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.

The Mill Creek Entertainment separate April 16, 2019 DVD and Blu-ray releases of the 2010-13 Showtime dramedy "The Big C" is just what the oncologist ordered. This Emmy and Golden Globe winning series about middle-aged high-school history teacher Cathy Tolkey Jamison (Laura Linney) getting schooled in the realities of stage four (stage five is death) melanoma shows that even the worst of times can provide the best of humor. 

The most subtle humor relates to setting "C" in a Minneapolis suburb. Although Cathy lives in a typical TV Land attractive middle-class home, her life is a far cry from that of pioneering working girl Mary Richards of Twin Cities based "The Mary Tyler Moore Show." 

"C" is one of three unrelated recent Showtime series that have strong actresses playing courageous middle-aged suburban women in crisis. "The United States of Tara" has Toni Collette playing a woman with a severe case of split personalities. "Weeds" centers around Mary Louise Parker playing a housewife who must resort to selling the titular substance to keep her boys in designer duds. 

"C" also is one of the latest additions to well-produced DVD and Blu-ray CS sets of off-beat shows that put art over commerce in the MCE catalog. Recent examples include a reviewed set of "Rescue Me," and a phenomenal award-winning release of "The Shield." The especially strong praise for the latter in a post on that release does not do it justice. 

The accolades for "C" include Emmy and Golden Globe Best Actress awards for Linney and an AFI "TV Program of the Year" win.

Our story commences at the beginning of the summer. Cathy is at the final stage of acceptance regarding her grief; a spoiler is that she and her friends and family rotate through all five stages throughout the series. 

Cathy is throwing money at the "rich people" problem of wanting a pool in her backyard and wanting it now. The rest of the story is that she wants to enjoy what she believes is a very limited time before her death. One of many rubs is that middle-manager husband Paul Jamison (Oliver Platt) and generally good 14 year-old son Adam do not know why the woman in their life suddenly is acting weird.

For that matter, Paul cannot understand why one display of juvenile behavior in two decades of such antics gets him ousted from the marital home. For his part, Adam is upset that he literally is pulled off the bus to soccer camp and that Mom is very clingy. A hilarious scene has Cathy interrupting a private moment and adding injury to injury by immediately using that moment for a highly embarrassing lesson about how to properly stimulate a woman. 

The overall change is that Cathy is putting herself first much more than she ever has and is deciding to stop being polite and to start being real. 

Like many cancer patients, Cathy is trying traditional and alternative treatments. Her refusal to undergo chemo. is very reasonable considering that the benefits of that procedure come at the cost of many ill effects. Early examples of alternative medicine include travelling to Canada to be repeatedly stung by bees and staying closer to home for a clinical trial.

The progression of the disease occurs in the context of reel and real-life situations that are exasperating even without piling them on top of a presumably fatal disease. 

Cathy must contend with helicopter parents at school,  her manic bipolar brother Sean, Adam having a very active puberty complete with a sexual encounter that leads to the entire family getting crabs, and Paul losing his job and being unrealistic about his prospects for new professional employment. This is not to mention the already feisty elderly neighbor lady with Alzheimer's and the self-absorbed former college classmate who re-enters the life of Cathy at both the best and the worst of times. 

The bigger picture regarding all this in this era in which virtually all those who practice medicine are in it for the money is the frustration that even those of us with what should be decent health insurance experience getting anything beyond basic medical care. Just in the first two seasons, we see Cathy dealing with a doctor not returning her calls and with being denied approved treatment because of a problem related to notice of coverage. This is not to mention health insurance prompting Paul to take a job that he otherwise would not have accepted. 

"C" further tackles the issue of the fine line between compassion and annoying levels of charity. Cathy wants people to be nice to her but does not want to be treated like a porcelain doll. Similarly, Adam quickly tires of being the kid  at school with the mother who has cancer. 

The nice thing about "C" lasting four seasons is that quality writing and a strong cast draw the audience into the lives of the Jamisons and the people with whom they interact. We come to share their joy and feel their pain right up to the series finale.

