Movie Title:SCTV, Volume 1 – Network 90

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Whenever I got together with friends discussing television and movies we always wondered why every crummy TV display and movie made it to DVD while SCTV was not yet on DVD. Then we would inevitably originate to reminisce about the note, out accepted sketches, etc. Now we can all recognize together because SCTV is finally on DVD . . . well, at least some of it is, and that’s a friendly initiate.

For those who fondly remember the series I must first station that this is not a collection of the 30-minute shows that were shown in syndication. Rather, this collection contains the first nine shows of SCTV-90 that ran on NBC during the early 80′s. Fortunately, the first episode of the collection is a retrospective of some of the best sketches that ran on the syndicated demonstrate. Fans will be able to peep “Night School Hi-Q,” a interrogate point to where Eugene Levy plays a harassed Alex Trebek to Catherine O’Hara’s clueless Margaret Meehan; John Candy as a fully grown Beaver who finally gets revenge in Eddie Haskell; Rick Moranis as Merv Griffin comparing jacket linings with Yasser Arafat and Liberace; and the jewel of the disk, Rick Moranis as Woody Allen playing against Dave Thomas as Bob Hope in “Play It Again, Bob.” No one ever imitated Bob Hope like Dave Thomas; seeing him on the cloak almost makes us have were really were seeing Bob Hope, that’s how respectable the impersonation was.

And there’s more to near with some of the best-loved characters in SCTV: Guy Callabero, Edith Prickley, Bob and Doug McKenzie, Johnny LaRue, Mrs. Falbo, Lola Heatherton, Bobby Bittman, Earl Camembert, Floyd Robertson, aka Count Floyd, Dr. Tongue, Perini Scleroso, Mel Slirrup, and Sammy Maudlin. They’re level-headed as laughable, and almost as current, as when we watched them befriend then.

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Other highlights to gaze for include the following:

– John Candy as Civil War coward “Yellowbelly,” a spoof on Chuck Connor’ series, “Branded.”

– Rick Moranis a video deejay Gerry Todd, pre-MTV and eerily prescient.

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– The Sammy Maudlin Reveal where Bobby Bittman (the unfunniest funny-man in Hollywood) is upstaged by Bob Hope.

– The Ingmar Bergman film parody that shows up of Count Floyd’s “Monster Chiller Scare Theater.” Floyd is under the impression that it’s a fright film. His disappointment when he finds out the truth is as hilarious as the parody itself. ( A bit of SCTV trivia here: Count Floyd, who was SCTV news anchorman Floyd Robertson in a vampire costume and cheesy make-up, is based on Bill Cardille, who Joe Flaherty watched as a kid growing up in Pittsburgh. Cardille did the weather for the local NBC set, and on weekends hosted the studio wrestling matches and as “Frosty Billy” hosted the Saturday night alarm feature.)

– Joe Flaherty as status owner Guy Callabero, who, although he can tear, uses a wheel chair. (“I only expend it for respect!”)

– “The Grapes of Mud,” a parody of “The Grapes of Wrath.”

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Buy,Download, Or Stream SCTV, Volume 1 – Network 90! Click Here

– “Mrs. Falbo’s Microscopic Town.” Andrea Martin at her funniest.
– Johnny Larue’s “Polynesiantown,” with its ending crane shot that got LaRue in hot water with Guy Callabero because it went so far over budget.
– “The Merv Griffith Point To,” with Rick Moranis as Merv doing the portion of Sheriff Taylor. Peer for Eugene Levy as a large Floyd the Barber and John Candy as Otis.
– “Dr. Tongue’s 3-D House of Stewardesses,” a cheesy send-up of 3-D movies.
– Catherine O’Hara as Lola Heatherton. Simply hilarious.

That said, the only stumbling block would be the ticket, which is due to the cost of obtaining the music rights. But it’s worth it, and the music’s not unpleasant. For instance, the leisurely Roy Orbison, Dr. John, and Southside Johnny and the Asbury Jukes (fans of Conan O’Brien and the Max Weinberg 7 should examine for LaBamba and Ticket Pender in earlier incarnations) are among the performers.

Besides the top-notch commentaries on each disk, there is also a 24-page booklet with articles by Conan O’Brien and Ben Stiller, among others. O’Brien says in his share that in regard to SCTV, “I don’t consider anyone’s ever topped it.” I agree.

