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The plot: A book-reader (Redford, The Candidate) for the CIA steps out to lunch; upon his return he finds all of his colleagues gunned down for reasons unknown. He informs his superiors, who want him to come in for his protection, but Condor (his codename) isn’t a trusting fellow and ends up trying to protect himself rather than leave his fate to CIA operatives he knows nothing about.

With a snappy Hitchcockian plot and some great acting by Redford, Three Days of the Condor is top-drawer filmmaking in the suspense department. Although the film doesn’t revolutionize the genre, it is, nevertheless, very competently handled in every department. Director Sydney Pollack (Tootsie, The Firm) heightens the peril by letting us know early on who the bad guys are, which makes Condor’s situation all the more suspenseful as we wonder how Redford will get away from an organization that seems to know his every move.

If you love man-on-the-run thrillers like The Fugitive, you definitely won’t be disappointed with this one.

 Qwipster’s rating:
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Written and directed by Tommy Lee Wallace, Vampires: Los Muertos follows up on John Carpenter’s Vampires, itself nothing out of this world but at least possessed of some originality. In the sequel, we get a fairly run-of-the-mill adventure set in the same world as the first film; it runs over the same narrative territory and even including some of the same plot elements, and certainly doesn’t offer anything new in either the vampire mythos or the overall storyline. But all the same, despite recognizing that most of it was unoriginal, I still found it to be a reasonably entertaining piece, and I don’t regret having seen it.

The main distinction between Vampires: Los Muertos and its predecessor appears to be that the second film is set almost entirely in Mexico. Considering that vampires have traditionally been seen as a European monster, it’s a welcome change of perspective. Of course, this perspective isn’t developed at all in terms of the storyline, but at least it offers a different visual setting. We get a sense of a land of small villages and monasteries scattered around in the great openness of dry, sun-baked plains, with the adobe architecture of the modern buildings contrasting with the stone of the pre-Columbian ruins underneath and around them. In one nice touch, the final showdown takes place on “el d?a de los muertos,” the Mexican “day of the dead,” which celebrates both death and life.

Vampires: Los Muertos doesn’t have any outstanding merits, but neither does it have any outstanding flaws, which means that it ends up being a reasonably entertaining hour and a half. Though the plot at times doesn’t bear too close an examination, the film is decently acted, with Bon Jovi believable as the protagonist and the remainder of the cast turning in acceptable performances in their assorted variations on the “hero’s sidekick” role. In short, Vampires: Los Muertos is the kind of movie that’s fun to watch if you’re willing to kick back and let the primal reptile part of your brain enjoy the show without letting the analytic neo-cortex analyze it.

Video

Vampires: Los Muertos has been treated handsomely in its DVD transfer. The anamorphic widescreen image is presented in its original 2.35:1 aspect ratio, and it looks great. The print is very clean, with no noise and minimal edge enhancement. Colors are well-saturated and attractive, with many pleasing variations on gold and red tones of sunlight, fire, and the dusty Mexican landscape. For a movie about vampires, there are actually fairly few scenes that take place in the dark, but those that do, show good contrast as well.

Audio

The Dolby 5.1 soundtrack provides an immersive audio experience from the very beginning, with both music and environmental effects being supplied to the rear as well as the front channels when appropriate. All the dialogue is clear, and the various elements of the soundtrack are properly balanced to create a harmonious whole.

Extras

The main special feature on the disc is an audio commentary from director Tommy Lee Wallace. The disc also includes trailers for Vampires: Los Muertos, John Carpenter’s Ghosts of Mars, and Bram Stoker’s Dracula. Last (but also least), there’s a pan-and-scan version of the film included.

