758 reviews from Creeper

Knight Rider: Season 1
Intellectually insulting, the Knight Rider remake is a likely disaster for both newer audiences and those who fondly remember the campy Hasselhoff original. The new car, a Ford Mustang, is beefy and interesting but the long list of things this car can do are kitchen sink ridiculous - including the ability to morph into other Ford-only products in a move that can only be explained as shameless pandering to the shows biggest sponsor. That the car's voice, Val Kilmer, is monotone uninteresting also does the show no favors. The Mustang is driven by the central hero; a former model cosmetic cliche (Justin Bruening) who proves acting was clearly not a priority during casting. And the lame stories feature a series of espionage movie ripoffs and moments that seem only intended to show the skin of a model-quality cast (e.g. the shedding of clothes during a fire.) A TV show idea whose time has clearly past, the remodeled Knight Rider is a great example of why NBC has fallen to the bottom of the network TV food chain.

Pathology
Mixing excessive violence, sex and amorality with consequence-free murder, Pathology does its best to shock an audience with its grisly premise and hedonistic episodes. Featuring a group of deviant young pathologists who form a club competing to commit the perfect murder, some may be reminded of Flatliners, and certainly that crowd will enjoy this for its central ideas even if the ideas are more graphic and darker in tone. The chilling conspiratorial setup becomes a quicksand of compromised humanity that threatens to consume the protagonist, Milo Ventimiglia, who never seems to shirk the dark side of his well-played characters. And while the graphic nature of the violence, second half series of deaths and the protagonist character development do occasionally seem implausible, the sharp writing and excellent graphic visuals go a long way in easing the events. For little promotion, Pathology feels like a well-made movie but considering the horrific gore, its way with sexual situations and the blatant drug use, it will NOT be for everyone. In fact, it is likely these varied reasons for the lack of studio backing; 3.5 stars.

Breathing Room
A low-budget tribute to better films like Cube and Saw, Breathing Room has little new to offer. The collection of trapped personalities are only marginally interesting and none of them can act. And the visuals are nothing to get excited about. But the film does offer a modest amount of suspense for those interested in the overriding concept. There’s even a twist ending for the few viewers that don’t see it coming. If you value intent or ideas over execution, Breathing Room has something to offer. Most however will likely dismiss it for its ample flaw or borrowed ideas. (09/25/08)

The Hobbit
A childhood favorite, The Hobbit features journeyman animation and quality voice work. And even if the effort does not do justice to the Tolkien original, as a family-friendly animated adventure, the entire thing works well. Viewers new to this older work will notice some discrepancies in the characters vs. literary vision and later Peter Jackson films; Bilbo is pretty plump and Gollum is inexplicably thick and stiff. The animated dragon, Smaug however is wonderful and frightening in his enormity and quite imaginative as are most of the monsters profiled during the journey. And while the musical bits are pretty campy, they likely detract little from the charm for most. Very little graphic violence and an upbeat undertone make this a good choice for shared family viewing; 3.5 stars.

Hogan's Heroes: Season 1
A completely conventional sitcom with an unconventional premise, Hogan's Heroes is fondly remembered by many. The individual characters seem to have gained a timeless appeal; Schultz still knows nothing and Klink is the very definition of Nazi caricature. And the gang of prisoners led by the well-played Bob Crane as Hogan is full of complimentary and diverse personalities that now feel stereotyped but were original back then. Finally, while the satirical subtext taken from popular war movies of the era (e.g. Stalag 17) is no longer present, time has proven that the humor didn't need the reference anyway. A nostalgic entry from a time long gone, Hogan's Heroes suffers from a few mechanical issues but succeeds on personality and quality characters; 3.5 stars.

Five Across the Eyes
Extremely low budget, the shaky video, amateur lighting, weak dialogue, plot holes, bad editing, low-quality acting and novice direction are glaring and immediate flaws that may tempt some to turn this off within minutes. The formulaic thriller plot and non-effective use of music during the more intense moments also does the film no favors. But there is something interesting here for those who can get past the flaws as the raw excitement, claustrophobic feel, creepy mood and inventive ways of keeping the audience engaged is not bad. And the pace is quick enough. But ultimately it is hard to recommend a film of this sort. Its heart is in the right place for a film of this type and some aspects show promise but really, I think it's just too flawed to be enjoyed by most.

Copycat
Technically competent, Copycat has a decent feel for a direct-to-video entry. That¿s not to say it is something you should add to your queue as frankly, it¿s probably a pretty mediocre experience for most. The killer profiled, an amalgam of other serial killers, is just not that interesting in his standard look and mannerisms ¿ you¿ve seen this sort of killer in many other movies. The torturous journal entries left behind for the journalist protagonist does give the film a cat and mouse feel that¿s reasonably fun but hardly must-watch material. And a long flashback episode later in the movie feels more like padding than anything contributory before the unsatisfying and unnecessarily ambiguous ending. It¿s hard to get excited about this one but you could certainly do worse; 2.5 stars.

Friday the 13th: Season 1
Having nothing in common with the Jason Voorhees, Friday the 13th slasher classic, this network TV series shares with that film its name only. Relatively unknown, even for its time, this quasi-anthology of horror stories was some of the best 1980s TV for genre fans. It is now visually dated but the source material holds up well by featuring a collection of timeless gothic stories centered on gathering a great variety of cursed antiquities. The show is mostly procedural but does, in later seasons (three seasons total), refer to its own sordid past. As others have said, the writing does get a little sloppy at times, especially later in the run but it's forgivable considering the overall quality. In some ways a mix between the X-Files, Creepshow and Twilight Zone, this cult favorite should not be missed by horror fans that missed it during the initial run. Nice!

Hart to Hart: Season 1
Hart to Hart, a romantic fantasy adventure procedural following the exploits of a 1980s-era jet setting couple was surprisingly popular for its time. Remembered for stellar casting, the group of regulars all felt very comfortable on screen which lent a since of credibility to the often incredible, implausible (and sometimes repetitive) plots. Beyond the remarkable chemistry was also the show's natural ability to never take itself too seriously which gave the production an always clever, semi-campy feeling. Nostalgia aside, Hart to Hart hasn't aged particularly well visually speaking. But unlike sitcoms and drama socially relevant for the time, this one remains timelessly fun for those interested in romantic murder mysteries; 3.5 stars.

Happy Gilmore
A lowbrow, slapstick comedy with equal parts ridiculous and shocking, Happy Gilmore is at once both toxic and charming. Sandler uses his gift for funny voices and juvenile antics to perfection effectively keeping audiences of guard and often laughing despite themselves. Those viewers expecting brilliance, depth of plot or any sort of quality characterization need not apply; 3.5 stars.

Hannibal
While not bad on its own terms, Hannibal lacks the intricate plotting and superb characterization seen in the masterwork, Silence of the Lambs. It is an altogether different sort of story than the first, featuring a more gothic and surreal sense of time and place and a two-part act that is in some ways a dark satire. This outsider feel combined with the replacement of Jodie Foster with Julianne Moore exorcises much of the nail-biting tension found in the original. And while still witty at times, Hannibal seems more creepy and grotesque than intellectually torturous. On that note, I found the stomach-turning cannibalism visuals unnecessary as the mere thought of such was more effective in the first movie. Judged on its own dark identity, Hannibal is worth watching but audiences able to avoid comparisons to the original will enjoy it most; 3.5 stars.

The Shield: Season 7
A brutal, intense and intellectually rewarding cop show classic, there has never been a TV crime drama quite like The Shield. The serial story lines are admittedly dense but once accustomed to this method, the word addictive might be an understatement. Season seven feels raw and desperate, a culmination of all the dirty deeds done prior. With relationships frayed, more supervisory scrutiny than ever before and an explosive all-or-nothing philosophy, this final season is in no way a let down. Each episode feels like a narrow escape; riveting TV that will be sorely missed once the series is over. An amazing show for the dedicated, a triumph for genre fans and at the completion of the series, a once-in-a-lifetime achievement for the creative talent involved.

The Golden Girls: Season 1
A semi-charming sitcom for most, the Golden Girls features a collection of likable characters with unique and complimentary identities. And in some ways, the show was ahead of it's time featuring many Sex In the City type stories, albeit geriatric versions, and may appeal most to fans of that much later show. Admittedly, many of the episodes are hit or miss funny and some plot conventions overused but the overall quality never dips below average. Ultimately, this show is not for everyone but it does have a big heart and quality acting. That's enough for most; 3.5 stars.

Next Avengers: Heroes Tomorrow
Perhaps a bit of a Teen Titans knockoff but there's plenty of action here and just because the main characters are teens doesn't make the movie juvenile. It's also nice to see the inclusion of many of the original Avengers even if their incarnations this time are much older (or mechanical.) The voice acting was also well above average and may be among the best these Marvel direct-to-video have offered thus far which was a pleasant surprise. Some may find the animation a bit too simple but beyond a bad rendering of an older Hulk, it was OK for me. And be sure to check out the special features for some sure-to-please Marvel goodness coming our way. Again, don't let the fact that this release features kids deter you. If you like what Marvel has offered before, you should dig this too. A good time.

Lakeview Terrace
A tattered personality uneasy with interracial relationships is at the heart of this good neighbor gone bad suspense thriller. With some cause, the over reaction and subsequent harassment from bad guy Abel (Samuel Jackson) creates real tension and successfully avoids predictably. It also avoids any sort of racial guilt or liberal message that could have undermined the effort asking the question is it pride, anger or mere racism behind the eventual open hostility? And although the movie is capable of holding ones attention, the semi-long runtime and contrived, mutual threat last act do little for the overall effort. In some ways a mediocre movie but the lingering questions of ambiguity and an excellent effort from Jackson go a long way. Lakeview Terrance is hardly stellar but a good time regardless; 3.5 stars.

Growing Pains: Season 1
One of the more successful family-friendly sitcoms from the 80s, Growing Pains gave us a mostly manufactured teen heartthrob, behind-the-scenes drama and formulaic, laugh track plot lines. But with some reflection it's not hard to see why the show met with success; the characters were well-played, the jokes were delivered with a nice sense of timing and the family was relatable. It was also a very different time which makes it abundantly clear that this sort of sterile family-friendly entertainment wouldn't fly today. The preachy life lessons, out-of-touch teen issues and incessant moralizing are just too far removed from the edgy success of more modern comedies. Growing Pains is perhaps best enjoyed by older viewers, who remember this fondly. Newer viewers or those that demand a break with convention are not really the target audience.

