Ripley's Believe It Or Not (1930-32) - The Complete Vitaphone Shorts Collection

Written by Fantasma el Rey

Robert Leroy Ripley was a cartoonist, writer, entrepreneur, and amateur anthropologist. A successful blending of those accomplishments is what made the man and his name famous and well known around the globe. He is the Ripley in Ripley’s Believe It Or Not. What started as a newspaper panel feature with some text and a drawing of the subject became a radio show, movie shorts, numerous books, and a short-lived early T.V. series. Those movie shorts are now available on DVD for the first time from the Warner Brothers Archive Collection.

Ripley’s Believe It Or Not is a two-disc collection of the 24 complete Vitaphone short films shot in 1930-31. Each episode is filled with on-location footage, photos sent by followers of his panel, and of course, his world famous drawings. Supposedly filmed as if each short took place in a different setting, such as Ripley’s office, a courtroom, on board a passenger ship, an elegant estate dinner, and so on, each appear to be just another studio set. Yet on that set there was always one person that would have some kind of trick or feat to wow the audience and give them the treat of a live "Believe It Or Not," as these presentations of facts, oddities, and tricks came to be known. Each episode features Ripley presenting the information then drawing a picture, showing some film, or merely just making a statement or answering a question put to him.

Each roughly eight-minute episode is crammed with many "Believe It Or Not"s and provides a good look at some of these oddities captured on film. Like the women who can read 200-plus words in 24 seconds, a two-headed turtle and many other odd animals with some special distinct feature or distinct patches of fur, like the cow with Mr. Lincoln on its side. Some more good tidbits of info include the fact that at the time America had no national anthem and Rip shows that that The Star-Spangled Banner was based on an old drinking song. He also presents some of his most famous drawings that include the man who had horns, the man who bored a hole in his head so he could carry a candle, and the ladies of Burma who elongate their necks by adding rings to them. And those are just a few of the treats provided.

The drawback is that some feats, as neat as they are, just aren’t very interesting. Like the lady who made the large yarn ball. Some of the footage shown is of people and places that time forgot, which consist of old hermits who lived on the same out of the way farm all their lives. Looking back at 1930s America that doesn’t seem that hard to believe. But at the time I’m sure folks were wowed by it. The information is presented quickly and at times is a bit hard to digest or get a handle on, making it a bit difficult for those that want to go and actually check Ripley’s facts. An interesting note here is that Ripley did have a fact checker, one of the best and most dedicated in a linguist named Norbert Pearlroth, who had been with Rip since his early newspaper days. So I’m sure most of the facts stand true, believe it or not.

The two-disc DVD is a good look at Ripley and the legacy he created. We see in these 24 short films the beginning of the latter-day television shows, one hosted by Jack Palance is the one I remember most, which continued to bring these odd feats, strange places, and people right to our doorsteps and into our homes. The major drawback to the two-disc set is that there are no special features at all. Not even a five-minute look at the life of Robert L. Ripley, which would have been the best part of the set, giving us a bit more information on the man and what he created. It would have been nice to further explore the T.V. shows that came later, the museums and “odditoriums” he opened and which house many of his finds and art work. If you want to know more you have to search it out which is okay but it seems like a missed opportunity to make this set even better by adding just one more short film on Ripley himself. I say rent this one for its bits of good facts, displays of oddities, and historical significant but overall not really worth the loot, especially with no extras.

Believe It Or Not.

Available to order through Warner Bros. Archive.

OLD DOGS

Written by Hombre Divertido

Sometimes it is just best to put old dogs out of their misery.

With a plot that is too contrived for adults, and contains nothing to which children can relate, there is no audience for this film. Nonetheless Disney sent this 88-minute (which happens to be about as long as it was in theatres) dog to store shelves on March 9th, 2010 in a set that includes a Blu-Ray, DVD, and digital copy, thus providing you and your family with three ways to avoid Old Dogs.

Disney somehow managed to get John Travolta, Robin Williams, Seth Green, Kelly Preston, Matt Dillon, Rita Wilson, Bernie Mac, and Ann Margret to participate in a script so thrown together and contrived, that it is a mystery how it ever got sold. It’s bad enough that Travolta and his wife Kelly Preston are in this, but to have allowed their child (daughter Ella) to participate should be considered a form of child abuse.

In Old Dogs Charlie (Travolta) and Dan (Williams) are lifelong friends and co-owners of some sort of sports-related marketing company, which like other aspects of this film, is loosely defined. Seven years earlier, Charlie had taken Dan to Florida to help him get over his divorce. One night in Florida, they get drunk, Dan gets a tattoo on his chest, meets Vicki (Preston), gets married, has sex, and gets an annulment. Vicki shows up (present day) to let Dan know that she has to go to jail for two weeks, and that he is the father of twins (Conner Rayburn and Ella Blue Travolta). Yup, it’s got Disney family film written all over it. So Dan and Charlie end up being saddled with the care of the children for two weeks while negotiating the biggest deal in the history of their company.

Since there is little introduction to the children or exploration into true childcare issues, ridiculous scenarios are introduced such as people taking the wrong medication and then dealing with the side effects. Again, a great comedic vehicle for a family film. Even more contrived is Charlie’s soliciting the help of friend and children’s entertainer Jimmy Lunchbox (a wasted Bernie Mac in what would sadly be his last film) who helps turn Dan into a human puppet so that he can better relate to his children.

