All six discs, plus a set of 4 exclusive art cards featuring some of the most stunning images from the series are housed in a sturdy, weighted globe, numbered for greater collectability. Available with both the DVD and Blu-ray. Planet Earth took the world by storm when it originally aired. It garnered uniformly glowing reviews, won four Emmy Awards, including Best Nonfiction Series and Best Cinematography, and its longevity on the best-seller list is legend. Now, with the addition of all new commentary and new bonus programs, and this totally unique collectible package, you can relive this incredible experience all over again! In this truly special, limited collector’s edition, prepare to be overwhelmed again by the beauty and majesty of Planet Earth.
Nature and travel documentaries have proven to be dependable releases in the Blu-Ray format, as evidenced by the massive sales of BBC’s PLANET EARTH, the multi-part production offering some of the most miraculous footage ever glimpsed of the natural world around us.
Among the additions are four bonus programs (“Great Planet Earth Moments,” “Snow Leopard: Beyond the Myth,” “Secrets of the Maya Underworld” and “Elephant Nomads of the Namib Desert”) plus a producer commentary, video diaries, a sneak peek at Discovery’s “Frozen Planet” and the option to view the respective episodes strictly with George Fenton’s fine scores.
Another beneficiary of high-definition video has been the travel genre. From episodes of Rudy Maxa’s terrific “Smart Travels” series to several compilations from the Discovery Channel’s “Sunrise Earth,” consumers seeking gorgeous landscapes and travelogues for their Blu-Ray players have had an abundance to choose from during the format’s relatively short lifespan.
When it comes to the audio however, there is no debate as the previous release was only given a lossy Dolby Digital track. The good news is that this new Special Edition comes with a lossy DTS-HD Master Audio 5.1 mix which sounds a lot better.
There’s a reason this series won just about every award possible and if you haven’t seen it yet, then this is the perfect time to rectify that! While the video quality change is negligible, both the audio and the new special features make this worth upgrading to this new Special Edition. If you don’t own the previous version already, then this is a must own title for you. This is highly recommended!
The air was crisp as twilight approached as we ventured into the ominous setting that is Dark Harbor at the Queen Mary in Long Beach, CA. The ship is a world-renowned destination known for its striking visual appearance and ode to a different time. But the vessel is also famous for an entirely different reason, where frequent paranormal sightings that have taken place in its rooms and corridors over the decades. For selected nights during the month of October, the ship lends itself perfectly to host an all-around fright fest, Dark Harbor.
It is initially apparent that the event is not reserved in any way, but has a magnitude that keeps you held under its spell constantly. As we entered the venue, there is a sinking feeling of darkness as one disappears into the fog held within a series of storage containers that act as makeshift hallways, fittingly dubbed “The Vortex.” On the other side lays the open area — “The Street” which houses food, live music, and the “Night Mariner’s Bar.” Here we found many evil minions doing their best to put some fear in us before we ever stepped foot into one of the five uniquely themed mazes.
There is truly no way to prepare for what awaited us in Dark Harbor’s mesmerizing areas. Three of the mazes are housed directly in the bowes of the ship and take full advantage of the already visually arresting interior while sprucing it up inventive production design for full measure of scare. My personal favorite was without doubt, “Submerged” which takes you into some of the darkest corridors of the belly of the Queen Mary accented with gruesome water displays and the occasional dead monster jumping from the shadows. What is most intriguing is the way in which the maze ends, passing the original first-class pool of the ship, hauntingly empty of water, where many a real ghost sighting has been reported.
The remaining two areas of the ship are just as unique. “Containment” features an infirmary of dead or nearly dead shipmates. There is also a significantly greater amount of blood effects in this one, so be forewarned. Across the way is “Hellfire” which is an overwhelming freakshow that never lets up the entire way through. In this maze, as well as in the rest at Dark Harbor, one can see just how much effort has been taken to create monsters of great authenticity. From the wardrobe, to the make-up, to overall performance, each character has a unique purpose, and does their job with excessive zeal, to the horror of the audience.
In the dome adjacent to the Queen Mary, “The Cage” offers the most visually stimulating experience of the entire event. Strobe lights, black lights, and other various effects sensationalize what is a disorienting yet surprisingly short maze, if you can find your way out. A series of small town-like buildings houses Dark Harbor’s most extensive area, “The Village of the Damned” full of an unrelenting host of demonic beings trying to keep you from escaping their deadly grasp.
What sets “Dark Harbor” apart from the competition is its genuine ominous atmosphere thanks to grand haunted backdrop, the Queen Mary. Where other fright fests create from scratch and put together a spectacle that is overall temporary fakery, Dark Harbor takes what is already a slightly unnerving environment and transforms it into the very darkest place imaginable. Although not always apparent, there is a theme, a story that runs throughout the entire place, based on the idea that the she-demon Bundara and her two sisters have raised hell directly out of the water to prey upon the fears of mankind. Touring the mazes, I constantly found myself peeking around the corner, praying there wasn’t another wicked monster waiting to invoke another spark of fright into my soul. At Dark Harbor, they do indeed insight fear, and they do it with immense style.
The Queen Mary’s Dark Harbor will be open October 7-9; 14-16; 20-23; and 27-31 from 7 p.m. to midnight. Ticket discounts and promotions start as low as $20 online at www.queenmary.com/dark-harbor. ‘Fast Fright’ front-of-the-line passes are also available online and at the door, and well worth the additional $20 upgrade for busy nights.
