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Friday, September 30, 2022

BORDER LOST -- DVD review by porfle


 

Originally posted on 4/1/08

 

The tagline reads "3 men, 2000 miles, and a ton of ammo." Hmm...so far, so good.

According to the foreword, illegal immigrants crossing the border from Mexico into the U.S. are constantly being preyed upon by sadistic Mexican bandoleros. BORDER LOST (2008) is the story of a small U.S. task force trying to keep this from happening even as clueless politicians are trying to shut them down.

When one of their number is murdered and his fiancee kidnapped by the most vile outlaw leader, Hector, the three remaining "desert cowboys" (as they are called by the locals) ignore orders to stay out of Mexico and cross the border armed to the teeth and mad as hell.

Their leader is the hardbitten veteran cop Manny, played by Emilio Roso. Roso has an old style tough-guy face and a weighty presence, whether he's working over a bad guy or playing a tender love scene with the beautiful Vanessa (Marian Zapico).


His partner, Gabe (Protasio) is another experienced cop who's handy with a gun although he tends to go off half-cocked at times. Jake (Wes McGee), the rookie member of the group, is invaluable as a dead-eyed sniper.

In a harrowing scene early on, we see a group of illegal immigrants on a nighttime trek through the desert being robbed and terrorized by Hector's thugs, who rape and kill at their whim. Then we get our first look at the cowboys in action as they bust some bad guys in a dingy bordertown.

The action is lean, well-staged, and exciting. Plenty of shoot-outs and other graphically violent incidents occur along the way, with circumstances causing the agents to become increasingly ruthless and driven by rage, leading up to their daring and bloody siege against Hector and his men at their desert compound.


The freestyle direction by David Murphy and Scott Peck, which takes full advantage of some great authentic locations, is sometimes just as over-the-top as the acting, and the whole thing is often topped with a generous layer of Monterey Jack cheese. This isn't necessary a detriment, though, especially if you're jonesing for a quick action-flick fix.

DVD specs include a letterboxed 1:78:1 image, optional Spanish subtitles, and a trailer. Image and sound are good, with an effective Latin-tinged score by Christopher Peck.

The sun-bleached, documentary-style look of the film resembles the Mexico sequences in Steven Soderbergh's TRAFFIC. It also tries to duplicate that movie's realistic performances and verisimilitude, but this is most often overcome by action-movie cliches and pure melodrama. Strangely enough, the combination seems to work. BORDER LOST is, at its heart, a shoot-em-up revenge flick that Schwarzenegger and Seagal fans should enjoy, but with a unique ambience and attitude of its own.


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Wednesday, September 28, 2022

THE RETURN OF DRACULA -- movie review by porfle



Originally posted on 1/21/14

 

Watching THE RETURN OF DRACULA (1958) for the first time since my initial afternoon-TV viewing as a kid, I was bowled over by what a finely-wrought and effective low-budget vampire thriller it is. The stage is set by its spooky opening titles (Dracula's eyes stare out at us during the familiar strains of "Dies Irae") and it only gets better.

In the midst of all the the giant radioactive creatures, alien invaders, and revisionist updates of old classic horror themes which dominated 50s genre films, this atmospheric black-and-white chiller seems like a holdover from the fabulous 40s and lacks only the production gloss of the Universals (although it still beats the likes of SHE-WOLF OF LONDON by a country mile). 

Directed by Paul Landres and written by Pat Fielder (THE MONSTER THAT CHALLENGED THE WORLD), both of whom also gave us the creepy John Beal shocker THE VAMPIRE, the story begins with an enigmatic Count Dracula (Francis Lederer) escaping pursuit in Europe by assuming the identity of an artist named Bellac Gordal who is traveling to the United States to live with American relatives.  (Norbert Schiller, who played "Shuter" in FRANKENSTEIN 1970 and also appeared in YOUNG FRANKENSTEIN, is seen briefly as the real Bellac.)


Once there, the sinister impostor's curdled charm will entrance the kindly and vivacious young Rachel Mayberry (Norma Eberhardt, surprisingly effective in the role) who finds him dashing and worldly despite his odd behavior (he disappears during daylight hours and refuses to participate in any social activites). 

This elicits jealousy and suspicion from Rachel's hot-rodder boyfriend Tim (Ray Stricklyn) although her naive, trusting mother Cora (Greta Granstedt) and kid brother Mickey (Jimmy Baird) are much slower on the uptake.

Never having seen Hitchcock's SHADOW OF A DOUBT, to which this is often compared, I see THE RETURN OF DRACULA as sort of a companion piece to Universal's 1943 Lon Chaney, Jr. classic, SON OF DRACULA.  In both films, the Count takes up residence in smalltown America (in SON, it's the bayou country of Louisiana) and wreaks havoc with the locals while a vampire expert joins forces with a resident authority figure (in this case a priest) to combat the encroaching evil.

Francis Lederer makes a very imposing Dracula with his commanding yet subtle presence and his air of dark continental decadence, clearly taking a perverse relish in the act of corrupting the innocent.  In fact, as soon as Rachel tells him about Jennie (THE HILLS HAVE EYES' Virginia Vincent), the poor, bed-ridden blind girl she's been taking care of at the parish house run by Reverend Whitfield (Gage Clarke), this vile creature of darkness wastes no time making her his first victim. 


The hapless Jennie's violation as Dracula enters her bedroom shrouded in mist is nightmarish--Dracula bestows on her the ability to "see" him advancing toward her as she lies helpless--but nothing compared to Jennie's fate when, after transforming into the living dead herself, she's followed by relentless vampire hunter John Merriman (John Wengraf) back to her crypt to be staked in a shocking color insert.

Along with some good jump scares, several scenes are memorably eerie and disturbing.  The opening scenes with Merriman and company closing in on Dracula in a shadowy European cemetery at dawn are so tense and well-staged it's almost as though Quentin Tarantino were guest director. 

Later, Rachel's ongoing seduction by "Cousin Bellac" results in several chilling scenes and close calls--in one, the blare of Tim's car horn snaps her out of a hypnotic reverie and prevents her from joining Dracula in the nearby cave where his coffin resides.  It's here that the teen lovers will fight a losing battle against the Lord of the Undead in a suspenseful climax.

THE RETURN OF DRACULA is highly recommended for anyone who appreciates classic horror.  In my opinion, this superior 50s effort--be it ever so humble--is one of the finest Dracula/vampire movies ever made.

Buy it at Amazon.com



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Monday, September 26, 2022

SPOOKLEY THE SQUARE PUMPKIN -- Blu-ray/DVD Review by Porfle



Originally posted on 10/19/17
 

 

It's funny how computer-animated cartoons that would've amazed people and won technical awards back in the 80s have become such an everyday thing now.  Still, I sometimes get a kick out of seeing one of these CGI cartoons with the colorful 3D-ish characters and elaborate backgrounds that remind me of moving Viewmaster reels.  And if the story is engaging enough, all the better.

Disney Junior's SPOOKLEY THE SQUARE PUMPKIN (Cinedigm) meets those criteria well enough for a TV production, at least for me anyway.  The characters are expressive and likable, the settings eye-pleasing, the songs enjoyable, and the story by children's book author Joe Troiano is sweet, simple, and comfortingly predictable.

It all begins when a square pumpkin is discovered in the pumpkin patch of Holiday Hill Farm.  This causes grave unrest among the more intolerant in the garden, embodied by a George-and-Lenny pair of pumpkins ("Big Tom" and "Litte Tom") joined by a weirdly umbilical-like vine and very vocal against any pumpkin who isn't properly round as they are. 


