“The scent and smoke and sweat of a casino are nauseating at three in the morning.”
That’s the very first sentence of the very first James Bond novel. And it is all there, the glorious tone and setting and sense of worldliness. The decadence, the sophistication, the world weariness, the feeling of being on the brink of something dramatic or drastic, something of global importance. What’s been wrong with the Bond films, since about 1971 or so, with Diamonds are Forever, or perhaps earlier, is that they dropped whatever darkness the movies retained for comedy and wisecracks.
Casino Royale was published in 1953, and was quickly adapted into a TV show called Climax Mystery Theater in 1954 with Barry Nelson as an unlikely Bond, at least as we now know him. But after that, the annual Bond novel flourished only in England, not unlike the Patrick O’Brien seafaring novels, until someone reviewed them with such enthusiasm that suddenly 17 O’Brien books appeared in trade paperback virtually simultaneously. In the case of Bond, as is now famously known, JFK mentioned to a Life reporter that the Bond books were among his favorite reading matter, and if indeed he really read them and didn’t have a press secretary make something up on his behalf, it is clear to see why Kennedy might like the books. They mirrored his real life: saving the world, bedding the planet’s best looking chicks. Once the books started to become movies it was clear to see why they might appeal to the masses, especially a society that had grown easily airborne to exotic locations, and a reborn movie going public that was enjoying more freedom, fueled by the Pill, the Playboy philosophy, and the collapse of the movie Production Code.
The Bond world became so intoxicating that eventually directors from Spielberg to Tarantino expressed interest at one time or another, mostly out of sorrow than excitement, since the franchise preferred amiably competent hacks such as Guy Hamilton and Terence Young. Only recently have directors with more personality, such as Michael Apted, been ushered into the realm, but even then they still conformed to what ever still the decade demanded from them. In addition, eventually there was a lot of competition for the Bond market then there used to be. From Die Hard to Indiana Jones to Jason Stratham movies to Mission Impossible, to the Asian action films, diverse filmmakers smuggled a little of the glory of Bond into their films while exceeding them in excitement and gravitas. In fact, the new Casino Royale appears to be an awful lot like MI3, even down to the girlfriend-enacted defibrillation. It’s a sign that the Bond films have flipped places with other franchises such as Mission Impossible. Casino is an attempt to reconfigure the Bond films in the direction of the competitors. The typical Bond film will no longer be outlandish, wiseacre-filled comedies of world domination. They will harder, darker, character driven, with state of the art stunts.
Whenever there is a new Bond film key questions arise. One, is the theme song any good? Two, how are the credits? Three, how hot are the Bond girls? Four, what new toys does Q give Bond? Five, how is the villain? Six, when and how does he say, “Shaken, not stirred,” and “Bond. James Bond”? Creating anticipation for the answers to questions was a terrific marketing strategy, but so often without sufficient follow through, leading to post-cinemal disappointment.
And the big question comes whenever there is a new Bond, which has happened five times now since Connery. Does the new guy match up to Sean? (And yes, Virginia, someday, in 2046, there will be a female Bond.) Does he evince the blend of wit and sheer animal magnetism that we want out of a Bond? Connery is the template, sophisticated and lethal, and even resembling the book’s Bond, whom Fleming said he imagined looking like Hoagy Carmichael. Australian car salesman George Lazenby looked the part, but couldn’t deliver lines with conviction. Roger Moore was of the David Nivin school, vacuous and suave, the kind of British film figure who sniffs his nose at a poorly creased pant leg and is angered by improprieties toward women because they bespeak less then impeccable manners. Brosnan was in the Moore mode, and for three films Timothy Dalton was the last attempt to create a “darker” Bond. Unfortunately he had all the vices of Lazenby with few of the virtues of Connery.
First things first, Daniel Craig is a great Bond. He is handsome in a damaged boxer sort of way, can be suave when he needs to, but has lower class roots that give this Bond an edge of anger. He is a different Bond, a colder, harder Bond who is eventually shaken and stirred.
With Casino Royale, the hard drive has been erased. The series has begun again, as if the previous 20 films (or 22) (or 23) didn’t exist. The film has elements of an origin story without dwelling on it too much. There is little effort toward the Bondian witticism. There is an attempt at some repartee on the Chunnel train, but it is so far below the quality of Hitchcock’s NXNW that right now I can’t remember a single line of it. Craig isn’t built to banter. Rather, he is built to tear fire hydrants off curbs. He’s got the shoulders of a Transformer, with a tiny mashed potato of a head. He’s not so much Bond as the Terminator. He runs like Robert Patrick in Term 2, like a speeding bullet. At one point, when Bond is standing bruised and cut in front of a mirror, you half expect him to peel back his eye, like Schwarzenegger in the first Terminator.
And speaking of eyes, the villain this time is someone named Mads Mikkelsen, who played Tristan in King Arthur in a film with another Bond candidate, Clive Owen. His Le Chiffre has an eye that weeps blood, an unexplained physical phenomenon. He’s good looking enough to play Bond himself, so he makes a good match for Craig’s more battered Bond. He is a fine villain who has higher constraints on himself that give him plausible, anguished motivation. His blood seeping eye evokes the classic opening of each Bond film up until now, perhaps another symbol of “rebirth.”.
The Bond girls this time around are gorgeous model types, if slightly more serious and fully fleshed out (without showing much flesh). Eva Green provides a tad bit of eye candy with her Herculean cleavage,
Frankly, the plot is a tad hard to follow, but that is the lot of most action movies, since the important plot stuff is muttered as people are walking hurriedly from one spot to another in the boring scenes between fights and explosions. And there are some terrific stunts. The first 15 minutes or so is one long, exhausting chase scene through an Ugandan work site. And how do you make a Texas Hold-’em game interesting? Interrupt it occasionally with more exciting things, such as a a poisoning or a terrific staircase fight, with Bond and foes virtually chasing Green down the steps.
Casino Royale has a great beginning and a great punchline of an end, but parts of the middle are so-so. Giancarlo Giannini pops up as a aide to Bond in Montenegro, where the casino has been relocated. He begins by being the Bondian equivalent of John Madden, offering color commentary on the poker game that is supposed to be the center of the movie, as it was in the book (where the game was the more exotic baccarat), saying such exciting things as, “My god, James was right.”
And what would a contemporary film be without a torture scene? Fortunately, Fleming’s source book provides a nifty one, which Bond seems to endure with Stallonian resilience. This part of the film follows the novel closely, and it is well to do so, given the layers of motivation and morality it compresses.
