THE FOOD OF THE GODS

Written by Tío Esqueleto

Writer, director, producer, and special effects artist, Bert I. Gordon got his start in the early, black and white days of American International Pictures. Helming such 1950s B-classics as Earth vs. The Spider and Attack Of The Puppet People, Gordon’s (“Mr. Big” as he became known) best known early works for A.I.P. were his Colossal Man pictures, The Amazing Colossal Man (1957), and War of the Colossal Beast (1958). In 1976, after 20 years of other projects for other people, Gordon returned to A.I.P., in color (yellow credits and all!) with The Food of the Gods, the first of two H.G. Wells adaptations (Empire Of The Ants would come out a year later) that would go on to be drive-in/late night TV staples. The Food of the Gods is a nature-gone-amuck tale where, once again, man’s meddling with nature has swung around to bite him in the ass, this time, with teeth, tails, beaks, and stingers.

On a remote island in Canada, Morgan (Marjoe Gortner), a football player, along with his agent, Brian (Jon Cypher), and his teammate, Davis, go hunting on horseback. Davis ends up ahead of the pack where he is ambushed by giant, two-foot wasps. When they finally catch up to him, Davis is dead, stung to death, his face swollen and unrecognizable.

Morgan rides on for help, where he happens upon the remote farmhouse of a religious fanatic named Mrs. Skinner (Ida Lupino). While snooping in the barn, Morgan finds himself in a bloody battle with a menacing, eight-foot rooster that he eventually brings down with a pitchfork. A bewildered Morgan learns that Mrs. Skinner has been feeding her chickens a watery, oatmeal-like goo she found oozing from a hill in the yard. She declares it a gift from the Lord, an “answer to our prayers,” a means to get rich. Think Beverly Hillbillies meets The Twilight Zone. She collects it in mason jars, and has affectionately labeled it F.O.T.G. Morgan warns her that whatever it is, it is more than likely responsible for the bizarre stinging death of his friend, and vows he’ll be back to the island to get to the bottom of it. He rides off, ending the first act, setting us up for the rest of the picture.

Morgan and a reluctant Brian return to the island determined to get to the bottom of their friend’s mysterious death. They arrive at the Skinner farm just in time to save Bensington, a greedy businessman, who had come to make the Skinners an offer on the ooze. The same giant wasps that killed Davis are attacking him. Also with Bensington (played by television staple of the time, Ralph Meeker) is his assistant Lorna (Pamela Franklin), a bright young scientist who quickly realizes the ooze’s negative effects clearly outweigh any positives. While inside, we learn that we can add worms and rats to the list of contaminated critters that’ve gotten into the "Food of the Gods." Lots and lots of rats!

Also on the island are young lovers, Tom and Rita, who were enjoying a camping trip until their camper got stuck and broke an axel. Rita (played by Joe Dante staple, Belinda Balaski) is at least nine months pregnant, leading one to wonder why she was ever on such a trip in the first place. Teams of giant, bloodthirsty rats eventually overrun their camper. They are forced to make a run for it, eventually ending up at the Skinner farm, with Rita about to pop.

So, we have the football star and his agent, the greedy businessman and his sensible scientist assistant, the god-fearing recluse, and the pregnant couple about to go into labor, all held up in a farmhouse in the woods, about to get overrun by legions of six foot rats. Now that’s a damn fine and fun set up for an exploitation film of the highest lowest quality! I won’t tell you how it ends up, who lives and who dies, but something tells me you can probably figure it out.

The Food of the Gods is too often summed up as a bad, cheesy, movie, but it’s not. The Oscar-winner Crash (2004) is a bad, cheesy, movie. The Food of the Gods is a good, B-movie, which knowingly embraces the aforementioned knocks with its tongue placed firmly and lovingly in its cheek for all to see. Nobody was out to win an award or leave a mark in cinematic history. They were out to entertain, to freak out, possibly jump start a career or two, and first and foremost, to sell tickets to 200-plus cars filled with two to seven teenagers and young adults each, at sold out drive-in theatres across America. At a budget of about thirteen bucks, the returns were astronomical and that was the point.

All cheapness aside, the special effects are really quite impressive, contrary to what other reviewers may say. Gordon and his assistant, a young Rick Baker, created them. They are a combination of live animal, matte, effects, and forced perspective, as well as Baker’s albeit early, but still highly effective, puppets and latex. Good stuff. Clearly not a special effect, are the deaths of the live action rats. Whether shot at close range with .22 caliber bullets, or drowned, or electrocuted, many animals (just rats really) were harmed or killed during the making of this motion picture. Not so good stuff.

