Category: Reviews (Page 58 of 120)

An A to Z of Last-Minute Gifts for the TV Geek in Your Life

Got a TV geek on your Christmas list but don’t know what to get them because you’re petrified that they might already have all the obvious picks? As someone who falls into that demographic (and therefore has to make a very explicit list for my family every year), I understand where you’re coming from, so please allow me to do my part to help but you and the poor bastard you’re waiting ’til the last second to shop for. Sure, the list is a little all-over-the-place, but all of these items have landed in stores since last Christmas, and…hey, at least it’s in alphabetical order!

1. Adam 12: Season Two – Rescued from Universal’s indifference by the good folks at Shout! Factory, it holds up about as well as any show produced by Jack Webb (which is to say that the acting is more than a little stilted), but it’s been tricked out with commentaries from actual Los Angeles police officers, which make for entertaining and interesting listening.

2. Beauty and the Beast: The Complete Series – Ron Perlman may be best known these days for his work in FX’s “Sons of Anarchy” and the “Hellboy” franchise, just as Linda Hamilton is probably destined to be remembered as the definitive Sarah Connor, but once upon a time, they were the stars of a rather unlikely romance on CBS. This complete-series set offers little new for those who’ve already purchased the individual season sets except an interactive trivia game, some “newly reconstructed love letters” from Vincent which don’t sound like they’re being read by Perlman, and a nice looking box, but it’s a strange, fanciful, and romantic show that your mom, wife, sister, or…oh, hell, even you might like it.

3. Comedy Central’s TV Funhouse – Given that it takes the style of a kids show from the early ’70s and blends it with dark, surreal, and sometimes downright filthy humor, it’s only halfway surprising that this series didn’t find a following, but it will undoubtedly come to be remembered as one of the great lost comedy classics of the decade. Robert Smigel obsessives will notice that a few things are missing from the show’s original airing, but there’s still plenty here to make you laugh and groan for hours.

4. Drak Pak: The Complete Series – Sometimes, you include an item for personal reasons, but the idea of the kids of Dracula, the Wolfman, and Frankenstein’s Monster teaming up to form a crime-fighting team that battles against a guy who looks suspiciously like Vincent Price is one that had me watching every Saturday morning. Sadly, it only lasted a single season, and watching it now, I can kind of see why, but it’s still a fun flashback for those who remember the show from its original run.

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The New Centurions

This entry in Sony’s amusingly vague new “Martini Movies” imprint stars George C. Scott (“Patton”) at the height of his early seventies fame as Kilvinski, a humane cop nearing retirement who bonds with his new partner, a would-be lawyer rookie partner (Stacy Keach) going through some big changes of his own. Adapted from a bestselling novel by ex-policeman Joseph Wambaugh, “The New Centurions” often foreshadows later cop dramas, particularly eighties TV groundbreaker “Hill Street Blues” — right down to earthy pre-patrol briefings and actor James B. Sikking sporting what appears to be the very same pipe he parlayed to semi-fame as the affected, egomaniacal Lt. Howard Hunter. Still, while familiar faces from lighter fare show up (Isabel Sanford of “The Jeffersons,” Erik “CHiPs” Estrada, and the eventually dickless William Atherton of “Ghostbusters”), 1972 was a year when grim was in and even the most mainstream of Hollywood films were often deliberately under-structured. Taking place over what appears to be several years, there is no particular “case” and this is not really a story about crime fighting; it’s an investigation into the effects of police work on vulnerable human beings. Written by Stirling Silliphant and directed by Richard Fleischer (“20,000 Leagues Under the Sea,” “Soylent Green,” and “Mandingo”), “The New Centurions” is slowed by overly novelistic/episodic pacing and a few too many contemporary mannerisms (including a wah-wah heavy score by Quincy Jones) but it works more often than it doesn’t because of its two first-rate lead actors and a great deal of sincerity. The film’s benevolent view of the quasi-militarist seventies LAPD may be iffy, but its depiction of the bigger truth here feels true enough: policemen are nothing more than human beings doing a job that can be as seductively destructive as heroin.