Greystoke: The Legend of Tarzan, Lord of the Apes
Adhering more so to the original Edgar Rice Burroughs early 20th century book than the traditional Hollywood interpretations, Greystoke might not be what you expect. More character study epic than action adventure, this version concentrates primarily on the origin and evolution of the character himself. But the story is gripping in its own sociological way offering a subtle story with big heart and is equally accessible by men or women. A quality movie for most audiences IMO; 3.5 stars.

The Hand that Rocks the Cradle
Predictable and unlikely but still entertaining, The Hand That Rocks The Cradle succeeds by prying at the nuclear family and watching the sparks fly. Taking bits from Hitchcock, this twisted revenge tale moves its twists along at a brisk pace and taints both hero and villainess with flaw successfully giving depth to each act. The low-key suspense builds tension throughout while the fine acting, especially from the women involved gives the movie a polished feel. If not for the implausibility, I could have given this a full fourth star; 3.5 stars.

Gilligan's Island: Season 1
Including the very rare pilot episode in which many cast, musical and thematic changes were ironed out, this collection of mid-60s black and white episodes is a treasure for those of us who grew up on the syndicated, after school re-runs of the 1970s. Originally conceived by Sherwood Schwartz of Brady Bunch fame, this first season saw the collection of castaways not only survive on meager ratings but also featured some fine directorial talent from the likes of a young Richard Donner (The Omen, Superman, The Goonies) and Christian Nyby (Emergency!, Gomer Pyle.) And although many famous cameos made their way into future seasons, season one includes an appearance by one very young Kurt Russell as a monkey boy late in the run. And who can forget the love it or hate it memorable theme song. While the butt of many jokes and perhaps not as appreciated by newer viewers, it is my take that Gilligan's Island is an American classic and should be remembered as such; 3.5 stars.

Evolution
Comprised of blockbuster CGI elements we've all seen before (e.g. dinosaurs, critters, aliens, etc.), Evolution has the look of a big summer movie but not the heart. An unofficial remake of director Reitman's own 1984 cult classic, Ghost Busters, the idea here is to think aliens rather than ghosts; there's even an appearance from Dan Aykroyd as a downtrodden politician. But beyond a handful of funny moments, it never really works as the cast is beleaguered by awkward chemistry and the one-liners are hit and miss. I wanted to like Evolution so much more than I actually did. Mileage may vary.

The Good Son
Another dysfunctional psychopath in the family movie; The Good Son is sort of a been-there-done-that experience. The cool wickedness of Culkin does give a detached sense of dread that works but some may find the horror just too subtle. There is also some real suspense and character development that lends the picture a quality feel. And the ending is memorable. If one can forgive the underlying camp, there¿s a good time to be had with The Good Son. IMO, it¿s far from classic but worth a view for those that may have missed it up till now; 3.5 stars.

The Frisco Kid
A 1970s buddy-comedy western, The Frisco Kid has a heartwarming style rarely seen in the genre today. The humor scattered throughout ranges from subtle to outright slapstick and the leisurely pace between gags insures the transition is smooth. On that note, the humor is undeniably 1970s which may dissuade some viewers. And due to the productions religious undertones, audiences may be mixed on the uplifting message. But IMO, the chemistry between a young and vibrant Harrison Ford and an in-his-prime Gene Wilder is really something special. The Frisco kid never won any awards and may not even be recognized by most. But for its place in a mostly forgotten genre, its wonderful chemistry and easy going style, it's hard not to like this one at least a little; 3.5 stars.

Freejack
A badly dated routine city chase thriller, Freejack has an interesting premise but is saddled with standard action and very little budget. To that effect, the futuristic trappings amongst which the action takes place scream cheese; blobby future cars, oddly colored drinks and a pastel decor which does little to immerse the viewer into the intended fantasy. The acting is also noteworthy only for its ability to be unremarkable. There is a reason Estevez is no longer a buzz-worthy name in Hollywood and Mick Jagger is as stilted as one might expect him to be. Even Anthony Hopkins, in retrospect the best actor in the bunch, is relegated to a minor role, appearing only occasionally and then mostly in video screens. But it's not like Freejack is all bad. In fact, the opening race scenes are pretty intense. And even if the future here is sort of borrowed from other (and better) movies (e.g. Total Recall, Robocop), the underlying concept of a dead man's body yanked to the future as a vessel for another is still quite original. Tempered expectations will go a long way with this one and if you're a dedicated genre fan, and somehow missed this one back in the day, I think it's worth a shot.

The Fan
With all due respect to De Niro whose mere gaze can instill nervous tension, The Fan seems merely a slick cliche overly reliant on whatever fan obsessed antic comes next. And although well-paced and centered on an interesting topic, there's a failure to The Fan that's grounded in a few key aspects. First, I never bought into the possibility of violence from the fan himself; crazy and unpredictable yes, but not violent. It was also disappointing that no reference was ever given for the fans obsession, why exactly was he so enamored anyway? This lack of foundation presents the film as just a series of obsessed semi-crazy, partly threatening actions that lack purpose or depth IMO. But the effort, in this way, does successfully avoid boredom so that's worth something. In the end, I found The Fan to be just too flawed to be particularly memorable, as suggested by is middling place in the suspense/thriller canon.

Family Ties: Season 1
Although nostalgia warps ones recollection of TV shows gone by, it's hard to not smile either with fond memory or again at the actual episodes re-presented here on DVD. Clearly from an era gone by and prone to traditional sitcom laugh tracks and paint-by-number plots, the real warmth in Family Ties rests in the often quite funny relationships between these family members. The Reagan-esque conservatism of son vs. ex-hippie father is still smile worthy and the depth given these characters holds up even today. Family Ties is a 1980s-era classic perhaps best only remembered by some but with tempered expectations, it very much can be enjoyed today; 3.5 stars.

The Entity
With an odd direction style but a superb performance by victim Barbara Hershey, this supposedly true to life story has the potential to scare the pants off modern adults as well as any adolescent old whose grandma, yes grandma, may have taken him to this back at the time - yes, I am speaking from personal experience. This aging story remains scary and relevant in the horror genre even today with it's bevy of paranormal antics; invisible forces, levitation and unseen, non-corporeal sexual harassment. The intelligent pacing presents the plot as a mystery to solve, a psychological enigma originally looked at by the films protagonist doctor as a form of mental illness. Further examinations, while still inconclusive, highly suggest otherwise. And although disclaimers near the end of the film make it clear that liberty was taken while depicting events, that the foundation of this was true is enough to scare audiences even today. On some levels, The Entity is a horror classic. A perfect film it's not, but certainly a controversial must-see for modern genre fans.

Enough
Exploiting empathy for beaten women and the subsequent hunger for payback, Enough had the opportunity to be powerful rather than the exercise in cliche and over-the-top antics it eventually becomes. The well-acted setup that provokes sympathy for Lopez as a woman in a horrific relationship is worth watching. But once the corner to revenge fantasy is turned, all legitimacy the movie might have once had dissipates in a flurry of formulaic over-preparation and ridiculous feminist commercialism. The no-brains required approach to the revenge elements, while satisfying on some basal levels, seem emotionally sterile and the convenient ending just reeks of implausibility. Lopez isn't bad here but even her ability can't completely save the shallow second half; 2.5 stars.

Analyze This
Robert De Niro uses his years of experience playing mobsters to exaggerated and quite funny effect in this cross genre, Woody Allen-esque therapy movie. The plot itself isn't particularly complicated; a series of events that require mob boss De Niro to demand the attention of his well-played therapist, Billy Crystal. And most jokes stem from long held therapy conventions and the stereotyped egos on both sides of the notepad. Ultimately, Analyze This fails to be particularly memorable but it's clear both parties are having a good time acting their roles which tends to make the humor infectious for most viewers. Not quite a classic but a good time none-the-less; 3.5 stars.

Tortured
Tortured brings the same sadistic, graphically violent philosophy found in other, horror-based, torture movies (e.g. Saw) to the action thriller genre. So if that¿s you¿re thing, cool, there¿s plenty here. The rest of the plot is pretty standard featuring a morally ambiguous collection of well-acted characters whose white hat vs. black hat motivations are not always as clear as they seem. And although the routine twists and turns themselves are a bit predictable, Tortured does a decent job at keeping you guessing at the final outcome. Negatively speaking, I didn¿t care much for the jumping around between time periods to relate the sometimes overly dramatic back story. And the made-for-TV feel throughout the production is always present. These criticisms aside however, if you don¿t mind the graphic scenes, Tortured isn¿t bad. You could do much worse.

Kabluey
Kabluey, a quirky dark comedy about a sad-sack, lost in life costumed mascot who finds himself through the non-descript blue costume he wears, is... well, frankly better than it sounds. Granted, it is almost too dark at times; anger, desperation and suspicion are common themes. But the costume hook really makes the movie as it is not only the foundation for laughs but also the factor that redeems the ultimately endearing, child-like man that wears it. In that way, the ending is a bit predictable and may tie up a little too neatly for most. The story also seems a little uneven at times. Overall however, I found Kabluey to be a nice little indie with a human touch and some real smiles.

The Legend of Bloody Mary
More suspense, talk and multi-era flashback build up than actual horror, Bloody Mary is a low-budget bore. There are a few moments of CGI when the vengeful spirit of Bloody Mary takes her victims but they are a paltry pay off for the wordy legend-based story, predictable jumps and bland writing. There is some attempt at artistry with the different time periods being shot in different ways but they came off a bit confusing and unnecessary for me. I also didn't care much for the ending. Sigh.