As with most of MGM’s Midnight Movies, The Food of the Gods comes with no special features. It contains an original mono mix, as well as a stereo mix, and is presented in its original 1.85:1 aspect ratio. No trailers, no extras, just a really good transfer of a really great “bad” movie. Enjoy!!

Glen Campbell: Good Times Again

Written by Fantasma el Rey

Glen Campbell: Good Times Again is seventy-five minutes of key performances from the Glen Campbell Good Time Hour, which ran on CBS from 1969 to 1972. The show spotlighted many top talents of the day and crossed all categories of music to deliver good time music to the masses.

Campbell started as a highly respected session guitarist, playing on many hit songs and for many well-known musicians and vocalists. Various artists sought his skills for their albums, ranging from Frank Sinatra and Merle Haggard to The Righteous Brothers and The Beach Boys. Campbell could play it all and did, showing off his talents every week playing with different people.

Campbell sings and plays his way through a number of his own top tunes as well on this musical trip down his memory lane. We get to hear his “Wichita Lineman,” “Galveston,” “True Grit” and “Gentle On My Mind.” He also sings a song that hits hard for many folks, the wonderful packing up and leaving of “By The Time I Get To Phoenix.” It is a song that has always moved me with its story of a man finally leaving his girlfriend after many attempts. While away on the road, he ponders what her day must be like, getting ready for work, trying to call him at home, and then finally going to bed at night thinking that this may well be the real thing.

The DVD is packed full of music and current commentary by Glen on what he thought about the person he was performing with. Linda Ronstadt, Bobbie Gentry, Anne Murray, and Cher represent the women that Glen could so easily duet with on tunes such as “Carolina In My Mind” (Ronstadt), “Let It Be Me” (Gentry), and two songs by the legendary Bob Dylan, “All I Really Want To Do” (Cher) and “Don’t Think Twice, It’s All Right” (Murray). “Don’t Think Twice” is an awesome example of how Glen, with some help, can turn a song into his own. Campbell’s work with Bobbie Gentry spawned a few albums and from the first line sung it’s easy to hear why. His sweet high pitched pining plays perfectly off of her solid lower range country girl voice.

On the other good foot we have Campbell picking fantastically along side musical icons the likes of Ray Charles, Willie Nelson, Johnny Cash, and Rick Nelson. It’s cool to see him get down and perform solid country tunes with Cash (“Folsom Prison Blues”) and Nelson (“Hello Walls”). It is also very nice to see him with Brother Ray on “Cryin’ Time,” another solid country sender. Campbell proves once again that he can cover all bases by playing with the younger Rick Nelson as they jam through “Louisiana Man,” simply great. Rick is one of my all-time favorites and this appearance is during his country-rock years, pushing forward and breaking away from his teen rocker image.

Campbell’s show had a tendency to lean towards the lighthearted side of life, many of his performances on the show where done in comical fashion. Such as him singing as a dump truck of flowers rains down upon him or in some good skits with the Smother Brothers. Some of the tunes have that “AM Gold” feel to them; soft, breezy, light sounds of the day. B.J. Thomas’ “Raindrops Keep Falling On My Head” is a good example.

Also on the DVD is an additional 15 minutes of interviews with Campbell giving more of his thoughts on the folks that he had on his show. Telling stories of how these friendships came to be and why they are so important. He has many stories to tell, like how he got the role in True Grit through John Wayne’s daughter’s love for his television show and how time passed and he saw Willie Nelson when his hair was long and he had become the outlaw we know him as today.

Glen Campbell: Good Times Again is a fun look back at a moment in the man’s career when he was on top of the world and on the cutting edge of breaking down musical dividers. Worth the time and viewing for those who may have missed the special when it was aired on PBS sometime in September.

John Fogerty: Revival

Written by El Conquistadorko

Back in the 1960s, John Fogerty and his band Creedence Clearwater Revival churned out an incredible series of swampy blues and folk songs so convincingly rootsy that a lot of people still think the band hailed from somewhere in the deep south. Of course, the band was actually part of San Francisco’s psychedelic rock movement and none of its members had even been south of the Mason Dixon Line when they got famous. But what made Creedence truly genius was John Fogerty’s epic lyrics. In anthems like “Effigy,” “Bad Moon Rising,” “Fortunate Son,” and “Who’ll Stop the Rain?” — Fogerty captured the turbulence sweeping America without once singing the words “Vietnam,” “Richard Nixon,” or “flower power.”

