Blu Ray Review: Red Riding Hood

June 25, 2011

After the success of Twilight, it seems almost impossible to escape the avalanche of movies going for that lucrative teenage girl audience. That’s all well and good when the source material is suited for that demographic, but with something like Red Riding Hood, a classic piece of folklore, I would expect more from the studio adapting it. Unfortunately, they took the classic story and “Twilighted” it, adding in a ridiculous love triangle, and oh so much teenage angst.

It might seem like I’m harping a little too much on Twilight in a review for a film based on Little Red Riding Hood. But when the studio elected to have Catherine Hardwicke, director of the first (and arguably worst) of the Twilight franchise, direct this film as well, one can’t help but compare. This may be the only literal connection between the films (other than some Twilight actors playing a role or two), but when watching the film, I just couldn’t get the similarities out of my mind.

Amanda Seyfried plays Valerie, or Red Riding Hood, as a young woman caught between the “bad boy” she loves and the man she’s assigned to marry. Complicating matters is the presence of the “big bad wolf,” which in this version of the story is, of course, a werewolf. Beyond the impossible decision of which guy she’ll pick, the main drama of the film is the mystery regarding the identity of the wolf. There are a lot of red herrings thrown at the audience, but I have to admit that I did kind of enjoy the way that story played out.

Daggerhorn, the village where the film takes place, has had a truce with the wolf for several years. They offer a sacrifice in exchange for the safety of the village. For some reason, however, Valerie’s older sister is killed by the wolf, violating the truce, and instigating a wolfhunt that ends up costing several villagers their lives. Some of the action is actually quite well staged in these sequences, and considering how poorly Hardwicke did on Twilight, I was pretty impressed with the look of the film overall.

Daggerhorn looks like a village out of a storybook. The production design is beautiful, and while I wish the film had a larger scale to it, what we get is purely fairytale. Nestled in the woods, near the river that leads to Grandmother’s house, the village looks magical. Unfortunately, the wolf doesn’t look nearly as good as the village. A CGI creation that I’d be hard pressed to call mediocre, I never believed there was an actual creature anywhere on set.

While the studio was obviously desperate for a Twilight-style hit, the film never reached the commercial success they were going for. Despite that, they have released a pretty fantastic Blu-Ray that is probably the best a film like this could have to offer. Recently, I’ve been watching a lot of Blu-Rays that seem to have phoned in the extras, and it was nice seeing a release that really embraced the features that Blu-Ray can provide.

For starters, the theatrical version of the film can be watched in a feature called “Secrets Behind the Red Cloak.” This is a picture-in-picture commentary track that runs the entire length of the film. Featuring the actors and filmmakers, this provides a lot of insight into the entire process and even includes a lot of storyboards, concept art, etc. Despite my thoughts on the film itself, I love seeing the filmmakers get to analyze their own work, and this is something any fan of the film will enjoy.

As far as bonus features outside of the film, there is plenty of material there as well. There is a feature called “Reinvention of Red Riding Hood,” that explores the history of the original story. They refer to their own film as a “bold new landmark of storytelling” in regards to the werewolves, which I find a little ridiculous, but it’s still an interesting feature. There’s also a terrible feature on “Red’s Men” that exists simply to talk about how “hot” the two guys in her love triangle are. After that came my favorite feature, “Making the Score,” which is an 11 minute segment on creating the unique soundtrack to the film. Utilizing all sorts of unusual and creative devices, the composers have crafted a musical backdrop that feels historical and modern all at the same time. This segment provides a fascinating look at how they developed this sound, and how it resonates thematically in the world of the film. Next up was a forty second montage of the effects used for the wolf attack. Then rthere are some casting tapes, really interesting rehearsal footage of three key scenes, and a silly feature that recaps the entire movie in 73 seconds.

Rounding out the set are four deleted scenes, a lame gag reel and a couple of music videos. As for the film itself, it’s presented in 1080p High Def, and it looks even better than you’d expect. The colors are gorgeous in this world, and the actual red cloak that Valerie wears looks amazing in contrast with the whiteness of the snow. The sound is also great, especially with the incredible soundtrack. There is a party sequence where the music is actually a part of the scene, and it’s amazing. I loved listening to the different layers of interesting sound, and the sound mix comes through fantastically.

There is potential for greatness whenever a filmmaker is adapting a great story. This film never reaches that level, and unfortunately, it never had a chance with the approach the filmmakers took to the story. I suppose the film is worth seeing for the beautiful cinematography and interesting soundtrack. On top of that, I didn’t even mention the over-the-top performance by Gary Oldman as a wolf hunter, which is something to see in and of itself. But overall, if you don’t love Twilight, this probably isn’t a film for you. A classic story ruined by corporate thinking, I just can’t bring myself to recommend this one.

Movie Review "CARS 2"

SoCalThrills Staff

June 24, 2011

Following a pinnacle year with the critical darling Toy Story 3, the creators at Pixar Animation Studios return in their 25th year with a sequel, a rare thing for them, and probably for good reason. The original “Cars” is widely considered as one of Pixar’s weakest, so the very fact that director John Lasseter chose to pursue a “Cars 2” is a strange move indeed. Possibly the team at Pixar were looking to make right their original misstep or simply capitalize on the Car’s immense merchandising success. The franchise started with a shaky foundation, and attempting to build upon it can only result in limited success.

