Aisle
Seat New & Vintage Round-Up
From
Cosby Comedies to THE CLONE WARS, Andy Wraps Up March's DVD Releases
To promote the upcoming release of “Star Wars Episode III:
Revenge of
the Sith,” Fox has released a splendid package of the
acclaimed STAR
WARS: CLONE WARS animated
“vignettes” (dubbed a “micro
series”), which aired in 2003-04 on the Cartoon Network (***,
67 mins., Not Rated; Aisle
Seat DVD Pick of the Week).
“Samurai Jack” producer Genndy Tartakovsky and his
Cartoon Network
staff were hired to produce a series of extremely short (most are three
minutes) episodes that would bridge the gap between the end of
“Episode
II: Attack of the Clones” and the forthcoming third
“Star Wars”
adventure. The segments are brilliantly animated in a way that, like
“Samurai Jack,” looks to be a combination of
hand-drawn animation with
anime and 3-D backdrops, while the story is an all-action affair
chronicling the adventures of Anakin and Obi-Wan during the Jedi war
with the Separatists (as George Lucas points out in one of the
DVD’s
bonus interviews, you never actually see the Clone Wars taking place in
the movies themselves).
More impressive in scope than any past “Star Wars”
animated work
(though that competition is admittedly limited to Nelvana’s
old “Ewoks”
and “Droids” series from the mid ‘80s),
“Clone Wars” makes for a
rousing, briskly-paced 67-minutes of entertainment, and Fox’s
DVD looks
immaculate. The colors and animation are consistently compelling from
one moment to the next, and because the structure means something
dramatic will occur with the passing of each
“episode” segment, the
story moves like gangbusters with, admittedly, little dramatic
development.
Nevertheless, this is a must-have DVD for any “Star
Wars” fan, and the
supplements are in concert with the disc’s gorgeous
16:9-enhanced
transfer and 2.0 Dolby Surround sound (offering John
Williams’ music
and new underscore from James Venable among others). A Making Of
feeaturette includes interviews with Lucas and Tartakovsky, while
there’s a sneak peek at “Clone Wars: Volume
2,” which will debut on TV
shortly and offer longer segments with, one would presume, more
developed narratives. A pair of commentaries, galleries of concept art
and storyboards, a playable level of the Xbox “Star Wars:
Republic
Commando” video game, and a teaser for “Episode
III” (sadly not the
new, longer trailer) round out the package.
From the world of animation to a live-action feature comes Bill
Cosby’s downright odd FAT
ALBERT (**, 2004, 93 mins., PG; Fox),
a well-meaning but strange attempt to bring Cosby’s jovial,
overweight cartoon heavy man to the big screen.
Seemingly 20 years too late to the party, “Fat Albert: The
Movie”
posits what would happen if Fat Albert and the Cosby Kids somehow made
it into today’s modern, “real”
live-action world. It’s an interesting
idea, but somehow the filmmakers (director Joel Zwick, writers Cosby
and Charles Kipps) neglect the fact that Fat Albert went off the air
several decades ago and really hasn’t been heard from since.
(They do
throw in the fact that the show is airing on TV Land, but unlike many
cultural relics from the ‘60s and ‘70s,
“Fat Albert” hasn’t stayed in
circulation like, say, “The Brady Bunch” or other
programs with more of
a cult following).
Undaunted by the bizarre central premise, Fat Albert (Kenan Thompson)
and his now “real” pals come to the aid of a young
girl (Kyla Pratt)
who’s having a hard time fitting in at high school. Her
foster sister
offers support, but the death of her grandfather has made her
adjustment to teenage life difficult, and no matter how hard she tries,
Pratt simply isn’t comfortable with her surroundings.
Naturally, Albert
and company offer as much support as they can give, singing a few
songs, helping out, and simultaneously attempting to fight off their
“fading” physical presence (shades of
“Back to the Future”) while they
get ready to jump back into the TV and their
“real,” animated world.
