clh-1 Reviews

DC Showcase: The Spectre (2010)

The Best of the Showcase Shorts

[9/10 · 8 August 2022]

The Spectre perfectly nails the style of a 1970s cop drama, down to the score and speckles on the film.

Gary Cole's voice performance is fantastic; from his feigned disinterest in his human guise, the the slightly sinister rasp as the titular Spectre.

The plot is relatively thin and told at a lightning pace; had the film been feature length it certainly would have played more as a police procedural, with the Spectre as Detective Jim Corrigan getting information that he could act on as the Spirit of Vengeance. But the delivery, with characters who go from self-sure that they'll get away with their deeds to being terrified of the fates they've made for themselves is what makes the film work.

I wait with baited breath for a follow up in the same style with Gary Cole returning to the part.

Batman and Harley Quinn (2017)

Smells like... Discipline

[6/10 · 30 July 2022]

There is a lot to like in Batman and Harley Quinn; the voice cast are outstanding. While I overall prefer Tara Strong (because what can't she do) and Kaley Cuoco, Melissa Rauch holds her own in the co-titular role and I wouldn't mind her returning to the role. Kevin Conroy could read a phone book in his Batman voice and it would be enthralling. Loren Lester's return to the role of Dick Grayson/Nightwing is fun and despite being in his latter 50s at the time of recording sounds youthful and energetic, selling the inherent youth of the character.

The jokes mostly land, eliciting the requisite laughs, with Batman playing the straight man to Harley and to a lesser extent Nightwing. And the musical numbers by Rauch and Rob Paulsen are show stoppers that will have you humming for a while to come.

Things that keep it from being a proverbial perfect ten are that the plan of the antagonists Poison Ivy and the Floronic Man proves so self-serious as to create tonal whiplash when cutting from the Saturday Night Live-esque sequences of the heroes in pursuit to their plans for world domination. And the ending, for all the buildup, just sort of happens without any actual resolution.

Still, it's better than average for recent animated DC fare, and worth a watch on a lazy afternoon.

Baywatch (2017)

Stupidly Entertaining

[7/10 · 10 April 2022]

I say this in the nicest way possible; the Baywatch movie is dumb. The plot doesn't stand up to even a modicum of scrutiny and the production practically revelled in the cliches. And as entertainment, it works.

The cast all play their cut out characters well, playing up the stereotypes. Dwayne Johnson looks like he is just having a lot of fun being there, and probably took the role for the sweet paycheck and the vacation (shot primarily in Georgia and Florida beaches). Zac Efron actually looks like he is trying and wrings some pathos out of the stock bad boy character. Priyanka Chopra goes the distance as the villain, almost like she thought she was going to be in a more serious film. The David Hasselhoff cameos work better than most appearances by actors in remakes of their projects; he was invested in having some fun.

The location shooting is gorgeous, and the soundtrack is full of fun tunes. But the plot, like the original television show, takes a back seat. And that's just fine.

It's a Bird... It's a Plane... It's Superman! (1975 TV Movie)

Pretty Bad

[3/10 · 4 April 2022]

True story; I loaned my bootleg DVD of this to a coworker whose roommate actually destroyed it, and I wasn't even mad. I tend to really enjoy cheesy "so bad it's good" type productions, but this is the worst kind; unfunny comedy.

In the wake of the 60s Batman, there was a prevailing idea that live-action superhero projects had to lean heavily on campy comedy. Even the early drafts of what became the 1978 Superman feature film heavily used gags, puns, and slapstick. So it makes sense that a Superman project based on the comedic musical could have worked. Unfortunately, the production values are below average for a high school play, and the title character is very poorly miscast.

Worse, it could have worked as a smaller project; there are a few scenes that are very reminiscent of early Saturday Night Live, and a few songs are catchy. Also, Kenneth Mars and David Wayne try their best to get blood from the figurative stone and often succeed in getting a chuckle out of bad joke lines.

But the few bright spots are dragged down by seemingly unending unfunny jokes, bad dialogue, and music that is just awful. David Wilson's portrayal of Clark Kent and Superman is clearly a case of his not really wanting to be there, so the audience doesn't want to invest with him. We can forgive lousy costumes and cheap sets, but we can't forgive so little effort everywhere else.