This time around, the film doesn’t begin at the racetrack, but in a much darker locale where British Intelligence agent Flinn McMissile (Michael Cane) is involved in a top secret mission. What follows is the most outrageous chase scene produced with flawless animation. Only a few moments later, are we transported to the abundantly more reserved backdrop of cozy Radiator Springs to be reunited with the endearing rusty tow truck Mater (Larry the Cable Guy). It quickly becomes evident that this is to be Mater’s story, and his best friend race car Lightning McQueen (Owen Wilson) will be taking a backseat for this international journey. When McQueen returns to Radiator Springs to take a break from racing, Mater wastes no time finding a reason for him to join the globe-trotting World Grand Prix. Upon their arrival in Japan, good ‘ol Mater accidentally runs into the aforementioned Flinn McMissile and fellow agent Holley Shiftwell (Emily Mortimer). Before he knows it, the entire fate of the World Grand Prix and Lightning McQeen’s safety rests squarely on Mater’s ability to overcome his own shortcomings.

To be honest, the movie’s storyline is not overwhelmingly weak. Instead, it is the individual elements that lessen its overall potency. Mater as the leading character tends a whole lot of fun, sometimes touching, but begins to feel like a worn out idea by the film’s third act. The constant flow of car puns and slapstick humor will certainly make children howl with laughter, but may test their older counterparts’ patience after the first 45 minutes. Although I found myself amused, I couldn’t shake the feeling that a lot of what I was hearing would be much more fitting in any other non-Pixar animation. The dialogue accomplished the task, but lacked sincerity and tact. All the supporting characters felt pushed to the side to focus uninterrupted attention squarely on Mater’s journey. Sadly, Lightning McQueen suffered the greatest shunning as he was only there to fill in the friend character and provide a visual feast with his racetrack antics. Surprisingly, the most interesting addition to the story is the ultra suave daredevil Flinn McMissile and his female equivalent Holley Shiftwell. Their presence gives the story nearly enough balance to diffuse some of the Mater centrism.

No matter how short Pixar sold themselves in many areas of “Cars 2,” there is no chance they would skimp in the technical categories. “Toy Story 3” was their greatest accomplishment to date, and the beauty of “Cars 2” rivals or even exceeds that film. It is hard to imagine any two things made more perfectly for one another than cars and animation. In this sequel, the Cars universe is expanded so far beyond the boundaries of automobiles. Every living organism that is present is somehow, and usually comedically, interpreted and brought to life. There were moments when I found myself entirely in awe of the grandeur of the animation. Every subtle reflection, rush of color, the rays of light refracting off the cars’ surfaces, and even the rhythm objects captivated me. So immersive, the line between animation and reality became nearly indistinguishable.

The depth that graces other Pixar films appears to be an afterthought in this tale, which is a disappointment considering how many opportunities the story offered for genuine growth. With previous Pixar films, one has come to expect a certain emotional journey that is applicable even more so to adults than it is to children. In “Cars 2,” the lessons of friendship and self-worth that Mater discovers seem, well, uncharacteristically simplistic and childish for a film carrying the Pixar name. The only time the movie arrives anywhere close to an authentic revelation comes when Mater explains to Holley that he never repairs the dents he gets on his body, because each represents a specific time when he and Lightning McQueen shared a memorable experience together. But unfortunately, this tiny gem is lost somewhere among the film’s more meaningless action sequences and uncontrolled bursts of humor.

“Cars 2” does not fall completely into the realm of disappointment, but comes dangerously close. Pixar has rightly set a precedent for themselves that no other studio can touch. Improvement is good, but it can never replace excellence. In the case of the Cars franchise, the team at Pixar fail to meet their own standards. Prior to the movie, a trailer for Pixar’s next big project played to the wild delight of the audience. By the end of “Cars 2,” I couldn’t help but wish it was already 2012, and I was watching “Brave,” not a film that felt more like a placeholder than a well-oiled machine.

Blu Ray Review: Unknown

Shaun Beckerman

June 24, 2011

A cinematic “page turner,” Unknown is a riveting action mystery that will keep you guessing from beginning to end. Set against the backdrop of a bioengineering conference in Berlin, the film stars Liam Neeson as Dr. Martin Harris, a lecturer at the ceremony. Leaving his wife at the hotel to retrieve a briefcase accidentally left at the airport, he ends up in a car accident that leaves him in a coma for four days. When he awakes, not only does nobody seem to know who he is, but another man (Aidan Quinn) has literally taken over his life.

What’s fascinating about this setup are the potential directions the story can take. Most films are fairly straightforward, but in this case, I really didn’t know where everything was going. I wouldn’t dream of giving any of the twists away, but for the longest time, I couldn’t even be sure what genre this film was. It seemed to alternate between an episode of the Twilight Zone and another Neeson blockbuster, Taken (also a fantastic film).

Like Taken, Neeson plays a man on a mission, in this case, to find out what happened to his identity. Rest assured, everything makes perfect sense by the end, and it’s a fascinating journey to get there. I love playing armchair detective, and this was a really fun story to piece together. Now, this isn’t an intellectual film by any means, but it’s always gripping. Filled with thrilling car chases and riveting fight sequences, director Jaume Collet-Serra and his director of photography Flavio Labiano have made a film that is always visually interesting. Set mostly at night in the wintertime, they capture a beauty in Berlin that really sells this as a perfect location for the film.

Unfortunately, the film does have one major weakness, and that is January Jones’ performance as Dr. Harris’ wife. Every other performance in the film is great, including supporting roles from Frank Langella and Diane Kruger, but there’s just something about Jones’ work here that isn’t up to par. I’ve always been a defender of her work as Betty Draper on Mad Men, where her flat delivery and icy demeanor seem perfectly suited for the character. However, after seeing her work in this and the new X-Men film, I’m starting to think that she might not be capable of anything else. She plays the role exactly as she plays Betty, and not only is that a distraction for those familiar with Mad Men, but the performance doesn’t suit the character. At all.