A obliging day indeed! Who could ever forget Count Floyd hosting Monster Chiller Panic Theater screening such epics as Dr. Tongues 3D House of Pancakes (Would you like some syrup!) and Dr. Tongues 3D House of Stewardesses.
Other Substantial Sketches;

The Godfather: SCTV trys to eliminate the four families (ABC, CBS, NBC & PBS)

Polynesian Town: Johnny LaRue begging for his crane shot.

Fantasy Island: John Candy as Tatoo is a classic, especially when he gets amorous with a stratavarius violin!

The Guy who sells aged fruit (Eugene Levy)

The Porno store guy with the snake on his face (John Candy)

Indira; The musical: (Andrea Martin)

The Days of the Week: You’ll be hard-pressed to gather two more uninteresting characters than Rocko & Mojo.

…And last but not least, Substantial White North. SCTV’s retort to the boring “Canadian Inform” rule that was imposed upon them. Out of their explain came the two most memorable characters of the 1980′s! Coo Luk-u-coo-coo-coo-luk-u-coo!

RELEASE All OF SEASONS/CYCLES ASAP!! I WANT MY SCTV!
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Movie Title:1776

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Every 4th of July I discover “1776,” the musical that has our Founding Fathers singing and dancing their blueprint to Independency, and every time John and Abagail Adams mumble goodbye to each other (“Till Then” and “Yours, Yours, Yours”), I salvage choked up. William Daniels has his role of a lifetime as John Adams, the gross and disliked Massachusetts delegate to the Continental Congress who is the most involved advocate of independence (“Piddle, Twiddle and Settle”) . Virginia Vestoff plays his wife Abigail, and their exchanges are based on the “Dearest Friend” correspondences they wrote to each other during the crucial summer of 1776. However, the most unforgettable performance in “1776″ comes from Howard Da Silva as Dr. Benjamin Franklin. The actor, who played movie villains for years, manages to exclaim not only Franklin’s wit but also his firm plan in the current bustle of “Americans.” Ken Howard plays Thomas Jefferson and joins with Adams and Franklin in the show’s two cutest numbers, “But, Mr. Adams” and “The Egg.” I have never cottoned “The Lees of Veteran Virginia,” the song sung by Richard Henry Lee (Ron Holgate) and where every lyric line ends with “LY,” but at the other ruin of the spectrum is the chilling “Molasses to Rum to Slaves,” the song about the Triangle Trade sung by South Carolina’s Edward Rutledge (John Cullum) . The ensemble cast brings the Second Continental Congress alive, with Roy Poole as Stephen Hopkins, David Ford as John Hancock and William Hansen as Caesar Rodney standing out. Most of the cast members were in the Tony Award winning fresh Broadway cast, although Blythe Danner replaces Betty Buckley as Martha Jefferson (“He Plays the Violin”) .

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Peter Stone’s book is remarkably right in relating the historical events; the biggest error a historian would point to is that John Dickinson (Donald Exasperate), did not reveal up the day of the crucial vote so that Pennsylvania would not ruin Independence. But Broadway and Hollywood must be allowed to earn things more dramatic. What makes “1776″ so astonishing is how it teaches history while being so attractive. The opening of the film, where the tirade by Mr. Adams against the do nothing Continental Congress is interrupted by the collective Founding Fathers jumping up and singing “Sit Down, John,” sets the tone and Peter H. Hunt’s film delivers throughout. The show’s best moment comes in “Is Anybody There? ” when John Adams, all alone in the mild chamber, dreams of the pomp and pageantry of a free America.

I also have the laserdisc version, which runs 176 minutes and includes 35 minutes of material originally slice from the film, including the song “Cold, Considerate Men” and alternative shots in several sequences. While the quality of the additional material is in very black shape, fans of “1776″ will retract what they can accept. Hopefully the complete film can be restored before we fetch to the DVD version (hint, hint, hint) . Granted, the understanding of a musical about the Declaration of Independence seems bizarre; I once blew off a chance to leer “1776″ on stage because I idea the concept was insensible. But this is a friendly musical that makes the time and issues near alive, so that even concept we obviously know the outcome, we are enthralled because it looks like Mr. Adams will never salvage his Declaration adopted. If you are looking for a film to seek each 4th of July, “1776″ is the one.

First, let me say that I’m not a vast fan of movie musicals. However, I’ve always made an exception for 1776. I mutter it’s my abiding interest in history, and in the favorite presentation of history, that keeps me coming assist to this film. For the uninitiated, 1776 is the myth of the signing of the Declaration of Independence, and was first presented on Broadway in the leisurely 1960s. Dwelling in Philadelphia in June and early July of 1776, the action centers around John Adams’s attempt to earn a reluctant Continental Congress to protest the 13 colonies independent of Gargantuan Britain. Adams, and his allies (including Ben Franklin and Thomas Jefferson), is opposed at every step by the conservatives in Congress, led by John Dickinson of Pennsylvania. Although we know the ending, it is to scriptwriter Peter Stone’s credit that we realize things may have turned out rather differently.

