The Virgil Films August 27, 2019 DVD release of the 2018 documentary "Tasteless" shines a spotlight on a grossly overlooked societal issue; baseless outrage regarding crude and offensive humor, As many of the comedians and comedy writers who participate in the film observe, merely saying a trigger word can prompt outrage before even telling the joke. 
 
This relates to a post on beloved documentary "That's Not Funny," which focuses even more sharply on the issue of comedians and others having their lives ruined merely for telling a joke.

Similarly, this current post would be much more funny but for fear of incurring this wrath. An example is wanting to convey the theme of "Tasteless" by using the expression that essentially refers to calling a shovel a shovel as the subtitle of this article. Death threats and other stress is not worth that bit of humor.

On a related note, one topic that "Tasteless" does not discuss is the exclusive license of members of a minority group to make the jokes that have the rest of us viewed as monsters. A personal example is a one-time close Chinese-American friend dressing up like a knight for Halloween. He does this so that he can say that he is a chink in the armor. 

The following official trailer for "Tasteless" expands on the above themes and touches on the '80s joke books Truly Tasteless Jokes that give the film its name. 

Some of the best entertainment in "Tasteless" relates to folks 40ish and under who are introduced to the books through the documentary; the responses of these folks from an increasingly PC era relate both to the sick humor and someone publishing a book that almost certainly would not get published today. 

Comedian Helen Hong fully embraces the spirit of "Tasteless" in a must-see deleted scene during the closing credits. She makes a hilarious mistake as to the number of books in the series and makes this moment sublime by stating on realizing that she made an error that she must be Polish.

We further get the fun of Dennis"Mr. Belding" Haskins refusing to read any of the jokes. He fully plays up his public image. 

Filmmakers Jeff Cerulli and Matt Ritter provide an even bigger payoff both by revealing the true identity of author "Blanche Knott" and interviewing that person for "Tasteless." It is fascinating both to hear from that person and to learn how water-cooler jokes lead to extreme wealth.

Although a few cases of grossly disproportionate backlash get brief attention, the story of Canadian comedian Mike Ward receives several "Tasteless" minutes. This scandal begins with Ward joking as to a sick young Canadian boy who sings at the Vatican that many people make fun of the performance.

Ward then says that he defended the boy because he had a fatal disease. The public anger stems from Ward then expressing outrage as  to the boy lacking the decency to die after Ward is kind enough to support him.

Ward subsequently faces a hefty fine for his witticism and still is fighting it at the time of the filming of the documentary,

The same buzzkills who are succeeding in taking away freedom of choice as to plastic bags and regarding speakers that are intended to promote the college ideal of provoking thought are not going to be easily persuaded that expressing humor that offends them should not be a figurative or literal death sentence. They should open their minds at least a little by considering an analogy to which they can relate.

Traditionally, restaurant customers have been advised to not complain about minor service issues because that usually would lead to the server being fired. The message here is that you should not comment on waiting five extra minutes for your food or the server forgetting to bring ketchup because that could cost someone his or her job.

The analogy here is that a comedian should not have a career ruined merely for a misfired joke or a slip of the tongue, Thinking about how you would feel as to getting canned for a minor error in your work or for not remaking the coffee after making the last cup.

The Omnibus division of indie and foreign-film god Film Movement properly marks the 60th anniversary of the formation of "The Beatles" with the August 20, 2019 DVD release of the 2018 documentary "The Beatles: Made on Merseyside."

This soup-to-nuts film covers the Fab Four from their childhoods through the onset of Beatlemania, The extensive original and archive footage of those (including original drummer Randolph Peter Best) who know the band members best (no pun intended) provides The True Liverpool Story as to John Lennon et al.

Learning so much about these true music-industry pioneers is fascinating, The fairly well-known story of their playing always small and often disgusting clubs in England and Germany before making significant professional progress is highly relevant today.

The assertion that a post-adolescent who makes it through a few rounds of auditions and then wins a contest that lasts another few weeks is an "American Idol" is absurd. Properly achieving that status requires many years of much harder work; sob stories that have ABSOLUTELY NOTHING to do with musical talent are COMPLETELY irrelevant, 

Paul McCartney inadvertently provides the most amusing moment in this film that achieves the genre ideal of being highly entertaining and educational. His recently revealing an intimate moment with John Lennon early in their careers puts his telling of a "you show me yours, and I'll show you mine" moment with that bandmate in a different perspective. 

Seemingly lifelong friends Len Garry and Colin Hanton, who play in the pre-"Beatles" band "The Quarrymen," are the most entertaining of the seemingly cast of 100s of talking heads in "Beatles." They discuss Lennon having a more privileged childhood than he presents to the world. This is only the tip of the iceberg as to their tales of the man behind the myth. 

Much of the fun of this portion of the film relates to stories about the antics of Lennon during the salad days of the band. Suffice it to say that his mooning a German audience for a prolonged period is not his most offensive behavior during that stage of his career, 

Best (and his mother Mona Best) offers detailed insight on how he comes to join the band; this literally seems to come down to Ringo Starr working and playing better with the other lads than his predecessor. This is not to mention Starr also having a more compatible look.

A more amusing aspect of this is the stories that stage mother Mona Best is a pre-Yoko Yoko as to the boys. 

Along the lines of appearance, the secretary of the group tells of preserving and labeling the hair of the boys to send to fans. 

The liner notes of these musing on this film is that the story of how "The Beatles" come to be is as interesting as their music. It is equally awesome that the film captures and assembles the memories of those who were there before they no longer are here.

The CBS Home Entertainment August 20, 2019 DVD releases of "NCIS: New Orleans" S5 shows that that entry in that 16-year franchise is going strong. This release coming one month after the (reviewed) CBSHE DVD release of S15 of the still equally strong series "Criminal Minds" provides procedurals fans plenty to watch before the season premieres of each series in a few weeks, 

The press materials for "New Orleans" S15 describe the twist in this one as that the close-knit group of quirky law-enforcement experts operate a"field office that investigates criminal cases involving military personnel" in the titular city. That city, which is one of the most unique (and has experienced one of the worst natural disasters) in America literally and figuratively adds wonderful color to this shot-on-location series.

"Quantum Leap" and "Star Trek: Enterprise" veteran (and real-life righteous dude) Scott Bakula is perfectly cast as soft-spoken all-American boy team leader Dwayne Pride. The always off-beat CCH Pounder does equally well in her role as coroner/mother hen Dr. Loretta Wade. We also get real-life spinal-cord injury survivor Darryl "Chill" Mitchell adding good energy as wheelchair-bound Patton Plame, whom the press materials aptly describe as "an animated and talented hacker."

The casting of Mitchell provides a good opening to mention "Cosby Show" veteran Geoffrey Owens having a cameo as a Naval doctor. This casting follows a real-life attempt to shame Owens by posting a photo of him working at Trader Joe's on the Internet. Rather than making Owens a national laughing stock, it revitalizes his acting career. 

A variation of the "Cousin Oliver" tactic comes in the form of drafting Pride, who finds copious justifications to remain active in the field, for a desk job, This promotion leads to bringing in Hannah Zoury (Necar Zadeghan). She adds diversity that extends beyond bringing what hilariously tough-and-gruff Tammy Gregorio (Vanessa Ferlito) describes as balancing the boy girl ratio on the team. 

The action picks up in the immediate wake of what should have been a fatal shooting of Pride by a highly skilled (and equally determined) assassin. Our heroes split up to simultaneously try to capture that armed and dangerous foe and pull off the trick of keeping the boss out of her hands while still giving him desperately needed medical care. These outings in any series in which the prey is just as skilled and tough as the hunters are always fan favorites. 

For his part, Pride is having an outer-body experience that is reminiscent of "Leap" and "Enterprise." A woman from his past is urging him to go toward the light, while he rages, rages against doing so. In the end, he decides that his time on earth is not over.

This turn-of-events leads to a Pride becoming the boy with something extra in that having premonitions and reliving memories helps him put right what once went wrong. This also ties into the voodoo aspect of New Orleans culture. The icing on the cake is Pride conversing with a colleague who essentially is a hologram. 

As the charming DVD special feature "King Cake" states regarding the 100th episode, the new talent of Pride comes in particularly handy in that outing. We also share the frustration of Bakula as to his reminding us that "Leap" and "Enterprise" fall just short of the century mark. 
​
This aptly titled adventure "In the Blood" goes even further than the usual ones that are personal, The tie-in of a meet gone fatally wrong is that the crime-scene evidence includes a Hardy Boys novel from the library of a young Pride ala a possession of "Johnny Archer" showing up in an "Enterprise" episode.

This quickly leads to a reunion with ex-con and largely estranged father Cassius Pride ("New Orleans" semi-regular Stacy Keach). This turn shifts the focus to a frigid cold case involving a casino robbery. Another twist introduces a new character who becomes a reoccurring addition to the series. 

Hannah shines in the especially clever "Sheepdog" episode. She is pitted against an extreme student activist who is anything but radical. This one reunites Pride with an old friend who is a college professor whose message of peaceful protest does not sit well with the primary villain of the week. The old ticking time bomb aspect adds more drama and prompts an awesomely creative solution.