For the rest, there is no Q and thus not much in the way of gadgets, excellent credits, an unmemorable but not annoying song by Chris Cornell, a clever way of introducing the bloody eyeball opening. And Craig does say, “Bond. James Bond,” and orders a martini, but you’ll be surprised at the results.
But I was surprised, four separate times, on my recent visit to the Brooklyn Museum. The introductory wall text for one of its current temporary exhibitions, “Tigers of Wrath: Watercolors by Walton Ford,” stated that “The satirical edge Ford adds recalls artists such as Pieter Brueghel the Elder (Dutch, circa 1525-1569), J. J. Granville (French, 1803-1847), and Robert Crumb (American, born 1943).” In content and visual style Ford has nothing to do with Crumb: Ford is really doing postmodern riffs on John James Audubon’s paintings of wildlife. But yes, Crumb and Ford are both satirists, and I was pleased to see one of the “Masters of American Comics” cited in a museum exhibition of painting.
How can I or even you, as a horror movie fan, NOT just wonder what kind of depravity exists with a movie that has this kind of a tag line at the end of its trailer? It wasn’t until I really took a look at the offerings, individually, of the 
If you get the chance to see the trailer
CHRISTOPHER STIPP: 1) Tell me about why I need to seek out UNREST this weekend. Sell me like you want me to sign on the dotted line without first consulting with the wife and her nagging whining about why we can’t afford it.
ENGLISH: Okay, I just had to look up what on earth Funk and Wagnalls is”¦is that bad? Am I like one of those people on Leno who doesn’t know who the vice president is? (Arnold Schwartsneger, duh!) What ever happened to good ole Webster? I don’t think it’s ever impossible to make a beautiful actress look appropriate for a role, with makeup and wardrobe anything is possible. I think it is more a matter of whether the actress is willing to go there. For Monster, Charlize was willing to truly make herself ugly, not just rub some dirt on her cheeks and pose as usual. She went to a dark, ugly place ““ her facial expressions, walk, and voice were all altered to create the character. An actor who always wants to look pretty regardless of the character will always be limited. An actor who truly wants to embody a character is virtually limitless in my opinion. And those kinds of characters – that’s the good stuff, the stuff I hope for.
In the sense that being paid makes you a professional, yes, that first paycheck definitely gave me validation. On the other hand, I’ve been doing some kind of acting work since I was a kid, so I’ve gotten more validation from being able to turn acting into a real career. My goal when I came out to California was simply to be able to support myself acting without having to get another job. I’ve been lucky enough to do that (although I always thought it would be nice to get the employee discount at Starbucks), and, well, I’m happy! I like my job! A lot of people really don’t ““ so the combination makes me feel like I’m doing what I’m supposed to be doing.
ENGLISH: It can definitely be a frustrating road ““ you have to have tough skin because, at least in the beginning, it is all about mostly being rejected. It is nice to have friends who can empathize, and that you can vent to. But typically I don’t like to talk much about work outside of work. In fact, that’s one of the difficulties I’ve found living in Los Angeles. Like I said ““ I’m from Georgia, there are very few actors there, so no one is asking who my agent is and if I have a demo reel when I go out for a glass of wine at night. Not that I am opposed to talking about what I do, I love what I do, but there is an element of competition inherent in any “industry” conversation in this town, and that can make it hard to make real connections with people. Living here, you can never really leave work behind for an evening.
g) Were you one of those drama women in high school that not only knew they were going to be an actress but had to let everyone else know it by affecting some unholy hybrid of Eva Gardner while always speaking in a faux British accent? 
ENGLISH: I, too, am still mourning the loss of Arrested Development. A whole lot of people loved that show!! I really believe that if it had been left on the air, the audience would have continued to grow.
STIPP: Yup. Thankfully it was changed, just coming from my end of things, because it was really difficult”¦in fact, one story involves you.
ARONOFSKY: Not quite. I think it’s always a struggle and I think the film was kind”¦a beginning of an exploration by me to start thinking about these things or at least think about it in a more formal way.
And, on top of that, they are the most ridiculous musicians you’ve ever seen as far as skill. You’re like listening to some rhythm and you’re like, “Is that a 1/16th?” and they’re, “No, it’s a 1/32.”
I know Hugh talks about in some of his interviews”¦I took him to see brain surgery. We went in and saw an actual brain surgery on an actual person. And Hugh, I think, had a conversation with the woman beforehand. During the surgery the doctors were saying that she was going to die and this was just a last hope to extend her life a little bit.
So, as they’re going down this path the ironic thing is that the families, who are healthy, are so indoctrinated into western medicine and science are like, “You’ve got to fight. You’ve got to keep fighting. You’ve got to fight.”
(Las Vegas, NV)  When you think of Vegas – or at least when I think of Vegas – “shows” aren’t at the top of the list. Those kinds of things are more suited to Mrs Squeeg’s liking. Of course, I’d go to the shows with her (often times enjoying them more than I anticipated) but, in general, I rarely leave the poker pits. That is, until I heard about this new show at the Mirage.
Then, there is a burst of music and light. Costumed characters enter from runways or swoop in from above. Later in the show there are comedic interludes and a rather unique bit of audience participation.
It’s been a long wait, but I’m thrilled that the second season of Black Books (BBC, Not Rated, $24.98 SRP) is finally hitting the US. Giddy, in fact, since it’s one of the finest comedies – British or American – ever produced. Created, co-written by, and starring Shaun of the Dead co-star Dylan Moran, it centers around the twisted world of customer-hating bookshop owner Bernard Black, a man fond of drink, swearing, antipathy, anger, but definitely not customers… Imagine if Basil Fawlty’s antisocial tendencies were given full reign and a bottle of vodka. Paired with Black is new-hire Manny (Bill Bailey), a good-natured man clearly out of his element and an easy target for Bernard’s ire and ridicule – which is only mitigated somewhat by the presence of daffy friend Fran (Tamsin Greig). Crikey, how I love this series. The complete second series features all 6 episodes, plus commentaries and outtakes. Here’s hoping they hurry up and release the already-available-in-the-UK third series post-haste.
3rd Rock From The Sun was one of those shows that, despite a decent run, was cancelled before the steam had run out of the series. In some ways, I suppose I should be thankful that I was spared the often sad decline of many a once funny sitcom, but after watching the 20 episodes comprising the 6th and final season (Anchor Bay, Not Rated, DVD-$39.98 SRP), I found myself wanting more of the Solomon family’s tenure on Earth. The final 4-disc set features the alternate ending to the finale (the one that was shot in case the show somehow got a seventh season), introductions to the alternate ending, and a retrospective featurette.