The Queen Mary is located at 1126 Queens Highway in Long Beach.
Desperate to mirror a true-life documentary with a Lion King style narrative, African Cats suffers from an identity crisis that weakens the film as a whole. Directors Keith Scholey and Alastair Fothergill have crafted a visually stunning spectacle that ranks amongst the best-looking documentaries I’ve ever seen. However, the entire thing is hampered by their attempts to shoehorn in a story that never feels as if it wasn’t created in the editing bay.
Right off the bat, as Samuel L. Jackson’s voiceover introduced us to “the cast” of the film, I realized I wasn’t on the same page as the filmmakers. The film primarily follows three families of wildlife and the ways their worlds intersect. Throughout the course of the film, we follow the rivalry between a lion leader appropriately named Fang and his rival they have named Kali, a cheetah the film calls Sita along with her five cubs, and a lioness named Layla and her cub, Mara. These stories could have been fascinating if left for the audience to observe and formulate their own opinions, but instead, a story is spelled out for us, and as Jackson was explaining what these animals were thinking and feeling, I found myself trying to seperate the manufactured story from the reality of what I was seeing. By assigning names and personalities, it negated the reality of the two years they were filmed in the African savannah.
Now, I get that this is supposed to be a kid’s film, and I suppose assigning names to all the animals could help children to identify with what they were seeing. However, Jackson’s constant explanations as to the thoughts and feelings of these amazing creatures just rang false. Not helping matters is Jackson’s lackluster reading of the narration. I usually love Jackson’s work, but here, he sounds completely bored with the material. Not that I blame him.
Having said all that, African Cats is a visual triumph. This is the sort of film Blu-Ray was made for. The subtle nuances of the animals themselves as well as the world they live in leap off the screen. The picture captures every strand of hair, blade of grass, etc. with a vibrant clarity rarely seen. Particularly fascinating is the footage of the animals in motion. There are moments slowed just enough for the audience to marvel at the breathtaking power and grace of these animals. I am completely stunned at some of the footage they were able to capture, with moments ranging from a standoff between a lion and a crocodile or a cheetah willing to sacrifice her life to create a diversion for her kids to escape a lion.
It is moments such as those that made me so disappointed they were in service of a story so phony. I’m sure the basic constructs of the stories are legit, but what bothered me the most were the individual moments and contexts that were assigned rather than earned. As for the Blu-Ray itself, it comes in a 2-Disc Combo pack featuring both a Blu-Ray, and a DVD. The Blu-Ray contains all the same extras as the DVD, plus a few more.
For the most part, the extras are pretty sparse on this set. The best feature is a way of watching the film called “Filmmaker Annotations.” With this feature, you can watch the film with a picture-in-picture track featuring the filmmakers and various experts. They provide running commentary while also featuring behind-the-scenes tidbits and information that enhance what is happening in the film itself. It’s a great way of gaining some more insight into this world.
The only other features are a commercial for Disney and their conservation efforts, a brief fund-raising segment called “Save the Savanna,” and a music video from Jordin Sparks. For such a technically superior film, I would have expected more features isolated from the picture-in-picture feature. However, that’s such a great way of viewing the film, I don’t know that any other extras are really needed.
Despite any problems I had with the narrative, I can’t help but recommend this film based on the merits of it’s stunning visuals. These really are fascinating creatures and no matter what sort of creative editing may have been employed, it’s still a treat to spend time in this world we know so little about.
There is the clichéd blockbuster and then there is the one that tries to be everything it is not. Surprisingly, “Real Steel” falls somewhere in the middle, as a film that exists in the future and yet focuses on an age-old theme of fathers and sons, a relationship in films that is sadly oft forgotten. “Real Steel” is a unabashed redemption story with hints of emotional authenticity within the confines of a well-oiled blockbuster machine.
The film is the brainchild of director Shawn Levy, best known for his work in the comedy realm with “Night at the Museum” and “Date Night.” This film marks a departure for him, but treads upon territory with which Levy has an obvious fascination — fathers struggling to connect with their sons. Hugh Jackman plays Charlie Kenton, a washed-up boxer who barely makes a living traveling around as a robot fighter. It’s 2020, and the fighting scene has significantly changed. Charlie isn’t bad at his job, as he controls his old beat up robot with precision in a fight with a bull at a country fair in the films opening moments. His problem is more personality, as he has allowed himself to become a second-rate untrustworthy businessman.
When Charlie’s estranged son, Max (Dakota Goyo), is suddenly thrust back into his life, Charlie’s priorities are quickly dictated by having to focus on the needs of his son. He tries to ignore him at first, but Max is the type of kid who just won’t take no for an answer. All Max wants is a chance to be a part of his father’s world, and Goyo plays the character with a perfect blend of strong-headedness and a genuine need for a father’s influence. Charlie’s business partner/friend Bailey (Evangeline Lilly) takes notice of Max’s deep appreciation of the robot boxing world and convinces Charlie to give Max the time of day.