These bullies and their bigotry against anyone different from themselves form the basis for the story's lesson on acceptance, which, thankfully, doesn't pile-drive us quite as much as one might suspect. 

In fact, most of the characters, including friendly scarecrow Jack (the patch's amiable leader), brother and sister bats Boris and Bella (Boris craves bugs while Bella admonishes him for wanting to devour their sentient friends), spiders Edgar, Allan, and Poe ("With an 'E'!"), and vain beauty-queen pumpkin Bobo, are actually more-or-less pretty decent toward Spookley.

Square peg Spookley remains insecure even when his comical spider friends persuade him to enter Jack's "Jack-A-Lympics" competition to decide the Pick of the Patch (mainly so they can get their hands on the candy corn crown). 


Naturally, his unusual shape dooms his chances in each round, inviting a fair amount of thoughtless ridicule from the others.  It isn't until a raging storm hits the farm and everyone comes frighteningly close to a bad end that the little square pumpkin's shape enables him to rescue everyone.

As I said, it's all comfortingly predictable.  I must confess to not knowing just how kids these days react to this kind of stuff--I would've been entranced by it, and even now find it pleasantly watchable.   

The characters are pretty funny, and the frequent song-and-dance numbers--some with backup by Pointer Sisters-like trio "The Honey-Doos" and even a few musical ghosts--not only entertain with their clever lyrics and bouncy choreography but also come and go without outstaying their welcome. 


The 2-disc Blu-ray/DVD combo from Cinedigm is in standard television format with English, Spanish, and French 2.0 soundtracks and English SDH subtitles.  Extras consist of five (non-HD) video storybooks, each based on a Joe Troiano book and lasting about five minutes: The Legend of Spookley the Square Pumpkin, The Legend of Beacon the Bright Little Firefly, The Legend of JellyBean and the Unbreakable Egg, The Legend of Lyla the Lovesick Ladybug, and The Legend of Mistletoe and the Christmas Kittens. 

The first of these, "The Legend of Spookley the Square Pumpkin", is read by none other than Bobby "Boris" Pickett of "Monster Mash" fame.  Pickett also sings the main feature's "Monster Mash"-like end titles song, "The Transylvania Twist."

SPOOKLEY THE SQUARE PUMPKIN is ideal small-scale fun for (say it with me) "kids of all ages."  The little ones won't suspect they're being taught a lesson about tolerance even as Spookley's ultimately heartwarming tale leaves them with a Jack o' Lantern smile.




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Sunday, September 25, 2022

ALL SUPERHEROES MUST DIE -- DVD review by porfle



 

Originally posted on 1/31/13

 

Some superhero movies are multi-million-dollar epics that dazzle, amaze, and enthrall.  And then there's ALL SUPERHEROES MUST DIE, aka "Vs" (2011), which barely manages to keep from falling apart at the seams, or simply imploding due to lack of substance, long enough to limp to the fadeout.

Granted, it's a game effort for such a low-budget film (less than $1 million) but I've seen a lot more done with a lot less so it really should've turned out better.  In fact, director Jason Trost's other 2011 film THE FP is superior in every way, not the least of which being that it's way more entertaining.  Here, it seems as though the goal of putting together something that qualifies as a "superhero movie" was accomplished with minimal thought or artistic effort.

Taking place in a seemingly deserted small town during the course of a single night, the story begins with three superhero-garbed men and one woman waking up in different locations, each with some kind of wrist implant.  The implants, it turns out, rob them of their superpowers so that their arch-enemy, Rickshaw (James Remar), can force them to participate in a series of life-or-death challenges for his revenge and amusement, with the lives of various innocent people in the balance. 

The heroes, who (we learn in passing) gained their powers from a fallen meteor, have a stormy personal history that caused them to disband years earlier.  Charge (Trost), the nominal leader, and Shadow (Sophie Merkley), sort of a "Sue Storm/Invisible Girl" knock-off, are former lovers, while the younger Cutthroat (Lucas Till, X-MEN: FIRST CLASS) still resents Charge for treating him like a kid brother.  The Wall (Lee Valmassy, who gave an outstanding performance as the bad guy in THE FP) is a rather nondescript character who doesn't get much to do for most of his screen time. 

One distinctive feature of this team is that they have some of the chintziest costumes in superhero history.  Even taking into account the fact that they don't have people like Lucius Fox or Martha Kent designing their threads, this poor man's Fantastic Four would probably get thrown out of a Halloween costume party.  Charge is especially guilty of fashion fail, with a costume that looks like he just threw himself on a live grenade and landed on his face.  Perhaps this is intentional, since the hokiness of these characters is probably pretty close to what it would look like if actual people suddenly decided to become superheroes (a la Kick-Ass). 

Remar, who served as narrator for THE FP, is the traditional "name star" coming in to do a day or two of low-impact acting (in this case, mostly sitting behind a desk egging on the main characters via a TV screen to a dreary version of Beethoven's "Moonlight Sonata") as cackling bad guy Rickshaw.  His evil plan for our heroes has them running from place to place trying to save various groups of wired-to-explode civilians and, in most cases, failing. 

In one instance, Charge's solution to Rickshaw's challenge is so utterly nonsensical as to throw the whole movie out of whack, storywise.  It's, like, literally the last thing you'd expect a superhero to do because it's so...well, dumb.  Only occasionally does the dialogue manage to make things a bit more bearable, as in the following exchange:

Shadow: "What about the garage?  Isn't there something in there that could help, medicine or something?"
Charge: "Vitamin C isn't going to remove a 12-inch stab wound from his lower intestine, Jill."

Elsewhere, they come up against a couple of flamboyant goons played by more veterans of THE FP, Sean Whalen and Nick Principe (who also co-starred in the first "Chromeskull" film, LAID TO REST), in some bland battle action that does little to juice things up.  Principe is Sledgesaw, a relatively nondescript strongman character, while Whalen is the flamethrower-wielding Manpower, who dresses like a psychotic Uncle Sam for some reason.  Besides some generic Rickshaw henchmen in funny-animal suits, these are the film's only "super" villains. 
With their wrist implants conveniently taking away their powers, the word "super" doesn't even apply to our main characters.  This makes things easier on the filmmakers and less interesting for the viewer.  The closest we come to seeing a hero exercise a superpower is during a flashback when Shadow disappears (off-camera) after a lovers' tiff with Charge.  That's literally all the film has to offer in that department.

The rest of the time, everyone stands around and argues a lot or jogs through the deserted streets to the next location where they argue some more as civilians continue to explode around them.  Some actual suspense is briefly achieved a couple of times, but it's not enough to prevent the film from having what I found to be a rather enervating effect before long.

The DVD from Image Entertainment is in 2.35:1 widescreen with Dolby 5.1 sound.  Closed-captioned but no subtitles or extras.

With neither the fun of a "Spiderman" or "X-Men" flick or the substance of a "Dark Knight" tale, the main impression left by ALL SUPERHEROES MUST DIE is an overall dreariness that's even a bit depressing at times.  Minimal production values, uninspired cinematography, barely passable acting, and a scattershot plot amount to what might be considered a pretty fair student film but hardly something you'd want to go out of your way to see.





