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- First reviewOctober 10, 2007
- Last reviewJuly 31, 2009
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Posted by: prlwctd
When Star Trek: The Next Generation ended its illustrious run in May 1994 with one of the best series finales of all time, Paramount made the decision that the show would follow the lead of the original Trek series and segue into a series of feature films. Instead of waiting years for those films (as we had for Kirk & co.), we only had to wait until November of the same year for the first film.
With hindsight, this turned out to be a hasty move. This movie, like the following three TNG films, has great moments and ideas but falls flat when compared to the series itself, especially when dealing with character moments, which became a hallmark of TNG.
The prologue begins with Kirk christening the new Enterprise-B and then vanishing into space following a rescue the crew must carry out. Fast forward 78 years and Picard and co must assist a scientific outpost that has been ambushed. There they find Dr. Soran (another nice turn by Malcolm McDowell) who was one of those rescued by Kirk & the Enterprise-B at the beginning of the picture and, we later realize, has a hidden agenda.
The SFX are first rate, especially the shocking destruction of the beloved Enterprise-D.
Kirk's death, however, while not as anticlimatic as Ripley's in Alien 3, just sits there and shrugs.
Overall, this film leaves a bitter aftertaste after the sweet pleasure of TNG's finale, "All Good Things...."
With hindsight, this turned out to be a hasty move. This movie, like the following three TNG films, has great moments and ideas but falls flat when compared to the series itself, especially when dealing with character moments, which became a hallmark of TNG.
The prologue begins with Kirk christening the new Enterprise-B and then vanishing into space following a rescue the crew must carry out. Fast forward 78 years and Picard and co must assist a scientific outpost that has been ambushed. There they find Dr. Soran (another nice turn by Malcolm McDowell) who was one of those rescued by Kirk & the Enterprise-B at the beginning of the picture and, we later realize, has a hidden agenda.
The SFX are first rate, especially the shocking destruction of the beloved Enterprise-D.
Kirk's death, however, while not as anticlimatic as Ripley's in Alien 3, just sits there and shrugs.
Overall, this film leaves a bitter aftertaste after the sweet pleasure of TNG's finale, "All Good Things...."
What's great about it: Malcolm McDowell, great SFX, and some good ideas
What's not so great: weak when compared to the series
No, I would not recommend this to a friend.
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Posted by: prlwctd
This 1974 classic from Tobe Hooper is nothing short of sensational. With its documentary-esque photography and nerve-wracking moments, this is, in some ways, the ultimate horror film.
Like Psycho & The Silence of the Lambs, this film is partially based on the real life exploits of murderer Ed Gein.
Five friends (a girl, her boyfriend, her best friend, her brother, and her best friend's boyfriend) go into a graveyard in Texas to confirm that an acquaintance's grave hasn't been disturbed, following reports of grave robbing in the area. Needless to say, they don't leave quickly enough as they encounter a family of wackos who have them in mind for their next meal.
The climax (which reinforces the notion that shooting dinner scenes is hard on actors) will have the viewer on the edge of their seats.
Like Psycho & The Silence of the Lambs, this film is partially based on the real life exploits of murderer Ed Gein.
Five friends (a girl, her boyfriend, her best friend, her brother, and her best friend's boyfriend) go into a graveyard in Texas to confirm that an acquaintance's grave hasn't been disturbed, following reports of grave robbing in the area. Needless to say, they don't leave quickly enough as they encounter a family of wackos who have them in mind for their next meal.
The climax (which reinforces the notion that shooting dinner scenes is hard on actors) will have the viewer on the edge of their seats.
What's great about it: unrelenting suspense
What's not so great: not for the squeamish
I would recommend this to a friend!