The Man with the Golden Gun (1974)

Due for a Bit of Reappraisal

[8/10 · 24 March 2022]

The Man with the Golden Gun is, when adjusted for inflation, one of the lowest performing Bond films (though it made a more than respectable $97 million worldwide against a $7 million budget, so I'm sure that the producers and studio cried all the way to the bank.) And is today largely dismissed as one of the weaker entries in the series.

While it's not without its faults, specifically Britt Ekland makes a particularly useless and at times even annoying female lead; Maud Adams as the ill-fated villain's mistress is more compelling and she further showed her acting abilities nine years later in Octopussy. Herve Villechaize, while kinda fun, is a pretty one-note gag character that drags too long through the film. He's doing his best, and clearly having some fun, but it gets downright uncomfortable by modern sensibilities and I can't imagine the audience's of the time feeling much more charitable either.

The film was rushed, with a little more than a year between its own release and its predecessor, and frankly the script could have used a bit of revision. It was the last Bond film for director Guy Hamilton, co-writer Tom Mankiewicz, and co-produced Harry Saltzman and it does feel like there is a sense of fatigue on the creative side; with the writer and director definitely wanting to move on.

However, for its behind the scenes issues, the basic story is interesting, and the idea of Bond meeting a true equal is really touched on for the first time. Christopher Lee, as the villain, is both deliciously evil and having a blast with the part. He matches Roger Moore's charismatic charm with a certain evil charm that compels the audience's attention and makes the character ruthless without being painfully over the top. In many ways he grounds what otherwise would have proven too campy moments of the film. Roger Moore himself is in fine form as James Bond; he was never horribly out of shape, but it's pretty easy to tell which films he went on a diet for. Here he spent several months training in kickboxing to sell his martial arts scenes, and it paid off in his looking fit (though not by modern sensibilities where actors completely give up carbs for month before filming). He also, relative to some of his other Bond adventures, tones down some of his more humorous sensibilities. It's been described as doing an impression of Sean Connery, but honestly I think it just makes a more grounded portrayal that isn't too heavy on the quips.

Like most other entries in the series, the film wears the styles of the times in which it was made on its sleeve; specifically the post-Bruce Lee martial arts films craze. It's fair to question whether they overcommitted to the concept (though I would argue not to the outright absurdity of Ninja Bond in You Only Live Twice), but it serves to give the film an absolutely beautiful backdrop in Thailand, Hong Kong, and Macau. Arguably more than any Bond film to that point, it entices the viewer to want to visit the islands and beaches which are showcased. The centerpiece stunt of the film is a little bit on the comedic side, but in the pre-CGI era, when they had to actually perform it for real, the infamous "corkscrew jump" is a fine sight to behold.

On the whole, The Man with the Golden Gun is better than perhaps many listings of the franchise would lead one to believe. There are definitely better entries in the series and the comparisons won't do the film any favors. But watched on its own, it's fun and entertaining and deserves a spot on the Bond fan's viewing schedule.

Zack Snyder's Justice League (2021)

A Modest Improvement

[6/10 · 27 December 2021]

Relative to the theatrical version, Zack Snyder's cut of Justice League does generally move the needle toward the positive end, but it doesn't solve all the problems of its predecessor, and it ends up creating a few of its own.

Positives are that the cast are mostly giving it their all, Ben Affleck, especially, deserves high praise for his take on a world-weary Bruce Wayne/Batman. The added Flash and Cyborg material fleshes them out, but both have the drawbacks of being "too much"; more on that below. The redesign of Steppenwolf is excellent, and the actual appearances of Darkseid are good. The entire back half of the film is mostly an improvement over the theatrical version, especially the action climax.

Drawbacks that keep the film from being a complete success are the running time; one thing where the theatrical version comes out ahead is that the exposition bringing the audience up to speed is done during the opening credits montage, the Snyder Cut takes an hour to relay the same information, and it becomes tedious. There are many scenes, that if they were too truncated in the theatrical version, are not trimmed enough for the Snyder Cut and it hurts the overall pacing. The best line of the previous version, which serves Batman and the Flash, is missing here. While some important scenes for the characters of the Flash and Cyborg are added back, they're also given "too much" for the story being told. For the Flash, it is Ezra Miller's "adorable" schtick, the awkwardly endearing nerd gets old fast. And it goes on well passed the the point of tedium. Cyborg is given what amounts to a "God mode"; Justice League comic writers sometimes admit that they have trouble coming up with stories that couldn't be solved by Superman alone, well here it's difficult to know why Cyborg needs any help sometimes. The "Knightmare scene" doesn't really make much sense here, bogging down the resolution of the film with what screams like a desperate attempt of a writer/director getting hired for a sequel. And much to my personal displeasure, Zack Snyder refuses to let the character of Superman actually BE Superman. Say what you want about Joss Whedon shoehorning in all manner of tone whiplash humor, but at least he actually let Superman have a likeable personality.

