boys have an infectious reaction.

The enthusiasm and skill with which the cast and crew produce these adventures make what could be cheesy effect and wooden acting a true delight that does the "Ultraverse" proud.​

Mill Creek Entertainment provides a chance to see a prequel done right as to the October 29, 2019 Blu-ray release of "The Thing" (2011), which is an awesome homage to the 1982 John Carpenter cult classic of the same name. As the "must-see" bonus feature "'The Thing' Evolves" clearly shows, the filmmakers meticulously follow the principle of the devil being in the details to the extent of recruiting actors in Norway to play the crew of the Norwegian research station around which this origin story is centered.

MCE deserves an even more hearty slap on the back for the expert job producing the BD. The panoramic opening shots of snow and ice are almost blinding, and the sound is so crisp that you will hear and feel every crack of ice. This is not to mention the depth of these and all other shots. 

Our story begins with our modern-day Vikings searching for the source of a mysterious signal; discovering in one of the worst possible ways that a long-buried alien spaceship is the culprit figuratively (and almost literally) is the tip of the iceberg. These scientists learn that the last visitor from a distant planet to exit the craft left the door open.

Finding that careless individual encased in ice leads to paleontologist Kate Lloyd (Mary Elizabeth Winstead) coming to the great white north because she thinks that it is a beauty way to go. Her companions include boyfriend Adam Finch (Eric Christian Olsen) and his boss, 

Jubilation soon turns to horror as our international group of friends soon become chum for the titular monster. Ala "The Invasion of the Body Snatchers," the ability of the brother from another planet to replicate and possess any living organism both creates reasonable paranoia and complicates the task of putting the genie back in the bottle,

Much of the rest of "Thing" takes on a perverse "Tom and Jerry" theme as the roles of hunter and hunter frequently shift. Inarguably the best scene in this film with award-worthy effects involves showing the extent to which the big bad is a karma chameleon. A still functional detached limb doing its thing at PRECISELY the right moment alone is worth "the price of admission." 

This mayhem and increasingly frayed nerves related to it becoming increasingly clear that no one may be whom he or she seems to be leads to an inevitable "Alien" style showdown. The epilogue that plays out during the closing credits provides the missing link between the prequel and the main event.

The epilogue to this post is that the prequel provides valued closure more than 35 years after the release of the original. It also shows that classic scifi is timeless in style and substance.

Mill Creek Entertainment begins an epic journey with the October 15, 2019 separate Blu-ray, and Blu-ray steelbook releases of the (reviewed) mid-60s Japanese sci-fi classic "Ultra Q" and the follow-up series "Ultraman." These two more-than-ready-for-primetime series are the first of roughly 40 "Ultra" shows,

A related note is that the surprisingly strong production values and delight associated with these scifi classics is worthy of marathons that justify sleep deprivation, However, rationing them to savor over an extended period is advised. They truly do not make 'em like that anymore.  

MCE is honoring the unprecedented track record of this 50 year-old phenomenon by releasing other sets of "Ultra" programs over the next several months. One can only hope that the entire franchise ultimately sees the light of day.

Our discussion of "Man" begins with an hearty endorsement of the steelbook editions of "Q" and "Man." Both series look and sound crystal-clear in BD. Further, the well-designed sturdy steelbooks are stylish and have spines that add to "the big picture" as future "Ultra" series hit real and virtual store shelves. 

Both BD versions of the "Ultra" series include a "must-own" collectible booklet that commences with an informative essay on how each show makes it on the air. This includes both the collaboration and the "circle of life" elements of the productions. 

The booklets go on to provide detailed episode recaps; truly last but not least is an index (complete with photos) of every monster from that series. 

The following description of "Man" that is "borrowed" from the MCE website is a comprehensive overview of the lore and the themes of this fanboy fave. 

"ULTRAMAN, a giant alien from the Land of Light in Nebula M78, enters Earth's atmosphere in pursuit of an escaped space monster. In the skies above Japan he accidentally crashes into a Jet VTOL piloted by Hayata, a member of the Science Special Search Party (SSSP), an international research and defense agency that protects the world from monsters and aliens of all shapes and sizes.

​To save Hayata, Ultraman merges his life force with the dying human and vows to stay and fight for peace on Earth. Now, whenever the Patrol faces a threat too great for them to handle, Hayata transforms into Ultraman to save the day!

ULTRAMAN was Tsuburaya Productions' first color series, a sci-fi action adventure drama that dominated the ratings during its initial 1966-67 broadcast run in Japan. The show was quickly licensed for release in America, airing in syndication for nearly two decades. Colorful, fast-paced, and packed with memorable heroes, creatures and incredible special effects, ULTRAMAN was the foundation for a phenomena that continues to this day."

Part of the rest of the story is that the Energizer bunny has something that the arguable father of the red power ranger lacks; the latter runs on a battery that only gives him three minutes worth of power. 

The pilot of "Man" establishes the aforementioned lore AND reflects the cartoonish influence of "Batman" '66. A group of Japanese campers has the first of two close encounters of the second kind when they see a glowing blue object plunge into the nearby lake.

The incident prompts Hayata to pilot the aforementioned aircraft that looks like it is straight out '60s animation scifi series "The Thunderbirds." This leads to the game-changer mid-air collision,

Ala "Superman" and virtually every other superhero franchise, Ultraman comes on the scene at the eleventh hour and puts right what once went wrong. 

The aptly titled second outing "Shoot the Invader" is even more comical; the ET with 'tude this time this a lobster on 'roids who seems to have a common ancestry with '60s superhero Multiman in that he can project several images of himself.

First contact gets off to a hilariously bad start, and things go downhill from there. The gist is that Earth gets a taste of being the planet chosen for the site of a civilization do-over.