Final thoughts

I wouldn’t recommend it as a blind buy, but Vampires: Los Muertos would make for a reasonably entertaining rental if you’re in the mood for a fun, not too demanding action/horror movie. The excellent video and audio quality of the DVD means that viewers who already know that they enjoy the film shouldn’t hesitate to pick up a copy.
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DOWNLOAD MOVIE Bodyguard, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"And I liked the Dolly Parton version of the song better, too." (Total Crap)

There are thousands of things that I could ridicule about this movie. However, I’m going to try to keep to a central theme. And my theme is this: this movie couldn’t be any duller. Not even if they tried to make a dull movie.The Bodyguard stars Kevin Costner as Frank Farmer, a former Secret Service bodyguard who can’t get over the Reagan assassination attempt. Now here’s the kicker: he can’t let it go because he had to trade shifts that day to go to his MOTHER’S FUNERAL. Whitney Houston is Rachel Marron, a screen and pop diva with a stalker. But, she doesn’t know that she has a stalker because her flunkies don’t want to upset her. Whit?I mean Rachel resists Farmer’s security efforts until she learns about the stalker, and then she seduces him. After that, they snipe at each other for about an hour of film. Rachel also has a jealous sister, and an old Secret Service colleague of Farmer’s keeps showing up at obvious moments. Anyone care to guess who did it?The plot of this movie is laughably predictable. Murder?She Wrote employed more sophistication. I’m talking about the last season of Murder?She Wrote. The movie is littered with red herrings and paint-by-numbers plot devices. The one mildly suspenseful sequence in the movie occurs after you have checked off everything that you knew was going to happen and are waiting on Farmer to take the bullet for her.Kevin Costner gives a performance that would make his mother proud-provided that his mother is a tree stump. But Kevin is the lesser of two evils. Whitney Houston is called upon to play herself and she tee-totally sucks. She recites her lines with the dispassion of a bored telephone operator. Her seduction of Farmer was practically endothermic. But above all else, she was simply unbelievable in the role. Which when you consider the fact that she was playing herself, is pretty damn bad.The fifteen second clip of Yojinbo is the only reason this movie is even watchable.
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DOWNLOAD MOVIE Loose Cannons Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The movie shows a veteran cop, Mac (Gene Hackman), who is saddled with a brilliant partner, Ellis (Dan Aykroyd), that has a personality disorder-whenever he gets stressed, he starts acting like various television characters. Other than that, he’s sharp as a tack but it obviously puts the team in great danger when they begin investigating a case with a lot of hostile bad guys. The team stumbles across a case involving a porn tape made by Hitler (yeah, that Hitler) and it’s political ramifications. The bad guys don’t want the tape released and will stop at nothing to prevent it from being distributed. If that sounds like a clich?, it’s because the movie is full of them.

Had the movie stuck with a more down to earth premise, and let Hackman be the center of the movie, it could’ve been much, much better. On the other hand, had it let Aykroyd have a more fleshed out character, or at least kept him focused on the few imitations he could pull off without looking like a drunk at a party, it “might” have been better. As it was, the movie seemed to suffer from the same multiple personality disorder that Aykroyd’s character did and the results were less than satisfying. Let’s face it, Hackman’s portrayal of Popeye Doyle in The French Connection movies were near definitive examples of a “tough cop” in movies. While he has the range to be something else, his character was obviously plucked out of that role to be put here in a fish out of water setting against Aykroyd’s zany misfit. Maybe if Jim Carrey or Robin Williams were in this role, it might’ve been better but that’s a stretch of the imagination too. Poor writing can be compensated for by great acting but that’s not usually the case.

The story being so bizarre certainly didn’t help matters much. Rather than look at the subject seriously, this being a comedy after all, it took the low road and fumbled there too. Hackman as a straight man didn’t work and it looked like the director figured this out ten minutes into the movie but wasn’t able to adjust accordingly. If he truly felt trapped by the suits pushing this movie to be completed, I could almost feel sorry for him. It wasn’t the worst movie I’ve seen in the last 13 years (it was originally released in 1990) but it sure didn’t make good use of the cast. As such, I can only fairly rate this one as a Skip It.

Picture: The picture was presented in 2.35:1 ratio anamorphic widescreen color. The fleshtones were generally accurate, as were the other colors, although there were plenty of moments where the focus was a bit off. I did notice a few compression artifacts but not many.

Sound: The sound was presented in Dolby Digital stereo and sounded pretty good, though not excellent. The channel separation was decent but not anything I’d push as a selling point for this flawed movie. There were lots of choices in subtitles and it was closed captioned as well.

Extras: trailers, paper insert with chapter listing

Final Thoughts: Well, the movie was a stinker and I think Tri-Star knows it too. On the dvd cover, it mentioned that the movie is “…loaded with personality.” Okay, is real life, when someone is setting you up with a blind date and they tell you that the person has a “nice personality”, what’s the first thing you think: “Wow, what a great opportunity to meet someone.” or “Oh great, another loser.”? Your answer will depend on how much you should see this movie. Even a fan of the leads will want to avoid this one.