Oh what a difference four decades makes. Now, 40 years after the Summer of Love, Fogerty has released his best solo album to date, a straight-forward collection of electric blues and rockabilly-inspired tunes that sounds a lot like Creedence in its heyday. A lot of Revival sounds like pure nostalgia. “Lookin’ out across this town/ kinda makes me wonder how/ all the things that made us great/ got left so far behind,” Fogerty sings in “Gunslinger.” A few songs later, in a song called — groan — “Summer of Love,” Fogerty seems to be trying to say something important about the decade that shook the world, but it’s not clear what. “It was the Summer of Love/ so many people on the move/ flower children lookin’ for the truth/ will they find it or just excuse.”

Huh? Just excuse what? Fogerty never really explains, and instead moves on to more current events in songs like “Long Dark Night.” “Georgie’s in the jungle/ knockin’ on the door/ come to get your children/ wants to have a war.” The rest of the song references Hurricane Katrina — “Brownie’s in the outhouse/ Katrina’s on the line/ Gulf is a disaster/ but Georgie says its fine” — and rips on Bush’s cabinet — “Rummie’s in the kitchen/ messin’ with the pans/ Dickie’s in the back/ stealin’ everything he can.”

Things don’t get a whole lot better on “I Can’t Take it No More,” the album’s closing track. “You know you lied about the casualties/ you know you lied about the WMDs/ you know you lied about the detainees/ all over this world,” Fogerty wails. “Your daddy wrote a check and there you are/ another Fortunate Son.”

It’s hard to disagree with Fogerty’s politics and the music’s pretty damn good, but what America needs now are artists like Fogerty was 40 years ago, folks who can write a good tune and come up with lyrics that reflect the crazy shit that’s happening today, instead of trying to be cute and sounding like an intern at MoveOn.org.

The closest he comes to doing this is on “Don’t You Wish it Was True,” the album’s first song. “I dreamed I walked in Heaven/ just the other night/ there was so much beauty/ so much light/ don’t you wish it was true.” Yes, we do. We just wish the rest of Revival was more like this, and less like John Fogerty trying so hard to be like John Fogerty.

WITCHFINDER GENERAL

Written by Fantasma el Rey

For Vincent Price’s 75th role we see him as Matthew Hopkins in 1968’s Witchfinder General, directed by Michael Reeves and based on the historical novel by Ronald Bassett. It is a tale of horror in the sense that for the most part these events did take place and people like Hopkins did exist.

Hopkins roams the countryside in Cromwell-era England searching for witches and doing God’s work by condemning them to death after torturing them into confessions of guilt. In reality these women and men (mostly young women) are innocent and a confession can be a murmur just before they pass out from blood loss. The accused are brought before Hopkins after he’s been paid by the town folk to basically exterminate the people that they find annoying or troublesome. After Hopkins enjoys carnal pleasures with the accused young women, they are tortured, mostly by Hopkins assistant, who likes to watch and hear their screams, and then hung. Amidst the chaos of civil war, Hopkins slips under the radar of the authorities and plays off the fears and religious beliefs of the common man to mask his sadist fetishes.

Hopkins’ reign of terror begins to unravel after he tortures and abuses a young woman whose soldier husband vows to avenge his wife’s honor. From there, we have scenes of Hopkins in various towns and villages doing his best to rid the world of the “foul ungodliness in women kind.” Now that along with the whole torture/sex thing says to me that Hopkins had a bad run with women throughout his life. Maybe his mother abused him or he is a bastard son of many possible men. Perhaps his wife left him or became the town doorknob. Who knows such things? All I know is that we have a wonderful vehicle for Vincent Price to prove once more that he is the greatest ghoul, well maybe second or third, or tied for first with Lugosi and Karloff.

The last ten minutes or so is where this cult classic is best. Throughout we get to see torture, hangings, and chicks being burned alive, but here in the final moments we get to see the end of a madman and the creation of two more. Unlike the historical Matthew Hopkins, who passed peacefully in his own bed, our ghoulish hero dies beautifully at the end of an ax, hacked to pieces by the soldier.

In the soldier’s pursuit, he loses himself and goes insane with revenge while his wife goes bananas after the whole ordeal of lies, torture, and death. The film closes with her screams of insanity ringing in our ears like the bells of a grand cathedral ringing though out the countryside.

This low-budget English classic was also released in the U.S. as Edger Allen Poe’s The Conqueror Worm but has nothing to with the Poe poem. Figuring that American audiences would be more willing to see a Poe adaptation than some British flick an additional intro was added to the film, some voice work by Price reading Poe I imagine, and that was it. Whatever you call it though it is a fun movie to watch and as a DVD extra there is a half hour look at the film, "Witchfinder General: Michael Reeves Horror Classic," which is insightful and just as entertaining.