"Science Patrol, Move Out" awesomely pays homage to "Q" (and "Godzilla") by having the intrusion of the "civilized" world on the natural one literally awaken a sleeping giant. The literal big bad this time enhances the threat by having very effective camouflage and by feeding on electricity. 

Particular relevance this time is MCE releasing "Man" a week after a California electric company purposefully leaves a big chunk of that state in the dark for an extended period in order to achieve a greater good.

All of this lead to the epic 39th episode with a title that is a blatant spoiler. This one hits the trifecta of explaining a broad category of real-life unusual occurrences, having the heroes scramble to protect Earth from a seemingly undefeatable force, and providing sensational in both senses of the word conclusion to the series. 

The most cool thing about "Man" is that is shows the beginning stages of the evolution of the "Ultra" franchise. The most cool thing about MCE is that it is making at least the next several stages of that progression coming out in the not-too-distant future. 

Mill Creek Entertainment begins an epic journey with the October 15, 2019 separate Blu-ray, and Blu-ray steelbook releases of the mid-60s Japanese sci-fi classic "Ultra Q" and the (reviewed) follow-up series "Ultraman." These two more-than-ready-for-primetime series are the first of roughly 40 "Ultra" shows,

A related note is that the surprisingly strong production values and delight associated with these series is worthy of marathons that justify sleep deprivation, However, rationing them out to savor over an extended period is advised. They truly do not make 'em like that anymore.  

MCE is honoring the unprecedented track record of this 50 year-old phenomenon by releasing other sets of programs over the next several months. One can only hope that the entire franchise ultimately sees the light of day.

Our discussion of "Q" begins with an hearty endorsement of the steelbook editions of "Q" and "Man." Both series look and sound crystal-clear in BD. Further, the well-designed sturdy steelbooks are stylish and have spines that add to "the big picture" as future "Ultra" series hit real and virtual store shelves. 

Both BD versions of the "Ultra" series include a "must-own" collectible booklet that commences with an informative essay on how each show makes it on the air. This includes both the collaboration and the "circle of life" elements of the productions. 

The booklets go on to provide detailed episode recaps; truly last but not least is an index (complete with photos) of every monster from that series. 

The following description of "Q" that is "borrowed" from the MCE website is a comprehensive overview of the lore and the themes of this fanboy fave. 

"After co-creating the iconic movie monsters Godzilla, Rodan and Mothra for Toho Studios, special effects director Eiji Tsuburaya launched his own company, Tsuburaya Productions. The first production under his new label was ULTRA Q, a 28-episode series that brought the theatrical spectacle Tsuburaya had become known for to television.

The black & white sci-fi drama focused on Mainichi Shimpo photojournalist Yuriko Edogawa (Hiroko Sakurai, Ultraman), Hoshikawa Airlines pilot/SF writer Jun Manjome (Kenji Sahara) and his co-pilot Ippei Togawa (Yasuhiko Saijo), who partnered to investigate mysterious events occurring in and around Japan. These phenomena often involved aliens and giant monsters, many of whom would return in future Ultraman shows and movies.

One of the most expensive TV programs produced in Japan up to that time, ULTRA Q was a ratings smash that paved the way for Tsuburaya Productions' first color series... ULTRAMAN!"

A "True Tokyo Story" aspect of "Q" from the aforementioned booklet is sure to delight at least one teen Swedish girl. We learn that the original title of this series is "Unbalance" and that it is intended to show how Mother Nature fights back when man disrupts the balance between the natural and the industrialized worlds. 

On a more relatable note to mainstream North American audiences, "Q" evokes strong thoughts of the original "Twilight Zone" and the (black-and-white) first season of "Lost In Space" before the influence of "Batman" '66 makes the latter far brighter and more campy. This element of east meets west extends beyond all three series including exposition (and context) providing narration.

The look and tone of "Q" is very similar to that of "Zone" and "Space." The production techniques show that Irwin Allen of "Space" fame and his brother from another continent Tsuburaya are of one mind. 

The aptly titled "Defeat Gomess" starts "Q" on a terrific note that reflects a timely "television killed the movie star" vibe by having a well-executed "Godzilla" theme. This story begins with construction of a train tunnel giving the titular beast both a rude awakening and an exit strategy.

This adventure includes a "little child" shall lead them element that is prominent in "Q" and "Man." A young boy takes an "it takes a Klingon to defeat a Klingon" attitude by being instrumental in inviting the arch-foe of Gomess to the party. The rest is pure scifi history.

Speaking of "Trek," "Q" (no relation) regularly having a boy hero seems to inspire a prominent feature in "Star Trek: The Next Generation." One of countless expressions of intense disdain for prodigy Wesley Crusher prompted a friend to agree but note that Wesley allows tween boys to fantasize about being respected members of the Enterprise crew. 

"Q" next takes a wonderfully goofy turn in "Goro and Goro." This one has a monkey whisperer do his thing when a science experiment gone awry causes a simian to become a (non-grape) great ape, The humanitarian outcome is a nice alternative to having the "monster" plummet from a skyscraper. 

The ironically titled "Gift From Space" has our not-so-favorite Martians respond to rocket scientists boldly going where no man has gone before. There never has been a more clear example of Yankee, go home. 

The fun continues with variations of "The Thing" and "The Little Shop of Horrors" (complete with a vampire plant that literally can be thought of a a big prick). This leads to an imminent explosion of Mt. Fuji involving a bear boy and another slumbering monster whom the misdeeds of man has awoken.

"Q" wraps this up several episodes later with a "Dr. Who" style adventure involving a train that can travel through time and space. The "Zone" style destination in a land that is free from the consequences of incidents that shows what fools these mortal be. 

The kicker to all this there is much more to discover and adore about "Q" and the entire franchise. MCE deserves high praise for doing such an exceptional job making this possible. 