It’s one thing to lovingly restore “classics” like Citizen Kane or Casablanca, but I really get excited when a seminal piece of science fiction cinema gets treated with equal respect, as Warners has done with Forbidden Planet (Warner Bros., Rated G, DVD-$26.98 SRP). The print is positively pristine, for one thing – it probably didn’t even look this speaking in theaters, and it certainly didn’t feature the 5.1 mix found here. A beautiful presentation of the film would be enough, but the 2-disc special edition also features deleted scenes, a complete follow-up vehicles starring the iconic Robby the Robot (The Invisible Boy & an episode of The Thin Man TV series), a trio of documentaries, an excerpt from the MGM Parade TV series, and trailers. If only Universal had given half this level of attention to This Island Earth, I’d be a happy man.
The real highlight of the second volumes of both DuckTales and Chip ‘n’ Dale’s Rescue Rangers (Walt Disney, Not Rated, DVD-$34.99 SRP) – besides the fact that they’ve come out at all – is that Disney managed to listen to the fan outcry over their lunk-headed negligence in including both series’ 5-part pilot storylines in their respective Volume 1 sets. Unlike the excellent TV animation sets coming out of BCI, Disney still doesn’t even take the time to put a single bonus feature on these discs, which is a damn shame considering what seminal shows these were.
“Gummi Bears – Bouncing here and there and everywhere…” If you’re of a certain ages, chances are you know every one of the lines that follow… and are probably singing them right now. There once was a time when Disney crafted some remarkable TV animation that could be enjoyed by all ages, and it all started with Gummi Bears (Walt Disney, Not Rated, DVD-$34.99 SRP). You can now own the first three seasons, but as with all Disney TV animation releases, there are absolutely zero bonus features. Disney – ring up BCI. They know how to do it right.
In what has turned into an incredibly supermonth, not only do we get the fifth and sixth seasons set of George Reeves’s Adventures of Superman (Warner Bros., Not Rated, DVD-$39.98 SRP) – wrapping up the show’s run – but we also get the fourth and final season of Lois & Clark: The New Adventures of Superman (Warner Bros., Not Rated, DVD-$59.98 SRP). The Reeves set features a featurette on Jack Larson (Jimmy Olsen), while Lois & Clark features an interactive Superman timeline hosted by Dean Cain.
Although initially put off by The Fellowship of the Ring, I was eventually won over by Peter Jackson’s epic, almost-Wagnerianly operatic filmmaking, with its immense running time and larger-than-life cinematic bombast. I had high hopes for Peter Jackson’s King Kong, hoping that its over 3-hour running time would fly by with the energy, exuberance, and obvious love for the original that Jackson has professed over the years. Unfortunately, that was not the case – instead, I found Jackson’s Kong to be overly long and self-indulgent, plodding along from effect to effect, with leaden drama (and the worst case of Stockholm Syndrome ever). It was surprising, then, to learn that an even longer extended cut would be coming down the pike (Universal, Not Rated, DVD-$34.98 SRP), adding 13 minutes of what mainly amounts to even more time on Skull Island. Despite my disappointment with the film, I will say that no one puts together bonus features as well as Jackson & company, and this 3-disc set is no exception. In addition to a wonderful commentary with Jackson and co-writer/producer Philippa Boyens (it’s more enjoyable than the film, for me), an additional 38 minutes of deleted scenes, a short film made by the cast, outtakes, brand-new making-of featurettes, a spotlight on the creation of Skull Island, video conceptual art galleries, both the 1996 and 2005 scripts (Jackson had been wanting to make Kong for years), and more. Even if you’re no fan of PJ’s giant ape, this is a nice set with some very spiffy behind-the-scenes materials.
Johnny Cash’s concert behind the prison walls of San Quentin on February 24th, 1969 is the stuff of legend second only to his gig at Folsom, and for the first time since that performance, the 3-disc special edition of Johnny Cash At San Quentin (Sony Legacy, $39.98 SRP) features 31 tracks, most of which were previously unreleased, in addition to a DVD featuring the original Granada TV documentary of the concert.
Peter Bracke’s Crystal Lake Memories: The Complete History of Friday The 13th (Titan Books, $39.95 SRP) is a comprehensive volume chronicling the history of the seminal slasher franchise, from Jason’s very first musical sting stalking of horny teenagers in an isolated summer camp to the latest efforts to revive the hockey-masked terror. For any fan of the series, it’s a must-have tome.
As environmental consciousness has been moving increasingly towards the mainstream in recent months, we’ll probably be seeing more films like Chris Paine’s Who Killed The Electric Car? (Sony, Rated PG, DVD-$26.96 SRP), which tries to uncover what exactly happened to GM’s once-promising line of electric vehicles that made a splashy debut in the mid-90’s only to me mysteriously recalled a short time later. Was it business? Was it politics? Was it something far more insidious? Bonus features include deleted scenes, a behind-the-scenes featurette, and a music video.
There’s been quite a few concert DVDs from Paul McCartney in recent years, but I think my favorite is the just-released Paul McCartney: The Space Within (A&E, Not Rated, DVD-$24.95 SRP). Maybe that’s because it’s in support of an album I really dug (Chaos & Creation In The Backyard), and it’s always a thrill to hear what good voice the 64-year-old former Beatle is in. The disc features interviews with Macca and the band, plus sound checks, the US Tour pre-show film, and a behind-the-scenes tour featurette.
Marlo Thomas is back in the complete second season of That Girl (Shout! Factory, Not Rated, DVD-$39.98 SRP), as Ann Marie’s career begins to take off (with commercials, magazine covers, and a Broadway show opposite Ethel Merman) and her relationship with Donald (Ted Bessell) becomes strong… But not so strong that the fiercely independent Ann Marie is ready to sideline her burgeoning career for marriage. The 4-disc set features all 30 episodes, plus audio commentaries, a featurette, and a never-before seen 1965 pilot for “Two’s Company” (starring Thomas).
Crikey, has it really been almost a decade since The Green Mile (Warner Bros., Rated R, DVD-$20.98 SRP) was released? Due to its massive length, the original DVD release was practically featureless – which is a shame, because it was one of the best adaptations of Stephen King’s work, and featured a clutch of amazing performances. Well, all is rectified with a new 2-disc special edition, featuring an audio commentary with writer/director Frank Darabont, a making-of documentary, Tom Hanks makeup texts, Michael Clarke Duncan’s screen test, a 6-part documentary gallery, a spotlight on the teaser trailer, and the theatrical trailers.