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Saturday, September 24, 2022

BORDER RUN -- Blu-Ray review by porfle



 

Originally posted on 2/22/13

 

Sharon Stone as a conservative, "fair and balanced" TV reporter who's against illegal immigration?  Well, I just knew that sounded too un-Hollywood to be true, and sure enough, before BORDER RUN (2012) is over, her character has an epiphany that revs her overacting dial up to eleven and beyond.

Sharon plays "hard-nosed right-wing journalist" Sophie Talbert, who, with a black fright wig emphasizing her pale skin, hardly looks like someone who lives right on the Arizona-Mexico border.  Like Jane Fonda's initially conservative TV newswoman in THE CHINA SYNDROME, she's on the wrong side of the issue at hand (by Tinseltown standards, that is) until shown the error of her ways--in this case, when her own relief-worker brother Aaron (Billy Zane) disappears in Mexico and she must enter the world of the illegal immigrant herself in order to find him. 

After Sophie arrives in Mexico, Aaron's co-worker Rafael (Rosemberg Salgado) offers to take her in his pickup to a meeting with someone named Javier who may be able to help her.  On the way there, they form an instant romantic bond that has them stopping off at a roadside bar to get drunk and dance while precious minutes in the missing Aaron's life tick away.  This odd passage indicates how awkward some of the tone shifts and scene transitions will be for the rest of the film.


Before we know it, Sophie and Rafael get separated and she meets up with Javier (Miguel Rodarte), joining a group of migrants whom he's smuggling across the border.  Naturally, Sophie's rigid attitude toward the whole thing begins to change when she discovers that some of the migrants are nice people with heartwarming personal stories (imagine that!), and that the process tends to be both dangerous and uncomfortable. 

Just how dangerous becomes clear when the tanker truck they're stashed inside gets diverted to a remote farmhouse well short of the border, where Sophie meets the film's main villain, Juanita (Giovanna Zacarías), a real piece of work who could easily be the poster girl for PMS.  We've already seen this mega-bitch-on-wheels repeatedly beating up the bound Aaron, who's also being held there, and now we get to see her kicking a pregnant woman in the stomach while one of her fat, sweaty henchmen has his way with the bound Sophie. 

This decidedly unpleasant rape scene gives Sharon Stone yet another chance to do some full-tilt emoting and it will be far from her last.  I won't go into everything that occurs next but after an escape, a chase, and the proverbial run for the border, Sophie ends up in a border station where her newly-found righteous indignation against U.S. immigration policy is given full vent.  Here, Sharon lets loose with a "big acting" moment by throwing a fit that is borderline (excuse the phrase) hilarious.


You might think that the film, having made its point, will fade out on Sophie's return to the USA to crusade against immigration reform, but this is when BORDER RUN pulls a plot twist on us that's worthy of a horror movie, with Sophie suddenly ending up in more grave peril than ever.  With this added sequence, the film finally lurches all the way into "so bad it's good" territory and makes me wish I'd been watching it as a wacky exploitation flick instead of a misguided message pic all along.

As mentioned before, Sharon Stone's performance here is wonderfully bad, especially since director Gabriela Tagliavini seems intent on photographing her as unflatteringly as possible from start to finish.  Billy Zane, who plays Aaron, demonstrates once again that if a project doesn't make him feel like turning on the old "Billy Zane" magic, he's Stiff City.  And as the monstrous Juanita, Giovanna Zacarías almost makes Al Pacino look like a study in subtlety.

The Blu-Ray disc from Anchor Bay is in 2.35:1 widescreen with Dolby 5.1 sound and subtitles in English and Spanish.  No extras.

BORDER RUN is ridiculously melodramatic where it means to be hard-hitting, and goes for big emotional moments that it hasn't really earned.  A weird combination of social relevance and pure exploitation, it fails as a "good" movie but succeeds, to some extent anyway, as a perversely entertaining train wreck. 


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Friday, September 23, 2022

THE FRANK DARABONT COLLECTION -- Blu-ray review by Porfle (THE SHAWSHANK REDEMPTION/ THE MAJESTIC/ THE GREEN MILE)



Originally posted on 2/20/15

 

Checking his IMDb credits, I was shocked to find that, while a prolific producer and writer, Frank Darabont had only helmed a total of four features. In fact, if you added 2007's THE MIST and his 1983 Stephen King short story adaptation "The Woman in the Room", then Warner Brothers' new 4-disc Blu-ray set THE FRANK DARABONT COLLECTION would serve as a complete overview of his career as a big-screen director.

As it is, though, we get three of his most important films--THE SHAWSHANK REDEMPTION, THE MAJESTIC, and THE GREEN MILE--in all their Blu-ray splendor, attractively packaged (in a rigid page-turner slip case adorned with photos from the films) and loaded with extras.


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THE SHAWSHANK REDEMPTION (1994)

For his debut feature film, Frank Darabont burst out of the starting gate with a vengeance by directing one of the most beloved American classics of modern film as well as writing the screenplay.

When I first heard that a movie was being made from Stephen King's novella "Rita Hayworth and Shawshank Redemption" I figured that the short, somewhat sketchy story would have to be heavily padded out to make an entire feature. Darabont proved otherwise by augmenting King's prison yarn in ways that were a deeply satisfying enhancement to the original material, and then turning THE SHAWSHANK REDEMPTION (1994) into an engrossing, visually and emotionally rich cinematic experience that few who have seen it will ever forget.

The story involves a brilliant young banker named Andy Dufresne (Tim Robbins) unjustly convicted and sentenced to life for the murder of his wife and her lover. Aging lifer Red (Morgan Freeman) gradually forms a grudging respect for Andy due to his quiet perserverance and refusal to be cowed or dehumanized by the prison system, which is embodied by a hypocritical warden (Bob Gunton as Warden Norton) and the brutally sadistic guard Capt. Hadley (Clancy Brown).


Andy becomes an invaluable resource to his jailers when he starts doing their tax returns for them and helping the warden launder all the money he's skimming from various illegal endeavors. But whenever he steps out of line by asserting his basic humanity, he's slapped down hard. This comes to a head when a new inmate (Gil Bellows) who may have information about the true killer of Andy's wife is murdered by the warden and Hadley.

After this, it appears as though Andy, who has become something of a heroic inspiration to his fellow convicts, has finally been beaten down and demoralized. There even comes a point in which they and we fear he's on the verge of suicide.

But the beleagered and embittered Andy Dufresne has a trump card up his sleeve, one which he's been holding for several years until just the right time to play it. And when he does, it leads to one of cinema's most dazzling and satisfying examples of comeuppance and righteous revenge, not to mention the exhilarating redemption promised by the title.


Proving himself a consummate screen artist, Darabont presents this story with the richest period production design and cinematography that the viewer could wish for and populating it with a cast filled with great A-list and character actors, each of whom seems inspired by his role.

Robbins is keenly attuned to what makes Andy Dufresne tick, letting us see both the sharply-perceptive intellect and deep emotions beneath the character's sometimes aloof manner. As Red, Freeman (whose character provides the film's soulful narration) expresses wisdom, melancholy, and an aching remorse for the crime he committed as a youth, and we're glad when Andy is able to instill in him--as well as the other prisoners--a feeling of hope after years of despair.

Darabont contrasts this with the frequent brutality of prison life, including Andy being beaten and raped by the monstrous Bogs (Mark Rolston of ALIENS and ERASER) and "The Sisters" while being subjected to lengthy stays in solitary confinement whenever he courts the warden's displeasure. A particularly sad interlude occurs when an old, institutionalized con named Brooks (played by the great James Whitmore) is released against his wishes and finds himself half a century behind the times in a world that's completely alien to him.