“Fat Albert” has its heart in the right place:
it’s gentle, inoffensive
and offers good messages to its target audience. Yet it’s
also simply
bizarre to see a character with no following in today’s
generation
making his way through the modern world as if anyone under the age of
35 would identify with the subject matter. The movie also shifts its
focus so often (is it about Pratt? Fat Albert? Albert’s
relationship
with Pratt’s foster sister? The old TV show?
Pratt’s grandfather?
Albert’s band of brothers?) that it has a schizophrenic feel
in spite
of its colorful exterior, and the weepy finale also seems to come out
of left field.
Fox’s DVD includes both widescreen (2.35) and full-screen
transfers
bathed in warm primary colors, along with a bouncy 5.1 Dolby Digital
soundtrack. Extras include commentary by Joel Zwick and producer John
Davis, several extended scenes, a featurette, and the original trailer.
At least “Fat Albert” fared better at the
box-office than Bill Cosby’s infamous 1986 bomb LEONARD:PART
VI (**, 1986, 85 mins., PG; Sony),
which Cosby warned audiences away from while appearing on talk shows
days before the movie opened.
The “Cos” was at the height of his “Cosby
Show” popularity when he
produced, co-wrote and starred in this outlandish secret agent comedy
as Leonard Parker, a former Bond-type who has to don his old outfit and
try to stop a nefarious villainess (Gloria Parker) intent on destroying
the world with her crazy collection of animals.
“Leonard Part VI” certainly had all the makings of
a hit. Cosby brought
in a top-notch production crew to support the movie, including
cinematographer Jan DeBont, visual effects master Richard Edlund and
composer Elmer Bernstein, but forgot one basic element: an actual
script. The movie is a mess, offering an off-kilter balance of action
and slapstick, as well as tedious “domestic”
sequences involving
Cosby’s ex-wife and daughter. There’s also the fact
that Leonard has
become a restaurant entrepreneur since his secret agent retirement,
which leads to the movie’s unabashedly ridiculous end credits
sequence.
Despite the problems (and there are a ton of them), “Leonard
Part VI”
isn’t the worst Bad Movie ever made. The off-the-wall mix of
elements,
combined with solid effects and a terrific soundtrack, makes for a
fascinating genre curio, and the icing on the cake is Peabo Bryson and
Regina Belle’s gorgeous end credits ballad “Without
You.” Several years
prior to their award-winning teaming on “A Whole New
World” from
“Aladdin,” Peabo and Regina offer what is
unquestionably one of the
best songs ever written for a flop movie, and enjoying the ballad over
a marathon end credits sequence (where Leonard and his ex-wife engage
in a food fight) is unquestionably the highlight of the movie.
Sony’s DVD, out next month, includes a great-looking, 16:9
enhanced
widescreen transfer with 2.0 Dolby Digital sound. Don’t be
put off by
the cover art (which makes the movie look like Eddie Murphy’s
career
nadir, “Pluto Nash,” and it’s at least
twice as good as that) and soak
up the fun of this fiscal turkey from Christmas of ‘86, now
nicely
preserved on DVD.
New
This Week on DVD
CLOSER
(**½,
2004). 104 mins., R, Sony. DVD FEATURES: SuperBit transfer, 1.85
Widescreen, 5.1 DTS and Dolby Digital sound, Music Video.
Patrick Marber adapted his stage play for this appropriately
“stagy” four-character piece from director Mike
Nichols.
Jude Law is a London obituary writer who runs into American stripper
Natalie Portman. They fall in love, but Law soon falls for photographer
Julia Roberts, who later becomes married to obnoxious doctor Clive Owen
(actually that description could apply to any of the characters). Law
then breaks up with Portman, Roberts dumps Owen (who also engages in
the occasional, graphic sex chat online with Law), and each one of the
characters struggles to find the proper balance between sex, love and
honesty.
Director Nichols uses London locales and a quiet, introspective
soundtrack to nice effect, yet regardless of his efforts – or
that of
the cast, who are uniformly excellent –
“Closer” doesn’t really work as
a cinematic experience. The dialogue, staging, and story
can’t escape
their origins on the stage, and as such, its
“theatrical” elements come
off as being forced and pretentious when captured on screen. None of
the characters are appealing and the movie feels clinical and cold,
which -- while likely being part of its point -- are I’m
guessing only
amplified by seeing the work filmed as opposed to being performed live.