Charlie gives Max a chance, and before they know it, the two are deep within the robot fighting world together as a team. When things don’t turn out too well for Charlie’s latest investment in a bot called Noisy Boy, the two go searching for parts to construct another. In a near accident, Max uncovers an old sparring bot called Atom. He spends the night in the rain digging him out from the mud while his father once again abandons him to return to the safety of their truck. They bring the robot home and soon discover that Atom has much more to offer than just a sparring machine. His “shadow function” allows him to learn and mimic both Max and Charlie as they train and walk with him.
After a couple bouts fighting in the robot underworld, which actually lends a good amount of character to the overall clean, safe story, Charlie realizes that Atom is destined for much greater things. He isn’t big, he isn’t strong, but he has agility and the ability to take elongated punishment before returning the same to the larger robots. Atom begins a rise to the top on the professional robot fighting scene, and it is only a matter of time before he is facing the greatest bot, appropriately named Zeus.
“Real Steal” is the type of film that will surprise you, regardless of what expectations you bring to the theater with you. There is something about the title of the movie itself that cheapens the experience, and the trailers released for the film did nothing to help. Not less than a minute into the film, as Alexi Murdoch’s “All My Days” plays to wide cinematic shots of the countryside bathed in brilliant shades of light. There are moments throughout the film just like it, and it seems to prove that director Shawn Levy wasn’t afraid to focus on substance more than the action. The fights themselves are nothing short of amazing, there is a freshness to the action, and the bots are authentic in their element, hardly ever dipping below the line into shabby CGI-enhanced shots.
There’s also that quiet undertone of father/son relationship and reconciliation that works beautifully in the film. Atom is more than a robot, he is a metaphor that perfectly embodies both Max in his underdog ways and Charlie in his beaten-down life. Hugh Jackman perfectly captures a man who is a coward half the time, but also one who has the capacity for redemption. Dakota Goyo as Max exudes a confidence beyond his years, but also a sensitivity to emotion that would be missed by many child actors. Evangeline Lilly is possibly the weakest of the trio, but still adds the female touch that the adrenaline pumping film desperately needs.
Some may call “Real Steel” sappy or overtly dramatic at times, but for a blockbuster so utterly driven by visual and technical perfection, it deserves credit for the moments where it sidesteps cliché and digs deep for substance rather than spectacle. I noticed myself smiling more often than not, and not because of comedy, but due to genuine joy. Sometimes, that’s all a movie needs to hit the sweet spot. “Real Steel” did exactly what it needed to for me, plus a little more.
In 1941, Dumbo flew into the hearts of families around the world without ever saying a word. Now, 70 years later, the film comes to Blu-Ray in what can what only be described as a celebration of this timeless classic. A celebration of not only the film itself, but it’s place in the pantheon of the Disney greats. Believe it or not, when Dumbo was released, Disney Animation was in financial trouble. Fantasia and Bambi hadn’t been the successes that were expected, and a lot was riding on this little elephant. Luckily, the stunningly emotional story and beautifully simplistic animation brought people to the theatre in droves, and Dumbo secured it’s place in history.
Odds are, you’re already familiar with the story of the elephant with the large ears. Running a mere 64 minutes, the story is streamlined to a point where there isn’t a wasted moment to be found. This economy of storytelling gives the film a power rarely seen in modern film. As Walt has famously said, for every laugh, there needs to be a tear. This concept of emotional opposites is brilliantly encapsulated in Dumbo with moments of exhilaration balanced with moments of pure devestation.
With sequences ranging from Dumbo’s mother’s circus rampage to the moment he tearfully smiles after being swept up in her trunk through the bars of her cage, or even the exhiliration of his first (intentional) flight, the animators did a brilliant job of capturing the power of the story through their art. It’s hard to believe that Dumbo is a silent character, considering how emotionally attached the audience gets to the character. And yet, with every smile and every tear, I found myself invested in everything that was happening.
After rewatching the film for the first time in several years, I was blown away by just how amazing this movie really is. It was with this in mind that I began pouring through the extensive extras found on this new release. To begin with, I rewatched the entire film in an option called “Cine-Explore.” This is really a fascinating way to watch the film, with picture in picture analysis of the film from various historians, animators, etc. I came out of this at the end with an even greater appreciation of what was accomplished 70 years ago.
I followed this up with a look at a fascinating deleted scene. Originally, the film was going to contain a story from Timothy the Mouse about the troubled history between mice and elephants. Flashing back to prehistoric times, in his version the mice were the size of dinosaurs and the elephants were pathetically small in comparison. The sequence was never animated, but several pieces of art were created. These have been strung together while the original story notes are read over them. It’s a fascinating look at what might have been, and while it would have felt out-of-place, there are still some hilarious and genuiney epic conceptual ideas that I loved getting to see. There is also a less compelling deleted musical number called “Are You a Man or a Mouse?” It’s a fun sequence, but not nearly as interesting as the flashback.
The next item in the menu is called “Backstage Disney,” and contains several great features. There’s a 28 minute documentary called “Taking Flight: The Magic of Dumbo” that discusses the history of the film along with it’s legacy. There’s also a look at the Dumbo ride at Disneyland and the impact it has on families across generations. Honestly, I enjoy the ride, but I’ve never found it to be a standout in the park. While I can appreciate that this was one of the original rides, and I did enjoy the analysis of the update the ride got in the 80’s, I found this feature to be more of a commercial than anything.