Alex Borstein is best known for her characters MADtv‘s “Ms. Swan” and Family Guy‘s “Lois Griffin”, but in Alex Borstein Is Drop Dead Gorgeous In a Down-to-Earth Bombshell Sort of Way (Fox, Not Rated, DVD-$19.98 SRP), she sets out to answer the question “What the hell happened to all the cool chicks on TV and in the movies?” in a live stage show that explores why the Mary Tyler Moore’s of the TV world have been replaced with the likes of Paris Hilton (What the f*** happened?) . In this hilarious show, Alex moves seamlessly and conversationally through stories, characterizations, impressions and yes, even a bit of song. From Scooby Doo’s Velma to Renee Zelwegger to Tina Turner, no one is safe from her keen eye and often bizarre take on the world. The disc also features a trip behind-the-scenes of Family Guy.
When it first premiered, I was immediately hooked on Little Britain, which played like the bastard child of The League of Gentlemen and Benny Hill. Unfortunately, by the time the third series rolled around (BBC, Not Rated, DVD-$29.98 SRP), creators Matt Lucas and David Walliams had become over-reliant on recurring one-note characters, cheap laughs, and catch phrases. Unlike The League of Gentlemen, which radically rejiggered its formula for each consecutive season while still retaining the comedic essence, Little Britain wound down with a tired thud – which is unfortunate, because Lucas & Walliams are appealing performers. I hope they can reinvent and reinvigorate themselves in the near future. The 2-disc set features highlights from the BBC’s Little Britain night, audio commentaries on all the episodes, deleted scenes, a Richard & Judy interview with Matt & David, a Heresy radio episode, and David on Top Gear.
While not the seasonal sets most fans were hoping for, there’s no mistaking that – much like their Sgt. Bilko set earlier this year – Paramount has attempted to put together a rather nice package for their 3-disc Gunsmoke: The Directors Collection (Paramount, Not Rated, DVD-$36.99 SRP). In addition to the 15 remastered episodes (directed by the likes of Arthur Hiller, Robert Stevenson, Dennis Weaver, Peter Graves, William Conrad, and Victor French), there’s also audio commentaries from a selection of the directors in question, an Amanda Blake interview from The Mike Douglas Show, CBS radio broadcasts, a soundtrack scoring session, and more.
Babylon By Bus (Penguin Press, $24.95 SRP) is one of those stories that is just unbelievable enough to be absolutely – and amazingly – true. Bus‘s true story focuses on a pair of Boston schlubs named Jeff Neumann & Ray Lemoine who, on the spur of the moment, decide that high adventure is the order of the day, and its to be found in post-liberation Iraq. Arriving shortly after the fall of Baghdad when reconstruction was still a seemingly workable thing, they found an often lawless, surreal ball of confusion torn between the American military presence, the citizens of Iraq, the insurgents, and the increasingly unstable relationship amongst them all. Their memoir (written with Donovan Webster) is at times funny, at times disturbing portrait of the region from a pair of modern, everyday observers who find themselves caught in the mess.
After five years and dozens of leaps, Dr. Sam Beckett faced hi final batch of televised adventures in the final season of Quantum Leap (Universal, Not Rated, DVD-$49.98 SRP). The show had its ups and downs, but the ending is a sucker punch that I still feel, all these years later, that ranks right up there with the brutal slap across the face that wrapped up The Wonder Years. Sadly, there’s not a single bonus feature in sight, but at least another TV series has managed to eke out its full run on DVD.
As I eagerly await this year’s Doctor Who Christmas special, I can bide my time with another pair of classic adventures on DVD – The Mark of Rani (BBC, Not Rated, DVD-$24.98 SRP) from the Colin Baker years, and Tom Baker’s Doctor in The Hand of Fear (Warner Bros., Not Rated, DVD-$24.98 SRP). Bonus features include audio commentaries, behind-the-scenes documentaries, continuity announcements, vintage featurettes & interviews, and more.
Jumping on the bandwagon begun by companies like Warner and Fox, Universal has begun to mine their incredible film archives and issue some very nice collections of more obscure catalogue titles grouped under a given film icon. Their latest in what they’ve labeled the Screen Legend Collection (Universal, Not Rated, DVD-$29.98 SRP each) spotlight 5 films apiece from Bing Crosby (Waikiki Wedding, Double or Nothing, East Side of Heaven, If I Had My Way, Here Comes The Waves, Cary Grant (Thirty Day Princess, Kiss and Make Up, Wings In The Dark, Big Brown Eyes, Wedding Present), and Rock Hudson (Has Anybody Seen My Gal, A Very Special Favor, The Golden Blade, The Last Sunset, The Spiral Road) in 3-disc sets.
I think I’m falling out of love with Family Guy. I used to be a big fan, and would laugh at its often absurd left-field stream-of-consciousness writing style, but with the episodes featured in the fourth volume (Fox, Not Rated, DVD-$39.98 SRP), I’ve become weary of the often senseless storytelling and paper-thin characters. It reminds me of a bad season of SNL, when the writers throw anything at the screen – overused catchphrases, included – and hope that something sticks. It’s just lazy, and it’s unfortunate – because I did like the show. A lot. Come back to me, Family Guy. The 3-disc set features audio commentaries on all 14 episodes, deleted scenes, featurettes, an optional censored audio track on 5 episodes, and multi-angle scene studies.
I still, for the life of me, can’t understand the appeal of The Da Vinci Code (Sony, Rated PG-13, DVD-$29.96 SRP). It’s a turgid, uninvolving, hack-pulp novel that seemed to have latched onto airport-zeitgeist and made a multi-millionaire out of its author, Dan Brown, and stirred biblical controversies that leave me completely uninterested. The same can be said of Ron Howard’s equally turgid adaptation, starring a shaggy Tom Hanks as symbologist Robert Langdon, hot on the trail of something or another having to do with a church conspiracy to cover up the concept that Jesus knocked up Mary Magdalane. Okey dokey. The 2-disc special edition features behind-the scenes featurettes, a first-day diary with Ron Howard, and conversations with Hanks and Brown, and more.
Like most shows that take the awkward plunge into the abyss of romantic tension dispersment by hooking up their opposites attract couple, by the 5th season of Northern Exposure (Universal, Not Rated, DVD-$59.98 SRP), Dr. Joel Fleischman (Rob Morrow) and Maggie (Janine Turner) were a seemingly permanent fixture around Cicely, Alaska – with all of the dramatic confusion that usually entails. Of course, this also turned out to be the penultimate season, and by the following year, Morrow (and Fleischman) would leave the show mid-season, and things would limp to an awkward close for the eccentrics of Cicely. The 5-disc set features all 24 episodes, plus almost 40 minutes of deleted scenes.
