Author: David Medsker (Page 13 of 65)

Jackass: The Lost Tapes

We’re going to assume that by “lost,” they mean “originally rejected by Standards and Practices, retrofitted as a DVD-only, warehouse-clearing cash grab.” And as these things go, it’s pretty entertaining. Some of these skits have appeared on other “Jackass” sets – Johnny Knoxville subjects himself to pepper spray, a taser and a stun gun, while Dave Englund makes the appropriately named vomelet – but there are some bits that were too good to hit the cutting room floor, namely “Cowboy Skatepark” and “Wakeboarding.” They weren’t stingy either, compiling 93 scenes, though several of those scenes are five seconds or less. How much you enjoy “Jackass: The Lost Tapes” depends greatly on how much bathroom humor you can handle; seemingly every third skit involves poo of some kind, and just listening to Englund regurgitating a gallon of milk is graphic enough to elicit the same response in the viewer. None of it is necessarily essential – though Steve-O is surely glad to see that the scene where he was branded on the heart made the cut, after complaining to us about its exclusion from the broadcast – but it would make a nice stocking stuffer for the jackass in your life.

Click to buy “Jackass: The Lost Tapes”

Inglourious Basterd talks about Diamond Dog

The cool thing about Quentin Tarantino movies is that they give you two things to look forward to: the movie, and the soundtrack. For his latest film, the long-gestating “Inglourious Basterds” (we’ve owned this movie on HSX since 2000), Tarantino digs deep to create a soundtrack of typically obscure pop songs and choice bits from other movie scores. Bullz-Eye has an exclusive clip of Tarantino talking with Elvis Mitchell about the use of David Bowie’s “Cat People” for a pivotal scene.


The soundtrack is now in stores, but if you feel like whacking some Nazis before the movie hits theaters this Friday, may we suggest heading over to the soundtrack’s web site, where you play the part of baseball bat-wielding Sgt. Donny Donowitz (played in the movie by “Hostel” director Eli Roth). Be warned, the game starts off easy, but gets hard very quickly. Enjoy!

Peanuts: 1960’s Collection

The MSRP on “Peanuts: 1960s Collection” seems a tad exorbitant – six 30-minute TV specials plus a featurette on the music of composer Vince Guaraldi, needlessly spread over two DVDs, does not seem like it should carry a $30 price tag – but there is no denying the quality of the contents. There is a raw beauty in these early shorts; television was a new medium for Charles Schultz, and he made sure his stories, true to form, spoke from the heart and entertained the kids in the process. (He always maintained that his comic strip was never meant for children.) The one-two punch of “A Charlie Brown Christmas” and “It’s the Great Pumpkin, Charlie Brown” are worth the price of the set alone, but what a pleasant sight to see the long-lost baseball episode “Charlie Brown’s All-Stars” (where Schultz teaches kids the importance of loyalty) and “He’s Your Dog, Charlie Brown,” where Snoopy gets his first lead role, as it were. The Guaraldi featurette turns out to be one of the set’s highlights – he is the one that suggested the muted trumpet sound whenever the teachers spoke – but they missed a golden opportunity to include the Robert Smigel cartoon of Jesus welling with pride and doing the Franklin dance after watching “A Charlie Brown Christmas.” Still, we’re splitting hairs, and besides, you already decided to buy this the second you saw the title, didn’t you? At least, those of you born before 1975, that is.

Click to buy “Peanuts: 1960’s Collection”

Rip! A Remix Manifesto

A movie about the art form of mash-ups that features mash-ups of the movie within the movie itself? We’re pretty sure we just heard the space/time continuum begin to rip at the prospect. Director Brett Gaylor attempts to make sense of the intellectual property laws that allow some musicians to steal riffs and make millions (Led Zeppelin, the Stones), while other, more cutting-edge musicians are branded as criminals (Girl Talk), and the end result is “Rip! A Remix Manifesto,” a wake-up call to Big Media that, whether they like or not, the rules have changed. Gaylor declares Walt Disney to be the first mash-up artist, and absolutely pummels publishing company Warner-Chappell for refusing to let “Happy Birthday” to enter the public domain (it’s true: if you sing that song, ever, you’re a thief), and for suing Radiohead fans for mash-ups once W-C acquired the rights to In Rainbows. Truth be told, the doc isn’t quite a five-star affair – we were frankly surprised that he didn’t mention when John Fogerty was sued for ripping off one of his own songs – but we’re giving it an extra star because “Rip!” addresses an issue that needs to be sorted out sooner rather than later. Indeed, one could argue that the music industry’s very survival depends on it.

Click to buy “Rip! A Remix Manifesto”

Russell Brand in New York City

There are hundreds of genuinely funny people that positively suck at stand-up comedy, which is why the DVD for “Russell Brand Live in New York” sat unopened on this writer’s desk for a couple weeks. Mind you, I found Brand quite funny in “Forgetting Sarah Marshall,” and he pretty much stole “Bedtime Stories” from Adam Sandler. But is he stand-up funny? As it turns out, yes, he is. His approach is extremely British, in both language and timing, but his routine, which originally aired on Comedy Central in March, is wisely focused on all things America, beginning with his disastrous stint as the host of the 2008 MTV Video Music Awards (the opening monologue from the VMAs is included in the bonus features). He even shares the death threats he received afterwards, one of which declares that his monologue proves that he’s a Muslim-loving terrorist (“Bit of a leap,” Brand replies). One of the funniest bits in his routine is relegated to the bonus features, where he has some fun with an overly excited admirer, but soon loses his patience when she won’t keep her mouth shut. A genuinely amusing routine overall, but a quick note to Comedy Central: lose the grainy hand-held camera shots. They’re annoying.

Click to buy “Russell Brand Live in New York”

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