A lighter and more fun "The Spy Who May Have Loved Me" episode gives awkward genius Sebastian Lund (Rob Kerkovich) a chance to shine. He bonds with a clever and deadly MI6 agent, who may simply see him as an adorkable means to an end. Their cat-and-mouse game that continues right to the end provides plenty of solid entertainment. 

All of this culminates in an epic two-part season finale with shades of the S4 season finale. This centers around Team Pride that somehow forms a family taking their variation of a trip to Hawaii. They go far overseas to try to rescue a kidnapped FBI agent and of course find themselves in grave danger. 

CBS builds on the fun of "King Cake" with a plethora of other special features. We get the cast and crew discussing S5 and a few similar treats. The icing on these pecan rolls are the pilots of "SEAL: Team" and even more aptly of "Star Trek: Discovery." 

The debriefing regarding this release that does well by this strong addition to the "NCIS" franchise, which in turn does "father" "JAG" proud, is that cast and crew know what people who like quality procedurals with a "hook" want and deliver it. I garontee it. 

The Virgil Films August 20, 2019 DVD release of the 2019 documentary "I Am Patrick Swayze" is a perfect summer-time addition to the Paramount Network "I Am" series. Reviews of many of these films are posted in the Virgil section of this site. 

A common element of all these films is that the friends, relatives, and colleagues who participate clearly greatly love and miss the subject. 

"Swayze" stands out from the rest because it reminds us of the broad range of talent of this triple threat who can sing, dance, and act. A glaring (and missed) omission is his hilarious SNL appearance in which this buff stud appears along grossly overweight cast member Chris Farley.

Brother Don Swayze and widow Lisa Niemi are the primary talking heads in this deserving tribute to one of the nicest kids in town. We also get several charming insights from "Outsiders" co-star Rob Lowe and "Road House" love interest Kelly Lynch.

Our story begins in Houston, Texas where Patrick's mother, who operates a dance company, starts his ballet training. This also leads to his meeting Lisa. 

Lisa discusses the events that bring her and Patrick to Los Angeles; suffice it to say that Patrick is not an overnight sensation. 

Lowe discussing both the casting and the filming process of "Outisders" provides great insight as to that classic film that either starred every top actor in his 20s at that time or was one in which a member of the actual and extended brat packs wanted a role. 

"Road House" baddie Marshall R. Teague tells a great story of the mano-a-mano aspects of his big fight scene with Swayze. He also recounted how anyone who teased Swayze about his ballet training learned to regret doing so.

We further hear from Demi Moore as to filming "Ghost." Hearing how Swayze almost was not cast is the highlight this time. 

Sadly, we are deprived of the wit and wisdom of Keanu Reeves as to filming "Point Break." We do hear from Don about how his skydiving experience helps his brother with that film. 

Other topics include the impact of filming "Red Dawn" on Patrick and his response to the diagnosis of his fatal cancer.

This eavesdropping on personal reminiscing is as characteristic of the "I Am" films as is the deceased subject always being someone with whom you mourn never having any chance of joining for a beverage of your choice. 

One can only hope that Paramount and Virgil keep 'em comin'.

[EDITOR'S NOTE: Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this Blog Post. The opinions I share are my own.]

The Warner Brothers Home Entertainment August 20, 2019 separate DVD and Blu-ray releases of the 22-episode penultimate season of the daddy of all Arrowverse series "Arrow" provides plenty of time to either catch up on or review the series before the October 15, 2019 premiere of the 10-episode 8th season on your local CW channel.

It is clear early on that this action and lore-packed season is intended to be the last. We check all of the boxes as to the unmasking of the titular hero, an unjust imprisonment of that savior, old friends and foes showing up, and an epic finale that provides closure that leaves you wanting more. Team Berlanti provides more in the form of frequent flash-forwards 20 years in a storyline that very validly can be titled ""Arrow: The Next Generation." 

The following 2018 ComicCon trailer for "Arrow" S7 provides teasers galore (including toned-down "Ozesque"  scenes of Oliver Queen (Stephen Amell) in the prison shower) about the thrills and chills to come. On a related note, both the DVD and the Blu-ray have a feature containing the highlights of the DC TV panels at that Comic Con. This kicks off with Team Supergirl discussing their adventures.

As indicated above, the blessing and the curse of S7 is that the well-orchestrated developments are much to plentiful to properly present here. Two primary and heavily related themes are that the events are a continuum, and that virtually every character is trying to come to terms with his or her past. 

Our story begins with an unmasked Oliver out of the closet and in the big house as part of a deal related to revenge-obsessed nemesis Ricardo Diaz, Wife/Overwatch Felicity is in hiding with Oliver's teen son William Clayton. The rest of disbanded Team Arrow is trying (not always so well) to work within the system to do good in ways that include capturing Diaz for reasons that include an essential prisoner exchange of Oliver for him.

Urgency regarding this extends beyond Oliver being a fellow guest of the state who would not have that distinction but for him. A disgraced psychiatrist is giving Oliver an insidious form of electo-shock with impending dire consequences. 

Meanwhile, a new Arrow is taking over the role of illegal vigilante. Rene Ramirez (a.k.a. Wilddog of Team Arow) switch-hitting is only the tip of the iceberg. Oliver and company learning the reason for these most sincere form of flattery dredges up fairly ancient history and creates textbook conflicting emotions.

All of this begets super-villain Dante and his previously covert centuries-old society known as the Ninth Circle, This requires borrowing from another corner of the DCU by having Diaz and his version of the Legion of Doom (complete with an evil version of MCU hero Captain America) form a "Suicide Squad" clone known as The Ghost Initiative. The similarities extend to these desperate measures having bombs implanted in their heads. 

The 150th episode "Emerald Archer" centers around a documentary about this character and his not so merry men and women. Of course, reality (and associated conflict) intrude on this project.

The aptly titled episode "Confessions" is more of a traditional procedural than a super-hero action-adventure show. Team Arrow (plus an old friend) are persons of intense interest as to the killing of two innocents during a violent mission that is par for the course as to this group, The message as to this one follows the sci-fi principle that death is not always permanent; we also get a heavy dose of the aforementioned element of atonement.

In true Arrowverse style, all this leads to a story arc that leads to a climatic showdown in which inner and outer demons both face battles. 

The aforementioned essentially game-ender nicely ties in with the epic three-episode cross-over "Elseworlds" in which our reality is repeatedly altered for much more fun than profit but still involving global consequences.

​This always fanboy delight, which only is fully presented on the Blu-ray sets of the relevant "Arrowverse" series, is particularly awesome this time. It BOTH introduces Bruce Wayne cousin/Batwoman Kate Kane (who gets her own series this year) and drives significant action later in "Arrow" S7.

The special features extend well beyond the Comic-Con panel and the full presentation of "Elseworlds." The DVD and Blu-ray sets have the special feature "Villains: Modes of Persuasion" on DC super-villains, a feature on "Elseworlds," and a gag reel, 

The Warner Archive August 27, 2019 DVD release of the 1981 Michael Caine thriller "The Hand" is the latest in a string of neo-noir thrillers in the Archive catalog. The 1981 Rachel Ward slasher flick "Night School" is a prime example of this. 

The cred. of this one includes a screenplay by Oliver Stone, who provides an audio commentary, 

The general concept of these lurid psychological dramas is that the monster is the beast within; they also typically have moderate production values that contribute to the guilty fun of the viewers. The 1980 Michael Caine film "Dressed to Kill" epitomizes this.

Caine plays successful cartoonist Jonathan Lansdale, who is living the fairly good life in Vermont with moderately loving wife Anne Lansdale (Andrea Marcovicci) and slightly more adoring (aptly named)  young daughter Lizzie. 

The game-changer occurs when Anne breaks the rule against driving while angry; her act of road rage while arguing with Jonathan makes his titular appendage collateral damage in the ensuing accident. 

A half-hearted effort by Anne to recover the severed projectile fails, leaving Jonathan with a stump a the end of his wrist and early retirement from drawing his strip. The rest of this portion of the story is that the zombie-like hand minimally has an imagined afterlife of its own comparable to Thing from "The Addams Family," which amusingly begins life as a comic. 

Our action shifts to New York, where a highly reluctant Jonathan moves to facilitate Anne in her quest for what he hopes only is psychological fulfillment. Artistic differences with extreme prejudice regarding the young Turk brought in to take over drawing the strip further fuel the fire. 

The body count mounts as the emotional stability of Jonathan lessens, The question is whether the hand has surprising mobility or Jonathan is raising Cain while in a trance-like state.

All of this leads to Jonathan being just as unlucky at extra-marital love as he is regarding his wife. Of course, this causes an even further breakdown and more innocents feeling his direct or indirect wrath.

The beginning of the climax is predictable in that Jonathan gets to the root of the problem; things take an unexpected (and even more psychological) turn. Of course, the truth ultimately comes out and justice arguably is served. 

The fun of all this includes the twist on the horror staple of a cursed body part that gets attached to someone who is a victim of being at the wrong place at the wrong time. The hand coming from Jonathan is as symbolic as his extreme midlife crisis is to folks who reach their limits as they enter the second half of their lives; these two events coinciding is a perfect storm. 

The Warner Archive August 27, 2019 rerelrease of its January 2015 Blu-ray of the 1981 Albert Finney horror film "Wolfen" provides another bite of the apple (no pun intended) as to this urban neo-horror film. 