Dig into the sitcom stacks this weekend with the complete sixth season of The Golden Girls and the fifth season of Home Improvement (Buena Vista, Not Rated, DVD-$39.99 SRP each). Golden Girls features conversations with the cast from the Museum of Television & Radio, while Home Improvement sports a blooper reel.
While not up to the level of a college classic like Animal House, Accepted (Universal, Rated PG-13, DVD-$29.98 SRP) is an affable comedy that – while no work of genius – is genuinely enjoyable if taken as a throw-away laugher. When a schlubby high school student gets turned down by every college on his list, he decides to do what any aspiring academic would – start his own school. The South Harmon Institute of Technology is a bizarro reflection of college life, with the students in charge. Bonus features include a making-of featurette, deleted scenes, and a gag reel.
Yeah, yeah, yeah – the second season of NCIS (Paramount, Not Rated, DVD-$64.99 SRP) still features the same kind of pulse-pounding anti-espionage, anti-terrorism stories, but the real reason for watching the show is to support the continued career of Mark Harmon. I do it for the man who gave us Summer School. The 6-disc set features a quartet of featurettes (“Investigating Season 2,” “What’s New In Season 2,” “The Real NCIS,” and “Lab Tour with Pauley Perrette”).
Anyone expecting a frothy romantic comedy out of The Break-Up (Universal, Rated PG-13, DVD-$29.98 SRP) will be in for quite a shock, as the bubbly laugh-fest of the trailers is actually a rather dramatic tale of a disintegrating relationship – that of Gary & Brooke (Vince Vaughn & Jennifer Aniston) whose break-up eventually manifests itself as a bitter struggle for their shared apartment. Think of it as a take off on The War of the Roses, but without the humor. Bonus materials include an alternate ending, deleted scenes, audio commentaries, and more.
As train wreck television goes, the second seasons of Flavor Flav’s search for a mate, Flavor of Love (Paramount, Not Rated, DVD-$38.99 SRP) has got to be near the top of the list. When one of your prospective paramours has to be excused to use the bathroom, you know you’re on a roll. The 3-disc set features all 11 uncensored episodes, plus bonus scenes and interviews, plus a bevy of behind-the-scenes featurettes.
In anticipation of the DVD release of Clerks 2, we took some time to go in-depth with Zak Knutson and Joey Figueroa of 
KEN PLUME: And you also were much closer to when there were still some raw nerves about Clerks in evidence, particularly with Jeff, and you got a much clearer picture of clarifying exactly what went down post-Clerks release…
have things to put on the internet as promotion to get fans excited about, but also to get new fans to come to the sites and go, “I wanna go see that movie.” And then when the DVDs come out, they then can have a feature length documentary, or a series of documentary shorts, that are more in-depth, that fans haven’t seen before, so that buying that DVD – which is now the studio’s number one priority money maker… studios make more money on DVDs than they do with the feature film release. So it’s the number one cash cow for those guys. They always want to try to make ’em better – or at least most studios do. So if we can do that; do what we want to do, help out the filmmaker, help out the studio, and then make some money at the same time, it would be outstanding. King Kong with Peter Jackson, those guys did an outstanding job. Those are the ones that I look to as being outstanding. They’re entertaining, they’re informative – it got people, in my opinion, to want to see that movie. It kept fans entertained and it brought more people over. Bryan Singer started to do it with Superman and then bailed out, which I heard his crew basically… they were falling out of fuckin’ windows and all kinds of crazy shit. I really feel bad for those guys. Now at the same time, it’s Joe and me. Joe and I did pretty much everything on the Train Wrecks and on the documentary except for the music on the documentary. Danny Sternbaum did that and he did an amazing job. So if we can keep our overhead low, bring the creative, bring the business, and do all that kinda stuff, I would love to see Chop Shop do things for other studios and other filmmakers. Like, if we can get to the Jerry Bruckheimers of the world, the Steven Spielbergs, get involved in their projects – because a lot of times, especially now with the internet, which is what helped Kevin out with the Train Wrecks, you can avoid spoilers just by having your own stuff out there. Kevin was able to fend off people ruining the beginning and end of Clerks through the Train Wrecks. We had fire trucks out there. The Quick Stop was burning. Then the Quick Stop was rebuilt. But because we had the Train Wrecks we were kinda able to throw people off the path. Now, I don’t want to say I’m lying to people…
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First up is the Xbox 360 version of the newest Tom Clancy title SPLINTER CELL: DOUBLE AGENT. Here, Sam Fisher is just about at the end of his rope; the heir to his title as “sneakiest spy around” has just fouled up in a mission and bit it, and Sam’s daughter has just died in a car crash. With nothing left to lose, Sam takes on some seriously dangerous escapades as he moonlights as a thug in prison and attempts to join the John Brown’s Army, a terrorist faction, all the while still keeping tabs with his associates at the NSA. As you progress through that game’s missions, you’ll have to keep and eye one which company holds you with the most trust. Lose it from either and it’s game over.
So, after all these years, I finally get to play a FINAL FANTASY game. And sure, some fans may argue that XII may not be the one to start with, but it’s the newest, and seems to be the most hyped and most awaited, so here we go.
When the Xbox 360 was announced, one title had gamers salivating in a most Pavlovian way, and they have continued to do so up until this title’s release. Thankfully, all that drool hasn’t been wasted, as this is a game truly deserving of a tubs worth of saliva. GEARS OF WAR has lived up to the hype, cut it up with a chainsaw, and stomped its skull into the curb, and walked away laughing at the non-believers.
I reviewed F.E.A.R. when it was released for the PC a year ago, and as it has now hit the Xbox 360, my opinion still stands: this is a frightening, well-paced game that just about any FPS fan should play. The plot (such as it is) of a Hannibal Lechter wannabe crossed with the supernatural and your “heightened senses” allowing for slow motion and super charged kung fu work exceptionally well here as before, though the repetitive backgrounds, though detailed, may bring some shooter nuts down a bit. Still, the 360 version boasts a new mode in “Instant Action” where players are dumped into a setting with a huge onslaught of enemies and must fight their way to the end. Scores are built on how many enemies killed and how quickly, how many health packs are used and stocked and more, and scores are uploaded to Xbox Live leaderboards, While most will argue about innovation in the title, one can’t deny it’s visceral appeal, and just about any fan of survival horror and first person shooters should give this jump-fest a shot. Its scares may be different than GOW’s, but are none the less worthwhile.