Monster Camp
Monster Camp seeks to shed light on what most unfamiliar with the subject see as a uniquely dressed collection of dorks hitting each other with fake swords. And trust me, from an outside perspective this does appear pretty bizarre; odd personalities yelling cryptic in-game rules as they chase each other in an attempt to complete some previously determined plot. But unlike the ambiguous approach taken by other LARP docs (e.g. Darkon) in which the fighting and back door politics are highlighted but little else, MC sheds some light on how the whole multi-ruled process really works; logistics, management, story lines, player characters, NPCs, monsters, spells, currency, death, etc. This detailed approach made this fun for me personally but enjoyment will likely depend on what aspects of gaming one prefers (and if one enjoys gaming at all). I also think MC does a good job treating the highly enthusiastic fantasy adorned participants in these events with a sense of dignity even if many of the players have obvious social issues. In the end, I wouldn't label Monster Camp a classic but I did find myself smiling from time to time based on the enjoyment the participants were clearly experiencing. Those who have no interest in fantasy and/or fantasy gaming may not enjoy this but frankly, it wasn't made for you anyway; 3.5 stars.

According to Jim: Season 1
Only marginally funny for experienced viewers, the jokes in Jim are mostly tired rehashes from sitcoms gone by; pie in the face, falling down, shirtless fat guy, smart-mouthed kids, etc. And the two-dimensional plots seem to always revolve around a bumbling but lovable Jim lying to his overly-forgiving wife for personal gain. Like the humor, it's a tired device that just gets older and older the longer you watch. I will admit that the earlier seasons were the best but when you start off cliche and only half-funny, is this a series you really want to invest in? Probably not.

Ice Road Truckers: Season 2
As fresh and unexpectedly addicting as the first season was, I found this second season to be mostly more of the same but without the mix of colorful personalities. There are a few of the original cast mixed in with the new drivers this season but the rivalries, animosity, sense of adventure and well... heart seems MIA for all but a handful of episodes. Don't get me wrong, the show is still fun and a worthy summer distraction. And the danger these men face is tangible. But I can't get around the fact that it either failed to significantly evolve or just lacked that certain something this time to make me long for season 3. Oh well, mileage may vary.

Spin City: Season 1
While still a 1990s sitcom and prone to laugh tracks and a traditional narration prevalent at the time, Spin City has the heart of a winner. Michael J. Fox is a wonderful straight-man for the host of wacky politically motivated characters around him. And the sharp writing is layered enough to appeal to smart viewers likely to sympathize with the travails of Fox's character. The chemistry is a little rough around the edges in this first season and the funny is admittedly a little hit or miss. And while the show never enjoyed the mainstream success of shows like Friends, Frasier or other polished efforts, it did have it's followers and deservedly so as this solid foundation is built upon in future seasons. Perhaps best seen by viewers with fond memories of the production but IMO Spin City does have enough quality to attract new fans if given a chance.

Survivorman: Season 2
Although I am still a fan of Les Stroud and his remarkable survival abilities, it was a bit sad to see the show fail to live up to the brilliance of season one. The reasons for this drop off, perceived or genuine seems to be the following: first, because of the long delay between seasons one and two, Discovery Channel's other survivalist show, Man vs. Wild, was allowed to bloom. And even if MvW's Bear Grylls isn't quite as multi-faceted in his one-man-band ability to produce a show, he is, in many ways, more charismatic and entertaining than Les (... my opinion only.) Comparing the two shows may seem unfair to some but because of the nearly identical subject material and their airing on the same network, the comparison is likely inevitable. Second, Survivorman season 2 is a bit shorter than season one, but even worse, it is much less memorable. Yes, the artistry is still there but Les looks tired and I'm just not sure his heart was in it this time; 3.5 stars.

Ax Men: Season 1
Following the recipe made popular by shows like Deadliest Catch and Ice Road Truckers, Ax Men does it's best to capture your attention. And while it does have some things going for it such as gorgeous pacific northwestern countryside and a constant sense of danger, it's also a bit lacking in entertainment. The rough figures profiled are marginally interesting but none are particularly memorable and while the job is semi-exotic, it suffers more so from repetition than it's thematically similar cousins. In the end, this show isn't bad but IMO, it doesn't have enough to stand out in the growing crowd of other dangerous reality shows. Meh.

How I Met Your Mother: Season 2
A step up from season one in almost every way; the jokes are better, the history is deeper and the chemistry is more polished. In season two, these young adults really start to feel like personal friends and even when it's clearly over the top funny (*cough* Barney *cough*), it is still recognizable life material. The inside jokes that run along side the mix of serial and procedural plots are wonderful and funny rewards for regular viewers. And although the show still suffers from a laugh track and other recognizable Network sitcom cliche pitfalls, the writing and characters give it a quality feel. Oh, I must say Alyson Hannigan's Lily is a stunning beauty this time - so much more so than season one. No offense Robin, but she's got you beat in season 2. Good show.

UFO Hunters: Season 1
A spin off of the History Channel original documentary series UFO Files, Hunters follows a team of various experts as they seek to uncover the truth about their controversial topic. Subjects vary from abductions to sightings to alien technology which does provide a broad appeal to those interested. And the production values are typically high. But some episodes are more interesting than others and while the material is usually approached scientifically, I was frequently frustrated with the many leaps of logic used to reach conclusions. Also, some of the expert personalities are a bit cliche and/or over-the-top which can be annoying. I can suggest viewing an episode or two for fans with a high interest in the subject material but frankly, I doubt I'll be back for season 2 - for whatever that's worth; 2.5 stars.

Burn Notice: Season 2
An impressive sense of style that combines adventure and humor with Miami Vice like hip-hop appeal, this second season of Burn Notice is very high quality. There isn't as much maturation of back story as I had hoped for but the procedural private eye stories are just as fun as season one. And the natural chemistry, sharp writing, self-deprecating tone and excellent characterization truly have made this show a must see for espionage fans like myself. Highly recommended; 4.5 stars.

Restraint
With its intriguing premise and who's-playing-who mechanics, the Australian made, low-budget very B-movie Restraint is a tight little crime thriller and frankly better than I expected going in (all things considered.) The the acting is mostly acceptable, the plot elements don't require a lot of extravagance and the ending, while perhaps a little vague, was also well-done and... memorable. There are a few implausible events that may cause more critical viewers to roll their eyes from time-to-time but otherwise the suspense is generally effective. If the synopsis has you interested, queue it up; 2.5 stars.

The Gamers: Dorkness Rising
A loose follow up to the cult 2002 RPG satire, Dead Gentlemen's The Gamers, Dorkness Rising has been anticipated by the gaming community for some time now. And for appropriate audiences (e.g. those very familiar with the intricacies of table-top gaming), it is pretty flippin' funny. Clearly a low-budget affair in almost every respect, much of the movie plot takes place in the fictional Dungeons and Dragons game world in which the cast and their respective characters interact. There is a small subplot regarding the DMs fight with writers block but it's really not that important compared to the continuous assault of inside gaming jokes; the uselessness of some character classes, references to iconic gaming items, alignment issues and other hilarious game-related details. And while the generality of plot mechanics do make the film accessible to all audiences, let me be clear when I say it won't nearly be appreciated as intended without prior gaming experience or a willingness to laugh off the budget and/or technical flaws. For those viewers however, Dorkness Rising has small-time cult hit written all over it.

Felon
Felon is full of atmosphere, quality acting and a throw-back emotionally-charged energy sure to appeal to fans of the genre. The story is a bit predictable but the interesting characters and depth of acting, especially from Kilmer, make up for the shortcoming. And while there is a prison reform message, it has its place in the plot and doesn't ever feel preachy. It's even hard to fault the technical aspects as direction and editing both provide the film a fast pace and easy to understand developments. The self-help, inner journey philosophy that manifests near the end is a bit odd but otherwise I was satisfied. A B-movie in some regards I suppose but a pleasant surprise none-the-less; 3.5 stars.

Aftermath: Population Zero
Thematically similar to the History Channel's earlier entry, Life After People, NatGeo's Aftermath speculates on a future Earth without us. The idea is appealing but I question the necessity of a documentary so redundantly similar to it's competitors earlier genre entry. Still, on it's own merits Aftermath has it's charms. Firstly, it seems the depth of information is greater in some respects (e.g. nuclear power plants, space born objects). But Aftermath does mostly cover the same ground and the new bits are small. Second, some of the same information between the two docs is expanded upon here such as what happens to our pets and other domesticated animals. It's a trade off I suppose as LAP does provide expanded information on elements that Aftermath does not (e.g. man-made structures.) And while both seem to sensationalize the topic with CGI visuals and dramatic narration, I feel both are aspects are better done in LAP - especially the CGI. Ultimately, as a viewer interested in the shared concept, I was satisfied. Redundant but recommended; 3.5 stars.

Fortress
Featuring an interesting underground prison and a handful of hi-tech devices, Fortress mostly succeeds in telling it's not-to-distant futuristic prison break story. It's not overly reliant on modern CGI as it's original release date indicates but there's enough here to still appeal to modern audiences and there's no shortage of violence. The movie does have it's share of gore, especially during scenes involving the intestinator, a punishment device as painful as it sounds. The acting is also solid. I suppose my primary criticism is the dated look and the campy foundation itself but both are easily forgiven by targeted audiences. Hardly a classic but a good sci-fi genre entry regardless.

The Mummy: Tomb of the Dragon Emperor
While still moderately fun, fast-paced and visually fancy, the narration, plot mechanics and creativity present in this third mummy movie just seem... stale. There is more than a passing resemblance to the last Indiana Jones movie with the inclusion of Fraser's wayward son and abundance of action cliche. And Maria Bello struggles to replace Rachel Weisz as the adventurous wife of the square-jawed oaf we've come to recognize as whatever character Fraser plays. Jet Li was fine in his role but like Forbidden Kingdom, he is underused and seems more a reinforcement of cliche than anything else. The Ray Harryhausen inspired visual FX are a saving grace with yetis, three-headed monsters and an undead army for viewers to ogle while sipping soda as sugary and empty as the movie's plot. But the CGI quality is strictly middle-of-the-road and frankly, it's not enough to overcome the crumby dialogue and superficial story. As two hours of popcorn movie fun, this third entry into the Mummy franchise isn't a complete waste of time but in a summer of big movie standouts this one just gets by.