Mill Creek Entertainment fully shows its range as to the recent DVD release of the 2019 horredy "Dead Don't Die in Dallas." This film is the latest project of auteur Israel Luna of "Ticked Off Trannies With Knives." 

Luna assembles his "Knives" principals to espouse principles comparable to those in that film. William Belli stars as Beth-Anne Fetterman, a white-trash trannie who has fairly recently lost her husband.

The stock characters in this purposefully retro bargain-basement demon love-child of John Waters and Charles Busch include the stout in body and anorexic in mind southern preacher, his mousy wife, and his closet-case son. We also get a tough-as-nail pre-op woman who identifies as male, a cute blonde gay boy who essentially is homeless after his father kicks him out, and the car full of trannies who prove that boys just want to have fun. We also get the gay couple, who are quietly minding their own business until the outside world essentially crashes in on them.

We see tempers on both sides violently flare up ahead of a literally Sunday, bloody Sunday in which our man of God and his wife wonder where the flock their congregation has gone.  The answer is that the faithful (as well as the not-so-faithful) are feeling the side effects of a miracle pill that literally cures every ailment known to man. These unintended consequences include becoming a maneater that is the lean and hungry type but does not only come out at night. 

The usual equal parts guts and glory as our foes whose desperate times call for the desperate measure of uneasy bedfellows fight both internal and external demons. Clever use of a "broken" and "missing" reels greatly contribute to the retro vibe of the film. 

Luna already makes it clear that he does not pull punches when we witness the most shocking scene in the entire film; the son of a preacher man has good cause to feel like our savior. 

Of course, all this culminates with the zombies being (at least temporarily) being subdued with or without extreme prejudice, It is equally standard that the journey provides all the fun this time. 

The proper destinations for this movie that puts a queer spin on walking dead films include any gathering in which all are welcome.

The theme of learning from history so as not to repeat it being very prominent in the 1989-93 NBC cult-classic sci-fi action-adventure series "Quantum Leap" makes it aptly significant as to the Mill Creek Entertainment Blu-ray CS set of this series. 

This begins with the MCE release aptly putting right what once went wrong as to the individual DVD sets of "Quantum." As hologram assistant/best friend Al Calavicci (Dean Stockwell) to brilliant physicist/hero Dr. Sam Beckett (Scott Bakula "Star Trek: Enterprise") would say, the earlier sets are caca. The images of this major-studio release of this modern series is painfully grainy to watch. The images and sound in the Blu-ray set conversely are "mahvelous, simply mahvelous."

The comparable shelf space required of the DVD and the BD sets also favor the latter. MCE, which separately packages each season of "Quantum" in this set, makes it compact while still leaving ample room to take each individual season out of the stylish cardboard box in which they are contained. 

The final comment regarding physical media relates to a major annoyance regarding streaming services. The real possibility that any service will pull the plug on any series before you can "catch them all" favors being able to pull a marathon (rather than binge) worthy show off the shelf.

One of many notable elements of "Quantum" is that it learns from history by paying homage to '60s TV scifi god Irwin Allen of "Lost in Space" fame. Allen follows up "Space" with the 1966-67 ABC series "Time Tunnel." That one centers around a secret government time-travel project in the desert going horribly awry in a manner that (mostly) throws the two heroes around in history as their guys (and girls) in the chair try to pull them back home. Their adventures include being on the Titanic and having an unforgettable adventure at the Alamo.

The variation in "Quantum" is that Beckett heads up the titular research project in the desert in the not-to-distant future; an amusing aspect of this is that the "Quantum" team visualizes a '90s that is even more bright, neon-infused, and futuristic than the '80s.

As the voice-over narration that opens every "Quantum" episode explains, Beckett (who is an Indiana farm boy with an August 8, 1953 birth date) theorizes that one can time travel within his or her own lifetime. The glitch this time is an unknown entity (perhaps God) or force hijacks Sam on his inaugural leap. 

This abduction establishes the pattern of Sam "leaping" into the body of an innocent or not-so- innocent in order to put right what once went wrong. This may involve preventing a murder, stopping someone from making a decision that greatly negatively impacts his or her life, etc.

A handful of these episodes center around real-life incidents, such as the death of Marilyn Munroe and the assassination of JFK. Related good fun comes ala Sam inadvertently putting ideas in the heads of younger versions of future real-life celebrities. A prime (pun) intended example leads to a classic "Rocky" scene.
​
The rest of this lore is that the future tech. allows Al to use a research-center imaging chamber in his present to appear as a hologram that "only Dr. Beckett can see or hear." This state also prevents this resource regarding emergencies, medical or otherwise, from physically making contact with anyone or anything.

The typical episode pattern is that a disoriented Sam "leaps" into the body of the current person of interest sometime in the period of the aforementioned lifetime. Al then fairly literally pops in with at least at little information about the owner of the meatsuit that Sam currently occupies. Regarding this, it can be someone of any age or gender and once is a chimp. This exposition includes at least some speculation regarding why the powers-that-be have thrust Sam into that situation.

Much of the relatable fun comes from Al sharing changeable statistics regarding the outcomes in response to action and non-action by Sam. A purely hypothetical example is an 75.8 percent chance that an actor will be cast in the role of a lifetime increasing to 88.1 percent after middle-aged Sam in the guise of a 20-year old studio page sneaks the headshot of the actor into the file of the producer of the film. 

Watching most of the fan-favorite episodes of "Quantum" for this post has made this "mission" especially fun. These include the JFK one, which is a two-parter that has Sam "leaping" into the body of Lee Harvey Oswald at several significant times in the life of that historic figure. A bonus this time is the psyche of Oswald repeatedly taking dominance over that of Sam, who almost always remains in the driver's seat while "possessing" someone.