Witchfinder General isn’t the greatest horror/thriller there is, but with the days getting shorter and the nights becoming longer it’s a good film for those late nights when the moon is shining bright and your groovy ghoulie girly is in your arms. Remember, ghoulies, it’s only make believe…or is it?

THE TV SET

Written by Musgo Del Jefe

For full disclosure, I have to say that when I initially heard the title, The TV Set, I thought (and hoped) that I might be getting something along the lines of the brilliant, The Groove Tube (1974). Just as The Groove Tube used short sketches, interspersed with commercials to satirize TV and the popular culture of the day, I thought maybe I'd get a cutting edge comic piece similar to that. And then the opening credits rolled.

As the title card announced, this is "the story of a pilot." Considering that our lead character Mike (David Duchovny) has a pregnant wife (Justine Bateman), this movie could've been about the "birth" of a TV show. But that potential subplot along with many others gets held at arms length as the movie progresses. That may be part of the problem with this film. It's not the sum of its parts.

At its heart, this is the story of Mike, a writer, trying to get his dream project produced and on the network schedule. The writer and director, Jake Kasdan, was a writer on one of the more brilliant shows of the past decade, Freaks and Geeks, a show ultimately cancelled despite critical acclaim. His insider knowledge of the workings of the industry can either help the arc of the film or really bog it down. How will Mike maintain his vision? Will he have to change along the way?

We start at the final casting call for the lead actor and actress of the show. Mike wants TJ Goldman (get it - Gold / Man) as his lead character Rob. TJ has a "cutting edge" beard just like Mike. Zach Harper (Fran Kranz) isn't given a chance by Mike. But Zach is given the part by the Network President (Sigourney Weaver) because of his emotion. TJ is all surface, no emotion. The scene with both actors performing the same scene is not played for the full humor - the network execs do overreact to Zach's performance but differences could've been exaggerated more and then it wouldn't have to be explained to us in the next scene.

Once Zach is cast as Rob and Laurel (Lindsay Sloane) is cast as Amanda, we have our premise set and the movie feels like it can officially begin at 16 minutes in. I like the potential of the filming of a TV show within a movie. You have so many items to play off of each other, thematically. You have the plot of the show, The Wexler Chronicles (lawyer returns home after his brother's suicide and falls in love), you have the interaction of the same actors outside of the TV show (each character playing two roles essentially), and the interactions happening around the people making the show. It's ripe for comedy and most recently it was done for a movie within a movie in For Your Consideration. Once the filming starts here, it's hard not to compare the two films. Sixteen minutes in and just as we start to shoot the show, the network wants to change the premise. They don't want the brother to commit suicide. And this starts the ultimate question of the film - where do you "hold your ground" on your dream?

Act 2 starts as the filming of the pilot episode begins. Much like For Your Consideration, the interior show (here The Wexler Chronicles and there Home For Purim) isn't very good but the actors take it seriously. That's always the key for humor and these scenes are absurd and humorous. As the actors in the pilot fall in love, it looks like we have a budding romance between the same actors outside of the show. The dichotomy of these scenes is clever but not well fleshed out. Zach is a hard character to read. This "emotional" character at the beginning seemed full of youthful pep and enthusiasm. Once the show starts filming, he seems to turn inexplicably manipulative and self obsessed.

By Act 3, we're getting closer to the "birth" of the show. Mike's back problems are getting worse from the stress and his wife is getting closer to giving birth (she's eight months pregnant as the testing process approaches). We've also got a subplot of the Head of Primetime Programming, Richard McAlister (Ioan Gruffudd aka Mr. Fantastic). He is from England and is really pushing Mike's vision of The Wexler Chronicles. He is also having marriage problems and his wife is threatening to take their child and move back to the U.K. This drama keeps popping up out of nowhere every 15 minutes and taking away from the core story. It really feels forced and like padding to the story. The drama of losing a wife and kids is too heavy on the scale next to making a TV show and really does a disservice to this film.

Ultimately, Mike realizes that this show, like life isn't always how your original vision started "but you make it work." That's a great theme. Much like Home For Purim is changed in For Your Consideration, so The Wexler Chronicles is changed to Call Me Crazy along with other changes. Call me crazy but there's a lot of potential here. If the story concentrated more on Mike and his wife and the actors in the TV show and less on Richard and the comedic subplots of Lenny (Weaver's character), that lesson, "but you make it work," would carry some weight. Richard gives an impassioned speech about returning to "scripted stories" and a "smart show." This movie, like The Wexler Chronicles has a vision. It has good writing, great acting, and some truly funny scenes. However when it's all over you don't come away from the film feeling that it worked.