Stargate Continuum
Although Continuum seems mostly targeted towards existing fans with its multiple references to series history, it's still probably easier to follow than Ark of Truth, the first Stargate direct-to-DVD movie, for newer viewers. The fun stand alone time travel plot revolves primarily around popular adversary Ba'al and makes no mention of the Ori prevalent in the last couple of seasons of the TV series. This makes the timeline a bit difficult to pin down for those that care but it's a minor omission at best considering the quality of the story told and members within. On that note, it's nice to see Richard Dean Anderson adeptly reprise his role as General Jack O'Neil whose character likely established the series addiction for most long time viewers. His screen time amounts to more than a simple cameo but less than that of a regular. And Don Davis as General Hammond is a bitter sweet inclusion considering this is one of the last roles of his career. The visual FX and other production values are on par with the first movie, which is to say better than the series itself but still below those typically seen at the box office. And even though there were a handful of exotic on location scenes, this movie seems to lack the majesty seen throughout Ark of Truth. In the end, Continuum, like Ark of Truth, feels more like an extended episode of the series than anything truly special. Regardless, as a fan of the series I liked it a lot and I hope to see more of these Stargate movies in the future.

Human Body: Pushing the Limits
Using modern 3D CGI, hi-tech camera work and a series of real life re-enacted events, this four-part Discovery channel original documentary visually explores functions of the human body. Questions of starvation, fear, excitement and many other physical qualities are examined by peeling back layers of the human body to see the respective systems in action; muscular, skeletal, nervous, brain and other areas are all discussed in detail. The terminology and science used is pretty general which makes the production accessible for most viewers. But the material is visual-based and due to the quality presented, some material may be too graphic for younger children. Human Body is a good watch for those interested in the topic.

Surfwise
Thought-provoking and sometimes funny, Surfwise details and then calls into question the life decisions of the highly educated nomadic 1970s surf culture icon, Dorian -Doc- Paskowitz. Now almost 90 and suffering age-relating health issues, his decision to rear 9 kids in a camper while chasing his surf dreams is examined and ultimately becomes the films focus. Now grown, the children, raised without sexual inhibitions and in a counter-culture environment, are examined for ill effects. Lacking in any real education, their struggles appear crippling even though they seem to look back fondly on their upbringing and now thrive in other, non-mainstream ways. Done by the director of the well-done but flawed documentary Big Rig, Doug Pray, avoids what could have become a mockery by again exhibiting his ability to allow his subject to tell their own story without interference. Better than expected; 3.5 stars.

Turn the River
Full of seedy environments and dysfunctional character relationships, Turn the River is a decent first time directorial effort from comedic actor Chris Eigeman. The overall acting is generally good and Janssen is able to effectively shed her natural beauty so well-played in the X-Men movies for this downtrodden character study role. But the story is a mixed bag; at times it treats the viewer with a sense of intelligence but also eventually succumbs to melodrama, noir cliche and a semi-contrived ending. And the pool aspects themselves are not overly interesting and seem mainly used for atmosphere. In the end, Turn the River does have some interesting moments and reveals future potential for Eigeman. But it's not without flaw and probably won't appeal to those uninterested in the character types, relationships or pool hall references.

The Last Winter
With its environmental message and emphasis on character development, The Last Winter may disappoint those who see the preview, or read the synopsis, and expect an intense supernatural thriller. It is just not that scary as the supernatural elements feel restrained and the pacing a bit slow. And the ending is unlikely to alleviate that potential disappointment with a vague and conceptually unsatisfying payoff lacking in both shock and punctuation. Alternatively, the movie does provide a creepy atmosphere, a sense of dread and moments of tangible paranoia. And there are horror-like events sprinkled throughout the production as characters increasingly start to die off from both health issues and other semi-spooky factors with just enough gore to keep it honest. These aspects along with better than hoped for acting do provide the movie a quality feel and that counts for something. Ultimately a mixed bag, The Last Winter will be most enjoyed by those that either identify with the environmental message or those that don't mind their horror subtle and/or at times merely insinuated.

The Dark Knight
Moody, darkly poetic and adult, The Dark Knight is at the very pinnacle of this blooming comic-to-movie adaptation genre. Tough and uncompromising yet still full of well-choreographed action, it effectively challenges old ideas and in many ways raises expectations for movies of this type going forward. The atmospheric and compelling story is loaded with mature themes of power and sacrifice, madness and heroism, all of which provide a deep and rich subtext typically found only in Oscar worthy pictures. And the cast presents such complementary on-screen chemistry that the experience will likely engulf, rather than merely entertain, the viewer. Bale is, of course, wonderful again in his depiction of the titular hero but Ledger is every bit as good and it's a relief to say his pre-mature award winning buzz for this role is legitimate. It's hard not to compare a sequel of this quality to other high profile releases like Empire Strikes Back or Return of the King - it's really that praise worthy. Frankly, The Dark Knight is not only an instant classic, it's a stunning achievement.

Journey to the Center of the Earth (3D)
Created as a showpiece for digital 3D technology, Journey is much better as a visual roller coaster than as an actual movie. Beyond a little blur and refocusing of the eyes, the technology works great and is exercised gratuitously throughout the production; man-eating plants snapping toward you, detailed vistas, long falls in open space and even a creative shot of toothpaste are just some of the gasp worthy moments. But the family friendly story is clearly targeted towards adolescent males with its perfunctory action scenes, simple dialogue, lack of regard for actual science and minimal plot developments. And the bonding drama between Fraser's character and his nephew is about as trite as one might expect. Ultimately, Journey is more about spectacle than story so some of these faults are forgiven. But it simply must be seen in 3D as beyond the toothpaste shot and a small handful of other visual treats, this is highly forgettable stuff.

Asylum
Nicely shot, Asylum has better than expected production values. The mediocre story is acceptable and even the cast is a touch above most B-horror. Still, these things actually do very little to promote the movie beyond the generic fare it really is. Beyond the overused asylum horror setting and genre abused evil ghost doctor is the cliche dialogue and predictable events. And the plot degenerates over time, ultimately leaving a series of questions unanswered â¿¿ a personal pet peeve. Itâ¿¿s also a little light on gore which may be a pro or con depending on your perspective. In the end, Asylum is simply bad horror mostly because of its mediocrity and foundation of ideas done better elsewhere. But if you're new to the genre, don't over think the plot or are a fan of the ideas this is built upon then the decent production values suggest you could probably do worse. Otherwise, don't bother.

Love Guru
Laughing at his own recycled jokes more often than his likely-to-be horrified audience, Mike Myers has badly misfired with this latest entry into pathetic juvenile humor. There are no creative characters in the mold of Dr. Evil or Shrek here. Left in their place is this condescending Bollywood cliche that is in fact merely Mike Myers and a host of mediocre side-kicks whose lack of confidence in the written material is apparent. The skit-to-skit approach to comedy over-uses some jokes while cutting short more promising bits; both mistakes that also call into question the directorial and editing efforts. On the upside, I did find Stephen Colbert intermittently funny but that hardly justifies the production. Overall, this is one of the worst comedies I've seen in 2008, especially considering Myers' past successes. Love Guru is not worth paid admission IMO.

Hellboy 2: The Golden Army
Spectacularly imaginative, director del Toro applies his gift for the freakish in this superior follow up to the original 2004 Hellboy. But beyond the bestiary of all things nasty is a human touch; a heart felt and occasionally funny script co-written by del Toro and Hellboy comic book creator, Mike Mignola. It's a mixture that successfully allows both newcomers and long-time Hellboy fans several quality moments. And for those seeking mostly action, there's plenty here - more so in fact than the first movie IMO. Looking for fault, I'd argue that the fantastic is almost overdone; so many creatures, overwhelming visuals, bizarre set pieces and exotic ideas that it can be hard to keep up with. And if that seems to some like a good problem to have, I also sensed a lack of urgency in this second movie compared with the first. It seems that although the threats dire, the universe shattering horrors from beyond time and space have been replaced here with a plot of smaller scope and therefore importance. Regardless, I feel most will find this second Hellboy consistently amusing, visually amazing and a roller coaster of combat action. A great summer popcorn movie!

The Tattooist
Steeped in an atmosphere of ancient tradition and a wicked sense of mysticism, The Tattooist is a different but surprisingly competent entry into supernatural horror. Although the basic premise can be distilled into yet another murderous ghost story, the vessel by which victims are chosen is original and the CGI visuals are better than expected. And once the picture hits its stride, the frantic nature and rewarding pay-off make this little sleeper worth more than others of its kind. Even the acting is fairly solid. Hardly a classic but worth a peek to genre fans. Check it out!

Carrier
A PBS original docu-reality series, Carrier took me completely by surprise with its abundance of quality and lack of traditional narration. The ten hour runtime seems lengthy given the singular topic but the focus is so well-done, I never lost interest. And the "guided tour" approach to the stories feels personal and human, both surprises considering the military topic. Also, it's hard to miss the youth so apparent throughout the production; many of these brave working men and women are just kids, a fact further reinforced by the excellent use of a quality rock/alternative soundtrack. Finally, I found the lack of glitz refreshing; this is not a recruitment video, it's a realistic approach to serious material with an abundance of ups, downs and interesting quotes. Valuable for its information, as entertainment only or as a peek into military life, Carrier is very good for almost any audience.

Hancock
Hancock puts a new spin on the not-yet tired superhero genre in hopes to stand out from the crowd. These new ideas, a humanistic spin on superhero morality or lack thereof, are interesting but rather than effectively establish a new tone or identity, Hancock feels muddied and without edge at times. Its humor/drama two-act story is also a bit uneven in quality and seems incomplete given the shifting scope and limited runtime. The adult themes feel compromised for the sake of its kid-friendly PG-13 rating. And the writing is nothing special. In fact, the over use of derogatory slang may grate on some viewers. These complaints aside, Hancock mostly and surprisingly works - largely because Will Smith is so accessible in whatever role he's tasked with. And he's very good here as he makes the most of what is given including both the humor and unforeseen second half drama. Bateman is also quite good even if not so imposing. Ultimately Hancock is a mixed bag but I have seen worse genre entries and suspect those willing to accept the shifting tone of the second half will likely have a good time.

