Cartoon villains Fearless Leader (Robert De Niro) Boris Badenov (Jason Alexander) and
Natasha Fatale (Rene Russo) participate in broken the secret organization, making the giant leap from their
cartoon continuance into the real world. They have devised a plot to take over the world
through the creation of a up to date mindless TV network, RBTV (Really Bad Television), which
leave hypnotise the world by choice day. But pre-eminent they give birth to to get rid of 60s TV heroes
Sure the Flying Squirrel (voice of June Foray) and Bullwinkle the Moose (voice of Keith
Scott), who get up with brave-but-crazy rookie FBI agent Karen Commiseration (Piper Perabo)
in a bid to protect the age.

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Writer/director Thomas Bezucha’s The Family Stone is an odd bird – part farcical rom-com, part tear-jerking family drama and part strident social commentary, this Christmas-centric film was a modest success at the box office in 2005, but you’d be hard-pressed to point any particular reason why. The cast is strong – any flick with Diane Keaton, Craig T. Nelson, Dermot Mulroney, Claire Danes, Luke Wilson, Sarah Jessica Parker, Paul Schneider and Rachel McAdams can’t be all bad, can it? Bezucha tackles some potentially incendiary topics – a gay, bi-racial couple adopting a child, among others – with wit, grace and humanity, while managing some riotously funny setpieces that ring with an unsettling air of authenticity.

So where does The Family Stone lose its luster? For starters, Parker’s character, Meredith, is so utterly abrasive that it’s difficult for audiences to connect and empathize early on, which unfortunately, Bezucha’s narrative depends upon – it’s no fault of the actress, who is great in the role of a businesswoman wound much too tightly, but rather that Bezucha hits the ground running, electing to fill in background details at sparse intervals. Bezucha’s script is also maddeningly vague, hinting at crucial plot points but denying audiences information until well past confusion (I won’t tread anywhere near spoiler territory here). It’s a curious tactic that keeps you at arm’s length, unable to get very close to the eccentric Stone family – mother Sybil (Keaton), father Kelly (Nelson), brothers Everett, Thad and Ben (Mulroney, Tyrone Giordano and Wilson, respectively) and sister Amy (McAdams) come across more-so as a bundle of quirks than real people, despite Bezucha’s ability to generate situations that feel true to life.

Reality only gets you so far and so it is with The Family Stone – Bezucha’s ability to, as Parker puts it in the supplements, not merely traffic in archetypes, helps make this odd combination of genres into an at least watchable film, but it’s not one you’ll reach for whenever the holiday gatherings get underway. Perhaps that’s part of its charm – that fussy unwillingness to be easily categorized, despite the cast’s warm appeal and competency – but it’s also part of the film’s ultimate failure.

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Reviewed by Dennis Schwartz

One of the most popular and best received crime films ever; a seminal
gangster film that began the craze for such exciting looks at violent underground
figures, though it was not the first crime film made–that honor goes to
the 1912 D.W. Griffith film The Musketeers of Pig Alley, while the first
crime talkie film honor goes to the crude 1928 Lights of New York directed
by Bryan Foy–it also was from Warner Brothers. 

The film’s low-budget and the lack of technological skills available
at the time — is made up for by the rich acting of Robinson, the mesmerizing
story, and the stunning black-and-white cinematography provided by Tony
Gaudio. Writers Francis Faragoh and Robert N. Lee based the film on the
novel by W. R. Burnett.

“Little Caesar” was the film that defined Edward G. Robinson’s acting
career. His role as a small-time vain and vicious hood who wants to “be
somebody,” became a legendary role in film history. Robinson’s Little Caesar
character is supposedly modeled after Al Capone. Mervyn LeRoy’s pic about
the rise and fall of this violent gangster is a fast-paced vivid portrayal
of the hood, and though outdated still remains of interest today for both
historical reasons and that it’s still entertaining. 

The film opens with a quote from Matthew: “For all of them that take
the sword shall perish by the sword.” The next shot has Rico (Edward G.
Robinson) and his nervous pal Joe Massara (Douglas Fairbanks, Jr.) chowing
down on spaghetti and coffee in a small-town diner after pulling a penny-ante
stickup of a gas station. The ambitious Rico brags “When I get in a tight
spot, I shoot my way out of it, why sure. Shoot first and argue afterwards.
You know, this game ain’t for guys that’s soft.” Rico aims to emulate his
big-time gangster hero Diamond Pete Montana (dressed in style and wearing
an ornate diamond pinkie ring) and be revered and famous like the crime
boss. The big talking little ruffian talks the reluctant Joe into moving
to the city with him, despite his partner saying his ambition is to be
a dancer and gigolo and retire from a life of crime.