Nevertheless, “Closer” is worth a look due to its
performances,
particularly by Portman in a role (deservedly nominated for an Oscar)
that confirms her status as one of the finest young actresses working
today.
Sony’s DVD, out this week, includes a superb SuperBit
transfer in the
1.85 aspect ratio with DTS and Dolby Digital sound. Supplements,
subsequently, are sparse, with just a music video of Damian
Rice’s
lovely “The Blower’s Daughter” included.
Aisle
Seat Sneak Preview Reviews
SUSPECT
ZERO
(**½, 2004). 99 mins., R, Paramount. DVD SPECIAL FEATURES:
Director
Commentary; Remote Viewing featurettes; Alternate Ending; Trailer; 1.85
Widescreen, 5.1 Dolby Digital sound, available April 12th.
Zak Penn’s much-lauded script for “Suspect
Zero” was originally
intended to be filmed with Tom Cruise in the late ‘90s. Alas,
the
serial killer thriller was put on the shelf for several years before
Cruise co-produced the movie with Paula Wagner in 2003, albeit with
Penn’s script having been re-written and a less-than A-list
cast
attached. The result is a better-than-average thriller with some unique
elements that mostly go unrealized under the direction of E. Elias
Merhige.
Aaron Eckhart plays an FBI agent on the trail of a deadly serial
killer. Carrie-Ann Moss (in a thankless role) plays his partner and
former lover while, in a scenery-chewing performance, Kingsley essays a
mysterious man who claims to be an ex-FBI agent tracking down the
elusive killer. While Kingsley seems to have more nefarious motives
behind his actions than he’s letting on, both Kingsley and
Eckhart
possess abilities that ultimately bring them closer together than
Eckhart ever imagined.
“Suspect Zero” is mostly a routine serial
killer/police procedural
suspense effort -- with under-developed characterizations -- but its
big “twist” (revealed on the back of the DVD
packaging!) does throw a
few curveballs into the mix. The connection between Kingsley and
Eckhart offers something different than the norm, yet the movie never
follows through on its premise as much as it should. Director Merhige
dwells on the typical conventions of the genre (the mutilation of the
victims, flashy camera work, etc.) and never fully realizes the unique
qualities of the story, suppressing them and thereby diminishing the
film’s overall dramatic impact.
Not a bad film by any means, “Suspect Zero”
ultimately goes down as a
missed opportunity. The material was there to craft a superior
thriller, yet the execution and script ultimately come across as just
another exercise in the genre. Die-hard fans of this sort of thing,
however, may still want to check it out.
Paramount’s DVD, available April 12th, includes an
appropriately gritty
1.85 transfer and 5.1 Dolby Digital sound, the latter sporting an
atmospheric, moody score by Clint Mansell. Extras include commentary by
Merhige, who spends most of his talk explaining the movie to the viewer
(a sign that perhaps the film doesn’t work quite as well as
even he
would like). A four-part featurette on the phenomena of
“Remote
Viewing” is included, and it’s fairly interesting
as well, though it’s
a good thing Merhige put the kibosh on the regulation alternate ending,
which was rightly tossed in favor of the picture’s more
ambiguous final
note.
Runaway
Daughters (***, 1994, 82 mins., PG-13; Dimension/Buena Vista).
Reform
School Girl (**½, 1994, 82 mins., R; Dimension/Buena Vista),
both available April 5th.
Back in the mid ‘90s, Showtime produced “Rebel
Highway,” a series of
made-for-cable remakes of various American-International ‘50s
B-movies.
Some of the films were straight remakes, others offered a comical
twist, but ultimately only a few were successful: Robert
Rodriguez’s
“Roadracers” (with Salma Hayek and David Arquette)
and Joe Dante’s cute
“Runaway Daughters” being the most entertaining of
the lot.
