Reviews

Let me start this review by saying I knew what this movie was going to be before I even stepped into the theater. I knew it wasn't going to be on par with the original Jurassic Park, I knew it wasn't going to win any Oscars or awards or any praise from critics. Nope, the only thing this movie was going to be was a ridiculous, unbelievable, farfetched dinosaur fest made for the summer blockbuster season to cash in on an established franchise. And sure enough, that's what I got. Does that mean it isn't entertaining? Not at all. In fact, if you go in to the movie with the same mindset that I did. there's a good chance that you will have a really good time for two hours. The dinosaurs look absolutely incredible with the CGI, the T-Rex is scary for the first time since Jurassic Park: The Lost World, the new genetic monstrosity that's created and known as the Idnoraptor is an awesome creature, and on top of it all, we have Starlord himself, Christ Pratt, returning as Owen Grady to save the day. In addition to Pratt, we also have Bryce Dallas Howard returning as Claire, and the addition of new characters played by the likes of Ted Levine and Rafe Spall. Unfortunately, where the movie goes bad is it's plot. If you've read up on this movie at all, you probably have a good notion of what it is so I won't go into too much detail about it other than to say that Claire and Owen are contacted by an old partner of John Hammond's, Benjamin Lockwood, (played by James Cromwell ) for a rescue mission be undertaken to get the dinosaurs off the old island because of an eruption of the island's volcano that will wipe it out all the dinosaurs and correct man's mistake. Little do Claire and Owen know, it's all a lie, as Lockwood's associate, Eli Mills (Rafe Spall) plans on double crossing all of them by auctioning off the dinosaurs for the highest bidding to anyone who will buy them, arms dealers, warlords, crooked corporate executives, etc. As a result, the movie goes from being on an island to being at a giant mansion where the dinosaurs are taken to be held, displayed on fashion runway, and then naturally escape to cause havoc. As you can imagine, this is where the movie is most farfetched and hard to believe, and has plot holes galore! Why go to all the trouble of using dinosaurs as weapons (in particular the Indoraptor) when drones and robot technology has made killing machines more efficient and deadly than ever before????? There are many more plot holes you can find from other reviews or by seeing it yourself; I just don't have the space to point them all out! Still, I can't lie, I enjoyed dinosaurs run amok in a large mansion in the dark of night and if you're like me, you will too. Bottom line is, this movie won't be one you'll remember or cherish for years after seeing it like the first JP. But if you happen to be looking for some mindless fun for two hours, Jurassic World: Fallen Kingdom is your film. P.S. Also starring Jeff Goldblum, in a small cameo as Ian Malcolm.

I first saw "The Legacy" many moons ago as a kid on the old Sci-fi Channel and though I can't say I understood the plot, it was a film that always stayed with me. Having seen the movie recently as an adult, I am able to see it through mature eyes. And though I can't say it's a perfect film, it is certainly an entertaining film.

The story begins when architect Margaret (Katherine Ross) and her boyfriend Pete (Sam Elliot) receive a mysterious job offer over in old England. Though initially reluctant at first, Pete agrees to go to England with his gal, where, while riding a motorcycle together, the two get into an accident with a mysterious Jason Mountolive, who, being the well mannered English gentleman, offers the couple tea at his country estate. But as is usual the case in these types of movies, not all is as it seems, for while at the estate, they meet the foreboding Nurse Adams (Margaret Tyzack), Pete almost gets burned to death in the shower, and five other mysterious guests show up, all of whom have a lot of skeletons in their closets! The rouge assortment of guests include Charles Gray as a former Nazi and weapons dealer and Roger Daltrey as (what else?) a rock star! All of these guests owe their success to Mountolive, and all have been summoned to inherit the dying Mountolive's Satanic wealth and power, his legacy. All, that is, except Margaret, who has been sucked into the whole affair by forces beyond her understanding after a ring is forced onto her hand that she is unable to remove. But it becomes apparent that someone or something isn't content with six sharing the power, as one by one the guests begin to die in mysterious ways (including one memorable scene of a woman drowning in a pool because something prevents her from surfacing after diving). Will Margaret and Pete survive or they doomed to join the other guests?

"The Legacy" is one of those films that almost seems to have been the result of a writer getting drunk one night, and deciding to put stories like "The Omen" and "Ten Little Indians", as well as others, in a blender to see what happens! The movie is certainly a product of its times, having been made in the late 70's after such films like "The Omen" and "The Exorcist" and others came out. And while the plot of "The Legacy" is not always as clear or developed as those other films, it does at least keep the viewers attention. Director Richard Marquand does a competent job weaving the story together and creating a tense atmosphere and the actors all hit their mark, be it the always dependable Charles Gray, the foreboding Margaret Tyzack or even The Who's Roger Daltrey. But the biggest screen presence of all in this whole movie is Sam Elliot and Katherine Ross together. The two just ooze chemistry with one another when on screen, and the fact that they ended up getting married and are still together after all these years is no surprise after seeing this. Indeed, if it weren't for that onscreen chemistry between the two, I don't think the movie would have been half as effective as it is. To be sure, not everyone will connect to this film, but for those that do, it's well worth the time to see it.

I was a little kid when we borrowed a VHS of a certain little movie called "The Funhouse" from our neighbor. Me and my mother didn't quite know what to expect, but boy we're in for a surprise! "The Funhouse" was a film that absolutely scarred the bejeus out of me as a kid, so much so that it always stayed with me. It wasn't until a little while ago that I was able to see this horror gem again and despite not having seen it in years, it was still as creepy and unsettling as I remembered it. Directed by the late, great Tobe Hooper of "The Texas Chainsaw Massacre" fame, it's a simple story of four teenagers who go to carnival to do what most teenagers like to do, smoke weed, get laid, etc. Then one of them has the bright idea of staying the in the funhouse after closing. Little do they know, they'll get a lot more than they bargained for! After seeing a man with a Frankenstein mask murder a would be prostitute, it's a fight to the death as they are stalked by the man in the mask (and his father, the funhouse barker) who we soon discover, has a very good reason to not show his face in public. Will any of them survive or are they doomed to die in the funhouse?

"The Funhouse" is one of those films that doesn't get a lot of attention, which I've always found unfortunate and a little odd, for, though it may not be the best horror film ever made, I always found "The Funhouse" to be a very well made movie. It captured the seedy underbelly of traveling carnivals, a phenomenon that has largely disappeared as I understand it (Unfortunate, as I wouldn't mind have seeing this myself). The colors of the carnival lights are rich and vibrant, and hide the darkness that permeates the carnie world. The film is made better by Kevin Conway who plays all three carnival barkers, and who adds a sense of menace and sleaziness throughout the picture. Elizabeth Berridge should also be mentioned here for adding a touch innocence as Amy, one of the teenagers, who seems to know that under the veneer of fun there's darkness and seediness surrounding her and her friends. Then there is the monster himself. We have no idea what lies under that mask, but after he takes it off, we wish he'd have kept it on. As someone who's seen his fair share of horror monsters, I can unequivocally say the face of the monster here is hideous, terrifying, and beyond ugly. Rick Baker should be congratulated for creating such a gruesome make up effect, especially for a film that doesn't get much notice. The movie is able to show the horror of the creature while at the same time showing a pitifulness to the creature we are left with not doubt this deformed individual has been abused and ostracized it's all life. Indeed, I don't think the fact that the creature wears a Frankenstein monster's mask is a coincidence. And of course, Tobe Hooper should be given credit for weaving such a horrific tale. Indeed, one wishes he would have had a more successful career in Hollywood, as it's evident here he had a few more good movies in him other than just Texas Massacre. So if you're ever in the mood for a great scare, check out "The Funhouse".

