Category: External Movies (Page 291 of 336)

Prairie Fever

Any movie that earnestly harks back to classic westerns and tries to strike a blow for human liberty at the same time can’t be all bad. Sadly, a single star is all I can justify for this direct-to-DVD oater. “Prairie Fever” brings us onetime TV Hercules Kevin Sorbo as Preston Biggs, a former small town sheriff turned town drunk. When several mail order brides start to exhibit signs of pretend-insanity – incessantly quoting Bible verses, miming playing the piano, and generally exhibiting signs of really bad acting – the woman are assumed to have fallen to a sort of female hysteria apparently brought on by living on a pretend-Western hamlet, i.e., “prairie fever.” The cure, such as it is, is to have Biggs take the women, and a tidy sum of money, to the nearest train station hundreds of miles away. Along the way, our not-so-anti-hero encounters the feisty and beautiful Abigail (Dominique Swain), who is on the run from an occasionally villainous gambler (Lance Henrickson). While this set-up initially appears lamely misogynist, rest assured that it is actually lamely feminist. These women are suffering from old West PTSD caused by frontier cruelty, but in true old school TV style, they will all fully recover within less than 81 minutes.

Written and directed by a triumvirate of TV veterans, “Prairie Fever” effectively evokes the bad television of yore. For all the attempts at characterization, it’s often possible to recite the dialogue in advance of the characters. Moreover, action sequences are badly muffed, though the three stars are, for the most part, able to keep their heads above water. The less said about the supporting cast, however, the better.

Click to buy “Prairie Fever”

Get Smart’s Bruce and Lloyd Out of Control

Warner Premiere describes “Bruce and Lloyd Out of Control” as “an industry first, offering consumers and fans of the theatrical release of ‘Get Smart’ the opportunity to enjoy parallel content, an original side story featuring characters from the film, just days after the film’s theatrical release,” but let’s call a spade a spade: even with a token scene or two to indicate that it’s taking place simultaneous to the real film, it’s still just another glorified straight-to-video sequel. Bruce (Masi Oka, “Heroes”) and Lloyd (Nate Torrence, “Studio 60 on the Sunset Strip”), two of CONTROL’s tech guys, find themselves on assignment to retrieve a missing piece of camouflage technology, getting into lots of wacky and zany misadventures along the way. “Heroes” fans will be psyched to see Jayma Mays playing Bruce’s love interest (Hiro and Charlie, together again!), Larry Miller gets to play identical twins (one of them is evil, naturally), and there are entertaining cameos by a couple of characters from “Get Smart” (Terry Crews as Agent 91, Patrick Warburton as Hymie), but while Oka and Torrence are both funny guys, the level of humor rarely rises about slapstick shenanigans and a running gag about how nobody can remember which one is Bruce and which one is Lloyd. Granted, it was a clever, cost-saving maneuver to film “Bruce and Lloyd” simultaneous to ‘Get Smart,’ utilizing many of the same sets, but no one’s going to mistake this for anything that’d ever be released theatrically.

Click to buy “Get Smart’s Bruce and Lloyd Out of Control”

Diva

This very Parisian suspense comedy-drama was a sensation on the American art house scene during the early 1980s and helped launch a wave of more stylish, genre-oriented, French directors, action-meister Luc Besson included. (It also earned its own palindrome: “Avid was I, ere I saw Diva.”) It’s still fun, and very sexy in a demure, PG-13 way, if also kind of silly and lackadaisical.

Based on a novel by the pseudonymous Delacorta, writer-director Jean-Jacque Beiniex’s feature debut tells the story of a twentyish, scooter-driving postman (Frédéric Andréi) obsessed with a beautiful African-American opera singer (real opera star Wilhelmina Wiggins Fernandez) who, for artistic and philosophical reasons, refuses to allow herself to be recorded. The young man sneaks a high-end recorder into a performance and, after meeting his idol, steals her dress. He soon finds himself pursued by Asian audio pirates, but also by local assassins seeking an incriminating cassette. At the same time, he pursues a light flirtation/friendship with a larcenous Vietnamese teen orphan (Thuy An Luu) – and, shyly, but a lot more earnestly, romances the diva. He’s definitely one lucky celebrity stalker. Among other bits of good fortune, his less famous, underage gal-pal is under the possibly fatherly, possibly not-so fatherly, protection of a mysterious former Special Forces type (Richard Bohringer), who proves to be helpful in his tight spot.

“Diva” is really not about story but primarily about style, music (lots of opera, so be warned), and only then about its characters. While it doesn’t impress me today the way it did when I was the same age as its young postman, it’s still a nifty bauble with one really great foot/scooter chase through the Paris metro and lots of beauty — though buyers should be aware that the Lionsgate/Meridian Collection DVD has taken some hits for its technical quality. The print could probably be better.

