Category: Reviews (Page 51 of 120)

The Films of Michael Powell

March 3, 2009 /

England’s Michael Powell was a rare twofer as a director – both a great visual stylist and one of filmmaking’s most adept and original storytellers. While movie history played some very nasty tricks on Powell, depriving him of his rightful status alongside such contemporaries as Alfred Hitchcock and David Lean, his cult continues to grow. Indeed, after a day or two watching this package of two rare films making their long-overdue DVD debuts, you might be joining me for some genius-spiked Kool-Aid.

The first of half of this stunning double bill is 1946’s “A Matter of Life and Death,” one of a number of classics Powell made with Emeric Pressburger, his long-time filmmaking partner with whom he shared writing, producing, and directing credits. Originally released in the U.S. as “Stairway to Heaven,” this post-war romantic fantasy features a young David Niven as a downed RAF pilot whose apparently impossible survival and subsequent love affair with a sweet-natured American (Kim Hunter) arouses celestial interference from the heavenly powers that be – or, perhaps, that what he’s imagining, as a brilliant neurologist (Powell/Pressburger favorite Roger Livesey) grows increasingly concerned about his apparent hallucinations. This might sound like familiar romantic comedy-drama material, but there is a reason this was Powell’s personal favorite of all his films. It is a cinematic brew so rich and strange that on some levels it feels like a rom-com “Pan’s Labyrinth”; this one sneaks up on you.

“Age of Consent” isn’t on the same exalted level, but despite a shaky start and some unfortunate choices, it’s still aces. This rapturous, and often very funny, 1969 tale of initially semi-platonic May-December love stars then-newcomer Helen Mirren (“The Queen,” “Prime Suspect”), as a 17-year-old Aussie island waif, and aging star James Mason as a painter in need of inspiration. Far less giggle or squirm inducing than you could possibly imagine, “Age of Consent” appears to have been the first major-studio film to feature significant nudity (provided, of course, by Ms. Mirren). Despite hitting it big in Australia, it was butchered for its worldwide release and has been almost impossible to see ever since. Fortunately, this DVD does Powell’s last feature proud, including charming reminiscences from the now Queen-aged Ms. Mirren and Powell’s close late-life friend and number one fan, Martin Scorsese.

Click to buy “The Films of Michael Powell”

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Season Pass Deleted: “Dollhouse”

March 3, 2009 /

I’m sorry. I can’t take it anymore.

I watched three full episodes of Joss Whedon’s “Dollhouse” and decided somewhere in the middle of the third episode that I couldn’t continue to watch the show. It didn’t help that the third episode had the dreaded troubled-pop-star-deals-with-stalker storyline, which has been done so many times before that it has become one of my biggest pet peeves. Bad stage production, bad singing, bad crowds…ugh.

The show has a solid premise — a business that rents out “dolls” which are programmed to suit the clients’ needs — and a pretty compelling macro storyline — a renegade doll on the loose and, separately, an FBI agent (Tahmoh Penikett) trying to find the dollhouse — but the week-to-week episodes just aren’t all that interesting. One week, the main character, Echo (Eliza Dushku) is an unconvincing kidnapping expert, the next she’s bait for a psychopath who likes to hunt humans. And last week she was a sassy backup singer who said things like, “You’re not okay…okay?”

Mind you, this is coming from a fan of Whedon’s work with “Buffy, the Vampire Slayer,” “Angel” and “Firefly.” I was really rooting for this show to work, but for whatever reason — suspect acting, sketchy writing, poor continuity — it just doesn’t.

Actors, Actresses, External Entertainment, External TV, Reviews, TV, TV Action, TV Dramas, TV Sci-Fi

Heroes 3.18 – When Harriet Tubman Met Def Leppard

March 2, 2009 /

I’m not saying this was the best episode of the season, but it was definitely filled with some of the best dialogue of the season.

I can’t tell you the exact moment that I decided I liked every character on “Heroes,” but at least I can identify it for Claire’s new boy, Alex (though I like to think of him as Aqualad). It was when he looked at her and said, “You’re not Harriet Tubman, Claire, all right? And this isn’t the Underground Railroad. You’re just a high school girl, and you’re in over your head.” He’s probably a narc, but what can I tell you? You just don’t get many Harriet Tubman references nowadays; you’ve gotta respect them when they come along. Also, I actually laughed out loud when Alex wouldn’t even cop to having sex with Claire to save his own skin.