The Mill Creek Entertainment separate April 16, 2019 Blu-ray releases of the Andy Sidaris films "Malibu Express" (`1985) and "Hard Ticket to Hawaii" (1987) provide good chances to enjoy the entertaining pillow soft R-rated porn of this master of mainstream-friendly sleaze. Think "Porkys" with adult-film quality production values and acting. Not that there is anything wrong with that. 

Our current topic is "Malibu;" "Hawaii" literally is a subject for another day.

"Daniel Boone" television series star Darby Hinton strays far from that wholesome fare to play hard-bodied, hard-loving, and hard-fisted Texas trust-fund baby Cody Abilene. Think a younger, buffer, and cruder version of '80s TV detective/Magnum clone Matt Houston.

The film title relates to an ambiguous tribute to the deceased mother of Cody that he creates at the entrance to the yacht where he lives. His Higgins is a stuffed shirt official at the yacht club where the vessel is docked. 

Although the new bimbos next door do not hesitate to come a knockin' for a gang shower on a rare occasion on which the boat of Abilene is not a rockin', his aptly named race-car driver friend June Khnockers does not make a booty call during the film. 

The still-timely plot device of Russian spies using personal-computers in the United States for nefarious purposes in this pre-Internet era prompts "Higgins" to recruit Abilene for a game of Stud v. Spy.

The first stop on this this thrill-ride is a visit to seductive and liberated friend with extensive benefits Contessa Lucianna (Sybil Danning). Said perks include a needed introduction to Contessa friend Lady Lillian Chamberlain, who is the stereotypical matriarch of a stereotypical one-perecenter household. Her effeminate nephew is a not-very-well closeted homosexual; his beard does not let her marriage vows slow down her extra-marital activity. Studly chauffuer/blackmailer Shane separately gives each spouse the same thing that he or she needs. 

The plot thickens on Shane getting murdered as apparent revenge for the blackmail. Of course, Abilene both gets on the case and discovers a tie between that crime and the Russian activities. 

The investigation heating up provides plenty of chances for car chases, shoot-outs, and fisticuffs. The latter particularly demonstrates the pattern of Sidaris casting professional bodybuilders in his movies.

The best surprises and most fun come near the end of "Malibu."  Abilene proves that he is more than a pretty face when he conducts a very SoCal version of the traditional drawing-room reveals at the end of classic murder mysteries. This aptly leads to an equally Eureka State variation of the hero riding off into the sunset. 

The auteur himself provides both a introduction to "Malibu" and extensive gleeful insights in a behind-the-scenes featurette. 

The Mill Creek Entertainment March 12, 2019 in brilliant living color and sound Blu-ray release of the spaghetti-western double-feature "Fort Yuma Gold" and "Damned Hot Day of Fire" allows entering the psyche of master of artistic mayhem Quentin Tarantino. The back-cover notes for this set include that "The Spaghetti Western Database" identifies these films as the favorite ones of Tarantino in this genre.

The intriguing concepts of each film alone makes one understand the affinity of Tarantino. The amusing blend of Italian and American culture is a bonus.

Few can argue that "Yuma" (a.k.a. "For a Few Extra Dollars") is the better of the two films based on story, production, and performances. 

Montgomery Wood (nee Giuliano Gemma) stars as actual rebel with a cause Lt. Gary Hammond. This good ole boy is a post-war prisoner at a Calvary fort when we meet him. He is a southern gentleman in the face of intense Yankee aggression until one of his "hosts" pushes things too far.

The plot thickens on the fort commander making Hammond an offer that he cannot refuse. A primary aspect of that solicitation is that the enemy of my enemy is my friend.

In simpler terms, the officer who is not much of a gentleman recruits Hammond to join a group that is going to the titular fort to warn of an impending two-prong attack.

Rebel Major (rather than Colonel) Sanders is plotting to rob Yuma of a $1M Army payroll. The horse that Hammond has in the race is that a group of his confederates (pun intended) is on their way to attack Yuma without realizing that they are a sacrificial decoy for Sanders. The Japanese soldiers who continue to fight WWII after a cessation of those hostilities are the modern equivalent of the southern soldiers.

Hammond and his keepers then hit the dusty trail on the way to Yuma. Their adventures include encounters with aptly named dance hall performer Connie Breastfull.