In the city Rico talks his way into joining with Joe the gang of
Sam Vettori, the owner of the Palermo Club, and is named by the boss Little
Caesar for his braggadocio. In a heist of the gangster Little Arnie Lorch’s
Bronze Peacock gambling club and nightclub (where Joe was hired to be a
dancer by the manager DeVoss), Rico knocks off the feared police commissioner
McClure who was in attendance. The gang escapes with the dough, but the
driver Tony Passa goes soft and is on his way to confess to a priest–when
Rico knocks him off at the steps of the church. Then the gang throws him
a first-class funeral fit for a king. Meanwhile, Joe falls in love with
hoofer Olga Strassoff (Glenda Farrell) his professional dancing partner
and tries to tell her he just can’t quit the gang. When the cops under
Sergeant Flaherty start putting the heat on Sam and he begins turning soft,
the gang agrees that Rico should be their leader. Still ambitious–Rico
meets the big boss, Big Boy (Sidney Blackmer), a wealthy tycoon who pulls
the strings from behind the scene, and is given Diamond Pete’s lucrative
north side of the town. But Rico’s ambitions are still not quenched, as
he wishes to take the place of Big Boy and run the entire city syndicate.
But before that can materialize, the insanely jealous Rico has to deal
with his best pal Joe who wants to quit the mob to be a dancer — which
is astonishing to Rico, who calls him a “sissy.” Rico warns Joe that no
one quits my gang and stays alive. But Rico goes soft for his friend just
before he’s about to kill Joe and Olga, and lets them off the hook. This
results in Joe ratting him out to the cops as the one who killed the police
commissioner. After going on the lam for months, Rico is cornered in an
alley by Flaherty and is gunned down. Before he kicks the bucket he utters
with his dying breath ” Mother of God, is this the end of Rico?”

You’ve got to look up to the swagger of the junior Peter Bogdanovich, if nothing else. He channeled Frank Capra in Paper Moon and Howard Hawks in What’s Up, Doc?, and made one of the great coming-of-duration movies: The Matrix Envisage Show. Here he tackles a novella by Henry James, a reckon that he admits in the supplementary resources that he took on for many of the wrong reasons; the result isn’t entirely unworthy, but it’s not up to the excited standard of some of the director’s other films, nor does it do much for James’ cinematic reputation.

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Cybill Usher plays the title character, a young American from Schenectady touring the Continent, with her mother (Cloris Leachman) and bratty ungenerous brother Randolph (James McMurtry). They’re at best the sort for whom the term “ugly Americans” was invented&#8212as united of their countrywomen remarks, they are “the sort of Americans one does one’s chore by just ignoring.” Daisy is a captivating young article, for all that, and commands limelight from the men of all countries; especially taken with her is Frederick Winterbourne (Barry Brown), who knows that she’s the wrong sort, but is charmed by her nonetheless. They meet in Vevey, Switzerland, where the before portion of the story takes place; later the action moves to Rome, with tragic consequences.

The purpose of doing this sort of period piece, at this time, was tremendous&#8212this was before Merchant and Ivory started making this type of film their stock in trade. Unfortunately, though, the cinema is actually done in by some of its period elements. The actors rub off last mounds and mounds of fabric, and they lack the panache and experience to manage successfully mistaken the outfits as if this were the stuff of daily autobiography; more often than not, the costumes are wearing them, more readily than deficiency versa. Conduct and Bogdanovich’s displeasing-shield romance was tabloid fodder thirty years ago&#8212he famously fist his bride concerning her during the shoot of The Last Picture Presentation&#8212and while she is beautiful here, you come to earn pretty soon that she a moment ago doesn’t acquire the acting chops to pull this unpropitious. Yes, Daisy is suppositious to be ungracious roughly the edges, unschooled in the ways of European society; but as the many words just pour out of Shepherd’s disheartened, she wears a pleased look on her face that seems to indicate: Can you believe I actually memorized all of this?

And as Winterbourne, Brown is just so unbelievably morose that it’s hard to work up any concern for him at all, let solitarily to believe that he’s pining for Daisy. He definitely much likes playing with his moustache, but that’s not by no means enough. Other Last Picture Show vets price somewhat better&#8212Leachman prattles on as Mrs. Miller, in a daffy kind of crumple that’s literally sort of endearing, and even raise is Eileen Brennan as the spokeswoman for expatriate society, who deems Daisy unsuitable, and makes sure that Winterbourne knows as much. Most outstanding of all is Mildred Natwick, as Frederick’s aunt; she’s got a keener substance through despite the period, it seems, and a outrage shift of her eyebrow tells us all we deprivation to know alongside another character’s social standing.

There are some visual delights here&#8212especially memorable is a site of Frederick and his aunt winsome the pickle, fully clothed in a giant tub of water with others, who are variously reading the paper, taking high tea, or playing chess on a floating board. It’s at moments like this that Bogdanovich gives James’ prose a cinematic three-dimensionality; one of the problems I have in reading James is that he appeals to every part of the body from the neck up, and on screen that’s unqualifiedly not sufficient. Still, if nothing else, this movie is worth more than a passing glance from students who may not have gotten to the class reading for the purpose that seminar in nineteenth-century belles-lettres.