Hybrid
One can only expect so much from the Sci-Fi Channel original movies; low-budget, bad dialogue and cheesy non-effects are therefore excused. What we're left with in this case is basically The Eye retold with a lycanthrope twist; instead of a blind woman seeing ghosts after receiving donated eyes we get a man who, in most non-physical respects, becomes a wolf after receiving wolf-eye implants. It's a formula that would allow for plenty of blood but surprisingly, Hybrid takes the high road mostly eschewing violence in favor of psychological thrills. Therein lays the biggest problem with the movie: it's boring. There is some attempt to provide additional depth with Native American mysticism and there are some nefarious military interests to cling to. But these things feel more obligatory than entertaining and likely won't be enough for most viewers. Hybrid is a disappointment. Those looking for more visceral horror or a true werewolf film are encouraged to look elsewhere.

Alive or Dead
Yet another filthy anti-social misfit movie, Alive or Dead will inevitably draw comparisons to other crazed mutant movies such as the Hills Have Eyes or perhaps Wolf Creek. And while it's not quite up to par with the questionable quality of those particular genre entries, the film does have some upside. Firstly, buxom young new-comer Ann Henson screams and runs just fine for a B-movie victim. And the few lines she does have are so poorly written, and the attempts at scripted humor are so bad, that her novice acting ability really doesn't seem like such a liability. That she's inexplicably dressed in tight jeans and revealing top also helps mask her flaws. And I can't really say the movie is boring, cliche sure, but the pace is generally quick and really picks up during the last 30 minutes. I also found the twist ending acceptable which frankly was more than I hoped for by 60 minutes in. I realize that Alive or Dead will be hated by most. But I do like this genre quite a bit and considering my expectations, I'm just happy to have finished the movie in one sitting.

Super High Me
Primarily targeting the stoner crowd, Super High Me sees comedian Doug Benson and others crack jokes on the smoky subject as well as parody the popular Spurlock Documentary, Super Size Me. The subject matter is ripe for laughs but the health experiments aren't especially revealing and seem more like structure for the comedy than quality material. There is also some attempt to add importance by looking at the controversies surrounding California's state-legalized medical marijuana system. This part was very interesting but honestly seems a superficial examination at best leaving viewers seeking additional depth out of luck. But sure, there are some chuckles here and the more you smoke, the funnier this becomes (*cough* or so I'm told *cough*.) Super High Me is an interesting watch for the appropriate audience but likely forgettable for everyone else.

Incredible Hulk
More action-filled and angry than Ang Lee's introspective Hulk of 2003, Director Leterrier's Incredible Hulk is the better movie. It's not on the same level as other elite films in the genre but it's a fun summer popcorn movie regardless. Succeeding mostly on the talents of Ed Norton whose Banner is arguably more interesting than the green monster anyway, this version tries for some depth but the editing clearly prefers an action feel. Those looking for quality will enjoy the first act most but the uneven plot eventually and expectedly succumbs to it's action movie antics and in this way, feels a bit formulaic. The explosive face-off finale between the Hulk and his super-powered antagonist is a bit over-the-top but still appropriately satisfying. And the CGI look of the film is a bit cartoonish but of decent quality even if the Hulk really looks nothing like Ed Norton. Overall, the flaws aren't enough to ruin the movie but for viewers looking for another high after the superior Iron Man, Incredible Hulk doesn't quite deliver the same super quality; 3.5 stars.

End of Days
After a theologically clunky, uninteresting and poorly edited start, End of Days eventually picks up in intensity. Once in gear, Arnold's boozy bodyguard character delivers some great skull cracking action and a handful of funny one-liners. A sense of suspense even emerges after being completely botched in the beginning. And the quasi-theology throughout the plot, while completely full of holes, provides a lot of ghoulishly fun Clive Barker-like imagery which should please horror fans. But End of Days is best when about the tough-guy action, big explosions, lots of gunfire and plenty of brutal combat. The moments of unexpected humor are also fun. Unfortunately, there's an oddly serious side to the film that detracts from the fun even if expected considering the theme. It's this seriousness that pulls the entire effort down and is likely the number one turn off for viewers who don't like the movie. The ending is also a bit ridiculous returning to the religious undertones and adherence to sloppy theology the movie starts with. A mixed bag, one must pick and choose to actually like the film more than the three stars I give it.

Encino Man
Mostly a failed career vehicle for pop-culture has-been and perpetually stupid Pauly Shore, Encino Man is about as vacuous as one might suspect. The film does have it's funny moments but 90 minutes seems a bit long to put up with the 30-year-old Shore playing a high school senior schtick. The plot, or lack thereof, is forgivable considering the teenage audience most likely interested in this sort of movie; clearly not much was expected (or delivered) in this department. But it's not all bad, Fraser plays an oaf well and in that regard is good as the frozen ice guy. And there are also a few life-messages available in the writing but they're so shallow and obvious that their inclusion is likely to be mistaken for depth by the teens the film targets. I didn't hate Encino Man when viewed for what it was supposed to be. And it's likely Shore's best movie. I'm just not sure that's saying much; 2.5 stars.

Dirty Harry
Although badly dated in appearance, Dirty Harry is the seminal good-cop gone bad mold so many movies have attempted to copy over the decades. And although star Clint Eastwood had built up an impressive body of westerns prior to the release, it's really this 1970s right-wing kick-butt fantasy that established Eastwood and his still lingering reputation for snarling nastiness. With his .44 Magnum, the character of Harry rarely misses and the punchy shots are so powerful, each bullet feels like a shot of adrenaline to the viewer. The story itself is a cat-and-mouse affair and clearly takes a back seat to Eastwood as the one-liner killing machine. The villain is also fantastic in his sniveling ability to be so deserving of justice; a love to hate figure in most respects. Perhaps more importantly than the movie itself is the prototype for the multitude of amoral "good" guys that until this release hadn't been so blatantly well done. A violent movie with a thin story, Dirty Harry won't appeal to everyone. But its contributions to the man and the genre are now considered legendary.

Dreamscape: Special Edition
A colorful fantasy, Dreamscape has achieved a cult-like status for the fans that likely saw this as children. The plot is a bit campy but moves along at a brisk pace and due to the changing nature of the film, it's rarely boring. And the visual FX, while definitely aging, are still quite imaginative. The young Dennis Quaid is great and heads up an effective cast featuring the typically majestic Max von Sydow and the young beauty Kate Capshaw. A collection of interesting and varied concepts, Dreamscape is a fun movie in general but perhaps best for those that remember it from childhood. It holds up well; 3.5 stars.

Organizm
Organizm, a fairly standard B-monster movie, isn't particularly complicated and the FX aren't likely to wow anyone. But for a Sci-Fi Channel original movie, this one is better than most (that is to say, it actually entertains the viewer.) The concept itself, while not completely original, contains enough spin to keep the viewer guessing. And the cast is surprisingly competent. Organizm isn't exactly a hidden gem and is likely forgotten quickly after viewing. But frankly, if this is where your tastes lie, you could do worse. Plus, it's available to Watch Instantly; 2.5 stars.

Millions: A Lottery Story
Surprisingly bland, I really expected more. For while these lottery winners have different backgrounds and used the money in different ways, none of the stories profiled are really that interesting. There is some entertainment value in the people themselves I suppose. And they all seem happy. But as far as I could tell, the lottery money itself seems to have very little to do with that happiness. Those viewers looking for radical stories of extravagance, infamy or drastic loss - like myself - will do better looking elsewhere; 2.5 stars.

Crossing the Line
The first-hand story of the last U.S. defector still living in N. Korea, Crossing the Line is interesting and still relevant for modern audiences. The film's subject, Virginia-born Army PFC James Dresnok, recounts his experiences from troubled childhood to traitor to North Korean mascot with apparent sincerity and honesty. And while his story of defection and treatment within the foreign enemy society is interesting, it's really the inside look at the much maligned DPRK (North Korea) that really charms. A demonized place of civil rights abuse and endless mystery, viewers are still only witness to what the regime decides to show us; a showcase city of the entitled few. Even then, it's obvious the quality of life suffers immensely compared to western society. And while little is ever shown of daily life by Dresnok and his oppressed fellow citizens, it's interesting to note their relationships, how their days are filled and what their family life is like. There are also a few emotional moments within the film; when Dresnok sees places within the U.S. he gets misty-eyed and although he insists the DPRK is home, you can tell all is not 100% right with him. Crossing the Line is what a good documentary should be - intellectually interesting. It does lack some emotional impact but the glimpses into DPRK make up for it. Recommended for the curious; 3.5 stars.

Dante's Peak
Another in a series of 1990s disaster movies, Dante's Peak has some nice visuals but may ultimately be one of the weaker genre entries. Predictably, the real excitement of the film doesn't come until the final act in which the peaceful snow-capped mountain explodes, effectively sending the movie into overdrive. Until that point, the viewer must be content with a bevy of increasing geological inconveniences; tremors, falling ash, the destruction of personal property, etc. And IMO, Pierce Brosnan just isn't an effective leading man. I like him as an actor on occasion but this standard issue smart-guy character doesn't do him any favors. And the chemistry between he and Linda Hamilton never really blossoms as it should have. It's hard to actually dislike Dante's Peak but objectively speaking, it's a bit too easy to label as another me-too disaster movie.

Big Rig
Red Envelope's trucker documentary Big Rig is a great idea; its heart is in the right place and the material interesting. And visually speaking, Big Rig has some very attractive cinematography and captures the U.S. roadside in a very romanticized way. It is also nice to see that the men profiled are mostly contrary to the unfair amped-up redneck cliche. This allows the viewer to see these men as the hard-working and important men they really are. But some driver profiles are more compelling than others. And with an abundance of ideas and truckers to cover, the film tends to wander aimlessly from driver to driver, bringing up details never fully realized. I'm also a bit disappointed that some aspects of trucker life aren't really covered; CB etiquette, log books, seniority perks or dealing with the long hours are all factors I'm curious about. Big Rig is probably most interesting to people who know or are related to a long-haul trucker. But there's something here for the rest of us too - even if it's only to shatter the undeserved negative stereotypes.

