Flipper, the 1963 film that inspired a popular television series about a chatty, loveable dolphin gets a sunny makeover in this 1996 update. Elijah Wood plays Sandy, a bleak adolescent from Chicago struggling with the recent divorce of his parents and wanting only to immerse himself in familiar comforts. Instead, Sandy is sent to Coral Key, an island off Australia, to spend a summer with his Uncle Porter (Paul Hogan), a benevolent old fisherman. The sights and pleasures of the island, including a pretty neighbour named Kim (Jessica Wesson), aren't enough to shake off Sandy's gloomy outlook. But when he meets Flipper while boating with Porter, his morale improves considerably. It gets another boost when Flipper develops a loyal attachment to him. A subplot about a crooked charter-boat company dumping toxic waste off the coast feels like a necessary evil, just to give the screenwriter something to do. Other than that, the film is quite fun and charming, and Hogan is a pleasure to see with his cracker-barrel wisdom. The film is great fun all around for ages six and up. --Tom Keogh
Based on the French film, The Return of Martin Guerre (which itself was based on a famous court case), this 1993 film by director Jon Amiel recasts the same essential story in post-Civil War Tennessee, in a dirt-poor town suffering the effects of the South's loss. Jodie Foster plays Laurel Sommersby, a widow whose husband died in the Civil War--or so everyone thinks. Then one day, Jack Sommersby (Richard Gere) strolls back into town and back into Laurel's bed--seemingly a very changed man. Gone is the selfish, nasty guy no one much liked. In his place is a friendly, sensitive and resourceful new Jack who not only rekindles the long-dead fire of his marriage, but revives the entire town. Except for one small catch: he may not actually be Jack Sommersby at all. Beautifully shot by Amiel (with a great assist from cameraman Philippe Rousselot) from a script by Nicholas Meyer and Sarah Kernochan, the film features a sturdy, even flinty performance by Foster and a beguiling one by Gere. Though the ending will squeeze the tear ducts, the film earns those tears. --Marshall Fine, Amazon.com
UFO was Gerry Anderson's first live-action TV series after a decade of producing such children's animated classics as Stingray (1963) and Thunderbirds (1964). The premise of UFO, which ran for a single season of 26 episodes, was like a more serious version of Anderson's Captain Scarlet (1967)--in the near future of 1980 a hi-tech secret organisation, SHADO, waged covert war against mysterious alien attackers. Ed Bishop played the American head of SHADO--he had had previously featured in Captain Scarlet and Anderson's Doppelganger (1969)--though in all other respects this was a thoroughly British production. As with all Anderson series UFO evidenced remarkable technological inventiveness and groundbreaking production values, coupled with startling lapses in fundamental logic too numerous to list. Much more adult in story and content than earlier Anderson productions, and surprisingly dark with its pragmatic view of human nature and downbeat endings, the show now seems like a forerunner of The X Files and the equally short-lived Dark Skies (1996). Barry Gray's memorable theme and atmospheric music greatly enhanced the overall impact. Stylishly made, though terribly sexist by current standards and featuring eye-catching costumes more fitted for a camp fancy dress party than the front line of a futuristic war, this cult classic eventually evolved into Space 1999 (1975). On the DVD: this four-disc deluxe box features the first 13 episodes. The box set has five free postcards and a booklet offering interesting background on the programme. The first disc includes an alternate, more violent opening scene, while later discs feature text transcriptions and photographs from scenes cut due to TV running time restrictions. All discs provide extensive galleries of publicity and behind the scenes photos, as well as character profiles or a history of SHADO. The opening episode, "Identified", features a commentary by Gerry Anderson, in which he talks in general about the production of the series and Ed Bishop does the same for the episode "Sub Smash". From the animated menus onwards these DVDs have been beautifully designed and produced. The mono sound is exceptionally strong and the restored and remastered picture is almost unbelievably good for a 1970 TV show. With barely a flaw anywhere the episodes look so clear, colourful and detailed that they could have been filmed last week. --Gary S Dalkin
The complete second season of Gerry Anderson's classic sci-fi serial. The operatives of the secret Supreme Headquarters Alien Defence Organisation (S.H.A.D.O.) defend the earth from extra-terrestrials who are abducting humans to obtain their organs which can be transplanted into their own bodies... Episodes include: Confetti Check A-O-K E.S.P. Kill Straker Sub-smash The Sound Of Silence The Cat With Ten Lives Destruction The Man Who Came Back The Psychobombs Reflections In The Water
Almost universally derided on its first release as the worst of the Star Trek movies to date, The Final Frontier might just have been the victim of bad press. Following in the wake of the massively successful fourth instalment The Voyage Home didn't help matters (notoriously, even-numbered entries are better), nor did having novice director and shameless egomaniac William Shatner at the helm. But if the story, conceived and cowritten by Shatner, teeters dangerously on the verge of being corny, it redeems itself with enough thought-provoking scenes in the best tradition of the series, and a surprisingly original finale. Granted there are a few too many yawning plot holes along the way, and the general tone is over-earnest (despite some painfully slapstick comedy moments), but the interaction of the central trio (Kirk, Spock and McCoy) is often funny and genuinely insightful; while Laurence Luckinbill is a charismatic adversary as the renegade Vulcan Sybok. The rest of the cast scarcely get a look in, and the special effects betray serious budgetary restrictions, but with a standout score from Jerry Goldsmith and a meaty philosophical premise to play around with, Star Trek V looks a lot more substantial in retrospect. Certainly it's no worse than either Generations or Insurrection, the next "odd-numbered" entries in the series. --Mark Walker
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