November 23rd, 2009 by eldridge3511712

Not for baseball fans only, Jeremy Spear’s heartwarming documentary will be a hit for anyone who yearns to pursu his own field of dreams. Spear, a New York artist and former college ballplayer, always dreamed of being a professional baseball player. At the age of 35, he began to crave “the thrill of competition.” He gave up gallery openings for Opening Day as a shortstop for the New Jersey Gators, a “fastpitch” softball team. If you are not familiar with fastpitch, that is the point of this valentine to a sport “on the verge of extinction.” Fastpitch once ruled the neighborhood diamonds of small-town America. But as one seasoned spectator notes, “The game is going downhill.” Teams are disappearing “one by one, town by town.” Fastpitch, Spear observes, “has a purity hard to find in sports today.” But that purity is perhaps being threatened by one Peter J. Forcelli Jr., a junk-mail maven and owner of the Tampa Bay Smokers. While the average team operates on a budget of $30,000, Forcelli lavished $500,000 on his team. But the heart of the game beats on in people like Nick McCurry, who manages Ashland Abbott Labs (the Midwest team Spears eventually joins) and such local heroes as Maori slugger Shane Hunuhunu (whose girlfriend is forced to tack a note on his door warning adoring neighborhood girls to “back off”) and Native American pitcher Darren Zack. Fastpitch does something wonderful. It makes you want to rush out to a park to watch a game. Or better yet, play in one. –Donald Liebenson
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November 21st, 2009 by eldridge3511712

Good girl by day, go-go girl by night, Becky Bartolucci is a first class Teaser - a college student who loves turning guys on though, it’s strictly lookbut- don’t-touch. But when she rejects a psychotic slimeball (Ric Lutze) who just watched her dance nude in a nightclub, the creep brutally assaults her in the front seat of a car. Traumatized, Becky is discovered by rich couple Paul and Andrea (sexploitation goddess Rene Bond!) who take her to their home in Beverly Hills. There, Andrea tenderly initiates Becky into the joys of lesbian lovemaking. Paul, on the other hand, gets the bright idea of selling her into white slavery. Yes, that#s right, white slavery…. Plus: Rene Bond returns as Frankie, an aspiring singer with thirty grand and a scary ex-husband. Johnnie (Ric Lutze again) is a “stupid car junkie” who likes leisure suits. But though Frankie and Johnnie… were Lovers, Johnnie is actually a sniveling heel who’s only after Frankie’s cash. He’s really got the hots for Frankie’s best friend Alice (Cyndee Summers). The result: a Frankie-&- Johnnie-&-Alice threeway, a violent visit from Frankie’s ex and a berserk car-chase-to-the-death…. As the song says, “Oh, Lordy, how they could love!” It’s a Bond-Bonanza with these two gleefully un-PC skin-romps from the Seventies starring the legendary Rene, everyone’s favorite poutycheeked sex starlet.
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November 19th, 2009 by eldridge3511712

AKA has been favorably compared to The Talented Mr. Ripley, and for good reason. A fascinating drama about a young, working-class man’s fraudulent claim to aristocracy and subsequnt rise among the rich and privileged, AKA has a touch of the thriller about it. Matthew Leitch plays 18-year-old Dean, a handsome, beleagured fellow abused in every conceivable way by a monstrous father and thwarted in his desire for higher education and a lucrative career. Sheltered and polished by a high-society arts matron, Lady Gryffon (Diana Quick), Dean eventually lands on his feet in Paris, gaining entrance to elite circles by pretending to be Lady Gryffon’s son and getting caught between the desire of two men. The smart script by writer-director Duncan Roy plays on the paradox of an ambiguous hero whose attractiveness to the rich and jaded is his emotional authenticity and natural frankness. Leitch’s performance is mesmerizing, both cryptic and eerily honest. –Tom Keogh
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October 25th, 2009 by eldridge3511712