A highlight of this release is Blu-ray greatly enhancing the innovative cinematography of a surprisingly bright and sunny New York. Archive builds on this in a back-cover liner note that discusses what primarily distinguishes this movie from similar fare of the same era. "Using a steadicam camera and Louma crane to simulate the predators' perspectives, director Michael Wadleigh ("Woodstock") achieves a remarkable blend of New York City mystery and menace not captured on film before."

The following standard-def theatrical trailer for "Wolfen" includes a look at the aforementioned artistic POV while highlighting the early '80s horror-film vibe of the movie.

The concept of a man in wolf's clothing ripping apart an over-privileged and over-coked '80s Manhattan stereotype appeals to the primal aspect of each of us.

We also understand the psyche of alcoholic disgraced police detective Dewey Wilson (Finney) being called in because he has the right stuff to crack this high-profile tough case. We further are not surprised when he is teamed up with brilliant and emotionally stable police psychologist Rebecca Neff (Diane Venora) and ends up in her bed.

Ironically, the still enjoyable and creative "Wolfen" stumbles in its execution, There are too many (and too long) scenes of the titular creature stalking his prey. On top of that, this one is a bit too talky and stoic for this genre, No one seems to be especially emotionally involved in figuring out whatdunit,

Much of this likely is due to "Wolfen" literally playing to an audience raised on "wolfing out" involving more frantic pursuits and general mayhem. The typically lower production values of those films also contribute to that fun.

Having said that, Finney and a cast that includes Gregory Hines as a dedicated coroner all play their roles well. They never go to the other extreme in terms of over-emoting.

Related depth and commentary nicely provide relevant framework for all this. The yuppie scum (who pays the ultimate price for not having a chance to see the original "Poltergeist" movie) with roots that seem to date back to New Amsterdam days is most likely targeted due to a planned development on land of importance to the descendants of the folks who sold the island for $24 and a handful of beads. 

We also are reminded that Native American culture has a long history that emphasizes the close relationship between man and beast. This is especially so in arguably the best scene of "Wolfen." One spoiler is that Wilson likely regrets  not having a rolled-up newspaper and or a snausage with him.

The well-executed (and believable in context) climax is another highlight. Wilson and Neff have returned to the real scene of the crime and are about to become Alpo. Quick thinking in the form of a symbolic act provides a possible out; the lack of a sequel makes it possible that that gesture is too little too late. 

As the above musings indicate, the tricky balancing act that "Wolfen" attempts is a modern werewolf tale in the context of a more traditional '80s murder thriller. The result is the film reflecting the principle of compromise in that everyone gets enough to be happy but not enough to be ecstatic.

Warner Archive gives kids of all ages a special back-to-school treat regarding the August 20, 2019 blu-ray release of the 1990 Jim Henson adaptation of the Roald Dahl children's story "The Witches." The fun begins with casting future silver-screen Morticia Addams Anjelica Huston as Eva Ernst/Grand High Witch. 

The typical bright and bold remastering by Archive is another bewitching element of this one. 

The accolades for this BAFTA-nominated film include well-deserved Best Actress wins for Huston at the Boston Society of Film Critics Awards, the Los Angeles Film Critics Association Awards, and the National Society of Film Critics Awards. 

It is a travesty that the incredible Henson Company effects are snubbed awardwise. 

The following SPOILER-DRIPPING trailer for "Witches" will make you believe that a boy can squeal. This embracing of the story by all involved is the icing on the cake as to this tale by the author of "Charlie and the Chocolate Factory" and "James and the Giant Peach."

The proper mix of exposition and starting the action uses the same method as fellow literary classic turned awesome flick "The Princess Bride." Nine year-old Luke is in Norway, where his paternal grandmother Helga (Mai Zetterling) is telling him about her childhood experience with witches snatching her friend and imprisoning her inside a painting until this captive grows old and fades away.

Helga also provides good foreshadowing in the form of telling Luke how to see through disguises that witches don to blend in with us muggles. The additional lore regarding the dislike with extreme prejudice that characterizes the attitude of witches toward children provides Luke a hilarious excuse to not regularly bathe. Parents and significant others of adolescent and post-adolescent males are advise  to try this technique as to using Axe body spray, 

Subsequent events lead to Helga and Luke moving to England, where the training that the latter has received allows him to avoid extreme stranger danger,. He figuratively goes from the frying pan into the fire when a seaside holiday with Gram coincides with a surprisingly successfully covert witch convention at the same hotel owned and operated by Mr. Stringer (Rowan "Mr. Bean" Atkinson).

While at the hotel, Luke befriends a Dahl stereotype in the form of pudgy gluttonous Bruno Jenkins. That problem child is staying there with his wealthy and demanding father (Bill Paterson) and mother (Bremda Blethyn). 

The rest of this "Harry Potter" caliber British cast includes Jane Horrocks of "Absolutely Fabulous" playing to type in her role as the quirky assistant of Eva. 

Luke is in the right place at the right time in that playing with his pet rodents in a meeting room allows him to listen in on the plan of the not-so-beloved sorceresses to transform all of this children of the world into mice. He is in the wrong place at the wrong time in that the attendees find their eavesdropper and use him as a guinea pig. 

Our hero must now determine if he is a man or a mouse in that he either will beat tremendous odds in stopping the fagless hags from tuning his peers into rodents or will lean to accept his new normal.

Hilarity and chaos ensue in equal measure as to the climax regarding which (no pun intended) the objective is to give the villainesses a taste of their own medicine,

Henson and Dahl save some of their best for last as to the epilogue. We learn that staying calm and carrying on is not always required, 

The larger truth is that the genius of the aforementioned collaborators is their skill in creating children's fare that appeals to everyone; "Witches" has plenty for anyone who qualifies as friend or family to love.​

The Breaking Glass Pictures DVD release of the 2017 film "Pinsky" provides a chance to see the best movie about a hipster Boston 20-something lesbian with a domineering Russian immigrant grandmother having a quarter-life crisis that you will see this year. The accolades for this quirky indiecom include the Best Narrative Feature at the 2017 Santa Fe Independent Film Festival.

Much of the appeal of this dysfunctional Jewish family film relates (pun intended) to it evoking thoughts of the Neil Simon semi-autobiopic "Brighton Beach Memoirs." That one tells the tale of an adolescent Simon living in a full house with his parents, his brother, and the rest.

"Pinsky" opens on a terrible, horrible, no good day for titular Millennial Sophia Pinsky (producer/writer Rebecca Karpovsky). Her grandfather drops dead in the street within hours of the live-in girlfriend of Sophia leaving her a Dear Jane letter. All of this is on top of Sophia still working at the Jewish grocery store that is her college-era employer. 

These worlds initially collide due to the death prompting Sophia to attending Shiva at the apartment of her grandmother (a.k.a. Bubbie). This is the first interaction of these women in several years after Bubbie cuts Sophia out of her life for moving in with her girlfriend. 

The rest of the story in this regarding is that family rabbi Bob Stern (Alan Blumenfeld of the Marion Ross Jewcom "Brooklyn Bridge"). We subsequently learn that Bob has a very personal interest in the activities of the Pinskys.

Bubbie first exerts her Yenta side in coercing newly single Sophia to move back into Temple Beth Pinksy. The fellow members of the congregation are Sophia's father, who is obsessed with his ballroom-dance partner, and aimless sibling Victor, who has delusions of qualifying for the Boston police force. One can give Victor credit for realizing that he lacks the right stuff for the BFD. 

The unavailability of an eligible Jewish doctor prompts Bubbie to aggressively promote the next best thing. She coerces Sophia into dating long-time family friend/medical researcher Trevor. Trevor agrees to play along despite having no romantic interest in Sophia and knowing that she prefers her phallic items to be of the plastic variety.

The final piece of the puzzle comes in the form of Sophia beginning a friendship that she apparently hopes reaps benefits. This object of her affection is Jessica Elliott, whose black skin is one of a few characteristics that distinguish her from the other patrons at the aforementioned Jewish market.

Jessica being an open-mic night regular introduces Sophia to the world; that leads to her aspiring to become a hipster lesbian version of Jerry Seinfeld; not that there is anything wrong with that. 

Families of every religion and nationality can relate to the developments in the wake (pun intended) of the death of the grandfather leading to comically extreme trauma and drama at a Shabbat (a.k.a. Friday Night) dinner. The Mogen David freely flowing may be a factor regarding the gefilte fish hitting the fan. 

Part of the gist of the listing of grievances is Bubbie laying the mother of all Jewish maternal figure guilt trips regarding her heavy sacrifices for her ungrateful family; we also learn that Trevor has his limits. 

The biggest picture is that "Pinsky" illustrates the truth of the expression that you can pick your friends but not your relatives. It also brings to mind a foreign film from a few years ago in which a nice young Parisian Jewish man is planning to move to Israel; his sister reminds him that his planned destination is full of people who are like their parents. A third perspective is the Seinfeld joke that Jewish men marry shiksas because they want a wife who does not remind them of their mother.

The always excellent Breaking DVD extras this time are an interview with Blumenfeld and a short clip of Karpovsky doing stand-up. 

The TLA Releasing DVD release of the 2018 gay-themed surreal drama "The Skin of the Teeth" presents a well-produced compelling story that even breeders will enjoy. On a large level, "Skin" follows the pattern of a direct relationship between the quality of the film and the strength of the live-stage vibe and the small amount of nudity and/or sex.