Still, for all it's faults, the Snyder Cut is worth a shot, and mostly improves on the earlier version.

Justice League (2017)

It's Okay...

[5/10 · 9 August 2021]

Regarding the Behind the Scenes issues, I'll just say there are very few films that see changes of direction that ultimately come together well. On the whole, I think the Snyder Cut is comparatively better (but far from flawless). From here on, I will do my best to judge the 2017 theatrical version of Justice League on its own merits (or lack thereof).

Justice League is, to say the least, a mixed bag. All things considered, I personally hated Man of Steel. I found Batman v Superman to be only *slightly* improved. And Justice League, honestly, was a little better than Batman v Superman, so at least it the franchise is moving in the right direction.

There are some things that enjoyable in the film; Ben Affleck is actually really good as Bruce Wayne/Batman and gets what is definitely the best line of the theatrical version. There IS an effort at lightening the franchise a little some knowing humor. Jason Mamoa is really charismatic as Aquaman in both versions, but seems to be having the most fun among the cast with the obviously Whedon-helmed scenes. Whedon also, bad lip CGI aside, actually succeeds at making Henry Cavill's Superman actually act like and have the proper personality of Superman. Also, from a technical level, the film is put together as well as circumstances will allow. There are definitely some editing issues (see below), but the story is told in an economical manner. The opening credit montage actually sets up the entire film pretty well. Also the music of the film is pretty good; Danny Elfman's score is something of a "greatest hits" package, using cues from his own Batman score, John William's Superman march, Hans Zimmer and Junkie-XL's Wonder Woman theme, and I'm fairly certain that the "Hero's Theme" is borrowed from Jerry Goldsmith's Shadow score. However, every musical cue fits its respective scene perfectly, and the pop songs included during the opening and closing credits also fit the film well.

Things that drag it down though are that, while there are Whedon-helmed scenes that actually buoy the film up, others, unfortunately drag it down. There are very obviously shot-by-Whedon scenes that are inserted into other scenes to "bring humor" that fall a little short. And while, on the whole, I think that Whedon did a good job of bringing human stakes to the action, there is one scene, where tension has been building through the film and it cuts to a gag that will make the audience groan and groan hard. And the thing that I truly hate about the film is Ezra Miller's "adorkable" schtick as the Flash. With the exception of one scene, where honestly Batman comes off as the better hero, it just becomes grating.

On the whole, the movie is... okay, It's entertaining enough for a Friday night in front of the TV. It won't go down in history as a great superhero film, but it is as good, if not a little better, as the circumstances around its production would allow it to be.

Man of Steel (2013)

I Wanted to Like it, Really I Did

[3/10 · 6 August 2021]

I am a huge Superman fan, and after feeling let down by Superman Returns, I was cautiously optimistic about this movie. Despite having to work the next morning, I went to the first midnight showing, and I was left... "cold" would actually be putting it nicely.

A Superman movie or television series should, ultimately, feel like we are being reintroduced to an old friend. That does NOT mean doing the same story over and over again, or telling the actors to simply do impressions of their predecessors; but it does mean making sure that the characterizations are right. Among fans of Superman, when asked to rank actors who've worn the cape, when all the votes are counted it's a safe bet the top two spots are going to be Christopher Reeve and George Reeves. In a lot of measurable ways, they're very different, but they are both Superman. This movie and its main character are not Superman.

The characterization is off; Henry Cavill looks the part as much as any other actor, but he isn't allowed to inhabit the character. As much as some will chalk it up to a younger version of the character still learning, the actions of the character are things a thirty-something would know are not good; while I'll leave aside the way the villain is dispatched, the climax as a whole is all about the destruction porn. An action scene needs to have stakes, but the hero(es) should make protecting the public their first concern. Other superhero films have a certain level of mayhem and destruction, yes, but the heroes are actively trying to mitigate it. In the climax of Man of Steel, it's all about how much more damage can be done to the city of Metropolis. Other things are, in what could have been a scene full of emotional weight where Clark Kent grapples with using his powers in the face a jerk in a bar, he instead acts with pettiness and uses his powers disproportionately to wreck the guys livelihood. At the end of the film, for a character that is actively trying to gain the trust of the peoples and governments of Earth, he destroys military equipment that poses no real threat to him. The S must stand for "Superjerk".