The S3 season premiere is a two-parter that has Sam first "leaping" into his teen-age self just before Thanksgiving. Although his mission is to correct his own mistake and win the big game so that his high-school coach goes onto bigger and better things, Sam is the hijacker this time. The wrongs that he tries to put right include three tragedies that will befall his family in the next few years. This adventure continues when Sam "leaps" in the body of a man who is a member of the band of brothers of the older brother of Sam. 

An especially fun  one aptly has Brooke Shields play a literal debutante heiress in an episode that is a mash-up of "Blue Lagoon" and "Swept Away." The Shields character is about to enter an essentially arranged marriage when the ship on which she is travelling sinks. This "princess" finds herself being one of two stranded castaways with a Greek greasy dirty sailor who worked in the engine room of the ship and currently has a physicist controlling his life. The rest of this story is that Sam must put the life of the pretty baby in his charge back on track. 

The series finale hits the trifecta of including big reveals, bringing back old friends, and providing closure while leaving the door open for more adventures. The conclusion this time does scream for five seasons and a movie. The irony here is that the wrong of "Quantum" missing the milestone of 100 episodes by three never gets righted, 

Mill Creek Entertainment continues displaying diversity and a love of modern cult classics as to the August 13, 2019 additions to the MCE "Retro VHS" Blu-ray series that evokes thoughts of the pre-digital days of Blockbuster. The subject du jour is the "retro" release of the 1989 James Woods/Robert Downey, Jr. legal thriller "True Believer." The MCE section of this site includes MANY posts on "retro" releases and numerous other items in the MCE catalog.

An inadvertently amusing aspect of "Believer" is that then former teen idol/current box-office king Downey is largely extraneous. He plays idealistic recent law-school grad, Roger Baron, who gives up fortune (and perhaps fame) at a white-shoes law firm to be a first-year associate for faded civil-rights attorney Eddie Dodd (Woods), who now (barely) pays his bills making Constitutional rights arguments to keep drug-dealers out of jail. Dodds noting that he charges cocaine dealers and represents pot dealers pro bono is one of a few funny moments in this drama.

The pair makes a good low-key dynamic duo. Dodd is the battle-weary dark knight still fighting the good fight, and Baron being the naive boy wonder who is eager to learn from the master. 

Meanwhile, guest-of-the-state Shu Kai Kim is eight years into a stay at Sing Sing for a murder conviction when he is coerced into killing a fellow inmate as a gang initiation. This prompts the mother of Kim to frankly ask Dodd if he will defend her son. Her response when asked "why him?" is another amusing moment.

This leads to Baron having one of his few significant scenes in "Believer;" he convinces Dodd to take the case.

The rest of this story is that this litigation once again pits Dodd against prosecutor Robert Reynard, who has a tough entry in the loss column thanks to Dodd. Kurtwood Smith of "That '70s Show"  playing tough foul-tempered Reynard is sure to prompt many viewers to mentally insert the name "Dumbass" at the end of most lines of Reynard. 

The intrigue comes ala Dodd uncovering increasingly compelling evidence that Kim is doing the time without having done the crime, A facially neo-Nazi attack on Dodd for defending Kim on the most recent murder charge fully thickens the plot. Our legal eagle (and his eaglet) soon learn how this is tied to the earlier crime; of course, these events also involve Reynard. 

The "Marvel"ous history of Downey makes it ironic (no pun intended) that truth, justice, and the American way ultimately prevail.

Mill Creek Entertainment once more proves itself to be the champion of sofa spuds everywhere as to the August 13, 2019 DVD release of "Hart to Hart: Movies and Murder Collection." This four-disc set includes all 8 1993-96 made-for-TV reunion movies of the 1979-84 ABC light-hearted mystery series.

Having a handful of "B-listers" guest in each movie provides a wonderful hybrid vibe of "Murder, She Wrote," which gets its own set of made-for-TV reunions, and "The Love Boat." These celebrities include Joan Collins, George Hamilton, Alan Young, Mike Farrell, and Jason Bateman. The roster truly goes on and on and on from there. 

MCE follows this up with a Halloween treat in the form of an October 2019 Blu-ray complete-series release of "Charlie's Angels." 

The titular couple is an '80riffic "lifestyles of the rich and famous" version of one-percenter silver-screen amateur sleuths Nick and Nora Desmond of "The Thin Man" fame. 

As the voice-over narration in the "Hart" series and movies reminds us, Jonathan Hart (Robert Wagner) is a self-made millionaire. This exposition includes that "it was murder" when Jonathan met "gorgeous" spouse/free-lance journalist Jennifer Hart (Stefanie Powers). The rest of this part of the story is that gruff but loving live-in servant Max (Lionel Stander) "takes care of them, which ain't easy."

A typical "Hart" episode finds a series of unfortunate circumstances embroiling the soulmates in a crime that often involves murder. It is just as likely that someone embezzling funds from a charity for which Jennifer is organizing a fashion show kills an assistant who discovers that crime as it is that Jonathan must clear his name as to Hart Industries being accused of nefarious business dealings.

The aptly titled first movie in the series is "Hart to Hart Returns." This one stays the closest to the spirit of the series while including a notable development that is too momentous to the lore to even remotely spoil. The central plot involves a pending business deal of Jonathan with an old friend prompting the corporate villains of the week to take desperate measures in response to the desperate times as to the aforementioned pursuit of profit. 

The next one, "Home is Where the Hart is" arguably is the best one in that it virtually is a live-action "Scooby-Doo" mystery. The death of the mentor/first boss of then cub-reporter Jennifer brings our heroes to the small town where Mrs. H. begins her career.