The horrific "a night in the life of" story begins with NY hedge fund guy John Burstner preparing for a stay-in date with less successful Josef King. Their back story is that these guys are trying to transform a Mr. Right Now hook-up into a Mr. Right relationship.

Josef being the younger and the cuter of the pair predictably leads to John being unduly grabby. John also makes the valid point that Josef having quickly given it up impairs the credibility of his claim that he wants to take it slowly.

Things settle down until the party once again goes out of bounds. This leads to the end of the life of John and the beginning of a Kafkaesque nightmare for Josef. The well-staged constant blending of reality and drug-induced hallucinations make an already interesting story even more compelling. 

This textbook journey down the rabbit hole commences with the cops pounding on the door of Chez Burstner. these NYPD men in blue dragging Josef down the hall in front of all the neighbors, and our lead ending up in an interrogation room. Virtually all of the rest of the film occurs in that room as Josef fully gets caught up in the system while being questioned by a detective who has a hard on for him in not the nice way.

The ensuing humiliations include being made to strip in front of this detective and his female partner, getting caught in a lie about his age, and being subjected to harsh questioning regarding his sexuality. The aggressive unwanted sexual advance is the icing on the cake.

Film virgin Pascal Arquimedes does such a good job playing an innocent man who is on trial both for the death and every aspect of his life that we feel his pain. This extends to sharing his joy when it looks as the entire ordeal is merely in his head. The reality is that the perceptions of this date gone horribly wrong likely are a blend of fact and an altered state of mind. 

Similar to other tales of "innocents" in peril, the "it could happen to you" aspect provides much of the impact of this ordeal. The surface level is the leap of faith that any of us make entering the home of an absolute or relative stranger. Going just slightly deep, all of us are vulnerable to being at the wrong place at the wrong time. Plenty of prior and current guests of the state can attest to the validity of both statements. 

All of this leads to an out-of-the-blue conclusion that is just as cynical as the rest of the film; pulling an ace out of a sleeve is game changer. 

CBS Home Entertainment and Paramount Home Entertainment mark the 108th anniversary of the birth of Lucille Ball by giving her fans (i.e., everyone) a present in the form of the August 13, 2019 2-disc DVD release "I Love Lucy: Colorized Collection." Attendees of the August 6, 2019 (actual birth anniversary) Fathom event ain't seen everything yet. The DVD set adds 11 episodes to the 5 in the theatrical presentation.

Both formats include the MUST-SEE 25-minute feature "Redhead Tales" on the advanced techniques and source materials used to colorize "Lucy;" the DVD goes on provide other bonuses that include a colorized skit in which all four stars sing "Jingle Bells" and a related animated commercial for series sponsor Philip Morris cigarettes. An amusing aspect of the latter is one of the colorized episodes has a scene in which Ricky has a pack of cigarettes tucked in BOTH of his rolled-up sleeeves. Yes, Arnaz does die of lung cancer. 

The first aside in this tribute to this true collectible set is that CBS Home Entertainment is continuing its love of Lucy by releasing the complete series of her '80scom "Life With Lucy" (co-starring Gale Gordon) on October 9. 2019. An episode in which John Ritter fully embraces his charming accident-prone persona in playing himself is a series highlight and repays Ball for hosting a "Three's Company" retrospective. 

"Life," which of course will be reviewed on this site, differs from the other three Lucy series in two significant ways. The most obvious one is that the earlier shows aired on CBS, and "Life" was an ABC program.

The less apparent difference is that the portrayor of Lucy Ricardo, Lucy Carmichael., and Lucy Carter considered "car" to be a good luck charm. Her wacky grandma character Lucy Barker in "Life" deviating from the pattern may have been a factor regarding that series not running as long as the others. 

Returning to our primary topic, the controversy regarding colorization is easy to resolve. This technique, which has come a long way since its 16-color analog origin in the '80s, allows folks who are ok with it to see old favorites in a literally (and arguably enhanced) new light. No one is coercing purists to buy these new versions; it just comes down to a "paper or plastic" choice. 

The most important thing to consider regarding "Lucy" specifically is that fully pleasing anyone is impossible as to a show that it so near and dear to the hearts and minds of generations of Americans.

There always will be people who will be unhappy with the quality of this SPECTACULAR digital colorization or with choosing one color or tone over another option. A subjectively valid point regarding this is that the trademark red hair of Lucy does seem unduly bright and orange. Other than that, the colors seem awesome, and the images are incredibly clear. A few seconds of patience is required while your player adjusts the image at the start of each episode, 

The other inevitable bone of contention is the selection of the episodes, many of which appear in less enhanced versions as modern CBS network special presentations. All of the acknowledged classics are here and are supplemented with some that merely are hilarious, 

Subjective criticism here is fractionally stronger than regarding the colorization. The inclusion of "Pioneer Women," "Lucy Does a TV Commercial," "Job Switching," "Harpo Marx," and "Lucy's Italian Movie" all are mandatory. The two-part "Lucy Visits Grauman's" and "Lucy and John Wayne" are among the subjectively valid inclusions. 

It seems that "Bonus Bucks" in which the Ricardos and the Mertzes quarrel over ownership of a prize is merely a typical episode; as much as this seems to be heresy, "Lucy Goes to Scotland" is a bit too silly and somewhat boring to warrant "Top 16" status. 

Further, having 7 of the 16 episodes set in Hollywood seems to be heavily weighted regarding those episodes (especially considering that no Florida or Connecticut episodes are represented) as opposed to the others. All of this leads to expressing disappointment that a personal favorite is not included. 

A Connecticut episode in which Lucy must bring a flock of baby chicks inside her house and then act like a literal mother hen to herd them is exceptionally cute and funny. The regular series finale in which Lucy breaks a statue and puts herself on a well-deserved pedestal to replace it is a viable contender for colorization. 

The most apt way to wrap up these thoughts on this release is to share two comments from "Redhead." CBS Home Entertainment "suit" Ken Ross discusses the history of colorizing "Lucy." His comment regarding the goals of these episodes including introducing a new generation of fans to the series perfectly mirrors the oft-mentioned mission statement of this site (nee Unreal TV) that it exists so that Lucy Ricardo and Ralph Kramden remain in the public consciousness.

A 38 year-old man who worked on colorizing the episodes shared the perspective that he first became aware of Lucy through copious media reports of her death in 1989. He added that he became a fan through his work on the episodes. 

Another way of looking at this is that it is not true that everyone loves Raymond or hates Chris, but it is difficult to imagine that anyone does not love Lucy, 

The Dekkoo Films March 13, 2018 DVD release of the second season of the Brandon Kirby gay-themed web-drama "I'm Fine" provides fans a chance to see "what happens" after the tears and recriminations regarding the relationship-oriented cliffhanger at the end of (reviewed) S1. The focus in S2 on showing that seemingly NSA sex is not as casual as believed (or hoped for) nicely builds on the solid S1 foundation.


The beginning of S2 finds central 30-ish WeHo Nate in quiet contemplation after the aforementioned S1 events leaves him alienated from former best friend Joey and considered the bad guy among mutual friends. This nice-looking guy who already has a cute S1 coffee shop connection under his belt soon finds himself the object of the affection of an adorable somewhat innocent. Almost literally fresh-off-the-plane relatively pure younger man Mick strikes up a conversation and is ecstatic regarding the response when he asks Nate if he is gay.


A politely persistent Mick shows up throughout S2 and often plays the role of "Mr. Right Now" in several senses of that word. Many of us can relate to both being the puppy pursuing the more worldly adult dog or being pursued. We also can relate to throwing the eager young thing a bone for motives all along the selfishness scale.


Another early S2 development finds members of the Nateverse Andy and Brian attending a party with medium-high sexual heat on the cusp of moving in together. A reluctant Andy is going along with the desire of Brian to adopt a policy of what happens at the party stays at party. This works out well until the couple learns the principle that the problem with a threesome is that someone inevitably gets left out and experiences jealousy.


Meanwhile, Jeff is dealing with a family crisis at the same time that he is contending with his falling out with Nate; this presents our lead with an almost classic damned if he does and damned if he does not situation.


The comic-laced drama of Nate continues with ambiguity regarding a a job offer, having his family drop by for a forgotten visit, and his roommate providing literally last-minute notice that he is moving. On top of this, this every Millennial gets excited regarding a second bite of the apple regarding a college infatuation only to learn a couple of harsh lessons. This includes the logistical problem related to both players being willing to take one for the team.


The season-finale ends things on a high note by tying in several S1 elements. Nate and those who remain on his team make the bad decision of attending a kickball game in search of closure only to have everything go comically awry. Bringing back the most shriekingly toxic member of this 'verse is a highlight.


The appeal of this series is that most groups of gay men see themselves in these characters. Drama and/or sex of varying degrees of intensity regularly occurs among the members, and the folks on the sidelines must contend with the consequences of which side that they choose. Another way of looking at this is the valid theory that all adults experience the same emotions as children but largely better cope with them.


The DVD bonus is a "making-of" feature.

The TLA Releasing October 2017 DVD release of the 2016 S1 of the dekkoo web series "I'm Fine" makes a perfect companion to the (reviewed) December 2017 release of the Dekkoo Films "Coffee House Chronicles: The Movie." Both projects take equally honest and amusing looks at gay dating in the 2010s.


