Seth MacFarlane’s Cavalcade Of Cartoon Comedy

Written by Fantasma el Rey

Seth MacFarlane’s Cavalcade Of Cartoon Comedy is 54 minutes of cartoon shorts where nothing is off limits as “Family Guy” creator MacFarlane and crew pop off and give their off-kilter look at the world. In 50 uncensored shorts nothing is safe from the flying poop attack these comic monkeys hurl. The animation is the same found on the hit television show except that his main characters are missing, replaced by all sorts of subjects from the cartoon world as well as the real one. It’s pretty much a Family Guy episode without the plot but that’s OK as most of the shorts are funny and hold their own.

Some of the better shorts are the twisted looks at the “Frog Prince;” “Super Mario Saves The Princess;” “Die, Roadrunner, Die;” and “Fred and Barney at the Club.” “Frog” is just a jerk who gets off on having stupid chicks fondle him, while “Super Mario” can’t even get a kiss from the prissy princess. “Roadrunner” is a look at what happens when the coyote actually catches that damn bird, not at all worth the catch. “Fred And Barney” is a glimpse of what hell it would be for those two to try and get into a modern hipster nightclub.

Other top offers are the funny “Sex With…” that takes a look at what sex would be like with various names in the news and pop culture such as Mr. Sulu, a folk singer, Dick Cheney, Gilbert Gottfried, and a midget. More hilarity ensues as a gay knight who refuses to fight the dragon, backstage with Bob Dylan, and two Persians try to pick up chicks. MacFarlane also gives us a further look into his atheism beliefs in “Monkeys Talk Religion.”

Some of this stuff is just really painful to watch. A short list includes “Flintstone Shit” which is just a stupid scene of Fred in a stall as he takes a dump. Some kid finding out he’s adopted is pretty bad to boot but the worst is sitting as AIDS Patient Zero meets and has sex with a monkey. It has its giggles when I think about it but the short is just wrong and at the moment simply seemed horrid.

Overall, Seth MacFarlane’s Cavalcade Of Cartoon Comedy is an entertaining hour to sit and watch even if you are stunned at times and have to pick up your jaw after shaking your head and saying, “Really?” Again, it is from the creator of Family Guy and follows the humor laid down by said show so everyone should know more or less what to expect. So if you’re truly offended, then it’s your own damn fault.

The Waltons - The Complete Ninth Season

Written by Hombre Divertido

Warner Home Video has now released the final season of this iconic series. Unfortunately The Waltons goes out with far more of a whimper than a bang. We can only hope that this release will be followed by a collection consisting of the six made-for-television movies, which served to not only reunite the original cast, but to reunite fans with a beloved series that had been tarnished over the years by the departure of cast members, tired writing, and the fact that CBS kept it going two seasons too long.

The Waltons, which came to television in September of 1972 after the warm reception received by series creator and narrator Earl Hamner Jr.’s The Homecoming a year earlier, was based on the Walton family, and the show was anchored by the strong acting of Richard Thomas as John-boy, Michael Learned as Olivia, Ralph Waite as John, Will Geer as Grandpa, and Ellen Corby as Grandma. Along with stellar writing, the show would flourish for many years to come.

Unfortunately, by season nine in 1980, the above mentioned actors were no longer appearing on the show for a myriad of reasons, with the exception of Waite who does appear in several episodes, and the writing had become stale. The primary cast now consisted of the adults who were originally cast as supporting characters when they were children. Though they had matured as people, the majority of them simply had not grown into competent performers. Along with the series regulars was Robert Wightman, who replaced Richard Thomas as John-boy in 1979. The shoes were far too big to be filled, even by someone less awkward on camera than Wightman, and the questionable choice to recast a lead character who left a successful prime time series, without explanation within the script, would certainly rival the replacement of Dick York by Dick Sargent as Darrin on Bewitched. Ironically, Dick Sargent appears in season nine of The Waltons.

The writing is not bad throughout season nine; it just appears that the writers are out of ideas. This is evident in the opening two-part episode “The Outrage,” which is titled after the main storyline of John Walton trying to assist Harley (Hal Williams) who is arrested for an old crime. Though this storyline is concluded far to conveniently, it is still entertainingly dramatic and poignant. Unfortunately, numerous other plots that are well below the standards established by the show over the years, and are poorly acted, surround this main story that supports the title.