One cannot help but feel for these actors as they clearly realize they are in a poorly written film and thus try desperately to breathe life into dead scenes. Unfortunately this results in what appears to be some of the worst over-acting seen on screen in years.

The bonus material includes a blooper reel on the Blu-Ray and DVD that is so poorly edited that it is impossible to appreciate, audio commentary, and deleted scenes. The audio commentary is more distracting than anything else, and the deleted scenes deserved to be deleted. The packaging indicated music videos on both the DVD and Blu-Ray, but they did not appear to be on the DVD.

Recommendation: The release of this film was delayed three times: According to Disney, the postponements were due to the death of Bernie Mac, Travolta’s son, and the health issue faced by Williams. The poor quality of the film should have been the reason, and it should have resulted in the project being scrapped long before filming began. There is nothing here worth your time or money. Wait for it to come out on television, which, based on its brief stay in theatres should not be long, and then watch something else.

Hannah Montana - Miley Says Goodbye?

Written by Pirata Hermosa

To coincide with the end of the third season, Disney released the latest Hannah Montana DVD today. As the title suggests, there’s a big question that needs to be answered. Is Miley (Miley Cyrus), really planning on leaving behind her secret life as Hannah Montana and moving back to Tennessee?

Thinking back on her visit to Tennessee, which was the basis for 2009’s feature film, Miley finds herself dreaming about her horse, Blue Jeans. Longing for the country life, she talks her father, Robby (Billy Ray Cyrus) into bringing the horse to California. But Blue Jeans isn’t satisfied at just being left in the stables; he begins following her home, to school, the beach, and just about everywhere she goes. Not knowing what to do about her horse’s wandering ways, she goes back to sleep and once again dreams about Blue Jeans, who helps her realize that she wasn’t just missing the horse, but she’s missing Tennessee. And the only thing to do is to pack up her belongings and move back home.

While she struggles with her decision and how she is going to tell her two best friends, Lilly (Emily Osment) and Oliver (Mitchell Musso), that she’s leaving, her brother Jackson (Jason Earles) is busy struggling with his first apartment and the fact that it’s falling apart. To make things even more complicated, Oliver has been asked to open for the band “Tepid Funk” on their six-month world tour. This means they would both be leaving Lilly totally alone. Feeling guilty, they decide to take her out for a day of fun and adventure, so she’ll have something to remember them by. After a little more soul searching, some advice from her brother, a pinch of wisdom from her father, and a musical montage about friendship, everything works out in the end.

The DVD contains five Season 3 episodes: “You Never Give Me My Money,” “Papa’s Got a Brand New Friend,” “Promma Mia,” “He Could Be the One,” and the two-part season finale, “Miley Says Goodbye?” There is also an alternate ending for “He Could be the One” and two other bonus features.

"Sister Secrets" is a look at the set with behind-the-scenes access to the cast as Miley’s sister, Brandi, interviews them and asks embarrassing questions about one another. This was actually fairly entertaining and a little silly, as it should be.

"Hannah’s Highlights" is reminiscent of watching Pop-Up videos on VH1 where interesting trivia and completely random thoughts are shown on the screen during the episode “You Never Give Me My Money”. If you’re interested in just watching the episode, it’s much better to watch without the comments because they are very distracting.

It’s hard to understand why this season finale is being marketed as it is. Granted, there is a cliffhanger, but it’s not really a good one. Not only has it already been announced that there will be a fourth season, but the suspense only lasts for a week as Part One was shown last Sunday and Part Two is on this Sunday. With the DVD dropping between the two airings, it probably won’t generate any extra purchases.

The season finale is also a little flat as it deviates from the normal formula. It spends way too much time focusing on Miley’s dreams and her talking horse. Normally, Miley would be dragging her friends in to some elaborate scheme that ultimately backfires, but instead all of the humor is left up to Jackson and his new apartment.

The other four episodes on the disc are random selections from throughout the season and don’t really have any common link between them. They are fairly typical episodes and most fans will like them.

FlashForward: Part One, Season One

Written by Hombre Divertido

Its 11:00 a.m. Pacific Standard time, and everyone in the world passes out for exactly two minutes and seventeen seconds, during which, they all have a vision of their lives six months into the future. Once everyone awakens, there are disasters everywhere. Planes, helicopters, cars, and buses, have crashed, patients in surgery have died, swimmers have drowned, chaos reigns. A team of FBI agents in LA are assigned to figure out what happened, how it happened, will it happen again, and can it be prevented. John Q. Public tries to deal with their individual Flash Forwards (Visions). Are they real, and can the future be changed?

During the FBI investigation, videotapes are reviewed. People are seen passing out at banks, grocery stores, malls, and sporting events. One tape reveals a person walking around at a baseball game while everyone else in the world is passed out. Intrigued? Welcome to ABC’s newest science fiction anthology series Flash Forward.

The series premiered on September 24th 2009, and after ten episodes, went on hiatus. With episode eleven scheduled for broadcast on March 18th, ABC released the first ten episodes in a two-disc set on February 23rd. This would appear to be a marketing ploy to allow people who have possibly missed some of the shows to get caught up, but more importantly to draw attention to a series that has been off the air since November. One can certainly wonder how effective this will be since the episodes are available online, and people who are interested in owning the series would wait for a full season release.