My first recorded version of this movie was taped off of a local television state that had drastically edited it for length and teach. When I finally got around to buying the VHS version of 1776, I was amazed at what had been left out, particularly when it came to the earthier dialogue. Imagine my reaction to the novel DVD director’s crop edition of this musical; it was like watching a completely original movie. Bridging scenes that had been edited out now provide a nearly seamless fable glide, and the musical number “Wintry, Considerate Men” has been restored, providing for greater balance between the conservatives and radicals in Congress.

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The cast, a number of whom reprise their roles from the Broadway production, is nearly flawless. William Daniels IS John Adams, hard-headed, driven, passionate, “inferior and disliked”. Howard da Silva is equally effective as Benjamin Franklin, elder statesman and earthy man-of-the-world, while the rest of the actors do very well by their characters. Of necessity, the film’s emphasis is on Congress, and therefore on the male of the species; women are shrimp to two roles–Martha Jefferson, played by Blythe Danner, and Abigail Adams, played by Virginia Vestoff. Of Danner’s role, there is tiny to say beyond the fact that the actress is a intelligent hide presence. Vestoff, on the other hand, has a rather more expansive role as John Adams’s wife, confidant, and sounding board. The film effectively portrays the correspondence between John and Abigail, a partnership that was, in many ways, great in American history.

Director Peter Hunt keeps things gripping along at a tantalizing hump, propelled by the music of Sherman Edwards, who also wrote the lyrics. It’s hard to hold a popular song, but two stand out in my mind–the chilling “Molasses to Rum to Slaves” and the poignant “Mamma, Peek Spellbinding”. The frail underlines the flawed nature of the American Experiment–that a unique nation established on the principle that “all men are created equal” would also retain hundreds of thousands of people in chains. The latter song brings home the fact that while Congress engages in endless debates, men (and boys) are dying on the field of battle.

I could dwell at some length on the historical inaccuracies embodied in this movie–the character of Reflect Wilson, for one, and that of Richard Henry Lee, for another. However, purism aside, what 1776 makes certain is impartial what a end rush thing independence really was, that there was, indeed, a distinguished proportion of Americans (and their representatives) who wished to remain sincere to the British crown. Better yet, the Founding Fathers are portrayed mot as marble men, but as the passionate, flawed, flesh-and-blood individuals they were.
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Movie Title:Oliver and Company

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Poor, abandoned kitten Oliver is homeless on the streets of 1980s Recent York City, until he meets a streetwise dog named Dodger. The icy canine takes Oliver under his soar and, with the benefit of the rest of his all-dog pickpocket gang, begins to insist him how to survive on the substandard side of the law. But when one of their con jobs goes awry, Oliver ends up in the hands of a sweet, lonely, microscopic rich girl named Jenny. Suddenly, Oliver is living the high-life in a Fifth Avenue penthouse, grand to the chagrin of Jenny’s prize-winning, pampered poodle, Georgette. When the frail gang shows up to rescue Oliver from his ritzy fresh life, they’re disappointed to derive that he wants to discontinue with Jenny. Their human ringleader, Fagin, however, is more than contented to send Oliver home, if he can collect a healthy ransom in the process. Fagin isn’t really a unpleasant guy, he’s honest one step above homeless and has a really noxious loan-shark breathing down his neck. Jenny shows up on the unlit and perilous docks to pay Oliver’s ransom and rescue her shrimp kitty, and her sadness is too distinguished for Fagin to assume, but loan-shark Sykes has no troubles from a conscience and sees a chance to obtain even more dirty money. He snatches up Jenny and plans to contain HER for ransom! Suddenly, Oliver, Dodger, Fagin and the gang fetch themselves on a desperate rescue mission to build Jenny from the ruthless Sykes and his bloodthirsty Doberman Pinschers, Roscoe and Desoto, and even Georgette is getting in on the valorous action!