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DOWNLOAD MOVIE Fantastic Four Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Quadratic Formula" (Average)

It comes across as more than a little portentous that the actual on-screen title for ‘Fantastic Four: Rise of the Silver Surfer’ omits that initial adjective, as if to say, ?Lower thy standards, all ye who enter this auditorium.?A quick refresher course: an encounter with cosmic radiation transformed cocky Johnny Storm (Craig Evans) into the Human Torch, cranky Ben Grimm (Michael Chiklis) into the rock-hard Thing, nerdy Reed Richards (Ioan Gruffudd) into the flexible Mr. Fantastic, and Johnny?s sister, Sue (Jessica Alba), into the Invisible Woman, while colleague-turned-foe Victor Von Doom (Julian McMahon) went the way of the preening megalomaniac, as is so often the case.In this outing, the team finds Reed and Sue?s much-publicized and oft-delayed wedding ceremony interrupted by one Silver Surfer (Laurence Fishburne audibly, Doug Jones actually), whose arrival has a nasty tendency to precede that of the planet-devouring Galactus. Much globe-trotting ensues as the Four play catch up with the space case, while the Army enlists the help of Dr. Von Doom when unsatisfied with the results of Reed?s ?track it, don?t attack it? methods. In the midst of it all, Johnny accidentally adapts the powers of his peers by mere touch, a gimmick that only fuels the series? more juvenile tendencies, a goofy sense of humor that ends up undermining some otherwise potent moments sprinkled throughout.The Surfer himself certainly fits the fantastic bill, even if his behemoth of a boss fails to impress to an equal degree, an interstellar menace worthy more of a Dirt Devil than a Silver Surfer. For every nifty dispatch, there seems to be a tacky dance sequence or painful cameo or cringe-worthy product placement to counter it. (By the way, did Alba use her powers to sneak in and help herself to the same freakishly blue contacts that Maria Bello used in World Trade Center? I suspect that by this point, fanboys would forgive them if she just went without.)Given a brisk ninety-minute running time, only after a relatively leaden start does the action start to build towards something resembling excitement and actual stakes, despite an underwhelming climax. Still, boredom is harder to forgive than stupidity, and for all of the nifty computer-generated shenanigans, both manage to come in spades. Without any real investment (or patience) for the fate of either the world or the team, matters end up every bit as shrug-worthy as its predecessor, and we settle for it just as director Tim Story and company seem content to.It?s hard to know what?s worse: that the ‘Fantastic Four‘ franchise has so willingly settled into a rut of mediocrity, or that ? for its considerably more modest expectations and compromised condition ? it relatively delivers what its superhero brethren of late has failed to, superheroes sans soap opera. The line between mere diversion and entertainment proper, however, remains firmly intact, and as a ?ka-ching!? coda sweeps across the screen, its message is more foreboding than any line to cross the Surfer?s lips: Go somewhere else for fantastic. We?re all sold out here.
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DOWNLOAD MOVIE Libertine, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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“The Libertine” world-premiered at the AFI Fest 2005 and marks the feature film debut of British commercials and music video director Laurence Dunmore based on the 1994 play by Stephen Jeffreys who adapted it to the screen.  Set against the extraordinary backdrop of The Restoration, the film offers a brilliant, brutal, tragically realistic, and witty look at 17th century England, perhaps the most authentic ever committed to film.  The film follows the meteoric rise and fall of John Wilmot (Johnny Depp), the second Earl of Rochester, who was a gifted poet, a complicated genius, and a shameless rake.  His short but wildly sexy, irreverent life reflected the growing new sensual freedom of the modern age that was filled with radical new ideas, heightened sexual permissiveness, and a festive exuberance in theater, parties and lifestyles.  Famous for his irrepressible hedonism, rebellious personality, and daring, subversive wit, Rochester refused to obey any of the rules and dictates of his age and scandalized London society with his outrageous sexual escapades.  He constructed a spectacular life for himself and then set about tragically destroying it, debauching his way to an early grave and squandering every advantage he had, only to earn posthumous critical acclaim for his life’s work.

