Vinyl Candy: The Dirty Third

Having neglected Vinyl Candy on their second release, Land, it seemed a good time to write a few words about their latest effort, the exceptional The Dirty Third. Some new bands release one great album and then never capture that magic again. Others take a little time through experimentation via several releases to find their voice, and to create that first great album, and I think that’s where Vinyl Candy’s at right now.

Now this isn’t to slag on their previous efforts. Their debut, Pacific Ocean Park, is a recording that still holds an immense amount of pleasure for me. Its aim was to capture that ‘70s So Cal sound, which it did effortlessly. There was a period of nearly five years between their freshman effort and their second release, Land. Land was an ambitious piece of work – a little bloated and very much all over the place. It took a long time and many listens to learn to truly appreciate much of it, which I do now. The thing with both of those albums, though, was that when you listened to them, it was all too easy to say, “That song sounds like [fill in the blank]!” Vinyl Candy paid homage to their heroes through the first two records and there’s nothing at all wrong with that, and it can be a hugely rewarding experience for the listener.

But what’s even more rewarding is when a band like Vinyl Candy finally, really and truly, finds the sound that defines their band. I’ve listened to The Dirty Third at least once every couple days for the past few weeks, and never once do I hear the tunes and hear anything other than Vinyl Candy themselves. They've moved past their influences, and will hopefully now start influencing others. It’s a nearly perfect blend of rock, pop & rock and pop ballads, and strong both musically and lyrically. These songs have energy and meaning and truth behind them. I’ve read a couple reviews that have said that with this album the band has moved into darker territory, which is odd, because Land, as a concept at least, was very dark. The Dirty Third doesn’t strike me as dark as much as it strikes me as real (not to mention really good).

This is a band that’s had something to say for a while now, and they’ve finally figured out exactly how to say it. The Dirty Third is absolutely deserving of being on a major label, but given the state of the music industry these days, that really isn’t something I’d wish on a group of talented men like Vinyl Candy, lest they’re forced to lose what makes them so wonderful in the first place.

Click here and here to sample The Dirty Third, as well as see video footage of the band.

Click here to download or buy The Dirty Third (or any of their albums) directly from the band’s website, or you can pick it up from Not Lame if you’re so inclined.

While you're at it, be sure to join their Facebook page!

Wallander II

The thing with Wallander is that it creates a wholly believable world which does not exist. It’s set and filmed in a very real locality – Ystad, Sweden – but the real Ystad isn’t the evil, dangerous place of these films. Oh well. Ystad may as well be another world as far as I’m concerned, and so I don’t let the facts get in the way of the fiction. When the fiction is as interesting as it is in Wallander, that isn’t a difficult task.

Many actors go about the business of acting for years and years, gaining plenty of notoriety and fame along the way, but never truly finding that one role that really fits them. Aside from being known as “that Shakespeare guy,” Branagh might be one of those actors, and although it still may be too early to make the call, Kurt Wallander could very well be that elusive role for Branagh. Over the course of six 90-minute TV movies, he’s come to own this part. Actually, he pretty much owned it after the first three, but this new trilogy further cements that truth. These films are completely dependent on his performance, which is always played inward. While the viewer is probably supposed to be concentrating on the facts of the case, it’s all too easy to instead focus on “What is he thinking?” from scene to scene. It can’t be an easy job Branagh has in bringing Wallander to life, and he makes it seem effortless and painful simultaneously.

Read the rest of this Blu-ray review by clicking here and visiting Bullz-Eye.

Two and a Half Men: The Complete Seventh Season

It says quite a bit about America when Two and a Half Men is the most popular sitcom on TV. It’s a foul, misogynistic, relentlessly immoral program. It also happens to be very, very funny. For all of the many cries of longing for a different, more innocent time, the truth is this country has loved this trashy show for seven years now, and there doesn’t seem to be any sign of that love slowing down. Even its lead actor being arrested on charges of domestic violence and all the legal brouhaha that ensued doesn’t appear to have tainted America’s view of Charlie Sheen or the program itself. I’m not here to judge, but it’s impossible not to take into account some of this stuff at this stage of the game. So what’s the lesson here, kids? You can beat your wife, but as long as there’s a good fart joke after the fact, everything will be all right? Stars have fallen for far more mundane reasons, and yet we keep giving Sheen a free pass. Color me perplexed. Also color me guilty, because I, too, still think it’s a funny show, and tend to put these facts out of mind while the DVDs are spinning.