The list of usual suspects and the spooky subterfuge that is concealing covert activity make one long to see family pet Freeway, Jr. speak English and Jonathan to pull a rubber mask off the villain. An "I would have gotten away with it except for you meddling millionaires" would have made this one purely sublime. 

"Old Friends Never Die" is another memorable one due to both its campy fun and its homage to another genre; this time Agatha Christie books are taken to Hart. A publisher tells the couple that wanting to add Jennifer to his stable of writers is why he is inviting them to a weekend party at his lavish estate. The rest of the guests are eccentric scribes. 

The plot thickens on Jennifer overhearing a detailed murder plot; the explanation that the conversation relates to a novel concept wears thin on life imitating alleged art. This culminates in the truth ultimately coming out, and the Harts finding themselves playing the most dangerous game. 

More of the same occurs in the other films, which culminate in the aptly titled "Til Death Do Us Part." An early scene in this one indicates that Jonathan may be dyslexic in that Dog is his co-pilot. 

The rest of this story is that the Harts travel to Germany so that Jennifer can donate bone marrow to a young cancer patient. The intrigue this time relates to our dynamic duo encountering a French woman who is a doppelganger of Jennifer. Of course, Powers plays this crazy pair. 

"Death" ends on the same concept as the last several films in the series in that the epilogue involves the Harts in a fantastic or fantasy situation. These include this pair magically transforming into a couple performing a song-and-dance number on a stage or being transformed into lovers in a cuckoo clock.

Old and new fans should take all this to hart; the series and the movies are good cheesy fun that show that entertainment need not  be edgy. 

Mill Creek Entertainment releasing a crystal-clear Blu-ray of the 1963 Marlon Brandon Cold War classic "The Ugly American" on August 13, 2019 along with an eclectic assortment of other titles shows that MCE can be considered the "man" for all seasons,

Fellow August titles include the (reviewed) Steve Martin/Darryl Hannah romcom "Roxanne," the (reviewed) ABC period primetime soap "Pan Am," the (soon-to-be reviewed) James Woods/Robert Downey, Jr. drama "True Believer," and the (soon-to-be-reviewed) collection of all eight made-for-TV reunion films of the vintage ABC mysedy series "Hart to Hart." 

MCE will further earn the devotion of fanboys with an October 2019 bonanza of "Ultraman" fare, 

"American" easily is the most substantive of the highly entertaining group of releases of which it is a member. Marlon Brando stars as rookie ambassador Harrison Carter MacWhite in this ripped-from- the-headlines tale of "fictional" Southeast Asian country Sarkhan.

The arrival of MacWhite coincides with a strong anti-American sentiment that a communist organization from the north is exploiting; this timely evokes thoughts of the similar 1935 Sinclair Lewis novel "It Can't Happen Here" about an American president who exploits fear to become a not-so-benevolent dictator. 

Our story begins with the locals executing a well-planned sabotage of a highly symbolic American-back road project in Sarkhan. The propaganda of this rebellious act far outpaces the loss of life and property that it causes. 

Meanwhile back home. MacWhite is the victim of other propaganda in the form of a contentious conformation hearing for his new job. His prior time in Sarkhan both qualifies him for his new post and raises potentially disqualifying concerns.

An aspect of both aforementioned arenas is the once-and-future association of MacWhite with Sarkhan native son/influencer Deong. The latter is very vocal regarding his anti-American views but cannot be proven to be a communist; MacWhite fully vouching for the guys has strong implications later in the film.

MacWhite and wife get far from a warm welcome on landing in Sarkhan on what is anticipated to be a quiet Sunday morning; stating that they encounter a mob scene is a gross understatement.

Virtually every person over the age of 30 can relate to what occurs when MacWhite and Deong reunite soon after the diplomat comes back to town. Just as the wild and crazy guy from college become a completely different person in the decade since not wearing anything under his robe at graduation, Deong and MacWhite soon conclude that the years have not been kind to the other. 

The aforementioned road becomes one of many bones of contention between the men; this animosity reaches a boiling point when they find themselves the opposing heads of a violent "Yankee, go home" campaign. "American" being an early '60s major studio film requires that the conflict and the resolution strongly reflect a massive anti-communist sentiment. 

The broader nature of the film requires that both of the friends turned foes be wiser but not happier at the end of "American."

The good news for audiences of 2019 is that this engrossing movie truly is one that they don't make 'em like anymore. This extends beyond skillfully telling an intelligent and thought-provoking tale, It reflects the type of strong political view that used to prompt people on both sides of the aisle to check it out, rather than incite the folks who find it offensive to (sometimes literally) get up in arms and vigorously rally for a boycott and an exile of all involved in bringing in to the (now tarnished) silver screen, 

The Mill Creek Entertainment August 13, 2019 Blu-ray release of the 1987 Steve Martin/Darryl Hannnh comedy "Roxanne" is among the latest (mostly '80s and '90s) cult classics in the MCE "Retro VHS" catalog with fun videotape-style packaging. The (review pending) James Woods/Robert Downey, Jr. drama "True Believer" is a fellow August 2019 addition to this series. 

"Roxanne" is a perfect example of the glee associated with another bite of the apple as to those of who saw it in the theater and is a chance for younger folks to see what they missed the first time around, The second bite refers to the '80s and '90s being an era of so many movies that either are so good that they are good or that are bad but have an appeal that makes them good. The curse as to this embarrassment of riches is that "Roxanne" and similar fare in the middle of the bell curve either does not make the cut for a cineplex visit or is not fully appreciated on a  first viewing.

The following "retro" trailer for "Roxanne" does not provide much insight into the film but does highlight the talent of Martin and the '80ness of the film.