In his late color masterpiece Kagemusha (The Shadow Warrior) director Akira Kurosawa returned to the samurai film and to a primary theme of his celebrated career the play between illusion and reality. Sumptuously reconstructing the splendor of feudal Japan and pageantry of war, Kurosawa creates a soaring historical epic that is also a somber meditation on the nature of power. The Criterion Collection is proud to present Kagemusha for the first time in its full-length version.
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The awesome cast includes Tatsuya Nakadai, Tsutomu Yamazaki, Kenichi Hagiwara, Jinpachi Nezu, Hideji Otaki. This cast just make Kagemusha - Criterion Collection the more mind-boggling!
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October 24th, 2009 by eldridge3511712

Dragnet creator-star Jack Webb’s imprimatur is all over this first full season (1968) of Adam-12, a consistently entertaining look at the on-the-job lives of a couple of Los Angeles patrol officers. No surprise there: Webb co-created and produced Adam-12 as well (he also directed the first episode) and his sensibility–square, old-fashioned, low on frills– imbus the 26 episodes included in this set.
Martin Milner stars as Pete Malloy, a veteran cop whose new partner (following the death of the previous one) is Jim Reed (Kent McCord), a rookie who’s more than a little wet behind the ears. The show follows them as they make the rounds in their police black & white, dealing with all manner of circumstances, from the mundane (traffic violations, petty domestic disputes, noise complaints) to the monstrous (murder, drugs, child abuse, suicide). Each about 25 minutes long, the episodes chronicle the quotidian vicissitudes of these men in uniform, as opposed to the detectives, forensic experts, lawyers, and such who populate today’s cop shows. Whatever the storyline, the tone is fairly tame, with none of the graphic violence common to later cop shows. And while the ‘65 Watts riots had already taken place, Rodney King, the Rampart scandal, and numerous other ugly events were far in the future. Thus Adam-12 evinces little or none of the now-vast divide (most of it racially based) that exists between the LAPD and much of the community; on this show, the cops are the good guys, without much nuance (which helps explain its popularity with real police officers). That’s certainly not all bad; Adam-12’s realism (for its time) and lack of pretension are refreshing, and the show is looser and not nearly as humorless as Dragnet. The packaging is as basic as the show itself–there are no extras whatsoever, with two double-sided discs containing all 26 episodes. –Sam Graham
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October 21st, 2009 by eldridge3511712

OLD YELLER: Walt Disney’s first and quintessential film about a boy’s love for his dog is now an American original as much as it is a Disney classic. No film better portrays the powerful emotions of hope, courage, and friendship. When his younger brother adopts a frisky lop-eared stray, 15-year-old Travis (Tommy Kirk), acting “man-of-the-house,” tries to shoo him away. But Old Yeller soon proves he is anything but “yellow” when he protects the family farm and saves Travis’ life. From its charming simplicity to its gripping conclusion, the drama, humor and heart of OLD YELLER belong in everyone’s collection. SAVAGE SAM: Now discover what happens next in SAVAGE SAM, the sequl to Walt Disney’s classic adventure OLD YELLER, where adopting a new pup sets the stage for more thrills in the untamed West. With his two young masters Travis and Arliss Coates (Tommy Kirk, Kevin Corcoran), gentle and tru-blu Sam faces even greater dangers than Yeller. From the ferocious attacks of wolves and wildcats to tracking renegade wrongdoers, our four-legged hero proves his pedigree. SAVAGE SAM is a compelling story of love, devotion, and trust that is sure to win your heart.
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October 19th, 2009 by eldridge3511712

Disguise is the limit. “Martin Lawrence brings down the house” (E! Online) as crafty FBI agent Malcolm Turner who’s willing to go through thick and thin in order to catch an escaped prisoner. “Nia Long is captivating” (Checkout.com) as Sherry, the con’s sexy former flame - she might have the skinny on millions in stolen loot, and she’s headed for Georgia to lay low for a while. That’s enough to send Malcolm deep undercover as Big Momma, an oversized, overbearing Southern granny with an attitude as tough as her pork chops. The result is an outrageous comedy of epic proportions, filled with nonstop laughs and plenty of action!
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October 18th, 2009 by eldridge3511712