Depp’s portrayal of Rochester is powerful, intense, and compelling.  The dark, mesmerizing, terrific to-camera opening prologue and closing epilogue, done in character as the scandalous libertine, epitomize the theatrical, larger than life nature of his tragically short existence.  These scenes along with his gut wrenchingly eloquent speech before Parliament and confrontation with his wife at the end of his life exemplify his extraordinary artistry.  He captures with impeccable finesse and naturalness the essence of a man who despised life, drank profusely, seduced women, insulted everyone from the King to his mother (Francesca Annis) to his servant, and preferred his portrait done with a monkey rather than his wife. Indeed, his contempt for everything that others respected was so profound as to almost amount to sublimity.  Intertwined with his utter disrespect for life were his charm, esprit, irresistibility, and impulsive inclination to do whatever he pleased.  As disease slowly ravages his body, Depp undergoes a haunting transformation into a character that is almost unbearable to watch, whose face is mutilated and scarred beyond recognition.  And the more he becomes disfigured, the clearer our perception of the repulsive creature that exists within.  His performance is riveting, heartrending, and played with tremendous range and depth.  In what is an extraordinarily demanding role, Depp leaves the audience with strongly conflicted emotions of hatred, pity, love, admiration, and sympathy for his character that a lesser actor could not achieve.

The strong supporting cast includes Rosamund Pike, who turns in a powerful performance as Rochester’s devoted but neglected wife, Elizabeth, whose steadfast temperament helps her endure his unfaithfulness and indiscretions.  Samantha Morton, in a bracing and mercurial performance, embodies the vulnerable, ambitious, talented, and fiercely independent actress Elizabeth Barry who becomes Rochester’s alluring theatrical protege.  John Malkovich, in an atypically understated performance, plays the stately, restrained, sensual and decadent ruler, King Charles II who values Rochester’s friendship, admires his ingenuity, but finds him a frequent thorn in his side.  Johnny Vegas plays the historical rake and wit, Charles Sackville. Kelly Reilly plays Rochester’s prostitute friend, Jane.  Rupert Friend plays Downs who meets a tragic fate in Rochester’s company. Richard Coyle is Rochester’s aptly named servant, Allcock.

Jeffrey’s adaptation of the play to screen is brilliant.  His screenplay is witty, pungent, sexually forthright, and authentic in its representation of the historical period in a manner rarely seen in cinema.  And it offers an exciting mix of shrewd humor and emotional truth as he courageously examines the place of moral values and extreme behavior in a free society.  While focusing on the adventure, romance and ruin of Rochester’s final years, he explores the connections between genius and decadence, freedom and danger, lust and love, and in doing so, invites the audience to see the parallels between Rochester’s sensually charged, morally corrupt era and our own modern times.  Indeed, the story of Rochester is about the darker side of human nature.  In his examination of Rochester’s life, love, and genius, Jeffrey exposes his subversive compulsion to betray his talent with his actions and destroy the things that mattered most to him. The dialogue is period appropriate and razor sharp, and the writing is smart as well as entertaining (e.g. “You’ve cut me down, I must confess; but in your mouth my balls must rest.”) 

The film opens with Restoration-era intrigue as King Charles II confronts a hostile House of Lords.  Then it shifts focus to the personal dilemmas of the Earl of Rochester as he splits his time between his home in the countryside and his roguish lifestyle in London.  We see him plunge from the heights of social celebrity to the depths of ruin as he drowns his creative genius in alcohol, scurrilously lampoons England’s royals with sexually explicit poems, pursues his obsession with the struggling actress Elizabeth Barry, watches as his career is surpassed by friend and literary contemporary, George Etherege (Tom Hollander), and finally seeks a self-serving redemption before succumbing to syphilis. His short, but intensely colorful life was filled with so many outrageous, often self-contained, incidents that it presents a daunting challenge to weave them into a coherent narrative.  Indeed, in the final cut (as compared to the work-in-progress screened at the Toronto Film Festival), a couple of incidents (i.e. when Rochester disappears after a lethal street fight and reappears as the infamous Dr. Bendo) have been shortened at the expense of narrative continuity.  In their abridged version, they fit awkwardly within the broader context of the story and disrupt the film’s otherwise smooth narrative flow.  That said, these are minor imperfections in an otherwise exceptional film, and they are offset by Depp’s extraordinary performance which provides cohesion to the occasionally choppy storyline.

