The Dog directed by Allison Berg and Frank Keraudren follows the infamous John Wojtowicz, self-nicknamed the Dog who was the real life inspiration for the film Dog Day Afternoon starring Al Pacino. To recap the story, John robbed a Brooklyn bank one steamy day in August of 1972 in order to pay for his lover’s sex-change operation. The whole ordeal lasted throughout the day and night, received national attention and arguably cast a grim cloud over the gay rights movement which was in its early development.
A self-professed pervert, male chauvinist pig, and any other term one can think of to further embed him into the pejorative, Wojtowicz recounts his life and early sexual exploits from coercing men and women into sex to being a victim of rape himself, all of it peppered with domestic violence, and he claims no regrets, in fact he revels in his past behavior-both good and mostly just terrible.
In brightest day, in blackest night, No evil shall escape my sight. Let those who worship evil’s might, Beware my power, Green Lantern’s light!!!
No disrespect to Batman: The Animated Series (1992-1998), Batman Beyond (1999-2001), or any of the other DC super hero toons that came before, which are all fine in their own right, but, for me, Justice League Unlimited (2004-2006) is DC’s pinnacle of excellence in their history of TV toons and the last word on anything related to the Justice League, thus making Justice League (2001-2004) their second best super hero team toon. But DC had more successes after that namely in the form of Young Justice: Invasion (2012-2013), which was the second season of Young Justice. I wasn’t a total fan of their first season, the animation was inconsistent, being excellent for a few eps then sub par for another, but when Invasion came along the animation in my opinion stayed consistent and excellent for the entire 20 episode arc and the story was more focused. Now during this time DC decided to create their first CGI hero toon and give Hal Jordan his shot at the big time.
Cue Green Lantern: The Animated Series (2011-2013)!
Third Person written and directed by Paul Haggis (Crash) tells several interlocking stories (just like Crash) connected by theme, and similar back-stories with a tone of sincere emotion (just. like. Crash).
These stories are implied to be spawned from the mind of a once Pullitzer prize winning writer, Michael (Liam Neeson), who, now on his sixth or seventh novel, has lost that spark of full self-exposition his first book had, and sits in a Paris hotel trudging through his latest literary efforts. After a somber conversation with his assumedly estranged wife, Elaine (Kim Basinger), he is met with his all-around troubled girlfriend/mistress Anna (Olivia Wilde) who is prone to mercurial behavior, but still has him eating out of her hand.
WILLIAM SHATNER FROM THE “NICK OF TIME” EPISODE
There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone.
I was always a bigger fan of The Outer Limits (1963-1965) than I was of The Twilight Zone (1959-1964) when they were both in re-runs during my childhood (my brother liked it more than I did), nevertheless I saw enough of the series to cull a mental list of favorite episodes I never forgot about. This new collection here gathered enough of them that it attracted my attention and made me want to review it.
I was born in ’69, coming into this world at the tail end of Dan Curtis’ Dark Shadows (1966-1971) series, but fear not Curtis still managed to remain in my life through out most of my childhood. And I don’t ever remember Dark Shadows being re-run during that time either; if it was I never knew it. As with most memories from those formative years despite having them they’re sometimes out of order, so for the sake of argument let’s say my first run in with Mr. Curtis was through his 1973 TV movie The Night Stalker.
“Doty’s disinformation campaign destroyed careers and drove some of its victims insane. His tall tales came to be believed by millions of ordinary people as the hidden truth behind the modern era’s greatest mystery.” — Mirage Men’s Website
Like Ghosts and the general paranormal/supernatural at large I’ve been fascinated by UFOs since childhood, not to the extent that I would go out and investigate sightings and so forth but more to the extent of just being an “armchair investigator;” books and documentaries are as far as my fascination extends.
When I first saw this trailer last year my first impression of it was not good. At that time it just looked stupid. I was reacting to the slapstick comedy and even though I liked it visually the comedy turned me off.
As we got closer to the release date for the DVD and the blu-ray a press release was sent my way I decided to have another look at the trailer. I seem to think it was a second trailer I saw this time for now I felt more receptive towards it. And now that I’ve just seen it last night I thank God I decided to have that second look; the movie was fantastic!
I have entirely too much time on my hands.
This is why I buy those packs of movies in which you get 30 films for $5, and yet you still somehow overpaid. And as I wandered through one of my local chain stores, I spotted a family pack with a child hugging a large bear — so damn cute. Perfect for spending time with my daughter. That is, until I took a closer look and realized that the company that crams all these movies onto one disc must not be paying too much attention. A nightmare got stuck in there by mistake.
Whitewash is a lonely film. It opens with scattered lines of dialogue from Bruce, played by Thomas Haden Church, as he drunkenly strikes and kills a man with his tractor on a snowy night. Bruce immediately dumps the body off the side of the road, then seeks refuge deep in the woods, driving until he passes out completely. The body he has disposed of turns out to be Paul. Played by Marc Labrèch, Paul is a man down on his luck who Bruce had decided to take in until he got back on his feet. Prior to the accident, both men had seen better days. Bruce has lost his wife and his job, and Paul has amassed a huge gambling debt.
The feeling of solitude and loneliness is amplified by the sparse and harshly cold Canadian woods in which Bruce spends the majority of his time on the lam in. Director Emanuel Hoss-Desmarais maintains an open, empty environment throughout the film — one where company is something be wary of, rather than welcome. It’s an effective way to empathize with what life is like for a self described “good man” who has just committed murder; combining a mix of paranoia and desperation, blanketed with cold white silence. He has no one to talk to, no one to confide in.
In the pantheon of bad movies, believe it or not, there is such a thing as a good bad movie.
Dead Sea is not one of them.
Dead Sea is just bad with a capital B.