In viewing the series, one could wonder why season nine was even done, but since the boys had gone off to war in season eight, season nine served to bring them home. The stories of the boys at war that are quite prevalent throughout this season lack the intensity necessary to convey the stories being told, and are extremely limited by the locations, sets, and special effects. This season is not without some nice moments, and the last regular season episode is pleasant as the entire cast gathers at the home of the Baldwin sisters (Mary Jackson and Helen Kleeb) for a celebration.

One would think that the final regular season would be a prime opportunity to fill the three-disk release with bonus material, but alas, there is none to be found. Guest appearances by the previously mentioned Dick Sargent, as well as Marc McClure, William Schallert, Mary Wickes, and Jennifer Jason Leigh, are enjoyable distractions, from what is essentially a poor product. The packaging contains some nice photos, but the disks themselves are poorly marked.

Recommendation: Season nine is the weakest of the series, and is only for those who need to complete their collection. Regardless of your opinion of the quality of season nine, each episode ends with the music of Jerry Goldsmith and narration by Earl Hamner Jr., which is sure to place a reminiscent smile upon the face of the faithful who grew up with The Waltons.

STAR TREK

Written by Hombre Divertido

Star Trek will certainly feed the hungry fans, but the meal is a bit overcooked.

In 1994 Paramount transitioned the Star Trek movie franchise from the original cast to the Next Generation cast in Generations, which conveniently served its purpose. Not a great film, but it worked. Captain Picard and his crew followed Generations with the huge home run First Contact in 1996, but then killed the franchise with the two yawners that were Insurrection (1998) and Nemesis (2002). Since then Trek fans have had little to embrace other than the under-appreciated television series Enterprise which lasted until 2005.

The year 2008 was to be the rebirth for the franchise, but the writer’s strike kept anxious fans waiting another six months. On May 8. 2009, the highly anticipated re-tooling of the original series hit the big screen courtesy of Paramount and current Hollywood wonder boy J.J. Abrams.

Much like Generations, the film certainly serves its purpose in launching what is sure to be a profitable string of films, but unlike Generations, this film tends to be a bit over produced.

The 2009 version of Star Trek reintroduces us to the original cast of characters from the 1966 television series, in relative infancy in their respective Starfleet careers, as they set out to stop a rogue Romulan ship from destroying the planet Vulcan. Most of the new cast takes their own interpretation on the roles, with the exception of Karl Urban who steals every scene he is in with a dead-on portrayal of Deforest Kelly's Dr. Leonard “Bones” McCoy.

The other six lead characters tend to be hit and miss as they attempt to settle into these iconic roles. Chris Pine shows enough untamed energy to make his Kirk work, and has a more obvious sense of humor than that which Shatner displayed. Zachary Quinto may need another film or two to figure out how he wants to play Spock, as the half human/half Vulcan complexities may have been a bit out of his range. The experienced comedic actor Simon Pegg makes some very strong character choices as Scotty, but it will remain to be seen if the comedic portrayal of the chief engineer will be as endearing in future endeavors.

Making safer choices with their interpretations are Zoe Saldana as Uhura, and John Cho as Sulu. Both performances are adequate. Neither attempts an impression of their predecessors, and both bring some slight new dimensions to the characters. Anyone who has seen Trek alum Garrett Wang do his Sulu impression must wonder why he was not considered for the role. Anton Yelchin rounds out the cast as Chekov, and his accent adds some early smiles, put his painfully slow delivery eventually bogs down many scenes.

J.J. Abrams displays an ambitious style in his direction of a story by Roberto Orci and Alex Kurtzman, but, as clearly shown in the scene where Kirk is being chased by ridiculous CGI creatures, just because you can create something, does not mean you should. Some of the special effects, such as the previously mentioned creatures, simply look awful and are well below the standards set by previous sci-fi fare.

Abrams' need for extreme close-ups of his actors becomes increasingly distracting as the film progresses, and detracts from many action scenes. An action sequence, such as the bar room fight between Kirk and some Starfleet cadet goons, has not been ruined this bad by poor directorial choices since the on-foot chase scene with Keanu Reeves pursuing Patrick Swayze in Point Break.