After this is a truly fascinating look at the foley work that went into creating the world of Casey Jr. This feature has been on DVD before, but I had personally never seen it. The sequence used to demonstrate the sound techniques is not from Dumbo. Casey Jr. must have been in another animated project, and while I’m not sure what the clip was from, the sounds were identical. From the opening whistle call of “all aboard, let’s go,” to the thunderous crash when he comes to a stop, this is a terrific peek behind-the-curtain at an aspect of animation that doesn’t get enough credit.
I also enjoyed the remaining documentary called “Celebrating Dumbo” that is carried over from a prior DVD release. Featuring interviews with film critic/Disney historian Leonard Maltin, among others, this is a closer look at the film from a historical perspective. Finally, this release has the original 1941 trailer, the trailer from teh 1949 re-release, and an extensive art gallery that is a must-see for any aspiring animator. They also include in this gallery the original book upon which the film is based.
The set comes with two discs, the Blu-Ray and a DVD. The DVD has less features than the Bu-Ray, and every feature on the disc is also on the Blu-Ray. The release itself has never looked better, with an impeccable picture and sound. Overall, this is about as perfect a release as this classic film could get. The extras are justifiably like a love letter to the movie. I’ve always admired the film, but after going through this collection of features, I feel like I have a greater understanding of what makes Dumbo so successfull. It’s what was put in, what was kept out, the music, the animation, the voice-over work, and on and on. This is a success on every level.
Sometimes I go to the theater for deep, powerful works that convey the spectrum of human emotion. Sometimes, I go for the rich complexities of the best musicals. And sometimes, I just want to stop thinking for two hours and be entertained. Shrek the Musical provided one of those nights. This was far from the most intellectual production I’ve seen, and yet, it doesn’t matter. The production is fun and the performers looked like they were having a great time. As a result, everyone in the audience had a blast.
Based on the 2001 film from Dreamworks Animation, the stage production of Shrek follows the same story structure, but presents it in a completely different way. I was surprised to discover that this really is a full-blown musical, filled with original music from start to finish. There are a couple of moments inspired by musical cues from the film (such as the hilarious number “Welcome to Duloc”), but for the most part, the songs are completely new.
The new music wasn’t entirely memorable, and in fact, some of it was pretty simplistic. However, there were a few truly great numbers, creatively executed and integrated flawlessly into the story. Much as the original film satired the very sort of fairytale that it was trying to be, Shrek the Musical serves as a satire on stage musicals. Parodying classics such as Wicked, the Lion King and Les Miserables, this is a production that never takes itself too seriously, but never feels like it’s settling.
It obviously took a lot of creativity in order to bring this fairytale world to life. The technical work utilized to pull off this creativity is astonishing. First and foremost, the makeup is spectacular. Shrek looks exactly like Shrek, and that’s saying something. It couldn’t have been easy to capture the essence of the film’s design and make it look realistic, but they pulled it off. When Fiona undergoes her transformation, it’s even more impressive considering the speed with which they have to shift her back and forth.
However, they didn’t go for realistic detail with all of the characters. The look for Donkey is as basic as a man in a donkey suit. Most of the fairytale creatures are presented that simply, and this contrast with the elaborate ogre makeup provides part of the production’s charm. Having said all that, the best character design by far is that of Lord Farquad. The entire essence of his character hinges on his being notably short. To capture that on stage, they have the performer spend the production on his knees with tiny legs attached to creat the illusion of a short man walking.
Of course, this doesn’t look remotely realistic, and they know it, milking the costume for every laugh possible. The ridiculousness of the costume combined with the brilliantly over-the-top portrayal by Merritt David Janes had the audience rolling with laughter throughout. Just watching the performer try and navigate manuevers as simple as kneeling, climbing stairs, and even dancing, never ceased to be funny.
As a whole, the cast did a pretty fantastic job. Lukas Poost as Shrek and Liz Shivener as Princess Fiona were especially impressive in capturing the essence of their characters without simply mimicing the voices of Mike Myers and Cameron Diaz from the films. Andre Jordan wasn’t quite as successful in his portrayal of Donkey, providing a mediocre impersonation of the much funnier work given by Eddie Murphy in the films. Some characters, such as Gingerbread Man and the Dragon, didn’t have actors in costume at all. Gingerbread Man was a very funny hand-held puppet, and in complete contrast, the Dragon was a very elaborate puppet being operated by multiple performers simultaneously on the stage.
It was this combination of theatrical techniques that really made Shrek stand out. As I said, the music wasn’t anything all that special, but it was fun. There are a lot of musical moments that really flesh out the thematics in sequences that were initially glossed over in the story. For example, there is a great sequence towards the beginning where Fiona sings a song with herself from multiple ages, all hoping that will be the day she is rescued. We know in the film that she spent most of her life in this tower, but this sequence really fleshes out the emotion behind that concept.
I was surrounded by kids and their parents, and they were all laughing together throughout. A production that all ages will enjoy, I know that I had a great time watching the show. Even though it originally opened in 2009, I didn’t even know there was a musical based on Shrek until it came to Orange County. Now that it’s here, I definitely recommend it. Performances run through October 16, and tickets are as low as $20. You can purchase them online at SCFTA.org, by calling (714) 556-2787 or at the Box Office at 600 Town Center Drive in Costa Mesa.