Click to buy “The New Centurions”

Jim Carrey is still funny

I’m glad Jim Carrey has been trying different things over the years. He’s a pretty good actor, though he could probably use some help weeding out bad scripts when he wants to take dramatic roles. Maybe he sould focus on small indie films instead of big studio releases when he wants to try new things. In any event, it’s nice to see he can still make us crack up in a silly comedy.

It’s been a while since Jim Carrey has put out such a funny film and he knows it. His desperation to reclaim his former glory hit an all-time low earlier this year when he went on “American Idol” wearing a pair of elephant ears to promote “Horton Hears a Who.” Thankfully, “Yes Man” should put an end to Carrey’s involvement in any more embarrassing marketing tactics, as it’s his best comedy in years. There’s no way he’ll ever be as big as he once was now that Judd Apatow and gang have retooled the genre, but fans will just be happy to see him back to his old antics.

Get ready for “The Wrestler”

Bullz-Eye.com’s Jason Zingale explains how Mickey Rourke lives up to the hype with a memorable performance in “The Wrestler.”

An engaging character study of a man seeking redemption, “The Wrestler” may be overly sentimental and even a bit long, but Randy is such an interesting subject that you don’t really mind. This is the movie Sylvester Stallone wish he made with “Rocky Balboa,” and though the story itself is predictable, it’s the smaller moments within that elevate the character to something beyond just a two-dimensional clown in a pair of flashy tights. Mickey Rourke’s powerhouse performance is a heartbreaking tour de force that only gets better with each passing minute, and though he has some stiff competition from the likes of Frank Langella, you’d be kidding yourself if you don’t think Rourke will still be a frontrunner at this year’s Oscars.

Bruce Springsteen wrote and sang one of the songs from the film, as you can hear in the trailer below. Rourke explains how that came about:

“I wrote Bruce a letter, because we’ve known each other over twenty years, and he knows what I used to be, or whatever. Where I went. What I’d been reduced to. I told him how I felt lucky now and didn’t have to end up being this guy, being Randy (character from The Wrestler). A while later I got a call in the middle of the night: he said he’d written a little song, for nothing. It’s fucking beautiful, right? I was honoured he took the time, because he’s a busy cat. I mean, I’m so goddam proud of this magical movie and to have Bruce’s input… ain’t nobody in Hollywood with all their millions can just ring the man and he’ll do a song, y’know?”

Aki Kaurismäki’s Proletariat Trilogy

Radio humorist Garrison Keillor gets a great deal of mileage poking fun at the taciturn ways of Swedish and Norwegian-Americans in the bleak Midwest. By comparison, Aki Kaurismäki’s similarly Nordic Finnish Fins make the citizens of Lake Wobegone seem like a bunch of raging drama queens. Kaurismäki is known for blending clever ultra-deadpan comedy and classical neorealist filmmaking, and since I love the former and just barely tolerate the latter, his works tend to be a hit and miss affair for me. Nevertheless, the definite class of this no-frills three-disc set from Criterion’s Eclipse line — comprised of three short feature-length movies about the lives of working folks who get themselves into bad, bad trouble — is also, however, the least overtly funny. 1990’s “The Match Factory Girl” is an ultra-dry twist on the pathos-heavy Hans Christian Anderson tale starring Kati Outinen — the female lead of Kaurismäki’s terrific 2002 art-house hit “The Man Without a Past” — as a trodden-upon lass who finally has enough of her vile parents and her even more vile boy-enemy (you can’t call him a friend). Ned Flanders-mustached Matti Pellonpää, who appears un-credited as the cruel seducer, also plays major roles in the less melodramatic, less reliably entertaining, but also very deftly made, films that round out the set: 1986’s “Shadows in Paradise,” a romantic comedy of sorts, and 1988’s “Ariel,” an out of sorts heist picture.

“Match Factory Girl” aside, this is the kind of material that will test the patience of viewers who don’t love such neorealist tropes as watching characters make tea for 15 seconds of real time. On the other hand, if kitchen sink realism and downbeat, ultra-subtle humor is your thing, they all may be your cup of tea. An ecological note: Given that all three features combined run just over 3.5 hours (the longest is an epic 76 minutes) and there are zero extras, someone should ask Criterion why was it necessary to package this brief trilogy on three separate discs.

Click to buy “Aki Kaurismäki’s Proletariat Trilogy”

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