Characterization of the title character aside, while Cavill and Amy Adams seem to be giving their all, they don't really have a lot of chemistry with each other. And for a character that seems to have an interest in maintaining a secret identity, she sure yells "Clark!" in public a lot. There are narrative issues, certain scenes happen just because the script says they do, instead of being an organic development. For example, while most versions of the Superman story feature the death of his adoptive father, as it happens here it's just idiotic. Within the context of the scene, there were at least two logical outs that wouldn't have revealed the secret they weren't trying that hard to keep.

Lastly, and I must give the sequels credit for rectifying this, the film was shot with awful ShakyCam. If I'm paying $15 to see a movie, I should actually be able to SEE the movie.

Some things that keep the film from being an absolute dud are that some secondary cast members (Kevin Costner, Lawrence Fishburne, and Russell Crowe) all seem to not realize that they're in *that* kind of film, and really do give it their all. The set design of Krypton is alien without being ridiculous, and stands out from previous versions. And Hans Zimmer's score is pretty good, with the piece that accompanies Superman's first flight capturing the sense of joy one must feel taking off for the first time.

On the whole, the film that I really wanted to be good was a disappointment. And none of its direct sequels saw fit to fix the problems with Superman. As of this writing, it seems that this version of the character has reached an end. And I'll be cautiously optimistic for the next take.

The Mark of Zorro (1974 TV Movie)

Solid Adventure Film

[8/10 · 2 July 2021]

Personally, I actually like this film a little better than either of the arguably better known 1920 and 1940 film versions.

As a mid-1970s television feature, it looks more like a big budget film than some of it's studio tentpole brethren of the era. The film makes excellent use of the old FOX Ranch and period costumes to create a set design that looks "real" but has an aura of pageantry that makes the film a visual treat. The action is of a high standard for the day; in a world full of CGI heroes and digital backgrounds, it's nice from time to time to see actual human beings do actual physical stunts to sell the action.

The script and score are more or less recycled from the 1940 film version, but it is the cast that ultimately make the film worthwhile; particular note must be given to Ricardo Montalban, who has a certain ruthless charm that he brings to Captain Esteban Montenegro that makes his character a memorable and formidable villain. Frank Langella was, at this point in his life, a perfect Don Diego de la Vega/Zorro; portraying both aspects of the character perfectly. His danyish Diego is fun, but not over done. One can always see his intelligence behind his foppish exterior. As Zorro, he both heroically dashing and romantically charming, playing his scenes with Anne Archer perfectly.

I'm not aware of a DVD or Blu-ray release, but it is well worth watching when it appears on cable television.

Howard the Duck (1986)

I Love this Movie, I Really Do.

[8/10 · 27 April 2021]

In my entire, comic book reading life, I have read exactly one comic featuring Howard the Duck. And he teamed up with Spider-Man in that story, so it probably wasn't that indicative of the stories centered on the titular water fowl.

But taken on its own, the film is a LOT of fun. Even things that are "bad", have enough charm to carry them through to the next good part.

To begin with, both the Duckworld and Cleveland set scenes are a perfect skewering of 1980s pop culture. The duck-centric jokes are puns centered around ducks and birds. Those set on Earth are a send up of hair bands and 80s pop music.

The special effects are, for their day, actually pretty decent. The animatronics and stop-motion puppetry hold up well, but the optical composite shots are a tad weak.

For a ridiculous premise, the cast are all acquitting themselves very well; they mostly inhabit that sweet spot between taking themselves far too seriously and playing it so broadly and making the film devolve into camp. Particular praise must go to Chip Zien perfectly matching his vocal performance as Howard to various suit performers (primarily Ed Gale), which comes together to seemlessly create a single character. And even greater praise must go to Lea Thompson as Beverly Switzler, she absolutely carries the film as the human point of view character, she also did her own singing and it's excellent.

Following on from Lea Thompson's great singing is that the film has an awesome soundtrack. The score by John Barry and Sylvester Levay matches the emotion of each scene perfectly, and the pop songs penned by Thomas Dolby and performed by Lea Thompson and her in-film band Cherry Bomb are some serious toe-tappers.

Even for being "infamously bad", the film really is an enjoyable romp. It's the kind of movie that is just fun to watch, and even more fun if the viewer is of age and partaking of an adult beverage. So just let loose and have a good time.