Yet even at its darkest THE SHAWSHANK REDEMPTION doesn't revel in graphic violence or ugliness for its own sake. Darabont displays admirable taste and restraint, relying on his rock-solid screenplay to convey what is needed while filming it in a beautifully classical, deliberate style that takes its time and eschews such things as shaky-cam and attention-deficit editing.

The actual prison location is remarkable. The abandoned complex, filmed shortly before a date with the wrecking ball, looks almost like a medieval castle, while Darabont's team has worked their movie magic with the interiors. The vast, specially-built cell block that houses our main characters is worthy of a Ken Adam 007 set.

Among those familiar faces adding their acting talents to the project are William Sadler (the main bad guy from DIE HARD 2, later to appear in Darabont's THE GREEN MILE), Jeffrey DeMunn (THE GREEN MILE, THE MAJESTIC), Larry Brandenburg (FARGO's Stan Grossman), Neil Guintoli (MEMPHIS BELLE), David Proval ("The Sopranos"), Jude Ciccolella (SIN CITY), and Paul McCrane (ROBOCOP, THE BLOB, "ER").

While stuck with a title that didn't exactly draw people into theaters or encourage positive word-of-mouth (nobody could remember it), THE SHAWSHANK REDEMPTION overcame initial bad box office and a seven-nomination strikeout at the Oscars to become one of the most popular home video and cable-TV favorites of all time. (As of this writing, it's voted #1 by members of the Internet Movie Database.) Redemption indeed, both in the film's heartrendingly upbeat ending and in real life as well.

SPECIAL FEATURES:

Commentary by Writer/Director Frank Darabont
2 Documentaries: 
Hope Springs Eternal: A look Back at The Shawshank Redemption
Shawshank: The Redeeming Feature
The Charlie Rose Show Segment Featuring Darabont, Tim Robbins and Morgan Freeman
Comic Spoof The Sharktank Redemption
Stills and Collectibles Galleries
Theatrical Trailer

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THE MAJESTIC (2001)

With THE MAJESTIC (2001), Frank Darabont dives all the way into the deep end of the nostalgia pool and wallows in cloying sentiment to the point of going under.

Throwing subtlety to the wind, the formerly restrained director indulges an apparent penchant for smarm while his first non-Stephen King effort ultimately morphs from a would-be tearjerker into a heavy-handed message film--a fantasy Hollywood wish-fulfillment tale in which our main character, emitting gleaming waves of Capra-esque integrity while wielding the Constitution like Captain America's shield, bucks the nasty government bad guys to a standing ovation during a HUAC hearing.

Jim Carrey divests himself of his usual mega-farcical persona and goes serious as ambitious hack screenwriter Peter Applegate, who gets accused of being a communist during the red-scare witch hunts of the 50s. When the drunk and depressed Peter accidentally drives off a bridge and is washed up onto a secluded California beach with no memory of his former life, he makes his way to a small town where he's mistaken for a missing WWII soldier named Luke who's been declared dead after several years.


Martin Landau (ED WOOD, X-FILES: FIGHT THE FUTURE) plays Luke's father Harry Trimble, ecstatic over his son's apparent return and suddenly eager to reopen his derelict movie theater, the Majestic, with Luke's help. Meanwhile, Peter/Luke becomes a hero and inspiration to the entire town, not to mention Luke's former girlfriend, the lovely Adele (Laurie Holden of Darabont's hit TV series "The Walking Dead" ). 

After suffering many losses during the war, the embittered town's dormant heart is reawakened (symbolized by the Majestic's gala, blazing-neon resurrection) by the presence of their beloved prodigal son. Peter, on the other hand, feels unworthy of such admiration, knowing somehow that he hasn't earned it. Still, he does his best to live up to everyone's image of him--especially since the love between him and Adele has been rekindled--and finds himself settling into his new life as a truly changed man.


Almost as in a Ray Bradbury short story or an episode of "The Twilight Zone", the town seems to represent Peter's idea of Heaven after his symbolicdeath, and for awhile, we almost expect something supernatural to happen. Unfortunately, what does eventually transpire--Peter's discovery, arrest, and eventual grilling before a hostile Congressional committee--is disappointingly mundane and contrived in comparison.

To his credit, Carrey is pretty good in this serious role but unfortunately just carries too much baggage to make us forget him as Ace Ventura, Fire Marshall Bill, the Mask, etc. The film's standout is, unsurprisingly, Martin Landau as Harry, while a radiant Laurie Holden proves to be as much at home on the big screen as she was in "The Walking Dead."

The rest of the film's rather impressive cast includes James Whitmore (THE SHAWSHANK REDEMPTION), David Ogden Stiers, Gerry Black (RE-ANIMATOR, NATIONAL LAMPOON'S VACATION), Bob Balaban, Ron Rifkin, Allen Garfield, Chelcie Ross (THE LAST BOY SCOUT), Jeffrey DeMunn (SHAWSHANK, THE GREEN MILE), Hal Holbrook, and, in the "movie within a movie" scenes, Cliff Curtis (COLLATERAL DAMAGE, LIVE FREE OR DIE HARD) and cult icon Bruce Campbell. Darabont also snagged some big name actors and directors to do offscreen voice work.


The Blu-ray disc is a bit skimpier on the extras this time around. In addition to a sequence (approx. 5 minutes) from the fictitious 50s adventure yarn "Sand Pirates of the Sahara" with Campbell and Curtis, there are some deleted scenes and a trailer.

It wouldn't be so bad if Darabont weren't trying so hard to channel Frank Capra and mold Carrey into Jimmy Stewart for the film's paint-by-numbers resolution, which ultimately attempts to recreate the tearfully joyous finale of IT'S A WONDERFUL LIFE. Like its honey-glazed period atmosphere, THE MAJESTIC's sentiment comes off as too sickly-sweet and unreal to be nearly as truly effective as either Capra's films or Darabont's own earlier triumph.

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THE GREEN MILE (1999)

Four years after 1994's THE SHAWSHANK REDEMPTION, Frank Darabont once again tapped master storyteller Stephen King (in addition to his own screenwriting talents) for another prison tale, THE GREEN MILE.

I recall the novelty of reading King's tale when first published not as a lengthy single volume but as a series of small paperbacks released in serial form a la Charles Dickens. I was skeptical when I heard that this riveting but highly unusual tale would be turned into a movie, a skepticism that Darabont proceeded to dash into smithereens by creating what I consider to be his finest and most thoroughly accomplished work to date.

The story takes place on Death Row in a Southern prison circa 1935, where head guard Paul Edgecomb (Tom Hanks) strives to treat the condemned men with a fair amount of dignity and compassion until their date with "Old Sparky." Brawny, reliable Brutus "Brutal" Howell (David Morse) is his right hand man, aided also by the other guards Harry Terwilliger (Darabont regular Jeffrey DeMunn) and young Dean Stanton (Barry Pepper, SAVING PRIVATE RYAN).


Paul's biggest headache, besides the occasional psycho prisoner such as fiend killer "Wild Bill" Wharton (Sam Rockwell, GALAXY QUEST, GENTLEMEN BRONCOS), is a cruel, cowardly weasel of a guard named Percy Wetmore, brilliantly played by one of my favorite actors, Doug Hutchison (MOOLA). As the spoiled nephew of the governor's wife, Percy threatens to tattle on Paul whenever he doesn't get his way or is caught abusing the prisoners. It's Hutchison's best role since that of inhuman super-creep Eugene Tooms on "The X-Files."