The film does leave you laughing. The two funniest scenes show that Jake Kasdan should be making the next The Groove Tube and they're buried at the end of the film. The first is the Promo Reel for Call Me Crazy that combines every TV cliché that NBC has ever put into a trailer for one of their new shows (and this one includes fart jokes too!). The second is a scene from the network's other success, a reality show called Slut Wars hosted by Seth Green. Trust me, there's a movie that really satirizes TV that's ripe to be made.

DVD EXTRAS. Double commentaries highlight the DVD release. Most interesting of the two is Jake Kasdan and Freaks and Geeks executive producer, Judd Apatow, talking about the genesis of this movie and other anecdotes about the TV industry. If only this movie had tied up all it's lose themes the way an episode of Freaks and Geeks was able to in 60 minutes. I'm afraid they were taking Lenny's advice - "Original scares me a little. You don't want to be too original."

The Lost World (Special Edition) - 1960 & 1925 versions

Written by Hombre Divertido

Irwin Allen’s 1960 production of Sir Arthur Conan Doyle’s The Lost World is not the prize in this package. Mr. Allen’s production is actually outdone by the 1925 silent version directed by Harry Hoyt that is included in this two-disc set.

Though it can be challenging to watch a silent film, and with the music in this one being so heavy-handed, it does become distracting, but if you can appreciate what was accomplished over eighty years ago, you can’t help but find this effort endearing.

It is in the story and character development where it surpasses the efforts of the 1960 version. The actors of the silent era were far more expressive and relied on more action and depth of story to entertain and enthrall their audiences. This production also contains special effects that were groundbreaking (Pun intended.) for their time.

Unfortunately the same could not be said for the special effects in the 1960 endeavor. The Lost World, which had lost the race to the theatre by six months to Journey to the Center of the Earth, utilized virtually the same type of special effects to display its prehistoric creatures.

The 1960 outing is also quite formulaic in its storytelling and the characters are one-dimensional. Jill St. John as the heroine gives an amazingly trite performance, and Fernando Lamas and Jay Novello, though talented, should clearly be wearing red shirts. The rest of the cast including David Hedison, Michael Rennie, and the legendary Claude Raines give adequate performances, but Professor Challenger as portrayed by Raines does not seem as out of control as when portrayed by Wallace Beery in 1925.

The extras here are interesting. The deleted scenes from the 1925 version contain only shots of the creatures. The story of how this film was reassembled is quite interesting. Lots of photos and marketing material from the 1960 version including the original trailer, and a page-by-page layout of the comic book rendition of the film.

Recommendation: Though the 1960 version may be too simple for some, and the silent-era version just too taxing for someone looking for brain candy, together they do make for an interesting few hours. It allows for a history lesson on how cinematic storytelling has changed, for better or worse. Good family fare for a rainy day.

Two and a Half Men - The Complete First Season

Written by Musgo Del Jefe

First, let's tap the brakes a little on what makes a successful comedy. Two and a Half Men is currently celebrating the start of its Fifth Season and the start of what will be a very profitable syndication run. But let's not confuse this with Seinfeld or M*A*S*H. Two and a Half Men is not a failure, it can rightly say that it's been the top-rated comedy the past couple years. Arrested Development could never come close to the numbers that this show draws. A typical summer repeat of the show draws almost 11 million viewers, making it a Top-Ten show in repeats! What draws everyone?

This isn't the type of show that needs to be deconstructed or have the subtleties pointed out. Like many succesful sit-coms, the premise is easily summed up. In most cases (Three's Company or Gilligan's Island for example) the premise can be summarized in the theme song or opening credits. The outline for this show is so simple they don't even bother because it's summed up in the title. Heavy-drinking, sexually active, jingle-writing musician, Charlie (Charlie Sheen) lives in his beach house in Malibu. His exactly opposite brother, Alan (Jon Cryer) is thrown out by his wife and comes to live with Charlie, bringing his 10-year-old son, Jake (Angus T. Jones) with him.

In the first few minutes of the "Pilot", we're already reminded of a slew of other sit-coms. The Odd Couple with an additional kid comes to mind first. Second, I couldn't help but notice that the apartment appears to be a slightly updated version of Laverne & Shirley's apartment from when they moved to California. And the laugh track. The laugh track is overwhelming. I guess the traditional sit-com has become the non-traditional with shows like Scrubs, The Office and 30 Rock gaining popularity. The laugh track here is painful and really takes away from most of the funny sarcasm.