However, this is a minor quibble with what is otherwise a great film. Now on Blu-Ray, the film looks and sounds amazing. I just loved the look of the film, and it’s captured perfectly on this release. Even though the film is mostly set in the evening, the images of the film just pop off the screen. The 1080P High Definition does wonders for Berlin, and this would be a great demo disc for somebody showing off their television. The film sounds great as well, with English 5.1 and Dolby Digital. There is a lot of action in this film, and every punch, crash and explosion is perfectly mixed together, really enabling the viewer to get lost in the world.

Unforunately, there are only two extra features, and they’re both pretty much a waste of time. The first one, “Liam Neeson: Known Action Hero,” is a brief featurette, running just over four minutes, that spends it’s running time talking about how great Liam Neeson is. There are several interviews with everyone ranging from producer extraordinaire Joel Silver to Neeson himself. There is no real insight into the film, or even Neeson’s performance. It’s a very “produced” segment that doesn’t really serve much of a purpose.

The other feature is called “Unkown: What is Known?,” that again, doesn’t really serve much of a purpose. Also running just over four minutes, this is basically an extended commercial for the film. I wish there was some more insight into the craft that went into making the film, but unfortunately, this is all we get. However, the movie itself is so much fun, I have to let the lack of extras slide. This was a really clever script, with some great characters, and fantastic performances (with the exception of Jones). A great mystery enhanced by the great action, I can’t recommend the film enough.

The Global Smash Hit 'Mamma Mia!' Returns for One Week Only

Marc Larrañaga - Entertainment Editor

June 22, 2011

Three generations sit in front, behind and beside me as the house light darken, the announcer comes on and says the usual jargon and exclaims or warns “white platform shoes and spandex are used in this production”, and the sounds of ABBA begin to play, this is ‘Mamma Mia!’ in the OC.

Director Phyllida Lloyd brings verve to the songs of Benny Anderson and Björn Ulvaeus of ABBA, with a story weaving the songs together written by Catherine Johnson.

Donna is a free independent spirit who’s daughter, Sophia, is about to get married. Sophia has a problem; she wants a white wedding which would include her dad walking her down the aisle. Okay two problems. One she doesn’t know who her dad is and two, it is one of three men she found in her mom’s diary. Answer? Invite them all and sort it out the day before the wedding. Enter the three suitors, Sam, Bill and Harry all from various walks of life. Add to the fun Donnas friends from the old days, Tanya and Rosie and you have a story of past affairs, adventures and new life to still explore.

Having grown up during the time ABBA songs were at its height of popularity, I can relate to their messages of both young at heart and eventual maturity of life. Johnson has woven masterfully the works of ABBA around these two generations of women trying to find out what to do next in life.

The true talents of the performance are those of the actors. Chloe Tucker as Sophia was jubilant and lovely voice to hear. Kaye Tuckerman playing Donna, is an exceptional vocalist. Her range is only humbled by the emotion she puts behind the words. The three dads-to-be Harry, Bill and Sam are played by Paul Deboy, Brian Ray Norris and Tony Clements respectively. All three are enjoyable to watch as the unsuspecting dads. Though Deboy and Clements singing is a little less to be desired, almost forced and out of range. Norris is the only one who looks and sounds comfortable in his vocal presentation. Allison Ewing is a joy to watch and hear as the longtime friend and upscale meticulous friend Tanya. Her physical humor and antics compliment her singing and cohort Mary Callanan playing Rosie. Another of Donna’s longtime friends who’s let the world grow on her in the more voluptuous manner. Callanan doesn’t let it show in her vibrant energy on stage. Much applause to you all and your fellow cast mates.

As for the direction of the show I have to wonder if the troupe is getting bored with the show in general or the direction of Lloyd is just bland. The lead characters are giving their best and yet the direction on stage sometimes looks stagnant. Especially with the choreography, this during the show is more reminiscent of a college production. I will give exception to the finale numbers which were more of what I would expect from a Broadway show that has been going strong for 12 years now.

This leads me into what needed some help in the show. The sound crew needs to figure out what was going on as several of the actors had feedback issues throughout the show. Lighting at times was too dark and you couldn’t see anything. The tree pieces they had flown during the show had a large hole in the middle of them and became annoying to keep seeing in the corner of your eye.

Overall you have to appreciate the joy and thought provoking the music of ABBA has been over the years. Having them interwoven into a story that can be shared by any generation is just an additional benefit of a creative writer and imaginative team. It is a joyous evening for all to come out and connect with each other through the universal medium of music.

It is a story of wanting to grow up and have what our parents may have never had. Of finding things some people just want to forget about. It is a story that plays out day in and day out in our lives. As youth we think those older than us don’t know what we are going through and the adults think the youth are growing up too fast. Unfortunately in some cases our youth are growing up to fast because our world is so unpredictable. To be able to connect on an even level is something we all should do. We are all living our lives one day at a time, dealing with issues that plague us all. To be able to connect through music and enjoy each other’s company and relate on and even higher plane should be done often. We are all teachers and we are all learning every day of our life. Get out there and live.

See ‘Mamma Mia!’ at the Segerstrom Center for the Arts June 21-June 26, 2011.

Follow my adventures in entertainment in Southern California on Twitter @SCThrillsMarc or follow our site @socalthrills.

