Amazon Video Review: 2012

Friday, December 21, 2012

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Monday, October 22, 2012

Serenity

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This is one incredible movie. No, you don't have to be familiar with the series to enjoy it, but the familiarity will make several moments in the movie that much more tragic. The action here is incredible, and unlike several of the Star Trek movies, the characters don't deviate from their series personnas. The emotional impact of several scenes is so intense it was hard to stay seated (a crash landing sequence can almost give you motion sickness). This brings a satisfying end to the storyline the original series had started. It's a shame the show never got to tell this story in its entirety. You can see where some parts of the movie are rushed in a way. Something that could have been stretched over weeks in a series had to be handled in minutes, and that robs it a little. But you have to applaud Whedon for being able to tie up all the loose ends he started with just two hours. Shame on the network for cancelling this, but congratulations to Whedon for giving the fans--both old and new--the ending the show deserved. Heroes will shine, and some will fall, but Serenity will live on.

Now bring the show back!

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A Clockwork Orange

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Price : $10.48
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As with most older movies transferred to blu-ray, I'm pretty sure that most people who would be buying this have already seen this great film, and have their own opinions of it.

So, this review is strictly about the quality and extras of the BLU-RAY.

Hands down, this is one of the best transfers I have seen of a movie this old. Most blu-rays seem of older movies seem to be patchy as far as quality goes, but this one is consistently great all the way through.

The extras are what really sets this apart though. Commentary by Malcom McDowell, A documentary about the film, and a making of!

A solid buy for fans of the movie - this is a significant upgrade over past DVD's, and for the first time I don't feel ripped off by a repurchase/upgrade.

On a side note, Come on Amazon! - Start filtering the product reviews for blu-rays. What is the point of listing ALL of the DVD reviews for the same title? Seems like it could be an easy fix - maybe they'll actually do it someday...

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Sunday, October 21, 2012

Castle Season 2

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Price : $10.86
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Castle is the most enjoyable and smart TV series on the air that has something to appeal to everyone. This is the only show that my husband and I equally enjoy and watch together. Date night means sharing Castle, candlelight and a good red wine. Flowers For Your Grave

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Workaholics Season 2

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Price : $17.95 - $21.95
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This show is absolutely the funniest tv show created in a long time. I laughed out loud many times. I did not smoke mj in order for this to make me laugh. Well written, over the top, new wave comedy. Come on. Laugh it up you hardons.

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Saturday, October 20, 2012

Tactical Force

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Price : $12.50
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In the battle of Austin and Seagal I have come to believe Austin is the better actor. The movie starts out improbable as a gang of men in masks, rob a grocery store, take hostages and issue demands. A grocery store? Now I know they get robbed, but by a gang who has to share the loot? SWAT team leader Austin ignores proper police protocol and raids the place, killing the thieves, injuring the hostages, and doing huge amounts of property damage. To their surprise they are not rewarded, but are forced to take SWAT team training again. Michael Jai White, a young Carl Weathers with a BB gun is part of the team. Lexa Doig is a third member.

The upstairs of an abandoned(?) warehouse is set up with paper "bad guys" for the SWAT team to practice with simulation rounds. As fate would have it, two rival gangs are in the downstairs of the warehouse wanting "a case" which was stolen from them. One of the rival gangs learned to speak with bad Russian accents. I was waiting for one of them to say, "What about moose and squirrel."

The dialouge was mildly humorous at times, a step up from Austin's other movies. The plot left much to be desired. There were no real plot twists except at the very end...and then it didn't make much sense.

If you like Steve Austin movies, I think this was one of his better ones.

F-bomb, no sex. no nudity, no moose or squirrel.

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Barney: Let's Play Outside

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Barney is a classic and what is not to love about him! He is friendly, polite, and always happy! This video is no different and of course my boys love to watch Barney and his other friendly dinosaurs dance and sing around. This episodes are simple yet they are full of positive messages including being active outside, wearing sunscreen, and finding shapes in the clouds. I love this video pushes spending time outside safely but in a fun manner, as I know how tempting it is to sit inside and let the kids watch TV in the air conditioning! Barney teaches his viewers to use their imagination and most importantly have fun!