Dunmore’s direction is strong and the film’s pace is tight. He captures the atmosphere of the period exquisitely with simplicity, a sharp eye for detail, and the use of compelling images that frame the flamboyant artifice of the period in close-up and reveal a society recovering from years of Cromwellian repression and post-Puritan excess.  From fops and painted dandies slogging through London’s crowded streets congested with mud, muck and raw sewage to an amusing ‘family’ portrait of the Earl with a monkey bought spontaneously from a street vendor to enliven the boring formality of the occasion, Dunmore gives us scenes that are at once incongruous and entirely appropriate to the era and to the character of Rochester. He creates a very fluid style to capture the action by putting the camera on his shoulder and operating it himself rather than using the more traditional approach of putting it on a dolly or a crane.  Using a hand-held camera allows him to move quickly and economically, not waste time trying to figure out tricky moves, and work more intimately with his actors by positioning himself next to the action while they are performing and watching the scenes unfold directly in front of him.  In a scene between Rochester and his wife, Dunmore racks focus in a stack shot as they deliver their lines allowing their performance to motivate the camera.  When Rochester succumbs to the ravages of syphilis which included progressive blindness, his point of view is shot almost entirely out of focus for large portions of one scene.  In a compelling sequence that puts the audience in the middle of the action, the camera pans twice 360 degrees around the interior of a London theater as its balconies fill with spectators and the actors assume their positions on stage.  The camera’s fluid, dynamic movement captures the raucous mood of the spectators and conveys the nervous anticipation of the performers.

Cinematographer Alexander Melman collaborated closely with Dunmore to create a unique 17th century look that does not reflect its 21st century origins.  Together, they imbue the film with a dark, raw, grungy realism not seen before in period pieces.  Nearly every interior shot is lit with candles while green filters are used to remove warmth and put a green pallor into all the flesh tones.  Mud, mist, rain and smoke captured in grey-brown tones convey the film’s gritty look and mood perfectly. Melman contrasts the opulence and splendor of the court and of life inside the aristocratic realm against the grimy dynamism outside on the city streets of London where one can practically smell the noxious odors.  He uses a variety of photographic techniques to draw a stark contrast between Rochester’s stately home life and the raw energy and excitement of his life in London. Rich colors convey the magic of the theatrical world while grainy realism reflects the filth, haze, and grime of the ordinary world.  Melman collaborated closely with production designer Ben Van Os and costume designer Dien Van Straalen to create a detailed color palette that is woven throughout the film’s entire design and enhanced with primarily natural light.  Dunmore also paid meticulous attention to choosing castles, estates, and locations that were authentic to the era.

Dunmore’s visionary approach challenges the established conventions of filmmaking and reflects the innovative approach of a new generation of filmmaker.  His ingenuous camera work, unique stylistic choices, and bold lighting and production design create a look and ambiance that draw upon his strong graphic design background to reveal the widely shifting moods of Rochester’s times, the elaborate decadence, and the seedier aspects of the Restoration.  The dark, candlelit cinematography gives the film its voice and soul, infuses the action with extraordinary emotional depth, and captures eloquently the mood and spirit of its central character and his times. These are breathtaking, seductive images that make no apology for the film’s unremittingly dark subject matter or raunchy, pornographic irreverence, and they leave deep and lasting impressions in the minds of the audience.  The layered, smoky interiors, especially those shot in the noisy, crowded theater with candlelight alone, imbue the dark scenes with a grainy, softly persistent flicker reminiscent of early silent cinema and diametrically opposed to the beautiful, glossy, overly art-directed look of Kubrick’s period piece, “Barry Lyndon.”  Some scenes are so underlit that the action is just barely discernable.  Yet the film’s dark look does not distract from its compelling story.  Instead, it infuses the film with a stark, absolute power and raw energy through which the performances shine brightly.

The hair and make-up design by Peter Owen is superb.  The combination of prosthetic nose, enormous poodle wig, pale make-up, and reddened eyes transform Malkovich into King Charles II and give him a convincing, care-worn look. Owen takes Depp through an astonishing transformation in a carefully controlled sequence of progressive physical deterioration as his character succumbs to the ravages of syphilis and alcoholism.  Michael Nyman’s insistent and haunting musical score captures eloquently the spirit of the times.  Framestore CFC provides the film’s digital visual effects.