Movie Review "The Art of Getting By"

Marc Larrañaga - Entertainment Editor

June 17, 2011

Whenever a generation grows up to fast it is due to a war going on. WW II, Korea, Vietnam all consumed everyone and youth was a short time and adulthood a long journey. You knew you had to choose to be part of the effort or hide from it. Pick a side and stand tall for your beliefs. All before you even graduated high school. We may not have a World War going on but there is war going on throughout our world again.

Unlike when I was growing up and going to school, we had time to relax and watch the world and not contemplate what I had to do next in my life. That is not necessarily so with today’s youth. In the larger populations and in every country our youth are growing up faster and faster with the advances in technology and social interactions.

First time feature film director and writer, Gavin Wiesen, takes a look at how the youth of now are dealing with life in school and beyond in his coming of age exposé in ‘The Art of Getting By.’

George may seem to be your average high school senior. However he has just found out that he cannot skirt by anymore and will not graduate if he doesn’t finish every assignment, EVERY ASSIGNMENT. Sally has befriended George even though she herself runs in different circles. For George that is great as he is pretty much alone. Through their friendship, his life experiences at home and actions everyone in his life makes, George must choose what path he will follow as adulthood hits him fast.

Wiesen has brought a stellar group of actors to breathe life into his art by hitting nail on the head and driving it straight in on one strike in depicting the trials of youth today. The writing is subtle on the surface and complex in nature. As an adult you think, “What the hell! I would never have acted as such.” Then I step back and have to remember I grew up in a different time, with drastically different perspective on life. He has looked at what is going on in the world and written that age is just a number and we all can have the same dilemma of life’s wants, needs, desires and expectations.

The cast gathered for this venture included some of the most respected as well as those that have a prosperous career ahead of them. Blair Underwood (LA Law, The Event) steps in as Principal Martinson, who helps George set his path. Rita Wilson (It’s Complicated, Old Dogs) and Sam Robards (Gossip Girl, A.I.) portray Vivian and Jack Sargent, Georges parents who themselves have secret issues to discover that affect his life. Elizabeth Reaser (Twilight series, The Good Wife) is the flirty and vivacious young mom to Sally, Charlotte. The alumni/mentor for George’s creativity is Dustin played by Michael Angarano (The Forbidden Kingdom, Sky High).

Rounding out the ensemble are the three teachers that push George into life head first reminding him there is more to life. Ann Harada (Happiness, Hudson River Blues) is the hardnosed math teacher Mrs. Dougherty. Portraying the English teacher, Ms. Herman, that always stands up for George and tries to inspire him to hard work is Alicia Silverstone (Clueless, Beauty Shop). Whom I had to take a double take on as she was not in her usual dolled up attire playing a brainless character, surprised me by being very good in her role. The one who stood out, was the teacher who spoke the least. Though when he did it was very curt (foul language ensued), directly to the point and allowed George to be what and whom he wanted, would be art teacher Harris McElroy, played by Jarath Conroy (True Grit, Day of the Dead). Jarath portrayed Harris in a manner that takes the BS out of life and makes you focus. Something I think many of us would love to have happen, even now.

Keying in as the main focus of this story are two exceptional young actors in Freddie Highmore (The Golden Compass, August Rush) and Emma Roberts (Valentine’s Day, Hotel for Dogs) as our yin and yang, George and Sally. Highmore and Roberts are in the zone with their performance portraying George and Sally. Not too much of a stretch as they are playing characters that are going through a time in their life they have both just recently lived. It adds to the realism and conflict the characters are going though with school, home life, the pressures of growing up and the wanting of belonging.

It is an extraordinary story with impeccable acting surrounded by the hustle and bustle of a metropolis. Filled with people of many generations and social acceptances making you stand back and take a different look at those around you. As an adult or parent it will make you look at kids and have you reflect how you are perceived to them. Youth may look at this film and go, “finally, someone who gets us!’ Either way you will not only enjoy but marvel at how we as a society have change and adapted, whether for the good or bad still depends on our own perspective. I personally enjoyed this feature. It well exceeded my expectations and happily so.

This is normally where I put my thoughts on relating the film to real life. Art imitating life, no pun intended. It is tough to do when the film says it all. We as a society have advanced so much so fast. I remember growing up and not having a cell phone to communicate with everyone. The most important thing to worry about was what to do for the weekend with friends. Yes there was underage drinking, sex, drugs, the gambit. However today it is more and more becoming the norm as much as it has changed. In the film I had an issue with all the underage drinking and partying that was being portrayed and had to see that these were “privileged” youth who had parents that did not have a ‘hands on’ relationship or upbringing with their kids. Matter of fact they just threw money at them and said, “here, grow up” as a way of childrearing. It saddened me especially as I have to look at parenting very seriously.

I am in a relationship with a wonderful woman that has two great kids, a beautiful 8 year old girl and handsome boy who is 11. Two completely different personas but very much at an age that they are beginning to want to grow up faster than I or her would like. The boy has a cell phone, the girl wants one. She is very much about herself and wanting all she can, he is about what he can do for everyone. Two distinct different ideas of life much like George and Sally. But I worry, am I, as a step father figure, doing what I can to allow them to grow up slowly and not have to be adults to fast? Do I have too firm of a hand and not a warm enough heart? It bothers me to no end because I don’t want them to just do the basics like I did in my growing. I don’t want them to have to deal with life the way I am now. I want them to live full adventurous and filled lives and never just do what is necessary and not just “get by”. Live life to the fullest each and every day.

Follow my entertainment adventures throughout Southern California on Twitter @SCThrillsMarc.