In any case, allow me to at least explain that I never bothered with this show for the first five or so years it was on. It wasn’t until I became addicted to The Big Bang Theory, which followed Two and a Half Men for a season or two, that I begrudgingly started giving it a chance. Turns out, I really liked the show, although now that Big Bang is on Thursday nights, I haven’t found myself tuning in to Men on Monday nights. So clearly I didn’t like it that much. The problem with this show isn’t that it isn’t any good, it’s just that it really only excels in two areas: Bathroom humor and sex jokes. And yet you have to give it a kind of credit for that when there’s a surplus of writers in Hollywood who can’t get either of those things right. Its plots may be wholly unmemorable, but boy is it the master of double entendre.

Read the rest of this DVD review by clicking here and visiting Bullz-Eye.

The Mary Tyler Moore Show: The Complete Seventh Season

The first season of The Mary Tyler Moore Show was released on DVD in September of 2002, and now the seventh and final season has been released in October of 2010, which means it took Fox a longer period of time to get the entire series out on DVD than it was actually on the air back in the 70s. Of course, the important thing is that it’s now all out there, thank goodness, but it goes to show how tricky a business this whole TV on DVD thing can be when it takes eight years to get seven seasons of one of the greatest sitcoms ever made onto the silver platter. For comparison purposes, it took Fox a few months shy of five years to get all 11 seasons of M*A*S*H out on DVD, while Anchor Bay released all eight seasons of Three’s Company over a mere three years.

What’s most telling about these facts, perhaps, is that many people have simply forgotten what a great series The Mary Tyler Moore Show really is, as clearly folks weren’t very motivated to go out and support it through dollars, which is something of a mild travesty for a show that took home a whopping 29 Emmys during its run. If there’d been more interest in these DVD releases, it wouldn’t have taken so long, and probably more care would’ve gone into the content of the season box sets (only the first two sets featured bonus material).

The good news is that Mary Richards and the rest of the WJM-TV gang went out on a series of major high notes. I nit-picked the previous two seasons, while still highly recommending them, but the final season of the series is practically faultless. This is the way you do it, TV people: Go out with class, while your show is still great. Don’t wait until all the life has been sucked out of it, and it’s reduced to parody – a pale shadow of the series it once was. This is something the major networks just don’t get. They flog the horse until it’s lifeless. If Steve Carell is leaving The Office, why not just end The Office while it’s still a good show? (You don’t have to answer that because we both know what the answer is…coughmoneycoughcashcowcough.)

Read the rest of this DVD review by clicking here and visiting Bullz-Eye.

The Human Centipede (First Sequence)

There’s been quite a bit written about The Human Centipede in the past six or so months. If you’re not familiar with the film’s concept, congratulations! Chances are you still have a modicum of decency about you. This is becoming a rarer and rarer commodity. Or maybe you live in a Red State. Either way, before going any further, it behooves me to explain what it’s all about. A mad scientist named Dr. Heiter (Dieter Laser) kidnaps three young people (two American women and one Japanese man) and sews them together, ass to mouth, in a neat little row. Only the person in front – the Japanese guy – can eat, and therefore his feces passes into the first girl’s mouth, which in turn ends up going from her ass into the second girl’s mouth, and presumably finishes up by coming out her ass in the end (so to speak). Yes, it’s clearly a revolting concept, but it’s also a brilliant one, simply because we’ve never seen anything like it before, and not too many films offer up something entirely new these days. Bear with me, and don’t click away just yet.

Understand, I would not recommend The Human Centipede to most people, especially when there are so many other great movies to sell people on. You now know what the movie’s about, and you’ve probably already made a decision as to whether or not you’re willing to see it. Since I’ve already praised the concept, before delving into what’s good about the movie, let’s talk about some of what’s not so good.