Beware the funhouse!!!!!

Sequels are, by nature, hard to do for one is essentially trying to recapture that magic that made the original so good. Very few actually succeed. However, every now and then, someone actually makes a sequel worth seeing. Case in point, 1981's "Halloween II". Though I can't say it's as good as the first, it does manage to retain some of the magic and suspense that made the original so good. The story picks up exactly where the first one left off: Dr. Loomis (Donald Pleasance) shoots Michael Myers six times but as we all now doesn't die. From there, Laurie Strode (Jamie Lee Curtis) is taken to the local hospital but as we soon discover, Michael isn't done with her, and it's here that we discover the famous motive behind Michael's madness; Laurie Strode is Michael's sister. It's a fight for survival as Michael goes the hospital staff one by one until only Laurie is left, and is forced to face the horror of Michael once again.

Written and produced by John Carpenter and Debra Hill, "Halloween II" was a film that wasn't supposed to be made, as Carpenter and Hill didn't believe that a sequel was necessary. But when money enters the picture, people have a funny way of changing their minds. In many cases, such a scenario is a recipe for disaster. I know that Carpenter himself has said he's not impressed with the script he wrote (going as far as to say the only thing that helped him through the writing of it was a six pack of Budwieser). But I don't think he should be so hard on himself, for unlike most sequels - especially horror ones - "Halloween II" works. Though Carpenter didn't direct it, the movie still has the Carpenter feel to it, as since many of the same crew of the original also worked on this one. The one who did direct, Rick Rosenthal (Before he directed the atrocious "Halloween Resurrection") manages to weave a very good, effective, atmospheric tale of a killer stalking a hospital in the dead of night, and deserves to be congratulated here. It also helps that Carpenter's original theme and score gets an 80's makeover, courtesy of electronic composer Alan Howarth (someone I've had the pleasure of meeting personally), which I must say, makes the Halloween theme that much more effective and creepy! But above all, another important quality is the acting. Everyone here does a fine job, from Jamie Lee Curtis and Donald Pleasance to Leo Rossi and Lance Guest. Whenever a character dies, we feel for them. It's one of those instances where one feels a strong sense of camaraderie among the actors, something that is very rare in any movie. Some of criticized this as being slow, and I'll admit it does take longer for the film to get going. But the feeling of suspense is still there throughout the picture, and I myself consider this the best of the "Halloween" sequels, and look just as forward to it every time fall rolls around as I do the original. Happy Halloween!!!!

There are but a handful of movies in the history of film that could be said changed the very face of the horror genre forever. One of these is the 1978 immortal classic "Halloween" as directed by horror master John Carpenter. Set in the fictional town of Haddonfield, IL, the plot is so well known that it's barely worth mentioning here, other than to say an escaped mental patient named Michael Myers breaks out of the asylum he's been kept in for 15 years for killing his sister to terrorize the town's teenage girls on, you guessed it, Halloween night. Although the plot may not be the most complex, the film is elevated by that right mixture of talent, timing, and movie magic. John Carpenter is able to take what might have been an average slasher into a bona fide horror landmark. Almost everything great about this film is owed to Carpenter and his team, be it the camera angles, atmosphere, mood, the decision to use a creepy doctored up William Shatner mask for the killer (a mask that has gone into the annals of movie legend) and of course, who could forget that creepy music score composed by Carpenter himself. Without that piece alone, the movie wouldn't be anything near as infamous as it is. This is the film that launched the careers of so many Hollywood big wigs, from Carpenter and producing partner Debra Hill to Jamie Lee Curtis, and even the stardom of classically trained British actor Donald Pleasance as Michael's tortured psychiatrist who, in all honesty, is just as important to "Halloween's" success as John Carpenter is. This is the one, folks, the one that started the slasher craze of the 80's, the one that - for better or worse - launched the "Halloween" franchise, the one film you must see every Halloween. Miss it at your own peril. Happy Halloween!!!!!!

There are certain movies that I look forward to watching every time the leaves change color and that spooky time of year comes around. One of these is the delightful 1993 "Hocus Pocus" from Disney. Ever since I was a kid, it's a movie I've always cherished, and I think anyone who loves Halloween will too. When a group of kids decide to light the black candle, they unknowingly release a trio of witches who are determined to kill every last child in Salem to prolong their existence forever, unless they can be stopped first. Bette Midler shines in the role as head witch Winifred, bringing the right mixture of comedy and menace, Sarah Jessica Parker and Kathy Najimy equally shine as her comedic sisters bent on mischief and malice. Mick Garris and Dave Kirschner wrote a magical script that's all too delightfully directed by Kenny Ortega. Oh, did I mention there's a talking cat? If you want some Halloween magic, this is not to be missed!!!!

Remakes of any kind have always been a tricky proposition, especially in horror. The first reaction of many when it comes to such things is often instant condemnation, and for good reason: the overwhelming majority of remakes/revisions fall flat on their face when compared to the original work that inspired them. Occasionally, however, there comes along a remake/revision that not only pays great homage to the original, but can stand on its own feet as an excellent film. The 1990 version of "Night of the Living Dead" proves this without exception. Produced by the late, great original "Night of the Living Dead" director George Romero, and directed by special effects guru and constant Romero collaborator Tom Savini, it follows the same basic plot of the original film, but also adds a few new things in the mix as well.

If you saw the original film, you know the plot: Barbara and her prankster brother Johnnie are at the cemetery to lay flowers on their mother's grave when Johnnie, sensing Barbara's fear and unease concerning graveyards, taunts her with the infamous phrase, "They're coming to get you, Barbara." Little does he know, he's about to proved correct when the living dead attack. Barbara escapes, makes it to a farmhouse where she meets up with another survivor on the run, Ben, and who together end meet a group of survivors holed up in the cellar. The big difference between this and the original is 1990's Barbara is no weakling, as she can fight and shoot a gun just as good as any man. Patricia Tallman showcases this with ease in her role as Barbara, and leaves us no doubt she is more than capable of taking care of herself. In the role of Ben, Tony Todd excels as the average man caught up in something he can't comprehend, and who must also deal with the shenanigans of one of the survivors in the cellar, Cooper, played by Tom Towles. You can fill the hatred and animosity between the two as they bicker and fight over anything from whether to stay up above or in the cellar or even over a damn TV, all while being surrounded by zombies trying to break in, thus proving the point man's hatred and petty differences will destroy us faster than any army of the dead! As an added plus, we get to see the zombies in color in all their gruesome best as done by Tom Savini, who ,speaking of, does an absolute amazing job as a first time director who was fortunate enough to have a bigger budget to work with. I simply love this version, and truth be told I've probably seen this more times than the original if nothing because of the fact my dad thinks this is the better version. While I myself wouldn't go that far, I would say 1990's version of "Night of the Living Dead" gives us a chance to see the classic story in a more polished manner, while still paying homage to the original. All of this leads up to an ending that shows, I think, man can be far crueler than any walking dead stiff. Watch and see for yourself!