“The Libertine” is an extraordinary film that is not to be missed.  Depp’s deep and well reasoned performance confirms once again his stature as one of the great actors of his generation.  His portrayal of the fascinating, tormented, and self destructive Rochester is indeed one of the very strongest performances of any actor this year.  And Dunmore’s exceptional direction succeeds in realizing the full cinematic potential of the story based on the play of the same name expertly adapted to screen by Jeffreys.

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Raymond Greenleaf, who played many a judge himself in small, post-war
movies, is the prosecuting attorney in the idyllic hamlet of Rosedale, and
known for his leniency toward petty lawbreakers. But a smartly engineered
change of venue brings mobster Anthony Caruso into town to stand trial for
murder; in his possession is a letter proving that Greenleaf’s daughter
(Marjie Millar) is in fact the child of a woman serving a life sentence
who
recently died. Family values win out, and Greenleaf deliberately bungles
the prosecution, leading to a petition for his recall.

His successor and future son-in-law (John Hudson) decides to reopen the
case
and, in consequence, a jumbo can of worms involving both his bride-to-be
and
Greenleaf’s complicity in throwing the trial. It also brings Caruso back
into the picture, this time with fatal results….

Viewers will recognize a cast of familiar faces with unfamiliar names from
bit-parts on both big and little screens (Richard Deacon and Slim Pickens
among them). It betrays the influence television was having on movies in
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"The only thing that’s a Godsend…are the end credits." (Total Crap)

Can we please, once and for all and for all eternity, finally retire the Fake Scare from movie thrillers? You know the moronic gimmick of which I speak: One character grabs another character’s arm, the musical score suddenly JOLTS in loud fashion, and we then realize that, hey, there’s nothing to be scared of. At all. Nick Hamm’s polished-looking but otherwise atrocious "Godsend" has more Fake Scares then you’re ever likely to find in a movie that’s entirely bereft of actual scares.Nothing spruces up a lifeless "thriller" like a truckload of randomly inserted musical cues geared to jolt the easily jolted. Remove all of these childish little tricks and you’re left with a movie that’s more Lifetime drama than any sort of compelling horror movie. On top of that, Godsend is dull, draggy, slow and periodically quite inane.Godsend showcases three hard-working actors doing the best they can with a shamelessly underwritten screenplay; it offers a hot-button premise without following through on an actual plot; it’s hopelessly predictable, consistently uninteresting and almost entirely worthless.Here’s a clear indication of how much artistry and sincere effort went into the creation of this particular piece of motion picture art: Director Nick Hamm reportedly lensed more than four alternate endings, so he’d have all his bases covered after the market testing audiences had their say. Classy, eh?Hoping to create some sort of buzz by exploiting the controversial issue of human cloning, Godsend delivers its salvo of stupidity via the following one-note narrative: A young couple loses their 8-year-old son in a car crash before a clearly insane scientist approaches them and promises an all-new (yet completely identical) child. But first the couple must move to a secluded little town, cut all ties with friends and family, and trust a clearly insane scientist with the life of their cloned little fetus.As the insane scientist we have…no, not Christopher Lloyd or even Steve Buscemi. No, here we have Robert De Niro forced to spout some of the silliest dialogue of his entire career. Most uproarious is a scene in which our God-Playing Physician is left to mull around his office while clutching and rotating a pair of steel balls in his hand. It’s tough to tell what’s more unintetionally amusing, the stilted dialogue or the insipid symbolism. But De Niro is clearly not having a great time as he plays with his balls.Obviously they both jump at the chance. This is how we know that Godsend is a movie; the characters do things that normal people would never do. And it’s at this point that Godsend veers completely off the tracks and becomes as listlessly dull as it is outrageously stupid. One is tempted to dismiss this one as a fifth-generation Omen ripoff, but that might give you the idea that Godsend has A) atmosphere, B) intensity or C) a body count. And it so plainly does not.Barring a better-than-the-movie-deserves performance from Greg Kinnear and Nick Hamm’s handsome directorial flourishes, Godsend is absolutely one of the most dreary, downbeat and paint-by-numbers sci-fi thrillers you’re likely to come across. The ’surprise’ ending is a total cheat, as it devalues everything the film has told us for its first 70-some minutes, yet that won’t prevent you from predicting the finale with little effort.Aims for topicality and instead settles for inert and omnipresent banality. Aside from the few unintentional chuckles sprinkled throughout the overwrought proceedings, there’s nothing here that’s even remotely fascinating, exciting or scary. And that includes the three dozen Fake Scares that are peppered around the whole tired affair.
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The movie was released in 1996 and focused on a predicament of the cartoon characters that needed the help of a sports superstar in order to win their freedom. A promoter (voice by Danny Devito) from a far off planet, Moron Mountain, is looking for an attraction to increase profits. He comes across some animated cartoons from Earth and orders his employees to get the characters by any means necessary. They arrive on Earth and challenge Bugs Bunny and crew to a basketball game, even though the little aliens are tiny. In order to win the game though, the aliens steal the athletic abilities of such notables as Charles Barkley and Patrick Ewing (very talented on the court) and others, which makes them ~14 feet tall. The Warner Bros. cartoons, seeing their chances at freedom slipping away, recruit Michael Jordan to assist them in an all star basketball game. Jordan’s abilities on the court are legendary, even though he has retired to try his hand at baseball, and if anyone can help them, he’s the man.