A bunch of brawling and romancing leads to the inevitable showdown that illustrates how the west was won, 

The highly entertaining Civil War era "Fire" (nee "Gatling Gun") plays out like an episode of the '60s western action-comedy version of "Batman" '66 "The Wild Wild West."

The evil Tarpas is in illegal possession of both inventor Gatling and the gun that bears his name. The plot of Tarpas is to sell the weapon to the south and the man to the north. Tarpas shows additional neutrality by demanding an equal ransom from both sides. 

Our hero this time is Pinkerton man Chris Tanner, whom his boss arranges to go undercover to avoid beating his prey to the firing squad. Tanner encountering the Italian speaking brothers of the man whom Tanner is impersonating provides wonderful unintentional humor. 

Like "Yuma" this leads to a classic western ending.

The appeal of the MCE release extends well beyond facilitating a double feature of these classics. The remastering and the Blu-ray enhancement allows seeing these tales trying to depict the open spaces of the old west in a manner that is far superior to when they appeared on the silver screen, 

A theme of these thoughts regarding the March 12, 2019 Mill Creek Entertainment Blu-ray release of the 1981 comedy "Neighbors" is that this time it is personal. A related note is that this well-remastered latest edition to the MCE Retro VHS series, which includes a reviewed release of the John Candy comedy "Who's Harry Crumb," is that "Neighbors" illustrates the principle that something that is comedic to someone can seem tragic to the person who endures it, 

The star power of "Neighbors{" begins with "SNL" castmates John Belushi and Dan Aykroyd playing the leads; the behind-the-camera talent include Larry Gelbart of the "M*A**S*H" television series writing the screenplay.

IMDb does particularly well describing "Neighbors." This synopsis states that "a quiet man's peaceful suburban lifestyle is threatened by the new, obnoxious couple next door." 

The aforementioned personal aspect relates to enduring years of regular torment from the "rock-throwing teen" and his family on the other side of a wall in my former townhouse; part of the insult regarding this injury is this townhouse being an upscale one.

The numerous incidents include at least one week of heavy renovations every month, the lad with three felony arrests by his junior year in high school stealing my packages and cursing at me as he drove by on the street, and Mom showing up at my door to talk for a few minutes before standing zombie-like in the hall.

An even more relatable perspective comes courtesy of a classic sitcom; like most folks, I laughed at nosy neighbor Gladys Kravitz getting hysterical over the witch across the street only to not have anyone believe her. Experiencing comparable angst changes your outlook to sympathizing with Kravitz regarding no one accepting the truth.

Our story begins with middle-aged middle-class Earl Keese (Belushi) coming home from his most likely middle-management job to his wife of 16 years Enid (Kathryn Walker). They are spending their typical boring evening at home when the arrival of Vic (Aykroyd) and  Ramona (Cathy Moriarty) at the previously empty house next door harshes the mellow of the Keeses. 

Aykroyd playing a psychotically loud, crude, and manipulative character is within his range of screen personas. Belushi playing a dorky mouse is a departure for that comic genius; Moriarty steals the show as the over-sexed slutty Ramona, 

Both Vic and Ramona quickly cross all reasonable boundaries on being the vampires whom Earl invites into his home. It is not long before Vic has emptied the wallet of Earl and Ramona is in his bed. 

This film with a strong live-stage vibe continues with Vic and Ramona teaming up to separately and jointly push his buttons. This relates to the reel and real-world phenomenon of a toxic neighbor gleefully exploiting a sore spot. 

The evening activities include an attempt by Earl to counter Vic taking his car going horribly wrong, Earl locking the boy and the girl next door in his basement in an effort to get them out of his house, and Vic being very crude with the punk daughter of Earl; a line about edible panties arguably is the best joke in the film. 

Gelbart pulls off the neat trick of delivering an entirely unexpected surprise ending; this shows that '80s primetime soap "Knot's Landing" lacks a monopoly on cul-de-sac neighbors developing intimate relationships. 

The Mill Creek Entertainment February 5, 2019 4-disc DVD release "The Betty White Collection" nicely showcases the early television career of a woman whose television career spans roughly 60 years. Many of us have heard of "Life With Elizabeth, but not "Date With the Angels." "Collection" allows checking out 24 episodes of the latter and 16 of the former. We also get a 20-minute documentary on the career of White. 