What do you get when you combine an airline, a slew of TV stars (including Captain Kirk himself!), and ancient, cursed Druid temple foundations all in one film? 1973's "The Horror at 37,000 Feet"! Starring the likes of Chuck Connors, William Shatner, Buddy Ebsen, Tammy Grimes, Frances Nuyen, Jane Merrow, Lynn Loring, Paul Winfield and Roy Thinnes, it's a wonderful mash up of the supernatural and 70's airline flicks. When architect Roy Thinnes transfers the remains of an abbey long owned by his wife's family, he unknowingly angers the old druid gods who have been attached to the old abbey before Christianity. Faced with impending disaster if the old gods are not appeased or defeated, the passengers and crew scramble to find a way out before everyone descends into a mob and gives the gods what they want: the sacrifice of the architect's wife Jane Merrow! Enter hard drinking, superstition mocking defrocked ex-priest William Shatner (Even writing that sentence makes laugh uncontrollably)! Can the former priest sum up his faith and courage or will everything go down in flames?

I absolutely love this movie due to, if for nothing else, just the creativity of it. I mean, for crying out loud, you have an ancient cursed Druid temple being transferred to the states on an airliner by an arrogant, rich architect and William Shatner as a wise cracking, drunk, former priest as the hero to save them. That's more creative than 90% of the films that get made today! But as silly and hokey as the plot line sounds, everyone here gives their best foot forward, from Shatner to Thinnes. Director David Lowell Rich keeps the direction tight and never allows the story to get dull, and the writing is superb with a little message about faith and hope in the darkest of times. This is a type of movie that proves you don't need elaborate special effects or gore to make a good horror flick; sometimes good acting, a decent story, and a little message are all you need, a lesson that has unfortunately been lost on Hollywood these days! If you are in the mood for a creative little horror film from back in the day, I recommend "The Horror at 37,000 Feet" as a good way to spend your time.

P.S. It's on youtube.

Vampire flicks are a dime a dozen, some made with high budgets, some with low budgets, some being well made, others not so much. However, even in a sea of so many vampire flicks, Full Moon Entertainment's 1991 "Subspecies" manages to stick out, largely due to one reason: This is the film that introduced us to the character of evil vampire Radu! With his long spider like fingers, horrendously long fingernails, ghoulish appearance, raspy voice, and evil persona, Radu makes quite the impression! The movie opens with Radu (Anders Hove) coming back to his native Romania to confront his father, Vampire King Vladislav (the late, great Angus Scrimm) for banishing him from inheriting the throne and the all powerful bloodstone, a stone that holds the blood of all the saints and which allows vampires the ability to survive without feeding on humans. After besting his father, Radu ends up killing him and stealing the bloodstone for himself. But Radu won't be home alone for long, as two American women - Michelle (Laura Mae Tate) and Lillian (Michelle McBride) - soon arrive in Romania to meet up with their Romanian friend, Mara (Irina Movila), to study the local folklore in the region while staying at (you guessed it) the castle that Radu is staying at! Soon enough, they discover another stranger is in their midst, the mysterious Stefan (Michael Watson) who just happens to be the good vampire brother of Radu, and who takes an instant liking to Michelle and she to him. But love will have to wait as the girls find themselves being stalked and take over by the evil that lurks in the castle walls, Radu. Will they survive their stay in Romania or are they doomed to be become the undead themselves?

Although filmed on a low budget, "Subspecies" has a certain magic to it that would only increase in the following sequels. One major reason for this is due to the film actually being shot on location in Romania, creepy castles and all. Another must go to Ted Nicolaou for directing a film on such a tight budget and still bring so much out of the picture in terms of style and atmosphere. Special effects, such as Radu's shadow moving through the castle hallways, make for some very simple but highly effective creepy enhancements for the picture. But above all, what makes "Subspecies" as good as it is would be the terrific performance of Anders Hove as Radu. With his crackling voice, creepy demeanor, and evil zeal, Hove makes Radu the center point of the whole Subspecies series, despite the fact that the original intention was to make Stefan's and Michelle's love story the main focus. While the film does have its flaws, the important thing to keep in mind is this is only the introduction to a series that in reality is all one big, extended film, a film that gets better with each addition. Don't just take my word for it, check it out for yourself!

Vampires have formed the basis of more than a few shows and movies, too many to count, in fact. Some of it's been good, some bad. Finding material that's truly exceptional, however, within the genre takes some digging (As someone who's a movie buff, I can personally attest to this). One of these exceptional pieces is the late night television series "Forever Knight". Airing first on CBS's crime time after prime time line up, it's a show that follows the story of Toronto police Det. Nick Knight (Geraint Wyn Davies) who, unbeknownst to his colleagues, is really an 800 year old vampire seeking redemption by solving crimes while working the night shift. Joining him in this quest is his wise cracking partner, Det. Don Schanke (John Kapelos), (who somehow seems to miss every clue his partner's not mortal!), as well as coroner Dr. Natalie Lambert, the only person in the entire department who knows Nick's secret and whom is committed to finding a way to make Nick human again. But Nick must also contend with interference at every turn by his 2,000 year old former master and vampire maker Lucien Lacroix (Nigel Bennett) who disapproves of his former protege's attempts at morality and does everything he can to make Nick live the vampire life he deems acceptable. Will Nick become human again, or will he be destined to live the life a vampire forever?

As cheesy and slightly ridiculous as the premise is (An 800 vampire as a cop!) "Forever Knight" is one of those shows that somehow, someway just works. The writing is superb, often times injecting depth and further meaning in each episode (often through well done historic flashbacks from across Nick's long life, which were a major bit of the show's fun) and being able to expertly combine a vampire story with that of a police/crime solving procedure type show (which is what "Night" is 50% of the time). And not to mention, the acting is terrific, and in many ways is what makes the show believable and entertaining at the same time. Geraint Wyn Davies is excellent in the lead role, and gives believable pathos to the tortured Nick Knight, a vampire who after living for 800 years desperately wants mortality. Jon Kapelos gives the show a little comedy relief as the always wise-cracking and lovable Schanke, as well as infusing some of that buddy cop aspect to it. Catherine Disher is great as Natalie, who is in many ways the love interest for Nick, and the one who ties Nick to the human world more than anyone else. However, none of this would be nearly as good if it weren't for the wonderful performance of Nigel Bennett as the evil, charming, and devilish Lacroix. Oozing charisma, seduction, and darkness all at the same, Bennett is able to bring a really strong devil-like persona to the character Lacroix, more so than perhaps any other evil vampire overlord, and injects a certain level of danger that should be present in any vampire story. Plus, you'll be treated to a variety of great guest stars, including a certain actress by the name of Carrie Ann Moss of "The Matrix" fame. Though the show may have ended too soon and was perhaps a little rushed, the show stands the test of time. Bottom line, if you love vampires as much as me and can't get enough of them, check out "Forever Knight".