The cast is filled out with Rose (Melanie Lynskey - Heavenly Creatures) as Charlie's stalker neighbor. Her role is like that of other wacky neighbors including Lenny & Squiggy and Kramer that make comedically timed entrances. Judith (Marin Hinkle) is Alan's ex-wife that may or may not be a lesbian, leading to the potential of gay humor every time she's in a scene (Will & Grace). Evelyn Harper (Holland Taylor) is the boy's mother and Jake's grandmother. These are the show's ingredients: ultra male, feminine male, cute-but-troublemaker boy, stalker/funny neighbor, gay/not gay ex-wife, and domineering mother. These ingredients can be mixed and matched into clever combinations.

The concept is simple and yet the amount of plots that can be developed from these basics is impressive. Take the "If I Can't Write" episode. It plays up the relationship of Charlie and Alan as a "couple" with Alan's feminine attention to house cleaning to comedic ends. When it's left up to Charlie to "clean up" Jake, the tables are turned and he learns to appreciate the hard work that Alan does. I believe I saw that episode of The Brady Bunch also. In "The Last Thing You Want" Charlie learns "responsibility" by going to Jake's soccer game. Both Alan and Charlie end up on "dates" with their opposites: Charlie gets the "good" girl and Alan gets the MILFs. With the roles reversed, both learn to see the world from the other's point of view. But like the rules of a sitcom, everything is returned to the way it started by the end of the episode.

I actually found it fun to follow the different combinations of characters. But this is the First Season; I'm not sure how you keep that going without inserting more characters in future seasons. The pedigree is impressive. You've got actors who've been in successful films, not TV retreads. And yet, it's rarely funny or satisfying. Starting with the second episode, the episode titles were quotes from that episode. Like an appearance of Hitchcock in one of his films, I was often distracted (maybe even entertained) waiting to hear the quote instead of following the plot.

The best parts of the First Season are when the two lead actors step out of their "world". In "Go East On Sunset" there's a clever "Taxicab Confessions" nod and in "Twenty-Five Little Pre-Pubers" there's a great skit with Jake's class combining Charlie's jingles with Jake's class play on the Industrial Revolution.

This isn't one of those discs with an overwhelming amount of extras like Lost, Heroes or The Office. There's a solid "Featurette" on the show and a Gag Reel with Outtakes.

EAT MY DUST (Supercharged Edition)

Written by Puño Estupendo

If you say "Roger Corman" to someone, it seems like they are either completely "in the know" or are happily ignorant of what that name means. I'm not ashamed in the least to say that I love what that man's done, but don't necessarily love all of the movies he's brought into the world. So when I see a DVD with the "Roger Corman" banner on the box art, there's a pretty fair chance that I'm going to check it out at some point.

Eat My Dust is a nice little slice out of time from the 1970s involving stock cars, beer drinking, short shorts, and Ron Howard. Released in 1976 and directed by Charles B. Griffith, it focuses more on fast driving and "good ol' boy" humor than it does on plot or character development. Everything you need to know is all given to you in record time: within the first 15 minutes or so.

Hoover Niebold sneaks his friends into the local stock car races for some semi-rowdy fun and teenage carrying-on. Ron Howard is outgoing and confident in the role, generally likable right away. Hoover's supposed to be quite the character even though his only claims to infamy are a Civil War-styled hat, a jacket with a bunch of racing patches, and "more speeding tickets than anyone else in the county." That would be Puckerbush County to be exact, where Hoover's biggest problems seem to be his father the sheriff and his lack of a blond girlfriend in hot pants. He gets a quick chance to rectify the second problem, but it's going to be hell on the first one.

The blond in hot pants is a little out of Hoover's league wants to go for a fast ride, but Hoover's truck can't give it to her. However, she sees one that will do just right. Big Bubba Jones has his winning stock car within pointing distance and she seals the movie's plot by aiming her finger at it and saying, "I want a ride in that car." Hoover obviously has it bad for her so it doesn't take long for him to be peeling out of there with hot pants riding shotgun and his friends in the back of Big Bubba's (now stolen) pride and joy. This all takes place by the 17-minute mark. From then on it's chase, chase, chase, with Hoover's dad trying to get all of the parents in check and putting a stop to this situation.