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There’s no doubt about it, Disney’s wonderfully charming classic “Oliver and Company” is one of the most dated curious films you’ll ever gaze. Of course, that’s a large share of its charm. What could be more “`80s” than 1980s Unusual York City? How about the music of Billy Joel and Huey Lewis? I know they were two favorites of mine in the `80s! Okay, to be unprejudiced, Billy Joel and Huey Lewis aside, the `80s is something you notice relieve on and mock rather than plan fondly, especially the clothes, and Oliver and Company captures that aspect, along with many others, perfectly. So, it’s dated. Everything is, really. Call it nostalgia. Anywho, as strongly `80s as “Oliver and Company” is, it rises above it! It is simply a grand film! That’s something that’s easy to forget if you haven’t seen it in a while. “Oliver and Company” is Disney’s twist on Charles Dickens’ “Oliver Twist,” and it is an Gracious modernization! All the best characters are there, and the cast is star-studded! The piano man himself, Billy Joel, voices the artful Dodger, a canine so cold he puts Snoopy to shame (we tranquil admire ya, Snoopy)! The hilarious Cheech Marin is Tito the Chihuahua, animation alumnus Dom Deluise is Fagin, the divine Bette Midler is one of Disney’s funniest characters as Georgette, Robert Loggia is the excellently slimy villain, Sykes, and a very young Joey Lawrence plays Oliver, impartial to name a few! With seamlessly incorporated computer animation and painstakingly acquired “dog’s peer understanding” shots of Original York City, “Oliver and Company” was the film that kicked off Disney’s gargantuan comeback as an animation heavyweight, though this cute minute film was easily forgotten in the wake of Disney’s mega-hit, “The Limited Mermaid,” the following year. But don’t let that cessation you from enjoying the magic of “Oliver and Company” yourself! Even the soundtrack is terrific, despite that it is powerfully “80s.” And, it’s unbelievable how well Disney has translated “Oliver Twist” into a epic about cats and dogs on the streets of Current York without losing the heart of the anecdote and its underlying messages. The DVD is astounding as well, especially for a single-disc Disney release! This is the procedure DVDs should be! In addition to the widescreen presentation of the film, you fetch a tedious the scenes featurette from the novel theatrical release, 2 shorter featurettes, a TV place, theatrical trailers, a scrapbook gallery of art and other materials, 2 sing-along-songs, and the best part: You regain two classic Disney shorts! Included as extras are “Puss Cafe,” a hilarious Pluto cartoon where the pup goes up against two troublesome felines invading his backyard, and “Lend a Paw,” the Oscar winning Mickey Mouse short in which Pluto saves a kitten from drowning and mercurial regrets it. Outstanding stuff, and an astonishing selection of extras for a single-disc Disney DVD! Rediscover this Disney Classic on DVD today! You won’t regret it!

During the 80′s, the studio hit an artistic, creative, and commercial stride. However, I unexcited accumulate that I quite bask in Disney’s 80′s films, many of which experimented with computer animation, non-musical storylines, and different source materials. One of my well-liked pre-Little Mermaid 80′s Disney films is Oliver and Company. Boasting a soundtrack filled with expansive songs and a incredible cast of characters, Oliver and Company finally gets the DVD treatment, albeit a less-than-stellar one.

For one, the transfer is genuine, but it could be mighty better and it has a beautiful amount of grain.

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The bonus features could have been remarkable better as well. A few fluff EPK-type featurettes, which are nice, but calm fluffy, are sadly enough the meat of the bonuses. Also included, fortunately, are the modern trailer, unique TV space, and the 1995 re-release trailer. Two sing-alongs are included as well as two classic Disney short cartoons.

Overall, it’s nice to examine Oliver and Company on DVD at last. This is probably the best DVD edition Disney will give it for at least a while, so if you’re considering picking it up, go for it.
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Movie Title:Maniac Cop

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First of all, let me define that the four star rating only qualifies in the genre of slightly-schlocky gore. For those of you that don’t savor this type of movie, it’s more like one star. But if you’re looking to remove the DVD and reading this review, I have a feeling you’re into this.

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That being said, this is top quality when it comes to off-kilter panic action. A gruesome killer dressed like a cop is on the loose in Unique York, killing innocent people instead of criminals. One cop lets the paper know that they assume it’s a cop gone abominable, which turns the public against the police force.

As the alarm level escalates Bruce Campbell is framed for the destroy of his wife, and becomes the lead suspect in the brutal killings. Now, only Bruce and two other cops know the chilling secret of the maniac cop, and will cessation at nothing to try to end him.

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Although there are numerous amounts of “what the…? ” sections in this film, it’s aloof mindlessly scrumptious and Tom Atkins’ performance as a hardnose cop keeps the film tenuously grounded in reality.

If you’re into Bruce Campbell and laughable alarm movies, then you can’t go spoiled with Maniac Cop. If you’re at all averse to either of those, then don’t even bother thinking about it because you won’t relish the hidden quality of such a classic as Maniac Cop.