The 1952-1955 syndicated "Elizabeth" is an awesome time capsule for reasons that extend well beyond the mix of sweetness and charming evil streak that makes White a legend. The first innovation in this live-action sitcom is using the cartoon format of three unrelated roughly six-minute adventures.

The next rare aspect is having announcer Jack Narz help folks used to listening to radio programs transition to television; he opens each segment with a monologue that literally sets the scene for what is to come, He then is seen and not heard when speaking with Elizabeth (White) about this set-up. White puts her talent for expressiveness to good use by using only her facial features to express her reaction to the statements of Narz.

Of the nine watched adventures, one in which newly wed Elizabeth tries to convince husband Alvin (Del Moore) that she is a horrible driver has wonderful shades of both Sue Ann Nivens of "The Mary Tyler Moore Show" and Rose Nyland of "The Golden Girls." The logic of Elizabeth is that straight-man Alvin will not buy a car if he thinks that his wife can properly operate it. 

Two of the best episodes revolve around the sitcom cliche of the boss coming to dinner. Although the food does not rise to the level of The Happy Homemaker, it is much more appetizing then the odd fare of St. Olaf. 

The "sit" that provides the "com" is that aforementioned employer Mr. Fuddy being self-conscious about his new toupee prompts Alvin to alert Elizabeth to not call attention to that rug. Of course, a nervous Elizabeth does just the opposite in ways that include clever references. The resolution is not cookie-cutter and has more edge than typical '50s fare. 

"Life" shows additional cleverness in an adventure that has our leads visiting Fuddy to watch home movies. The "sit" this time is trouble properly lining up the camera with the viewing surface; the "com" includes Alvin becoming increasingly annoyed regarding the failed efforts to show the movies. 

An adventure surrounding Elizabeth and Alvin jointly trying to resolve a problem with a fuse is pure Television Golden Age gold. It also involves a case of art imitating life in that your not-so-humble reviewer notices the light outside the house across the street going on when he flips a switch a few hours after watching this episode of "Life."

The 1957-58 sitcom "Date" is entertainingly bizarre compared both to "Life" and other sitcom fare; additionally, White is more subdued in this one than in "Life" and her better-known roles. 

Both the title and the opening credits indicate that "Date" revolves around supernatural beings in a fantasycom; the reality is that average suburban newly weds Vickie (White) and Gus (Bill Williams) have the titular surname. 

The three episodes watched indicate that "Date" has a low-key gruffness that is more akin to fellow '50scoms "The Honeymooners" and "The Life of Riley" than to "I Love Lucy."

The first episode in the set has the Angels at home soon before the boss is due to come for dinner. The boisterous arguing between neighbors the loud and crude Murphys and the bookish Roger Finley (Richard Deacon) and his elderly father is permeating the Angel home. The bedroom community Hatfields and McCoys soon directly embroil the Angels in the dispute. Of course, this spills over into the visit of the boss. 

The Murphys also take center stage when their son comes home while on leave from the military; the primary "sit" this time is father-son conflict stemming from the younger Murphy having an interest in music and other arts that his father does not consider manly, The unexpected resolution that restores peace to that household nicely reflects the good quality of the television of the era. 

The third but not least viewed adventure of the Angels has the visiting teen nephew of Vickie unintentionally wreaking havoc. Alvin pimping out the boy adds further "com." 

The aforementioned documentary shares tidbits and photos from the pre-acting life of White; we also get a few short clips of "Life" that include a ping-pong game that demonstrates the aforementioned blend of Sue Ann and Rose in Elizabeth. The rest of this tribute summarizes the aforementioned long career of our woman of the hour. 

The bigger picture this time is that the sitcom episodes reflect the related wisdom of Carol Burnett that avoiding topical subjects helps keep material from badly aging and that funny always is funny, We further get to see White in the roles that make her the woman whom America especially loves in the '70s and the '80s. 

The Mill Creek Entertainment January 15, 2019 retro VHS-style DVD release of the 1989 John Candy slapstick-comedy "Who's Harry Crumb" aptly coincides with the (reviewed) MCE retro-style DVD release of the 1993 Arnold Schwarzenegger action-comedy "Last Action Hero." Both films provide showcases for two of the larger (no pun intended) stars of this VCR era. 