The titular astronomer (Hannah) is the new girl in the Pacific Northwest town of Nelson, Washington. Unlike source material "Cyrano de Bergerac," comically large-nosed fire chief C.D, Bales is not the cousin of this object of affection. Handsome dim-witted new firefighter Chris (Rick Rossovich) is the subordinate with no play who (at least temporarily) gets the girl.

The rest of the initial premise is that C.D. is a martial arts master who dos not gladly suffer fools who make fun of his huge schnoz. One of the best scenes has C.D. making a long series of self-deprecating jokes before the inevitable flattening of a barroom bully.

Roxanne and C.D. meet in a typically romcom-style manner. She is in an embarrassing state when she comes to the firehouse seeking aid. Martin being Martin mines great comedic potential from this vulnerability. The bonding continues when Roxanne takes asking for help moving a couch up a notch.

A comedy of errors leads to Roxanne believing that Chris has brawn and brains; Chris wanting to maintain the misperception as to the latter leads to C.D. putting words in his mouth and on paper. 

The funny because it is happening to someone else trauma and drama amps up when the "Roxanne" variation of the handsome suitor wooing the girl while the ugly guy feeds him his line gets Chris in the bed of Roxanne. The lack of callousness relates to these young lovers not knowing about the romantic feelings that C.D, has toward Roxanne. 

Of course, the truth ultimately comes out despite the frantic efforts of C.D. to maintain the charade. It is equally predictable that Roxanne is irate as to being duped, The outcome drives the remainder of the film. 

The appeal of the film itself extends beyond improving with age now that it is not competing with a flock of competing fare. It is a cute, charming, amusing film that reminds viewers of a better time in which "adult" comedies did not heavily rely on being crude and rude.   

The Mill Creek Entertainment August 2019 DVD release of the 2011-12 ABC period piece dramedy "Pan Am" provides another bite at the apple regarding this show that reminds us that flying was not always the horrendous nightmare that it is today. This series also is notable for launching the career of Margot Robbie.

"Pan Am" must be put in context that is apt for its "Love Boat" style format of each episode centering around a flight that has passengers whom guest stars of varying calibers play. It is fluffy fun with a relatively strong prime-time soap vibe. 

The following YouTube clip of an ABC promo. for "Pan Am" provides a good sense of the strong production values and the related style of this series set in the mid-60s. The network further reminds us that the cred. of the series includes "West Wing" and "ER" veterans. 

On the broadest level, "Pan Am" follows the "Marshall Plan" that reflects the wisdom of "Happy Days" creator Garry Marshall. Marshall notes that setting a '70s sitcom in the '50s prevents it from looking dated. 

The opening scenes of the pilot (no pun intended) demonstrate the good balance between exposition and getting down to action that indicates that a show has good potential; fanboys think of this as "The Firefly Lesson."

We see our four central "stews" in their morning routines ahead of their inaugural flight on the maiden voyage of the brand-new Clipper jet of their titular employer. This montage helps establish the personalities of this '60s version of the "Sex and the City" quartet. 

The Robbie character Laura "Charlotte" Cameron represents the mix of plausible and absurd that makes the 14-episode "Pan Am" the best of shows and the average of shows. It simply seems that the producers want to provide a little something for everyone in a show, with a strong girl-power vibe.

The closest to sublime element of Laura is that she is a bright, intelligent, and charming recent college graduate. The spring of her discontent relates (no pun intended) to seeing that rebellious black-sheep Pam Am flight attendant sister Kate "Miranda" Cameron (Kelli Garner) is enjoying the freedom and adventure that increasingly is available to their generation, 

The gradual descent toward ridiculous begins with Kate showing up at the last-minute for the wedding of Laura to a nice clean-cut young man and facilitating the "Thelma and Louise" style prison break of the runaway bride.

This lead to the more improbable developments of rookie flight attendant Laura being at the right place at the right time in that a Life  magazine photographer snaps an impromptu photo that ends up on the cover of that publication, This ultimately leads to an increasingly liberated Laura posing for "art photos" that end up getting very public exposure (pun intended) that catches the eye of a "pop" idol of the era. 

The pilot adventure of Kate revolves around the CIA recruiting her to be a Cold War courier. This leads to increasingly dangerous adventures that ultimately involve aiding assets from behind the Iron Curtain, engaging in gun play, and helping expose a double agent all while maintaining the on-the-job poise, grace, and femininity that her day job requires. 

French-born Collette "Carrie" Valois (Karine Vanasse) largely provides the perspective of someone who spent a childhood under Nazi occupation; this is especially prominent in which the flight crew attend the Kennedy "Ich nin ein Berliner" speech in Germany.

The entertaining absurdity of the Collettte story arc relates to a romance that becomes a royal disaster. A background check regarding her suitability for the relationship reveals both a surprise regarding her heritage and the existence of a relative about whom she lacks prior knowledge. 

Last but not least is Maggie "Samanatha" Ryan, who is portrayed by Christina Ricci of "The Addams Family" movies. Maggie represents the liberated Bohemian woman of the era. She is a very feisty problem child who seems even more sexually liberated than European Collette. 

The absurdity of Maggie relates to her radical (as in subversive, rather than awesome) boyfriend Max essentially throwing her in the arms of a Congressman, who essentially is a poster-child for the Republican party. We also see Maggie not hesitating very much as to throwing a co-worker under the jet when her wanton ways seriously jeopardize her job.

As is the case in every series that centers around a fantastic four group of women, the men are all deeply flawed and mostly are window dressing. Largely hairless WASPy pale farm boy Dean Lowrey lacks much personality and emotes so much about runaway fiancee/flight attendant Bridget that even men who eat quiche everyday likely want him to man up at least a little.

Co-pilot who considers himself a god Ted Vanderway resents his privileged background not providing enough pull to have him sit in the "right seat" has more of a personality. He has the same Daddy issues as many sons of a wealthy "master of the universe" type father. Ted also is a former "Top Gun" Navy test pilot who has a past "incident" that is why he no longer in the service. 