Nonetheless, Flash Forward opens with two strong episodes that are sure to draw in the most skeptical and even those who don’t consider themselves science fiction fans. The characters are generally easy to relate to, and the individual stories are told effectively considering the limited time available. The introduction of the mysterious figure at the end of episode one, the discovery of a second person who apparently also was immune to that which caused mankind to blackout, and the delivery of the line “D. Gibbons is a bad man” (Which needs to be on t-shirts) by the young daughter (Lennon Wynn as Charlie Benford) of the lead F.B.I. agent (Joseph Fiennes as Mark Benford) on the case, make for some of the most enthralling writing for television in years.

Unfortunately, when you start that strong, it is hard to sustain the momentum, and the writing does begin to falter, as due some of the performances. Though it has only been ten episodes, there are still too many storylines that have gone nowhere, and though they still may, from a purely investigative perspective it seems illogical that they have not thus far. The introduction of a possible explanation to the unusual event could easily be seen as a huge error in judgment by the writers, as it clearly seemed to suck the energy out of the episode in which it occurred. Certain characters have made choices and taken action that seem obviously inconsistent with that which has been established, and other actors are simply not up to the task of playing the roles in which they have been cast. Sadly, one of the most obvious is Dominic Monaghan, who was so wonderful to watch as Charlie on Lost, but is now miscast as Simon Campos, the arrogant quantum physics genius who claims to have been responsible for the blackouts.

Whether Flash Forward can regain the excitement and mystery established in the first two episodes remains to be seen. That and the answers to many other questions are forthcoming in the next six weeks. Regardless, it would seem that a release of the first ten episodes on DVD with bonus features that include a look ahead as well as an interesting and entertaining, though all too brief, feature on how the series opening scene was created, is going to be somewhat of a hard sell.

Recommendation: Flash Forward has the potential to follow in the successful footsteps of the phenomenon that is Lost. The writing needs to get back on track, allow the characters to be more consistent in their behavior, and some of the performances need to get better. There is certainly enough pure energy and mystery in the first few episodes of the series to make them worth owning, but waiting for the entire first season to be available would seem to be a better choice in these tough economic times.

Lola Montes - The Criterion Collection

Written by Musgo Del Jefe

Criterion may singlehandedly be keeping the idea of Film As Art alive today. The films they release can't appeal to the broad range of people who rent their movies from a box outside of a 7-11. But for those who are willing to put in the time, they can be memorable and rewarding in ways that I usually only get from good literature. Last year, I had the privilege of reviewing their release of a relatively current film, Brand Upon The Brain!. That film was untraditional in its narrative and told a number of stories, rewarding the viewer for repeated viewings with its depth. It was very stylized but the substance was there to be unlocked.

Criterion has now released what is considered a classic of the art/cult film genre, Lola Montès. The film from 1955 is directed by the legendary Max Ophuls. This film is my first opportunity to see one of his films but the German director is legendary for those of us who read about the classic directors. His use of cinematography and long sweeping shots were a definite influence on the works of Kubrick - you can see it almost directly in Barry Lyndon. But while this film was groundbreaking at the time of its release, what is always curious to me know is how will it resonate with audiences 55 years later. We are sophisticated viewers for the most part - and people who are going to pick up a historical film in French by a German director probably have higher expectations of their movie than anybody who pays to see anything with "Squeakquel" in the title.

The movie is told in six parts. Each forms a sort of movement in a symphony. Each part does not necessarily stand alone but they each illustrate the themes of the picture and do form different emotional beats throughout the film. Most of the story will be told through flashbacks - it's an old standard that allows the director to manipulate the story. Dishing out facts at the director's discretion often makes a movie feel forced, which is why the flashback can backfire. Here, it allows a natural progression of themes to illustrate what we see in the beginning and leading into our final scene.

The movie opens in a circus. It's here that we see the glory of all of the director's bag of tricks. It's also the place that I started to worry about the next two hours. The camera tracks back and forth across the members of the circus. There is a cacophony of movement - the camera and characters. It's hard to even know where to focus. That is until the Ringmaster (Peter Ustinov) takes over as our de-facto narrator. He's going to guide us through this early scene and direct us to where we will look in Lola's life during our flashbacks.

A circus is a great symbol for many reasons. For one, it's a little self-contained microcosm. It can represent the world in general with people and animals from all walks of life and geography. Or it can be a simple family. In Lola Montès, the circus is the world that Lola has escaped to from the "real world". But like we'll see in the "real world" - the question will become "Is Lola a prisoner (a trapped and trained animal) or is she really the one in control?" As she descends (as if from the Heavens) for her entrance, she commands the attention of the Ringmaster and the crowd of men. The power of her sex and love is palpable (beautifully portrayed by Martine Carol). That descent is also going to be symbolic of her descent in real life.

After seeing Lola as more of a commodity to the Ringmaster, we are guided to the second movement of her symphony. This is the first of many flashbacks that will be told out of order. Here we see her relationship with Liszt. This scene is Lola at one of her heights. She is at the peak of her talents as an artist - singer, dancer and actress. Dance is her calling and main talent. The colors here are so brilliant - it's amazing to think this is the director's first color film. Baz Luhrmann could only have wished for the colors in Moulin Rouge to be as brilliant or as evocative. Lola's green dress is life in all its glory.