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Friday, October 19, 2012

Star Wars: The Clone Wars

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I just finished watching `The Clone Wars' & to be honest it was pretty good. No it's not as good as the movies & it's not as intense as the Samurai Jack-esk `Clone Wars' shorts from 2003 but then again it's not supposed to be like ANY of those. It's like comparing apples to oranges.
ALSO keep in mind that Lucas is trying to broaden his appeal to kids with this movie's style & story telling as well as with the series on CTN so it's going to be, over all, a bit more simple in its execution but no less entertaining. Don't watch this expecting an Oscar performance. It is a CGI cartoon after all, how serious/critical are you supposed to take it? It has more of an Episode 2 feel to it, for me at least, but the action sequences are just as long, intense & still 'edgy' for a CGI cartoon. They flowed well & were non-stop action. Clone troopers got it pretty bad in this movie & the lightsaber duels left me wanting for more(longer duels, that is) but were pretty good for a CGI cartoon. It held my interest the whole time though the plot of helping the huts was a bit odd. The dialogue could have used a little help but what star wars movie couldn't? I wouldn't recommend buying this movie until you see it first but if you keep in mind what this movie is supposed to be/do & you don't take it as seriously as some, then you should have fun & you'll be just fine. Anakin's apprentice is there for the young girls as well as to be the little miss know-it-all pain in the butt for Anakin the way he was to Ben (it's called irony) so she may be a bit annoying for some out there (she's better in the TV series)...and who in this world isn't about money? There is a lot of story that can be told between episodes and he wants to tell it (whether is executed well or not). We all would do it too & you all know it.
`TCW' story line isn't a major one in the Star Wars universe. It feels more like a made for TV movie but it ultimately starts up the TV series so there is a longer broader story to set up here as well.

Simple, aims at a broader audience & still a fun watch, if only once, in my opinion.

I say rent it first, watch it for what it is & go from there.

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127 Hours

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"127 Hours", director Danny Boyle's ("Trainspotting", "28 Days Later") follow-up to "Slumdog Millionaire" is a near great film. I honestly can't tell you the last time I was so moved by a piece of celluloid. "127" has created both pleasant and nightmarish memories, memories that will stay with me for many, many years to come.

Aron Ralston (James Franco) quickly grabs some supplies and heads out to his favorite spot, the canyons near Moab, Utah. As soon as the sun rises, he jumps on a mountain bike and heads out to explore and enjoy the great outdoors, heading to a spot some twenty miles away. He crosses paths with two young women, Kristi (Kate Mara) and Megan (Amber Tamblyn) and agrees to show them the way to their destination. Once there, they swim and dive and have fun. After a few hours, they head on to complete their individual journeys. As Aron navigates a narrow crevasse, a small boulder comes loose, causing him to fall and wedging his arm between the wall and the boulder. He can't budge it and becomes worried at the sight of some streaks of blood. Aron takes stock and has very limited food, some water, stretchy cord, a camera, a video camera and a dull knife. Before leaving for the trip, he wasn't able to find his Swiss Army knife, so he is left with a dull give-away promotional knife. He tries to chip away at the sandstone, to move the rock, but doesn't make any progress. Over the next five days and twenty hours, Aron has to figure out how to use the limited supplies he has to survive until he can be rescued. Or, on the other hand, he has to figure out if and how he can get out of this situation on his own.

Boyle starts the film by masterfully depicting why Aron, and others like him, are so eager to escape the city, eager to mountain bike in the wilderness, eager to climb rock formations, eager to backpack. When he meets the two women, they even remark about how they don't feel like they figured into Aron's day. Aron is the type of guy who actively looks for adventure and makes decisions on the spur of the moment. This is why he agrees to spend time with the young women, setting his schedule back half a day.

As soon as Aron gets trapped, Boyle has to do something to give us more details into the adventurer's history. He has to make us care about this man and he can't really do that by keeping us only with Aron for the rest of the film. As Ralston tries to assess his situation, a memory surfaces and this gives Boyle the opportunity to show us a brief part of his past. The technique Boyle uses seems more suited for films made in the late '60s. And normally, this would drive me crazy. But in this situation, these moments work, primarily because they are pretty brief. They also move back and forth between more real and more imagined settings. For instance, Aron remembers a moment he and his dad shared during his childhood. They sit on an old couch in the family home, talking. Then his dad is gone and young Aron is still sitting on the couch, but the couch now sits in the crevasse Aron is trapped in, the sand and rock walls surrounding the furniture, visible to the side.

Boyle introduces us to Aron's father (Treat Williams) and mother (Kate Burton) and the love of his life, Rana (Clemence Poesy). These moments, though brief, helps to give us insight into Aron's character and life. Because they are so brief, it is surprising that we feel we know Aron and his family so well. We really get a feeling for him and come to care for him.