While his connections could secure any job he wishes, Percy remains on Death Row because he aspires to be lead guard during an execution. Anxious to be rid of him, Paul grants him this opportunity. But it turns disastrous when Percy deliberately botches the electrocution of a hated inmate, turning it into a horrifying, agonizing ordeal (which Darabont stages with exquisite aplomb) both for him and the mortified onlookers in the film's most grueling, deliciously Grand Guignol sequence. (The SPFX as the ill-fated inmate's smoking body jerks, spasms, bursts into flames, and finally roasts alive are gruesomely convincing.)

While all this horror is going on, the Green Mile--named for its faded green linoleum--receives its strangest guest yet, a monstrously huge but mild-mannered black man named John Coffey (Michael Clarke Duncan), convicted of murdering two little girls but seemingly unable to hurt a fly. Duncan, whose only previous film credit was in ARMAGEDDON, sought the services of an acting coach for the role and this paid off handsomely when he delivered a bravura performance as the doomed behemoth with the mind and heart of a child.


The film plunges full-bore into the supernatural when it's discovered that Coffey has miraculous healing powers which he uses to bring life back to the pet mouse of fellow condemned man "Del" Delacroix, an eccentric Cajun (Michael Jeter), after Percy cruelly stomps on it. (The mouse, "Mr. Jingles", will be a crucial element of the story in unexpected ways.)

After Coffey heals his painful bladder infection as well, Paul suddenly gets a wild, farfetched idea upon which he's willing to stake not just his job but his very freedom--that perhaps, somehow, John Coffey might be able to heal the dying wife of his boss and friend, Warden Hal Moores (James Cromwell). But if Coffey is capable of doing this, how in the world can Paul preside over the man's execution? Especially now that he's convinced Coffey is actually innocent?

It's a dilemma to haunt the viewer for some time to come, as impeccably rendered by Darabont with the skills of a master screen craftsman. Here again he tells the story unhurriedly and in a formal, old-school fashion that evokes the satisfaction one feels delving into a fine novel. Beautifully designed sets and another ideal prison location, this one with a distinct Gothic atmosphere, combine with gorgeous cinematography to create a film whose period ambience is intoxicatingly effective.


Hanks is at his best here, as is Morse, both portraying the kind of good and stalwart men you'd want in such positions. (Ditto for actors DeMunn and Pepper as their fellow guards.) Duncan gives the performance of his career and earned the Oscar nomination he received for it. James Cromwell and Patricia Clarkson, as Warden and Mrs. Moores, help make their strange encounter with John Coffey unforgettable, while always likeable Bonnie Hunt provides endearing moral support and domestic romantic interest as Paul's wife, Jan.

Gary Sinise (FORREST GUMP), Eve Brent, and SHAWSHANK alum William Sadler appear briefly as well, and in the film's wraparound segments, an older Paul Edgecomb is portrayed by none other than the great character actor Dabbs Greer in one of his juiciest and most high-profile roles ever.

As in THE SHAWSHANK REDEMPTION, Darabont and King present prison inmates who are more like members of a social club than hardened criminals in order for us to more easily accept and identify with them. The first one to walk the Green Mile is Graham Greene's Arlen Bitterbuck, who gets one wonderfully poignant scene in which he wistfully recounts his happiest moment in life to Paul. Michael Jeter is profoundly effective as Del in his scenes with Mr. Jingles the mouse, which never fail to have me blubbering like a baby even more than the film's powerful finale. As Wild Bill, Sam Rockwell is both repellent and perversely hilarious. Harry Dean Stanton is also funny in a smaller role as a prison trustee.


THE GREEN MILE ultimately becomes not only a highly absorbing tale of life on Death Row from both sides of the bars, but also a fascinating and moving morality tale that mines some of our deepest and most profound emotions. Darabont achieves a perfect balance here between the story's darker, uglier aspects, which manage to hold us in morbid fascination even at their most repellent, and the joyously uplifting passages that radiate with the compassion, empathy, and love which human beings sometimes display in the unlikeliest of circumstances.

SPECIAL FEATURES:

Walking the Mile (Extended Version) NEW! High-def documentary feature starring Tom Hanks, Frank Darabont, Stephen King, and Mr. Jingles, the mouse
Commentary by Frank Darabont
The Teaser Trailer: A Case Study
Walking the Mile: The Making of The Green Mile
Miracles and Mystery: Creating the Green Mile- Stephen King: Storyteller
Miracles and Mystery: Creating the Green Mile- The Art of Adaptation
Miracles and Mystery: Creating the Green Mile- Acting on the Mile
Miracles and Mystery: Creating the Green Mile- Designing the Mile
Miracles and Mystery: Creating the Green Mile- The Magic of the Mile
Miracles and Mystery: Creating the Green Mile- The Tail of Mr. Jingles
Deleted Scenes with Optional Commentary by Frank Darabont
Michael Clarke Duncan's Screen Test
Tom Hank's Old-Age Makeup Tests
Rare Unused Teaser
Trailer

 

Buy it at the WBShop.com

Own "The FRANK DARABONT Blu-ray Collection" on February 24th. The collection includes 15th Anniversary Edition The Green Mile, Blu-ray Debut of The Majestic and The Shawshank Redemption.

(Images used in review are not taken from the Blu-ray discs)

 


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Thursday, September 22, 2022

TO -- DVD review by porfle


Originally posted on 5/23/11

 

Japanese director Fumihiko Sori (APPLESEED, VEXILLE) brings two futuristic tales from Yukinobu Hoshino’s "2001 Nights" manga to vivid life in TO (2011), giving us sci-fi and anime fans enough brain candy to gorge ourselves on.

Impeccably rendered spaceships and settings serve as a backdrop for the CG motion-capture characters.  Neither too cartoony nor too realistic (and deftly avoiding the dreaded "uncanny valley" effect) this cross between 2D and 3D character animation blends the best elements of both to create what Sori calls "3D live anime, Japanese-style full CG animation with the feeling of cel images."  The result is a strongly appealing hyper-anime aesthetic with the subtle facial nuances and body language of live actors.

"Elliptical Orbit" opens with the enormous space station Midnight Bazooka, which propels containers of supplies toward a moonbase via a long firing chamber, doing a slow fly-by right out of 2001: A SPACE ODYSSEY and STAR WARS as it orbits Earth.  Captain Dan and his crew are visited by the starship Flying Dutchman on its return from a 15-year mission to bring a cargo of liquid protons from a faraway mining planet.  The ship's captain, Maria, has remained her young, beautiful self during periods of extended hypersleep while Dan has aged, yet their deep emotional bond clearly remains strong.



As they catch up on old times, the Bazooka is invaded by a force of armor-suited terrorists bent on firing the Dutchman's cargo of liquid protons at the distant moonbase and destroying it.  Dan, Maria, and their respective crewmembers join to fight the invaders in a fierce space battle that takes a heavy toll on the outnumbered and outgunned good guys.  While the spectacular SPFX and dazzling sci-fi trappings are consistently impressive, equal attention is given to the thoughtful and adult-oriented human story, ultimately revealing an added dimension to Dan and Maria's relationship that is hauntingly resonant.