Blu-Ray Review: Hall Pass

Shaun Beckerman

June 16, 2011

I remember a time when it seemed as if the Farrelly Brothers could do no wrong. Upon release, Dumb and Dumber, There’s Something About Mary, and Kingpin all instantly became a part of the pop-culture landscape, and the writing/directing duo was on a streak that seemed like it would never end. Of course, this was back in the nineties, and times change. Unfortunately, the Brothers didn’t. Eventually, their unique style of “gross out humor” became the norm, and all of a sudden, they didn’t seem so special anymore. Before we knew it, audiences were being subjected to drek such as Shallow Hal, Stuck on You, and The Hearbreak Kid. And now, the Farrelly’s have hit an all-time-low with the impossible to believe that it actually got a greenlight, Hall Pass.

If ever a “comedy” has been more poorly conceived, I can’t think of it. Owen Wilson and Jason Sudeikis play Rick and Fred, two friends physically devoted to their families, but mentally craving an escape. Finally, their wives agree to give them the hall pass of the title, which is one week off of marriage to do whatever they want, without consequence. When it comes to high-concept films like this, I can usually suspend my disbelief enough to let the filmmakers have their say. However, right off the bat, I found this a highly uncomfortable premise. Even if I could buy into the fact that these wives would do this, I just couldn’t bring myself to root for these guys and their attempts to successfully cheat on their wives.

That isn’t to say they don’t learn the obvious and predictable lessons along the way, but by the time the cheesy life lessons come around, I was completely over the film. Jenna Fischer and Christina Applegate play the wives, and they also learn a lot from the week off. But by the end, I was sick of learning life lessons from a script that had such a fundamentally awful premise to begin with.

Now, I admit that there was some potential for humor in the premise. Watching these guys try and figure out how to live the frat-boy lifestyle after being emasculated by several years of marriage could have been funny. Unfortunately, the jokes are forced and obvious. Per the Farrelly’s tradition, there is the occasional gross-out sequence, but they exist simply for shock-value and do nothing to enhance the film. Perhaps somebody like Judd Apatow could have turned this into something bearable, but the Farrelly’s just don’t seem to have it in them anymore.

Despite my complaints about the premise, I still saw this in the theater based on the cast and a hope that this would mark a return to form for the Farrellys. I ended up hating the film then, and I still hate it now. I bring this up because the newly released Blu-Ray hypes the version included here as an “extra funny extended cut with footage not seen in theatres.” This is the version I watched, and I have to admit, I couldn’t find anything different. Whatever changes exist are not substantial in the least.

The film is a disaster, but there is one element that works. Richard Jenkins plays Coakley, a “guide” for Rick and Fred on their journey of infidelity. Jenkins is a great actor in everything he does, and I thoroughly enjoyed seeing him in such a silly role. In fact, the newly released Blu-Ray only has two extra features and one of these is a deleted scene featuring this character. It’s a very funny scene on it’s own, but I can see why it was cut as it doesn’t enhance the film at all. The only other extra is a two-minute “gag reel,” that is exactly like every other gag reel I’ve ever seen. In other words, not funny.

If for some reason, you are still curious about the film, the Blu-Ray is a two disc set containing both the Blu-Ray itself, along with a digital copy/DVD. While I never liked the premise, I was really hoping for more out of the cast. They all tried their best, but unfortunately, were hampered by a truly terrible script. I would like nothing more than to see the Farrelly Brothers recapture the glory of their earlier 90’s work, and truly hope that this doesn’t signal the end for what was once a very promising partnership.

Official Site: hallpassmovie.warnerbros.com

DVD Review: American-The Bill Hicks Story

Shaun Beckerman

June 15, 2011

Being a fan of the art of stand-up comedy, I am embarrassed to admit that I had never heard of Bill Hicks until this documentary, now on DVD from the BBC. For those in the dark like myself, Hicks was a comic like few others. He used comedy as a device, not only to make people laugh, but with an undercurrent of intellectualism designed to make people think and feel. I don’t necessarily share his political and occasionally radical views, but I can appreciate his technique, and definitely, his humor.

Unfortunately, Hicks died of pancreatic cancer in his early thirties, preventing him from becoming the legend he seemed destined to become. His extreme approach to comedy alienated himself from most Americans, but he was wildly popular internationally. However, he was just starting to break out in America around the time of his death. This documentary not only serves as a fascinating biography of a highly unusual individual, but as a window into the mind of someone very often misunderstood.

Hicks got into comedy at a very young age, and once he started, he never stopped. The film delves into all aspects of his life, both professionally and personally. Hicks was a man who often seemed like a character, but this documentary shows him also as a human being. We meet his friends and his families, and explore his fears and insecurities. This film makes him feel real, and as the filmmakers explore the darker sides of his life, including excessive alcohol use, we as an audience find ourselves rooting for him to pull out of it.

What really makes this docuementary stand out amongst others of it’s kind is it’s visual style. There are no “talking heads” to be found in this film. The entire movie is a combination of footage of his real stand-up routines taken from his entire career and highly stylized animated depictions of photos from his life. The film is narrated by the friends and family who knew him best, and the filmmakers have taken photos from the moments being discussed, put them “into a 3D space,” and utilized several filmic techniques to move the camera within the shot. It’s a visually compelling approach, and keeps the film constantly moving while being more-or-less a slide show of his life.

This is the type of movie that should be studied by anybody with a passion. He decided early on that he was going to be a comedian, and he accepted nothing less. The film contains footage of some of his first sets at open-mic nights, and the raw talent and natural gift for comedy is awe-inspiring. The material might not have been as strong at the start of his career, but he has a confidence and natural command of an audience that any performer should strive for.