The only thing more distracting than some of the directorial choices is the heavy handed musical score by Michael Giacchino, who often appears to be trying to create excitement or drama that simply is not there, and in some case shouldn’t be.

Where Star Trek does work is when it keeps it simple. There are some wonderful dialog driven moments, and Trekkies will be all smiles as gems such as where the nickname “Bones” stems from, how Christopher Pike (Played with subtle brilliance by Bruce Greenwood.) ended up in a wheelchair, or Kirk in bed with a green Orion Slave woman (Though some may say that scene ignores facts revealed in an Enterprise episode).

A solid villain is always key to the success of such endeavors and Star Trek does not disappoint on this front as Eric Bana's psychotic revenge-seeking Nero definitely leaves the audience wanting more. Unfortunately Nero is piloting a huge mass of jagged metal pieces that we never see all of, nor is its weaponry ever clearly defined, and the battle between Kirk and Nero on a platform within the ship looks far too similar to a scene from another sci-fi franchise, that may have fans waiting for Nero to announce that he is Kirk's father.

Recommendation: Star Trek is bound to make a mint, as fans that have been waiting far too long for anything Trek-related will transport themselves to the theatre in droves. There are enough shout-outs to the faithful in the first half of the film to keep them smiling through what is essentially a weak story. There is certainly enough action to leave the non-Trekkies satisfied as well. Nonetheless, time travel as a solution is tired, the story has too many holes, the direction and score are too heavy handed, some of the special effects are weak, and more of the characters would have been better. As Trek films go, this one will be hard pressed to crack the top three.

Obviously more liberties can be taken in future outings now that we are on a new timeline, but lets hope that writers will keep it simple, and focus more on dialog and the characters that fans want to see, know, and love.

Knots Landing - The Complete Second Season

Written by Senora Bicho

Knots Landing, a drama centered on the lives of four marriages in a small suburb of Southern California, was created as a spin-off for the hit show Dallas. It started off slow in the ratings and not as popular as Dallas, but it ended up being on the air longer, and running from 1979 to 1993, and received more critical acclaim. As time went on it became much more of a soap opera and season two started this trend with the addition of Abby Cunningham (Donna Mills).

Starting off with a bang, Sid Fairgate (Don Murray) is arrested for raping a hitchhiker. While in the midst of fighting the charges, Sid discovers that his younger sister Abby is divorcing her husband and is considering moving to San Diego. Sid’s wife Karen (Michele Lee) hosts a dinner for Abby and invites all of their neighbors, although it is very obvious Abby is much more interested in the husbands in attendance and flirts openly with all of them. Val Ewing (Joan Van Ark) is drawn to Abby’s daughter and spends most of the evening reading to her while her husband Gary (Ted Shackelford) ignores Abby’s advances. Kenny Ward (James Houghton) invites himself to the party in an attempt to make up with his wife, Ginger (Kim Lankford), after she caught him cheating at the end of the first season. Laura Avery (Constance McCashin) is excitedly telling everyone about her new real estate job her corporate attorney husband Richard (John Pleshette) allowed her to take after he wanted to borrow money from her father. This party was a very ingenious way to provide new viewers with an opportunity to meet all of the main players at once while giving returning viewers a recap.

Abby stays in town to help fight Sid’s rape charges and in the process becomes fond of Knots Landing and the inhabitants, deciding to make it her home instead of San Diego. Initially, everyone gets along great but soon Abby’s conniving ways come to the surface and trouble ensues. The rest of the season includes Gary’s battle with alcoholism along with his involvement in organized crime, Richard losing his job, Ginger ending up pregnant, and Val’s fight with cancer. There are also relationship struggles that include plenty of adultery and an overabundance of lying and scheming.

Season Two also includes some visits from members of the Dallas cast. J.R. Ewing (Larry Hagman) and Kristin Sheppard (Mary Crosby), infamous for being the culprit who shot J.R., show up to cause some mayhem, and Bobby Ewing (Patrick Duffy) also comes to town to support his brother Gary.

Knots Landing is exactly what you would expect: melodramatic moments, beautiful women in tight clothes, and outrageous storylines. There is nothing particularly exciting or engaging in this season. Abby adds an interesting dynamic to the show and is the highlight. I am looking forward to the release of the later, more popular seasons, especially once William Devane joins the cast. Season Two definitely has some soap-opera moments but it isn’t nearly as much of a guilty pleasure as what is to come.