There's a huge group of secondary characters in use here. You've got the bumbling police force, the "good ol' boy" car racers, the parents of Hoover's friends, and some miscellaneous one- or two-line jokesters. I knew I was going to like this cast when I saw Clint Howard show up as one of Hoover's buds, but what sealed the deal for '70s fun was when Dave Madden (Reuben Kincaid from The Partridge Family) comes on screen as Big Bubba Jones.

Now, admittedly so, I understand that's not much of a plot but that's not what you watch these movies for in the first place. What there is to be enjoyed from watching Eat My Dust is the joy of a time and place with movies that just couldn't happen now. This flick has every cliché in the book and you love it for it. Cars driving through buildings, fruit baskets and crates that are stacked in the street for no apparent reason, everyone has a beer in their hand while they're behind the wheel, and there's no such thing as sexism. You know the drill. You've seen this kind of action played out a gazillion times and yet it's fun here.

For the Corman fans out there, you get some nice little asides. Director Griffith wrote Death Race 2000, which was directed by Paul Bartel, who makes a minor appearance as one of the kid's dad. Griffith also wrote the 1959 classic A Bucket Of Blood, which turns out to be a tavern of some sort in Puckerbush.

This is the kind of movie that should always be playing on some cable station on a Saturday or Sunday afternoon. It's not the best movie of its kind but you won't need it to be. Just lie on the couch and smile; it's that kind of movie.

Boston Legal: Season Three

Written by Fumo Verde

Once again the cast and crew of Boston Legal throws the book at our wonderful yet many times broken legal system as the law offices of Crane, Poole & Schmidt seize upon the issues of the day while giving their viewers laughs all night. Can Season Three match the zaniness of Season Two? That’s for you to decide; to me, it’s just one continuous side ache, at times I can hardly breathe I’m laughing so much.

Season Three came off just as politically charged as last season if not more, and the intensity of the drama countered by the pure sidesplitting comedy takes the viewer on a trek through the emotional gamut. With Denny Crane (William Shatner) at the helm, could you expect anything else? Following Denny, Alan Shore (James Spader), and Shirley Schmidt (Candice Bergen) won’t teach you about your legal rights like Law and Order used too, but for a good escape from your day’s worries a little Boston Legal is good for the soul.

As all shows do, Boston Legal added some new and some not-so-new characters. Jeffery Coho (Craig Bierko) is the sneaky almost seedy lawyer we all hate yet want defending us. Sadly, we barely scratch the surface of Coho’s character. I wondered if he knew his last name was type of salmon. Didn’t matter, I was just waiting for him get into a fight with Brad Chase. Jeffery and Brad come to blows over a few issues including Denise (Julie Bowen), who looked as if she was on her way out last season. What transpires through the actions of these three characters alone could be a comedy show itself.

Jerry Espenson (Christian Clemenson) is back with an even bigger part and so is Clarence Bell (Gary Anthony Williams). Both men bring to the table a charm and wit that touches the viewers. These two characters have “special issues,” yet both adapt and change to their environment in a believable way that makes you feel that you can do it too.

It’s not just the new people who are having all the fun though. Alan is still sleeping around the legal offices of Boston while Denny’s new love interest Bethany seems to be putting him in his place—until her mother shows up. Enter Delta Burke; she is Bethany’s mom and one of Denny’s former lovers. As if this isn’t enough for our mad-cow brained leader, he also gets sued for smuggling human fat into the county for the use of making it into fuel.

Still more insanity comes down the pike with Lincoln Meyer (David Dean Bottrell) who was a witness in Coho’s case, overhyped by the media, of sex, love, and murder. Meyer is a psycho who holds Shirley hostage just so he could get more TV coverage. Moments like the one described above are the ones that keep you on the edge of your seat. Such is the episode where a man who hates Denny, straps a bomb to his own body and takes the firm hostage. The writers are highly intelligent and know how to keep you on that edge, yet they don’t forget to lighten up the moment with some comedy. As the police are getting ready to save the hostages, Brad, our former Marine, tries to help as he gets himself stuck in one of the buildings vents. The dialog between Brad and the police captain is classic. It’s the mix of this adrenaline-driven drama with outrageous comedy added with some political wit that puts Boston Legal into a category all of its own.

I love it when Alan is in court. I was never a fan of James Spader until I saw Boston Legal. He plays the part of an accomplished litigator very well, and with his little smirks and courtroom bravado one could only wish for a lawyer with that much ability. How can he not with writers so in tune with the pulse of our nation today. The episode “Angel of Death” puts Alan in the courts of New Orleans, and though Denny is in the Big Easy for fun, Alan has to represent a doctor who had to euthanize five patients in the wake of hurricane Katrina.