Romola Garai, Dominic West and Ben Whishaw star in The Hour, a thrilling six-part drama set in 1950s London when the BBC is about to launch an entirely new way of presenting the news. The dynamic Bel (Garai) is chosen to produce the new program, to be called “The Hour,” with handsome and well connected Hector (West) set to become the anchor, much to the annoyance of Freddie (Whishaw), a brilliant and outspoken journalist, whose passion continually lands him in trouble. Over the six episodes, the interplay of intense ambitions between our rising news team play out against the backdrop of a mysterious murder and Freddie’s controversial and dangerous investigation.
The program is hosted by debonair newsreader Hector, whose primary skill involves outmaneuvering the opposite sex under the nose of a naïve wife. Interspersed between the sexual tension and clashing egos is a burgeoning subway murder of a college professor – apparently a clandestine warrior against a secret plot to destroy democracy in Britain.
This Orwellian charge is delivered to Freddie by Ruth, a one-time party debutante/girlfriend whose first-hand knowledge of this secret plot — much to her endangerment —belies more than a loss of innocence. Of course, Freddie is slow to grasp the tip —dismissing it as drunken rants from an intellectual inferior.
The Hour comes to Blu-ray a little over a month after it premiered on BBC America, which is a blessing. These six one-hour episodes fit comfortably on two discs, presented in their original 1.78:1 aspect ratio in a 1080i/AVC-encode. Often the 1080i designation is a bad thing, as artifacts will crop up, but The Hour is surprisingly free of flaws. The show’s exquisite sets are rendered with crisp detail, and the show’s reduced color scheme is perfectly saturated. Dark scenes have impressive black levels, and noise isn’t a significant problem. The audio option is a LPCM 2.0 stereo affair that keeps dialogue clearly audible and well balanced with the show’s use of vintage tunes. Bonus features include two featurettes that take a look at the set design and a more general behind-the-scenes goings on.
The Hour is a decent way to burn six hours. It’s not the greatest thing the BBC has unleashed in the last few years, but it’s a solid period piece that rewards attention with fine performances and a wonderful setting. This Blu-ray set does a good job preserving the show and is easy to recommend for a rental to fans of British television dramas.
Friday, September 23, in conjunction with the opening of Halloween Horror Nights, Universal Studios held it’s annual celebration of all things terrifying with The Eyegore Awards. As much a party as an award show, this was a unique opportunity to hobnob with the masters of the genre. Horror might not be at it’s most popular right now, but you’d never know it being in that room. Surrounded by legends such as Rob Zombie, Eli Roth, etc., everybody was in the mood to be scared.
The mood was set the moment we walked into the venue. Designed as a corn field, the set decoration immediately brought to mind any number of classic horror films. After mingling with the likes of Rainn Wilson (The Office, House of 1000 Corpses) and Bailee Madison (Don’t Be Afraid of the Dark), the awards began. As usual, Corey Feldman hosted, and did an intentionally horrible job. Bantering back and forth with a scarecrow performer, he brought his typical pun-filled self-deprecating humor to the proceedings. Looking absolutely ridiculous in a feathered cloak, it was obvious he was having a great time, no matter how bad his material was It’s sort-of a backhanded compliment, but I truly enjoy just how awful he is every year.
As for the awards themselves, I have to admit that I’m not entirely sure who determines the winners every year. I can’t help but feel a little cynical that most of the recipients are either promoting an upcoming film, have just had a recent film in the theaters, or are involved in some capacity with one of Universal’s horror mazes. Having said that, it doesn’t really matter. To be in a horror film, and more importantely, to be good in a horror film, you have to have some appreciation of the genre. I genuinely believe that every recipient is a fan, and loves what they do. Whether or not the awards are legit, the gratitude of the recipients felt completely sincere, and some of the speeches were genuinely touching.
A particular standout was Bailee Madison, the youngest winner of an Eyegore ever. She was receiving an award for her work in Don’t Be Afraid of the Dark, and she seemed legitimately excited and honored to be there. Her speech was articulate and heartfelt, and I really hope that we see a lot more from her over the years. Other winners included a very funny Jamie Kennedy, David Arquette, Rainn Wilson, Emma Bell, and Alice Cooper (his daughter Calico accepted his award on his behalf).
The awards were capped off with the winner of the annual Halloween Horror Nights short film contest. This year’s winner was called “Monster In My Swimming Pool,” and while it wasn’t my favorite short to ever win, it was moderately creative and had some neat shots. For being so short, I felt the story could have been streamlined a little bit, and the narrative could have had a little more focus. Still, it’s neat to see up and coming filmmakers get opportunities such as this, and I wish winner Brent Bokovoy the best of luck.
With this, the party was over and it was time to venture into the park itself. Featuring several new mazes, this is one of most creatively exhilirating Halloween events you can find. While I was a little concerned when I discovered that every maze was inspired by a pre-existing property, story, etc., I was thrilled as I went from maze to maze, discovering that the creators used the original material to inspire twisted and highly original new visions. Unlike other Halloween attractions that exist simply to startle, Universal immerses the participant in the world of the story. Beyond simply jumping from random “boo” effects, you will be legitimately scared.
Whether it’s the hideous extra-terrestrial transformations in The Thing maze, or the drowned bodies of La Llorona, you will see things that will cling with you, images that will not let you go. The storytelling is what makes these mazes so effective, and every maze is designed to move a narrative forward. I have to hand it to Universal. I think this could be one of their best years yet.