The following YouTube clip of a "Fine" trailer highlights the drama and the trauma of the queer as folk boys living in West Hollywood whose lives are the things of which the series is made.

​Fine" centers around 30-ish Nate, who is suffering the pains of being on the rough end of a tough break-up with kickball jock Joey. The love-hate relationships among his friends help (and hinder) his navigating these tough times and provide the audience great entertainment.


The shifting narrative begins in the wake of the aforementioned breakup and later establishes that Natey begins when Joey stands up for Nate during an amusing confrontation at a party from Hell. Subsequently entanglements hilariously ensue when Nate encounters Joey and a date in the immediate afternath of a disastrous hook up regarding which many gay man can relate. One lesson regarding that wham-bam-thank-you-sir is that taking one for the team is difficult when your heart is not in the game.


The indications of writer-director Brnadon Kirby being in the head of the viewer are particularly strong in one scene. On arriving at a coffee shop to meet Joey, Nate orders a beverage with extra flavoring only to have the barista repeatedly harangue him; this is on the heels of a similar Starbucks experience in which being challenged about requesting extra peppermint syrup and then being asked if they should add a shot of insulin prompted changing the order (and disliking the drink).


The ensuing events are equally relatable but more pleasant. The adorable young guy in line behind Nate concocts a cute approach and makes a charming sincere expression of a desire to get to know him better. This type of encounter is fairly common during the period that one is young and cute and is especially nice when it leads to a good relationship.


Yet more relatabilty ensues when best friend Jeff confesses his attraction to Nate; suffice it to to say that the impulsiveness of Nate causes this tricky situation to explode in a manner that affects their entire group.


As alluded to above, the importance of productions such as "Fine" and "Chronicles" is that it shows the vast numbers of gay men who lack many reference points that their experiences are typical for men who date men and yearn for sharing a dream home with Mr. Right.


The bigger picture is that folks who are at the hetero end of the Kinsey Scale see that gay men do not connect as easily or as regularly as pop culture often suggests; these breeders further learn that hurt feelings when the one whom you love does not share those feelings and/or moves onto someone else lack sexuality boundaries. The one who got away still is the one who got away.
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"Fine" centers around 30-ish Nate, who is suffering the pains of being on the rough end of a tough break-up with kickball jock Joey. The love-hate relationships among his friends help (and hinder) his navigating these tough times and provide the audience great entertainment.


The shifting narrative begins in the wake of the aforementioned breakup and later establishes that Natey begins when Joey stands up for Nate during an amusing confrontation at a party from Hell. Subsequently entanglements hilariously ensue when Nate encounters Joey and a date in the immediate afternath of a disastrous hook up regarding which many gay man can relate. One lesson regarding that wham-bam-thank-you-sir is that taking one for the team is difficult when your heart is not in the game.


The indications of writer-director Brnadon Kirby being in the head of the viewer are particularly strong in one scene. On arriving at a coffee shop to meet Joey, Nate orders a beverage with extra flavoring only to have the barista repeatedly harangue him; this is on the heels of a similar Starbucks experience in which being challenged about requesting extra peppermint syrup and then being asked if they should add a shot of insulin prompted changing the order (and disliking the drink).


The ensuing events are equally relatable but more pleasant. The adorable young guy in line behind Nate concocts a cute approach and makes a charming sincere expression of a desire to get to know him better. This type of encounter is fairly common during the period that one is young and cute and is especially nice when it leads to a good relationship.


Yet more relatabilty ensues when best friend Jeff confesses his attraction to Nate; suffice it to to say that the impulsiveness of Nate causes this tricky situation to explode in a manner that affects their entire group.


As alluded to above, the importance of productions such as "Fine" and "Chronicles" is that it shows the vast numbers of gay men who lack many reference points that their experiences are typical for men who date men and yearn for sharing a dream home with Mr. Right.


The bigger picture is that folks who are at the hetero end of the Kinsey Scale see that gay men do not connect as easily or as regularly as pop culture often suggests; these breeders further learn that hurt feelings when the one whom you love does not share those feelings and/or moves onto someone else lack sexuality boundaries. The one who got away still is the one who got away.

Best friend of edgy off-beat films Breaking Glass Pictures embraces the spirit of the 2018 quirky indie comedy "Wobble Palace" by releasing the DVD of it on October 30, 2018. This praise relates to "Palace" occurring over the October 30-31, 2016 weekend just ahead of the presidential election that year. 

Breaking does another solid by providing a spot-on synopsis of "Palace" in the press materials. This makes life easier for over-worked reviewers everywhere who welcome any chance to half-ass it. This brilliant prose that aptly begins with the phrases "auteur-driven," "hyper-independent," and "Millennial anti-rom-com" is below.

"WOBBLE PALACE takes place on the eve of America's most traumatic election, where a couple on the verge of a nervous break-up decide to split their house up over the weekend. Desperate to make new connections, Jane and Eugene find themselves in a series of unpredictable misadventures, sexual escapades and emotional traumas. From this simple premise we delve into a manic and hilarious world of lust and mistrust, revealing the identity crises and narcissistic self-loathing at the core of the millennial experience."

This adventure begins with easily the most divisive narrative technique in modern film. A series of texts establish the context for Eugene (producer/director/writer Eugene Kotlyarenko) and Jane to divide their shared abode that artist Jane has decorated in early Pee Wee's Playhouse for the Halloween weekend. Folks who have good eyesight and embrace all innovations apparently love this popular exposition tool. Those of us whose eyes are less-than-perfect and who are less fond of copycat gimmicks do not embrace this method as much.

The real action begins on the morning of Saturday, October 30. This is the day that Eugene has the house. Seeing more of his morning routine than we need to includes watching him create the worst comb-over in a LONG history of cinematic bad efforts to hide a receding hairline,

The day of Eugene starts well before rapidly picking up momentum that leads to an epic crash-and-burn that deprives him of every last shred of dignity. This nottie surprisingly gets a hottie blonde photographer that he meets through a dating app. to come by. It is even more surprising that she sticks around after uncovering the truth about his relationship with his "roommate." 

Eugene soon putting himself in a literally and figuratively compromising position proves that all men are stupid. His learning the extent to which an angry woman hath fury provides the audience great entertainment and our boy intense anguish. His relationship with Jane being much closer to hate than love at this point does not help matters. 

The primary action then shifts to Jane, whom we join on Sunday morning after a wild Saturday night party. This starving artist trying to hold her own with one who lives in an expensive loft is very amusing. 

For her part, Jane is spending her day at the house with a member of the Millionaire Boys' Club who is a regular booty call. Watching this horny pair have a room but needing to wait for a bed is both relatable and hilarious. This two-pump chump making an ill-advised dump adds more comic drama to their intercourse.

Kotlyarenko augments this study of the mating habits of Millennials with apt flashbacks that establish how they get to where they are at the present of the film.  This includes the more traditional rom-com style segment that can be considered when Eugene met Jane. These scenes not only depict the joy of new (if not true) love but the cyclical nature of everything.

All of this wraps up with Jane and Eugene reuniting after their weekends of freedom. This leads to them determining if their flame is reignited, has burned out, or simply is a Hanukkah light that adequately is keeping the relationship going until they either fall back in love or experience enough hate to call it quits. Real and reel life allow accurately predicting which of these is the outcome. 

The special features include a separate audio commentary by Kotlyarenko and his entertaining four-minute introduction to 15 minutes of deleted scenes. The elan with which this aforementioned auteur describes his film, the support of Breaking, and the context of the footage that ends up on the editing room floor communicates his tremendous love for the art for which he bares all.

The breaking news regarding all this is that "Palace" presents a compelling portrait of a modern man-child clown who receives a harsh wake-up call on starting his day alone in bed. 

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. 

Warner Archive goes old summer school regarding the July 16, 2019 DVD release of the 1976-77 Danny Thomas NBC sitcom "The Practice." This textbook '70scom, complete with an urban setting, largely divides its focus between cantankerous older Dr. Jules Bedford (Thomas) of the West Side struggling to help patients and battling with 30-something son Dr. David Bedford (David Spielberg) of Park Avenue over their different approaches to life and to providing medical care. It is unknown if any glass tables are harmed in the filming of "Practice,"

The legacy of "Practice" arguably includes the Henry "Fonzie" Winkler 2005-06 sitcom "Out of Practice." Winkler plays the head of a family of doctors who live in the same building. Further, Thomas plays a very similar role to that of Jules in a 1984 episode of the ABC sitcom "Benson." The "Benson" connection continues with Didi Conn playing a ditzy naive assistant in both series. Further, Danny son Tony Thomas works on both series.

The "dram" and the "edy" start out strong in the pilot. Arthur Jarvis (J. Pat O'Malley of "Maude") is the first in a continuum of long-time patients/close friends of Jules experiencing serious medical problems. In this case, both Arthur and David are much more accepting the seemingly imminent death of the former than Jules. 

Next up is Barbara Simms (Marge Redmond of "The Flying Nun"), who is equally distressed about her goiter and her husband recently leaving her for a younger woman. "Daddy" saying no regarding an operation prompts Barbara to ask "Son," who arranges for the procedure. We first see that Father knows best and that Barbara makes room for Daddy in the actual sense of that phrase.