The second story, "Symbiotic Planet", is a Romeo and Juliet tale of two lovers from different bases on the same alien world.  Ion, a member of the American-European outpost, and his sweetheart Alena of the Eurasian contingent, meet secretly every night until forbidden to do so by their superiors.  The opposing camps are at such a hostile impasse over territorial rights that even a visiting UN delegation fails to avert impending military conflict between the two.
 


As hostilities reach their peak, Ion is exposed to alien spores in the research lab and must seal himself in as his body begins to change.  Eventually the entire compound is infected by the unknown organism, disabling its occupants as enemy fighters arrive bearing missiles of destruction.  Their only hope for survival is a strangely transformed Ion, whose pacifism may prevent him from pressing the button which activates the base's lethal defense system.  Beautiful visuals and gripping suspense highlight this sensitive cautionary tale.

Both stories are a pleasing blend of action and emotionally compelling character interplay.  "Elliptical Orbit" delivers more in the way of nuts and bolts sci-fi and shoot-'em-up space opera along with its moving story, while the more esoteric "Symbiotic Planet" explores the contrast between an ethereally peaceful planet and the inherently warlike humans who infect it with the same hatred that has ravaged their own homeworld.
 


The 3-disc Blu-Ray/DVD combo from Funimation is in 1.78:1 widescreen with English (dubbed) and Japanese Dolby 5.1 surround sound.  Subtitles are in English.  Each episode (combined running time: approx. 86 minutes) comes with an interview with Sori and his main voice actors, promos, trailers, teasers, and TV spots. 

Sharply written and "performed" by wonderfully lifelike CG characters, and set in a virtual world that's a constant pleasure to behold, TO is superb sci-fi that is both thought-provoking and visually dazzling.  If "2001 Nights" contains more stories of this caliber, I can only hope that Fumihiko Sori will continue to tell them.


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Sunday, September 18, 2022

REDLINE -- DVD review by porfle


Originally posted on 12/27/11

 

Sizzling with supercharged action, the simple plot of director Takeshi Koike's sci-fi anime REDLINE (2009) serves as a backdrop for some of the most mindblowing, audacious cartoon animation to ever blaze its way across the screen. 

The pre-titles sequence features a qualifying "Yellowline" race in the desert that already makes the podrace from THE PHANTOM MENACE look like a frog-jumping competition.  We meet J.P., who resembles a brawny Ricky Nelson with a skyscraper pompadour and, thanks to his crooked partner Frisbee, has a reputation for fixing races.  Sure enough, Frisbee's in deep with the mob on this one and sabotages J.P.'s car near the finish line, landing him in the hospital.

When some of the qualifiers for the Redline drop out, J.P.'s back in the game along with his heartthrob Sonoshee, a lovely lass with more interest in machines than men.  But the location for the race turns out to be Roboworld, a militaristic society whose leaders are so opposed to the competition taking place on their world (and possibly having some of their military secrets broadcast galaxy-wide) that they declare all-out war against the racers.  In order to win this one, J.P. will have to battle it out against ruthless drivers (including Sonoshee), the entire military force of Roboworld, and perhaps even his own sidekick Frisbee.
 


Fans of non-CGI animation should have a ball reveling in this 100% hand-drawn visual feast, whose creators invested seven years and 100,000 drawings in its making.  Each frame of this dazzling tribute to old-school cartoon wizardry is as insanely detailed as panels from the more extravagant underground comix of the 60s and 70s, and unlike digital cartoons you can see the artists' and animators' hands in every painstaking detail. 

The dynamic, hard-edged drawing style, a eye-pleasing mix of both the futuristic and retro, yields a wealth of beautifully-rendered character designs and backgrounds that are then brought to vivid life.  Surreal touches, such as J.P.'s gravity-defying hairdo and an endless parade of grotesque aliens, rub shoulders with the hard-edged yet wildly-imaginative hardware of cars, spaceships, and other machinery. 

The over-the-top character design (by co-writer Katsuhito Ishii, who also worked on the anime sequence from KILL BILL, VOL. 1 and helped create REDLINE's outstanding soundtrack) goes well with the film's larger-than-life cast of oddballs.  These include J.P.'s multi-armed canine mechanic Pops, the towering cyborg Machine Head, and the various other racers whose bizarre appearance and unique personalities keep things interesting.  Even the crowd scenes are filled with a vast array of colorful "extras."
 


While the plot busies itself with various concerns such as J.P.'s wooing of the reluctant Sonoshee and Frisbee's conflict of loyalties between him and the mob, REDLINE roars to life during its many spectacular action sequences.  The imposing Colonel Votron and his Roboworld army launch a full-scale attack on the racers that begins when they leave the mothership and attempt to land their shuttle vehicles on the planet.  The race itself is a non-stop series of thrilling setpieces which lead to the activation of the Roboworld president's ace in the hole, an out-of-control behemoth known as "Funky Boy" who proceeds to destroy everything in sight.  

The DVD from Anchor Bay's "Manga" label is in 1.78:1 anamorphic widescreen with Dolby 5.1 and 2.0 soundtracks in both Japanese and English, with English subtitles.  Extras consist of a 24-minute making-of featurette and the film's trailer. 

Thrilling, funny, and endlessly watchable, REDLINE is chock-full of some of the most visually-stunning racing action and futuristic warfare ever created for an animated film.  Best of all, it's a return to the glory days of hand-drawn animation which, in the words of its creators, offers something new by doing things the old way again. 


Buy it at Amazon.com:
DVD
Blu-Ray
 


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Saturday, September 17, 2022

TEKKEN: BLOOD VENGEANCE -- DVD review by porfle


Originally posted on 11/9/11

 

Sometimes a movie makes me really glad that CGI was invented, and TEKKEN: BLOOD VENGEANCE (2011) is one of those movies.  This photo-realistic digital action epic is the kind of sweet eye candy that makes my eyeballs feel good.

Xiaoyu and Alisa are two high school girls who both have a crush on introspective loner Shin, who's brawny and handsome but troubled, maybe even suicidal.  What the girls don't know is that Shin is the sole survivor of a genetic experiment and his rapidly mutating body is sought by two arch rivals, Mishima Zaibatsu and the sinister G Corporation.  What Shin doesn't know is that Xiaoyu is an unwilling agent of G Corporation and Alisa is a humanoid robot from Mishima Zaibatsu, and they're both under orders to locate him.

Behind all of this, as Tekken fans will have already guessed, is the blood-feuding Mishima clan.  Jin, the youngest, is the head of Mishima Zaibatsu while his father and mortal enemy Kazuya runs G Corporation.  Kazuya, with the help of evil warrior babe Anna Williams, hopes that isolating Shin's "Devil Gene" will help him control his own super powers, but Jin and his beautiful assistant Nina Williams (Anna's sister) are determined to thwart him by getting to Shin first.  Pulling everyone's strings in the background is mean old family patriarch Heihachi Mishima, whose intentions are even more insidious.



The film's opening, which resembles something out of AKIRA, thrusts us right into the action with a motorcycle vs. big rig collision on the freeway which leads to fierce hand-to-hand combat between the Williams sisters.  Here, we get an indication of how good the motion-capture animation is going to be in this movie, with the impossibly-stacked ladies literally looking like living dolls. 

It only gets better when Xiaoyu and Alisa meet on their high school campus and begin their friendly rivalry over Shin.  Sumptuously rendered backgrounds bursting with vivid color and detail are realistic yet fanciful at the same time, providing the backdrop for some gorgeous character design.  Faces and body language are highly expressive and nuanced, with little of the "uncanny valley" effect seen in other virtual characters. 