P.S. It's available on you tube.

Every kid who celebrates Christmas looks forward to seeing their favorite animation short, and one of the most popular is 1964's "Rudolph the Red-Nosed Reindeer". I know, because I used to look watch this every year it came on as a kid, even with the trillion commercials the networks now put into it! We all know the story, Rudolph has a nose that's red and glows so bright, none of the other reindeer let Rudolph play reindeer games, "than one foggy Christmas Eve, Santa came to say, Rudolph with your nose so bright, won't you guide my sleigh tonight?" And on and on it goes. Except for this animation classic, the producers add in a few new characters, such as the dreadful abominable snowman of the north pole, gold prospector Yukon Cornelius, Hermey the elf who doesn't like to make toys and who wants to be a dentist, not to the mention the most joyous of all, the island of misfit toys. Oh, just describing this brings back the memories of being a kid on Christmas! Chances are you've already seen this a million times, now just make sure your kids do too. Merry Christmas!

Although I can't say "Jingle all the way is the greatest movie ever made, it is a film that's good for what it is: A Christmas comedy! Starring Arnold Schwarzeneggar, Phil Hartman, Sinbad, Rita Wilson, and Jake Lloyd, it's a film about a father (Arnold) who, getting buried in his work and missing the important things in his, forgets to get his son the Christmas gift he wants most of all: The Turbo Man action figurine doll. Now, having to duke it out (quite literally) with other parents who waited to the last minute, including a deranged mailman (Sinbad) who are desperate to get their hands on the hottest selling Christmas toy ever. As expected, plenty of high jinks ensue, from Arnold repeatedly running into (and getting on the bad side) of a certain traffic cop, to Sinbad's crazy antics, and a certain conspiracy involving shady Santas (one of whom played by Jim Belushi) selling counter fit toys. Plus, we get to enjoy a performance of the late, great Phil Hartman as a neighborhood handy man who's trying to put the squeeze on Arnold's wife (Rita Wilson), and makes us miss the man that much more. Now the movie does get a little ridiculous near the end, and when you see it you'll know what I mean. But, at the same time, considering this is Hollywood one has to be willing to suspend disbelief a little bit here and there. And besides, what's a little ridiculousness going to harm? Just sit back and watch for the comedy and Christmas season.

Growing up as a kid, there was no time of the year better than around Christmas, when you were dreaming what gifts Santa was going to give you and when magic seemed to be in the air. Adding to all this were the seasonal movies that always seemed to pop up, from cartoons to feature length films. One of these was 1983's "A Christmas Story". Starring Darren McGavin, Melinda Dillon, and Peter Billingsley, it's a movie that gets played over and over again - 12 times in 24 hours to be exact - every year on cable, and for good reason: It's that great of a film. Based off of the writings of and narrated by radio personality Jean Shepherd, it's a simple story at heart, one about a young boy named Ralphie (Peter Billingsley) growing up in 1940's Indiana and dreaming about getting a Red Ryder B.B. gun for Christmas. Problem is, his mother isn't too fond of the idea at all, uttering the famous line, "you'll shoot your eye out." Naturally determined to work around this, Ralphie works on a secret plan to try to hoodwink his mother, and that's where the fun begins, from a scary mall Santa to sticking a certain part of the body on cold, winter beam to see if it sticks!

There are some movies that, despite not having the biggest budget or maybe even the biggest star names, seem to radiate a magic all their own. "A Christmas Story" is certainly one of those. From the whimsical narration of Jean Shepherd to a certain major award Darren McGavin's the old man wins (you know, the one that's a lamp in the shape of a certain part of the female anatomy), this film has Christmas magic oozing all over it. Peter Billingsley is wonderful as the determined kid to get his hands on the ultimate Christmas gift, doing everything from writing a school paper on the benefits of owning a Red Ryder B.B. gun for Christmas to asking a certain, way too scary for little kids mall Santa, which used to somewhat scare me as a kid but is now probably my favorite part of the whole entire movie. Plus, the performances of the late, great Darren McGavin as the old man, Melinda Dillon as Ralphie's mother, Ian Petrella as Ralphie's annoying little kid brother, Scott Schwartz and R.D. Robb as Ralphie's childhood friends Schwartz and Flick, and Zack Ward as the school bully Scut Farkus ("Scut Farkus, what a rotten name!") all add to this joyous experience. Anyone who ever celebrated Christmas a kid will get this movie, and for that reason alone, don't through life without seeing this at least a couple hundred times! Ho Ho Ho, Merry Christmas!

Unlike most folks reviewing this film, I did not grow up in the 1960's as a kid, and so I did not really watch much of Mister Magoo at all as a child. And yet despite that, there's something about "Mister Magoo's Christmas Carol" that keeps me coming back year after year, ever since I first discovered it, as an adult no less. A good portion of it has to certainly due to the comedic aspects of the show, from Mister Magoo being half blind because he's too cheap to get glasses and bumbling all over the place to the lovely drawn and colored animation. But there's also something else about Magoo's Christmas Carol, something timeless; heart. From hearing the little Tiny Tim utter the famous line, "God bless us, everyone", to the emotional lyrics of the radiant songs of the film, this little short has all the things that make Christmas special. Plus, the animation is drawn beautifully here, and makes one wish that some of the old school animation could be made here and there for today's children. If you're looking for a nice, little version of "A Christmas Carol" for your kids or even for yourself, check it "Mister Magoo's Christmas Carol." You'll be glad you did. Merry Christmas!

Ah, Christmas. That time of year when families come together and peace and harmony reign supreme. Yeah right! Just try telling that to the Griswolds! That lovable family who can't seem to stay out of trouble are back for the holidays, with Clark Griswold (Chevy Chase) making it his personal mission to make the perfect Christmas, and failing at every turn! From looking for the perfect Christmas tree in the middle of the woods - and having to dig it out of the ground because he forgot the saw! - to not being able to get the zillion outside lights to work, nothing ever seems to quite according to plan. Add in the parents, in-laws, pesky yuppie neighbors, and Clark's crazy, but lovable cousin in law, Eddie (Randy Quaid) and you have the "hap hap happiest Christmas since Bing Crosby tap-danced with Danny F------ Kaye!"