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Doctor Who: Dreamland

Hang on a sec! Isn’t there a new bloke playing the Doctor? Yes, there is. Didn’t David Tennant’s era end at New Year’s? Yes, it did. Then wha--? This is old material that predates his finale. Further, it isn’t even the last David Tennant Doctor stuff that’s going to be hitting DVD. No, the final material Tennant recorded as the Doctor will hit shelves in January when the third season of The Sarah Jane Adventures is released here in the States (although chronologically that adventure takes places between “Planet of the Dead” and “The Waters of Mars”). Where does this one, “Dreamland,” take place? Beats me, and since it’s animated it may not even count as canon, but that doesn’t mean it isn’t an immense amount of fun regardless.

It’s only slightly odd that in 30-plus years of time travel and dealing with aliens that Doctor Who has never presented its spin on Area 51, but with “Dreamland,” that oversight has been rectified. I say slightly odd because the Doctor doesn’t make it over to the States all that often, and certainly not Nevada when he does. That’s the great thing about doing Doctor Who animated – the stuff that restricts the live-action series isn’t part of the animation equation.

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Caprica: Season 1.0

It’s been a while since a sci-fi series left me with as bad a taste in my mouth as Caprica has, so much so that I became pretty juvenile just a few episodes in and started referring to it as Crapica. This shockingly inept prequel to Battlestar Galactica is firing on so few cylinders it’s difficult to even know where to begin discussing it. Well, for starters, it’s worth mentioning that the 90-minute pilot, which is included here in both its rated and unrated forms, is a fairly competent and clever kick-start that promises greatness around the corner. Unfortunately, any sense the concept possessed is thrown out the window almost as soon as the series proper begins.

The place is, of course, the planet Caprica, 58 years before the events seen at the start of Galactica. Caprica is supposedly in a state of moral decay, akin to Rome before its fall. We know this because many of the adult characters smoke cigarettes(!) while the teenagers engage in sex-fueled and violence-driven virtual reality games. This is in and of itself problematic, because the world seen within the video games would be cause for alarm, but the outside real world of Caprica itself isn’t all that different from our world today, except everybody dresses like they’re from the 50s; everybody, that is, save for the Graystones, a rich family of scientists who seem to be a few steps ahead of the rest of the planet.

Read the rest of this DVD review by clicking here and visiting Bullz-Eye.

Merry Christmas Mr. Lawrence

Merry Christmas Mr. Lawrence is a real curiosity piece, as well as something of a minor holy grail for film buffs in the U.S. Probably the last time it was available here in the States was in the late 80s or early 90s on VHS. Thanks to the fine folks at Criterion, that’s no longer the case. Like many people, I became familiar with it due to its soundtrack, which wasn’t quite as difficult to find, at least if you knew where to look. That music was composed by one of the film’s stars, Ryuichi Sakamoto, and the title track remains one of the greatest single pieces of music in film history. So transcendent is it that it’s managed to take on a life of its own, and has been remixed, rearranged and covered by at least a dozen artists, many in the past decade. Sakamoto admits that there was a lengthy period of time in which he learned to hate the tune, as it overshadowed nearly everything else he’d created in his long career. And it is probably a better piece of art than the film itself, but that’s really an apples and oranges kind of thing, so it’d be best to not go there.

The movie takes place in a Japanese POW camp during World War II and primarily concerns four very different men: two Japanese warders from the East and two British prisoners from the West. The first pair we meet are Colonel Lawrence (Tom Conti) and Sergeant Hara (Takeshi Kitano), who have an unusual kinship. They frequently sit and engage in civilized discourse, while in other moments Hara seems to take great pleasure in beating the shit out of Lawrence for insubordination. It never fazes Lawrence, and he typically picks himself up after a beating and goes on about the business of trying to explain his perception of the differences between their two cultures to Hara.

The dramatic thrust of the film, however, exists somewhere in the lack of communication between Major Jack Celliers (David Bowie) and Captain Yonoi (Sakamoto), the camp commandant. From the first moment Yonoi lays eyes on Celliers, he is transfixed, and from that moment onward he makes Celliers his pet project, but to what end is unclear. Both men suffer from serious cases of regret, and yet they’re never able to explain to one another what they have in common. Celliers quickly becomes a disruptive force, while Yonoi tries to find new methods of keeping him down, while also building him up. It’s a movie relationship that practically defies a cogent description, because it’ll mean something different to each viewer.

Read the rest of this Blu-ray review by clicking here and visiting Bullz-Eye.