The third movement finds us starting back at the circus - about to reach the halfway point, not at a peek but at one of her deepest valleys. Lola is filmed at such angles to appear a caged animal. The Ringmaster takes us back to her "happy childhood" but his words are juxtaposed by Lola's flashback. The scene with her mother is once again full of movement and disorientation. Lola's mother treats her like a commodity to - an asset to be married off as soon as possible. Their relationship is underscored by the fact that a young Lola is portrayed by the older actress - it shows us that she is still the same scared girl trailing after her mother.

The fourth and fifth sections are where the movie is really made. The symbolism becomes a little heavy handed - she literally bites the hand that feeds her as she escapes her first marriage. As we transition back and forth between the three rings of the circus and their activities and the three ring circus that her life becomes, we get that same dizzy feeling. We see Lola's emergence as a sexual being after leaving her husband - using her sexuality for power in ways that won't be popular in films until almost a decade after this film was released. We also get an insight into her talents as a dancer - "you give your body but you keep your soul" is advice that she gets about her dance but it applies to her sexuality also. The fourth section ends with the Ringmaster promising her money to be in his circus (can she keep her soul if she sells her body for his money?).

The fifth section revolves around her relationship with Ludwig I. It's a wonderful set of scenes that function like a microcosm of the film. Lola and Ludwig have a wonderful seduction of each other through art and dance. But once the King has Lola, he realizes that he can't keep her. This is brilliantly portrayed through a sexually charged painting of her without actually having to show the two of them together. Her power is not one that can be contained. The camera illustrates this with more gorgeous movements and various color schemes.

The last section is the coda to the symphony. The crescendo of the fifth section flows back into the climax in the circus. Lola is literally performing without a net, just as we've seen her the whole movie. Can she survive another fall - in this case, a dive from the high wire. I'll leave the final act to the viewer but once again, Ophuls can't resist taking the viewer by the hand. His final tracking shot lasts a lifetime as he backs further and further away from Lola. It feels like the viewer is being taken off the stage so the curtain can fall on the big top for another day.

So that leaves Musgo to ask the question again - does a 55-year-old movie hold up to today's viewer? In most ways it does. The themes don't mean the same as they did in 1955. The shock of Lola's emerging sexuality is precious but not shocking. In fact, her treatment by men and the Ringmaster is best revisited today as an allegory on how we treat star actresses - not a theme that would have resonated the same way when the film was released. It's hard to do just a multi-layered story justice in a review like this and that's a good sign. Multiple viewings are going to be necessary to put the different sections into the overall context.

The movie is a treasure for those with patience. The acting is flat in spots - but that has to be the direction. It's important that Lola appear to be no more important than a piece of meat or a collection of expensive clothing. As viewers, we're aware that we're watching a movie the whole time - the narration and camerawork call attention to it often. But I compare it to reading a book - every time you turn a page, you realize it's a book but your brain is able to use that time to slow down and let the story expand in your mind. That's what this film does - your brain takes what's on the screen and over time your mind fills in all the missing details. That just doesn't happen with anything described as a "Buddy" movie.

Criterion has done a wonderful restoration. The movie looks tremendous and the extras are just what you'd expect of a cult/art film. The audio commentary by Susan White is like attending a college lecture on the film - very informative. There are multiple features on Max Ophuls that makes me want to explore more films from his career. I hope Criterion finds the right audience for a film like this - someone needs to pick up this torch and continue making films like this.

Hot Wheels Battle Force 5 - Season 1, Volume 1

Written by Fido

First off, this write-up is coming from a 40-year old guy who grew up on 2-D animation as the choice du jour. So, even though I like some 3-D computer animated shows, this one, Hot Wheels: Battle Force 5, just didn’t do it for me in the slightest. Let’s hit onto the obvious stuff before the high and mighty artistic rant to follow.

It’s a show about a team of racing kids (politically cobbled together: Asian kid into martial arts, an English kid into music and partying, a couple of brothers – one panicky and funny-ish and the other a jock, a sassy African-American chick and the team leader, Vert Wheeler, a Southern California-esque teen with a nose for speed and immense amount of hair-styling products) getting pulled into the Multiverse in a battle for Battle Keys – and subsequently the fate of Earth. They race through portals to find all the keys in order to save the Earth from the impending invasion of the Vandals (a far too Masters of the Universe feeling lot, with people bodies and animal heads) and the Sark (yes, the same name as the bad guy from Tron - and yes again, they drive cars that look eerily similar to light cycles). If one or both of those two groups get the keys first, they’ll have the power to open portals and invade Earth – somehow taking it over Battlefield Earth style with only a handful of baddies to handle the whole planet.

Anyhoo – each episode unfolds with the kids getting called into Battle Zones by Sage (yet again, another very Tron-ish looking character who even goes as far to transform into a Bit – and for people who know the movie, you understand) and trying to get the key before the aforementioned bad guys.

So there’s the plot, easy and simple to follow. Great for kids, nothing crazy complicated.