It’s not like I don’t have a little state pride, I do, kinda, sorta, not really, but when I saw RAISING ARIZONA as a child that’s what I thought Arizona was like: desolate, sparce and teeming with dudes who wear panty hose on their heads and stick up Circle Ks. I’ll have you know that I wasn’t too far off when I came here over a decade ago. The point here is that, yes, this city is like Las Vegas in that this town shouldn’t be here. It’s a dust bowl and nothing ever happens here that’s of note to anyone outside of this enclosed metropolis that’s damn near claustrophobic inducing with the mountains that are threatening to squeeze everyone like a STAR WARS dumpster set on “Crush.”
I don’t want to write a review for this movie because I really think that my interview will kind of touch here and there about what I felt after seeing the efforts of six years worth of dedication to a singular story but, suffice to say, I have to say that I already know how you should approach this film. I figured it out after leaving the theater.
This film is the best there is for 2006 and, dare I say it, the real benchmark for every film to follow with regard to what it means to lose a loved one. The movie is sad and it breaks your heart in two, it made me cry just a little, but, by the end, you are allowed to finally breathe in the comfort knowing our protagonist has found what he was searching for.
The music is woven and wrapped around every moment perfectly, the performances are just solid and the way you are brought into a world you’ve never been to before but by the end you understand it completely is sheer craftsmanship. Hugh Jackman and Rachel Weisz give performances that feel completely devoid of any hubris and are nothing short of emotional believability.
And what would this column be worth if I didn’t mention BORAT? After trying to spread the good word of Borat Sagdiyev I am pleased, quite pleased, that Sacha Baron Cohen has shown the might of this movie’s power by absolutely destroying the competition with raking in nearly 30 million dollars. Not only that but something to keep in mind when looking at the raw totals is to also consider how many screens BORAT was playing on: 837. The 2nd place film? 3,458. Over 4 times fewer screens yet the film showed what I hoped would happen when it was released unto the world. No one could be more happier than Sacha who managed to score a huge payday for this outing and, I have to confess, I am happy too that I managed to interview Borat before the film’s opening; 
Director: Stanley Nelson
Director: Emilio Estevez
Director: Bent Hamer
Director: Christopher Guest
During its initial run, I always heard great things about Aaron Sorkin’s The West Wing (Warner Bros., Not Rated, DVD-$299.98 SRP) – whose snappy patter chronicled the trials and tribulations of the fictional Bartlett administration of the United states. As portrayed by Martin Sheen, imagine a cross between Kennedy and Clinton and you have a pretty good idea of the liberal ethos on display. Despite avoiding getting swept up during its seven season run, it wasn’t until the complete collection box set arrived that I decided to take the plunge – mainlining the entire run. No small feat, I assure you. As with Sorkin’s work in the past, it teeters between sublimely brilliant and pompously self-important, but I found myself riveted overall, and eagerly anticipating who would succeed Bartlett at the end of the seventh – and final – season (and actually wishing for a different outcome than the one we got). The 45 discs comprising the set are exactly the same as those found in the individual season releases – featuring audio commentaries, deleted scenes, featurettes, and gag reels – but new to the set (besides the handsome, sturdy case emblazoned with the presidential insignia) is the pilot script, with an introduction from Sorkin, as well as an episode guide. If you haven’t begun picking up the series on DVD yet, this is definitely the way to go.
In the annals of short-lived comedies, I would put good money on none being funnier than the six gems comprising the entire run of Police Squad! (Paramount, Not Rated, DVD-$19.99 SRP). Following up on their massive success with Airplane!, David Zucker, Jerry Zucker, Jim Abrahams, and Robert K. Weiss ventured on to the small screen with a parody of the overly-serious Quinn Martin/Jack Webb crime dramas of the 50’s and 60’s, starring the often clueless but somehow competent Lt. Frank Drebin (Leslie Nielsen). What they produced is a gag and visual pun-a-palooza that equals their finest work (see the aforementioned Airplane!) and would eventually be brought back to life on the big screen. Bonus features include audio commentaries on 3 episodes, a Leslie Nielsen interview, a gag reel, audition tapes, and a “Behind the Freeze Frames” featurette. Unfortunately, the celebrity death cameo John Belushi filmed for the series shortly before his death is nowhere to be found – it would have been nice to have that one last piece to remember him by, but I can understand their reluctance to include it.
I remember hearing that my friends Eric and Jerry were heading to the movie theater, and once I heard what they were going to see, I immediately weaseled my way into going along with them. For us, seeing this film was the must-see ticket of our young lives, as it was the big screen adventure of one of our absolute favorite TV shows. That flick was Transformers: The Movie (Sony Wonder, Rated PG, DVD-$21.98 SRP), and as much crap as people want to give it, it still holds a very special place in my heart. To see Optimus duke it out with Megatron on the big screen, it was young geek heaven – even if they botched things by killing off Optimus (a mistake soon rectified on the afternoon cartoon, once they realized that we fans were not happy with their marketing decision). Did I know, as a kid, that I was basically watching a slick way to eliminate old toys and introduce a whole new product line? Vaguely, sure, but who cares? It’s not like they ever made the Unicron I really wanted when I was still young enough to want to play with it instead of it being a “collectible” (and regardless, I made my own massive Unicron out of Legos). This is all to say that I’m really jazzed by the remastered 2-disc 20th anniversary edition, packed with bonus features including deleted scenes, commentaries, promos, and more. Finally! Now where’s my GI Joe: The Movie special edition…
Although it’s great to have all 5 films featured in the new Marlon Brando Collection (Warner Bros., Not Rated, DVD-$59.98 SRP) – including Reflections In A Golden Eye, The Teahouse Of The August Moon, The Formula, and Julius Caesar – the standout is the 2-disc special edition of Mutiny on the Bounty, whose stunning new transfer is complemented by 4 vintage featurettes (“Story of the HMS Bounty,” “Voyage of the Bounty to St. Petersburg,” “Tour of the Bounty,” & “1964 New York’s World Fair Promo”), an alternate prologue and epilogue, and a newly-produced featurette “After the Cameras Stopped Rolling: The Journey of the Bounty.” The set also includes commentary on The Formula, a new intro & featurette on Julius Caesar, vintage behind-the-scenes footage on Reflections In A Golden Eye, and a vintage featurette on The Teahouse of the August Moon.