The Big Bang Theory: The Complete Third Season

It’s mildly irritating that The Big Bang Theory has become one of the biggest shows on network TV. This thing is a ratings behemoth at this point. It seemed so much cooler when not as many people were watching it (yet enough to keep it on the air). The misfit, socially outcast central characters made a kind of sense in that context. Now they’re seemingly as powerful as the superheroes they worship. Oh, it’s still a great show, or at least a very, very good one, but I think most people who’ve been there since the beginning will find a grain or two of truth in what I’m talking about. When the guys who hated you in high school are rooting for Sheldon Cooper (thanks for the info, Facebook), just a little something special has been inadvertently ripped out of the concept.

In writing up Season Two, on the subject of a possible relationship between Leonard (Johnny Galecki) and Penny (Kaley Cuoco) I wrote that “the chase is half the fun, and to make Leonard and Penny a couple this early in the series would take away a lot of what makes it so special.” Clearly those words were spoken in misguided haste. Or perhaps not. Little did I guess that the very relationship I predicted would spoil the show would take off in the first episode of Season Three; it in no way spoils the show, but the writers don’t do a whole lot with the idea, either. (Some of the best stuff involves the couple standing in as surrogate parents of sorts for Sheldon.) It would seem, in fact, that this was one of those TV cases of “we’re bringing them together so that we can split them apart,” which is mercifully what happens before the season is over. Mercifully because it reopens that playing field for a new and different kind of Leonard and Penny game, which presumably we’ll be getting more of in Season Four. In the long run, this all may have been for the best.

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Being Human: Season Two

Now that’s more like it. I’m referring, of course, to the sophomore season of Being Human. Of its freshman season I wrote, “It doesn’t always reach as far it feels it potentially could” and “it’d probably be best to cut Being Human a little slack at this early stage of the game.” With its setup out of the way, the series is now taking long, deep breaths, and exhaling a fantastically entertaining combination of humor, horror and drama. This is where the series really begins.

With vampire leader Herrick dispatched (thank you, George), it has fallen on Mitchell (Aidan Turner) to begrudgingly lead the vampires, and so he chooses to do so with leading by example: No blood-sucking; he even manages to bring a sort of AA model to the group. He also finds himself smitten with a doctor from the hospital, Lucy (Lyndsey Marshall). George (Russell Tovey) has accidentally turned his girlfriend, Nina (Sinead Keenan), into a werewolf as well, which doesn’t exactly bode well for their blossoming relationship. And Annie (Lenora Crichlow) has found a way to go corporeal, and as a result takes a job at a pub and finds a romance (or two) that can’t possibly end well.

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Skins: Volume Three

Once upon a time (like two years ago) Skins generated a huge amount of controversy, and probably with good reason. Any show featuring oversexed, drugged-up teenage protagonists will tend to garner negative press. But Skins hung in there, and kept on doing what it does, and at the time of writing it’s got four seasons under its belt, and has been commissioned for another two. MTV is also getting in on the Skins action, and they’ll be unveiling their Americanized remake sometime in 2011.

Now, other than by reputation, I was mostly unfamiliar with the concept when it came time to watch this DVD release of its third season, but Will Harris did a fine job of covering Seasons One and Two (I’m still unsure about the decision to label these season sets as “Volumes”), so I was able to play a kind of catch up through his enthusiastic takes. Turns out, though, most of that was unnecessary, as in its third year, Skins has an almost entirely new cast of characters and a new set of stories to tell. For the time being, this is apparently the plan for the show – every two seasons the cast will rotate and change, introducing a new batch of kids in their final two years of the U.K. equivalent of high school. If you’ve never seen the show before, this is as good a place as any to begin an unhealthy education.

Skins is an ensemble series, although the season does shine the spotlight on each of the major characters for an episode apiece, all while continuing the ongoing story of the group. This season showcases a complex love triangle between bad boy Cook (Jack O’Connell), his lifelong skater friend Freddie (Luke Pasqualino), and the object of their attraction, Effy (Kaya Scodelario) – the primary crossover character from the previous seasons, as she was the younger sister of Tony (previously a major player, but now gone from the show). Effy is as fucked up a teen as any you’ve ever seen, and her parents are in the midst of splitting up, which doesn’t help matters. In the season opener, she catches the eyes of both Cook and Freddie, but Cook, being the more outgoing of the pair, manages to stake his claim first. What develops between Cook and Effy can only be described as toxic, and it’s borderline heartbreaking (or maybe just plain scary) to watch the deterioration of their dignity as the season moves forward. You want Effy to go for Freddie, but as is often the case in real life, the danger Cook offers is addictive for this self-destructive girl.