The film is now on DVD, and comes in a two-disc set with an almost-excessive amount of extras. The box brags that there are “over five hours of extras,” and I have to admit that I still haven’t gotten through all of them (although I will definitely be finishing after finishing this review). There are over three hours of extended interviews, deleted and alternate scenes, festival footage, unseen performances, and on and on. This DVD is like a shrine to all things Hicks, and if you’re already a fan, it’s a must-own. And if you’re not a fan yet, watch the film, and by the end, I guarantee that you will be.

Highlights of this summer's D23 Expo in Anaheim!

SoCalThrills Staff

June 3, 2011

The first-ever D23 Expo in 2009 left Disney fans asking when there would be another. From August 19–21, 2011, the Expo returns, bringing all the wonderful worlds of Disney under one roof at the Anaheim Convention Center for three remarkable days. From celebrity appearances and eye-popping pavilions to fascinating presentations and once-in-a-lifetime experiences, there’s plenty of magic for everyone at D23 Expo 2011. Highlights of the Expo will include:

The Walt Disney Studios will give fans a fascinating behind-the-scenes glimpse at the exciting roster of projects on the horizon. From exclusive video clips and live performances to filmmaker discussions and star appearances, audiences will be treated to an up-close look at select movies from the Studio’s upcoming film slate.

Walt Disney Parks and Resorts will be showcasing its “great big beautiful tomorrow” with a sneak peek at imaginative new experiences in the works for Disney Parks around the world, Disney Cruise Line, Adventures by Disney and Disney Vacation Club.

Treasures of the Walt Disney Archives exhibit will offer a unique glimpse into the fantastic world of the Walt Disney Archives as we throw open the vaults and bring out the crown jewels of our amazing collections in an exciting, never-before-seen showcase boasting costumes and props from Tim Burton’s Alice in Wonderland and Pirates of the Caribbean to Tron and LOST.

The Disney Living pavilion, presented by Disney Consumer Products, will inspire the Disney lifestyle through the worlds of Style, Play, Celebrations and more. From the nursery to the runway, from hot toys to cool book apps, favorite Disney characters will come to life in exclusive and never-before-seen products, collections and experiences for Disney fans. Meet the artists, designers, authors and innovators who create the magic and fun, and join in hands-on demos, activities and immersive environments.

Disney Channel, Disney XD and Disney Junior will jump off the screen at this year’s D23 Expo! Look for special appearances from many of your favorite stars from our biggest shows—and enjoy once-in-a-lifetime experiences sure to delight the whole family.

Radio Disney invites you to join the party as we celebrate the ultimate Disney fan event with music, fun, games and the chance to meet some favorite Radio Disney stars!

Disney Interactive Media Group pavilion will bring beloved Disney stories and characters to life digitally though exciting new interactive experiences. Guests will be able to try out new and upcoming games for videogame consoles, mobile and online, as well as fun creative activities from Disney.com.

D23 Expo Dream Store will be filled to the brim and bursting with D23-themed merchandise and other specialty items from Disney Theme Park Merchandise. From souvenirs and upscale logo assortments to Disney-inspired art and collectibles, ear hats, pins, Vinylmation™ and more, it will be a Disney enthusiast’s dream come true.

Disney Fan Art Gallery will feature the creative talents of D23 Members at D23 Expo 2011, putting the “spot”-light on One Hundred and One Dalmatians. Disney lovers were previously invited to create work inspired by the beloved animated film, currently celebrating its 50th anniversary. Winners, selected by a panel of Disney’s creative executives, will see their work prominently showcased in the D23 Expo’s Fan Art Gallery, themed to the infamous House of de Vil, inside the Treasures of the Walt Disney Archives exhibit.

Collectors Forum will be the ultimate Disney marketplace for fans. Collectors, dealers and other vendors will have the opportunity to showcase their collections in this ultimate forum for buying, selling and trading Disney merchandise and memorabilia. This year, in addition to Disney, Pixar and ABC collectibles, the Forum will feature items from the amazing world of Marvel, the newest addition to the Disney family, and Star Wars, in celebration of the reimagined attraction Star Tours – The Adventures Continue at both Disneyland and Walt Disney World Resort.

Ultimate Disney Trivia Tournament Presented by Hasbro’s Trivial Pursuit | Disney Edition is an exciting new addition to D23 Expo 2011. The eccentric, professorial quack-meister Ludwig Von Drake will preside over the festivities as competitors demonstrate their deep knowledge of all things Disney, including park attractions and shows and parades, past and present; films and TV shows through the years; consumer products, games, company history and, of course, Walt and his family. No corner of Disney’s magical kingdom will be left unexplored in this quest to find that uniquely talented individual who knows more about Disney than anyone else. Trials for the Tournament will take place on Thursday, August 18 at the Convention Center, the day before the Expo opens.

D23 Expo 2011 will also feature the Disney Legends Awards—a tradition that pays tribute to the talented men and women who have made indelible contributions to the Disney legacy, and a product showcase featuring Disney Pins and Vinylmation in a special area where collectors can swap stories, treasures and meet the artists.

Tickets for D23 Expo 2011 are available at a discounted price through June 30, 2011. All D23 Members—both Gold level and Silver level—can take advantage of additional exclusive admission savings at www.D23Expo.com.

Gold-level D23 memberships are $74.99, and Silver-level memberships—which provide all benefits with the exception of a subscription to Disney twenty-three magazine—are just $34.99 a year. All discounts and special promotions are available to both Gold- and Silver-level D23 Members.