The action sequences, which this whole show is built around, come replete with a shaky-cam effect that is sure to induce some kind of nausea from all age groups and a directorial style similar to the dreaded Transformers movies. It’s a questionable but understandable move (I guess) considering the amount of money they made off of those movies with the same demographic probably watching these. But damn, it still is just aggravating to never get a clear vision of an action sequence. Those quaky camera moves throughout action cuts and jagged storytelling in those same scenes makes what should be the most exciting part of each episode into the most tedious. In fact, to further the Transformers parallel, the cars themselves transform when fighting the beast-headed Vandals and/or the “Space Paranoids”, err, Sark. Sequences are chopped up into barely comprehensible bites all while being way too close to camera to comprehend any kind of scope.

They’ve taken an obviously brash 22-minute advertisement for on-shelf or upcoming Hot Wheels toys (which is fine, no problem with promoting through cartoons, it’s an age-old practice) and made it vastly more obnoxious by transforming it (sorry, had to do it) into an animated version of a Michael Bey film – and, um, that’s not a good thing – at all.

There are limited swipes at humor, some hit, but most miss. The origin story is beyond rushed. Though it may be boring to the audience they’re looking for, showing some kind of training on the cars could’ve been a fun, action-filled, and most of all, character-building episode. More character equals more identifying with the characters or developing feelings about both good and bad guys and that in turn leads to a more devoted following of those same characters. That’s pretty basic stuff, completely thrown away here.

It has interesting enough “cel-look” feel to it, but as far as distinctive looks go, that’s about it. To give you an idea, it’s executed in the vein of the newest version of the animated Spider-Man and has been seen in swipes on several shows. It’s an initially cool look that wears thin once the animation begins to break down into stilted digital shadow puppet-like movement.

The episodes are the standard one-off episodes, all ending well and never really putting the heroes in any sort of peril. And that’s all fine and dandy, it’s expected. But that’s what this cartoon’s major problem is – it’s all very, very expected - in its stories, characters, and above all style.

Stylistic choices in animation based on what people think viewers will like rather than making a choice to make the cartoon stand out now and in the future is what has made so many modern cartoon series fall short. This one is absolutely no exception.

Series like Genndy Tartakovsky’s first Clone Wars (along with the previous and to this day still brilliant Samurai Jack) series went with a style that wasn’t already a safe bet and wound up setting a new pace and in turn a high-water mark for others to follow. Though I totally get why studios are reluctant to do it, they have to look at the fact that when it is done, it’s typically regarded as, at the very least, interesting to watch. That interesting often turns into more stable over time which can translate into long term sales of the attached merchandise (looking at it from Mattel’s point of view).

Unfortunately for series like the current Clone Wars and Hot Wheels: Battle Force 5, they’ve strategically sidestepped having the guts to go out on any creative limb in favor of being as vanilla as possible. And hey, I love me some good vanilla, but we’re talking blue stripe, plain wrap, and flavorless here.

I can appreciate this show/DVD for almost coming out and admitting through its rushed stories and hackneyed ideas that it knows it’s a flash in the pan. But when properties have a healthy wellspring of money behind them, along with some obviously talented people/artists lurking, as this one does, it would be great to see them go crazy and be, I don’t know, artistic about the art of animation.

I’m probably asking too much from a cartoon about a toy car line. It just seems sad that so much talent is wasted on easy bake shows like this. It would be like having Mario Batali and all the ingredients for an amazing meal available right in front of you, but hitting Taco Bell instead because you’re too lazy to walk to the table.

Perhaps the charm came from the sadly dwindling art of 2-D drawings instead of the almost instantly tired 3-D computer animated, do-it-because-we-can shows that get rolled out nowadays.

Writing this, I feel like a bitter jaded old guy accusing all new animation as unworthy. I don’t mean to come across that way, but when you find yourself sighing within five minutes of watching a mere five-episode DVD, something tells me it’s not hitting me in the good spot. It is possible for new cartoons/kids’ show's animation to be promotional in nature, creative, and fun to absorb. I refer back to that original Clone Wars run and Batman: The Brave And The Bold as two modern-day shows that showed (and still do to this day) that good style, original drawings, characters you care about and flat out fun can still be had in an action cartoon.

I feel like I’m bashing this poor show (double entendre there – sweet) to death, but I just can’t see anyone beyond an ADD-stricken kid latching onto this. Even then, it just doesn’t feel like a show built for the test of time. It feels like it’s made for the here and now, which saddens me to a degree or two. When all is said and done, that’s what bums me out about Hot Wheels: Battle Force 5 and many newer cartoons – substance replaced by flash.

Gary Unmarried - The Complete First Season

Written by Pirata Hermosa

Gary Brooks (Jay Mohr) is an average working guy with two kids. He has just recently divorced his wife, Allison (Paula Marshall). It doesn’t take Gary long to bounce back, and being that he is somewhat of a playboy, he immediately has a new girlfriend, Vanessa (Jaime King).

Even though the two are divorced, Gary finds himself having to hide his new girlfriend because he promised to follow the advice of their former marriage counselor, Dr. Krandall (Ed Begley Jr.). And that advice is to not get involved right away in any new relationships as it could adversely affect the children. But Gary’s charade doesn’t last long when he finds out that Allison is not only dating, but her new boyfriend is Dr. Krandall.

While this appears to be just another typical sitcom it actually has its own spin on the genre. Gary and Allison have a fairly amicable divorce and as the season plays out you can see that the reason that the two have separated isn’t because they don’t love one another, but more because of Gary’s inability to mature causing them to grow apart. This also is a downfall of the characters as their new partners will find it difficult to accept such attachment to a former spouse.