The direction, editing, and virtual camerawork are outstanding as well, as the filmmakers are able to meticulously construct fight scenes in a way that live action can rarely achieve.  The first really awesome example of this occurs when Alisa's programming forces her into battle against Xiaoyu in a thrilling and visually dazzling sequence.  A mix of lightning-fast moves and slow-mo are easy to follow even as the action rushes by almost in a blur.



The film climaxes with a half-hour series of bouts between the Mishimas as they assume their true beastly appearance and wreak all kinds of destruction, laying waste to the countryside.  Director Yoichi Mori keeps the action and suspense of this all-out war building until the blazing finish, with an appropriately grandiose musical score to propel things along. 

But just as important are the quieter scenes between Xiaoyu and Alisa, with Dai Sato's screenplay allowing them lots of charming interplay to offset the bad-girl posturing of the Williams sisters and the seething fury of the Mishimas.  Pink-haired robot Alisa is particularly endearing with her childlike innocence and wide-eyed fascination with human behavior, making it even more startling when her programming forces her into attack mode complete with chainsaw arms and rocket-powered wings.  Feisty and funny schoolgirl Xiaoyu is also a very likable and lifelike CGI creation. 

The DVD from Bandai Entertainment is in 16x9 widescreen with Japanese and English 5.1 soundtracks and English subtitles.  Extras consist of a movie trailer and a movie/videogame hybrid trailer.

Even if the story and characters weren't so compelling and the action so intense, TEKKEN: BLOOD VENGEANCE would be worth watching simply to bask in the strikingly good visuals.  You don't have to be a fan of "Tekken" or videogames in general to be entertained by this awesome example of superior digital animation.


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Friday, September 16, 2022

MY WEEK WITH MARILYN -- DVD review by porfle



Originally posted on 3/6/12

 

If you aren't that familiar with the real Marilyn Monroe, you'll undoubtedly learn a little more about her from MY WEEK WITH MARILYN (2011).  But if you are, you probably  won't recognize her in the inexplicably miscast Michelle Williams.  That glaring bone of contention aside, however, it's a pretty good movie.

Based on the true diaries of Colin Clark, the story begins with the upper-class young film fan getting a menial third-assistant-director job with Laurence Olivier's production company just as American movie idol Marilyn Monroe is arriving in England to star with Sir Larry in 1957's THE PRINCE AND THE SHOWGIRL.  While the emotionally unstable Marilyn drives Olivier up a wall with her quirky Method acting and unreliability, a star-dazzled Colin finds himself being adopted by her as an intimate friend to whom she can let down her guard and reveal her true self.

Amidst some nicely-rendered period trappings and atmosphere--and an occasional low-budget look, especially in the meager crowd scenes--the film starts out with the tone of a mildly amusing light comedy but gradually reveals its serious nature as we realize the toll that superstardom is taking on vulnerable Marilyn.  But while managing to convey the actress' endearing little-girl-lost quality to a certain degree, Williams also makes her appear sweetly retarded, especially in her ditzy on-set behavior during shooting. 


What's worse, Williams looks nothing like Monroe and is unable to convincingly mimic any of her body movements or facial expressions.  Her performance itself is fine--if she were playing a fictional character I'd have no complaints--but in this particular role, her casting is a puzzlement.  It's like getting Kirsten Dunst to play Mae West.  And with the winsome Emma Watson portraying a studio employee who catches Colin's eye before Marilyn enters his life, we have the odd situation of a lowly costume girl being cuter and sexier than the big MM.

However, none of this prevents Williams from doing her best with the well-written script and managing to give us a character we can sympathize with.  Her scenes alone with Eddie Redmayne's lovestruck Colin are a bittersweet peek at the everyday girl Marilyn yearned to be, with hints of a loveless childhood that caused her to seek love and acceptance wherever she could find it.  Their outing together at Windsor Castle contains a key scene in which, confronted by an admiring kitchen staff, she turns on her "Marilyn" character for them just as she might adopt any other fictional pose. 

As the story grows more substantial, other characters gain a depth that's only hinted at earlier on.  Colin's bright-eyed neophyte becomes more three-dimensional as Marilyn's dependence on him as a friend makes him rise to the challenge of being one.  Kenneth Branagh has a field day playing old-school thespian Olivier's frustration with his leading lady, eventually revealing his own fears of inadequacy as a film actor in comparison to the young actress' natural affinity for the camera. 


Julia Ormond plays Olivia's wife Vivien Leigh, the aging GONE WITH THE WIND ingenue who sees Marilyn as a sign that her own time is passing.  Judi Dench, best-known these days as 007's boss, is Dame Sybil Thorndike, an old acting crony of Olivier who takes the insecure Marilyn under her wing.  Paula Strasberg, Marilyn's acting coach and all-around enabler to her unconventional behavior, is played by Zoë Wanamaker, while Dougray Scott is well cast as playwright Arthur Miller in scenes that depict Marilyn's doomed third marriage.  Derek Jacobi (I, CLAUDIUS) appears in a cameo.

The Blu-Ray/DVD combo from Anchor Bay and the Weinsteins is in 2.35:1 widescreen with 5.1 DTSHD-MA (Blu-Ray) and Dolby Digital 5.1 sound (DVD).  Subtitles are in English and Spanish.  Extras consist of a commentary with director Simon Curtis and the featurette, "The Untold Story of an American Icon."

In a movie about acting, we the viewers are asked to do a little acting ourselves in accepting this image of Marilyn as being as charming and irresistible as the characters in the film keep saying she is.  If you can do that, then MY WEEK WITH MARILYN succeeds as the touching love story of two wildly diverse people and their brief bond of mutual empathy.






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Tuesday, September 13, 2022

THE HOWLING REBORN -- DVD review by porfle



Originally posted on 10/8/11

 

THE HOWLING REBORN (2011), Anchor Bay's attempt to breathe new life into an old franchise, is a good news/bad news thing.  The bad news is that, as you might expect, it isn't as good as Joe Dante's 1981 original film and was never gonna be.  Then again, I didn't expect it to match up to that classic of werewolfery, so in that respect I wasn't disappointed.  The good news, then, is that it's way better than any of the other name-only sequels, which one might tend to expect as well.

Seemingly taking a cue from SPIDERMAN,  writer-director Joe Nimziki's story has a nebbishy high school student named Will Kidman (Landon Liboiron) pining away for beautiful classmate Eliana (Lindsey Shaw) who secretly likes him despite her being romantically attached to a musclebound bully.  And just as Peter Parker found himself physically transformed by the bite of a radioactive spider, Will also becomes an overnight dynamo (who no longer needs his glasses) due to the fact that puberty is finally causing his werewolf genes to kick in.  Naturally, this gives him an edge over that pesky bully, but unlike our Petey he's developed an urge to kill that's difficult to restrain.

Will's discovery that his late mother may have been a werewolf comes right about the same time a strange, mysterious woman named Kathryn (Ivana Milicevic) appears and starts trying to seduce him over to the dark side.  With the approach of a rare blue moon, all the werewolves that Will suddenly notices all around him are planning an attack on humankind, and he's invited.  Clinging on to his own humanity even as his animal side grows stronger, Will must rely on both his own fortitude and the love of his hot new girlfriend Eliana to help him survive.