A lot of the credit for the success of this film lies with Franco. For much of the relatively short running time, Franco is the only person on screen and this would only serve to amplify any poorly acted moment, any false characterization, any thing that doesn't ring true. From the first moment he is on screen, we start to understand him. He is most happy when he is explaining what some stretch of wilderness is, the history of a cavern, earning some bit of solitude to compensate for any minute of time he is forced to spend cooped up in the city. In this element, he finds peace and revels in every moment.

When he meets Kristi and Megan, Franco's smile helps us recognize he simply wants to have a good time. Sex isn't a part of the equation, he wants to share some moments with like personalities. Later, when he is trapped and has a lot of time to think, he remembers back to some moments in his life. When we return to him, Franco's demeanor and facial expressions seem to be an honest portrayal of how the young man would react. And make us feel he is really remembering these moments.

When Aron finally realizes what he has to do, Franco shows us the horror of this realization and the pain of this decision.

THE moment is both necessary and extremely difficult to watch. It is necessary because it is a part of the story. But so many other filmmakers would shy away from a frank depiction of this moment. Boyle doesn't. Without it, the story would be nowhere near as impactful. Because of it, you might have nightmares. It would be gruesome enough, hard enough to watch if he had found his Swiss Army knife. But without it... I just shudder thinking about it again.

The film ends with a coda giving us an update on Aron Ralston's life. During the moments before this, I started to tear up because he was going to be okay, because he was going to make it, something I already knew given he wrote the book this film is based on, but I was still extremely moved. And the last few moments give us a glimpse of the real Ralston and all of the people affected by this incident. Because of everything Boyle and Franco are able to accomplish throughout the film, I was extremely moved by these brief images.

Best of all, Boyle ends the film, presents this coda, in a way stylistically in tune with the rest of the journey and all of those memory flashbacks/

"127 Hours" is a great piece of filmmaking. You need to see it. You can always close your eyes if that scene becomes too much for you.

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Thursday, October 18, 2012

The Life Aquatic with Steve Zissou

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I think if everyone would stop referring to the Wes Anderson movies as comedies we would all be better off. "The Life Aquatic with Steve Zissou" is not about making the audience laugh. Yes, there are times you will laugh, but there are also times you will cringe, and there are other moments for just about everything else. What kind of movie is it? It really isn't something that can be given a single label. Yes, there are all kinds of jokes, but aren't they in the service of something more than simple laughs? Hearing David Bowie songs in Portuguese with an acoustic guitar is not only funny, it is kind of beautiful.

A simple joke is the name of Zissou's ship. The Belefonte is clearly a play on Cousteau's Calypso as are the crew's red knit caps. However, some of the humor is quite tough. Think of the scene with Jeff Goldblum's Alistair Hennessy playing cards with his pirate captors as Steve Zissou comes in the room. What follows is funny, but grim at the same time. Then there is the weird way the inside of the boat is portrayed in a cutaway set that looks fake and is meant to look fake. Notice that the science room is the smallest room on this research vessel. The Sauna is much bigger and all the rooms given over to film production constitute most of the ship.

This movie has a lot of fun with the artificial in documentaries and films. Even the scenes of creatures of the sea are often CGI creations that don't even try to look real. Heck, even the colors in the Zissou documentaries are supersaturated and look like they were done in different colors of ink rather than the ocean. How real is life when you are more concerned about getting everything shot with the right sound rather than living it? And how legitimate can a documentary be when it is cobbled together from a lot of staged shots and hosted by someone who really doesn't have a clue about the science behind what is being filmed?

All of the lead actors are terrific and Bill Murray leads the way as the weary and fading Steve Zissou. Everyone involved with Zissou has their own downward arc. Even the equipment is old and barely works. Tired helicopters are dangerous things.

Does the movie work? Maybe not. However, I find so much to watch and enjoy in each scene - even just the actions of the non-speaking characters - that I really enjoyed this movie. If you want to see something strangely beautiful, that plays with all kinds of notions of what is real and what is fake and has a lot of fun along the way, this might be something you would enjoy, although it is not for children.

I guess the kind of send up it is, even of Moby Dick, can be captured by then end title that expresses "gratitude to the Jacques Cousteau Society even though they had nothing to do with the making of the film." I like this kind of thing. Maybe you do to.

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Zoolander

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This film is a zany, funny, irreverent look at the materialistic, superficial, and shallow fashion world. Seen through the eyes of the dense and singleminded male model, Derek Zoolander (Ben Stiller), it slyly pokes fun at all that the fashion world holds dear.