Read the rest of this DVD review by clicking here and visiting Bullz-Eye.

Prime Suspect: The Complete Collection

Detective Jane Tennison is arguably Helen Mirren’s most famous role, and given the amount of time she invested in the part – roughly 25 hours over the course of 15 years – that shouldn’t come as a big surprise. Then again, what’s 25 hours in the grand scheme of TV? That’s only a few hours longer than one season of a typical American drama. Doesn’t sound like all that much, does it? Then it must be the quality of this dense work that makes it so worthy. In order to understand what makes Prime Suspect must-see TV on DVD, it helps to know the structure of the show.

In lieu of traditional episodic seasons, the show offers up a single storyline for each of its seven seasons, and each of those stories is comprised of two 100-minute blocks, so the stories are effectively comprised of two feature-length installments. (Only Prime Suspect 4 bucks the trend by offering three standalone 100-minute tales instead.) Through this structure, Prime Suspect is able to explore Tennison’s cases in an unusually thorough manner, and I dare suggest that this material will be best appreciated by the hardcore procedural enthusiast. If this is your kind of fare, then you owe it to yourself to see this set.

These stories twist and turn with all sorts of red herrings, roadblocks, and detours for Tennison and the various teams she works with over the course of her career. It’s easy when watching these stories to feel as if you’re caught up in an actual investigation, or perhaps it’s more like being a fly on the wall viewing the sordid proceedings.

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Doctor Who: The Creature from the Pit

There’s nothing wrong with “The Creature from the Pit” that a couple pints of ale (or whatever your choice of poison may be) can’t fix. Yet another entry from the Douglas Adams script-edited season of Doctor Who, whatever the story lacks in the plot mechanics department, it more than makes up for with its cracking wordplay. The jokes fly fast and furious in this one, which at one time was considered a negative, but I think we’ve all chilled out enough over the years to warrant giving this tale some serious (or not, as the case may be) reevaluation.

The Doctor (Tom Baker), Romana (Lalla Ward) and K-9 (David Brierly) are forced to materialize the TARDIS on the planet Chloris, a world which, as its name suggests, is ripe with vegetation. After discovering what the Doctor deduces is a gigantic eggshell, he’s taken prisoner by the planet’s ruler, Lady Adrasta (Myra Frances), whose duds are as close to dominatrix as anything this side of Emma Peel at the Hellfire Club. Adrasta is a temperamental bitch, and anytime one of her subjects does something she doesn’t like, they end up being thrown into the pit. And you know what’s waiting down at the bottom, don’t you? (If you guessed anything other than a creature, I’ve already lost you.) Chloris is also deficient in metal, so anything steely – including K-9 – becomes a coveted artifact. Sooner, rather than later, the Doctor ends up in the pit, and meets the behemoth, which is not quite what everyone thinks it is, and Adrasta certainly knows more than she’s letting on.

Read the rest of this DVD review by clicking here and visiting Bullz-Eye.

Doctor Who: The King's Demons & Planet of Fire

Few long-running TV series manage to keep moving forward without the occasional bad idea – the kind where viewers collectively scratch their heads, and in unison sigh, “What were they thinking?” Given how long Doctor Who has been on the air in its various incarnations, it’s probably had more than its fair share of half-baked notions. If one were to make a list of such grievances, it seems likely that the Fifth Doctor’s robot companion Kamelion would land comfortably in the Top Five. Apparently, producer John Nathan-Turner wanted a new metallic emblem for the show, as K-9 had been gone for several years, and he’d recently gotten a glimpse of an actual working, moving robot, so naturally he wanted one for the series.

Since this was in 1983 – and here in 2010 robots are still fairly hard to come by – you can imagine that the results were somewhat less than spectacular. Not only did Kamelion look cheap, but the robot itself functioned so poorly that even though the character was a TARDIS crewmember for seven stories, we only ever saw him in two, “The King’s Demons” and “Planet of Fire.” Presumably, in the interim tales, he putters around the TARDIS, left to his own devices (curiously, nobody seemed worried about his fate in “Frontios,” the story in which the TARDIS was temporarily destroyed).

