Category: Reviews (Page 19 of 120)

Doctor Who 5.3: Victory of the Daleks

“Daleks. I sometimes think those mutated misfits will terrorize the universe for the rest of time.”

Peter Davison’s Fifth Doctor, following yet another skirmish with the cockroaches from Skaro, uttered the above quote near the end of his reign as the Time Lord. If he’d known then that he’d still be dealing with them in his Eleventh incarnation, he may well have decided to forego his impending regeneration, and just gone ahead and called it a millennium. Many “Doctor Who” fans would likely have sympathized with him had he done so. Having been writing these recaps for five years now, I am exhausted by Daleks as well. What else is there for me to say about them that I haven’t already said, or hasn’t been said by countless others time and again? And yet here I am, once again backed into a corner by some angry pepperpots demanding that I find something fresh to say on the subject. Of course, if the series can’t be bothered to do so, I don’t really see why I should, either.

Surprisingly, “Victory of the Daleks,” written by Mark Gatiss, is drenched in promise at its start. Surprising not only because all ground concerning the Daleks seems so thoroughly trod at this point, but also because the last thing Gatiss wrote for the series, “The Idiot’s Lantern,” was a forgettable misfire. The idea of subservient, benevolent Daleks isn’t a new one. It was first explored in Patrick Troughton’s first story “The Power of the Daleks,” but since that serial was junked by the BBC ages ago, only the most hardcore of fans are going to care about this. For all intents and purposes the idea is new, or at least new to us. And the show has a field day with the notion for about ten minutes. Professor Bracewell’s (Bill Paterson) Ironsides are going to win the war against the Nazis, and they’ll serve you tea as well. Just the notion that the Daleks will become this story’s Inglourious Basterds is a fun one, since the Nazis are what the Daleks were based on in the first place. With “Victory of the Daleks,” on some obscure meta level, the entire concept of the Daleks has seemingly come full circle.

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The Wraith: Special Edition

Every film, no matter how good or bad, has its fans, and if there are enough of those fans, then the film is inevitably destined to receive a special-edition DVD. This has been proven time and time again, which means there’s no longer any point in seeing such DVDs and howling with laughter at the suggestion that such treatment is warranted of a film like…oh, say, “The Wraith.” If you’re not part of the camp that’s already in love with the film, then better you should treat it like a pop culture experiment: watch it and see if you can determine why it’s developed such a cult following over the years.

Written and directed by Mike Marvin, “The Wraith” revolves around the mysterious Jake Kesey – played by Charlie Sheen, in his first leading role – who turns up in town right at the same time as a masked man who drives a completely kick-ass car known as…you guessed it…The Wraith. It seems that there’s this gang of drag-racing car thieves, led by a thuggish jackass named Packard Walsh (Nick Cassavetes), who challenge local teens to races where, if they lose, they have to surrender their car. Packard’s ego has gotten so large that he’s convinced himself that Keri (Sherilyn Fenn) is his girlfriend, but she’s got eyes for Jake, and it is mutual, baby. You can imagine how Packard feels about that development. Meanwhile, The Wraith is challenging members of Packard’s gang to races which tend to end in only one participant making it out alive, leading Sheriff Loomis (Randy Quaid) to begin investigating the strange goings-on. Say, is it possible that Jake and The Wraith are one in the same? And what’s the story on Keri’s ex-boyfriend, Jamie, who was killed in one of Packard’s races? You don’t suppose that Jake is actually Jamie, having been brought back to life by some unspecified means, given a change in appearance, and provided with the aforementioned kick-ass car in order to extract his revenge?

Nahhhhhhh.

If you’re not an aficionado of cars, ’80s cheese, or Sherilyn Fenn’s Breasts (yes, they deserve capitalization), then you may struggle to make it through “The Wraith,” but if you’re determined to do it in the name of science, then watching while listening to Marvin’s commentary helps a great deal. It’s also a major bonus that the film’s special features are the work of Red Shirt Pictures, who’ve made a great name for themselves by providing excellent bonus material for cult “classics” like this, so be sure to check out the interviews with Marvin and co-star Clint Howard (whose hair in the movie is fucking outstanding), as well as the featurette about the cars used in the film and the cult that surrounds “The Wraith.” That cult isn’t likely to grow any larger as a result of this special edition, but it’ll sure make the existing membership happy.