Police Academy 5: Assignment: Miami Beach (1988)

Well...

[4/10 · 19 April 2021]

For what it's worth, it's the best of the films without Steve Guttenberg. That's faint praise, but the series was running mostly on his charm and likeability.

All non-Guttenberg factors being equal, in a lot of ways it's a (slight) improvement over the fourth film. The overall plot isn't exceptionally outlandish; befuddled jewel thieves is a more realistic setup than a citizens' police force or the mayor of the city orchestrating a crime wave. The cast are all game, and George Gaynes is clearly having a ball.

I wouldn't actually spend a lot of money on the film, but if it's in TV some lazy Saturday, there are worst ways to kill a few hours.

Elvis: That's the Way It Is (1970)

The King is in Top Form

[10/10 · 21 March 2021]

We live in a world where, unfortunately, the latter years of the life of Elvis Presley are remembered for his sad descent; a terrible diet and dependence on prescription drugs saw him become unhealthily overweight and bloated, and by the end, even his voice was starting to go. But here is Elvis at his best; he's noticeably fitter than in the later years of his appearing in formulaic Hollywood musicals, his eyes are bright and clear, his voice is beautiful, and his energy is vibrant and natural. He obviously gave the preparation for the concerts recorded here his all. Pre-shows, he's having a great time with his band and backup singers as they rehearse. During the actual shows, he's giving every song his all, and plays to the audience both during and between songs like a true showman. This is how Elvis Presley should be remembered.

Glass (2019)

Everything but the Ending

[6/10 · 12 February 2021]

Following up on two outstanding films, Glass had a lot to live up to. And it mostly succeeds. The overall story is interesting, and in keeping with the "real world superhero" nature of the series, it helps to ground the action inside the realm of human possibility. And that makes the film work, mostly. The main three cast members are at the very top of their games; Bruce Willis gives an understated but enjoyable performance. James McAvoy gives another award-worthy turn, just like in Split. And Samuel L. Jackson is clearly having a lot of fun with role. The story itself is interesting in how it examines the realities of the characters; are they something more than normal, or is it simply a delusion or mental illness? Bruce Willis's David Dunn seems willing to accept the latter and eventually move on with his life. But Jackson's Elijah and McAvoy's Kevin Crumb are not as sure. Taken at this point, the film would be an excellent mediation on the natures of good and evil in the popular consciousness and about the power of self-determination. But the film falls short in writer-director Shyamalan going for one of his trademark twists. The reveal that those who have apparently been the authorities have all this time been a secret cabal with the intent of keeping those with superhuman abilities from the world in some vague notion of maintaining a balance of power in humanity. A superhero film doesn't have to have a happy ending, but when it's clearly a bleak twist simply for the sake of a bleak twist, it wrecks what had otherwise been an intense and interesting build up. The "twist" of Unbreakable was built carefully and methodically, with clues along the way and it felt natural. The reveal in Split doesn't take away from the story. But here, it just takes the entire series off the rails. I really wanted to love this movie. Going in the previous films in the series had built a lot of goodwill. And while there are some great parts here, it ultimately comes up a little short.

The Guest House (2012)

I Want to Like it More than it Deserves

[6/10 · 5 February 2021]

There is a lot that actually makes the film feel like something on late-night premium cable that has been just edited enough, if you know what I mean. That said, the editing does keep it from feeling overly salacious and appealing to the lowest common denominator. The overall production does scream cheap, with the majority of the film either being limited to two people in a room, or clearly being shot "guerilla style" to save money. There are a few narrative points that with some very minor changes could have made the overall story of the two leads' "self-discovery" much more believable. And the two main male characters are so poorly acted, that it is beyond simply being laughable. "Porn acting" would actually be a compliment to these guys. All that said, the two female leads really do bring the film WAY UP; they are clearly comfortable with each other, and when they are talking to each other, it's very clear that they are developing at the very least a deep friendship. And their romantic chemistry is there, both physically and emotionally. By the end of the film, it really does feel like they've been on a real (though fast) journey. And it is those two actresses (Ruth Reynolds and Madeline Merritt) that do elevate this film beyond being cheap and schlocky.

Terminator: Dark Fate (2019)

Pick a Lane!