The rest of the movie plays out in formulaic fashion with the cartoons losing the first half and then trying to come from behind during the second half of the game. Far too much of the movie was spent on Jordan, a talented athlete but a dreadfully bad actor, and the script was written by two (or more) writing teams in order to include a great many cultural references and insider jokes that date the movie in a great many ways. What might have been a very funny short film appeared dragged out well past it’s useful life in order to flesh out the movie to feature length.

As far as the much-vaunted special effects that combined the live action and cartoon characters went, it was mixed at best. I’m sure they were good enough for the primary audience (children under 10 years old) but all too often they were not even cutting edge for the time they were released, making me think far too much of the budget went to paying for the multitude of professional basketball players that had minor roles in the movie rather than displayed on screen.

The movie, much like this review, rambled an awful lot and ultimately seemed designed solely for kids and basketball fans, both groups not likely to fuss too much over the details. As a cultural curio, it was interesting, but as a feature movie, I’d suggest you buy the recent Looney Tunes box set for better cartoons and stick with watching actual basketball games to see the athletes. That said, I think the movie is worth a rating of Rent It unless you’re a major fan of the various athletes here.

Picture: The picture was presented in remastered 1.85:1 ratio anamorphic widescreen color, as originally shot. It looked better than the two previous volumes released on DVD although there was some grain and a few moments of edge enhancement that even I noticed. The DVD transfer was solid and I don’t recall seeing any digital artifacts or other problems with it.

Sound: The audio was presented with a choice of English, French and Spanish in the 5.1 Dolby Digital Surround format with optional subtitles in those languages and captions for the hearing impaired. The sound here was very solid with some good separation on the front channels at times. The bass was clear and tight and the mix between the vocals and music well done.

Extras: The best extra for me was the audio commentary track with the director and some of the voice actors (in character). It was often funnier than the movie itself and provided some technical details to the making of the show. There was a second DVD full of extras as well, starting with a well done feature on the behind the scenes of the movie, a couple of music videos, a game demo for Looney Tunes, the trailer, and a bunch of classic cartoon shorts (most of which centered on Halloween themes), and a free children’s movie pass to the upcoming feature release, Looney Tunes: Back In Action.

Final Thoughts: I really would have preferred that the voices for the cartons be the original Mel Blanc (R.I.P.) or his son Noel but it’s my understanding that the producers wanted to pay very little for his services, preferring instead to pay the athletes huge salaries. Such are the priorities of major motion picture making these days but as much as the replacement voices did an okay job, it just wasn’t the same. The movie wasn’t as bad as the critics made it out to be, at least for its intended audiences, nor was it as great as its supporters would have us believe, but it was definitely mediocre in many ways as obviously intended to cash in on the various merchandising opportunities presented (when this came out in the theatres, you couldn’t step inside a store anywhere without some form of tie in for sale). I’d be surprised if the merchandising for the movie didn’t surpass the box office receipts and that was probably the reason this movie was made.

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