Max Fleischer's Superman: 1941-1942

Written by Fantasma el Rey

Max Fleischer and his brother Dave had the honor and challenge of bringing Superman to the silver screen for the very first time. Fleischer’s cartoon studio was known for Popeye and Gulliver’s Travels by the time Paramount came to them asking if they would take on the project. They did and in so doing put on film Superman as much of the world would come to know him. This two-disc DVD set contains all seventeen theatrical shorts from 1941 to 1942.

With a bit of hesitation the brothers accepted the project of animating the Superman comic books. Already a radio hit, the problem was how to make the cartoon move swiftly, remain action packed, and hold the audience’s attention for about nine minutes while making it all seem more realistic than other cartoons of the day. The Fleischer Studio had already perfected the use of rotoscoping (drawing over filmed live action) so making Superman realistic didn’t take long to figure out. Adding to the cartoon appeal were the radio voices of Joan Alexander and Bud Collyer, Lois Lane and Clark Kent/Superman, as the public had grown to know them. On radio and in the comics Superman was really only able to leap or hop from place to place, thus the line in the opening about being “able to leap tall buildings in a single bound.” Since jumping around would look a bit silly on film, the Fleischers got permission to make Superman fly.

The first short, “Superman” a.k.a. “Mad Scientist,” sets the pattern and flow of the episodes that follow. Daily Planet reporters Lois Lane is sent on a story along with or followed by fellow reporter Clark Kent and winds up in trouble. She will either be taken hostage/prisoner at first or she will “stumble” into the situation because she hides out or sneaks into the best place to get the story. But have no fear as Kent/Superman are nearby and can hear her scream. So in swoops Supes and gets beat around for a bit, saves Lois while trying to curb further destruction by the bad guy, and finally captures the villain, mostly through his super strength and sometimes outsmarting them.

The fun lays in watching the various villains Superman faces and takes on. Not only does he nab mad scientists (“Mad Scientist,” “The Magnetic Telescope”) but foreign threats such as the Japanese and Germans (“The Japoteurs,” “Jungle Drums”) along with crime lords, who impersonate Superman, and organized thieves (“Showdown,” “The Bulleteers”). It gets better as the Man of Steel does battle with giant/supernatural beasts like a thawed out T-Rex, a giant circus gorilla gone crazy, ancient Egyptian mummies brought back to life, and underground-dwelling birdmen (“Artic Giant,” “Terror On The Midway,” “The Mummy Strikes,” “Underground World”). Superman must also deal with the Earth itself, either manipulated by humans or on its own be it stopping an earthquake or redirecting the lava flow of a volcano (“Electric Earthquake,” “Volcano”).

The animation overall is great with vivid colors, and the humans, animals, and all things mechanical move very well and appear very realistic either in main focus or in the background; the landscapes and other scenery also look great. The kicker is the stereotypes of the ‘40s. It’s one thing to have robbers in classic mask and thick, five o’clock shadow but the Japanese are outrageous as they all have buckteeth and talk like Mr. Moto. I mean there’s not much to do about it or cry over; I simply think its funny the way that Hollywood saw these people in that day. I personally am not offended as it’s just a cartoon and the product of a different time, so laugh and get over it. The DVD packaging even states that this collection is intended for the adult collector and is “not” suitable for children. Go figure.

We don’t get to see too many of Superman’s skills other than his X-Ray vision, super strength and new ability to fly; he mostly uses his muscle to clear his way and win the day as he saves the girl, stops destruction, and puts an end to the villains short reign of terror. We do however get to witness Lois Lane fly a plane, drive a train, shoot machine guns, and still end up writing a hell of a story.

The two bonus features are a fascinating further look into the creation of not only the Fleischer shorts but also Superman as a myth throughout time. Both are filled with info on the effect that these cartoons had on the comic and recent cartoon versions. They are two good pieces even if they are a bit short at only about thirteen minutes each. Well worth the time for collectors and fans of all types from the average viewer to the diehard comic books guys to the movies buffs and just plain ol’ geeks.