[4/10 · 3 February 2021]

There actually are some really good things about this film; Linda Hamilton's return as Sarah Connor is great. Arnold Schwarzenegger plays a Terminator tasked with finding actual meaning in its existence exceptionally well. Mackenzie Davis makes a fine performance, and the action and special effects are top notch. But, and it's a pretty big "but", the franchise isn't doing itself any favors. The films have become something of a pseudoanthology; with each sequel claiming to be the true sequel to Judgement Day. And that's where this film loses the viewer. The first thing the film does is throw out the entire point of the second film, when it wasn't really necessary. Then it gives us exactly zero reason to get invested in this story, because we have no reason to believe that it won't also be wiped away by the next installment. And there's the problem; by bouncing from continuity to continuity, the film doesn't allow itself to be anything more than popcorn entertainment. And for a franchise that started with two near-perfect films, that's the real disappointment. And each subsequent "Part 3" hasn't lived up to the high standards of their forebears. Rise of the Machines took a more comedic approach and set up the idea of John Connor actually being the fabled leader of the first two films. Salvation didn't quite live up to that. Genisys wasn't great, but it had some interesting ideas, and ended with room to go somewhere new. But this film... Well... The above highlighted cast give their all.

Doc Savage: The Man of Bronze (1975)

Entertaining but Silly

[6/10 · 16 January 2021]

First off the cast all seem up for fun; and while I wouldn't call any particular performance "hammy", they're definitely winking at the audience through the whole film. Ron Ely carries the title role very well, and seems to be physically and mentally capable for the part; he's fit enough to carry his action scenes (and honestly, more so than his turn in the Tarzan series of a few years earlier), and he does convey a sense of intelligence of a true renaissance man like Doc Savage. His cohorts are all fun, with established and recognizable character actors. Of note, the film tells the overarching story in a style of an old-fashioned film serial; of particular note are scenes of our heroes escaping mortal danger in proper cliffhanger fashion; for example only after we see the destruction of the plane supposedly carrying Doc and Co do we learn it was a decoy the entire time. As a fan of film serials, I approve! A few things that hold the film back are that it presents far more like a mid-70s television movie than a feature motion picture. It's pretty obvious that most of the film is shot around the Los Angeles area instead of globe hopping, as is implied. The special effects, even by the standards of the day, are pretty weak. And while many efforts are made to show a stylized art deco/streamline moderne 1930s, the clothing and hair styles often wreak of the mid-1970s. And the camp comedy style, while mostly fun, does wear thin in a few places. On the whole, the film deserves a lukewarm recommendation; the good does outweigh the bad, and it's fun to watch. But other films, like the Indiana Jones series or the 1994 film version of The Shadow or 1996's The Phantom succeed in capturing the stylized period piece adventure film much better.

Blown Away (2019– )

The Judge and the "Winner" wreck what could have been great.

[4/10 · 30 December 2020]

First I want to address the very good things about this show's first season: it presents the technical aspects of glass blowing in a detail that I've never seen before. There's always something of an "I can do that" feeling when watching any craftsperson on TV, but this makes it very clear that anyone interested in taking up the craft will have a lot to learn. Secondly, it does an excellent job of showing the wide spectrum of artistic vision and ambition; each contestant had something unique to offer, while not everything is to my tastes, it should all be applauded. Most of the cast deserve to have more of their work seen by the public. That said, two things bring the show so far down that unless serious changes are made, I cannot recommend anyone pick up with the second season. The first is main judge Katherine Gray; she may be an outstanding teacher and creator in her own right, but her criteria for judging on a technical level is inconsistent to say the least (one contestant is criticized for their work being "gift shop" quality, but several others who successfully push the technical envelope are frequently glossed over for those who played it comparatively safer), and her artistic integrity as a judge is virtually non-existent; vacillating between overt politics and a simple "did I like?" judgement. Even allowing for the inherent subjectivity of art, one expects a greater level of fairness. In one episode, she outright criticizes artist, Momo, over her choice of color scheme. Which Momo calls out in an interview segment as "inappropriate", which she should have said on the spot, as that is denying an artist the agency of their own work. The other issue is first season winner, Deborah. Her working style is petulant to the point of being just unlikable, her technique is inconsistent, her "visions" often oversimplify the whatever message she is supposedly trying make, and her grand finale project combines all of the above; her competitor showed greater skill and had a far clearer image in his final piece, but for whatever reason (well, see my criticism of the inconsistent judge) Deborah was determined to be the winner. It really is a shame that these two issues bring down what could have been really great. If there's some YouTube supercut of just the production scenes, I'd easily give that a 10/10. It's practically hypnotic to see artists craft globs of molten glass into some truly magnificent pieces. But unless there is a real change going forward, I recommend that you give it a pass.