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![Hollow Man [Superbit Deluxe Edition] [2 Discs] [DVD] [2000]](https://pisces.bbystatic.com/prescaled/500/500/image2/BestBuy_US/images/products/304b2327-370a-41e7-956a-951dd4939472.png)
Hollow Man makes its second debut on DVD care of Columbia's Superbit Deluxe line of movies on two discs. The film is presented in 1.85:1 anamorphic widescreen and looks absolutely fantastic. With solid black levels and slick color schemes, this is a stunningly well-produced transfer that includes nary an imperfection or defect. Fans will be very pleased with how crisp this image looks. The soundtrack is floating in the same boat as the video transfer. Presented in Dolby Digital 5.1 Surround as well as DTS 5.1 Surround, both in English, each of these soundtracks feature a multitude of directional effects and surround sounds throughout the entire length of the film. Enveloping the viewer in the world of invisibility, both the video and audio portions of this disc should make anyone with a home theater system very happy. Also included on this disc are English, Chinese, French, Thai, Portuguese, and Spanish subtitles. This deluxe version of the film features a second disc that is full of extra materials (though the commentary track by the director has been excluded from this release). Starting off the supplements is an interesting HBO making of featurette titled "Anatomy of a Thriller." The feature is a short, fluffy look at the making of the film that includes interviews with that cast and crew. Some picture-in-picture comparisons allow the viewer to look at some footage before post-production effects were added in. Some deleted scenes are included that allow a glimpse at what was left on the cutting room floor. A few of these alternate/deleted scenes are interesting, though most were deservedly cut from the final film. No less than 15 featurettes are on this disc (including "The Underground Lab," "Digital Body Parts Montage," "Reversion Progressions," and more), each running anywhere from less than two minutes to nearly six minutes long. These short clips allow the viewer yet another peek behind the special effects department's curtain. Finally there are a few director and actor filmographies, plus a teaser trailer and theatrical trailer for the film.
Posted by: prlwctd
The SFX are first-rate and the underrated Kevin Bacon has fun with the title role.
However, neither of these assets can disguise the fact the the film turns out to be a mindless slasher movie with a scientific twist.
After Bacon, playing a very egocentric scientist, decides to test a new invisibility serum on himself, he eventually goes ballistic on everyone who crosses his path, including his co-workers; among them the normally solid Elizabeth Shue, who plays his former girlfriend.
The climax involves said colleagues trying to take him down before he can kill them. Needless to say, they act more like the characters of a Friday the 13th film instead of the educated scientists they are supposed to be.
This is not one of Paul Verhoeven's finest moments.
However, neither of these assets can disguise the fact the the film turns out to be a mindless slasher movie with a scientific twist.
After Bacon, playing a very egocentric scientist, decides to test a new invisibility serum on himself, he eventually goes ballistic on everyone who crosses his path, including his co-workers; among them the normally solid Elizabeth Shue, who plays his former girlfriend.
The climax involves said colleagues trying to take him down before he can kill them. Needless to say, they act more like the characters of a Friday the 13th film instead of the educated scientists they are supposed to be.
This is not one of Paul Verhoeven's finest moments.
What's great about it: great SFX & Bacon's performance
What's not so great: a slasher film with a scientific twist
No, I would not recommend this to a friend.
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Christopher Lee and Peter Cushing star in Terence Fisher's 1959 version of The Mummy, which comes to DVD with a widescreen anamorphic transfer that preserves the original theatrical aspect ratio of 1.85:1. English and French soundtracks are rendered in Dolby Digital Mono. Subtitles in both languages are accessible. Supplemental materials are limited to a theatrical trailer. Fans of mid-'50s horror films are sure to savor this fine-looking disc, even if it is shy on extra materials.
Posted by: prlwctd
After Hammer's successful retoolings of Frankenstein & Dracula, the studio scored again with its tackling of The Mummy.
Like its takes on the Monster & the Count, this Mummy was the first to be shot in color. Unlike the other two, however, this film has more in common, storywise, to its Universal counterpart (some plot elements are similar to those in Universal's Mummy sequels).
Once again, we have the great acting team of Christopher Lee (in the title role) & Peter Cushing (as the lead archeologist Banning, who must protect his wife when he realizes the Mummy desires her, due to her resemblence to his deceased love).
The Mummy is, once again, inadvertently brought back to life, but, this time, an unscrupulous Egyptian (who dislikes attempts to dig up the ancient ruins of his homeland) uses the Mummy to wipe out the scientists. Needless to say, this tactic eventually backfires.
Lee, in a performance with no dialogue and in bandages almost the entire time, matches Karloff in the title role. The moment where he first lays eyes on Banning's wife is a great moment of acting, in which he silently expresses astonishment and sadness.
Unlike the Brandon Frasier Mummy films four decades later, this Mummy gives remakes a good name.
Like its takes on the Monster & the Count, this Mummy was the first to be shot in color. Unlike the other two, however, this film has more in common, storywise, to its Universal counterpart (some plot elements are similar to those in Universal's Mummy sequels).
Once again, we have the great acting team of Christopher Lee (in the title role) & Peter Cushing (as the lead archeologist Banning, who must protect his wife when he realizes the Mummy desires her, due to her resemblence to his deceased love).