You know, I almost hate to admit it, but I actually kind of liked Hayden Panettiere’s performance this episode…probably because she actually played some semblance of a typical teenage girl for much of the time, particularly during the discussion with her mom about whether or not a divorce from HRG was forthcoming. Her mom had quite a few good lines during the course of the episode, too, including her observation about the van that’d been sitting outside their house for way too long (“No-one’s pool is that dirty”), but nothing topped the lustful shout-out to the glory of Def Leppard’s Rick Savage. Having the agent come in and almost but not quite find Alex wasn’t nearly as suspenseful as I think it was probably intended to be, though, nor was Claire and Alex’s great escape. And the underwater kiss…?

Okay, fine, it was actually kind of sweet. Happy?

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Actors, Actresses, External Entertainment, External TV, Heroes, Reviews, TV, TV Action, TV Dramas, TV Sci-Fi

Don’t write off “The United States of Tara” just yet

February 25, 2009 /

I don’t really know how positive or negative the reviews have been for Showtime’s new half-hour dramedy, “The United States of Tara.” The score over at TV.com is 6.5, which isn’t particularly good. (“Weeds” and “Entourage” both scored an 8.9.)

The series stars Toni Collette as Tara, a mother of two teenagers and the owner of no fewer than three other personalities. Tara and her patient husband Max (John Corbett) decided that she would no longer take Xanax to suppress the personalities. Why? We don’t really know — other than Tara’s statement that she wants to “feel something.” (I’m paraphrasing.) The series feels like it’s trying to recreate what makes “Weeds” so great — how a suburban mother’s unique characteristic/career has such a drastic effect on her family.

Anyway, the first few episodes were funny in spots, but high on the uncomfortable meter as Tara’s “alters” would emerge at inopportune times. For its comedy, the series relies too much on how Tara’s other personalities embarrass the rest of the family. And it was starting to get tiresome, especially since it could all be avoided if she only stayed on her meds.

But the sixth episode — “Transition” — was funny as hell. We saw two of Tara’s alters but it was only for a brief moment. The episode revolves around a visit by Tara’s parents for her sister’s birthday party. Her parents want the kids to live with them, and Tara just tries to get through the weekend without transitioning.

But the funniest part of the episode was the daughter’s interaction with her boss, Gene (Nathan Corddry). Gene manages an Applebee’s-type restaurant chain and his character is starting to steal the show. The writers would be wise to utilize Patton Oswalt’s comedic delivery as well. He is hilarious as Max’s co-worker and friend but he’s only appeared in two episodes.

I’m not saying that “The United States of Tara” should be renewed or that it deserves an Emmy. But I was thoroughly impressed with this episode and, unless they really drop the ball over the next couple of installments, I’m going to watch the rest of the season. Those that gave up on the series early might want to check out the sixth episode to see if it blows up their proverbial skirts.

External Entertainment, External TV, Reviews, TV, TV Comedies

Heroes 3.17 – Let’s do right or let’s just say we’re through…

February 23, 2009 /

Last week’s “Heroes” ended with HRG taking a swig of his drink and, at least to the untrained eye (i.e., mine), his sudden wooziness made it appear that he’d been slipped a fast-acting mickey. Maybe he had been drugged…or, then again, maybe he was under the influence of Matt Parkman’s heavy-duty mental powers. It was hard to tell at the time. Whichever the case, the result was the same: the guy went down, and he went down hard. The next thing you know, he’s being dragged out by Parkman, Mohinder, and Peter Petrelli.

What we learn at the beginning of this week’s episode, however, is how this plan came into being. Unsurprisingly, it’s Matt who’s the mastermind of the goings-on…and, of course, I say “unsurprisingly” because he’s clearly royally pissed off about Daphne being taken down a few episodes ago. I had to laugh at how typically wishy-washy Pete was, though. First, he’s wondering about the issue of drugging him, asking Matt uncertainly, “Can’t you just read his mind and get what we need that way?” But ten seconds later, when Mohinder chimes in about his own issues with the kidnapping aspects, Pete confidently counters, “I don’t like it, either, but this way it gives us answers.” Damn, Petrelli, I’ve heard of getting with the plan, but that’s gotta be some kind of record!

In short, these three stooges (Mohinder, Larry, and Curly?) spiked HRG’s Scotch with a pharmaceutical agent that would enable Parkman’s abilities to penetrate all of Noah’s psychological training and get the answers they want about what’s going on with Nathan’s big governmental crackdown on America’s heroes.

What do they discover? Only the best chapter of the “Fugitives” saga to date…and, I feel comfortable arguing, the most impressive episode we’ve gotten in Season 3, period.

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