I didn’t do that up, thats the loyal tagline for this decent grievous budget 1980′s slasher flick/cop thriller. Maniac Cop has some substantial and thrilling moments along with some cheesy and over the top death scenes and the film has a gorgeous top-notch b-movie cast which includes Bruce Campbell as a wrongfully accused cop named Jack Forrest framed for the cancel of his wife and you might also recognise the other actors like Richard Roundtree from Shaft who plays the police commissioner along with Tom Atkins from The Fog as the detective who’s trying to solve the case and Robert Z’dar as the maniac cop Matt Cordell who kills innocent people on the streets of Novel York and check out the cramped cameo by Sam Raimi as a T.V. reporter cold!. The film was about Matt Cordell an innocent cop who pissed off the harmful people, tired of media criticism of police brutality the police commissioner ensures that Matt is tried and convicted for the supposed beatings of some really abominable guys. Once Matt is in prison he is beat up and killed by the very people he assign away but he soon comes help to life seeking vengeance and hes also killing alot of innocent people along the diagram while the police themselves are looking for the putrid person when officer Jack Forrest (Bruce Campbell) is status up and framed for the execute of his wife and the closer the investigation gets to stopping Matt, Jack gets accused of being the Maniac Cop himself and people on the streets open panicking not trusting any cops in uniforms.

I faded to indulge in this film alot and it was one of my favorites, the film was more recently re-released on DVD by Synapse and has plenty of extras which includes some deleted scenes and an interview with Robert Z’dar, this novel synapse release has a marvelous widescreen transfer which was alot better than the previous Elite Entertainment release which I consume to have . The film was written by Larry Cohen and was directed by William Lustig who previously made Maniac, unlike that film Maniac cop was less serious than Maniac and you can enlighten that he objective wanted to perform a fun b-movie with less gore and violence so the film wasn’t really gory whilst Maniac was about a deranged serial killer and was quite murky and disturbing with a dismal atmosphere, you secure a funny death scene where a guy gets drowned in concrete by the maniac cop so don’t lift it to seriously. The film was shot in N.Y. and William Lustig gets to serve from the tremendous locations and it does have some immense atmosphere, I have to give credit to the director for turning this into an interesting horror/thriller film there was never a listless moment, I especially liked the car trail scene with Bruce Campbell handcuffed at the encourage of the police van and this was definetely one of his best roles so if your a Bruce fan then you should check it out. Overall this is definetely a well made film with some reliable acting and a grand storyline but it doesn’t have any scares, some scenes were a bit tense while others were fair a bit ridiculous but it’s peaceful worth watching fair don’t inquire anything earth shattering, spy it with a group of friends and you might indulge in it even more the sequels were grand too.
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Movie Title:On Golden Pond

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This review refers to the VHS edition …..

Traditional age and all the problems that go with it, have turned Norman Thayer(Henry Fonda) into a curmudgeon.He is forgetful and thoughts of dieing are foremost in his mind. It doesn’t seem to bother his wife Ethel remarkable though(Katherine Hepburn) .Always in high spirits and joyful to be alive. Her biggest woe is worrying about him. The Thayers are spending their 48th year at their summer home On Golden Pond. It will be Norman’s 80th birthday, and joining in the celebration will be their daughter Chelsea(Jane Fonda), who Norman has never been able to connect with emotionally.

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Chelsea brings with her to the lake her fiance(Dabney Coleman) and his 13 year primitive son Billy(Doug McKeon) who has some emotional problems of his beget. Billy is left to employ the summer with the older couple, which was not what the 13 year frail had in mind for a fun vacation.Norman and Billy invent an unusal bond over the summer as Ethel watches her husband’s renewed zest for life.

The film is one of those that the expression “I laughed. I cried” really is factual. The legend is an emotional rollercoaster, that you’ll want to inspect over and over.Henry Fonda and Katherine Hepburn shine and both recieved best Acting awards in 1981 for their on veil magic. All I could perceive in the scenes with Henry and Jane together was fancy. Even when their characters were at odds they too loved each other, and managed to work through it.An astounding acting job by the young Doug McKeon, and Coleman salubrious as he goes toe to toe with Henry Fonda.

The music and the scenery are as gorgeous as the movie. The pond with the sun sparkling, the woodsy areas, the loons ever indicate, were a joy to search for. Directed by Note Rydell, who seemed to acquire the beauty of life. Fonda’s last film, he left us with one that we can fancy for years to reach.