The Mummy is, once again, inadvertently brought back to life, but, this time, an unscrupulous Egyptian (who dislikes attempts to dig up the ancient ruins of his homeland) uses the Mummy to wipe out the scientists. Needless to say, this tactic eventually backfires.
Lee, in a performance with no dialogue and in bandages almost the entire time, matches Karloff in the title role. The moment where he first lays eyes on Banning's wife is a great moment of acting, in which he silently expresses astonishment and sadness.
Unlike the Brandon Frasier Mummy films four decades later, this Mummy gives remakes a good name.
What's great about it: great photography and acting
What's not so great: nothing I can think of
I would recommend this to a friend!
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Posted by: prlwctd
Karloff followed his great success in Frankenstein with a slightly different, and equally memorable, Universal monster.
With the help of Jack Pierce's makeup, Karloff makes the title character scary and slightly sympathetic.
His mummy is inadvertently revived after archeologists dig him up. He then reemerges a decade later and tries to capture a beautiful acquaintance of said archeologists in the hopes of reviving his deceased love.
Zita Johann, Edward Van Sloan, and David Manners are fine (even if the latter two more or less play the same characters they did in Dracula).
The film's delightlfully creepy atmosphere and nice music (the title credits are shown played to "Swan Lake" just like Dracula & Murders in the Rue Morgue) are other reasons why this film remains the definitve Mummy movie. The only one that's come close is Hammer's take over three decades later.
With the help of Jack Pierce's makeup, Karloff makes the title character scary and slightly sympathetic.
His mummy is inadvertently revived after archeologists dig him up. He then reemerges a decade later and tries to capture a beautiful acquaintance of said archeologists in the hopes of reviving his deceased love.
Zita Johann, Edward Van Sloan, and David Manners are fine (even if the latter two more or less play the same characters they did in Dracula).
The film's delightlfully creepy atmosphere and nice music (the title credits are shown played to "Swan Lake" just like Dracula & Murders in the Rue Morgue) are other reasons why this film remains the definitve Mummy movie. The only one that's come close is Hammer's take over three decades later.
What's great about it: great atmosphere & Karloff
What's not so great: nope, nothing wrong here
I would recommend this to a friend!
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Posted by: prlwctd
After Jaws propelled Steven Spielberg to the A-list of directors, he followed it with this story involving a man (Richard Dreyfuss), who puts his family life into jeopardy after his encounter with UFO's leads to his obession (along with that of others who witnessed the same thing) to understand it.
The movie is filled with memorable imagery and music. The climatic scene at Devil's Tower is rightfully famous.
The movie is filled with memorable imagery and music. The climatic scene at Devil's Tower is rightfully famous.
What's great about it: everything
What's not so great: nothing
I would recommend this to a friend!
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Posted by: prlwctd
This is a wonderfully elaborate and very romantic screen version of Andrew Lloyd Webber's musical (itself based on Gaston Leroux's novel).
The production values and music are first rate and Gerard Butler & Patrick Wilson are fine as the Phantom and Raoul, respectively.
But it's the gorgeous Emmy Rossum, whose physical beauty is matched by her singing, that leaves the lasting impression here. She is perfect casting as Christine, the budding opera star whom the title character falls for.
The production values and music are first rate and Gerard Butler & Patrick Wilson are fine as the Phantom and Raoul, respectively.
But it's the gorgeous Emmy Rossum, whose physical beauty is matched by her singing, that leaves the lasting impression here. She is perfect casting as Christine, the budding opera star whom the title character falls for.
What's great about it: a perfect Emmy Rossum & great music
What's not so great: nothing wrong here
I would recommend this to a friend!
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Christopher Lee stars as the fanged Count Dracula in Horror of Dracula. The film is presented in its original 1.78:1 anamorphic widescreen aspect ratio and looks very nice. The blood red colors and spooky black levels are all solid and well defined with only the slightest amount of grain penetrating the image. Otherwise this is a great looking transfer that should please all vampire fans. The soundtrack is presented in Dolby Digital 1.0 Mono in English and is not half as impressive as the video portions of the disc. While the dynamic range is decent, directional effects and surround sounds are completely lacking. All aspects of the sound mix are free and clear of any excessive hiss or distortion. Also included on this disc are English, Spanish, French and Portuguese subtitles. This standard DVD edition only includes a few extra features -- some text pages of vampire movie information, a cast and crew listing, and an anamorphic widescreen theatrical trailer for the film.