"Crumb" director Paul Flaherty being the brother of Candy "SCTV" co-star Joe Flaherty may be a factor regarding Joe having a cameo in the film. We also get a guest-shot by John Belushi brother Jim Belushi. 

Candy plays the titular defective detective. His backstory is that he is the third-generation Crumb to work at the Los Angeles private-investigation firm that bears the family name. Candy being portly and having great physical-comedy skill serve him well in this precursor to Melissa McCarthy films that mine humor from a big-boned star rampaging through a teencom until showing up the beautiful people at the end. 

"Crumb" takes things one step further by paying homage to two great fictional detectives. His many disguises and aforementioned clumsiness (as well as an apparent dim-witted nature) evokes thoughts of "The Pink Panther" films of Peter Sellers and Steve Martin. The bad guys feeling confident that they are fooling Crumb also adds a touch of the Peter Falk "Colombo" series. This vibe extends to the audience knowing whodunit right from the start.

The action begins with heiress Jennifer Downing being kidnapped during a treatment at a textbook '80s spa. This prompts her father P.J. Downing (Barry Corbin of "Northern Exposure") to call in Crumb agency head Eliot Draisen (Jeffrey Jones). A reported shortage of investigators leads to Draisen ending the exiled Harry from a field office.

This leads to the main portion of "Crumb" in which Candy puts his "SCTV" training to good use by portraying a series of broad characters in the course of cracking the case. We also see him engage in (still amusing) predictable and less predictable bits. One surprise is that a scene in which Harry slides down a roof does not end with him enduring one of the most painful injuries known to man. 

A fun element has Harry team up with Nikki Downing, who is the younger daughter of Jennifer. They make a good odd-couple team with strong rapport that includes mutual respect. A creepy aspect of Nikki is that she closely resembles Helen Downing (Annie Potts), who is the trophy second-wife of P.J.

This leads to the expected climax in which Harry shows that he is a force with which to be reckoned. Although he does not have any chewing gum, he pretty literally kicks ass and takes down names. Dumb luck resulting in the final piece of the puzzle falling into the lap of Harry is very true to the spirit of the film. 

The epilogue of "Crumb" sets the stage for a sequel; this not even coming in the form of a basic cable film or a direct-to-video movie is a mystery. The better news is that Candy look divine in the gay apparel that he dons to take on his next case. 

The truly final solution is that the role of Harry being such a good match with Candy, much of "Crumb" occurring in bright sunny southern California, and the supporting players including many liked faces make this one a good choice for a cold and stormy winter night. 

Mill Creek Entertainment shows good instincts regarding adding a DVD of the aptly epic 1997 mini-series "The Odyssey" to the MCE "Mini-Series Masterpieces" catalog on February 19, 2019. This month traditionally is a "sweeps period" in which networks broadcast their best productions in an effort to boost ratings. One very nice thing about this production is that it adapts the titular classic narrative in a manner that is not Greek to folks who are unfamiliar with the source material. 

The accolades for this adaptation of the epic poem by the other Homer include a 1997 Emmy for Outstanding Directing for a Mini-Series or a Special.

Armand Assante stars as brave and noble Greek warrior Odysseus. The star power behind the camera includes executive-producer Francis Ford Coppola. 

We meet Odysseus on a day that is both one of the best and the worst in his life. He is racing to the side of wife Penelope (Greta Scacchi), who is in labor with their son Telemachus. The buzzkill is a development that requires that Odysseus travel to Troy to battle the Trojans over there so that he does not have to fight them "over here."

The Poseidion adventure begins with that god of the sea facilitating the ruse that gives birth to the expression to beware of men from the other Ithaca bearing gifts. The fabled Trojan horse meets its object of giving Odysseus and his men a huge strategic edge; the rub is that our hero also learns that Hades has no fury like a fellow god scorned.

Poseidion has such a massive hissy fit regarding Odysseus not thanking that deity for his assistance that The Man From Atlantis violates the principle of demonstrating great responsibility regarding great power. This man with a porpoise pulls the dick move of using his power to prevent the foolish mortal from returning to his wife and infant son. 