Funny Games
Remade for an American audience, Funny Games is a series of sadistic mind-trips and voyeuristic violent episodes thrust upon a family undeserving of such treatment. It is admittedly well-made but also intentionally unpleasant - most will *not* like this as it is not your typical Hollywood genre film. And as such, Funny Games attempts to challenge what you expect to see in films of this type. To say it succeeds depends on how open you are to the self-questioning, why do we watch such violence, academic message. To some it may even feel like condemnation. For those blissfully unaware of the message however, the acting and production values result in a satisfactory experience but there's surprisingly little gore and I doubt many enjoy the ending. My personal feelings are still unresolved as I am a fan of the sort of movies Funny Games attempts to question. I also find it annoying that the film takes a judgmental approach when it is itself pandering to the genre fans it questions. Obviously opinions will vary but my guess is most will hate this movie. My best advice is to see it yourself; 2.5 stars.

Kung Fu Panda
This follow-your-dreams CGI comedy is not only genuinely funny, it also has a good message and real spirit. The Zen-like vibe, kernels of sugary wisdom and Asian themes really punctuate the prophecy-based story giving the film a fresh feel even when the ideas really are not that original. The cartoonish animations are zany, even frantic at times and feel like a gracious homage to the classic Looney Tunes style. There are also nods to wire-fu movies like Crouching Tiger, Hidden Dragon and the fighting styles of Jet Li and Jackie Chan. And the voice over work is top notch with a surprising amount of real emotion intermixed with the comedy, especially from Jack Black who obviously put his heart into the titular role. Kung Fu Panda is a solid family film which might not bring anything technically advanced to the CGI genre but whose sense of style makes the standard feel new again.

Dragonheart
Considering the year of it's release, Dragonheart is a visual feast. A breakthrough in CGI, Dragonheart sports one of the first fully rendered, computer animated characters ever - Draco the Dragon. Voiced by Sean Connery, the beast is a spectacle whose impact will be lost on more recent audiences but remains an important achievement for those that can appreciate it as such. And there is a sense that all involved were having a great deal of fun during the production. Perhaps for those reasons it's a bit disappointing that the heart of the movie isn't as ground breaking. The film's identity teeters between high-fantasy epic and light-hearted genre spoof failing to really excel at either. And beyond Connery, the rest of the cast is nothing special. It's my feeling that Dragonheart will be most enjoyed by children or those young at heart and a hit-and-miss affair for the rest of us. For its place in the visual evolution of movie-making and the few things it does right theatrically, I recommend the movie. But you need to know what you're getting into; 3.5 stars.

Dirty Work
A showcase for former SNL star Norm MacDonald, Dirty Work is *not* a good movie; the plot is overly complicated and surprisingly unoriginal, the characters are cliche and, inexplicably, the important plot points are generally announced rather than relayed via plot mechanics. Those things aside, the revenge-for-hire concept is fertile ground for some real laughs and will be most appreciated by those with a taste for inappropriate remarks, awkward comedy and physical pratfalls - hallmarks of MacDonald's style. There are also some funny cameos by highly recognizable comedians of the time. In fact, I suspect it is for these reasons that the ridiculous plot and awkward mechanics are overlooked by some. Ultimately it's hard to recommend this movie as most probably just won't get it. For the smaller audience that knows what they're getting and can forgive the obvious flaws this might be worth another star. For me personally it's only a 2.5 star effort.

Buck Rogers in the 25th Century: The Complete Epic Series
Originally intended as a mini-series, Buck Rogers was eventually a theatrical release (included) that became the foundation for a successful two-season season run on NBC. Most of the creative talent from the movie returned for the first season which saw the titular hero adjusting to life in the dystopian future while investigating a possible threat to Earth. The writing was sharp, the acting good and there were several popular cameos during this first season. The second season however saw drastic changes as talent was let go, the series budget reduced and odd characters (Hawk) introduced. Losing it's quality and feel lead to the eventual cancellation. Newer viewers will likely find the cheesy production values and occasionally campy humor too much to overcome. But the series remains nostalgically popular for those of us old enough to have enjoyed the series originally and holds up well even after all this time. It may be a stretch to call Buck Rogers a classic but it's definitely a fun piece of our cheesy 1970s sci-fi past that remains moderately enjoyable for the right audiences even today.

Congo
Congo has a nice lush jungle atmosphere and sufficient action but is curiously missing the thrills and suspense normally expected in a movie like this. There's also an undeniable feeling that this is a badly chopped up version of the best-selling book it's based upon. Having not read the book myself, I can't confirm that aspect but I was frequently confused and feel the foundation necessary for why these events were occurring was completely missing. The lack of big-name actors also damages the production; not so much in that the acting suffers, but more so in that there's no depth to the performances. I will say the ending of the movie quickened my pulse but really, it was too little, too late. I expected better; 2.5 stars.

Brubaker
Brubaker is a good revenge tale first but also, in some ways, an effective statement on the corruption of authority. A throw-back to when Redford didn't take himself quite so seriously, Brubaker isn't overly pretentious as some of his later work has come to feel. Instead, this edge-of-your-seat 1970s movie has a distinct Eastwood-vibe preferring action, humor and a brash intensity a bit ahead of its time cinematically speaking. The supporting cast is also good and contains many big names before they were widely known. This is not my favorite era for American movies but I have to admit, this one has it going on. Recommended; 3.5 stars.

The Devil's Advocate
Perhaps partially responsible for ushering in a new interest in the modern supernatural fantasy genre, The Devil's Advocate is a wicked take on corporate greed, lawyers and Beelzebub - the Devil - himself. The performances are pitch perfect considering the insidious mood of the film. And the seductive visual FX in which men morph into demons and then back again never seems to get old. The lapses in real Christian theology is forgiven for the sake of entertainment as the story seems a mix between the horror classic Rosemary's Baby and Grisham legal thriller, The Firm. In fact the film is so effective in it's sense of evil, it may actually be a turn off for some viewers. Indeed, the implied message that God is asleep at the wheel and with its no consequences/nihilism approach to morality, this film could be outright offensive to some. The film is also too long, I didn't particularly like the twist ending and, at times, the film was more style over substance; all factors that prevent a higher rating from me. Finally, this is most certainly not a movie for children; sexuality, immorality, hedonism and debauchery are all common themes. But for those adults able to digest the subject material, it won't be easy to forget this one. Some may even say it's haunting; 3.5 stars.

Conspiracy Theory
Well written and occasionally funny, Conspiracy Theory is likely endearing to most audiences. Mel Gibson once again plays the part of a man on the edge, in some ways building on his tormented buddy-cop role seen prolifically in other films. And Roberts is at the peak of her game in this 1997 glib political thriller. But the plot is a bit over-complicated with an ineffective and uninteresting attempt at romance and a too-many-cooks in the kitchen approach to paranoia. I was also a little put off by the long runtime. Most will probably like Conspiracy Theory more so than I but the complicated exposition, unnecessary elements and duration prevent me from parting with a full fourth star; 3.5 stars.

Cocoon
A sentimental fable at heart, Cocoon teeters between laughs and tears which may result more in cheese than a lasting classic for some viewers. The whimsical performances provide a gentle and heart-warming quality to what ultimately amounts to a very serious subject: euthanasia. Audiences looking for thrills are advised to look elsewhere as little action occurs until the very end of the movie. There are also underlying religious themes that may cause some eye-rolling among the more jaded. Cocoon isn't a bad movie but unless you're into the feel good message and/or the cheesy young-is-old-again antics, you can probably do better.

Flawless
Flawless is an intricate, intelligent and deliberately-paced heist film whose overall quality seems surprising given the film's low-key limited release. Michael Caine is particularly good in his portrayal as instigator of the crime and subsequent center of controversy. And I'm pleased to say that this is not another shallow career vehicle as some other films in the genre have been lately (with a respectable nod to the recent sleeper Bank Job with Jason Statham.) Rather, the elaborate story and intricate details are likely to be most enjoyed by old-school genre fans who can appreciate attention to detail and a deeper meaning than the theft itself. And while the film doesn't completely live up to the high standards of it's title with it's slow-boil tension, iffy accents and general lack of pizazz, it's a worthwhile and well-acted watch none-the-less. Recommended; 3.5 stars.

Fearless Planet
Visually dramatic and with sort of an X-sports feel, this six-part Discovery Channel original documentary-like series is both educational and entertaining. The natural wonders contained within are explored by a team of experts that focus on common questions; how was the Grand Canyon formed, what causes the Northern Lights, what are glaciers, how are volcanoes formed and more. The CGI visuals used are top notch and demonstrate radical geological forces over time and in some cases go on to predict what these locations and forces may be like in the future. Fearless Planet may be even more fun for children as complicated scientific concepts are successfully translated to language and ideas all can understand. On that note, those looking for more a more in-depth nature documentary feel may be disappointed. A fun find for nature lovers that may have missed the original airing, Fearless Planet is great watch for curious adults and children alike; 3.5 stars.

Intervention: Season 1: Then and Now
An A&E original reality show, Intervention is typically a one-hour program that follows one or two individuals in the grip of severe addiction. These addictions usually revolve around all manner of drugs but eating disorders and other miscellaneous problems are also occasionally covered. The hook of this show is to dupe the afflicted into believing that they are participating in a documentary about addiction when in reality they themselves are being profiled for a family-based intervention at the end of each episode. The interventions themselves are powerfully emotional and always leave the individual faced with either immediate rehabilitation or emotional isolation from their family and loved ones. The real interest however comes from the first three-quarters of each program in which the viewer becomes witness to the horrors of personal addiction; lives shattered, morals compromised, relationships destroyed, deep depression or borderline insanity. The show pulls no punches and will film drug use or abuse whenever it occurs. Occasionally Intervention will re-visit previously profiled individuals to see if/how their lives have been changed after rehab. And although this particular DVD offering only profiles four individuals from season one, they are some of the more interesting cases and their follow-ups. I wish the entire season one was offered on DVD but this will make for an excellent series introduction for those who have not yet seen this show. Very interesting.