The chemistry between the two exes is very strong and the main reason the show works. Even when they are in a heated argument, which is usually based on something stupid Gary does, the love/hate aspect pulls it all together.

There’s also a lot of play on boundaries, and what they are after having once been married to someone. How are in-laws supposed to react towards their former daughter/son-in-law? Is it possible for ex-wife and new girlfriend to be friends? And what about dating your counselor?

The casting of the characters is also very good. While Mohr is best known as a smartass comedian, he does an excellent job of playing the lovable goof. Begley Jr. is also another great casting choice as his quirkiness and strange mannerisms make him fun to watch no matter what he is doing.

There are four Special Features on the DVD.

"The Chemistry of Comedy" -The cast and crew discuss the basic idea of the show, how it works, the chemistry between Gary and Allison, and the writing process of the episodes.

"Planet Begley" - is a look into Ed Begley Jr.’s world of “Green Living.” His fellow cast members comment on his unique living style and the film crew takes a look at his eco-friendly home powered by solar electricity.

"Tuesday on the Set with Jay" - The star takes the fans through a behind-the-scenes tour of the entire set, interspersed with live shooting and clips from the show. The clips are a little distracting as they appear to be missing frames, giving it a choppy appearance.

"Gary Unhinged Bloopers from Season One" - A typical blooper reel that shows Mohr has a hard time remembering the names of his ex-wife and girlfriend. Once again, the clips used are choppy.

In 2009 the show won the People’s Choice Award for Best New Comedy, which is an impressive feat on its own, because it doesn't seem to receive nearly the amount of advertisement as most of the others. If you haven’t had a chance to watch it yet, then I’d suggest getting the first season of Gary Unmarried. You won’t be sorry.

Small Wonder: The Complete First Season

Written by Hombre Divertido

Take an established premise, add in some solid setup/punch writing, family values, a few stories with a message, and put all in the hands of executive producer Howard Leeds, and its no Small Wonder that this show lasted for 96 episodes.

Leeds name, as writer and/or producer, can be found on many classic television shows from the '60s and '70s including The Facts of Life, Diff’rent Strokes, Silver Spoons, The Brady Bunch, and Bewitched. The premise for Small Wonder is not unlike Bewitched, in that someone is living in a house with a family, they are not as they appear, and there are nosey neighbors constantly causing problems. In Small Wonder it is a robot instead of a witch, and Vicki (Tiffany Brissette), whose name comes from Voice Input Child Identicant, is a little girl. The family atmosphere and relationship between the parents has a strong Brady Bunch feel to it, obviously influenced by Leeds who produced 34 episodes of that classic show.

Families flocked to this syndicated show in September of 1985 when United Robotronics engineer Ted Lawson (Dick Christie) first brought Vicki, his secret project, home to his wife Joan (Marla Pennington) and wise-cracking son Jamie (Jerry Supiran). Ted wanted to work out the kinks while she acclimated to a normal environment. As Vicki took things literally, repeated phrases like a parrot, and mugged to the camera, the laugh tracks rolled.

Small Wonder gleaned its success from doing one thing right from top to bottom: they kept it simple. Simplicity in premise, stories, special effects, sets, etc. It even has a catchy theme song. The writing for the show is comedy writing at it’s most basic. Every fifth to seventh line of dialog is a punch line, and in many cases it appears that the story was written around the jokes. Nonetheless, there were enough jokes and sight gags to keep children laughing, and enough story to keep parents interested or at least distracted.

The performances work well because it is clear that the cast knows exactly what it is doing and is not taking it too seriously. Brissette does a wonderful job with her role, and considering the challenges and restrictions, excels in her performance. The rest of the cast does well, especially Supiran who displays solid comic timing for someone so young. Emily Schulman is adequately annoying as Harriet the little girl next door, but the writers don’t make her inquisitive enough in season one, and thus she is not antagonistic. Edie McClurg makes a few appearances as Harriet’s mom, and it is hard to go wrong anytime the veteran character actress hits the screen.

Shout Factory sends all 24 episodes of the first season to the shelves in a well-packaged four-disc set. Bonus material includes Original Episode Promos, Fan Art Gallery that appears to be pictures fans sent in, and commentary on certain episodes from Leeds and the cast. The commentary is entertaining, but would have been more enjoyable in a cast reunion than on a track under the episode dialog.

Recommendation: Small Wonder is for the young. If you enjoyed it in 1985, you may like an episode or two, but it will probably be too simple for you in 2010. If you have never seen the show, parents could find far worse programming to share with their children. No Emmy awards here, just simple television for the certain families.

The Waltons: Movie Collection

Written by Hombre Divertido

On January 26th Warner Home Video released The Waltons: Movie Collection. The collection consists of six made-for-TV movies that span the life of this classic family television from 1947 to 1969. Though these movies are generally considered “reunion” films, the differences between the first three and final three are significant.

The set opens with A Wedding on Walton’s Mountain which aired on February 22nd, 1982, just a little over seven months after the final episode of the series, and unfortunately picks up where the series left off in 1947. Sans Michael Learned (Olivia) and Richard Thomas (John-Boy), the story revolves around the impending nuptials of Erin (Mary Beth McDonough) to Paul Northridge (Morgan Stevens channeling a young Michael Biehn) and how the return of Erin’s former love interest Ashley Longworth Jr. (Louis Welch takes over for Jonathan Frakes and over plays the confidence and smugness of the character) stirs things up. Unfortunately the Erin love triangle is not enough to carry the film, and thus there are numerous sub-plots, all of which are poorly written.