Unfortunately, it still wasn’t a perfect event. I’ve always enjoyed the pop-culture skewering of the Bill and Ted show, but this year’s felt a little lackluster and the jokes more obvious than usual. The story was a little more inconsequential than previous years as well. However, the performers were all great, with some terrific impersonations, dancing, fighting, etc. There was a lot of energy from everyone involved.
I was also slightly disappointed in this years Terror Tram. This year, they based it on Scream 4, and the whole thing felt a little obvious and forced to me. That’s not to say that it wasn’t still fun. It’s always a thrill to get to walk around the backlot, especially to see the War of the Worlds set up close. It’s just that this is the only part of the night where the source material didn’t seem to inspire anything. They simply placed people in costume around the sets and had them jump at you. There’s only so many times you can see Ghostface before it gets old.
Eli Roth’s Hostel, Alice Cooper’s Nightmare, the Wolfman, La Llorona, The Thing, and House of 1000 Corpses. Six mazes, six opportunities to be terrified. If that wasn’t enough, there are also several “scare zones” to be experienced. These are sections of the park set to different themes, overrun with different terrifying creatures. It’s a highly interactive and immersive world they have created. While there are several similar events out there, Universal’s reigns supreme.
Our world has changed since the years of the Cold War. Has the way we conduct ourselves as a country changed too? Double agents have been used from the beginning of time in warfare, politics, and business but are there still some in use today? Writer Michael Brandt (Wanted, 3:10 to Yuma) takes aim at the genre as director in “The Double”.
When a Senator is murdered evidence points to a Cold War Russian assassin named Cassius. But Cassius is dead, shot in the chest by the CIA operative who hunted him down, Paul Shepherdson. Paul is retired and brought back in to prove that either Cassius is alive or there is a copycat with the help of FBI Agent Ben Geary who has spent his whole career studying Cassius. But what do you do when the person you are hunting is right next to you or you yourself? Who do you trust and who do you kill?
Brandt takes us all over the spy genre in this film trying to keep you on your toes. If you have seen the trailer already you know Paul, played by the incomparable Richard Gere (Pretty Woman, Chicago) is Cassius. What you do not know is why? In lies where Brandt teamed up again with writer Derek Haas (Wanted, 3:10 to Yuma) to twist and turn the story in true crime passion. I for one kept trying to see where their thoughts were going with the plot and was pleasantly surprised at its ending.
With a Richard Gere heading up your cast how can you go wrong? Gere is masterful in playing the ‘double’ like a light switch, one moment as the CIA man that he is, the next covering his past as Cassius. That is where the strength in the acting stays. Now this is only my opinion but I will say that Topher Grace (That 70’s Show, Valentine’s Day), although a good actor, does not pull off an FBI agent fully. Gere’s performance dominates Grace’s each time they are on the screen, sometimes making Grace look like a bumbling fool. This could have been the idea Brandt was conveying but to the layman watching it looks ridiculous.
Outside of these two actors the film is littered with up and comers like Odette Annable (Cloverfield, You Again) as Ben Geary’s wife, Tamer Hassan (Kick Ass, Clash of the Titans) plays the head Russian assassin and long time actor Martin Sheen (The Departed, The West Wing) as the CIA Director Tom Highland, all doing their part weaving the story through its course.
If there is anything to find fault in this movie it would have to be the ending. The film keeps you guessing and reanalyzing who you think is good and who is the bad guy and is Cassius just a decoy and you want to keep watching and then just as you get the payoff you go, “What the hell!” It just ties up the ends nonchalantly as if it’s just a passing trend. It is almost as if Brandt was tired of directing and wanted to get on with the editing and move on to his next project. How is this fair to the viewer who you have committed to a good story and just wave them off? I would hope that if there is an alternate ending or at least drawn out more and explained in a more believable manner would be in order.
Overall this is a good movie, with good acting and a good story but not something to run out and see at first chance. When or if you do suspend your want to figure out the answer and enjoy the film.
Now how can I relate this film to life as I have done with every review…hmmm…? I would say this, we as a whole society always look at each other with face value and do not look deep into what makes us who we are and why. This film delves a little into that one part of us that tries to make right out of past wrongs. Perhaps we shouldn’t stretch ourselves to thin and it wouldn’t have happened? Keeping things simple and well maintained would do the trick but is that what makes us happy? That is only for us to tell and others to find out, if and only if you want them to know. I have said many times that only we can make ourselves happy first before making others happy. Live your life; just try not to hurt others along the way.
Follow my entertainment adventures throughout Southern California on Twitter @SCThrillsMarc.
Pretty Little Liars’ Lucy Hale stars as Katie in A Cinderella Story: Once Upon a Song, an attempt to modernize the Cinderella story for a tween audience. That right there should tell you everything you need to know about whether or not this direct-to-DVD film is for you. I’m not a teenage girl, so I can’t personally identify with Katie’s world, but I’ll try to be objective.
In this musical twist on the classic story, Katie is the Cinderella of the story. She has an amazing voice, but her wicked stepmother (Missi Pyle) makes her record tracks that her stepsister will lip-sync too. The cute new boy in school, Luke, has a father that happens to be a music producer, and I think you can figure out where everything goes from there. Obviously, he ends up falling for the wrong girl, and if Katie goes through with letting her stepsister take credit for her talents, then she could lose Luke forever!