Much of the "com" relates to Jules having to let Barbara down easily after purposefully giving her the wrong impression to ensure her recovery from her operation. 

Things get a little edgy when a terminally ill local drug lord (Vic Tayback of "Alice") demanbds treatment. The solution regarding whether letting this guy who does not know the meaning of "do no harm" die or honoring the Hippocratic Oath is creative and believable; one can argue that Jules should have taken things even further. 

One of the more amusing S1 episodes has David force Jules to go on a vacation only to have that dedicated physician treat hotel workers and guests in his room. Meanwhile, David gets comically overwhelmed as to taking over the practice of his father. 

Although a time constraint is behind not watching many more episodes for this review, the back-cover liner notes remind us of the star power during the rest of the "Practice" run. This begins with Mike Evans of "The Jeffersons" becoming a regular in the role of "Lenny ... a young, wisecracking medical intern."  

"Special" guest stars that surely contribute a great deal to their episodes include Lucille Ball and Edie Adams; Thomas daughter Marlo returns the favor as to her father appearing on an episode of "That Girl."

All of  the above illustrates the appeal of "Practice;" it is a relatable amusing mostly edge-free traditional sitcom that is akin to the scores of its peers that keep basic-cable networks, such as LAFF and Antenna TV in business. 

The first of many wonderful surprises regarding the Lionsgate August 6, 2019 DVD release of the 2019 second-season of the History Channel period-piece drama series "Knightfall" is that not having seen S1 is not a handicap. The S2 season premiere provides a nice S1 synopsis before picking up soon after those events.

It also is nice to see that having Mark Hamill play "drill sergeant" Talus, who molds recruits into full-fledged Knights Templar, is not merely a case of stunt casting. This hardened old soldier can be considered a much less kind and gentle version of Luke Skywalker. 

The following "Knightfall" S2 trailer does a good job conveying the depiction of the early 14th-century in the series; it also provides a good overview of the testosterone-fueled soap-opera elements in this variation of "The Tudors."

The misdeeds of disgraced knight Landry (Tom Cullen of "Downton Abbey") are the root cause of much of S2 trauma and drama; the "fruit" of his cuckolding former friend King Philip strongly intensifies the hatred of the latter toward the brotherhood of the former. This leads to papalcide, not- so-holy crusades, and a related campaign to turn the hearts and minds of the people of France against "God's Executioners."

Our man without a country also faces the challenge of obtaining the forgiveness of his former knights. His deviating from the program and incurring the aforementioned wrath of the monarch get him ousted from his fraternity; one spoiler is that the cost of regaining his former status requires that he repledge this boys' club.

Meanwhile back at the castle, excitable boy Prince Louis is finding the task of producing an heir with wife Margaret inconceivable. Margaret also must contend with the covert resentment of Princess Isabella, who understandably is upset about her upcoming  version of a crossbow marriage to Edward II.

Isabella and Margaret have INDISPUTABLY the best scene in the entire season. The two women delight in a feast of "cock" and even comment on the taste of that meat. This sets the stage for Isabella to Cosby her sister-in-law as the first step in having her disgraced. 

All of these events lead to heightened emotions that result in Philip getting his ally ensconced as pope, and the knights having a long series of very bad days.

​One of the most tense moments revolves around the holy soldiers already having their ranks depleted when it seems that their remaining numbers are destined to for horrific deaths. Whether a knight in not-so-shining armor rushes in to save them remains doubtful., 

Suffice to say, as is the case regarding the end of S1, the behind-the-scenes crew of "Knightfall" leave us wanting more.

The Time Life August 6, 2019 release of its best ever DVD tribute to "The Carol Burnett Show" awesomely provides a good reason to stay inside during the hazy, hot, and humid summer of our discontent. The gift-worthy. "The Best of the Carol Burnett Show: 50th Anniversary Edition" shows that Time Life is not a three-trick pony as to similar deluxe massive sets to Burnett pals (and guest stars) Lucille Ball, Bob Hope, and Jackie Gleason. This is not to mention giving "Burnett" admirer Robin Williams similar (reviewed) royal treatment. 

"Burnett" show by the numbers is 11 seasons, 279 episodes, 8 Golden Globes, 25 Emmys, and numerous other awards and nominations. A very incomplete list of the pop-culture contributions of "Burnett" begins with the "Family" sketches, which get their due in the "Burnett" set, that beget the sitcom "Mama's Family" that has its own deluxe (reviewed) Time Life CS set. A cool tie-in with the "Burnett" set is an included modern interview in which Burnett discusses how a combination of her perfect comedic instincts and her childhood tweak the concept of "Family" in a manner that shows that Mama Burnett knows best. 

Other "Burnett" memories that remain fresh in the minds of fans several decades include the "Gone With the Wind" and "Sunset Boulevard" sketches, which this set includes, that show that parody IS the sincerest form of flattery. Other highlights include Burnett playing a dim-witted bimbo secretary in the "Mrs. Wiggins" sketches and improv. master Tim Conway claiming to have gotten PEER Harvey Korman to laugh so hard that he pees his pants in the "Dentist" sketch.

The "Burnett" set by the numbers is 60 hand-picked episodes (including the two-hour series finale) that span all 11 years and 21 discs. The three sets that comprise these discs in a literal box set include the (reviewed) "The Best of the Carol Burnett Show." 

We also get a truly collectible booklet (avec photos) that includes a timeline of the series and a paragraph by Burnett as to each season. The icing this time is a partial listing of the notable guests each season. 

The series-finale aptly gets its own set; Time Life further gives this Golden Age classic its dues by presenting it in its original broadcast version avec bumpers but sans commercials. Stating too much would spoil sharing in the glee of Burnett on discovering the surprises that Conway et al have planned for her. 

Things start out strong with Burnett introducing audience member First Lady of American Cinema Lillian Gish during the final of so many truly iconic show openings that are notable for (often hilarious) Q&A sessions. Commenting that Gish looks as if she is a resident of Grey Gardens is fully in the spirit of Burnett good-naturedly spoofing the greats.

Watching numerous clips that remind audiences of the '70s and of 2019 of the loss as to the series ending is a highlight. We also get an apt good-bye as to Wiggins and a (temporary) equally good send-off for Mama and her family. 

Burnett letting Conway steal the show as they and co-star Vicki Lawrence demonstrates the class and the wisdom as to Burnett allowing herself to be upstaged for the good of the show, Conway returns this love by blindsiding Burnett with a very special guest star who leaves her speechless. This expression of fandom for this Hollywood royalty who NEVER becomes box-office poison expresses the love of the greats that allows Burnett to honor them so well.

The next big surprise comes at the end as the (yes again) iconic charwoman character of Burnett cleans up backstage one last time. This again is too special to spoil and REQUIRES paying attention.

This leads to Burnett providing the best-ever final scene in any television series. Still dressed as the charwoman, she explains her decision to head up before the lights go up for last call., Her subsequent exit is far from a walk-of-shame, and she leaves all of us wanting far much more.

The most apt final word regarding all this is that Burnett points out in the aforementioned interview that funny always is funny and that making people laugh does not require going "blue." Sadly, very few realize and achieve this. 

The plethora of special features in the Warner Archive July 16, 2019 Blu-ray release of the 1933 James Cagney musical-comedy "Footlight Parade" is the most obvious bonus regarding this highly enhanced film. This movie-industry history lesson in this film ala the theme in "Singin' in the Rain" of the transition from silents to talkies is the icing on the cake as to "Footlight." 

The overall quality of the all-star "Footlight" earns it inclusion in the National Film Registry in 1992. 

The following clip of a "Footlight" trailer does the film justice. This begins with including a cat fight that unarguably is the best moment in the whole movie. We further get a sense of the grand-scale of this let's put on three shows extravaganza courtesy of Busby Berkeley complete with an Esther Williamsesque water ballet number years before she begins her career.

One relevant context for "Footlight" is that the central story reflects the increasingly popular film industry being the video that kills the "radio star" in the form of live-stage productions that cost Depression-era audiences much more to attend. Another driving force is making and setting "Footlight" in the period in which the 1930 Hays Code is beginning to be enforced. 

We meet musical-comedy producer Chester Kent (Cagney) as he is beginning to realize that he is facing obsolescence. His first saving grace is forming a partnership with a couple of shrewd businessmen. The brilliant idea behind making these men unlikely bedfellows is making live-stage prologues a lagniappe to help fill movie theaters. 

Things first get amped up when an Eureka moment causes Kent to realize the benefits of economy-of-scale. A series of unfortunate circumstances related to corporate espionage leads to a do-or-die effort to produce three lavish numbers in as many days and to prevent "Gimbel's" from discovering what "Macys" is up to. The tactic of Kent includes a literal lock-down to prevent any loose lips from sinking his ship.

Other backstage drama includes the same form of creative accounting that has made headlines in the modern era, Ruby Keeler playing stenographer turned star/love interest Bea Thorm to crooner with his own backstory Scotty Blair whom Dick Powell portrays, Joan Blondell as Gal Friday/potential love interest to Kent, and Claire Dodd as tough broad/gold-digger Vivian Rich. 

It is equally amusing that Code commentary includes objection to a wholesome (but thoroughly silly) alley-cat number of Keeler and Powell but not a peep as to a bit involving Powell and comic-relief Francis (Frank McHugh) demonstrating a number intended for Thorn and Blair.