Zoolander, a three time winner of the male model of the year award, goes up against the new kid in town, Hansel (Owen Wilson), and much to his amazement has his crown taken from him. No longer the toast of the town and already yesterday's news, Zoolander falls prey to the dastardly machinations of acclaimed fashion designer, Mugatu (Will Ferrell), and his evil sidekick, Katinka (Milla Jovovich).

It seems that Mugatu and Katinka want to turn Zoolander into an unwitting assassin whose killing frenzy will be triggered by hearing certain words of a song. In order to keep Mugatu's sweatshops running at full throttle, they hope to rid themselves of the prime minister of Malaysia, who is planning on abolishing child labor. An intelligent and intrepid reporter, Matilda Jeffries (Christine Taylor), who is also Zoolander's love interest, realizes, however, that something amiss is afoot. Before you know it, bitter rivals Zoolander and Hansel are joined in battle against the forces of evil.

This is a hilarious and silly spoof that is sure to make the viewer rock and roll with laughter. Ben Stiller is hysterical as the dumber than dumb Zoolander, who struggles to find meaning in his life after his modeling career tanks. Owen Wilson is absolutely endearing as Zoolander's equally dense rival, Hansel. David Duchovny has a small, but memorable, role as J.P. Prewitt, a former hand model. Jon Voight is funny as Larry Zoolander, Derek's macho, coal miner father, who is mortified by his effeminate looking son and his chosen occupation.

Jerry Stiller, Ben's real life father, has a pivotal role as Maury Ballstein, head of the Balls Modeling Agency, who claims to love Zoolander as a son but sells him down river anyway, when the chips are down. Ben's real life mom, Anna Meara, has a very small part in the film, as does his real life sister, Amy. Cameos by celebrities who play themselves abound in this film. Look for Donatella Versace, Winona Ryder, Billy Zane, Claudia Schiffer. Gary Shandling, "Lil Kim. Sandra Bernhard, David Bowie, Fabio, Lenny Kravitz, and Donald Trump, just to name a few.

If you are a fan of the Saturday Night Live show, Mad TV, and Comedy Central, then you will, undoubtedly, enjoy this original, silly, satiric, and thoroughly funny and irreverent spoof of the New York fashion scene.

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Wednesday, October 17, 2012

The First Wives Club

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In 1996, Hugh Wilson directed a very funny comedy about three friends that were all dumped by their husbands for younger women in the film "First Wives Club". Based upon the 1992 novel of the same name by Olivia Goldsmith (1949-2004), the three friends (who had met in college) are brought back together after their fourth friend, Cynthia Swann Griffin (Stockard Channing), jumped from her penthouse apartment in Manhattan after her husband left and she felt totally alone. Upon learning about each others similar marital problems, the surviving friends, which include the boisterous Brenda Cushman (Bette Midler), the movie actress Elise Elliot (Goldie Hawn) and the timid Annie Paradis (Diane Keaton), decide to work together to attain vengence upon their ex-husbands. Brenda's ex-husband, Morton 'Morty' Cushman (Dan Hedaya), wants to marry the very young and shallow Shelly Stewart (Sarah Jessica Parker). Elise's ex-husband, Bill Atchison (Victor Garber), is dating the very young aspiring actress Phoebe LaVelle (Elizabeth Berkley). Annie's separated husband, Aaron Paradis (Stephen Collins), is having an affair with Annie's therapist, Dr. Leslie Rosen (Marcia Gay Harden). To assist them, the trio of first wives enlist help from their friends, which include the interior decorator Duarto Feliz (Bronson Pinchot), Annie's daughter Chris Paradis (Jennifer Dundas), the socialite Gunilla Garson Goldberg (Maggie Smith) and Brenda's Uncle Carmine (Philip Bosco).

Though the plot was somewhat weak and the acting and screen writing were not Oscar-worthy, "First Wives Club" is still very entertaining and engaging. The most memorable acting comes from Goldie Hawn, Bette Midler, Diane Keaton, Sarah Jessica Parker and Victor Garber. The film did receive an Oscar nomination for Best Original Score. Memorable scenes in the film include Cynthia on her balcony, her funeral, the trio at the restaurant, Elise visiting Bill's office, Annie's visits with Dr. Leslie Rosen, Morty's commercial, Shelly with Gunilla, Morty's apartment, the auction, the fight, Annie's purchase, Chris' announcement and the closing scenes. Other memorable characters include Annie's mother Catherine MacDuggan (Eileen Heckart, 1919-2001), Dr. Morris Packman (Rob Reiner) and Brenda's son Jason (Ari Greenberg), as well as cameos by Ivana Trump, Kathie Lee Gifford, Gloria Steinem and former NYC mayor Edward I. Koch. Olivia Goldsmith also made an unaccredited cameo. Overall, I rate "First Wives Club" with 4 out of 5 stars. It's a fun film that both women and men can enjoy, though women may enjoy it more since the men in the film are the bad guys.