This leads to our fearless crew om their greatly extended three-hour tour encountering strange new worlds and new civilizations on their far more than five-year mission. Another way of considering this journey is to think of it in terms of what a long strange trip its been. A related theme is that encountered perils reinforce the idea that dames ain't nothin' but trouble.

The first adventure does not involve women; the crew is near death when they think that they have found salvation in the form of a land teeming with food; their glee is short-lived when they learn that they are in the land of the giants (a.k.a. a cyclops clan). A sibling in this family developing a fondness for Greek food and wine is another mixed blessing on the road to Ithaca.

Our boys next become the guests of the sirens; Odysseus (with a little help from the goddess Athena (Isabella Rossellini)) once again uses a combination of brain and brawn to turn things to his advantage. 

Odysseus subsequently feels the sting of being caught between the deep-sea threats of the Scylla and Charibdes. One spoiler is that his later adventure with the goddess Calypso (Vanessa Williams) has him hypnotized by her when he lingers. 

We also see the crew snatch defeat from the jaws of victory.

Meanwhile back at the ranch, Penelope is fending off potential suitors who are desirous of the woman and the other treasures of the long-absent lord of the manor. The frustrations of a now-teen Telemachus include his inability to oust this band of guests who have long overstayed their welcome. This almost literally is a wolves at the bedchamber door situation.

All of this culminates in a gloriously gory battle that once again involves paying the price for disobeying the rules of etiquette. 

The appeal of this production extends beyond telling a tale that is as old time in a manner that caters to the American viewing public. Shooting on location, having a good cast, and including solid humor makes this release a good way to celebrate sweeps month.​

The Mill Creek Entertainment January 8, 2019 DVD release "Secret Stories of Hitler" boldly goes where few have gone before. This 2-disc set includes a documentary that presents the titular leader as someone other than the most despised man of the 20th century.

A message that viewers MUST take away from the three films in this set is that even propaganda that supports your side is propaganda. Depicting Hitler as a nice and rational man who is kind to animals and small children should convince everyone to not believe everything that they see without checking out the facts from a source without a horse in the race. A related aspect is the even the most evil human has some redeeming qualities. 

The highly controversial 1974 documentary "Swastika" is the highlight of "Hitler." This movie largely consists of footage from Nazi propaganda films and from home movies that First Frau of Nazi Germany Eva Braun shoots. A modern introduction by a former Harvard teaching assistant provides a good background on the film.

As MCE notes on the back cover of "Stories," the written prologue of "Swastika" clearly reflects the theme of this film. This prose partially states that "If Hitler is dehumanized and shown only as a devil, any future Hitler may not be recognized, simply because he is a human being."

"Swastika" opens with footage of shiny, happy urban newspaper delivery guys loading up their bicycles and pedaling their way through city streets; the images soon shift to arguably ironic footage of trains headed into the beautiful German countryside.

The rural folks include smiling milk maids and similar positive stereotypes.

One of the most surprising things about the subsequent footage by Braun that is interspersed throughout the film is that it is in color. It also is shocking to see Hitler always looking relaxed and mostly smiling; further, he almost always is in civilian garb.

This footage largely looks like any other home movie of that era and the decades that follow. Hitler is a jovial host at his country retreat. He is laughing and joking with the likes of Goering and Himmler. We also see Hitler seeming to enjoy talking with small children and playing with his dogs.

For her part, Braun looks and acts like any other woman of the era. She seemingly equally adores her dogs and Clark Gable and is very at ease among her notorious company. 

It is even more shocking to see Hitler calmly delivering a rational speech to an assembled masses. There is none of the shouting, frantic gestures, and frenzied responses that characterize all Hitler speeches that probably every viewer has seen in archival footage.

A telling scene has Hitler criticizing Goering to other guests. However, he is cool and collected and is not ordering punishment.

Two segments in "Swastika" are the most blatant propaganda in the film. An interview with an American radio commentator has that man assuring German officials that folks over here do not believe the fake news about Hitler; this man goes on to pledge to set the record straight by broadcasting to America from Germany. 