Posted by: prlwctd
Hammer's followup to The Curse of Frankenstein and the first Dracula movie in color, is my favorite film version of Stoker's novel.
It reunites Curse of Frankenstein stars Peter Cushing and Christopher Lee (who would share the screen numerous times after this film) as, arguably, the finest actors to portray Van Helsing and the Count, respectively.
Equally memorable is the bone-chilling score from James Bernard.
As with Curse, Horror is more faithful to its literary source than its Universal counterpart.
It reunites Curse of Frankenstein stars Peter Cushing and Christopher Lee (who would share the screen numerous times after this film) as, arguably, the finest actors to portray Van Helsing and the Count, respectively.
Equally memorable is the bone-chilling score from James Bernard.
As with Curse, Horror is more faithful to its literary source than its Universal counterpart.
What's great about it: great acting and music
What's not so great: nothing wrong here
I would recommend this to a friend!
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The monster arises once more in the 1957 horror flick The Curse of Frankenstein. Warner has done an admirable job at making sure this 2.35:1 widescreen transfer is in very nice shape. The colors and black levels are all represented well with only the slightest amount of grain penetrating the image. With flesh tones natural and well saturated, this DVD image should please horror fans everywhere. The soundtrack is presented in Dolby Digital 1.0 Mono in English and sounds generally lifeless and boring. While there isn't a lot of dynamic range or fidelity to be found in this track, overall the hammy music, cheesy dialogue and clashing effects are clear of any excessive hiss or distortion. Also included on this disc are English subtitles. The only extra features included are some cast and crew listings, and a theatrical trailer for the film.
Customer Rating
5
a great and different take on Frankenstein
on November 2, 2008
Posted by: prlwctd
This, the first film version of Mary Shelley's book to be filmed in color, brought Hammer Films to prominence the same way Steamboat Willie brought Disney to prominence.
This follows Mary Shelley's book more closely than the 1931 version, and is impressive in its own right.
The gore was a bit much for some in 1957 and is a bit eyebrow-raising today. The creature (played by Christopher Lee) doesn't even make his first appearance until halfway through the movie, which also may test the patience of some viewers, but that is also what makes this version unique.
The action is seen (and told in flashback) through the eyes of Baron Frankenstein (chillingly played by Peter Cushing). We see how his obsession with creating new life not only proves harmful to everyone around him, but succeeds in destroying him.
This follows Mary Shelley's book more closely than the 1931 version, and is impressive in its own right.
The gore was a bit much for some in 1957 and is a bit eyebrow-raising today. The creature (played by Christopher Lee) doesn't even make his first appearance until halfway through the movie, which also may test the patience of some viewers, but that is also what makes this version unique.
The action is seen (and told in flashback) through the eyes of Baron Frankenstein (chillingly played by Peter Cushing). We see how his obsession with creating new life not only proves harmful to everyone around him, but succeeds in destroying him.
What's great about it: acting and production values
What's not so great: may be too explicit for some
I would recommend this to a friend!
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Posted by: prlwctd
Like Dracula, released earlier in 1931, this version of Mary Shelley's book is the one that enters the minds of most people when they think of Frankenstein.
Although, like Dracula, its lack of a musical score makes the film seem slow in places, its virtues more than make up for it.
First and foremost is Karloff's great work as the monster, aided immensely by the monster makeup by Jack Pierce.
Colin Clive is also memorable as the title character, who creates new life without a thought given to the possible consequences. Dracula alumni Dwight Frye and Edward Van Sloan are also memorable as Fritz (Frankenstein's sadistic assistant) and Dr. Waldman (the doctor's former tutor), respectively.
But it's Karloff who dominates this film, playing one of the most frightening and pitiable of all movie characters.
Although, like Dracula, its lack of a musical score makes the film seem slow in places, its virtues more than make up for it.
First and foremost is Karloff's great work as the monster, aided immensely by the monster makeup by Jack Pierce.
Colin Clive is also memorable as the title character, who creates new life without a thought given to the possible consequences. Dracula alumni Dwight Frye and Edward Van Sloan are also memorable as Fritz (Frankenstein's sadistic assistant) and Dr. Waldman (the doctor's former tutor), respectively.
But it's Karloff who dominates this film, playing one of the most frightening and pitiable of all movie characters.
What's great about it: Karloff's legendary work and fabulous undertones
What's not so great: a bit stagey by today's standards
I would recommend this to a friend!
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