The Strangers
Focused more on suspense and low-key terror than many recent genre entries, this first film by writer/director Bryan Bertino knows how to set a mood. Supposedly based on true events, Strangers uses the psychology of safety, detached noises, whispers and subtle visuals to convey it's horror and in this way stands as stark contrast to the much more visceral and bloody horror films of recent memory. It is, in some ways, a throw back to 1970s drive-in horror and frankly is not only refreshing but could be the catalyst needed to put horror back on track in this country. Strangers is also well-made; believable characters, innovative close-up angles, point-of-view shots, and scenes that allow the audience to see what the characters do not. Sound is also effectively used. But as much as Strangers does right, it's not perfect. It relies a bit too much on jump moments, the "true" events portrayed are actually a collection of moments from other events (and possibly movies) and most importantly, the suspense and terror does weaken as the movie wears on. These things aside, Strangers firmly plants itself into what we know and surroundings familiar to everyone. These qualities do provide it with an intensity most should enjoy even if more sophisticated horror fans long for more depth and/or back story; 3.5 stars.

Cleaner
Sporting an impressive cast, Cleaner has an ambitious and interesting modern noir concept but the story itself never quite delivers. Instead of the clever rabbit hole this movie could have been and resembles at times, it plays more like an extended episode of CSI. On that point, fans of TV forensic crime dramas may like this more than I did as the mystery does have meat and the plot is well setup. Also, the characters are good and nearly as rich as the colorful actors playing them. The writing is also crisp. Cleaner does get a bit predictable over time - most will likely know where it's going after about 30 minutes which does put a damper on the final acts. But for a direct-to-DVD release, well, you could do worse.

Borderland
Based on a series of horrific real-life events, Borderland will appeal most to fans of Hostel-like survival horror. Shot on location in Mexico, Borderland has a very stylistic feel that lends the picture a feel of authenticity while still maintaining a constant feeling of dread. The production values aren't particularly glossy but are never actually lacking. And the acting talent is better than expected. I can't say I was overly impressed with Borderland but considering my expectations going in, at least I was satisfied.

What Would Jesus Buy?
Although produced and "presented" by Morgan Spurlock, WWJB exchanges the wit and charisma found in Spurlock's Super Size Me for strutting spectacle and attention-seeking mockery. A traveling choir of anti-consumer activism, WWJB has almost nothing to do with theology, using the concept only as a prop for "Reverend Billy" and his message that holiday shopping has become an orgy for the credit-happy masses. This message could be considered honorable if it wasn't trivialized by the radical examples and stupid stunts of Bill Talen as the pretend Reverend. And lest we forget: we are all a nation of consumers. If we all sifted through Talen's radical theatrics and attempts at martyrdom long enough to follow his message, our economy could be hurt (Xmas shopping provides jobs and a big seasonal boost for vendors.) From a viewer perspective only, I'll admit that this can be entertaining; his speaking in tongues, banishment from Starbucks and the Wal-Mart sit-ins are brash and outrageous even if the acts are more demeaning to him and his followers than the businesses he targets. I also believe these people believe in their message even if their delivery is too radical to be taken seriously. Ultimately, this is worth a smile but I just can't part with a full 4 stars; 3.5 stars.

Diary of the Dead
I know it seems wrong to criticize or -gasp- dislike a zombie movie made by the master, George Romero. Besides his enormous influence in the genre, his ability to mix horror and social satire has been remarkable. But this latest offering, while sure to be enjoyed by Romero purists or forgiving zombie fans, feels dated and frankly, Romero or not, behind the times. Using a shaky first-person handy-cam perspective, Diary records the predictable events and endless rambling, poorly-acted dialogue to tell its story. This style can be seen in recent movies like Cloverfield and Blair Witch and you can either deal with it or not; some people actually report getting nauseas when viewing this editing style. The plot points of the story are typical - screaming, running and shooting all punctuated with buckets of blood and gore. The expected Romero social commentary does predictably deal with weighty issues such as racism and class conflict but it's delivered with awful acting by screechy immature would-be students out to record their own real-life horror movie. I don't begrudge the film's low-budget atmosphere as it's practically a hallmark of the genre. That still doesn't make it appealing. I am typically a fan of B-movie horror so perhaps I just expected more considering it is by the genre master himself; 2.5 stars.

Indiana Jones and the Kingdom of the Crystal Skull
Certainly entertaining, this long-time-coming fourth Indy movie feels like a rekindled romance for those of us old enough to have grown up on the first three. With it's strong first act, Crystal Skull perfectly recaptures the magic, mystery and well-choreographed old-school action of classic Spielberg. What follows isn't quite as fluid but still pretty good. And the acting is appropriately strong. Ford is more energetic in this role than any we've seen since The Last Crusade. And Cate Blanchett is wonderful as a 1950s psychic commie with her jet black hair bob, sword and drab gray suit. But the movie is not without flaw; there are a number of characters that seem unnecessary or underdeveloped, seemingly sacrificed for the continual action. The sci-fi themes this time around may turn off some viewers and the picture's ample suspense is frequently undermined with hit-or-miss humor (swinging through the jungle ala Tarzan was a bit much.) Plus, Shia LaBeouf's inclusion feels mostly like the seed for future movies rather than a real contribution. It's not that he does a bad job, it's just that he sticks out a bit considering the nostalgic inclusion of Karen Allen and the brilliance of both Ford and Blanchett. These comments aside, Crystal Skull is a good movie, occasionally very good considering Ford's age or the time lapsed since the last installment. Don't let nostalgia warp what you expect going in and you just might enjoy yourself; 3.5 stars.

Chronicles of Narnia: Prince Caspian
Prince Caspian, the second Chronicles movie, is less fairy tale (although still safe for kids) and more epic in nature. It's also a bit more polished making for a smoother cinematic experience. The beefy battle scenes and more mature themes made this the better film for me personally, but I don't look to the movie for religious parables (which are still present) as much as a grand fantasy adventure. Admittedly, the run time is a bit too long and one could argue that the second half battle scenes go on and on. And the violence is pretty extreme compared to the first movie but considering the audience, there's very little actual gore. The CGI visuals in Caspian are wonderful; the creatures of Narnia look fantastic, the animations are better and there's generally more to see. On the downside, the main characters, even with the rivalry and subtle romance, aren't very deep. And the film's villain feels less threatening in style and substance vs. the White Witch of the first movie. In the end, Prince Caspian is worth the price of admission with an epic feel, amazing visuals and a more earthy/adult allure than the mostly allegorical fairy tale offered by The Lion, the Witch and the Wardrobe; 3.5 stars.

The Cottage
A surprisingly smart dark comedy, The Cottage was certainly better than I was expecting. Taking a chance on off-beat, low-budget horror is typically a mixed bag but can sometimes yield originality and/or quality. It has done so here successfully reminding me why I take chances on these movies to begin with. After an uneventful beginning, the plot takes a roller-coaster approach full of comedic turns, better than expected acting and clever ideas culminating in a series of genuinely funny cultish/horror-like scenarios in some ways similar to Severance but better. Unapologetically gory, The Cottage won't be for everyone and the humor has a decidedly British feel which may be hit or miss for domestic viewers. But I liked it and those willing to take a chance on this low-budget horror-spoof just might too; 3.5 stars.

Diamond Dogs
As good as this synopsis sounds, don't be fooled; Diamond Dogs amounts to little more than generic action, a throwaway story and mostly high school quality acting. For viewers interested in only Lundrgen, you'll be happy to hear that the knife fights and gun action present on his other direct-to-DVD offerings are still here. That's something to hang your hat on I suppose. And his character has a little more flavor than the few others I've seen (... and is clearly better than Seagal's role in the recent but horrible Pistol Whipped.) But it's just not enough as the treasure hunt itself is weak and uninteresting serving to only add spice (it fails) to the poorly choreographed action and sloppy B-movie dialogue. Diamond Dogs is only for those forgiving, long-time tough-guy fans only interested in Lundgren for whatever reason. For the rest of us, this is better off forgotten; 1.5 stars.

Abominable
Better than your standard direct-to-DVD B-horror, Abominable is infused with a light-hearted sense of humor, several good cameos and enough gruesome monster-movie moments to keep the film honest. The acting, while hardly memorable, is good enough and the conclusion is conventionally satisfying. There's a certain reluctance when a movie of this sort is about to begin that I can thankfully say was unnecessary. Inspiring? No. Entertaining? Well, with appropriately lowered-expectations, sure.

Breakdown
Dropped into one man's nightmare, Breakdown starts well and is full of potential before devolving into a vat of been there, done that cat-and-mouse action adventure. This trade off from the wonderfully suspenseful beginning is a disappointment but not completely unexpected. And truthfully, the eventual bat-wielding rednecks, car chases and sense of imminent danger is appealing. But this movie could have been so much more if given a chance to stress the subtle setup over the in-your-face antics it eventually succumbs to.

The Bone Collector
While not exactly original, The Bone Collector transcends it's status as a me-too serial killer mystery with a clear sense of artistic style; unique camera angles, well-choreographed shots and a pervasive/chilling mood effectively add to the experience. The acting is also very good here, including a genuine chemistry between Washington and Jolie. The murder-mystery intrigue unravels with a nice build up, gruesome but imaginative murders and a high quality score to punctuate the action. And while the effort as a whole can feel overly extravagant at times, it's sure to be enjoyed by fans of Hitchcock-like stories undeterred by a bit of story-enhancing gore. Recommended; 3.5 stars.

Speed Racer
Visually ambitious, Speed Racer screams sensory overload from the exaggerated action to the intensely vivid day-glo color scheme. It's a sickly sweet presentation most likely targeted at an audience of sugared-up pre-teens or aging fans looking to relive their childhood cartoon favorite. But the overly complicated plot, unnecessary exposition and long runtime seem unlikely to endear either group. And although the cast is good, their efforts seem wasted on the drunk-with-effects story. In the end, the creativity was interesting but seems more like an indulgence for the Wachowski brothers rather than mainstream entertainment.

Hero Wanted
The long-since-ripe Cuba Gooding Jr. isn't bad as the snarling, revenge-minded, emotionally crippled would-be hero the title so desperately needs. And the hand-to-hand combat is brutal. Otherwise, this limited-release action picture offers little else; Ray Liotta is completely wasted having been marginalized to a token role and the story itself is pretty shallow. Also annoying, the narrative is told in a confusing and unnecessary time-shuffled fashion with director Smrz (aren't vowels typically required for... you know, words?) using the central event for flash backs and flash forwards. At least the violence is jarring and visceral - several bloody fist fights, strangulation... even genital piercing. If you're into that sort of thing and can overlook the other flaws, Hero Wanted is almost entertaining; 2.5 stars.