"Christmas Vacation" is probably my favorite of the "Vacation" movies since it's the one I watch the most, especially around the holidays. Despite how outrageous the comedy is - from the ridiculously huge amount of outside lights to the bone dry turkey -, if you've celebrated Christmas a few times, especially as an adult, you'll find there's a grain of truth to "Christmas Vacation". Case in point, the scene where Clark can't get the outside lights to work and just loses it never fails to crack me up, no matter how many times I see it, as it reminds me of when my dad would get bad because we couldn't get the lights and decorations to work, and he'd always go on a profanity laced tirade! The writing of John Hughes is spot on in turning the challenges of the holidays into comedy gold. All the actors and actresses hit their mark with perfection: Chevy Chase's performance as everyday man Clark Griswold who thinks he knows what he is doing but is in way over his head is one of the ages here, the beautiful and talented Beverly D'Angelo as Clark's tortured wife Ellen is a joy to watch, as is Juliette Lewis as the Griswold's cranky, teenage daughter Audrey, a young Johnny Galecki as son Rusty, plus a whole slew of support roles from the late Doris Roberts, John Randolph, EG Marshall, Diane Ladd, Mae Questal, Nicholas Guest, Julia Louis-Dreyfus, Brian Doyle-Murray and of course, the larger than life Randy Quaid. "Christmas Vacation" is an absolute joy to watch every year, and is one of those films that's so quotable, that if you stick two fans who've seen it all their lives together and one says a quote from the film, the other will be able to respond in kind from the movie. Me and my sister do it every time. If you love the holidays as much as I do, than check this out. Merry Christmas!

Ever since the first atom bomb was detonated in 1945, the world has lived in fear of the possibility of nuclear war and the annihilation of civilization. Naturally, such a scenario has formed the basis of more than one film, some going for a more sci-fi take where radiation created mutants and monsters roam the earth in the aftermath, others going for a more darker, realistic take. Those of the latter can be some of the most horrific films ever made, but few of those films reach the level of realism and abject terror that 1984's "Threads" does. Produced by the BBC for television, it came out during a time of renewed tensions in the Cold War and fears that a nuclear confrontation between the Soviet Union and the United States was imminent. The American landmark TV movie "The Day After" had come out one year earlier, now it would be the British's turn, and while "The Day After" was a frighteningly realistic movie, "Threads" went one step further in becoming the most horrific film of its kind.

Made in a quasi-documentary style with occasional narration by Paul Vaughan, it takes place in the northern England town of Sheffield, where two young lovers Ruth and Jimmy are just starting out in life and planning on getting married, having a baby, and blissfully unaware of the news of a growing crisis unfolding in Iran. The Soviets have invaded Iran due to a American backed coup that has overthrown the government there, America calls for the Soviets to leave, they refuse, and the situation escalates when the United States sends troops of their own. Slowly but surely, the residents can't help but notice the situation as tensions mount, and panic gradually ensues. You can feel the feeling of dread increase as the film progresses, and things reach a boiling point when tactical nuclear weapons are used by both the Russians and Americans in Iran. Tensions and protests increase, until finally the unthinkable happens: The bombs come for Sheffield, and all hell breaks loose when the demonic mushroom cloud looms over the land, but as we will soon learn the bomb is only the beginning, for what follows makes even the most horrific tale of fire and brimstone hell seem trite in comparison.

If you seek even the remotest resemblance of hope, joy, or happiness, look someplace else, for "Threads" has none to offer. The scene where the bomb drops is the most realistic and disturbing of any such scene I have ever seen, for we see sheer terror on a primal scale as buildings are turned instantly into rubble, a woman wets herself in terror, milk bottles are melted, still moving human bodies are roasted alive among the fires, cats are suffocated from the heat, and life as we know it ends forever. All of this still holds over thirty years later, despite being a made for TV production. But if the bomb is bad, the aftermath is worse. There is no electricity, no running water, infrastructure is reduced to rubble and hospitals are useless as the narrator dryly tells us that with out the basic necessities of water and electricity, a doctor is no longer able to provide basic care, and is no more valuable than the next survivor, having instead to resort to primitive measures of the past, all shown in horrific detail. Fall out covers the sky, causing a nuclear winter, radiation rains down, causing sickness and misery undreamed of, the soil contaminates, and crops are no more.

I can unequivocally say this is the most hopeless movie I ever seen of any genre, for "Threads" pulls zero punches, permeates your soul, and utterly rips it apart. I ended up watching this on a small screen my phone, which I normally don't do as I prefer big screens. At first I didn't know if I'd be able to watch it all the way because of that, but as the film progressed the size of the screen no longer mattered, for "Threads" pulled me in and would not let go, right up until the final moment where we find out what the future of mankind is; there isn't one. For fifteen to twenty minutes after the ending I was barely able to move or speak, as my mind couldn't completely grasp what I had seen. Even now I'm not sure it can. "Threads" shows what could have easily happened if the cold war had ever gone hot (as it almost did, many times, a lot more than most people realize), and what could still happen if God forbid a day comes when things between the west and Russia or some other nuclear power come to blows over some international incident. After all, folks, the cold war might have ended, but that doesn't mean Russia and the U.S. stopped aiming missiles at one another. This film is hard to come by in the United States, and I was only able to see it through a link on you tube, but if you get the chance and have the stamina to witness the closest thing to real nuclear war without actually experiencing it, watch "Threads", and while you're at it, whether you're a believer or not, pray this isn't the future of mankind.

"I Know What You Did Last Summer". It sounds like one of the corniest threats ever or one of the worst ways to make conversation, doesn't it folks? But that's the name of the Kevin Williamson written 1997 teen slasher pick starring youthful actors Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe, and Freddie Prince Jr. The plot of the film has already been mentioned by many on this site, so I won't spend too much time on it here, except to say four teens living in small fishing hamlet decide to celebrate their high school graduation by (what else?) getting drunk and making out on the beach and on their way back, accidentally hit a man along the road and seemingly kill him. Rather than do the right thing and report the accident to the cops, the four decide to cover it up by dumping the man in the ocean and making a pact to never talk about it ever again, which would be fine, perhaps, if one year later someone wasn't sending out letters with the film's title on it! Who is stalking the teens? Is it someone who saw them dump the body or is it possible the person they hit wasn't really dead?

Made one year after Williamson's other written (and quite spectacularly, I might add) "Scream", it's a movie that tried to capitalize on the spirit of that clever, self-parodying thriller, and while I can't say it fully succeeded, there's something about "I Know What You Did Last Summer" that I can't help but fall in love with. Perhaps this is one of those cases where the time period a film was made in overcompensates whatever flaws the story has - such as various plot holes, the fact that some of the characters are not particularly likable (Ryan Phillippe's rich kid quarterback character comes to mind), or the fact that the killer, when revealed, doesn't have quite the same impact Ghostface or Michael Myers had.

Indeed, hearing the 90's soundtrack blaring over the film's scenes instantly makes me think of the better, more carefree days of when I was a kid, when the only thing you had to worry about was what new blockbuster was coming out and who the President of the United States was sleeping with! Or maybe it's because of the fact that the four leads have such great chemistry together I just can't help but stay put and watch. Whatever, the reason, "I know What You Did Last Summer" is one of those slightly cheesy films that will appeal to a certain audience, and even for those it doesn't, at the very least they'll have delicious eye candy in the form of Hewitt or Gellar, or if you're a woman, Phillippe and Prince. Regardless of what others might think, for me this is a film that's fun to look back on, if for nothing, a time capsule of better times. Also starring Ann Heche, Bridgette Wilson-Sampras, John Galecki, Muse Watson, and Stuart Greer.