Jim Gaffigan: King Baby

Written by Musgo Del Jefe

Jim Gaffigan may be the funniest and yet most invisible comedian around today. Few people I talk to can recognize him by name and he's only vaguely familiar by face. These people will find out about Jim's brilliance in a few years and they'll be the one's trying to tell me that I've got to catch this hilarious comedian. King Baby is a stand-up routine filmed in Austin, Texas. It's a follow-up to the great Beyond The Pale special that gave us the oft-You-Tubed "Hot Pocket" routine.

Jim Gaffigan has an easy style. He balances observational humor with shorter stories. The topics are broad and not going to suffer with age - no political satire here. He spent much of his first special talking in a higher, softer voice that was the voice of a disappointed audience member. He's toned it back in this special and it works even more effectively. The thing that really hits you about halfway through the performance is that it's clean. I had to check the DVD to see if I had the "edited for TV" version, but it clearly stated that it was Not Rated and that "This program is recommended for Mature Audiences". It's refreshing to get through the 71 minute set and realize that it rarely veered off into even PG-13 category and yet it appeals to adults.

Some of the topics include . . .

BOWLING. "For most of us bowling is the activity you do after you've done everything else . . . no one's ever jealous when they heard you went bowling." This section is a great lead off to the act. Jim's able to hit on lots of his strong points - the combination of laziness, nerdiness, and food. The jokes seem a little dated mainly because bowling seems to be an activity that has fallen out of favor with youth today.

ESCALATORS. "How about those people that take the stairs right next to the escalator. 'What are you drunk? This thing is free.'" Once again, Jim hits on our essential laziness. The scenarios are so simple and yet he makes the jokes seem fresh. Much of this act feels right out of a Seinfeld routine - that's a compliment.

CAMPING. "Some places you have to pay to sleep outside . . . that's got to be offensive to the homeless people". Another topic that seems a little dated but Jim makes the topic a riot. The set is highlighted by his jokes on avoiding being eaten by a bear.

BEAN BAG. The best part of this track is actually his take on futons. "It's a couch that turns into a bed. The most disappointing Transformer of all." This track makes me laugh almost as much as any other in the special.

BACON. The topics of futons, bean bags, and beds leads to the anchor section of the special. This long take on bacon is amazing. The fact that he can get so many minutes on the topic is made only funnier by the fact that he keeps mentioning how long he's going on about bacon. And it makes me want to have some bacon. "Wanna know how good bacon is? To improve other food they wrap it in bacon." This track is the one that you'll be talking about for years afterwards. "You know bacon's bad for you when a doughnut is a better choice." He even worms a great religion joke into the middle of the bacon routine.

DEODORANT. One of the few series of jokes that doesn't work well (except for the bacon references). I appreciate him once again trying to work in jokes on everyday items.

DUNKIN' DONUTS. Back to the food humor. This set on cities and their food is hilarious and the one Jim used on many of the talk shows to promote this special. "I don't know how Dunkin' Donuts stays in business - they sell 3000 donuts and they make, what, 30 bucks." Once again, simple jokes that are funny and comfortable.

CATSUP. Next to "Bacon", this is the signature piece of the routine. Once again, it's a simple idea that flows from a couple pieces on fast food. It starts with a bit on catsup packets and moves into a discussion of catsup in general. "What about those people that don't use catsup. What are they called? Al-Queda." This is a great finale.

WAFFLE HOUSE. Like any artist, he finishes with his strongest piece "Catsup" but for his encore, he still has a quick strong piece that will leave you laughing until the next special. I found this one the best structured. Unlike the rapid-fire single-line jokes of the previous bits, this one builds like a narrative with the biggest payoffs at the end. "Here's something you'll never hear in a Waffle House - 'Nice job cleaning up!'" It's a great way to end this routine.

This is a truly fun special. Like the comfort foods that he makes fun of, Jim's style seems so natural. The biggest compliment I can give him is that while all the jokes are new, they seem like something you must have heard before. They're just that easy. It's not that easy to make the mundane an entertaining topic. Pop in the DVD and you'll be hooked.

The disc has a number of specials in addition to over 30 minutes not seen in the Comedy Central special. The "Pale Force" episodes from the Conan O'Brien show are forgettable, as are the "Our Massive Planet" internet episodes. The interviews are interesting because they show Jim just having fun but he never seems to be as comfortable as he is on stage just talking about the things we encounter everyday.