All of this culminates in the aforementioned lavish number. "Honeymoon Hotel" is the most entertaining in that it is the most racy and perverse. The overall theme is that the titular lodging establishment facilitates extra-marital activity. The fun includes a troupe of "brides," and much of the perversion comes ala Krofft lttle person Billy Barty playing an odd child whose frantic antics include scurrying away after accidentally ending up in bed with Thorn, 

"By a Waterfall" is an elaborate water ballet that provides the aforementioned Williams vibe; this easily has the most precise and impressive choreography of the three. 

The grande finale "Shanghai Lil" plays very true to the "show must go on" spirit of both "Footlight" and the era. This one has the leading man singing and dancing his way through a dive bar in search of the titular soulmate. It is highly suggested that the other women in the joint have plenty of two bits for their brews. This leads to a "Coyote Ugly" style dance number on top of the bar.

Considering many of the themes of "Footlight," it is highly apt that the audience is exhausted and satisfied at the end of this never-a-dull-moment film.

The Blu-ray extras start out strong with a 15-minute documentary titled "Footlight Parade: Music for the Decades." Gleeful King of Raunch John Waters and others share their perspectives, which largely mirror those in this post. We also get several highly relevant interesting factoids. 

A quartet of vintage Warner cartoons ties into the documentary by illustrating the comment that that studio gets good use from songs created for musicals by also centering animated shorts around them. Archive providing the standard disclaimer regarding the racist nature of older cartoons does not prepare the audience for the scene in the highly offensive "One Step Ahead of My Shadow" in which two of the Orientals (my people call them Asians) that populate most of this one double down by doing an Amos and Andy impression; they do stop short of using blackface.

"Vaudeville Reel #1" includes the standard acrobats, child star, etc of this form of entertainment. The absence of the act titled "The Aristocrats" is an obvious omission. 

An amusing aspect of all this is that Archive honors a major theme of "Footlight" by making this masterfully restored release a bargain for movie lovers or simply anyone who is seeking roughly 2.5 hours of escapist fun that includes an epilogue. 

The hardcover Insight Editions hardcover book "The World According to Spider-Man" is an incredibly fun read that WILL delight EVERY fanboy dad next Sunday; thoughtful offspring who buy it have the permission of your friendly neighborhood reviewer to read it before giving it to his or her male parental unit. The cherry on the webbing is that the July 7, 2017 theatrical release of "Spider-Man: Homecoming" makes this a particularly good year to give this book.


On a very large level, Spider-Man is a marvel (pun intended) because he gives flavor-of-2016 Deadpool a run for his money regarding hysterical irreverent humor and his origin story is one of the more believable ones out there. (Super sorry, Barry.) Additionally, alter-ego Peter Parker is a nice, sweet, handsome arachnid who lacks the overbearing earnestness of a fellow newspaper professional/superhero one could name. Joining Mr. Parker's Not-So-Vicious Circle would be an incredible delight.


As author Daniel Wallace writes in a pitch-perfect Peter Parker voice, "World" provides a hilarious primer on EVERY aspect of being a superhero down to hints regarding witty banter while battling the super villains that this book addresses. The terrific graphic novel style artwork and numerous cool surprise gifts are awesome bonuses. This is not to mention the "guest authors."


Wallace kicks things off with a brief synopsis of the Spider-man origin story. The trademark clever sarcasm is fully displayed, and the bonus is a ranting letter by Parker boss/nemesis/Daily Bugle Publisher and Editor-in-Chief  "Jolly" J. Jonah Jameson.


Wallace goes on to share practical aspects of costume design and care; the suggested concerns include the presence of household pets. The image below is of that section.

Readers further learn about the crime-fighting gadgets that Spider-man uses, discover his web-swinging hints, gets low-down on Marvel heroes, and obtains insights related to changing into a super-hero costume. The surprise gifts include business cards and a special recipe.


This truly is a delight because Wallace masterfully keeps the humor flowing with truly unexpected quips and Marvel insider jokes. A spontaneous smile and/or laugh is worth a great deal in our dystopian era.


The qualities described above fulfill the basic requirements that a gift be something that the recipient probably will like and is highly unlikely to purchase for himself or herself. It being a surprise is a plus, and an item such as a book is particularly great because it effectively has a literally infinite shelf life and is the type of thing that the owner can pull out and share that it is a present from the giver.

​An introduction to the wit and wisdom of producer/writer/director Quincy Rose regarding his hilarious and insightful (reviewed) indie flick "Friends Effing Friends Effing Friends" led to nice online communication with him. This led to a recent chance to watch the DVD release of his 2012 romantic drama "Miles to Go," which Indiewire states is "one of the 12 indie films to watch."


The following YouTube clip of the "Miles" trailer nicely informs without hyping. The wry low-key style of this promo. provides an excellent sense of the film with minimal spoilers.

Rose, who is producer/director/writer, shines as the titular nerdish 30-something Los Angeles writer. His black plastic rimmed glasses and poster for the vintage Woody Allen film "Take the Money and Run" in his reel-life living room reinforce the strong vibe from "Miles" and "Friends" that Rose is the rightful heir to the kingdom of Woody Allen. Much of this relates to Rose wisely emulating (but not parodying) Allen. This homage includes opening and closing credits that are simple white letters against a black background.


The oozing symbolism in "Miles" extends well beyond the title referring to our hero being neurotically pessimistic regarding any relationship passing the test of time. This is in the context of Miles frequently frequenting massage parlors and engaging in other unhealthy pursuits of a happy ending in the five months since a break-up with long-time repeatedly on-again off-again girlfriend Julia.


Other symbolism relates to this relationship-impaired man creating permanency in the form of several tattoos. The ink that he receives during the film is the most meaningful one of all.


The current state of Milia is that a combination of loneliness, horniness, and attraction has them alternatively reaching out to the other in ways that more often then not lead to sex. The only thing keeping those crazy kids apart is both of them wanting a commitment to a long-term relationship but Miles being unsure of his ability to provide that stability.


The aforementioned wit and wisdom includes the inner high-school boy comments regarding which Rose is a master. A hilarious bit in "Friends" relates to a character sharing that the nature of his penis warrants giving that love muscle the name of a well-known supermodel. "Miles" has similar commentary regarding the (briefly glimpsed) love organ of our hero.


Rose additionally adds a teen-boy twist to the standard Allen scene of childless yuppie friends conversing during dinner. A discussion of sexual accommodations leads to the topic of women agreeing to engage in anal sex if doing so is adequately important to their man. The spirit of Allen is most present regarding an observation that even highly straight men have a strong enough homosexual urge to want to penetrate someone anally. The Rose side comes through regarding Miles making amusing tasteless jokes on the subject.


Another scene has Miles playing his regular role of providing the male perspective to a woman to with a relationship history that rivals his own. He explains that a man who engages in pre-coitus interruptus in the form of just wanting to snuggle does so only due to embarrassment regarding covertly crossing the finish line during foreplay.


On a more respectable level, Rose further shares his thoughts regarding pretension related to keeping books that you have read on the shelf. This is in line with a real-life independent bookseller observing that Millennials buy hardcover books because that is their only affordable means of expressing their personalities.


In other words, "Miles" works because it is true. Gen Xers and Millennials are from generations in which most relationships do not endure. They further have the blessing and the curse related to casual hookups often being lauded and no dishonor being associated with not marrying until late in life if at all. This simply makes it tough for those of us who want forever after and fear the heartache associated with that not happening.


A personal note regarding the Rose take on relationships is that recently losing a greatly loved (and exceptionally loving) dog renewed always present feelings that we animal lovers fully give our hearts to canines and felines (and get just as much love back) despite knowing that we will lose them within 15 years. At the same time, we are back at the shelter looking for a new "child" no longer than a year later.

The Gravitas Ventures October 11, 2016 VOD release of the 2016 comedy "Friends Effing Friends Effing Friends" is both a good companion to the August 20216 Gravitas release of the Millennial dystopia drama "There is a New World Somewhere" and the early '70s Woody Allen films on which the father of "Friends" writer/director/voice actor Quincy Rose worked. 


A personal cool element of "Friends" is finding on reading the statement of Rose in the press materials that thoughts regarding this movie coincide with his mindset while making it. Understanding the artistic vision of a film is always a good thing. This theme relates to the tangled relationships between friendship and sexual desire as well as the theory of Maslow's Hierarchy of Needs that essentially shows that man (and woman) is never happy despite how good he (or she) has it.


The Millennial vibe of "Friends" begins with the opening scene in the way cool retro-style bar that looks like the hangout in the 20-soemethings-oriented Foxcom "New Girl." BFFs from childhood openly (and hilariously) discussing their pre-adolescent mutual sex play to the amusement of Steve's live-in girlfriend Laura further establishes that our leads are open-minded close friends.


The catalysts for the ensuing moderately hot drama include Laura introducing freelance editor Jacob to friend/aspiring author Sarah and Steve pushing the limits of his "don't ask/don't tell" relationship with Laura by starting an affair with a woman who is more than Ms. Right Now. 


Having the proposed book by Saarh focus on the contributions of her grandfather to the "scale of sexuality" research by Kinsey is very apt for this film.


Good guy but relationship-shy Jacob quickly develops strong chemistry with Sarah but is attracted to her hot and flirty roommate Camille. The encouragement of Steve to pursue Camille does not help matters.