There are some films that I've seen where I can't fathom for the life of me of how overrated they've become on IMDb - many of them having hundreds of reviews and over inflated ratings - and then there are also films where I can't fathom how underrated or unknown they are, having very little in the way of reviews or fame. 1980's "Windwalker" is one of those films that sadly falls into the latter category. Starring English actor Trevor Howard, it's a movie that simply shouldn't be as good as it is, mainly because of the fact Trevor Howard, one of the quintessential English actors of his generation, stars as an aging American Indian (or Native American, whatever you prefer) Cheyenne warrior! Just hearing that fact alone would probably have you believe that the movie is one to be panned almost immediately. And yet my friends, nothing could be further from the truth.

The movie takes place in the rugged western wilderness of pre-European North America, during the brutally cold winters of that area, and focuses on a family of Cheyenne, and in particular, on aging and dying warrior patriarch Windwalker (Trevor Howard). As he lays dying of old age and decay, he accepts that his time has come, and begins to recount to his grandchildren his days as a young man (those scenes being played by James Remar), of how he came to "win" his wife and true love Tashira (Serene Hedin), the birth of his twin sons, and how in one instance, one of them was snatched and taken away and his lovely wife killed. Saddened by this memory but content that he has lived a good, full life, Windwalker dies and his laid to rest in the Cheyenne way. But little does the old warrior know, the great spirit in the sky is not quite ready to let Windwalker's spirit onto the wind just yet, for as his family is traveling back to lair, they are attacked by a band of their hated enemy, the Crow tribe. Using a combination of wisdom and powerful magic, Windwalker sets on to his final adventure to save his family and make it more stronger in ways he never could have imagined.

"Windwalker" is perhaps the most authentic movie ever done on Native Americans, one reason due to the fact that there's not a single cowboy in sight and another because - other than some narration in English at times - the dialogue is spoken entirely in actual Cheyenne and Crow languages and dialect. Trevor Howard, despite being English, is absolutely (and shockingly) believable in his role as the Cheyenne warrior chief embarking on his last adventure, becoming completely immersed in his character, and in many ways, actually becomes Windwalker. Adding to this is the performances of the other actors - some of whom are actually Native American - who all do a fine job, be it James Remar as the young Windwalker, Nick Ramus as Windwalker's son, the beautiful Serene Hedin as Tashina, even Billy Drago as one of the Crow scouts turn in believable performances.

Another strong aspect of the film is the sets; filmed in the wilds of Utah, there were many times I thought I was watching a portrait being painted simply because the outdoor locations were so mesmerizing and beautiful. Director Kieth Merrill expertly takes all of these elements and weaves together a brilliant film that shows beauty, the power the human spirit has when it comes to survival, and also shows that violence and war are in no way limited to just one group of people. Indeed, life among the native tribes was not as idyllic as some would have you believe. How in the world this film is not more widely known or did not even get one Oscar nomination is something I will never figure out for the life of me. To put it bluntly, folks, you are robbing yourselves by not seeing underrated gem, and that's a phrase I use very sparling my friends. If you should ever have the opportunity to see this, don't pass it up. I promise you are in for a real treat with this one. Also marks the first appearance of animal actor Bart the Bear.

She was a dazzling singer, part of a trio that dazzled the world over; he was a brutal mobster who lived in a world of death and violence. Sounds like an excellent work of fiction or the content of a good song, but alas, it actually is the real life case of the romance between Phyllis McGuire and Chicago gangster Sam Giancana, a story that is decently told in 1995's HBO film "Sugartime". Starring John Turturro and Mary Louise-Parker in the starring roles, it's a film that reasonably captures the 1960's, be it through the fashion, music, or especially the cars. The movie introduces us to the McGuire sisters, a song and dance trio that's taking the world by storm. While performing one night in a club, Phyllis, the lead singer, catches the eye of mobster Sam Giancana, and thus begins one of the most unusual relationships in pop culture history, as the two do their best to keep the relationship secret, but of course, it's only a matter of time before their secret affair is discovered, which will send their two worlds on a collision course they may never recover from.

While "Sugartime" may not be as good as say, films like "The Godfather" or "Goodfellas", it's not necessarily a bad film either. As someone who's done a lot of reading about Sam Giancana and the mob in general, I can honestly say the director and producers did a good job of trying to stay true to the original source material as much as can be possible in a movie. John Turturro does an fine job of bringing the persona of Sam Giancana to life on screen, bringing a sense of charm and charisma to the man but at the same time conveying the fact that violence and thuggery lurk just below the surface as well. Mary Louise Parker is radiant and wonderful in her interpretation of Phyllis McGuire, bringing a sense of Midwest charm to the character, and beauty too. Another bonus is the fairly well written dialogue of the film, particularly when it concerns Turturro's lines as Sam Giancana, which in some places, manage to be both foul, salty but somehow absolutely hysterically at the same time (Turturro's lines in the scene where Phyllis tells Sam she has to go to London and can't stay after Sam went to the trouble of building Venice, Italy on a lake in the Chicago suburbs comes to mind!). All that being said, the movie isn't perfect either, dragging in some places and at times, it feels that the combining of Sam's and Phyllis's two worlds was not as cohesive as perhaps it could have been. Also, those looking for a action-packed, blood soaked mob film might be disappointed, as the film covers more of the romance aspect than the gangster (That being said, the movie does contain a few particularly memorable, violent scenes). However, for anyone who has an interest in the mob and in particular, Sam Giancana himself, "Sugartime" is not a bad way to kill some time and take in a good story. And it's available on youtube. Also starring Elias Koteas.

"Reindeer Games" may not go down as one of the best written or brilliant films ever made (and truth be told be it not for the fact that it was directed by the late, great John Frankenheimer, and starred Ben Affleck or Charlize Theron, it wouldn't have nearly been as noticed on this site as it is), but that doesn't mean it's without its merits. At heart, it's a simple story: prison convict Rudy Duncan (Ben Affleck)and his cell mate Nick Cassidy (James Frain) are two days away from being released around the holidays when Nick is killed in a prison riot. Saddened and distraught, Rudy ends up being released but not without assuming Nick's identity when he steps out of the prison gates to impress the beautiful and hot Ashley (Charlize Theron) that Nick had been writing to and intending to shack up with. Rudy tells himself that it's only until after New Year's but unbeknownst to him, he gets a lot more than he bargained for when Ashley's brother, Gabriel (Gary Sinise with Lt. Dan's hippie hairstyle) and his crew of gun running thugs force him into robbing a Indian casino (disguised as, of all things, a group of Santa Clauses!) because they think him to be the actual Nick Cassidy, who, just happened to have worked for that very casino as a security guard. Gee, what are the odds! From there, it's a race against time as Rudy tries to stay one step ahead of the sadistic Gabriel and some how escape with his life in time for Christmas. But along the way, Rudy will see there are a couple of twists and turns and despite his best efforts, he may spend Christmas in the morgue.