MARLEY & ME - 3-Disc Bad Dog Edition (Blu-ray)

Written by Senora Bicho

When I saw the first trailer for Marley & Me, I was not aware that it was based on a popular autobiographical book written by John Grogan, who also worked on the screenplay. I thought it looked silly and had no interest in seeing it at all. Once I heard about the book from a friend and some good things about it, I started to change my mind. Owen Wilson and Jennifer Aniston are not my favorite actors but I do usually enjoy them, so when the chance to review it came up, I thought it would be a nice break from my usual crime fare.

John (Wilson) and Jennifer (Aniston) Grogan are a young married couple on the rise. They are both journalists but Jennifer is the more successful of the two. After getting settled in their new home, John gets nervous about starting a family. Close friend and womanizer Sebastian (Eric Dane) advises him to get a dog first. John takes the advice and surprises Jennifer with Marley, an adorable Labrador puppy named after Bob Marley. The pup is trouble from the start: he makes a mess of the house, never listens, and is generally out of control. In an attempt to get Marley to behave, the Grogan’s enroll him in obedience school but after he is quickly kicked out they must figure it out on their own. Kathleen Turner makes a brief appearance here as the trainer and I wish it would have been a larger role because she is terrific.

One day John’s boss Arnie (Alan Arkin) offers him a twice-a-week column until he can find a replacement. John is stumped on what to write about and uses his life with Marley as his first subject. Arnie loves it because of its personal touch. John continues along those lines and he gets the column permanently. Now settled in his job and comfortable with life with Jennifer and Marley, John decides it is time to go ahead and start the family. The rest of the movie takes us through the ups of downs of the Grogan family.

The video is presented in 2.35:1 widescreen and appears free of any digital issues or manipulation. It has a great picture, especially for a movie that you wouldn’t think would place a high priority on cinematography, but then the cinematographer is Florian Ballhaus, who is following in the footsteps of his talented father Michael Ballhaus. The color scheme uses a lot of bright colors, which is natural to Florida. The fleshtones stay true and consistent throughout.

The audio is presented in DTS HD 5.1 Master Lossless Audio does a great job recreating the source, although admittedly there wasn’t a lot for it to do in this drama. The dialogue is clear as it comes out the fronts and while the surround fills in occasional ambiance. For the most part, the subwoofer gets the night off, which eliminates a potential pun.

There are several extras included in the Blu-ray DVD set but calling it a 3-disc set is very deceiving. One disc is a digital copy and one disc is a bonus DVD copy. “Finding Marley” showcases the work of the trainers involved in the making of the movie. “Breaking the Golden Rule” is a featurette that includes interviews with the cast and crew. “On Set with Marley: Dog of all Trades” provides Marley’s the opportunity to talk about the making of the movie. “When Not to Pee” is about one particular scene. “Dog Training Trivia Track” includes tips on dog training that can pop-up during the movie or that can be watched individually through the special features. There are also deleted scenes with director commentary, a gag reel and an informational piece on animal adoption.

Marley & Me is completely forgettable. There is nothing special or original about it; it is exactly what you would expect. The actors fill their roles competently no more no less. If you are looking for a nice family movie with some touching moments, this is for you but I would suggest you rent it, watch it on cable, or buy just the movie. The extras are not worth the cost of the set.

The Last House on the Left: Unrated Collector's Edition (1972)

Written by Puño Estupendo

Most people that I discuss horror films with are surprised whenever I say that I'm not a big fan of Wes Craven's movies. I know, I know, he's this big deal legend of horror and all that, but I just don't like his films. I generally think they're either boring or they just don't do anything for me. Sure A Nightmare on Elm Street was awesome when it came out (before it turned into the ridiculous franchise that it did) but I outgrew it. The Scream movies were anything but horror in my opinion because they didn't scare me, and I always thought that the actors and actresses in them treated the movie like they were intentionally slumming in the genre just to be "cool."

In having this conversation many times over the years, I save the most surprising fact until the moment is right. After going round and round about my non-fan status, I drop the bomb by saying "Except for The Last House On The Left; that one is awesome!" Even the most desensitized of people are known to not be able to watch that one. An unflinching tale of rape, torture, murder and revenge, Last House has a disturbing level of true horror that is only topped by the feelings you're left with after the movie has ended.