‘Mickey’s Soundsational Parade’ Celebrates Music in Motion at Disneyland

SoCalThrills Staff

June 3, 2011

Rhythm is king when the magic of Disney music takes to the streets in the new “Mickey’s Soundsational Parade” in Disneyland park. A bevy of favorite Disney characters including Aladdin, Ariel, Cinderella, and Peter Pan will follow “the leader of the club,” Mickey Mouse, as they lead guests on a journey of sound and story.

“Mickey’s Soundsational Parade” comes alive with Disney characters, performers and nine new parade floats, each designed in the style of a children’s “pop-up” story book with eye-catching visuals and whimsical elements. Each parade unit is brought to life through the fun and lively rhythms of drumlines, percussion teams and jazz horns. Images of musical instruments and oversized drums decorate the parade lineup.

Mickey Mouse leads all the performers onto the Disneyland parade route and demonstrates his own rhythmic prowess sitting atop the first float and playing an acoustic drum set. Just ahead of Mickey’s float are six live drumline musicians who drive the beat and set the tone for the entire parade. The drumline performers playfully interact with guests as they make their way down the parade route. Also included in this classic character unit are Minnie Mouse, Pluto, Chip ‘n’ Dale, and Goofy.

Next, the Genie from “Aladdin” takes over the street, brandishing a drum major’s baton and leading six Cymbal Dancers who set a new rhythm. Aladdin himself commands the top of this float as he strikes a large gong and greets guests. Bringing up the rear is an animated version of Aladdin’s pet monkey, Abu, who claps and plays cymbals of his own.

From there, “Mickey’s Soundsational Parade” takes guests “Under the Sea,” accompanied by a distinctively Caribbean sound including steel drums and marimbas. The world’s favorite mermaid, Ariel, “floats” above this whimsical parade unit while a humorous octopus shows off a multi-armed talent for music making.

The next unit looks to land south of the border as The Three Caballeros introduce the spirited sounds of Latin America. Flower dancers and piñata dancers complete the scene around this rhythmic parade unit where Donald Duck dangles a piñata overhead for Jose and Panchito, Donald’s friends from the 1944 classic film, “The Three Caballeros.”

Disney’s newest heroine, Rapunzel, leads a royal procession including Belle, Sleeping Beauty, Cinderella and Snow White on a float dominated by Rapunzel’s tower. This “Heroines” unit also features graceful court dancers in a lyrical tribute to the timeless tales of Disney princesses.

Jungle drums sound the arrival of Disney jungle inhabitants, including Simba perched majestically atop Pride Rock. The unit’s music includes nods to such Disney melodies as “I Wanna Be Like You,” “Trashin’ The Camp” and the score from “The Lion King.”

The parade next transports guests to New Orleans and the world of Princess Tiana, with jazz rhythms bursting from a classic Mississippi riverboat as it rolls down the parade route. Mardi Gras dancers beat tambourines in celebration as they surround Tiana’s riverboat.

Adventure waits in Neverland as Peter Pan, Captain Hook, Mr. Smee and some bumbling pirates appear with the next float, locked in a comical battle. Above them, Tinker Bell plays on mushrooms as if they were drums and three butterflies flutter below her.

Mary Poppins and her friend Bert bring “Mickey’s Soundsational Parade” to a close riding astride two carousel horses that appear to have just leaped from their perches in search of a musical adventure. This grand finale unit includes a moving, musical carousel and a “rooftop unit,” meant to suggest the rooftops of London. Eleven chimney sweeps complete the parade with a high-energy broom dance.

“Mickey’s Soundsational Parade” is presented daily along the Disneyland parade route between Main Street, U.S.A., and “it’s a small world” in Fantasyland.

The International Dance Sensation BURN THE FLOOR arrives in Orange County!

Marc Larrañaga - Entertainment Editor

June 1, 2011

The stage is dark. A deep beat hits your chest. Smoke fills the stage. Suddenly it is alive with pristine movements, gyrations, and the heat and sweat of some of the finest dancers ever on one stage. ‘Burn the Floor’ hits the OC and sets it off.

Jason Gilkison has made his mark in a show that he not only once stared in but has helped evolved into a classic Broadway experience. Currently the director and choreographer of the touring show as well as the many shows throughout the world. With his excitement for the dance he has assembled some of the best dancers from around the world.

You’ve seen them on TV in ‘So You Think You Can Dance’, now see them under Gilkisons creative eye, Anya Garnis and Pasha Kovalev. They are not the only alums as Karen Hauer, Janette Manrara and Robbie Kmetoni heat up the room with the rest.

Adding a sense of audible life to the show that helps drive you deeper into its seductive graps is ‘Americal Idol’ star Vonzell Solomon. Her voice hits notes hard and fast or smooth and sexy to give your ears just as much tantalizing treats as your eyes watching the movements of the dance.

Mixing the best styles of ballroom dance into one show is a tough sell but ‘Burn the Floor’ does a grand job of it. From the seemless transition of showcasing the evolution of ballroom in a sequence that goes from the 30’s thru the 80’s in a matter of minutes is fantastic or perhaps the seduction and temptation of a blindfold dance to the classic setting of a speak easy, you will be trying to catch every detail and not be able to take it all in.

If there was anything I could find the slightest fault in, I would have to say the main set was very plain. Although it was being ‘dressed’ for the mood of each dance, the black set under the brightness of the lights looked cheap in its construction compared to the costumes, which amazing, the beautiful singing and of course exhilarating dancing happening all around.