I remember distinctly, years ago, being underwhelmed with the trailer for Monsters, Inc.. After enjoying both Toy Story and A Bug’s Life, and Toy Story 2, I felt Pixar could do no wrong – but the Monsters trailer gave me pause. The film, it turned out, was not the let-down the trailer led me to expect, but it was nowhere near as endearing ads the previous flicks. Then came Finding Nemo and The Incredibles, and my esteem for the folks up in Emoryville was fully restored – until the trailer for Cars (Walt Disney, Not Rated, DVD-$29.99 SRP) gave me the same queasy feeling of yore. Besides the fact that automobiles have never held an interest for me – and, by extension, racing – I couldn’t shake the feeling that I had seen this movie before… When it was called Doc Hollywood and starred Michael J. Fox. Swap out the flashy big city doctor with a flashy race car, and you’ve still got the story of a fish out of water forced to spend time in a small burg in the middle of nowhere who eventually falls in love not only with a local girl, but also with said small town. That’s both flicks to a “t”. Was I disappointed with Cars? Technically, it was a beautiful film extremely well-animated – Pixar can do that in their sleep – but I found that director John Lasseter too often fell in love with the geeky aspects of the cars and Route 66 environs on the screen, and lost touch with telling a tight story. Is it a disaster? Not by any means, but it’s definitely not in my top 3. Disney has opted to give us a measly single-disc edition instead of the usual 2-disc (I guess Lasseter’s new position at Disney gives him no clout over home video), with deleted scenes, a behind-the-scenes featurette, and the shorts “One Man Band” and “Mater and the Ghostlight.”
Even 6 months later, I’m not entirely sure how I feel about the first “half” of The Sopranos‘ sixth and final season (HBO, Not Rated, DVD-$99.98 SRP). While it was certainly high on familial intrigue (both meanings of “family,” naturally), there didn’t seem to be much of a spark motivating the season. It didn’t help matters that a large part of the initial episodes were stuck in Tony’s post-shooting coma dream state – which is all well and good, but one can take only so much philosophy and psychology before the desire for meat & potatoes storytelling becomes insistent. I certainly have no idea where the final 9 episodes airing next spring are going to take us, that’s for sure. The 4-disc set features all 12 episodes, plus a quartet of audio commentaries.
While I still find the mo-cap “animation” technique as jarring as I did on Polar Express, I think Monster House (Sony, Rated PG, DVD-$28.95 SRP) manages to transcend my misgiving by featuring an incredibly entertaining script – about a trio of neighborhood kids who band together to try and battle the suddenly sentient, monstrous, and evil house on their block – and stylized character design that didn’t try for the photo-realism that made Polar Express‘s cast so zombie-like. It’s a glorious mash-up of Goonies, The ‘Burbs, and Monster Squad. Bonus features include an audio commentary, 7 behind-the-scenes featurettes, a scene-breakdown, and an art gallery.
With he recent spate of vintage talk shows getting DVD releases (including Shout! Factory’s Dick Cavett sets), it’s good to know that we can add another batch of classics from the original king of late night. The 3-disc The Best of Johnny Carson: Volume 1 (R2, Not Rated, DVD-$39.99 SRP) features dozens of memorable moments from Carson’s 30 years on the air, plus bonus materials including the famous episode when Bob Hope & Dean Martin made an unexpected visit, rare photos, and a compilation of additional moments from the Ultimate Carson Collection. Also available is the single-disc Carson Country (R2, Not Rated, DVD-$14.99 SRP), featuring a collection of country & western appearances – everyone from Johnny Cash to John Wayne.
The 3-disc The Wonderful World Of Louis Armstrong (Time Life, $39.98 SRP) features 40 remastered tracks spanning over 4 decades of the great Satchmo’s career – everything from “Mack the Knife” and “Hello, Dolly!” to “When the Saints Go Marching In” and “What a Wonderful World.” The 3rd disc is a DVD compilation of rare film and video performances that give a small taste of what a fantastic live performer he must have been. My only regret? Where’s “Skokian”?
It was only a matter of time before the films of Gary Cooper fell under the spotlight of Warners’ amazing “Signature Collection” series, and the 5-films featured in Gary Cooper: The Signature Collection (Warner Bros., Not Rated, DVD-$49.98 SRP) are absolute essentials for any self-respecting cineastes film library. The centerpiece is the 2-disc special edition of Cooper’s turn as the real-life WWI hero Sergeant York, which features an audio commentary from historian Jeanine Basinger, a pair of documentaries (“Sergeant York: Of God and Country” and “Gary Cooper: American Life, American Legend”), a vintage short, the Porky cartoon Porky’s Preview, and trailer. The other four films that round out the set are The Fountainhead (which also includes a new making-of featurette), Dallas, Springfield Rifle, and The Wreck of the Mary Deare.
The alchemy of creating music has long fascinated me, so it should come as no surprise that I’m a big fan of the Classic Albums series of documentaries (Eagle Vision, Not Rated, DVD-$11.98 SRP each) – each of which goes in-depth behind-the-scenes of a particular iconic album, with rare footage and interviews that flesh out the creative process. The latest in the series spotlight Meat Loaf’s Bat Out of Hell, U2’s The Joshua Tree, Steely Dan’s Aja, The Who’s Who’s Next, and Bob Marley & The Wailers’ Catch A Fire. I truly dig this series, and hope they keep rolling them out.
Although I believe Fox has royally screwed fans who have been supporting the season-by-season DVD releases of M*A*S*H by releasing a feature-laden comprehensive box set just as the 11th season (Fox, Not Rated, DVD-$39.98 SRP) comes out, it’s good to finally have that final run available, if only for the epic, feature-length finale that wrapped up the trials and tribulations of the doctors, nurses, and soldiers of the 4077.
Even though I tend to find host James Lipton a comically over-the-top presenter, I still watch Inside The Actors Studio whenever I get the chance, often finding the conversation fascinating and the occasional insight into the person in the hot seat well worth the sometimes softball banter. The show is getting its time in the DVD spotlight with a 3-disc Inside The Actors Studio: Icons collection (Shout! Factory, Not Rated, DVD-$39.98 SRP), featuring the programs with guests Paul Newman, Robert Redford, Barbra Streisand, and Clint Eastwood, which also feature bonus footage and retrospective pieces with Lipton. Sold separately is the incredible Inside The Actors Studio: Dave Chappelle (Shout! Factory, Not Rated, DVD-$14.98 SRP), which is a very insightful piece done with the actor/comedian after his famed abandonment of his show’s third season.
While Edward R. Murrrow may be best remembered as a hard-hitting newsman and the very epitome of what journalism should be, he was also the host of what some may call a “puff” series called Person to Person, in which this tough-as-nails journalist would do one-on-one interviews with celebrities like Marlon Brando, Bette Davis, Sid Caesar, Jerry Lewis, Frank Sinatra, and up-and-coming politicians like John F. Kennedy. The 3-disc The Best of Person To Person (Koch, Not Rated, DVD-$39.98 SRP) features over 2-dozen of those now-legendary interviews, in which Murrow reveals that his skills extended beyond just hard news.