The scenes from "The Eternal Jew" are even more unsettling than the interview with the American. We first see heavily bearded men looking alien and menacing; we then see the same group seeming ill-at-ease after losing their beards and changing into mainstream clothes. The message is that Jews cannot be assimilated into the dominant culture. A similar scene issues a defiant challenge to prove that a single Jew has died during the rule of Hitler. 

Horrific footage that will cause anyone with a soul to turn away from the screen at the end of the film both is more objective and puts the prior 90 minutes of "Swastika" in proper perspective, That brings things full circle back to the opening message that genuinely bad hombres can be difficult to identify until it is too late. 

The bonus features also enhance understanding of "Swastika." One extra has the filmmakers discuss the nature of Nazi propaganda; this conversation includes noting the great extent of the censorship of that era. A highlight is footage that amazingly slips through a very narrow crack.

Another extra discusses Nazi propaganda expert Leni Riefenstahl. We first learn that this filmmaker gets more than a little uncredited help from her friends. We subsequently see that her claims of denial are far from plausible.

As other posts in the Mill Creek Entertainment section of this site does (and will) show, this month being a particularly busy one for MCE releases requires that a timely review of "Hitler" come at the expense of not watching the other documentaries in the set. 

"Hitler: The Untold Story" seems particularly fascinating. This six-part series pulls the curtain back on the fairly well known progression of the rise to power by der Fuhrer. Similar to "Swastika," we see how maintaining a deceiving public image is critical to Hitler maintaining his status.

"U-Boats: Hitler's Sharks" focuses on the importance of the ocean in WWII. The intriguing perspective this time is speculation regarding the impact of an alternate history in which Hitler grants requests for additional submarines. 

The importance of these documentaries and the materials that accompany them is a well-known adage that provides the best perspective of all; those who do not learn from history are condemned to repeat it. 

Mill Creek Entertainment goes fully old school regarding the January 8, 2018 2-disc DVD release "The Laurel & Hardy Comedy Collection." This extensive set of team and solo shorts and feature films illustrates how these film pioneers influence many duos who follow on the large and small screen. 

A recent post on the fantabulous theatrical film "Stan & Ollie" expands on this theme of the legacy of the duo. 

The scope of these 24 classic performances include the first pairing that has a sinister-looking Hardy appear in the 1921 Laurel short "The Lucky Dog." This early silent has Laurel starring as a recently evicted tenant who soon becomes the companion of the best friend of man; pure vaudeville ensues in the form of the character whom Laurel portrays inadvertently thwarting the hold-up by the Hardy character. Further hilarity ensues as the Hardy character attempts to recover his ill-gotten gain.

The 1943 color short "The Tree in a Test Tube" is an amusing pulp non-fiction PSA in which Laurel and Hardy discover that a surprising number of household goods are made of wood. We get another alternative format in home movies that show the pair clowning around with the children of Laurel. 

A highlight is the classic feature-length film "The Flying Deuces." This one has a lovelorn Hardy get his buddy Laurel to join the French Foreign Legion to help the rotund Romeo forget a broken heart. The boys soon realize the reality of their situation and that walking away is less easy than expected. Of course, hilarity ensues in manners that include making authority figures look foolish.

The lesser-known feature "Utopia" from 1951 is darker and more cynical than "Deuces." This arguably reflects a belief that the fans of the team are a little older and interested in a story line that reflects that maturity. 

"Utopia" commences with Laurel and Hardy travelling to London to collect an inheritance of Laurel; the pile of cash quickly diminishing because of taxes and fees is the first bit of "adult content" and recurs during the film. 

Hilarity fully ensues as the team and two disenfranchised men hit the high seas en route to the tropical island that is part of the aforementioned legacy. A series of unfortunate circumstances lead to a shipwreck that reminds us that the legacy of the team includes Gilligan and the Skipper. 

As oft is the case, a dame who is seeking her own escape from the civilized world coming on the scene creates mayhem. The quartet of men vie for her affections in oft desperate manners. Subsequent arrivals create more complications and hilarity. 

The best part of all this is that this MCE release reflects the original mission of Unreal TV; this objective is keeping classic films and television programs in the public consciousness. It sadly is likely that this review is the first that those of the generation that reserve actually making a telephone call to dire emergencies have ever heard of the guys who set the standard for team comedy.