Two young women run into the wrong group of people while trying to buy some weed before going to a concert. They're abducted and subjected to every sort of nightmare that people fear when they think about that situation happening. The perpetrators of this crime later find themselves in the home of the parents of one of their victims. The parents realize what has happened and (in facing their horror) seek revenge against their guests, unleashing a ferocity all their own.

What you can't sum up in a plotline is how visceral and grotesque the feelings of this film are. Originally released in 1972 and shot with a very grainy, amateurish look and style, this movie hits beats and emotions that I don't believe I've ever seen matched before or since. It's very simple to throw the phrase "disturbing" around when talking horror, but this one earns it. I'm hard pressed to think of a film (other than documentaries) that bring the emotional strength of how repulsive and soul-crushing true violence is.

You are witness to these acts, voyeurishly standing outside them and unable to intervene. Last House holds the camera and stares at the events when your conscience wants you to look away. Maybe it's gratuitous, maybe it's even violence to the point of pornography, but maybe that's it's true lesson. The film seems to possibly have reached this point accidentally in some ways (as explained in the supplementals) but what gives the final product validation for its excesses is that it never glorifies the violence. It's heart-wrenching and brings up feelings that you might not know you had inside you.

Everytime I've seen this movie, my brain is reeling long after it's over. The tagline of "Repeat to yourself...it's only a movie" may have been used to drum up business when it was released, but it ends up speaking volumes about it overall. Yes, it's only a movie. They're all actors on the screen and what you're seeing is not real. What's real are the emotions that are brought to the surface in the viewer, giving you pause about what you thought your opinion about violence was.

The DVD presents the film in a 1.85.1 widescreen ratio and, though it's cleaned up, still has its original homemade look to it (which I loved). Featuring a commentary track by some of the film's actors and several featurettes, I found that I enjoyed the disc quite a bit. Wes Craven is interviewed (as is producer Sean Cunningham) and explains the events leading up to the filming of Last House and I found that it really did shed a lot of light on this movie. The featurettes with Craven and the actors almost satisfy the conversation you want to have with them after watching the film. It was also nice to see star Davis Hess get some well deserved interview time. His face has become iconic to horrorphiles and I welcomed his chance for some screen time through the interviews.

At the risk of overstating the obvious, this isn't a film for the timid, but I think it has more than earned it's mark in cinematic history and should never be dismissed because of its subject matter. Even though it's not something that warrants repeated viewing over and over again, this is a great disc to have and I'm glad it's out there.

Lilo & Stitch - 2-Disc Big Wave Edition

Written by Hombre Divertido

On March 24th Disney released Lilo & Stitch in a 2-Disc Big Wave edition. This 85-minute animated film was a huge success when it was released in June of 2002, and is still an interesting and visually exciting film, but this new release appears to be, well, stitched together.

Lilo & Stitch take the E.T. formula and turns it upside down as the aggressive and nearly indestructible genetic experiment 626 escapes his prison sentence, makes his way to Earth, and is adopted by the also aggressive Lilo, who loves her unusual-looking dog. Take the antics of the two main characters, throw in Lilo’s overextended guardian and older sister Nani, a mysteriously stern, man-in-black social worker named Cobra Bubbles, and an alien comedy team sent to capture Stitch, put them all in the serene Hawaiian islands, and set all the action to some classic Elvis songs, and you have a film that children are sure to enjoy.

The film has some unusually violent tendencies for a Disney film, as Lilo is certainly not the standard Disney youngster. She hits, bites, and talks back, but the film is about growth and change as both characters display a well-crafted evolution in who they are and how they relate to their environment and those in it. There are some good messages to be found in this film, though parents may need to break it down for children, as the story is a bit busy.

The vocal talents of Daveigh Chase and Tia Carrere, as Lilo and Nani do a wonderful job of capturing the local dialect, as does Jason Scott Lee as the local boy interested in Nani. Co-writer/co-director Chris Sanders has fun creating the sounds emanating from Stitch; and David Ogden Stiers, Ving Rhames, Kevin McDonald, and Kevin Michael Richardson round out a talented cast of vocal artists who bring great energy to this project.

It is the look and sound of the film that will endear it to adults. The watercolors give this film a look that combines the beauty of classic Disney animation with the technology of today, creating images that jump off the screen and settings that draw the viewer in. The imagery is truly some of the best in the Disney vault, and it is hard to go wrong with a soundtrack full of Elvis songs. The entire soundtrack is worth owning as it contains great rock ‘n’ roll along with wonderful songs that are sure to transport you to the islands.