The Waltons was cancelled after nine seasons due to the lack of quality that it had established early in its run. The cast of children had grown, but their acting abilities were still raw, and they were simply not up to the task of carrying the series that now rested on their shoulders in the absence of the talented Thomas and Learned who had been a source of stability in the series. Ralph Waite (John) is a fine actor, but he had been relegated to the role of family advisor by the time the series ended. The writers had simply run out of ideas and the stories had become trite. To produce a movie so soon after the cancellation served no purpose other than to confirm the decision to end the series run.

Despite the poor quality of A Wedding, fans looking for a true reunion tuned in, and CBS followed it with Mother's Day on Walton's Mountain three months later, and a Thanksgiving outing on November 22nd titled A Day of Thanks on Walton’s Mountain. Like A Wedding the two films were still set in 1947, and continued with the same cast though Michael Learned makes an all-too-brief appearance in the Mother's Day-themed film considering the title. John-Boy does appear in Day of Thanks but Robert Wightman, who was never able to capture the subtle intelligence, creativity, and vulnerability that Richard Thomas brought to the role, portrays him.

Both the Mother's Day- and Thanksgiving-themed films are over-written, over-acted, and tend to focus on one-dimensional characters such as Erin’s and Mary Ellen’s (Judy Norton) significant others Paul Northridge and Joensey portrayed awkwardly by Richard Gilliland who seems a bit confused by the character's motivation, but it may have been the writing and direction more than the limited ability of the actor that made the character so difficult to appreciate. The Mother's Day episode specifically focuses on the exploits of the now trampy Aimee Godsey (DeAnna Robbins takes over for Rachel Longaker) and Ike and Corabeth’s (Joe Conley and Ronnie Claire Edwards) befuddlement with how to handle her. Ultimately the storyline only reconfirms the fact that the Ike character was far more enjoyable when he was single then after he married the cartoon that is Corabeth.

Eleven years after Day of Thanks aired, CBS gave fans what they had been waiting for when A Walton's Thanksgiving Reunion aired on November 21st, 1993. The entire original cast is reunited in this film with the exception of the beloved Will Geer (Grandpa) who had passed away. Richard Thomas was back as John-Boy and even Rachel Longaker returned as Aimee Godsey. Though it had only been eleven years since the last movie, we find our favorite family in the early sixties dealing with the assassination of JFK. John-Boy comes home from New York with his girlfriend (Kate McNeil), John and Olivia are planning for a new house, and as it had been throughout the series and in each of the movies, there were problems at the mill.

Though it was pleasant to see the cast together again in Thanksgiving Reunion, writers Rod Peterson and Claire Whitaker, who had written several episodes of the series, seem to care very little about what had been established in previous films. There is no mention of Olivia’s illness or return home. Mary-Ellen has additional children even though doing so was established as life threatening to both her and the infants in a previous film. Her son John-Curtis is absent from the film without explanation, as is Ben and Cindy’s son Charlie. Other absences are explained such as Mary-Ellen’s husband Joensey is apparently in Africa working with animals, and Erin is divorced due to infidelity on the part of Paul. Though there are inconsistencies in the storytelling, and the plotlines tend to be superficial, “A Walton's Thanksgiving Reunion” does manage to allow the audience to see what had become of the characters they loved.

That would have been a fine place to end the story of the Waltons, but CBS followed it with “A Walton Wedding” on February 12th 1995. The original cast is once again reunited and the story generally picks up where Thanksgiving Reunion left off. John-Boy is back in New York, but he is frustrated with the wedding plans being made by Janet’s aunt Flo played by Holland Taylor in a somewhat comedically subdued performance compared to characters she would become known for. John-Boy heads home to complete a story he is writing on his Grandmother. Ellen Corby gives an amazing performance as Grandma and shows tremendous range considering her limitations due to a stroke. Once again it is the writing (Peterson and Whitaker) that lets the cast down. The story regarding a skeleton in Grandma's closet proves amazingly anti-climactic, and a plotline regarding Olivia going back to school goes nowhere.

A Walton Easter came along March 31, 1997, and once again the writing (Julie Sayers) seems hypocritical, as the story has nothing to do with Easter. The holiday is an afterthought as a scene with the cast attending church services at the end of the film seems almost throw in. The story takes place in 1969 as John-Boy covers the moon landing at the news station he works for, and the family gathers for the fortieth anniversary of John and Olivia. Apparently Sayers had failed to do her homework since John and Olivia had celebrated their 25th anniversary in episode 19 of season six of the series, which was set in 1940. Though the storyline revolving around the relationship between Elizabeth (Kami Cotler) and Drew (Tony Becker), which had been running throughout the films, comes to a pleasant conclusion, other sub-plots in Easter such as a new business venture for John, Ben, and Drew; and the Baldwin sisters (Helen Kleeb and Mary Jackson) leaving the recipe to John go nowhere.