What makes "Reindeer Games" as watchable and decently entertaining as it is would primarily be the direction of the master thrill maker John Frankenheimer. With his eye for the camera, he's able to squeeze the most tension out of any performance or script, no matter how convoluted it might be and under his supervision, the atmosphere is tight, fast spaced, and the story never stalls. It also helps that the movie has decent performances, even from Ben Affleck himself. Though I can't say Ben Affleck is the greatest actor in the world, under the right set of circumstances, he is capable of doing good work, and under Frankenheimer's tutelage, he does pretty decent here. Also noteworthy is Charlize Theron as the seemingly innocent Ashley, Gary Sinise's performance as gun running truck driver turned robber Gabriel, who does a decent job of being the bad guy of the film - even if the character is one dimensional - as well as the fact that there are a couple of note worthy actors playing his henchmen, such as the always dependable Danny Trejo, the underrated but solid Clarence Williams III, and good old natured Donal Logue. Plus, you'll notice a few notable cameos like Isaac Hayes as a fellow convict, a really random one of Ashton Kutcher as a casino patron (huh?), and a small but noteworthy performance of the late Dennis Farina as a sleazy casino manager. "Reindeer Games" may not reinvent the wheel, but with Frankenheimer's direction (his final feature film), some good acting, decent action, and few decent plot twists here and there, it's not a bad way to waste some time. Merry Christmas!

I had heard of "Generation Kill" when it premiered in 2008, but was unable to view since I do not have HBO. So I forgot about it for a while until some time ago I was looking around at the local library when I just happened to sight this little, television masterpiece, and decided, especially in light of what the result of our adventure in Iraq has been in the last few years, to give it a chance. And though I can't say "Generation Kill" was necessarily my favorite viewing experience, I'm glad I did. Based off of the memoirs of a Rolling Stone reporter embedded with the 1st Marine Recon Unit during the first days of the US invasion of Iraq, it begins on the eve of that faithful event by introducing the viewer to the men of 1st Marine Recon (many of whom are based off of real life Marines), their code, standards, and every day experience. When they learn that the invasion is going ahead, they also learn that a reporter from Rolling Stone will be coming with them. Initially reluctant to having a greenhorn tag along with them, they warm up to the young writer when they learn he used to write for Penthouse, a magazine many of these young, red blooded males are familiar with! Through the production, we see the course of events through the eyes of the Marines and their "hang around" in a the most unsugar coated method possible, and we come away with no illusions about what war is really like.

What makes "Generation Kill" so different from other war productions is the fact that it strips away the unnecessary fluff and puff and presents the story in an almost character ensemble/documentary style. In "Generation Kill" there is no music score or opening theme, only the crackle and chatter of voices over the radio greets us at the beginning and end credits of each episode, multiple units and men sounding off into the dead of night, which truth be told, is far more effective than any music theme could be (That being said, the final scenes of the last episode feature a most appropriate use of Johnny Cash's "The Man Comes Around", the only recorded song used in the entire series). There is also not much in the way of heroics or glory for the simple reason that in war, there is none to be found. There are no eagles soaring, or glory sounding tunes, or any other BS like that; only following the orders of your superiors (Even if they're complete fools or incompetent), hurrying up and waiting, and of course, death and destruction.

And that last part is especially evident in "Generation", as the series pulls no punches in regards to the civilian "collateral damage" that occurred in Iraq during our invasion, and thus shows the cost civilians pay when armies, even with the best of intentions, come charging into their environment in a combat role (To those who think US troops patrolling troubled neighborhoods would be a good idea, I challenge them to watch this and then try to argue for that idea!). All of this is effectively shown through the tremendous efforts of the directors, producers, show runners, writers, and actors such as Jon Huertas, Alexander Skarsgard, Lee Tergesen, Stark Sands, Neal Jones, Michael Kelly, Chance Kelly, former real life 1st Marine Rudy Reyes, James Ransone, and many, many more who I don't have the space for. To round it up, "Generation Kill" is a mini-series that leaves nothing to the imagination when it comes to the chaos and absurd nature of conflict, be it Iraq or anywhere else. As one former Marine commented here, this is the closet thing to war short of going there and actually filming it. For a former service member to say that, you know they did something right here. If you want to see what the reality of conflict without actually being there, then check out "Generation Kill". Stay frosty.

Ever see a film that was so zany, so brilliant that you just couldn't contain yourself? That's the case with me concerning 1985's "The Return of the Living Dead". Directed by the late Dan O'Bannon (writer of "Alien") it's a zombie flick that manages to inject a vibrant, new energy into the zombie genre and has everything you could possibly want in an 80's horror/comedy/fantasy. It's funny, zany, horrific, scary, ridiculous, brilliant, even touching (you'll know which scene I mean) all at the same time. The plot begins when young, inexperienced Freddy (Thom Matthews) and elder company man Frank (James Karen) unwittingly release chemicals from a military marked container in the basement of a medical supply warehouse that have a habit of bringing back anything dead. Soon before you know it, a whole cemetery of corpses come back to life to terrify the living daylights out of everyone, especially Freddy's teenage friends who have taken to partying in that exact cemetery. What follows is one of the most fun zombie mashups in the history of filmmaking. Adding to the fun is the fact that the film is pure 80's, be it the fashion, music, characters, look and feel of the film. And it's especially the characters that really make the film, be it the young woman who thinks death is sexy (Linnea Quigley), the mortician who for some reason carries a gun with him at all times and listens to German marching music (Don Calfa) or the misfit guy who wears chains and leather and whom nobody understands (Mark Venturini). Plus, there's the zombies themselves, who, rather than being able to be killed by the shooting in the head device, are seemingly unkillable, have intelligence, and can even talk! The make up and effects still hold after all these years, a testament to the fact that CGI isn't everything. There were moments in the film that I just couldn't stop laughing because the comedic timing was so spot on. Everything you could want in a B-movie horror film and spoof is here, from the monsters themselves to an overzealous military officer who has contingency plans in place for such an event. No matter how old you are or tastes in film, this film is a must see. Don't miss it. Partytime!!!!!