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Psycho (1960)

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Alfred Hitchcock guarded the plot of PSYCHO against publicity, and in 1960 audiences came to the film without being able to anticipate the unexpected twists and turns of the plot. More than forty years later, the movie's fame is such that even those who have not seen it are often able to sketch the basic outline of the story in a few words. This demonstrates the film's fame; what demonstrates it quality, however, is the fact that even those who know the plot before seeing it are seldom disappointed.

Very loosely based on Robert Bloch's pulp novel, which was itself very loosely based on killer Ed Gein, PSYCHO presents us with the tale of Marion Crane (Janet Leigh)--who, in a moment of madness, steals forty-thousand dollars. Running scared, Marion checks into the out-of-the-way Bates Motel. And there, as the DVD production notes gracefully state, she becomes the most grossly inconvenienced hotel guest in cinema history.

The late 1950s and early 1960s saw a deluge of low budget and badly made films that commanded box office business via tawdry subject matter, and according to lore director Alfred Hitchcock was curious to see what might happen if he himself made such a film--but made it well. Working with a remarkable script and gifted cast and crew, the result was a masterpiece. Although it is often described as a horror film, PSYCHO is less horror than it is a study in paranoia and suspense, and certainly a lesson in the fact that one need not bother with graphic gore or big budgets to impress audiences.

Much of the film's success is in its detail. Joseph Stephano's script is memorable for its repetition of verbal motifs and its extremely disquieting tone; Bernard Herrman's famous all-strings score builds tremendously upon it. The simple yet meticulous sets communicate building unease, and the strangely flat, semi-documentary black and white cinematography has a voyeuristic edge that is extremely disturbing.

There are elements that can be justly criticized--moments at which the script sounds a false note or characterizations seem a bit artificial--but these small points fade against the overall power of Hitchcock's vision, a vision that here makes viewers squirm even when there seems nothing tangible on screen to squirm about. But in the end, this is the film for which Janet Leigh, Anthony Perkins, Vera Miles, and John Gavin will forever be remembered... and one of the several films that will forever be associated with one of the twentieth century's most masterful directors.

This DVD largely restores PSYCHO to its original form. Although the first few minutes of the print show wear and tear, for the most part it is remarkably pristine and (after years of pan and scan television broadcasts) is returned to its original ratio. While there is no audio commentary track, the DVD package includes the original trailer with Alfred Hitchcock, extensive production notes, and an extremely impressive documentary that includes numerous interviews, newsreel footage, production photographs, storyboards, and the like. Even if you have the film on VHS, you'll likely want to purchase the DVD. Strongly recommended.

GFT, Amazon Reviewer

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Tuesday, October 16, 2012

The Woman in Black

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Forget Harry Potter when you watch The Woman in Black. One thing has nothing to do with the other. Daniel Radcliffe is struggling not to be typecast, to establish himself as an adult actor, not an easy accomplishment for any child star. Radcliffe does a creditable job in this movie. A classic, gothic horror story, it contains scary elements without resorting to the gory, shlocky slasher stuff of recent decades. As Arthur Kipps, the young lawyer devastated by his wife's childbed death, he has little to do other than to act wary and frightened, and appear foolhardy enough to go where no sane person ever would. This film has many strengths, among them the perfect dark, eerie sets, the cinematography that lends a sense of black and white to what is actually a color production, and enough of a mystery to make the viewer wonder what's going on in the forbidding town to which Arthur is sent to work. Along with him, we figure out, step by step, exactly what motivates the black veiled apparition, and along with him, we trust that he'll be able to put her to rest.

But there are weaknesses as well. It becomes a bit tiresome to follow Arthur through the dismal corridors of the haunted mansion, armed as he is with only a candle and an axe. Too much reliance is placed upon the sudden shocking revelation, which the audience learns to anticipate. The most effective scene takes place outside the estate, at a family crypt where Arthur encounters the distraught mother of a dead child. Most of the supporting actors have little to do other than to look forbidding and threatening, but Ciaran Hinds and Janet McTeer are superb in there roles as the grieving couple who, alone amongst their neighbors, offer some support to Arthur. The ending is a true shocker.

As is typical, the screenplay is substantially different from the novel upon which it is based, so watch the movie as a separate entity. It's worth a look. I needed a drink to settle down afterwards!

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