Of course, I can’t really fault the film for it’s lack of originality because that lack of creativity is kind of the point. This is an adaption of a pre-existing story, after all. I’ve just always felt that if a filmmaker was going to adapt something, there should be a purpose. It should enhance the story, or at least let the alternate perspective provide a different insight into what’s already known. In this case, it’s almost like a paint-by-numbers picture, where they just drop story elements in piece by piece, matching what has come before, but in the context of their world.
Regardless, the filmmakers know their audience. There’s lots of pop music, eye candy for the highschool crowd, slapstick comedy (including a wacky scene where Katie gets locked out of the house naked), and some interesting dance numbers. They even throw in a decent Bollywood routine at one point. Basically, this feels like a film version of any popular Disney Channel program. That is, there’s lots of overacting and faux sincerity. But it knows what it is.
Solidifying this are the DVD extras, all of which play straight to the high school crowd. These include a feature called “Spotlighting Lucy Hale: Our New Cinderella,” which, truth in advertising, is a showcase on Ms. Hale and her abilities to channel the Cinderella-like character. There’s also a feature on Freddie Stroma, the “heartthrob” who plays Luke. Other features include a look at the choreography of the film, a behind-the-scenes look at the production from the perspective of the cast’s flip phones, and Hale’s music video, “Bless Myself.”
Basically, these are the features I would expect with a film like this. A lot of fluff, but all good-natured fun for the teenage crowd. This film won’t be winning any awards, but it’s not the worst movie I’ve ever seen. I haven’t watched the earlier entries in the Cinderella Story saga, but I can’t imagine this is any better or worse. It goes without saying that there’s no reason to watch this if you aren’t a teenage girl; however, if you are, then you’ll find plenty to enjoy.
Gazing silently out a window on a stark urban landscape, Los Angeles, Ryan Gosling, known in this story only as Driver, sees a mirror reflection of himself. A man hidden behind a mask, he is as layered and unpredictable as the city in which he abodes. Driver as a character is the very thing that ”Drive” is as a movie – quiet, haunting, methodical, with a hint of rabid violence that is hidden behind a veil of unadulterated goodness.
“Drive” is the type of film that grips you immediately with a soft spoken energy, and refuses to let go. From there, it builds, slowly but surely, until bursting with tremendous bouts of violence at the halfway mark. The story as a whole, is familiar, but it is the minute details that are resiliently fresh. Driver (Ryan Gosling) is a loner living in Los Angeles, a man of three distinct personalities. The majority of his time is spent working for his good friend Shannon (Bryan Cranston) as a masterful car stunt driver in Hollywood. When movie work is slow, he fixes cars at Shannon’s garage. But as the movie begins, we find Driver in a far removed environment, moonlighting as the getaway car driver for two men carrying out a heist. This is the the main show — Driver sits patiently, his watch ticking as the allotted time winds down. The thieves return to the car from a darkened warehouse, carrying duffle bags of loot. As Driver takes off, a Dodgers game plays lightly on the car stereo, seemingly narrating Driver’s every spectacular maneuver as he speeds along the city streets, eluding police, a stoic gaze fixed permanently upon his face.
Director Nicolas Winding Refn takes the time necessary to allow this initial vision of Diver to settle in. We witness him going through the motions – working, driving, and finishing his days spending time watching TV in solitude. His boss, Shannon introduces him to a friend, Mr. Bernie Rose . He wants Driver to race a car, sponsored by Mr. Rose. Driver shows his talents on the track and Rose is impressed. Driver cordially shakes hands, barely uttering a word. Rarely does he speak out loud, his bottomless blue eyes communicating more than words ever could.
One day, a young woman, Irene (Carey Mulligan) and her son Benicio (Kaden Leos) move in down the hall in Driver’s apartment building. The two meet, laughing nervously at each other, and an instant unspoken connection is cemented between them. Every time Driver sees Irene, the edges of his mouth twitch into a smile. He begins to spend time with Benicio, willingly taking up the role of protector and helpful neighbor. There is a spectacular harmony between Gosling and Mulligan that cannot be ignored. The relationship between the two is so utterly minimal, yet feels as if the two are experiencing a sacred moment every time they share screen time. For all the praise Ryan Gosling received for his chemistry with Michelle Williams in last year’s smoldering,”Blue Valentine,” his work with Mulligan here strikes as even more perfect and complete.
Just as soon as Driver begins to grow trusting of Irene, her husband, Standard returns early from prison. Standard wants to redeem himself, and Driver readily steps back to give Standard reign of his family. But when he finds out that Standard has a debt to pay, one final job to rid himself of his criminal life, Driver agrees to navigate the getaway vehicle. This is a picture of the deep sacrificial spirit Driver possesses, willing to protect Irene when there is no payback awaiting him at the end. The trip to get the money Standard owes ends horrendously, and instead, Driver is thrown into a spiraling series of events of inexplicable brutality.