Read the DVD reviews for both stories featuring Kamelion by clicking here and visiting Bullz-Eye.

Mona Lisa

Long before Irish director Neil Jordan made popular movies (Interview with the Vampire), or important movies (Michael Collins), or movies that were both (The Crying Game), he made some little movies that not many people saw. In recent years, he’s again returned to making little movies that not many people see, and yet there’s a difference between what he’s doing now, and what he was doing way back then; there often is with directors of his caliber. You can feel the hunger and the desire to impress or to say something worthwhile in the earlier works, and you don’t always get that vibe in the newer stuff. Mona Lisa is such a film.

It may not have the budget of In Dreams or the uniqueness of The Butcher Boy, and yet it’s got an immense amount of heart and a self-assuredness that makes it well worth carving out some time for. Apparently, someone in Hollywood felt much the same, as there’s a remake in the works, currently slated to star Mickey Rourke and Eva Greene, and it will be directed by Larry Clark (Kids, Another Day in Paradise).

It’d be all too easy to launch into a rant about how pointless it seems to remake this film, but I wouldn’t be saying anything that hasn’t been said a hundred times before about a hundred different remakes. Instead, I’d much rather write about Jordan’s film, which was something of a video staple for me back in the 90s, and yet it’s been over a decade since I last partook in its world. Viewing it again was a lot like spending time with an old, dear friend that you haven’t seen in ages.

Read the rest of this Blu-ray review by clicking here and visiting Bullz-Eye.

The Long Good Friday

HandMade Films is a production and distribution company that started out as a venture between George Harrison and his business partner Denis O’Brien. Initially it was put together simply to help Monty Python finance Life of Brian, but after the success of that film, HandMade kept going and going. The company has gone through numerous changes over the years, and these days their output isn’t nearly as revolutionary as it once was.

The last daring movie they were involved with was Lock, Stock and Two Smoking Barrels, although even as recently as on Planet 51, HandMade is still something of a brand name. But back in the 80s, they were putting out all sorts of oddball, experimental films, and if you saw the label HandMade on a movie, it was worth checking out. Over the last couple weeks, I’ve reviewed three Blu-rays of HandMade pictures, courtesy of Image Entertainment: Withnail & I, Time Bandits and Mona Lisa.

The Long Good Friday is the fourth and final film (at least for the time being) in this series, and unlike the other three, I’d never seen it before its Blu-ray release. Unsurprisingly, it was also my least favorite of the bunch, which quite possibly wouldn’t have been the case had I seen it 15 or 20 years ago like the other three, as I was coming at it cold, with no sense of nostalgia. But this isn’t to say I didn’t care for The Long Good Friday, which is a fine film for what it is.

Read the rest of this Blu-ray review by clicking here and visiting Bullz-Eye.

Withnail & I

Probably the most profound line ever written in regard to Withnail & I describes it as being "as deep as you want it to be or as shallow as you need it to be.” I don’t know who wrote that, but I cannot discuss the film without mentioning it. Set in the final months of 1969, Withnail traces the antics of two out of work actors living in a filth-laden flat in Camden Town, London. To “escape all this hideousness,” they spend their time in booze and drug-addled hazes. With wits at an end, they head to the countryside to unwind for a weekend, never minding that they’re utterly ill equipped to deal with rural living. Along with the presence of Withnail’s Uncle Monty, and the possibility of a violent poacher, those are the film’s major plot points. In lieu of real plot, Withnail offers up two stellar leads in the forms of Richard E. Grant and Paul McGann, and the most infinitely quotable dialogue this side of The Big Lebowski And it’s got a following the size of the Dude’s to match – although most of them are British.

Marwood: “Even a stopped clock tells the right time twice a day, and for once I'm inclined to believe Withnail is right. We are indeed drifting into the arena of the unwell.”

I’ve been a fanatic for this movie for over 15 years now. It’s in my Top Five, and I consider it my civic filmic duty to turn as many people on to it as possible, especially since it’s just barely a cult item here in the States. I’ve been pretty successful in my endeavors over the years, although I can’t give you hard figures as to whom, when and where. Even if it was just one person in my life, I’d feel good about it, because this is a film meant to be shared with people who need to see it. I don’t know if you’re one of those people, but I’ll do my best to convince you that you are.