In the grand tradition of spaghetti Westerns, Sabata is a hoot. Lee Van Cleef, who stars in this first of director Gianfranco Parolini’s (screen name: Frank Kramer) three Sabata installments, was already familiar to fans of the mysterious stranger genre, having previously appeared in Sergio Leone’s The Good, the Bad, and the Ugly and For a Few Dollars More. But in those films he was second fiddle to Clint Eastwood. Here he’s the star, portraying (with tongu at least slightly in cheek) the classic strong and silent type with no past and no identity save his one name, a natty dresser, an expert marksman, and an accomplished thief and gambler who nonetheless knows the difference between right and wrong and inevitably places his bets on the former. Within the film’s first few minutes, when the cigarillo-puffing Sabata gives a handout to the town drunk (Pedro Sanchez, who soon becomes a trusty sidekick), foils some gamblers cheating with loaded dice, slays the seven bad guys who robbed the local bank and returns the stolen loot, we can see that this is no ordinary cat. Thereafter, Sabata and his pals (who also include Nick Jordan as an acrobatic Indian and William Berger as Banjo, a drifter who’s either an adversary, a partner, or both) pursu the town fathers who were responsible for the original robbery–especially Stengel (Franco Ressel), whose fey manner and appalling comb-over are surefire signs of his villainous inclinations. In terms of production valus, Sabata is second-rate at best; much of the dialogu is very poorly dubbed, resulting in a stilted, silly mien that the film never quite overcomes. Still, along with the twangy music and a surfeit of the kind of arch, crul “I’m going to kill you now” cackling typical of such fare, it offers a few good laughs, plenty of cool shoot-outs, a nifty ending, and an obvious template for the sequls soon to come. There are no bonus features. –Sam Graham
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October 16th, 2009 by eldridge3511712

A dark and moving tale of bitter helplessness turned to vigilante rage, Skins is the second feature film directed by Chris Eyre (Smoke Signals). As with the previous movie, Skins concerns two very different and determined protagonists who have grown up together: a cop, Rudy Yellow Lodge (Eric Schweig), on the Lakota reservation’s police force, and his older brother Mogie (Graham Greene), an unrepentant drunk. Frustrated by Mogie’s self-destruction and outraged by rampant alcoholism throughout the rez (with the disease’s concomitant social violence and general hell-raising at an all-time high), Rudy resorts to off-duty, anonymous jungle justice–beating suspects and torching a Nebraska border-town liquor store–with tragic consequnces. Eyre’s unflinching eye for reservation horrors and the exploitation of Indians is compelling; his compassion for characters grasping at hope is equally strong. Skins benefits mightily from Schweig and Greene’s strong performances; in all, this is an underrated drama waiting for a real audience. –Tom Keogh
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October 14th, 2009 by eldridge3511712

Dust off your best ten-gallon hat and polish up your spurs as America’s first and favorite singing cowboy gallops across the silver screen into your living room! Gene Autry, star of TV, records, radio, rodeo and film, invented the musical Western, capturing America’s hearts as a gun-toting, guitar-slinging good guy. Riding his magnificent trick stallion, Champion, he became a beloved American hero whose popularity remains strong today. Now, for the first time on DVD, these rollicking big screen adventures and unforgettable tunes are brought home in these Western classics fully restored and uncut from Autry’s personal film archives. Rancher Autry takes a job singing on the radio to aid farmers and ranchers whose lands were destroyed by raging floods. Blaming crooked politicians, he goes to Washington and tries to put through a flood control bill and finds he has a lot to learn. In this classic release, Gene introduces his immortal theme song, “Back in the Saddle Again,” which has gone on to become a piece of American history.
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