Click to buy “The Wraith: Special Edition”

Breaking Bad 3.6 – There’s Crime…And Then There’s Crime

Remember how I opened last week’s blog by saying, “This, my friends, was one hell of an episode, offering up multiple moments which will almost certainly inspire me to say the same of future episodes”? I couldn’t have been more right: not only was this the best episode of Season 3, but it was one of the best installments of “Breaking Bad” to date, serving up moments that were nailbiting to the Nth degree and an ending which left me screaming at the TV, demanding that next week’s episode start right now, dammit!

Well, it’s about time the Cousins got legitimately threatening again. They’ve just kind of been hovering in the background lately, glowering but not really doing anything specific to match their completely bad-ass look. Now, to be fair, it’s not like they haven’t wanted to seriously fuck some people’s shit up…specifically, Walt’s shit…but they’ve been held at bay by their attempts to maintain some semblance of civility within the organization. That whole pre-credits sequence was nice and nerve-jangling, but its conclusion, with the seamless sonic blending of one cousin biting into a piece of fruit and the other dropping his axe into the officer’s skull, was just another example of the show’s ability to get a laugh out of some seriously dark shit. The next time we saw them, they were sitting in Gus’s fine, upstanding establishment, back to their usual all-you-have-to-do-is-look-at-us-to-know-that-you-shouldn’t-fuck-with-us schtick, but, hey, if it works, why change it? It was instantly obvious that they had no intention of going anywhere until Gus gave them what they wanted…which, of course, is why he eventually did just that.

Sort of.

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Breaking Bad 3.5 – Escalate This!

This, my friends, was one hell of an episode, offering up multiple moments which will almost certainly inspire me to say the same of future episodes. Arguably the best of those moments came when we were made privy to a sight which both yours truly and Bullz-Eye.com editor-in-chief Jamey Codding have been waiting to see since January…but we’ll get to that later.

First, it’s time to flash even farther back.

How completely surreal to have the episode start off with footage from the first episode of “Breaking Bad.” I can’t say as I ever really considered the origins of the R.V., except to figure that, since Walt hadn’t given Jesse a whole lot of money to buy it in the first place, it was simply as good as he could find. With the benefit of hindsight, however, it’s pretty damned easy to imagine that a dumb-ass like Jesse circa Season 1 would have a little trouble coping with a sudden cash influx like the one Walt handed him. Some of the shit Jesse was spouting during the scene was pretty hilarious, as was the bit where the gang re-entered the real world at daybreak with one of them puking in the VIP Parking space. It was particularly nice to see Combo resurrected, even if only for the duration of the pre-credits sequence: in addition to reconfirming just how tight Jesse and Combo used to be back in the day and revealing Combo’s crucial role in the fruition of the Walt ‘n’ Jesse partnership, it also showed that, all things considered, he was probably lucky to have lived as long as he did. (Best moment: when Jesse groans that he only has about $1400 left and Combo hopefully suggests, “Waffle House?”)

Oh, if you’re wondering about the song they played in the strip club, it’s by the Teddybears and it’s called “Rocket Scientist,” but as of this writing, it ain’t available on iTunes. Sorry ’bout that, but at least you can hear it again by clicking below:

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44 Inch Chest


It’s been 10 years since the release of Jonathan Glazer’s “Sexy Beast,” and yet the movie remains one of the most unforgettable crime thrillers ever made. Much of the film’s success was thanks to Sir Ben Kingsley’s electrifying performance as the venomous Don Logan, so it’s not surprising that the latest expletive-laced thriller from writers Louis Mellis and David Scinto is highlighted by the same kind of scene-chewing roles. “44 Inch Chest” assembles a cast of some of the best British actors working today, including Ray Winstone as Colin Diamond, a gangster contemplating murder after his wife informs him that she’s fallen in love with another man. After his friends kidnap her secret lover and take him back to their secret hideout to exact revenge, the heartbroken Colin must decide between killing in the name of love and walking away the better man.

Though “44 Inch Chest” is filled with lots of clever dialogue between Colin and his friends (an entertaining Tom Wilkinson, Ian McShane, John Hurt and Stephen Dillane), the story leaves much to be desired. There simply isn’t enough going on to fill an entire movie, and the fact that it’s structured more like a play (with a majority of the action taking place in a single room) only makes you wonder why it wasn’t conceived as one. If you can make it through the sluggish 95-minute runtime, “44 Inch Chest” is worth watching for the performances. Just don’t expect to be blown away.

Click to buy “44 Inch Chest”

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