Boston Legal: Season Three peels back the layers of the cast giving us new insight to characters. With twenty-four episodes on seven discs, it may take you some time to watch, but it’s worth every minute.

WALL STREET (20th Anniversary Edition)

Written by Senora Bicho

Greed is good and still alive and well in the United States. We are in a very interesting time in the history of our country. Today is all about instant gratification. Planning and saving for something you want is a thing of the past. Our country is in overwhelming debt, we have a housing market and mortgage crisis, and the U.S. dollar is losing value rapidly. Wall Street can be considered the perfect movie to highlight the excesses of the 1980s but with all of these issues facing us now, twenty years later, the movie is even more relevant and an important statement on the decisions facing young professionals.

I enjoyed Wall Street when it originally came out but it didn’t resonate as much as it does for me today. Over the course of my career I have worked with many powerful men. Some whom I still have tremendous respect for and some who just barely avoided jail. What is interesting about the Gordon Gekkos that I have run across is that they are so crazy with power that they don’t realize who they have become. They surround themselves with yes men and don’t see their downfall until it is too late. The role of Gordon Gekko, played so masterfully by Michael Douglas, which earned an Academy Award for his performance, hits on all cylinders and is a perfect representation of the corrupt businessman.

The story of Wall Street is about the rise and fall of Bud Fox played by Charlie Sheen, who does a great job conveying the naivety of the character and the quick desire for greatness and success that face young people starting their careers. Fox is a stockbroker stuck in the rat race. The film opens with him crammed in an elevator with all of the other rats. He is a nameless broker stuck in a cube maze who is determined to make it big. In order to achieve his goals he sets his sights on bagging Gordon Gekko as a client and therefore calls his office everyday for 59 days. On Gekko’s birthday Fox brings him a box of cigars and scores a few minutes in his office. Fox quickly learns that information is the only commodity Gekko is interested in and shares some insider information that Fox has learned about his father’s airline. This does the trick and earns him a chance.

Bud’s lifestyle changes as money, women, drugs, and entry into all of the New York hot spots are instantly thrown at him. It is easy to see why Fox would be so attracted to this lifestyle even at the price he has to pay for it. While Gekko is having a huge influence on him, there are two good influences in his life trying to steer him back to the right side of the law. His father, Carl Fox, played by his real-life father Martin Sheen, and a co-worker, Lou Mannheim, played by Hal Holbrook. Both of them are philosophers of sorts and provide Fox with pearls of wisdom. Both are wonderful in their roles, however, they do not compare to Gekko’s god-like magnetism. Carl sees through Gekko right from the beginning but Bud must see it for himself. The moment when Fox realizes what Gekko is really all about is very powerful and you can feel his disappointment in the person he looked up to the most. Fox’s decline is just a rapid as his rise. He loses the girl, his fancy apartment and ends up arrested but not before he saves his fathers airline and sets up Gekko for his downfall.

You can’t discuss Wall Street without mentioning the signature “Greed is Good” speech. Douglas has many great moments in the film but this scene is the high point for his character. The fundamentals of this speech are right on. Companies too often are poorly run with too many executives getting paid huge salaries that exceed their contributions to the bottom line. Gekko’s ideas on reforming these organizations are on target. His thoughts on greed being good are also accurate. Greed helps move a society forward. The desire to achieve more and to not be complacent is necessary. Where Gekko goes wrong is that his success becomes never enough. He needs more and more money and fame. He needs to win at any cost and doesn’t realize that he has become the bad guy.

Wall Street was Oliver Stone at his best. His directing is impeccable and he sets up the characters visually and emotionally. For example, the audience is first introduced to Gekko with his voice in the background and a brief peek of his face as many important men are being ushered into his office. Lighting, facial expressions, and camera work help enhance the story and draw the viewer into the film. The movie is also fun to watch for the technology of the time. The computer, cordless phone, watchman, and other high tech gadgets are a kick to see.

There is only one new feature on this DVD release: the “Greed is Good” featurette. This is very well done and worth watching. It has Stone, Douglas, Sheen, and many of the other co-stars discussing the film today. One fascinating comment made by Douglas is that many people even still come up to him and say that Gekko is their role model and is who their career is based on. Pretty scary but considering who we have in the White House these days not entirely surprising. Another interesting perspective provided is from the floor traders and stockbrokers who originally consulted on the movie. The recycled items included are an audio commentary from Stone, deleted scenes, and a making of documentary.

The 20th Anniversary Edition of Wall Street is now available and is a must-have for any film aficionado collection. If you already own a previous release, you should rent this one just to watch the new documentary.