Shows exploring the strange phenomena and cases of the supernatural have been produced with as much regularity as such cases themselves have been reported throughout the years. We can all probably name a few off theses shows off the top of our heads, even if we're not believers ourselves. One such example is the classic "In Search Of". Hosted by the great - and now sadly deceased - Leonard Nimoy, it was the type of show that later such shows would copy in one form or another; the type that investigated the unique mysteries of our planet. This could be not only anything from investigating claims of ghosts, hauntings, UFOs, Bigfoot, Loch Ness monster, reincarnation, past lives, Atlantis, Bermuda Triangle (which are the things the show is most famous for) but also things and events as diverse as the disappearance of Amelia Earhart and the subsequent theories on what happened to her, DB Cooper and his infamous airline hijacking, ransom, and daredevil escape; as well as exploring such varying subjects like earthquakes, tornadoes, killer bees, Oak island, lost Viking colonies, and Voodoo on the island of Haiti! And it was hosted and narrated by the wonderful Mr. Nimoy, who, with his trademark intelligence, eloquence, great voice, and display of vulcan logic, brought much legitimacy to the show's subjects, no matter how outlandish they might appear. Also included were interviews with witnesses, experts - both believers and skeptics - police officers, scientists, historians, and anybody who could shed some light on the subject at hand. Add some unique - and at times spooky - music, and you have yourself a fun, interesting, campy at times, TV Classic. The show might seem a bit dated in some areas, but that doesn't mean it's no less compelling today than it was then. After all, it's been over thirty years since this program was on and we're still contemplating many of these subjects. For that reason, "In Search Of" is the type of show that has a little something for everyone, regardless of whether you're a believer or not. A lot of the episodes are available on you tube and the whole show is available on DVD. Check it out sometime, and go on a journey with Mr. Nimoy in search of something.

P.S. Rest in peace Mr. Nimoy

"War is hell", as the old saying goes, and as long as has been possible, Hollywood has tried to show what war's really like, sometimes succeeding, other times not so. It's probably fair to say that only a select few war pictures really achieve the grittiness and ugly realism of war, and if you know your films, you probably know which ones ("Full Metal Jacket", Apocalypse Now", "Platoon" , etc.). Yet there is another picture that deserves to be included in this list, a film that although American made, tells a war story that is probably one of the most unlikely ones to be told on the American screen. The film is called "The Beast of War". Made in 1988, it tells the seemly simple story of a Soviet tank crew who gets lost in the middle of the unforgiving wilderness of Afghanistan during the Soviet invasion and bloody war that occurred there. Cut off from the rest of their forces, they are mercilessly pursued by a group of Mujahadeen fighters, or Afghan guerrillas, in revenge for a massacre carried out by the crew in their village, all shown in horrific, graphic detail that grabs the viewer in the opening. Leading the pack of the crew is the tyrannical and hard charging officer Daskal (George Dzundza in a terrific performance) a veteran who fought at Stalingrad and who is determined to maintain the honor of "the motherland".

The soldiers below him, though, are far more likely thinking a question most soldiers in wars through out the ages have probably asked: Just what the hell are doing here? That's certainly the question being asked by the young soldier Konstantin (Jason Patric in another great performance), who slowly begins to become a thorn in Daskal's side with all his questioning, especially as Daskal grows more paranoid and unjustly distrustful of the crew's Afghan liaison officer Samad (wonderful character actor Erick Avari). Eventually, Konstantin is tied to a rock and left to the mercy of the savages by the increasingly unstable Daskal but unbeknownst to him, fate has other plans. But the movie doesn't just show the workings of the tank crew, it also intimately shows the Afghans who are following them, showcasing the conflicts of interest and power dynamics within their group, and their hunt for "the beast", as they call the tank. Leading them is their newly minted village chief, or Kahn, Taj (played by Steven Bauer of "Scarface" fame in a most convincing performance) who, like the Russians, is under pressure to uphold the values and expectations of his people.

"The Beast" is probably one of the most unique war films ever made, in that here you have an American made movie that deals with a foreign war that we were not fighting in at the time - though we were giving significant support to various groups within the Afghan Mujahadeen - and one that was being fought by our arc rival at the time, the Russians or Soviets. And yet, somehow, the film transcends these barriers and under the superb direction of Kevin Reynolds, creates characters and a story that somehow seem universal from time to time or conflict to conflict. Even though the soldiers are Russian, the films is able to show them as soldiers that can be found in any army, be it here in the good old, US of A or anywhere else for that matter. Granted, part of this is due to the fact the guys speak American English rather than English with a Russian accent. But it somehow, it all just works. As for the actors playing the Afghans, everyone of them must be congratulated, not only acting wise for their individual characters but also for convincingly speaking the Pashto language, something that must have had its own challenges involved. "The Beast" truly is one of those rare films that manages to not only show the ugly reality of war and dark side of man but also something universal about humanity, human connections, and culture, all of it enhanced by Mark Isham's majestic and hauntingly beautiful music score.

The Afghans fight for what their culture holds dear, as do the Russians. But the funny thing is, if race, ethnicity, or ideology didn't separate them, many of these characters might have made good friends. Sadly, though, "The Beast of War" is a movie that managed to fall through the cracks, perhaps because of the unique subject matter of the film, which is a shame, for as the United States tries to bend Afghanistan to its will and bring it into the modern age, "The Beast" is able to fully show the hopeless situation the Soviet Union found itself in, and why we, my fellow Americans, probably won't have much luck there either, when all is said and done. Funny how man fails to learn from the past, isn't it folks? For this and other reasons that I simply cannot put into words at the moment, "Beast of War" is a film that should be seen at least once in your life, not only because of its story but stellar acting, be it Patric, Don Harvey, or Steven Baldwin of the Baldwin brothers! Watch and observe, and ask yourselves was there ever a war that wasn't rotten? For my money, hell no!

All over the world people have reported seeing and encountering strange creatures or monsters that cannot be explained. Are they a figment of our imagination, or, do they live among us? That's the question posed by Animal Planet's mockumentary series "Lost Tapes". Airing for three seasons, it showcased supposedly found footage of people who encountered any sort of varied cryptid or legendary monster, from Bigfoot to werewolves, and while it may not have been the most artful production ever made, it was entertaining for us monster fans. The standard episode would usually go something like this: a person or persons would be going about their routine (they just moved into a house, they're going on an expedition, they happen to be making a documentary or news report about something crime-related, etc.), they would just happen to have a video camera with them for one reason or another, and then they'd encounter one of things that haunt men's dreams! These usually ranged from some unusual, strange creature like Bigfoot or megaconda, or it could be something more supernatural, like ghosts or the Skinwalkers of the American southwest.

The monsters would be created through a variety of tricks, whether through sound effects, quick shots of the monsters, some creepy music, some interviews with cryptozoologists and general information about the supposed entities spliced in with the footage, and just the unnerving atmosphere that caused us to think, maybe, just maybe, this isn't beyond the realm of possibility. And that last part is really what made "Lost Tapes" as fun as it was; just that ability to fire up the imagination and make you wonder if some of the mysterious disappearances or savage murders you heard about in the local news were the work of something unknown. Even today, in parts of places like Africa or Asia you still hear about people being killed horribly by some type of animal, an animal that is never caught. Is it something known - lion, tiger, bear, wolf - that was just lucky to never have been caught, or is something else? Who knows? True, some of the actors in the footage weren't always the most convincing and some episodes were better than others, but the overall production usually was enough to overlook any faults. And hey, it's all part of the fun; the show isn't meant to be taken seriously. Regardless of whether one believes in things like Bigfoot or not, "Lost Tapes" is a fun way to kill some time for those who wonder what lives in the shadows. P.S. Episodes are available on YouTube