Driver as a character could have easily fallen into a trench clichéd attributes. But Ryan Gosling so subtly balances times of silence with the moments of inexplicable rage, that his creation of Driver never once appears dramatically engineered. There is never a bit of backstory given to the character, we simply see him in the here and now. It is a powerful risk, because it requires the audience to read beneath Driver’s skin and interpret his true motivations and personality. As he embarks on his rampage to secure justice for himself and those he cares about, the audience must trust Driver’s instincts, or the entire story begins to disintegrate. And we do, so much so, that by the film’s end, you feel as one with Gosling’s character, till the very last minute when he drives into the dark oblivion.
The singular aspect of “Drive” that makes it so overwhelmingly powerful is Nicolas Winding Refn’s signature orchestration of the entire film. There is an unforgettable scene where Driver and Irene ride in an elevator to their apartment floor. A man stands across from them, waiting to attack. Time freezes, the score climaxes, and Driver kisses Irene with abandon in slow motion before inflicting obscene violence upon the man. This artistic touch is all Refn, and he never allows the film to fall out its constant state of surreal being. It is a scene like this that leaves very little doubt that we are witnessing the work of a true film master.
“Drive” is an immediate classic. The film moves and breathes with an authentic story and style that feels timeless. Everything in the film is just below the surface, but rather than causing us to miss it, director Nicolas Winding Refn creates the ideal rhythm, allowing the audience the liberty to absorb and reflect within the viewing experience. The film relies more on visuals than actual story, but we never tire from grandeur of the Los Angeles cityscape or the contrasting island of alienation found within the tight spaces of car interiors. As the movie opens, Gosling begins narrating by saying ”There are 100,000 streets in this city…” Just like Driver, we all find ourselves on a slightly different route than the next person. And that, is the true beauty of existence.
On a warm summer night Newport Beach was one of many cities worldwide to step out on the catwalk and let fashion reign. Fashion Island hosted 40 of its stores to a late night shopping affair fit for any top fashionista. Now normally I would not be the one to be at such a place alone. I would have my lovely girlfriend Alex with me as she is very up to date with everything fashion but I have some good taste and knowledge being the son of a fashion designer.
The event kicked off with an outside courtyard fashion show featuring some of the local shops here at Fashion Island. Jake Spade, Elie Tahari, American Rag, and Vince were a few of the shops to provide for the show going along with proverbial favs in the fashion world Manolo and Oscar de la Renta. The show was hosted by celebrity stylist Melis Kuris, who did a good job of making it entertaining.
After the show and a few chotchkies, we headed out into the lanes of shops staying open and providing discounts, drink, and food for the night. Cupcakes seemed to be the food of choice by many as they are always in season nowadays. That didn’t stop anyone or everyone from enticing customers in with libations.
Most of the shops participating had champagne, beer, wine or something with more of a kick. One of the cutest and most friendly bunch was the staff at Ecco with their cider and chocolate. Sorry I’m a sucker for chocolate. Once they got us in there we were had, in a good way. They are a great show and would recommend them to anyone, especially the Track 5 for men. I’ll be back for a pair.
A stop was made at one of my favorite places Original Penguin. The self styled modern vintage, as the staff told me is very indicative of Italian lines with sports comfort. I have to admit I have shows form here and after this evening a great hat to go with my cigars. The staff was great and very helpful. Their one mission for the night was that everyone just has fun. Well it showed as I walked out with my new hat on my head.
After walking around and seeing some of the shops I headed over to Neiman Marcus for their “Art of” presentations. From Fashion to Gastronomy Neiman Marcus was in full swing on the second floor. We just missed the beginning of the fashion show that wrapped itself around the escalator atrium but that did not mean we missed anything by a long shot. Some amazingly gorgeous designs were coming out from behind the black cube. From everyday wear to a night at a ball the models came our one after another each time betting more and more elaborate with the fabrics and patterns. The shoes were stunning as, because Alex has educated me well, Manolo, YSL, Louboutin, and Choo made each choice outfit stunning. All this finished off by the designer of the hour Oday Shakar.
After the show it was back out to the shops to take a closer look at some of the stars. From Trina Turk to Ella Moss, from True Religion to Lucky Jeans, every taste in fashion was available to see. Betsey Johnson had the best “out there” factor in their ballet meets grunge meets punk look yet still very effective and well arranged. American Rag was the eclectic of the bunch mixing and matching so many styles it could be a sensory overload to some. What stood out was the group from Obey printing shirts on the spot. And setting a new trend in comfort and fashion is Athleta, a yoga feel with everyday appeal. I know many a woman I am going to recommend this place too.
It was much to see and little time to do it. Even our four legged friends had a little show of their own at Muttropolis and the Doggie Fashion Show. As cute as some of the dogs were I will stick to just a collar for my dog.
It was a great time and as I said a short one. It might be fun for Fashion Night Out to think about making this a longer event by having several nights over the course of the summer to allow more people to come out and see what is happening in the fashion world. Expecting someone to see it in one night is tough and spreading the nights would allow more of a way to get more people interested in fashion. It’s not always about what’s hot but what is you.
So the next time you are out in a mall or outdoor shopping spot take a little more time and look at how things are made and whether it is for you. Dress to your comfort and not to someone else’s. Your clothes should reflect who you are. Have fun and be daring. It worked for my father. Hell some of the fashion I see today he was doing back in the 70’s-80’s. Just goes to show you how fashion sensed he is.
Disney Legend, author and Cal State Fullerton alumna Martha Blanding will speak at a CSUF commencement ceremony for the College of Humanities and Social...