Roughly the next hour of "Friends" focuses on the titular activity of this group and their justifications for the associated directed and indirect betrayals. As Rose observes in the aforementioned statement, we all can justify doing what (or whom) we want to and (in true Allen style) fail to consider the impact of our actions on others. In other words, something feeling good does not always justify doing it. Said consequences adds a deeper meaning to the "effing" portion of the title of the film. It further proves that you can both "ef" 'em and tell 'em a joke.


Highlights include the very live-stage feel to all the dialogue, the brotalk between Steve an Jacob, and a very high school style discussion regarding trying to learn the extent of the sexy activity on a memorable night that three of our Gang of Five share.


This being 2016, the amusing ending reflects modern Hollywood. Everyone is a little wiser but not essentially a happier; one spoiler is that the film does not end with a wedding in which our quintet joins hands and dances or skips around accompanied by a Motown or '70s soft rock hit.

Fans of '80s teencoms have reason to rejoice regarding the Warner Archive DVD release of the 1987 cult-classic "My Demon Lover." This "Mannequin" like tale of the titular "monster" is a prime example of '80s films that are vehicles for the top-billed popular TV stars. "Demon" features the offbeat comedy of Scott Valentine, whose breakout role is lovable figurative space-cadet Nick Moore on the '80scom "Family Ties," which features "Back to the Future" star Michael J. Fox. The lasting legacy of Nick is using two syllables to pronounce the name "Alex." 

The following original trailer for "Demon" provides a good sense of this film that can be considered a PG-13 version of the Robin Williams sitcom "Mork and Mindy."

The fantasy begins with setting "Demon" in New York, which represents Utopia for many Gen Xers. Many of these children of the '70s and '80s are drawn there with dreams of a combination of fame or fortune. Other simply want the freedom to love a counter-culture lifestyle that reflects their inner spoiled child. Films, such as "Demon," that idealize life in The Big Apple to various degrees sadistically fuel that fire.

Valentine plays street saxophonist Kaz, who is in remarkably good shape for someone who lives well below the poverty level, Character actress Michelle Little plays wholesome girl Deny, whose trusting nature consistently gets her in trouble. This includes her most recent boyfriend stealing most of her meager worldly goods right in front of her at the beginning of the film.

The rest of the story is that a supernatural beast dubbed "The Mangler" is preying on the babes of New York. It is equally obvious that the audience is supposed to believe that Kaz is that malfeasor and that he is proven innocent in the final reel.

All of these elements converge when Kaz, who already made a hilariously bad first impression on Denny, comes to her rescue when The Mangler attacks her. This leads to Kaz couch surfing at the apartment of sweet and naive Denny. 

Another obvious element is this review referring to Kaz as a horny devil regarding his transforming to his horrific primal state whenever he gets aroused. The flashback that serves as the origin story of Kaz is a "Demon" highlight that will help protect the "virtue" of teen girls. 

Additional predictable fun comes courtesy of the obligatory montage of Kaz and Denny frolicking around New York to the accompaniment of an '80s rock ballad. This one strongly suggests that the good folks at  Warner Prime had a "My Demon Lover" sitcom in mind when making the film.

This honeymoon period is interrupted wihen The Mangler takes another bite at The Big Apple as to having Denny for dinner. This abduction with shades of "King Kong" leads to requiring Kaz to "wolf out" in order to save his girl. Getting that savior to that state requires that the best friend of Denny take one for the team.

The inevitable good vs. evil showdown mines humor from The Mangler and Kaz being more alike than they could have guessed. Of course, the boy gets the girl in the end. 

The delight this time involves watching Valentine take his impish charm to a slightly more adult level; we also have the fun in the form of this reminder about how they made 'em 30 years ago. 

The Icarus Films August 6, 2019 DVD release of the 2017 mystery thriller "The Girl in the Fog" adds to the mountain of proof that Euro cinema greatly outshines Hollywood fare. This tale of a 16 year-old gone girl is based on the novel of the same name by Donato Carrisi, who writes the screenplay and directs the film.

The formal accolades for "Girl" include a 2018 Italian Golden Globe for Carrisi for his screenplay and an even more deserved Best Actor Golden Globe for Toni Servillo for his perfect portrayal of police Detective Vogel.

Carrisi achieves an ideal balance of action, exposition, and tone by having the opening scene portray the title of the film. We see a shadowy village teen walk out of her Avechot home in the Italian ALps  and disappear into the night. This little wander is outwardly good-girl Anna Lou Kastner, who never makes it to her stated destination of her fundamentalist church. 

The quality of this film with frequent narrative time shifts is reinforced by following a variation of the modern movie staple of immediately moving us to the beginning of the end of the story without insulting our intelligence by including an intertitle that explains that jump,

This leap begins with a literal rude awakening for town shrink Dr. Augusto Flores (Jean Reno). He is called into his hospital office in the middle of the night due to an emergency related to a car accident.

On arriving, Flores is dually (and duly) surprised to see that his patient is unscathed physically (and seemingly mentally intact) and is Vogel, who is a local celebrity due to both the Kastner case and an earlier (and even more bizarre) crime spree known as "The Mutilator Case." The latter involves a mad bomber hiding explosives in containers for everyday items and putting them on grocery-store shelves. 

This discussion between these two weary veterans of their professions provides exposition for the rest of the film, which mostly shifts among the events following the disappearance and the "whodunit" scene at the end of "Girl." These men further talk about the theme of connectivity that is a major element of the film.

All of this relates to Vogel being more interested in media relations and providing a resolution that satisfies the masses, rather than bringing the actual killer to justice. Ambiguity exists regarding the extent to which Vogel will go to achieve his objective. This is not to mention a television reporter showing that she can play the game as well as the boys. 

New high-school teacher Prof. Loris Martini is at the center of much of the primary action. One lesson here is that just because you find yourself in a Kafkaesque nightmare does not necessarily mean that your are innocent; the second-part of this moral is that the guilty and the innocent alike face intense media persecution.

An "incident" has prompted Loris to move his (now unemployed) attorney wife and his (now sullen) teen daughter to the village. A media-whore girl does not help matters when she first persuades Loris to give her acting lessons and then distorts the nature of their extra-curricular relationship when he becomes the prime suspect in the Kastner case. 

Circumstantial evidence of varying degrees of credibility creates a strong possibility that Loris will spend the rest of his life as a guest of the state regardless of his guilt. The important thing for some with a horse in the race is that Loris is an attractive suspect.

This initially culminates in revealing the full story behind the"accident" of Vogel and then what becomes of Anna Lou, who is a pet with her own secret life. 

All of this amounts to "Girl" proving that quality intelligent thrillers still are out there and just require a little investigating to find, 

Breaking Glass Pictures goes wonderfully old school regarding the May 2019 DVD release of the 2019 thriller "Dark Sense." The well-executed tried-and-true premise is that 22 year-old Scottish psychic Simon is on the trail of a serial killer, who has extreme prejudice against folks with the sixth sense. "Sense" further shows that Breaking remains committed to making edgy films (be it thrillers or artfully erotic gay-themed movies) that makes it so awesome.

The reason that the concept of "Sense" seems familiar to some folks who still read books is that it is based on the best-seller First and Only by Peter Flannery. Flannery presumably discusses his book in his DVD audio commentary.

On a broad level, "Sense" evokes thoughts of the tried-and-true joke that someone who is psychic should have seen something coming. This applies both to the peers of Simon who run afoul of our villain and to Simon, who should have foreseen the negative response that he received on contacting MI-5 to join forces. 

The following YouTube clip of the "Sense" trailer offers a good glimpse of the story and the UK style narrative,

We meet Simon as an eight year-old lad trying to save the family priest/friend from a fate equal to death. Although Simon arrives in time and states the nature of the threat, he does not prevent the crime. The nature of the killing and of the presence of Simon is part of the copious religious symbolism in "Sense." We also see throughout the film that everything is relative, 

The action shifts 14 years into the future, Simon knows both that the killer is out there and that Simon has big bullseye on his back. He does not know the identity of that psycho.

The extreme extent to which Steve connects with both the killer and his victims sets "Sense" above less creative psychic amateur-detective films. This aspect also perfectly ties into the other themes of the film. 

Humor related to Simon making a senior MI5 official look foolish is a highlight of "Sense." Less humor relates to Simon first-hand learning that one of the three big lies is that I'm from the government; I'm here to help you. We do not learn if Simon has had experience with someone falsely telling him that the check is in the mail or asserting the third big lie.

Simon hiring a private contractor in the form of former soldier-of-little-fortune Steve also is very true to form regarding government activities. The job of Steve is to protect Simon from experiencing a fate equal to death. 

It is predictable that Steve and sympathetic MI5 agent Sonia Chatham team up to come to the rescue when Simon finds himself in a perilous situation. How things ultimately unfold provide wonderful twists that provide a nice bonus in the form of social commentary. 

The best part of all this is that "Sense" and SO MANY indie films prove time and time again that art and commerce need not be mutually exclusive. Hollywood MUST recognize that an audience exists for a film that is not part of a franchise, is not a vanity project that allows the inner-circle of an actor whose looks surpass his or her talent to play dress up, or that resorts to cheap thrills, gore, or broad humor to get butts in the seats at the multiplex.