Christmas Lodge (2011 TV Movie)

Endearingly Sweet

[7/10 · 2 December 2020]

There are really two stories at play here; one is a very typical, though chaste, romance. The other is about a family coming together to do something special. The romance is fine; Michael Shanks and Erin Karpluk do have a real chemistry, and there's ample reason to believe that their characters should be together, but the script doesn't really give them much of a journey. It almost feels like some important scenes were trimmed. The other story, and far more compelling, is the story of the titular lodge itself. Intertwined with the building itself are two long family histories, embodied in an excellent performance by John Innes as the family patriarch. It is the story of a family gathering around his wishes that makes for a very watchable, touching film. There is a strong Christian element to the story, but it's never preachy. It's a story about people living by their strong faith. And it really does work. Whatever your own views, this film is truly about family love. And it is truly worthy of a spot in your holiday viewing.

The Phantom (1996)

Overlooked in Its Time

[8/10 · 22 November 2020]

When The Phantom was released in June 1996, it was overshadowed at the box office; The Rock, the first Mission: Impossible, and Twister left it in the dust its opening weekend, and that's a real shame. Visually, the film is a real treat. The photography of Thailand's jungles, beaches, and islands is so lush that most of the end credits just play over extra footage (and you will stay to see it all). The set design captures a romantic 1930s very well. On a technical level, the film is equally great to look at. There are some great and believable optical composite shots, as this was just before CGI really took Hollywood by storm. And the stunts are actually physical stunts! The last fifteen to twenty years have seen virtually every superhero film at some point rely on a CGI model of the characters bouncing around the scene like a rubber ball, but not in The Phantom, by golly. And only the most jaded of people will be unimpressed. The cast are more than game; Billy Zane in the title role plays it mostly straight, but has just enough humor to make him likeable. He has real chemistry with leading lady Kristy Swanson. James Remar plays something of a dark take on Indiana Jones, but it works. Catherine Zeta-Jones is clearly having fun. And Treat Williams does chew a lot of scenery as the main baddie, but it never really becomes over the top. Also the score is fantastic; David Newman gives the film a sense of grandiosity and every note fits every scene perfectly. If there is one drawback, it's that the script relies a little too much on the mystical, which in a film that otherwise has a grounded hero and supporting cast sticks out. But it really is said cast that pull the film through. There are certain parallels to the Indiana Jones series, and the film shares a writer with Indiana Jones and the Last Crusade (and it shows). As the film gains traction in home media and streaming, it's worth the investment of your time.

Scary Movie 2 (2001)

The first ten minutes...

[5/10 · 19 September 2020]

The opening scene is a pitch-perfect parody of The Exorcist; it hits all the beats of the original and the cast, especially James Woods, hit every note to have you laughing. The rest of the film; meh. The cast seem game, and Chris Elliot takes a paper thin gag and puts some meat on it. And Tim Curry is the kind of actor who always brings some class to a project. But the jokes are hit and miss, and always predictable. If you saw the first film, you've seen this one as far as the jokes go.

Discovering Bigfoot (2017 Video)

What Absolute Garbage

[2/10 · 9 August 2020]

Whether one chooses to believe in the existence of a species of ape-like creatures that live in the deep forests of North America or not, is really up to the individual. But any "documentary" on the subject shouldn't be treating the audience like idiots. The "interactions" range from our host just shouting at the darkness to clearly fabricated mannequins, placed in the forests. Stick to those that are full of grainy footage and eye-witness accounts, because they have far more substance than this.

Captain America (1990)

Not as bad as some say

[6/10 · 3 March 2020]

I guess we can get the bad out of the way; the production is very cheap, the hero's costume and the makeup on the main villain (and a few other important characters) are not very convincing. The plot is more than a little condensed from the source material, which makes Captain America seem like a not very good hero. Even a short montage of his exploits in World War II could have helped set him up as a better hero. Also a lot of the cast really overact. The Good: Ronny Cox and Ned Beatty DO NOT simply phone in their performances, and they carry their scenes exceptionally well. Matt Salinger, as the titular Captain America and his altar ego, does have an "aw shucks" likability that helps him fit into the "All American" nature of the character. The script does not give him much to work with, but he is likeable and sells the "man out of time" aspect really well. Lastly, despite being mostly shot in Yugoslavia, the filming manages to sell a variety of locations very well. The silly fun: some of the editing and special effects will illicit (presumably unintentional) laughs, and those laughs will up the enjoyability factor. Despite some actors' overacting not being very good, Darren McGavin and Scott Paulin are both clearly having a blast playing deliciously evil characters. On the whole, Captain America 1990 is not a great film, but it is enjoyable. And if you are in the right mood, will make for a fun Tuesday night in front of the TV.