Kick support and delight in………Laurie

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I’ve seen On Golden Pond at least thirty times since its release and never gather tired of it. Henry Fonda is quick-witted as the crabby Norman Thayer and he shines in his last conceal performance. His interplay with Katharine Hepburn reminds one of the rare chemistry she enjoyed with Spencer Tracy in all the magical movies they made together. Everything Fonda says in this movie is dependable and believable, you’ll never find him overacting or playing one fraudulent brand. It would be difficult to imagine anyone else in this role.

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Fonda’s scenes with daughter Jane are particularly bright considering their strained precise life relationship. Their last embrace at the conclusion of the film will tug at your heart strings. It’s a poignant and wistful contemplate at growing used and facing death, two awful but unavoidable subjects. Fonda and Hepburn are literally perfect in this film, which is also enhanced by a stunning, haunting soundtrack. This is a film you can view again and again and never weary of it.
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Movie Title:Ocean’s Twelve

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A comely sampling of Hollywood’s highest paid stars flew to Italy, spot up a camera, and threw a party. It looked like they had a lot of fun.

Ocean’s Eleven was a watchable movie, nothing to write home about but at least those enthusiastic didn’t have to hang their heads in shame. This sequel however is one of the most uneven pointless sequels I’ve ever seen. The worst flaw of this film is simply place…it is Listless. There is also a really preposterous scene with Julia Roberts character playing Julia Roberts…maybe one of the dumbest things I’ve ever scene in a film. George Clooney and Brad Pitt stir through this movie acting like they’re the coolest hippest dudes on planet earth, sorry chaps but the jokes on you, Matt Damon seems cooler than you two arrogant chumps assign together. Dead,stupid, and honest dreary. The tale is so mediocre and droll that it’s no wonder the acting is sub par. The best thing about this movie is the nap you can capture while it’s on.
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Movie Title racula

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From 1979, this is the sensual Dracula…Frank Langella, repeating his hit stage performance in this John Badham directed version, plays the Count as seductive and irresistible…with his mild as honey screech and flowing costumes. The first thing you stare of him is his hand, slowly emerging from a fur mask…it’s one of my very accepted moments on film.

Kate Nelligan is stunningly stunning as Lucy. She plays her as strong and liberated and a willing participant in the Count’s plans. Laurence Olivier is amazing as always, in a performance that’s about as “over the top” as he’d ever done. Also safe are Donald Pleasence, marvelously insubtle as Dr. Seward, and Trevor Eve, as a more “macho” than usual Jonathan Harker.

John Williams’ lush win adds a lot to this film, which though it departs radically from the current book, has a lot of atmosphere, exotic sets, and sumptuous (though darkly hued) cinematography.

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I fetch the Dracula anecdote engrossing, and don’t consider I’ve missed a single filmed version…this is one of the two I have watched the most, the other being the Coppola one, and both films collect better with repeated viewings…so if you’re a Drac fan, don’t miss this voluptuous twist on the former anecdote.

Odd how this 1979 runt gem of a “different capture” on “Dracula”, based on Frank Langella’s Broadway version, was fairly well-reviewed when it was first released, and considered a stunning and sumptuous updating of the broken-down Bram Stoker chestnut, only this time with a mesmerizingly charismatic Count, with lush locations and costars like Laurence Olivier and Kate Nelligan.

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Perhaps it wasn’t perfect (they accumulate Mina and Lucy, for one thing, mixed up— but then, how many filmed “Dracula” versions are all THAT faithful to the book?!? ) but it had a glum mood and texture that was quite bright and did quite well, justly, in ’79.

Today, it’s reputation has fallen from ‘good’ to ‘mediocre’ to ‘huh? ‘

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It’s been said that Langella’s stage performance “gets lost” amongst “trendy special effects”, and I have to confess that I never saw Langella do the Count on stage [I understand he turned taking-off his cape into an artform], but anybody who can virtually wipe even Olivier off the shroud as Langella does in the movie can’t have had ALL of his stage-presence removed in the film!

And as for “trendy special effects”? The “effects” are subject-appropriate; nothing excessive. Ample job of directing by John Badham, and music net by John Williams.

Of course, I’ve yet to study the DVD quality– hope it’s noble.

UPDATE 3 MONTHS LATER AFTER POSTING THE ABOVE REVIEW (8/04) …. Well, guess what? — it’s NOT splendid (the DVD) . I unbiased got mine and what should I catch? It’s virtually now in black-and-white. And guess what else? Director John Badham did this DELIBERATELY for the DVD release. In the DVD commentary for the film, Badham states that they couldn’t “drain” the color out of the film to his satisfaction in 1979, for mood purposes, so now he can [and DID] for the DVD.