Not only does Roseanne have the “Barr” back, but in her stand-up special Roseanne Barr: Blonde and Bitchin’ (HBO, Not Rated, DVD-$19.98 SRP), she’s back on stage and performing again after a long spell away from the mic. Even better, she’s back in form and funnier than ever – which, considering what a groundbreaker she was in the 80’s, makes me no end of happy. In addition to the full special, the disc also features an interview with Roseanne, footage of her pre-show pep talk, a post-show featurette, and Roseanne going head-to-head with her new makeup artist.
Just in time or all of those difficult holiday shopping lists, The Rodgers & Hammerstein Collection (Fox, Not Rated, DVD-$99.98 SRP) contains the full 2-disc special editions of The Sound of Music, South Pacific, State Fair, Oklahoma!, Carousel, and The King and I. Bonus features include audio commentaries, behind-the-scenes featurettes, bonus films, vintage shorts, deleted scenes, photo galleries, and much, much more.
As many releases as they’ve gotten in the past – some acceptable, some embarrassing – the “Toho Master Collection” of the Godzilla film series has been more than living up to its name, with the initial release a few months back of the giant lizard’s first film foray a stunningly great overall package. The next two releases – currently available only as an online exclusive at http://www.godzillaondvd.com – are Mothra Vs. Godzilla and Godzilla Raids Again (Classic Media, Not Rated, DVD-$19.98 SRP). Not only do they have both the Japanese and English versions of the films, but also audio commentaries, featurettes, and more.
There’s no denying that She-Ra was a rather blatant attempt to capture young girls with what amounted to a warmed-ver redress of He-Man (ala Superman’s Supergirl). Featuring He-Man’s twin sister She-Ra, the princess of power fought the good fight against the monstrous Hordak and his evil Horde with control of the kingdom of Etheria in the balance. She-Ra: Season One Volume One (BCI, Not Rated, DVD-$49.98 SRP) features the first 32 episodes of the first season, plus the usual exceptional line-up of bonus materials we’ve come to expect from the good people at BCI. Those bonus features include part 1 of the feature-length documentary “The Stories of She-Ra“, a pair of commentaries, an animated storyboard, character profiles, trivia, and more.
They’ve trickled out over the past few years, but you can finally get the entire 6 season run of the UK’s original – and very, very funny – Men Behaving Badly (BBC, Not Rated, DVD-$99.98 SRP), plus the Last Call disc featuring the trio of feature-length episodes that wrapped up the series, as well as the 1997 Christmas special and outtakes.
You know, if you were to look in the dictionary under the word “cheese,” you’d find a still taken from Donny & Marie Osmond’s 70’s variety show. If you want proof of just what a cheesefest it was, look no further than the 2-disc The Best of Donny & Marie: Volume 1 (R2, Not Rated, DVD-$29.99 SRP), which collects hours of hand-picked “classic” moments from the show’s multi-year run. Also available is the Donny & Marie: 1978 Christmas Show (R2, Not Rated, DVD-$12.99 SRP), which has not been seen since its original airing.
In an era when every single memory from my Saturday morning cartoon childhood is getting is eventually getting its own DVD release, it was only a matter of time before a complete collection of the Groovy Goolies (BCI, Not Rated, DVD-$29.98 SRP) hit shelves. The 3-disc set features all 16 episodes, plus a pair of commentaries, a brand-new documentary, a featurette on the founding of Filmation studios, a sing-along, and image galleries.
And if that isn’t enough ghoulish delight for you, how about the complete fifth season of Tales From The Crypt (Warner Bros., Not Rated, DVD-$39.98 SRP). The 3-disc set features 13 more devilishly ironic tales hosted by everyone’s favorite ghoul, the Crypt Keeper.
Ultraman: Series One Volume Two (BCI, Not Rated, DVD-$39.98 SRP) wraps up the inaugural season of the bullet-headed Japanese superhero, featuring 19 remastered, uncut episodes. Bonus features include a monster encyclopedia, while the set also contains a pair of collectible cards and an 8-page booklet.
Any show that has the chutzpah to not only be set in the future, but also believe it was a future that would retain 70’s hairstyles and sport super-intelligent chimps, is a show that cries out “cult classic.” So it goes with the Ark II (BCI, Not Rated, DVD-$29.98 SRP), where Earth is a post-apocalyptic wasteland traversed by our heroes in the titular mechanized vehicle (which look like a giant white crayon). You can now own the complete 15 episode run, with bonus features including a newly-produced retrospective documentary, a pair of audio commentaries, and photo & art galleries.
Although the title Harveytoons: The Complete Collection (Classic Media, Not Rated, DVD-$39.98 SRP) is inaccurate – the set is missing dozens of entries in the series – the 4-disc set does feature tons of classic Harveytoons starring Casper, Baby Huey, Little Audrey, Herman, and Katnip. Here’s hoping a second “Complete Collection” is in the offing in the near future.
I wasn’t overly enthused with the soundtrack to Ridley Scott’s A Good Year (Sony Legacy, $18.98 SRP) except for its inclusion of a trio of Harry Nilsson tracks, including his fun demo of “Gotta Get Up.” For their inclusion alone, I’d recommend giving this a spin… and then suggest you go get more Nilsson albums.
It’s hard to believe that, compared to what a backstage drama and cultural juggernaut it eventually evolved into, the first season of Beverly Hills 90210 (Paramount, Not Rated, DVD-$54.99 SRP) was a relatively pedestrian affair, focusing more on the fish-out-of-water aspects of the transplanted Walsh twins (Jason Priestley & Shannen Doherty) as they adjusted their Midwest upbringing to their posh Beverly Hills surroundings. This first season has been eagerly anticipated by fans, who won’t be disappointed with commentary by Darren Starr on 2 episodes, and a quartet of retrospective featurettes (“Beginnings With Darren Starr,” “Meet The Class Of West Beverly High,” “90210 Behind-the-Scenes,” and “Looking Back: Season One – The Recap”).
As if you weren’t feeling soapy enough, how about the complete first season of Melrose Place (Paramount, Not Rated, DVD-$54.99 SRP)? Granted, this is before the inhabitants of TV’s most dysfunctional apartment complex really hit their stride, but the infinitely appealing Heather Locklear is on the scenes, so all is well. Not only do you get all 32 episodes, but there’s a series of mini-featurettes, plus a pair of more in-depth behind-the-scenes and retrospective featurettes.