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Two Very Cool Dvds
WB please put out full box set of Scooby Doo: Where Are You?

Love it Now and ForeverThe difference between this Scooby feature and all the others. Shaggy, Scooby and Scrapy actually solve this case themselves and all with their trademark running for their lives and their 20 course meals.
Love it. Now and ForeverThe difference between this Scooby feature and all the others. Shaggy, Scooby and Scrapy actually solve this case themselves and all with their trademark running for their lives and their 20 course meals.


"Six feet two and a half inches at your service, Madam..."The quotation above is from the delightful comedy "Have A Glass Of Wine" from set 3, but there are few as lighthearted episodes in sets 4 and 5. Most of the stories here are serious dramas, with lots of memorable scenes and sometimes tragic endings.
In "To Our Best Friend" Drake has to investigate one of his oldest friends who is suspected of being a double agent. Drake has to find the real traitor and at the same time save his friend from being executed by his own department.
In "The Man On The Beach" Drake's own loyalty is being questioned. The arrogance and cynicism he displays in this episode do not help him in that difficult situation. The episode has two spectacular and brutal fight sequences and memorable scenes with Patrick McGoohan and three leading ladies. Watch out for Drake's powerful scenes with Lady Kilrush and the dramatic ending.
The atmosphere of "The Man Who Wouldn't Talk" is particularly oppressive. Much of the story is set in a hotel room in Sofia - with the Bulgarian secret police closing in on Drake and a colleague of his who has to be rescued from imprisonment and torture.
In "Sting In The Tail" Derren Nesbitt almost steals the acting honours as psychopathic assassin Nourredine. In a chilling, film-noir like scene, two of Nourredine's thugs prepare to beat Drake up with the murderer cynically commenting on the procedure and a record playing Chopin's Nocturnes in the background.
"Someone Is Liable To Get Hurt" shows Drake in a very "Number-Sixish" mood. Part of the episode is set in a spacious villa where Drake is being held captive by a beautiful femme fatale. The situation makes him furious and we can watch him pacing up and down like a caged panther, constantly snapping his fingers and barely able to contain his rage. Patrick McGoohan is always great in scenes like these.
One of my all-time favourite episodes is "Are You Going To Be More Permanent?" which is a companion piece to "You Are Not In Any Trouble, Aren't You?" In both stories Drake obviously breaks his no-romance rule and both have the lovely Susan Hampshire as leading lady. She and Mr. McGoohan have several terrific scenes together and there are moments of intense sensuality between them. In the final scenes, which include some of the finest acting moments in the whole series, Drake's loneliness and disappointment are almost tangible.
"Danger Man" is a unique show. It has clever plots, beautiful filming, haunting music and a charismatic leading man. What further adds to its attraction is the way it captures the political climate of the Sixties which was so different from ours today. Britain still had parts of her empire, some of the episodes show the problems of newly independent countries and the British people left behind in their former colonies and in the Middle Eastern episodes the spirit of the Great Game of the 19th century can still be felt. This spirit of adventure makes the show still highly enjoyable and interesting to watch.
Danger Man Is a REAL Man

Creepy CoolDon't plan on eating meat or sleeping for a while.
There are CANNIBALS among us...

Here it is! The ENTIRE "From Here to Obscurity" Sketch!
Why Caesar Ruled

More great comedy sketches starring Caesar, Coco, et al.
A Priceless Gift

This is Live Television at It's Absolute Best.
Classic Sketch Comedy from Caesar's "Your Show of Shows"!

Moving and thought provoking
Powerful Flick!

So lIttle time rocks!!!!!
the best
Alternately seductive, exasperated, fearful, and murderous, James Gandolfini's Tony is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings.
In its second season, The Sopranos repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen. That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between Tony and Livia, whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Melfi also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow (Jamie Lynn Sigler), as well as son Anthony Jr.'s (Robert Iler) sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement.
In the brutal and controversial third season, The Sopranos justified its 11-month hiatus with some of its best, and most hotly debated, episodes. It continued to upend convention and defy audience expectations with a deliberately paced, calm-before-the-storm season opener that revolves around the FBI's attempts to bug the Soprano household, and a season finale that (for some) frustratingly leaves several plot lines unresolved. "Employee of the Month," in which Dr. Melfi is raped and considers whether to exact revenge by telling Tony of her attack, earned Emmys for its writers, and is perhaps Emmy nominee Lorraine Bracco's finest hour. Other story arcs concern the rise of the seriously unstable Ralph Cifaretto (Joe Pantoliano) and Tony's affair with "full-blown loop-de-loo" Gloria (Emmy nominee Annabella Sciorra). Plus, there is Tony's estrangement from daughter Meadow, his wayward delinquent son Anthony, Jr., Carmela's crisis of conscience, bad seed Jackie Jr., and the FBI--which, as the season ends, assigns an undercover agent to befriend an unwitting figure in the Soprano family's orbit.
Though for some the widely debated fourth season contained too much yakking instead of whacking, and an emphasis on domestic family over business Family, in most respects The Sopranos remains television's gold standard. The season garnered 13 Emmy nominations, and subsequent best actor and actress wins for James Gandolfini and Edie Falco as Tony and Carmela, whose estrangement provides the season with its most powerful drama, as well as a win for Joe Pantoliano's psychopath Ralph. Other narrative threads include Christopher's (Emmy nominee Michael Imperioli) descent into heroin addiction, Uncle Junior's (Dominic Chianese) trial, an unrequited and potentially fatal attraction between Carmela and Tony's driver Furio, and a rude joke about Johnny Sack's wife that has potentially fatal implications. Other indelible moments include Christopher's girlfriend Adriana's projectile reaction to discovering that her new best friend is an undercover FBI agent in the episode "No Show," Janice giving Ralph a shove out of their relationship in "Christopher," and the classic "Quasimodo/Nostradamus" exchange in the season-opener, which garnered HBO's highest ratings to date. Freed from the understandably high expectations for the fourth season, heightened by the 16-month hiatus, these episodes can be better appreciated on their own considerable merits. They are pivotal chapters in television's most novel saga.

Bada Bing! Bada Boom... this thing of oursTo be able to sit and watch hour after hour at our own leisure is tremendous! This show is always fresh, off the cuff, and honest to a fault. Just a fabulous fabulous example of good television.
TV"s best showHaving these epsiodes is like watching a 13 hour movie (per season anyway). Compulsively watachable again and again.
many were dissapointed in season 4, I was not. The characters were dissected and received treatment via fine-toothed comb. The Carmella/Furio arc was great, Adrianna finally became a full-fledged character and the brewing Tony VS Ralphie tempest finally came to a head. Even Bobby stepped up from background player to important character. Very impressed. And the finale, breathtaking.
My only complaints, and they're minor, were Melfi had nothing to do and I found Johhny Sack irritating (which was the point, I guess) But again, I love how minor characters are beautifully written to be human. Just amazing writting on a show not so much about the mob as it is the human condition.
Yeah, I am a freak for this show. Sue me, and here's to the next two seasons.
sopranos