The quandary is: the movie didn’t NEED this “improvement”. The unusual photography (now completely counteracted on the DVD) was rich and atmospheric and, as it was shot in England so artfully, it had been stupid and drab in all the legal spots— but SOME scenes, expecially the low-lit interior moments [like the candlelight dinner between Langella and Kate Nelligan] had been wonderfully warm as an effective “counter”…. Well, not no more, Drac-fans… The skins tones are gone, anything once orange is now expressionless white…

The DVD has been ruined, and on Badham’s misguided orders…

There’s even that one scene by the cemetery between Langella, Lord Olivier and Miss Nelligan at sunset— and during the commentary, Badham talks about how the actors and crew had to wait all day in order to accept fair the lawful natural light, and that “today” they’d impartial set aside in the sunset with computers… But Badham’s stating this as you gape the scene with the sunset now REMOVED by computers, ‘specially for DVD! The pink stripe across the sky they waited for hours to accumulate is no more! It could be unprejudiced another foggy noon in England– in which case, the Count should be in bed… And after seeing this travesty, so should I.

I feel SOOO ripped-off… Why do directors go relieve, so many years later after they’ve lost all objectivity, and “fix” obedient movies they got apt to open with (’cause aint nobody fixin’ the Terrible ones!)?

One last knife-turn: during the closing credits, Badham states he now wishes he could re-edit the film and accelerate it up “so it kicks ass”…. [long study roll on my piece here] Terrific. So then it’ll be yet another shrill, frenetic, off-paced fraction of incoherent tripe we’re getting in the theaters today, where you can’t even follow the status and the “mood” is non-existent because everything is screaming at you at mach-speed without relent.

Only Mr. Badham would apparently also do so in virtual black-and-white, which is now the approximate color-scheme the “Dracula” DVD.

Thanks, Mr. Badham… It’s yours to extinguish.
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Movie Title:My Life So Far

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This is a coming of age anecdote but unusually about BOTH a father and son who stale during the course of the film. The father, played by Colin Firth, does passe in the last few minutes of the film, without uttering a word, and it is one of the most mighty sequences I’ve ever seen on film. The film alternates between showing Firth as an utterly toothsome father figure, because he is a complete eccentric, and as someone who needs to grow up and fetch his responsibilities. At the open of the film, he is almost more his children’s boon companion than their father whereas, by the demolish, he is most definitely a father. The film is told from the point-of-view of his young son and we meet quite a cast of characters, all living on an estate that is owned by the matriarch of the family. Who will be able to remain at this estate depends upon whom she leaves it to in her will. Malcolm McDowell, her grasping other son, wants it for himself and to throw the others out. This is a film the whole family can devour. If you are expecting to view Mr. Darcy though in this film, from Firth’s portrayal of him in “Pride and Prejudice,” you will be disappointed. Firth plays a very different kind of man in this film and does so beautifully.

Sometimes all that I quiz from a movie is to be entertained— and this film fit the bill. “My Life So Far” was a charming movie and a savory eye inside a family living a somewhat strange life on an estate in Scotland in the 1920s. We observe the action of the movie through the eyes of the 10 year-old Fraser and via someone who is observing what is occurring. The household consists of the family, including Fraser’s grandmother who owns the estate, many servants, and frequent visitors.

The movie is more a series of vignettes/memories of the Pettigrew family and its more pronounced quirks. Fraser’s father Edward, played brilliantly by Colin Firth, is an oddball inventor who runs the Pettigrew Sphagnum Moss Factory – the only one in the world. His two loves are the Bible and Beethoven. His brother, Uncle Morris, visits infrequently but when he does, it can be disruptive, especially when he appears with his very young fiancee, Heloise, with whom all the males become enamoured.

This was based on a moral epic – taken from the memoirs of the extinct director of the Royal Opera House. I wish I had known this in come.

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I cannot carry out without commenting on the blooming scenery, on the ground and from the air, conveniently shown when one of the many visitors is a quick-witted and legendary pilot.

The final scene of Fraser, sitting in his father’s office, listening to jazz, smoking a cigar and drinking milk from a wine glass while looking at forbidden photos was such a hoot! It will linger in my memory for a long time…priceless!
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Movie Title:The Adventures of Ford Fairlane

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Although “The Adventures of Ford Fairlane” is the best film released in the 90′s, it has not received the famous acclaim it so justly deserves. The well-written screenplay, tailor-made for Andrew Dice Clay, is a admire chronicle about a private investigator and his secretary. In a good performance, Clay has restrained his usual humor to manufacture a realistic film about the worry of being a Rock and Roll detective. He had reasons for leaving the police force, which results in harsh treatment from Lt. Amos, convincingly played by Ed O’Neill. Wayne Newton, as the rotten Julian Grendel almost steals the expose from the rest of the cast.