In all, a wonderful show to go see. Even if you are not much into dance of any kind it keeps you interested by the continuous nature that is the body and how imaginative it can be when moved properly.

Bravo to the cast and crew and may you never tire from dancing.

See ‘Burn the Floor’ at the Segerstrom Center for the Arts May 31-June 12, 2011.

Follow my adventures in entertainment in Southern California on Twitter @SCThrillsMarc.

Blu-Ray Review: The Rite

Shaun Beckerman

June 1, 2011

Having seen many movies about exorcism over the years, I thought I had seen all that the genre had to offer. But when I heard about The Rite, and it’s story of a struggling seminary student rediscovering his faith while attending exorcism school, I was genuinely excited about this new spin on a worn-out concept. Like most people, I’m sure, I was completely unaware that exorcism schools even existed, and this film, based on a true story, provides a fascinating insight into this unknown world.

Unfortunately, the film doesn’t quite live up to the intriguing premise. Other than the always-captivating Anthony Hopkins, the best thing about the film is the idea behind it. Colin O’Donoghue plays Michael Kovak, a student who’s faith seems to be decreasing with each passing day. He’s going through the motions, because that is what is expected of him. Through a variety of circumstance, he finds himself hand-picked to attend this exorcism school, and eventually sent to the private tutelage of renowned exorcist, Father Lucas (Hopkins). He is immediately thrust into a case involving a young pregnant woman, seemingly possessed. Is she repressing childhood trauma, or is there something far more sinister at play?

I enjoyed the sequences of actual exorcism, and Marta Gastini brings a twisted playfulness to her scenes as the pregnant woman. However, the most important thing missing from this “horror” film is the horror. A good exorcism film should really get inside of an audience’s head. The antagonist in these films is Satan himself, and if a filmmaker can’t make Satan scary, then something is definitely wrong. Everything in the film feels staged, and there is never any genuine horror. Sure, there are moments that border on suspenseful, but I never found myself scared, and I definitely didn’t find myself unsettled when it was all over.

In watching the film, I got the sense of a filmmaker and cast going through the motions. Everything is staged well enough, but it feels observational, rather than immersive. The camera lingers as the events transpire, but we never feel as if anything truly significant is happening. The screenplay by Michael Petroni doesn’t take advantage of the intriguing setup, but seems to be following a rigid formula as dictated by previous horror films. He even utilizes the classic scare tactic of a cat jumping out at the audience.

However, the film’s biggest sin lies in the last act. I don’t want to give it away, but it reeks of Hollywood contrivance, and is so obvious and misguided at the same time, it brings the film to a staggering halt. Ironically, these scenes feature Hopkins’ best work in the film, but it’s at the expense of any credibility for the film itself. While Hopkins seems to delight in playing the twists and turns of these moments, it’s just not worth it. I don’t know why the screenwriter felt it necessary to resort to such cheap gimmickry, but I’m very disappointed that he did.

Regarding the recenty released Blu-Ray, the features are pretty sparse. The only real documentary on the set is “The Rite: Soldier of God,” which is a far-too-short, but genuinely interesting look at the real-life exorcism school that inspired the film. As explained in this feature, the film is based on a book by Matt Baglio who actually attended the real school while preparing the story. Baglio is needlessly even turned into a character in the film, although for some reason, he becomes a woman named Angeline, played by Alice Braga. His research is the focus of this feature, and while I found it very interesting, I found myself wanting much more.

Other than that, the disc contains some deleted scenes, and an alternate ending. It would have been an interesting way of closing the film, but it felt far more Hollywood than the ending they went with, and I’m glad that’s not the direction they decided to go.

That’s everything the disc has to offer. The picture looks great, and the moody soundtrack really stands out in an impressive sound mix. While the technical side of the presentation is flawless, I wish I could say the film for the actual film itself. I’d love to see another film tackle a similar subject, just without all the Hollywood tropes. Definitely worth a rental, I can’t really recommend much the film for much more than that.

Blu-Ray Review: I Am Number 4

Shaun Beckerman

May 28, 2011

I Am Number Four, as directed by D.J. Caruso (Eagle Eye, Disturbia), would have made a fantastic television pilot. In telling the story of an alien on the run from extra-terrestrial killers, Caruso sets up a great number of potentially interesting characters and plot points. On top of that, the effects would have been amazing for television. Unfortunately, this wasn’t a pilot, but rather, a story with a lot of missing pieces and effects that fall short of cinematic expectations.

As written by Alfred Gough, Miles Millar and Marti Noxon (all very successful writers of genre-based television), I Am Number Four feels nothing short of incomplete. Alex Pettyfer plays “John Smith,” the fourth in a line of nine Loriens who fled to Earth after the evil Mogadorians destroyed their home planet. For reasons never explained, the Loriens can only be killed in sequence, and as the title indicates, John is number four. Guiding John through his life on Earth is a Lorien guardian/warrior named Henri (Timothy Olyphant). Henri serves as a guide to both John and to the audience, providing key exposition throughout. Confusing matters, there is also a random lizard/dog/alien thing that I think is supposed to be like a bodyguard, but again, this is never explained.

In case it’s not obvious yet, it is very frustrating how much appears to be missing from the film. A box from John’s father is introduced and frequently referenced as if it is going to be a pivotal plot device, and a payoff is never provided. I’m sure that items such as the box, along with some details as to the film’s seemingly detailed mythology were being held for the anticipated sequel. I’ve always felt that in any good franchise, each individual film needs to be able to stand on it’s own, while still providing setups and payoffs from the other films. On it’s own, this film doesn’t work. There’s just too much left unexplained.