Category: Reviews (Page 40 of 120)

Mystery Science Theater 3000: Volume XV

Do “Mystery Science Theater 3000” fans engage in fierce debates over who was the better ringleader – Joel or Mike? And if so, does it ever get ugly? A little bit of MST3K (as the cool cats refer to it) has always gone a long way for me. I’ve never been able to grasp how this gimmick lasted for as long as it did, since it requires 90-plus minutes of your time for each installment; while the concept of heckling bad movies is novel, you still have to sit through the bad movies. Often times the fare would be considered unwatchable if not for all the slings and arrows lodged in the direction of the movie screen. Of course I realize that’s the whole point of the thing, but if the gimmick isn’t working, as is the case about half the time with MST3K, it can be a torturous way to watch a bad movie.

The latest set from Shout Factory collects four more installments, from different eras of the series. Judging by these episodes, Mike would unquestionably win the proposed fan debate, as neither of the Joel offerings are anything to write home about. “The Robot vs. The Aztec Mummy” comes from very early in the series, and it’s just terrible. I swear I didn’t even laugh once. “The Girl in Lovers Lane” is somewhat better, but the difference is negligible. The third offering, “Zombie Nightmare,” is an absolute scream – everything that this show ever did well is encapsulated in their lambasting of this terrible ‘80s film featuring Adam West. The final entry is called “Racket Girls,” and while not quite the standout the previous title is, it’s still pretty good stuff, although you’ll be able to safely slip off to the bathroom from time to time, and likely not miss anything special. Regardless, MST3K has such a devoted following, I can’t imagine fans of this show will be satisfied until every single episode is available on DVD, and therefore my stick in the mud antics carry very little weight whereas this series is concerned.

Click to buy “Mystery Science Theater 3000 XV”

Monday Night Quickies

Not that kind of quicky. I’m referring to brief links to stuff around the interwebs, tonight with a geeky edge.

* The “actuals” are in on the weekend box office race. The “Transformers” sequel won by a wafer thin half a million smackers, dang it.

* I’m not sure how this started, but my pattern on the “Harry Potter” franchise has been to read the books just before the films come out. To avoid spoilers for “Harry Potter and the Half-Blood Prince” (I’m on page 139 and the story’s barely begun), I’m not reading any reviews right now. Thanks to the miracle of Rotten Tomatoes I can nevertheless say that the reviews for the film thereof are looking quite good thus far. That’s a good thing because director David Yates is finishing out the series, which seems to be wrapping up much better than it started. The choice of Yates, a specialist in TV miniseries, to wrap up the films makes a lot of sense, especially since that’s essentially what the Potter movies are — the most expensive miniseries ever made.

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Robots and ancient critters fight to a draw

Let’s see if we can’t keep it simple. After a bit of seesawing over the weekend, it looks like we have a straight tie for domestic box office in the battle of the colon-ized sequels, at least in the domestic estimates. “Transformers: Revenge of the Fallen” and “Ice Age: Dawn of the Dinosaurs” both yielded a very healthy estimated $42.5 million. ” So says both Variety and The Hollywood Reporter. Of course, the tie will be broken when the b.o. “actuals” will yield a winner, Franken v. Coleman style, tomorrow night, however.

“Transformers” also continued its strong performance overseas and is nearing the $300 million mark for its cumulative total. As Nikki Finke points out, however, the $215 million that “Ice Age” took sets a new international record for an animated film. So everyone’s going to have no problem getting a good table at the restaurant of their choice this week.

Johnny Depp and Marion CotillardReturning to the domestic market, the strong numbers also continued in the #3 spot, with “Public Enemies” netting an estimated $26.2 million over the weekend and $41 million for the five days since it’s Wednesday opening. That assuages some of the fears about the film and proves that some adults will still leave the house to turn out for a movie with a bit of heft into it, even in the face of somewhat mixed reviews. Meanwhile “The Hangover” (which I really need to go see now), crossed the $200 million mark, proving that making audiences laugh will never hurt you, assuming they’re supposed to laugh.

In smaller release news, Kathryn Bigelow’s extremely well reviewed Iraq-set bomb disposal thriller, “The Hurt Locker,” really is starting to look like the possible break-out film among limited releases. It’s generating good word of mouth in my actual real life from actual real people and netting the best per-screen average of any film two weeks running. That’s in a minuscule nine theaters — about 4,223 fewer screens than “Transformers” — so we’ll see how it does when it expands to non-mega-metropolises.

Lookin’ To Get Out!

Honestly, there was nobody more excited than me by the prospect of experiencing a “lost” Hal Ashby film. He directed some of the best – “Harold and Maude,” “The Last Detail,” “Shampoo,” “Coming Home,” and “Being There” and when it was announced that Jon Voight had discovered a longer cut of this nearly forgotten Ashby offering that he felt placed it among the greats, there was reason to get one’s hopes up. Unfortunately, it is not one of the greats. It’s not terrible by any means, but it’s also not comparable in quality and vision to any of the aforementioned films. Voight stars as a fast (but not smooth) talking gambler who’s in over his head. He and his buddy, played by Burt Young, head to Vegas (where else?) to fix their situation. Once they arrive, they meet an old friend of Voight’s (Ann-Margret), and he may be the father of her child. Is it just me, or does all of this sound old hat? With some tweaking, it didn’t have to be.

The biggest problem with “Lookin’ to Get Out!” is not the hackneyed premise but, rather, the execution of it. The entire affair is dialed far too much in the direction of comedy, and the laughs either aren’t funny or just don’t work. For instance, there’s a wacky chase through a casino that kicks off the third act that’s painfully overlong and soaked with a dreadful ‘80s synth track (as is much of the film). If the whole thing had just been shifted into a slightly more dramatic direction, it likely would’ve played much better, as is evidenced by the few scenes where Voight gets to play some genuine pathos. His work is generally pretty good here, even if the material isn’t, and it’s certainly a much different Voight than we’re used to seeing. (Keep an eye out for the screen debut of a very young Angelina Jolie in the film’s final scenes.) It’s difficult to recommend to anyone who isn’t a student of Ashby, and yet, despite its problems, fans of the maverick director could do a lot worse than to at least check it out.

Click to buy “Lookin’ To Get Out!”

Will “Transformers” make “Dinosaurs” of us all?

With the ongoing box office behemoth that is “Transformers: Revenge of the Fallen” seemingly devouring everything in its path, the studios are nevertheless allowing two potentially vulnerable major productions to venture out of the nest a couple of days ahead of the big July 4th holiday weekend.

For the family trade, we have a 3-D CGI animated sequel, “Ice Age: Dawn of the Dinosaurs,” which will be showing on a record number of 3-D screens. (Which I guess means that if you haven’t seen “Up” in 3-D by now, which I finally managed just last night, you may be SOL until at least such time as we start seeing 3-D retrospectives.) In a saner world, this would be the #1 movie this week because of family appeal, I think it’s safe to say. Carl DiOrio of The Hollywood Reporter is calling it at between $45 and $50 million for Friday through Sunday (not counting weekdays), which he thinks will be somewhat below the “Transformers” take based on a very modest 50% drop-off.

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