Megamind (2010)

Surprisingly Cute

[7/10 · 7 February 2011]

I really really really hate Will Ferrell. Usually just the fact that he is in a movie is enough to turn me off from the film as a whole.

It's a good thing I didn't actually know he was in this when I bought the ticket.

All in all, I was expecting to kill an hour and half with a light-hearted "kid's movie", which would have been fine, but instead I got a well made comedy for all ages.

A good family movie, has multiple levels of humor, simple sight gags for the kids, snappy banter and one-liners for teenagers, and maybe not "sophisticated", but more nuanced jokes for adults; things that a kid would miss. This film uses different characters and their interactions to make that work.

For the very young, the highlight of the film will be the interactions between Megamind (Ferrell) and his sidekick Minion (David Cross) as well as Megamind's frequent mispronunciations of common words; "School" is "Shoool", "Spider" is "Speeee-yder", and "Metro City" is made to rhyme with "attrocity". Teenagers will likely find the awkward humor of Hal/Tighten (Jonah Hill) their own cup of tea, largely as satirical reflection of the modern, (sub)urban teenager's view of the world. And adults are more likely to see the most humor in the way the plot is both an homage and gentle parody of comic book staples like the bad guy always losing, and their seemingly endless supply of elaborate weapons and traps (they come from a surplus store in Romania), as well as the developing love story between the Lois Lane-esque Roxanne Ritchi (Tima Fey) and Megamind, turning the romantic element of many classic superheroes on its head.

The CGI, while not quite Pixar quality is good and crisp. The soundtrack is a fantastic mix of the best of classic rock (Ozzy Osbourne and AC/DC always make a movie better). The jokes fly quickly without becoming obnoxious, and it is one of the really few movies marketed toward kids, but actually equally (if not more so) enjoyable to adults

Morning Glory (2010)

Cookie Cutter, but Cute

[6/10 · 31 January 2011]

In that time between summer blockbusters and the full-on Oscar blitz is time for Hollywood to take a breather. Sometimes the audience takes a breather too. And that isn't necessarily a bad thing. Here we meet Becky Fuller, trying to make the jump from local to network news show producer. She is put in charge of an ailing morning program, and when told that it is on its last leg, she takes the novel and bizarre step of forcing well-respected television journalist Mike Pomeroy into the co-host position via a quirk of his contract. and thus they are off toward saving the show... A plot like this doesn't really have much in the way of surprises. What really matters is how well the characters are written and how well the actors play their respective parts. While none of the cast is terrible, standing out are a low-key Jeff Goldblum, playing a cynical network executive. While an over stated, loud performance would have sufficed, Goldblum plays it a pragmatic working guy. He gets in a few good zingers early on though. The other standout is Harrison Ford. While he hasn't had much success in the field, he is actually very good at comedy usually playing the straight man to what is going on around him. Here he plays the gruffly lovable curmudgeon pretty well. A significant part of the the plot is his character's personal growth. On the whole, Morning Glory isn't going to sweep any of the major awards, but it's a gentle way to pass two hours and get a few good laughs in the process.

Leatherheads (2008)

A Gem!

[8/10 · 31 March 2009]

I must confess to being greatly surprised. I went in expecting to see a lightweight, screwball sports comedy, which would have been just fine. Instead I got one of the best romantic comedies that I have seen in years. The year is 1925, the Twenties are roaring along happily, except in the world of professional football. As the sport was just starting to get its foothold in America as profession, a down on its luck team, lead by George Clooney, talks a well known college player into joining their team, which breaths life into the sport. Not only is this young superstar a great player, but he is a war hero and the public loves him. Enter Lexie, from the Chicago Tribune who suspects that all is not as its cracked up to be and sets out to uncover the truth. Instead, she and Clooney's Dodge fall in love in a whirlwind courtship reminiscent of the fast-paced comedies of yesteryear. Clooney and Zelwegger have a chemistry that is undeniable, and they deliver the fast dialogue without it ever feeling rehearsed. The result is a film that is a sheer delight.