It’s almost seven years since the film hit the big screen and had its eventual DVD release, an animated television series would follow the next year, and then a straight-to-DVD sequel in 2005, so it had to be time for a new release. Disney certainly had enough time to put together something really special, so why does the 2-Disc Big Wave edition seem so thrown together? From no information as to which pieces of material are on which disc, to repetitive content, games listed as samples that aren’t, a ridiculously short hula lesson, and a painfully long documentary, this is a mess.

The reselling of a film on DVD is always about the bonus material, and there is certainly a lot here, but how about putting some effort into the presentation. The second disk is an embarrassment. It loads to an amateurish menu that leads to a documentary which follows the making of the film from inception to premiere, and is exhaustively thorough at over two hours. If that is not enough, the second disk also includes footnotes from the documentary and “Deleted Scenes and Early Versions,” though both features contain a lot of the same material.

The first disk contains the feature as well as some pleasant and educational bonus features including audio commentary featuring producer Clark Spencer and directors/writers Sanders and Dean DeBlois, DisneyPedia: Hawaii – The Islands of Aloha, and the theatrical trailers that creatively inserted Stitch into classic Disney films such as The Little Mermaid, Beauty and the Beast, The Lion King, and Aladdin.

Whereas the documentary on the second disk was too long, some features on the first disc are far too short. The Hula lesson will disappoint kids as it could have easily been a terrific piece by providing some quality instruction rather than the three-minute glance that it is, “Burning Love” is nothing more than watching Wynonna standing in front of a microphone singing the song, and though “A Stitch in Time” is certainly long enough at three minutes, it makes little sense.

Recommendation: If you don’t own the wonderfully edgy Lilo & Stitch, than this is a fine way to add it to your collection. If you do already own the DVD, and really want to know more about the film, there is some quality bonus material here, but the presentation certainly could have been better as could some of the content.

The Riches: Season 2

Written by Senora Bicho

Season two of The Riches debuted on March 18, 2008 and consisted of seven episodes. The first season received critical acclaim including several Emmy nominations and was a ratings success as well. The second season received positive reviews but not the ratings; the series was canceled several months after the season ended.

The Riches is the story of the Malloy family, traveling con artists who have managed to steal the American dream after the accidental death of a wealthy couple. The season one finale included the arrival of Dahlia’s (Minnie Driver) cousin Dale (Todd Stashwick) looking for stolen money and Pete (Arye Gross), the best friend of the real Doug Rich, looking for answers.

Season two begins with the family on the run. They have drugged Pete and are about to take off for Mexico when they have trouble with the RV. Wayne (Eddie Izzard) and Dahlia go back to the house to get another car and Wayne decides to go in and bribe Pete. Dahlia takes off with the three kids and neighbor Nina (Margo Martindale) who has decided to run away from her boring life. Once back in the house, Wayne discovers that Dale has killed Pete. While Wayne is trying to figure out how to deal with Dale, his boss Hugh (Gregg Henry) shows up with a brilliant new moneymaking scheme. After some trouble ensues, Dahlia and the group are reunited with Wayne who convinces them to go back to Eden Falls for one last big score so that they can really live a normal life. The season ends with several cliffhangers that we will never know the resolution of which is disappointing.

All of the reasons that made season one so good are still in place in season two: an excellent cast, a well-written and interesting story, and unique characters. The heart of the show is a simple family drama about parents struggling with issues that arise with their children, relationships, and day-to-day suburban life. I thought season two was just as thought provoking and intriguing as season one and the performances just as brilliant. Minnie Driver is especially phenomenal; I can’t take my eyes off of her when she is on screen. Watching her character develop and the issues she faces and tries to overcome is the best part of the show.

There are certain aspects that I didn’t care for. I could care less about Hugh and his storyline for example, but overall the season is definitely worth watching. It is unfortunate that a show as original and well done as this didn’t make it while ‘The Bachelor” and other such nonsense continues to live on. If you didn’t get a chance to see season two when it aired, this is your chance to see what you missed.

The only special feature included is “Eddie Izzard: Revealed,” a featurette focused on Izzard’s character.