While we wait on “Roadracers,” “Runaway
Daughters” makes its debut on
DVD next week, and a fresh viewing on DVD confirms that the production
is easily one of Dante’s best post-1990 efforts.
The eclectic filmmaker re-teamed with “Matinee” and
“Gremlins 2" scribe
Charlie Haas for the cute, bouncy tele-film which chronicles the
misadventures of a trio of young ladies (Julie Bowen, Holly Fields and
Jenny Lewis) in the sunny, consumer-driven world of the 1950s. Paul
Rudd plays a slick, hip Elvis-type while Fabian and countless Dante
regulars (Cathy Moriarty, Dee Wallace-Stone, Robert Picardo, Belinda
Balaski, Wendy Schaal and, of course, Dick Miller) round out the
supporting cast in this nostalgic road trip, which looks and feels like
a Dante vehicle in the best sense of the world.
Less successful was “Reform School Girl,” also
making its debut on DVD.
Aimee Graham is a poor, innocent girl who takes the fall for boyfriend
Matt LeBlanc after he causes a hit and run in a stolen hotrod. Soon
Graham is whisked off to a bad girls’ reform school, where
she learns
about life on the inside from inmate Teresa DiSpina and Carolyn Seymour
as the token heavy. Jonathan Kaplan’s film tries to be more
adult and
tongue-in-cheek about its pulp origins than you might anticipate, but
the results are basically a forgettable tease that only die-hard genre
fans should find of interest.
Both Dimension DVDs sport excellent full-screen transfers with 2.0
Dolby Stereo soundtracks, each with a few vintage pop tunes and scores
by Hummie Mann.
Capsule
Round Up
JoJo’s
Circus: Animal a Go Go and Take A Bow (2003):
The much-loved Disney Channel character comes to DVD in a pair of
releases, each offering an hour of entertainment and four separate
lessons for pre-schoolers.
Disney’s
Learning Adventures: Mickey’s Around the World in 80 Days and
Mickey and The Beanstalk (2005):
Two volumes of edu-tainment for youngsters are on-hand in another pair
of new Disney releases. “Mickey’s Around the World
in 80 Days” stresses
geography and language skills for preschoolers, while “Mickey
and the
Beanstalk” accentuates math fun.
Hustle
(90 mins., 2004, PG-13; Buena Vista):
Tom Sizemore dons a really bad wig in this so-so ESPN made-for-cable
film as controversial baseball star Pete Rose. Peter Bogdanovich was
brought in to helm “Hustle,” but despite good work
from Sizemore, it’s
tough to develop Rose’s story within the parameters of a
90-minute
running time. More interesting than the film are Buena
Vista’s DVD
supplements, including a full PrimeTime Live special with Charlie
Gibson, a SportsCentury interview with Rose, the late Bart
Giamatti’s
press conference where he banned Rose from the game, and additional
interviews. The full-screen transfer and 5.1 Dolby Digital sound are
both excellent.
Apollo
13 (***½, 140 and 116 mins., 1995, PG; Universal):
10th Anniversary edition of Ron Howard’s superb 1995
dramatization of
the Apollo 13 mission offers both the original theatrical cut (140
minutes in 2.35 widescreen), as well as its trimmed-down, 2002 IMAX
version (116 minutes in 1.66 widescreen). Since the movie was shot in
Super 35, you’re not missing much picture information in the
IMAX
version, which also boasts a superior DTS soundtrack and improved
picture quality from the theatrical version. It’s also
missing some of
Kathleen Quinlan’s scenes as the worried housewife, which is
another
plus. Supplements include many extras ported over from the previous
laserdisc and DVD special editions, including a pair of commentary
tracks, the “Lost Moon” documentary, and two
additional documentaries
on the IMAX disc.
NEXT
WEEK: Horrors! THE AMITYVILLE
HORROR COLLECTION opens just in time for Spring. Don't
forget
to say Aloha
on the Message
Boards, direct
any emails to the
link
above and
we'll catch you
then. Cheers!