Under the bustling streets of Manhattan is a thriving community of rodents and assorted creatures whose society strikingly mirrors that of the humans upstairs sod. These cuddly varmints, the creations of Germany’s Augsburger Dupe Theatre, live in a world of eco-conscious lead-crossed lovers in “A Rat’s Tale,” based on the kids yarn by Tor Seidler. Though easily intentioned and visually queer, the film will solicitation damn near exclusively to the youngest moviegoers, and thinks fitting translate into much stronger biz on video than in theaters. (In Germany, where the Augsburger troupe is acclaimed, the pic opened in early 1997 and did solid biz, grossing more than $3 million.) “Tale” opens today in seven markets including Revitalized York and Los Angeles.

Commercially, its prospects have been dimmed by the more successful integration of puppets and flesh-and-blood performers in the work of Jim Henson’s Muppets. The current generation of American youngsters is apt to find the artistry of the new film antiquated.

Essentially a tale of young love, pic centers on the cute couple of Monty, an artist, and upper-crust politician’s daughter Isabella. They meet when Monty rescues her from the rain and inducts her into the rapid transit of Gotham’s sewer system. They’re mutually smitten, but Isabella’s family will not approve of her dating beneath her station.

At about the same time the “democratcy” is in the throes of a major crisis. Kingpin exterminator Dollart (Josef Ostendorf) is on a campaign to rid the wharves of rodents with his lethal new spray. The rat council orders all workers to ferret out money in order to buy out their enemy. But with 100% of their energies devoted to that goal, the rodents ignore their work cleaning up the city’s drains, and the nest is in jeopardy of being engulfed by rising waters.

Monty, as luck would have it, has the opportunity to save the day. He’s been given magic shells from Mexico that were destined for the mythical kingdom of Manhateen. They have the power not only to clean up the physical mess of New York but also to clear men’s minds. But he and Isabella and the loquacious Jean-Paul Canalligator must venture to the land of magic to set things right.

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Unfortunately, the strings are all-too-present in “A Rat’s Tale,” slowing down the narrative momentum. While that’s not a significant problem for the initiated, it poses a commercial stumbling block for pic’s target audience.

It also creates more of a division between the marionettes and the live actors than one would desire. That divide widens as a result of poorly developed or caricatured roles for performers Lauren Hutton, Beverly D’Angelo and Jerry Stiller. The filmmakers would have been better advised to confine the yarn to its puppet characters rather than mix and match realistic settings with the more fanciful sets below the streets.

One can’t fault the sentiment expressed in the picture or its handsome packaging. But in the international marketplace, “A Rat’s Tale” will be best served by the intimacy of the home screen.

:
Santa Who? debuted last year on TV during the holiday opportunity ripe and was produced by Disney. Directed by William At a high, the film stars: Leslie Nielsen (Santa Claus), Steven Eckholdt (Peter Albright), Robyn Lively (Claire), Max Morrow (Zach), and Tommy Davidson (Max).

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As an orphan, Peter Albright had his belief in Santa crushed when his letter to Santa was burned before him. Now 25 years later, Peter is a TV news reporter who hates Christmas. His relationship with his girlfriend, Claire, is coasting along, as he can’t commit to her because of her son Zach. When Santa lands on his car and suffers amnesia, Peter has but one thought: an award winning news story. However, Zach believes the man is Santa, whereas Peter wants to exploit him for ratings. With only 48 hours before Christmas, Zach is determined to prove he is Santa, while Santa tries to make Peter’s last Christmas wish come true.

With Leslie Nielsen at the helm, I expected Santa Who? to mainly be a comedy, ala The Santa Clause. However, while the film has a few laughs, it is really more of a family drama. I found it to be rather slow and predictable. The acting was average all around, with Nielsen mostly coasting through the role. I’m sure the film will appeal to kids more than adults, however.

Picture:
Santa Who? is presented in its original aspect ratio of 1.33:1. For a movie only a year old, I really expected better. The transfer has a fair amount of specks and marks that appear throughout. Grain is also present, though it is mostly confined to the special effects shots. Edge enhancement is visible, though it’s limited to a few scenes. Colors throughout are vibrant with accurate flesh tones and deep blacks.

Sound:
Santa Who? is presented in Dolby 2.0 Surround. For the exception of the film’s score, surround use is fairly limited throughout the picture. Dialogue is basically 2.0 Mono, though it remains crisp and clean throughout, with no distortion. Optional subtitles are also available in English, Spanish, and French.

Extras:
The main extra on the disc is The Art of Skiing, the classic 1941 animated short starring Goofy. Narrated by George Johnson, the short takes the viewer through some rudimentary skiing lessons, and as expected, Goofy amuses by getting all of them wrong. The short runs for eight minutes.

Also included are trailers/promo spots for Cinderella II, Whispers: An Elephant’s Tale, Recess Christmas, Mickey’s Magical Christmas, and the upcoming Treasures line from Disney. These play before the film or can be selected from the menu.

Summary:
Santa Who? is a film that will certainly appeal to children more than adults; however, with the high MSRP and average presentation, the movie is more suited to a rental than a purchase. Rent it.

Agree? Disagree? You can post your thoughts about this review on the DVD Talk forums.

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