Teeth
An uneven horror spoof, Teeth is morbidly interesting for it's original concept and moments of black comedy. Lead Jess Weixler, a previous independent award winner, does a great job playing the upbeat high school good-girl whose dedication to chastity isn't 100% voluntary. And the surrounding cast isn't bad either considering the film's independent feel. Playing off the fundamental fear of male castration, Teeth is not for the easily offended or feint of heart and can be quite graphic. But the well-setup first 30 minutes and subtle sense of comedy do frame the macabre in an entertaining way. And the character-driven, revenge elements are appropriately satisfying. I wouldn't say Teeth is a great movie but it had it's moments and I think we'll be seeing more of up-and-comer Jess Weixler soon.

Iron Man
Mature in it's perspective, narration and lead characters, Iron Man is an exceptional entry into the canon of iconic superhero movies. This level of quality essentially elevates the effort beyond it's genre into the realm of character-study but fortunately, the action is never short-changed. Plotwise, it's not surprising that this first-in-franchise is an origin story; even though Iron Man has been a key Marvel Comics player for decades, he's not nearly as famous as other heroes such as Spider-Man, Batman or Superman. Recognition aside I must say I was thrilled with the use of CGI to further the story rather than take it over - it's practically seamless. And the humor throughout the movie is present but restrained enough to prevent a campy feel. Purists may notice some detail changes between the film and the comic book but considering the times, I felt the changes were organic and necessary. And the choice for Downey as Iron Man is simply inspired; his background is similar in some ways to the playboy protagonist Tony Stark and his performance is riveting. Jeff Bridges and Paltrow were also quite good. Lastly, there is a short scene that occurs just after the credits roll, a bit of a teaser for the direction this franchise may be going if you're interested. Bottom line: this movie justifies it's considerable hype and I can't wait to own the inevitable Blu-Ray version and it's sequels. Outstanding!

Baby Mama
Considering my expectations on this one, I am just a little disappointed. It seems, given Fey's meteoric rise in recent popularity and the current atmosphere of raunchy envelope-pushing comedy, this could have been so much more. Lacking any sort of real social insight, Baby Mama basically displays the same tired story we've seen before; type-A personality waits too long before realizing time is running out on her mommy dreams and then scrambles for resolution. At times, the movie even nears romantic comedy status, complete with cliche pop-music and an emotionally manipulative montage. But the effort is ultimately redeemed by the vibrant, charismatic and funny cast of side-characters surrounding a very natural chemistry between Fey and Poehler. Natural foils on SNL, the same magic is present here between the two women, even if the hijinks really aren't all that creative or the characters themselves that deep. Finally, in some ways, I felt the ending was a bit of a cop out as it was hinted at so many times that it became predictable and really seems only a reinforcement of societal norms when perhaps a more provocative statement could have been made. A funny movie with a good cast and moments of sharp writing, Baby Mama is worth seeing. But I'm sure Fey has even better in her. I'm sure of it; 3.5 stars.

Harold and Kumar Escape from Guantanamo Bay
Partially responsible for the recent stoner-comedy rebirth was the first Harold and Kumar bong-fueled hamburger quest of 2004. This sequel picks up events immediately after that first movie with a trip to Amsterdam during which things go horribly awry. It's not so much the imprisonment in Cuba, as the title suggests, as a road trip comedy (Harold and Kumar in fact spend very little time in the infamous detention facility.) Like the first movie, the series of misadventures that follow are typically laugh-out-loud funny for genre fans, including another fantastic appearance by the flamboyantly funny Neil Patrick Harris. And it probably doesn't need mentioning but I will anyway: this is NOT a family film. Intentionally offensive scenes, toilet humor and gratuitous nudity (side note: the "bottomless" pool party was quite funny) are almost all you'll find here. Regardless, it is interesting to note that Harold and Kumar represent this generation's stoner personalities; one is gainfully employed while the other is quite smart but runs from daddy issues. It's a refreshing change from the aging hippies, worthless delinquents or high school pot heads of yesteryear. Ultimately, a funny movie sure but you must know what you're getting into or this could be a shocking surprise; 3.5 stars.

The Forbidden Kingdom
Targeted more toward adolescent males than fans of actual Chinese acrobatic fighting, The Forbidden Kingdom may polarize viewers expecting one thing but getting another. Yes Chan and Li are together for the first time but the choreography and fight durations are mostly unremarkable and seem more like side-action designed to support the epic and very traditionally western Karate Kid-style story line. But the FX are appealing and the characters interesting, especially the Monkey King himself. Those willing to accept the fact that this isn't the hardcore, choreographed fight movie fans have been waiting for will likely find something to enjoy here. And 10-year old boys, the likely target audience, will probably flip for this stuff. The rest of us will have to fall somewhere in between; 3.5 stars.

Trailer Park Boys: The Movie
You don't have to be a fan of the long-running Canadian TV show to enjoy the TPB movie as long as you have a healthy appreciation for drugs, alcohol and decidedly silly, sometimes raunchy low-brow humor. The light plot here is similar to the TV show in that it provides structure but really takes a backseat to the characters and their peculiar brands of stupidity. To that end, the players are mostly endearing; losers yes, but likable and the sort of guys you might like to hang out with if you could avoid their hair-brained get-rich schemes and trouble-prone decisions. Both the TPB show and movie use a semi-documentary style, similar to The Office, in which characters will sometimes respond in an interview-like fashion directly to the camera. It's a well-done mechanism that allows viewers perhaps not already familiar with these characters a chance to get caught up and can frequently be quite funny. On the downside, even if you're into this type of humor, the movie can feel a little long at times and the laughs are intermittent. Worth watching? Sure but it's probably not something you're likely to watch again; 3.5 stars.

88 Minutes
Rather generic and a bit manipulative, 88 Minutes is mostly a nonsensical and listless "real time" psycho-thriller. There is very little substance here to keep a viewer engaged beyond a number of red-herring events. And there are a few scenes intended to sex the movie up but they feel more gratuitous than natural, lending the movie a feel that's less than classy. So it seems the only real reason to see 88 Minutes is for Pacino himself. Even then fans may feel let down as the performance is hardly inspiring; amounting to little more than Pacino collecting files, dashing through the rainy city or answering the calls of some muffle-voiced generic bad guy in a oddly detached race to keep himself alive. He clearly does what only he can with the lousy written material but Pacino mannerisms aside, it's just not enough. And what's with his hair? With a story more akin to nighttime TV crime drama than action-filled major motion picture, 88 Minutes is ultimately less than the sum of it's parts. It's not terrible but not particularly good either; 2.5 stars.

Paranormal State: Season 1
Produced by the same team that also brought you the unintentionally scary "Laguna Beach" series, comes Paranormal State; a demographically targeted cash grab me-too spook show designed to cash in on the success of other genre shows like Sci-Fi Channel's superior Ghost Hunters. But unlike the scientifically unbiased approach taken by Ghost Hunters, State takes a decidedly Christian approach to explain the self-described spooky noises and unverified claims of the people citing the possible paranormal events. State practically screams to have an initial disclaimer stating, "For Entertainment Purposes Only" as the investigations by these unappealing and mostly uninteresting college students is scientific in name only (very little investigative equipment is ever used.) Instead, the show frequently employs gimmicks such as lead Ryan Buell's cryptic journal entries, the "dead time" experiments or spooky background music. Without an ounce of shame the show even frequently employs one of two or three "off-center" clergymen or psychics to expound on the mumbo-jumbo of interpretive events. I don't hate Paranormal State when looked at as 30 minutes of exaggerated entertainment, but even as such, it's not very good.

Darkon
More intricate than a Renaissance Festival, more engaging than a table-top RPG, Darkon refers to an imaginary fantasy world full of warring kingdoms, renegade armies and dark elf mercenaries. While factors like world geography, economy and magic are concepts only discussed in the abstract, the viewer will experience first-hand the most tangible aspect to this game - the battles. Elaborate factions with padded weapons and armor regularly meet to settle disputes within the world of Darkon. These mock battles enjoy their own brand of chaos, and from what I could tell, an honor system. Strategy can also be a key factor to success. But beyond the staged spectacles, parking lot arguments and backdoor deals is a sense of sadness. For while the participants of Darkon seem fully immersed in their fantasies, it also seems most are ill-equipped to function well in the real world; low-paid workers, social misfits, emotionally handicapped or just the oddly detached. The film treats these individuals with a sense of respect but one can't help but feel that most of these societal castaways are looking for a complete escape from their everyday problems. I realize most of us participate in our hobbies for a sense of escapism but this level of obsession is probably not healthy and certainly won't address the underlying issues most here seem to have. So while watching this documentary is moderately interesting, it can also be exhausting and a bit depressing for those viewers also looking at the bigger picture; 3.5 stars.

The 11th Hour
Taking a thoughtful and earnest approach to a topic similarly done in the folksy Al Gore piece, An Inconvenient Truth, 11th Hour is informative but a bit of a downer. Produced, narrated and co-written by a somber Leonardo DiCaprio, the events, possibilities and speculative outcomes are discussed in catastrophic detail; passionate yes, but also dire and without humor. The content provided is likely nothing new to viewers already aware of the geological problems facing this generation. But the information is concise and generally put in layman's terms even when describing complex science. To add flavor, multiple, well-respected, guest commentators including Stephen Hawking and Mikhail Gorbachev help describe the issues. But as well-intentioned and skillfully put together as 11th Hour is, one can't help but feel guilty and a certain sense of hopelessness during the film. There is some attempt near the end to declare that, "... it's not too late!" but the hope provided is long on ambiguity and short on details. By all means, I feel every adult needs to be environmentally aware but let's take one thing at a time before painting ourselves into a self-fulfilling doomsday scenario; 3.5 stars.

30 Days of Night
Based on a graphic novel in part written by Steve Niles, who also co-wrote the screenplay, 30 Days of Night fails to live up to the promise of the original work. The subject material is taken very seriously but it's hard to identify with the victims; a touch of humor would have gone a long way here. And although set in below-zero temperatures, the cold and snow really play very little role as characters are continually exposed for long periods of time with little or no consequence. I also wasn't a fan of