Ultimately these films add little to the Waltons legacy. The best analogy can be found in A Walton Easter: the character of Aurora Jameson (Sydney Walsh), a reporter from the big city who comes to Walton Mountain with John-Boy and his expecting wife to do an article on John-Boy and his soon-to-be-released book. The character has great potential as not only a classic fish out of water, but also a potential love interest for Jim-Bob. Ultimately nothing is done with the character and the audience is left to wonder; what was the point?

The three disc release contains no bonus material which only adds to the disappointment.

Recommendation: Watching any of the final three movies will give you an idea of how the characters you came to love have grown up and developed. That is all to be gained here. Though any time you get the opportunity to hear the narration of Earl Hamner, it will remind you of this classic series filled with great family values illustrated through excellent storytelling; it is only the narration that will serve as a reminder of quality storytelling here. This is only for the true fans who need to complete their collections.This is only for the true fans who need to complete their collections.

I Heart Jonas

Written by Pirata Hermosa

The newest DVD release from the popular Disney television series JONAS starring the three Jonas brothers (Kevin, Nick and Joe) hits stores with a Valentine’s Day theme and your very own Jonas Brothers magnets. In a red box with a giant heart on it and even a name tag for gifting, it’s obvious who it’s marketed towards. And of course, all seven episodes are of the romantic nature, mostly dealing with the relationship between Joe and Stella (Chelsea Staub).

"Fashion Victim" - When Stella gets asked out by Van Dyke (Chuck Hittinger), the school’s quarterback, Joe finds himself trying to suppress his jealousy. But when he “accidentally on purpose” ruins the band’s outfits Stella picked out for them to wear when they meet the Prime Minister of England and ends up ruining her date, she decides to get even.

"Love Sick" - Stella begins to think that Joe doesn’t like her anymore when he ends up canceling on her several times in a row. To prove they are still friends, he asks her to the school basketball game and ends up getting sick. Instead of staying home so he will be able to sing on Great Morning USA the next morning, he goes to the game and makes himself even sicker. Meanwhile Macy (Nicole Anderson) tries to prove that her obsession with JONAS is over, but ends up dating a guy whom she forces to dress and act like Nick.

"Three Musketeers" - Kevin, Nick, and Joe think it’s a great idea to try out for the school play. They get the parts because of their name and ability to sell tickets. But when Joe hits the stage he finds that he has terrible stagefright and quits. His brothers are a little disappointed, but Van Dyke takes the place of the third musketeer and gets to do the love scene with Stella. Joe becomes jealous and must find a way to stop the kiss in the final scene. While the others deal with the play, Macy has her own problems. She’s lost her lucky necklace and along with that her athletic ability. To cheer her up and help her overcome her problem, Kevin loans her his lucky boot.

"Karaoke Surprise" - It’s the 15-year anniversary from when the brothers met Stella. And to celebrate this event, they plan to throw her a surprise Karaoke party. But it’s harder than they thought to keep a secret from Stella. She becomes suspicious and jealous when she keeps catching Macy and Joe sneaking around and avoiding her.

"Frantic Romantic" - After a night out at the VIP club, Joe suddenly finds pictures of him and his new girlfriend, Fiona Sky (Sara Paxton), splashed across the tabloids. The only problem is that he has no idea who she is. When she arrives at his school, he finds that she’s a B-rated horror-film actress who is selling the story to the magazines in order to forward her career. They try several ideas to get rid of her and even try to make Joe look uncool, even though everyone knows that’s impossible. Finally it’s the number one JONAS fan, Macy, to the rescue as she takes pictures of Joe and Stella linking them together romantically on her website.

"Forgetting Stella’s Birthday" - It’s not every day that Robert Lincoln Coler picks your band to interview. His reviews can make or break a band. So while the brothers spend all their time preparing for the interview, they forget something even more important. They forget Stella’s birthday. She is completely devastated that they forgot about her, and when the boys realize they messed up they try to make it up to her.

"Double Date" - Once again, Van Dyke asks Stella out on a date. Thinking how Joe might feel, she politely turns him down. When Joe realizes why she turned him down, he tells her that she should go out with Van Dyke and not to let him stand in her way. This angers her and she accepts Van Dyke’s invitation. This leaves only one option left for Joe. He shows up at the restaurant with Macy in tow and pretends to be out on a date with her. Back at the firehouse, Kevin is trying to get Nick to bake him some more of his delicious Blue Chews cookies that he has become addicted to. Nick decides to teach him a lesson and cooks hundreds of cookies sending Kevin into a massive sugar high.

The DVD has only one special feature entitled "You’ve Been Jo Bro’d! - Surprising Jordin Sparks." Much like the prank they pulled on Chelsea Staub on the first DVD, this time they pull a prank on former American Idol winner Jordin Sparks. The basic joke is that the four of them are doing a live interview with a DJ who has no idea who they are and is asking totally bizarre questions. It is more entertaining than the first joke they pulled, but just as you start to get into it, they keep breaking up the interview with the brothers explaining what is about to come. Once again their prank attempt comes off flat. They really need to dump this feature on the next release.

While I Heart Jonas is still quite entertaining and filled with the silly humor and slapstick comedy that makes the show, the constant viewing of the Joe/Stella relationship starts to get a little old. Watching them constantly pine for one another, admit that they have feelings, and then refusing to act on them becomes quite frustrating. During the original airing the episodes were spaced further apart and it had a much better flow.