I remember the early days of Don Rickles, the master of insult humor. His career was saved when his Las Vegas crowd rallied to let the public know that he was really a nice guy. Unfortunately, the Dice-Man didn’t have that benefit, and his 80′s update of Rickles-type humor was blown out of proportion by a misguided, politically-correct public that wouldn’t know a comical joke if it was strapped to their privates. Dice IS comic, and he IS a nice guy. His humor is probably a “GUY” thing, but he talks no differently than anyone I’ve known who lived in a college dorm. Okay. Enough about the misunderstood Dice. “The Adventures of Ford Fairlane”, an early pain from Renny Harlin, is always comic and always exciting. The screenplay is clever, a sigh parody of slow detective films, with many modern ideas, tailor-made to the many talents of Andrew Dice Clay. Dice is quite charming, always self-effacing and having a substantial time. The assembled cast is spacious, with Gilbert Gottfried in a natural role, a pretty inferior performance from Wayne Newton, as well as Robert Englund (in a non-Freddy role, but peaceful gross) . Lauren Holly is a stabilizing factor, and Priscilla Presley (remember the “Naked Gun” films? ) is as straight as ever. Really toothsome is Maddie Corman (the puny sister from “Some Kind of Fantastic”) as Zuzu Petals (I’ve not been able to glance “It’s a Amazing Life” without thinking of Maddie…) Ed O’Neill’s rendition of “Booty Time” may stick with you.Andrew Dice Clay’s humor may not appeal to all, but this is a fun film and the Dice-Man is quite endearing. Don’t mediate…Bask In!
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Movie Title:Red Heat

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Arnold Schwartzenegger in the role of humorless, ultra-disciplined Soviet police-captain Vanya Danko, teamed with Chicago PD screw-up Art Ritsek (Jim Belushi), to track a Georgean drug kingpin… this is one of Arnold’s greatest, but least-appreciated, action-films. The best scenes bewitch station in Russia, in the banya (public bath), over the rooftops around Red Square, in the mafiya cafe. Arnold’s Russian, spoken with his Austrian accent, is delicate terrific! What impressed me was the film’s finish attention to detail: Even Danko’s handwriting and numbers were authentically Russian-style. The machismo of the personal battle between Ivan Danko and the smuggler was intensely Russian, as was Danko’s unswerving conviction of Soviet superiority. His terse correction of the hotel clerk’s request “Is [Viktor] another Russian, like you? ” Danko: “Soviet.”, is right-on — Georgeans are not Russians, although many Americans don’t know that. The scripting of a Georgean as the loathesome criminal is actually quite revealing, and surely a reflection of the film’s “official” Russian input . Despite the grimness of the state and Arnold’s character, there is plenty of dismal humor, mainly provided by Belushi’s portrayal of undisciplined officer Ritsek. The humor frequently contrasts the strictly indoctrinated Soviet structure with the (to Danko) near-anarchy of American freedom. Great of the mayhem and carnage wrought during the process of Danko’s personal war defies credibility; as Ritsek puts it: “Why aren’t there any cops around when you need one!” The action genre’s obligatory high-speed sprint scene was ludicrous, yet appropriately Russian (everything Russian always seems so great “bigger”…) . And the protagonists’ exchange in the destroy, in which Vanya gets the better deal, is also typically Russian — and proves that Danko is not so humorless after all. By the procedure, this movie (like all of Arnold’s action-films) is extremely well-liked here, where it has been dubbed into the Russian language. Ironically, in the russkiy version, all the obscenities have been deleted from the dialogue.

Schwarzenegger and James Belushi originate a tremendous team in this crazed action film. Schwarzenegger plays the serious Captain Ivan Danko, a Russian detective. Opposite him, James Belushi, is the humorous cop, Art Ridzik, always top-notch for a laugh. Who could guess what would happen when these two got stuck together?

On the downside of the film the beggining is all Russian. You’ll be forced to read English subtitles not able to appreciate any of the visuals, until around ten to twenty minutes into the film. Unless of course you disclose Russian.

The final word. If you’re looking for something to do on a tiring, afternoon, I recommend sitting assist and enjoying Red Heat.
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