Click to buy “Diva”

Five Reasons to Mourn George Carlin That Aren’t Stand-Up Related

5. Herbie Fleck (“With Six You Get Eggroll“)
4. Eddie Detreville (“The Prince of Tides“)
3. Frank Madras (“Outrageous Fortune“)
2. Cardinal Ignatius Glick (“Dogma“)
1. Rufus (“Bill and Ted’s Excellent Adventure,” “Bill and Ted’s Bogus Journey“)

I also remember enjoying “Justin Case,” a TV movie that was written and directed by Blake Edwards, where he played the ghost of a private detective who attempts to solve his own murder…but it’s been 20 years since I’ve seen it, so I might be giving it too much credit.

So long, George.

Multiplex Mayhem: Panda Victorious

This is one of those rare weekends where, my predictions are called more or less correctly. Yay for me. (Hey, I also completely nailed the ultimate Democratic primaries results last winter — not that I ever get credit for this stuff.)

* “Kung Fu Panda” delivered the Five Point Exploding Heart Technique to naysayers with a powerful $60 million opening weekend. Nikki Finke points out that almost any animated film about something furry seems to do well, which is true, but I’ll point out her other observation, which is that “Panda” is “playing” more like an action film than a kidflick. Seems to me this is another combination of the power of films that combine adult and kid appeal which, in an especially strong film reaches beyond parents and into people without kids (and not just fanboy geeks like yours truly).

In fact, I pretty much knew this one was going to exceed expectations when I attended traffic school yesterday when a rather obnoxious (and really large) guy who kept babbling throughout the day, asked me out of no place during the class if “Kung Fu Panda” was out and seemed delighted when I tersely muttered “yes.” Also, an “insider” attributes part of the success to the popularity of pandas. This brings up some questions, such as, on the hierarchy of species, what are the panda’s Q rating…and is panda the new penguin? Only time, and unimaginative movie executives, will tell.

* “You Don’t Mess with the Zohan” didn’t mess up anyone’s expectations much, and the magic of Adam Sandler’s name delivered a reliable $40 million to a grateful Sony Studios. No word on whether or not the movie received any bump from the not-so sizable Jewish market grateful to see a bad-ass Jew for a change. (In movies, as in real life, you pretty have to go to Israel for that kind of thing.)

One item I found interesting from Nikki Finke’s column is that the audience for the film was divided about evenly between males and females, which is not what you really expect for this kind of comedy. Is the Judd Apatow brand — and the guy only cowrote the film (back when he wasn’t yet famous) — really that strong with lay audiences? Considering his string of hits, it’s not impossible that he could have developed a bit of a brand name in there some place.

* As for the ongoing hits, there plenty of b.o. (that’s “box office”) to go around, with “Indiana Jones and the Kingdom of the Crystal Skull” and “Sex and the City” both doing very respectably in the low $20 millions.” Last weekend’s surprise minihit, “The Strangers,” experienced a typical drop for a horror flick in its second week, earning about $9.25 million. Meanwhile, “Iron Man” flies on nicely with just over $7.5 million earned over the weekend.

* In the limited release sweepstakes, as I thought might happen, the general buzz and critical excitement generated by the violent swords & sandals-go-East Ghengis Khan biopic, “Mongol” really did seem to pay off this weekend, as the film exceeded even my own hopes and made it into into the top twenty while playing at only five theaters nationwide — earning an epic $26,600 at each theater on average, despite subtitles and a complete lack of names familiar to an American audience. This looks like a good blow for the seemingly lost cause of old fashioned storytelling. Expect a much wider release for this one and check out the almost outstanding trailer. (I say “almost” because it’s really getting to be time to retire the use of metal-style guitars at the of every action film trailer, especially if it’s a period piece. Also, did Picturehouse really need to add all that narration? Do they really think letting some guy talk over the whole trailer will make audiences think it’s not in an Asian tongue?)

* Two other indie releases had acceptable debuts for indies, the Box Office Mojo tells us — though nothing on the scale of “Mongol.” The English drama “When Did You Last See Your Father?” earned $41,100 at eight theaters. And the workplace comedy “The Promotion“, which I didn’t mention last time, received $28,900 in compensation at six theaters, despite weak reviews for an indie. Chalk that one up to the growing familiarity and even star power of John C. Reilly and, I guess, Seann William Scott (not my favorite performer, but I guess someone likes him) despite blasé reviews, never good news for a small-scale an indie flick.

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