As an example of the "new school" of werewolf flicks (no more "geezers in their 40s" as one character puts it), THE HOWLING REBORN probably has more in common with both the "Twilight" series and even "Teen Wolf" than it does with Joe Dante's original film.  I didn't mind much, though, since Nimziki's stylish direction and cinematography render all the teen angst and raging hormones very easy on the eyes, helped in no small part by a very effective musical score.  The story isn't all that deep but I found it consistently interesting and briskly paced. 

Liboiron is a likable lead as Will, handling both sides of his character's dual nature pretty well.  Lindsey Shaw, who initially reminded me a bit of the first film's Elisabeth Brooks, is the quintessential high-school lust object who turns out to have more going for her than meets the eye as Eliana.  Most watchable, however, is Ivana Milicivec, slinkily seductive yet formidable as Kathryn.  I've been a fan of hers since first seeing her in SLIPSTREAM, and she also snared a small but juicy role in CASINO ROYALE.  This is the best showcase for her acting talent that I've seen so far, and she makes the most of it.

As Will faces the prospect of turning into a werewolf on graduation night, the story builds toward a showdown between lycanthropes and humans inside the darkened school.  Eliana does her best to help Will bring his animal impulses under control, which, in addition to professions of love and moral support, involves copious amounts of dry-humping vividly depicted by Nimziki.  Resolute and armed with makeshift silver weapons, Will and Eliana then take on the werewolves in a battle that veers wildly between cool-looking and disturbingly goofy.


The "goofy" part is due mainly to some werewolf body suits that don't quite come off as well as intended.  Granted, I was pleased with the minimal use of CGI (Nimziki wanted to get away from the "videogame" look of recent werewolves) and some pretty good cable-controlled heads, but when seen in their entirety the hairy beasts seem to be wearing fluffy woolen trousers.  Also, there's nothing remotely approaching Rob Bottin's dazzling transformation setpiece in THE HOWLING, or even Lon Chaney, Jr.'s man-into-wolfman scenes from the 40s.  Werewolf fans have to make do with some brief morphing shots here and there. 

The DVD from Anchor Bay is in 1.78:1 anamorphic widescreen with Dolby Digital 5.1 sound and subtitles in English and Spanish.  Extras include a commentary track with Nimziki and Shaw, a "making-of" featurette, and a storyboard gallery.

While hardly likely to become a classic in its own right, THE HOWLING REBORN is no doubt the best film to bear the "H" word in its title since Joe Dante was behind the camera.  The fact that I was pretty entertained for its entire running time tends to help me overlook whatever faults it may have.



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Monday, September 12, 2022

ZEBRAMAN 2: ATTACK ON ZEBRA CITY -- DVD review by porfle


Originally posted on 11/13/11

 

If you ever wondered what a cross between Christopher Nolan's THE DARK KNIGHT and Joel Schumacher's BATMAN AND ROBIN might look like, Takashi Miike's ZEBRAMAN 2: ATTACK ON ZEBRA CITY (2010) might come pretty close.  Combining serious dramatic elements with the usual cheeseball stuff found in the more juvenile Japanese superhero adventures (but done on a lavish budget), it's an insanely deadpan seriocomic fantasy romp that works like a charm on both levels.

In the original 2004 film, a mild-mannered school teacher named Andrew Kim (Show Aikawa) assumed the identity of failed TV superhero Zebraman to stop an alien invasion and ended up temporarily gaining his superpowers for real.  Here, he's captured by the evil Kozo Aihara (Guadalcanal Taka) and placed in a centrifuge chamber which splits his good and bad sides into separate entities.  Good Kim now has white hair and amnesia, while his evil half is a black-haired female whom Kozo names Yui and adopts as his daughter.

Fifteen years later, Kim awakens to find himself in a Tokyo that's been renamed Zebra City and is now run by Kozo, with Yui keeping the masses in line as super-sexy pop star Zebra Queen.  Twice a day for five minutes," Zebra Time" allows the skull-faced police force to legally kill anyone, so a wounded Kim ends up in the care of his former pupil Asano, a male nurse devoted to helping Zebra Time survivors.  One of Asano's patients is a little girl, Sumire, still possessed by one of the previous film's aliens, and when Kim comes into contact with her his memory is restored along with his Zebraman powers.  With Kozo and Yui planning to spread Zebra Time throughout the rest of the world, Zebraman must leap into action once again to stop them, confronting his own dark side in the bargain.



First of all, the seriously cute Riisa Naka as Yui is awesome.  She inhabits her character with a vigorous enthusiasm and is wildly flamboyant in her actions and evil facial expressions, not to mention the way she throws herself into the song-and-dance stuff in Zebra Queen's music videos.  Literally the embodiment of evil, her Zebra Queen is stunning to look at and exciting in her evolution from simple bad girl into superpowered villainess reveling in chaos and destruction. 

For me, the film's most effective straight dramatic scene comes when she turns against Kozo in the back of their limosine as smitten lackey Niimi (Tsuyoshi Abe) looks on in wry admiration.  The way Miike builds to this key point in the story, along with the cunningly subtle but menacing musical score and the malevolent glee Naka conveys during Yui's violent outburst, add up to a powerful and rewindable moment.

With all the DARK KNIGHT seriousness with which Kim, Asano, and the rest of the good guys treat the character of Zebraman and his quest to wrest Tokyo from the depths of corruption, the outrageous comedy and over-the-top fantasy elements take on an added richness.  Zebraman's heroic comic-book exploits during the numerous fight scenes are a heady blend of undiluted cheese (including the usual hokey wirework, corny dialogue, etc.) with dazzling design and production values. 

When Zebra Queen unleashes one of the gelatinous green aliens from the first film on Zebra City and it grows to Godzilla-like proportions, leveling skyscrapers and incinerating city blocks with its heat breath, the stage is set for an epic battle brimming with mind-boggling visuals that are rendered with some top-notch CGI work.  Even the most lowbrow sight gags--as when the mammoth alien repels Zebra Queen with a noxious hurricane fart--are treated as high drama, as is the incredibly ridiculous final solution employed by Zebraman against the creature.



Show Aikawa's performance as the befuddled everyman who becomes the grimly-determined and supremely confident Zebraman is right on the money throughout, with the rest of the cast in top form as well.  Much fun is had with Naoki Tanaka's character of Ichiba, who played the title role in a "Zebraman" TV series and fancies himself a match for the real-life bad guys when the trouble begins.  Talented child actress Mei Nagano adds to the film's genuine emotional depth as the alien-possessed Sumire.  Guadalcanal Taka as the comically vile Kozo is especially good in the "creation" sequence, cavorting about his cavernous, Giger-inspired mad laboratory like a crazed Dr. Frankenstein.

The DVD from Funimation is in 1.78:1 widescreen with Dolby 5.1 Japanese soundtrack and English subtitles.  Extras on Disc 2 include the in-depth (almost 90 minutes long) documentary "The Making of 'Zebraman 2: Attack on Zebra City'", "The Making of 'Zebra Queen's Theme' Music Video", five cast and crew interviews, and original trailers and commercials for the film.  (The film comes as a 3-disc Blu-Ray/DVD combo--this review is for the DVD and its extras only.)

Takashi Miike and scriptwriter Kankurô Kudô have created a fascinating dystopian future whose comedic touches make it no less effective as scintillating sci-fi.  While the unabashedly bizarre nature of ZEBRAMAN 2: ATTACK ON ZEBRA CITY will no doubt put off many viewers, those open to such freewheeling weirdness may find it akin to plunging their hands into a cinematic treasure chest and coming up with fistfuls of pure, glittering fun.





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