All of this occurs in the context of the times that are a changin' in the mid-60s. We see prejudice against a black sailor who enters a friendship with potential benefits with one of the stews, get a lesbian woman who is looking to enter an open marriage of convenience, and even get a side trip to Haiti during great unrest on that island.

The broadest appeal of all this is showing they folks who think of the mid-60s as the beginning of the end regarding true style in America and others who consider that period as one in which the oppressed begin overthrowing the oppressors and the general population begins to get woke that the truth lies in the middle. 

Mill Creek Entertainment continues to celebrate the spirit of summer camp by adding a spectacularly remastered Blu-ray release of the 2003 made-for-TV movie "The Stranger Beside Me: The Ted Bundy Story" to a plethora of cheesetastic recent home-video releases.  The "I Heart the '90s" offshoot of the equally good "Retro VHS" series from MCE is a prime example of this. 

The only fault in "Stranger" is not in stars Billy Campbell and Barbara Hershey ("Beaches") or the good production. The not-so-fatal flaw is with the source material in the form of the 1980 true-crime bestseller of the same name by Ann Rule. The fact that the full name of "Strangers" begins with "Ann Rule Presents" further illustrates this annoying (and arguably unprofessional) approach to the subject. Bundy (Campbell), not Rule (Hershey), is the real star, This is especially so considering that Rule is slow on the uptake regarding the hobby of her pal.

Like many other successful biopics, "Stranger" acknowledges that most viewers already know the story and are interested in supplementing our knowledge. Thus, rather than starting at the beginning, "Stranger" commences with Bundy being pulled over in a 1978 traffic stop in Florida that both he and the majority of the viewers know will not end well for him, 

Bundy then uses his one telephone call to phone a friend by reaching out and touching Rule, who is in Seattle. The action then shifts back to 1971 and Bundy and Rule working together on a suicide-prevention hotline. The good part of that scene relates to it illustrating the charm of Bundy that is an asset regarding his hobby; the bad part is that this also is used to provide exposition regarding former cop Rule being an insightful and talented true-crime reporter. 

Worlds soon collide as a series of girls going missing and/or being found dead prompts Rule to take a hard-line with her teen daughter. We also see Rule offhandedly note that the evidence could point to Ted as the perpetrator. 

The rest of this part of the story is that Bundy is involved in a serious romantic relationship and is preparing to move to Utah to attend law school. The lesson here is the common one that we and our significant others do not show our crazy until a ring is put on it.

This narrative continues with Bundy putting his intellect and his aforementioned charm to good use in luring his victims via a variation on the perverse tactic of  child molesters getting their victims to look for a non-existent lost puppy. Another difference is that big girls are the ones in peril in this case. 

We ultimately catch up with the present as law-enforcement co-operation leads to connecting Bundy with several murders in multiple states. Highlight in this portion of "Stranger" include Bundy aptly using the cunning of a zoo animal in an effort to no longer be a guest of the State. 

Watching Bundy present his own defense at his murder trial provides reason to doubt the validity of the Twain expression that a man who represents himself has a fool for a client. The related admiration of the judge for the courtroom skill of Bundy is another good twist.

This portion of the film further focuses on the cult-style celebrity status that Bundy achieves. It seems that the popularity of this guy is not so far from the level of fandom that the Beatles achieve in their prime. 

"Stranger" further is due credit for pulling one more rabbit out of the hat near the end. We learn that there was cause for early intervention that might have produced a more favorable outcome for all than how things worked out, 

The bigger picture is that "Stranger" provides especially good hot-weather fun by reminding us that stories that show that truth is stranger than fiction provide excellent fodder for broadcast and basic-cable networks. 

Mill Creek Entertainment chooses well in releasing the phenomenal 4K version of the spectacular 2002 IMAX documentary "Space Station" on July 9, 2019. This celebration of the American ideal is very apt for the July 4 period. Having American idol "Born on the Fourth of July" star Tom Cruise narrate the film is the icing on the cake. 

MCE kindly includes a Blu-ray version of "Station" for folks who do not have a 4K player. 

Additionally, "Station" is a perfect follow-up to the (reviewed) December 2018 MCE 4K+Blu-Ray+Digital release of the equally epic documentary "Beautiful Planet," which shows earth from the perspective of the ISS. Both films are from highly talented director Toni Myers. 

The following YouTube clip of a "Station" trailer offers a good sense of the film achieving the documentary ideal of being equally entertaining and educational.

The expectations exceeding elements begin with the opening scenes and continue to the final seconds. The first images are of a CGI operation on the space station; this technology being standard for IMAX films such as "Station" does not make this segment surprising, The twist comes on learning that we are watching an astronaut on earth using a highly advanced simulator.

Cruise and Myers then fully collaborate in showing us how future ISS residents use an enormous water tank on earth to simulate the conditions under which they will need to join two large key components of the station way up in the atmosphere before they try to get back to here, We clearly see regarding this that practice must make perfect, 

The indisputably best shot of "Station" soon follows. Myers gets a very dramatic shot of the lift-off of the rocket that transports the construction crew to the partially completed ISS. Although the entire film makes you feel as if "you are there," these images and sounds particularly provide a sense of being front-and-center for the action. 

The action then shifts to the ISS, where we see the men and women at work. We witness some of the construction for which we saw the crew prepare on earth. We also see the related fun and challenges associated with brushing your teeth and performing other daily activities in a zero-gravity environment. Those of us with TMI regarding the water supply on the station have a bonus ick factor. Suffice it to say that the ISS engineers seem to be fans of the Kevin Costner film "Waterworld." 