Withnail: “You can stuff it up your arse for nothing, and fuck off while you’re doing it!"

Withnail & I is a situation, and anyone who’s ever been in an insufferable friendship can relate to it...

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Time Bandits

If you were a certain kind of boy or young teenager in the 80s, then there’s a good chance Time Bandits was a very important film for you. Sure, you loved Ghostbusters, Raiders of the Lost Ark and The Goonies, but Time Bandits was special in a different way because not everyone else was in on it; it was seemingly dismissed even by most adults (well, the ones I grew up around anyway). For many young people, it was our first introduction to the whacked out joys of Monty Python, even if we didn’t realize it at the time, as Time Bandits is not a proper Python film. But half of the six-man comedy troupe is involved in the picture, and so when we finally got around to discovering Python, we recognized John Cleese and Michael Palin from this film. Little did we know, though, that all of Python’s strange animations were the handiwork of the guy that directed this piece. Wasn’t it refreshing to not have every fact and figure at your immediate disposal way back then? You picked up information over the years while actively seeking it out. Perhaps, as Time Bandits hints, computers really are the playthings of Evil.

However, it’s also possible you were not a certain kind of boy in the 80’s, or that you’ve never even seen Time Bandits. If so, let’s lay it out there. One night, 11-year old Kevin (Craig Warnock) lies in his bed. Out of his wardrobe tumble six dwarfs on the run from God (who here is referred to as the Supreme Being). He’s their employer and they build trees for him. But they’ve stolen a powerful map from God, and now travel around through history, attempting to loot the past for riches. Kevin follows, and finds himself in all manner of incredulous situations, such as meeting Robin Hood (John Cleese) and conning Napoleon (Ian Holm) out of his wealth. At the same time, Evil (David Warner, in one of his best roles ever) watches over, secretly plotting his takeover of the world via the map, and eventually, an understanding of computers. Exactly what is The Most Fabulous Object in the World, and can the inept group of thieves procure it?

Read the rest of this Blu-ray review by clicking here and visiting Bullz-Eye.

Friday Night Lights: The Fourth Season

It isn’t often that a series reinvents itself so successfully that you don’t find yourself longing for the seasons that came before, but that’s exactly what happens with Season Four of Friday Night Lights. At the close of Season Three, Eric Taylor (Kyle Chandler) had lost his job coaching for the Dillon Panthers, and a case of redistricting left him in charge of a non-existent East Dillon team. Further, most of the kids we’d grown to know and love over the previous three seasons were headed off to college. It could easily have been the end of the show, and it would have been a perfect series of notes to go out on, had DirecTV, which saved the show and helped to give us that third season, not stepped up to the plate and signed on to help NBC co-produce two more 13 episode seasons. Thank you DirecTV, because Season Four may actually be the series’ best since its first. Of course, where Season Four ranks in this fine show’s history is probably irrelevant – what matters is that it’s yet another great batch of chapters in the ongoing story of the fictitious town of Dillon, Texas.

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Crumb: The Criterion Collection

"Weird sex. Obsession. Comic books." That’s what the movie poster for Crumb said back when the movie came out in 1995. If you were trying to figure out a way to market this documentary at that time, those are as good of jumping off points as any, and yet there’s no question that Crumb is about so much more.

I don’t recall what exactly it was that drew me to Crumb 15 years ago, as I was only tangentially familiar with Robert Crumb’s art, having spent countless hours in various head shops – many of which still stock R. Crumb comics to this day. It may have been the “David Lynch presents” tag that is attached to the film. As director Terry Zwigoff explains, Lynch literally had almost nothing to do with the film; by the time he’d seen Crumb, it was practically finished, so there wasn’t much he could do for it – except add his name, which Zwigoff jumped at, simply because he knew that it would bring many more people out to see the picture. It’s entirely probable that I was one of those people. Of course, the reviews at the time could also have gotten me into the theatre, as the movie was being hailed all over the place, and with good reason: Crumb is, simply put, one of the great documentaries. There are far more important documentaries out there, sure, but few offer up the same amount of sheer entertainment value as Crumb. This is likely only true, however, if everything the man is about doesn’t offend your potentially delicate sensibilities.

Read the rest of this DVD review by clicking here and visiting Bullz-Eye.