An especially cute scene shows both ends of the conversation in which the crew uses a ham radio to answer questions from a group of elementary school students. The kids do not say the darnedst things but still entertain. 

One of the biggest takeaways from this depiction of this successful international project is the observation that one does not see countries from space. All of us should take that message to heart. 

The special features maintain the same high standards as those of "Station."

"Adventures in Space" is a delightful short in which Myers, the ISS crew, and representatives from NASA and Lockheed Martin discuss the fun and the challenges of this labor of love. These include the crew using the ingenuity for which they get the mediocre bucks to overcome obstacles related to filming in space.  

"Expedition 7" has the titular crew host an open house at their home away from home; this tour awesomely expands on "Station"and "Adventures." The new information includes the challenge of sleeping in an environment in which your hand floats unless tethered down.

The appeal of every film mentioned here is that they put life on earth in perspective and show what we can accomplish when we opt to all just get along.

The Mill Creek Entertainment June 4, 2019 "I Heart '90s" BD release of the 1997 Jean-Claude Van Damme action-adventure film "Double Team" reminds us that the multiplex fare of that decade extends beyond bright-and-bold teencoms, such as the "Heart" releases of "Excess Baggage" and "Opportunity Knocks." This also is the era in which musclemen, such as Van Damme and Schwarzenegger, revel much more in kicking ass than taking down names. These studs also make it clear that even not running out of bubble gum would have changed anything. 

Dennis Rodman co-starring in "Team" further reminds us that several NBA stars tried their hand at acting in the '90s. 

The following YouTube clip of a "Team" trailer provides a good sense of why the film appeals to the 12 year-old boy or tomboy in all of us. There potentially will be plenty of blood. 

Our story begins with a cold open in which secret-agent man Jack Quinn (Van Damme) is recovering a massive amount of plutonium that criminal mastermind Stavros (Mickey Rourke) has sold to the highest bidder. These elements (along with other aspects of "Team") will evoke thoughts of the even-more guilty pleasure 1986 film "Never Too Young to Die" starring rockers John Stamos and Gene Simmons. 

Quinn shows that his mission is not impossible, and the action shifts ahead three years as Quinn, Jack Quinn is living a quiet life of luxury with pregnant wife Kathryn at their "cottage" in the South of France. Just when Quinn thinks that he is out, "they" pull him back in to finish off Stavros once and for all.

The prep. for this new mission includes a visit to highly-Q flamboyant arms dealer Yaz (Rodman) to stock up on needed supplies. Of course, the pair clashes and trade barbs. 

This leads to Quinn not taking full advantage of his second bite at the apple. His "punishment" consists of exile at the paradise of "The Colony," which ala "The Village" of the classic British series "The Prisoner," is where agents who have outlived their usefulness but are too dangerous to roam free are sent to live out the rest of their lives. "Team" even has a "Rover" like massive inflatable bubble, which aptly look more like a basketball in this film.

The rest of this part of the story is that Kathryn and most of the rest of the world think that Quinn is dead.

General tenaciousness and a strong motive prompt Quinn to plot a successful elaborate great escape. Of course, Stavros and Kathryn play prominent roles regarding this.

Quinn once again calls on Yaz to outfit him; one difference is that the latter tags along this time. 

It is equally predictable (and fun) that the confrontations amp up as the opposing forces clash; this leads an awesomely old-school showdown in the coliseum. Of course, three men enter and two men leave. This leads to an effort to clean up a remaining loose end. 

The appeal of all this is that the tried-and-true elements provide 90 minutes of escapist cathartic fun in which larger-than-life characters let us see their somewhat idealized world in which the hero bounces back at least until he has fully outlived his usefulness. 

The summer fun that is the plethora of Mill Creek Entertainment retro "I Love 90s" June 4, 2019 Blu-ray releases continues with the surprisingly entertaining 1997 Alicia Silverstone action-adventure-comedy vehicle (pun intended) "Excess Baggage." This group, which includes the already reviewed Pauly Shore funfest "Jury Duty" and the (reviewed) charming Dana Carvey film "Opportunity Knocks," join the (reviewed) hilarious teencom "Can't Hardly Wait" in this portion of the MCE catalog.

"Clueless" star Alicia Silverstone plays to type in playing Emily, who is the spoiled 18 year-old spoiled daughter of a master of the universe. One difference this time is that her shady dad is the polar opposite of the loving and compassionate attorney who is her "Clueless" parent.

A very '90s-style dreamy Benicio Del Toor plays adorably clueless car thief Vincent, who fills the role of the boy from the wrong side of the tracks who reforms and gets the princess. All this occurs to a soundtrack that can be considered K-Tels Indie Hits of the '90s. This is not to mention this relationship evoking thoughts of the Melissa Joan Hart/Adrian Grenier 1999 teencom "Drive Me Crazy." 

Our story begins with Emily in the final stages of her self-imposed and executed kidnapping; she is locked in the trunk of her (of course) BMW awaiting "rescue" when Vincent steals the car without knowing of the titular luggage.

Moderate hilarity ensues when boy meets girl, girl beats boy, and boy handcuffs girl in dingy chop shop bathroom. 

The real fun begins with Emily separately purposefully getting "fixer" Ray (Christopher Walken) onthe trail of Vincent and carelessly getting her downtown man in Dutch with the mob. This results in a raucous road trip for our new couple.

Of course, ala "Opportunity," the noose begins to tighten from both directions as Ray and the dim-witted thugs of the mob boss narrow in on their prey. This leads to the typical Hollywood ending accompanied by a hit for Soul Asylum, The Lemonheads, or a comparable group.

Taking things back to the beginning, "Baggage" and the other releases are just what moviegoers need in this hot and humid summer that lacks any truly escapist teencoms at the multiplex. 

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.

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.