Sales Rank:11026 List Price: $19.98 Lowest New Price: $10.46 Lowest Used Price: $9.95 MPAA Rating: Unrated
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Asia Argento
Coralina Cataldi-Tassoni
Valeria Cavalli
Udo Kier
Philippe Leroy
After waiting 28 years for the third feature in Dario Argento’s Mother trilogy, die-hard fans (like myself) flocked to theaters to catch Mother of Tears. The anticipatory set-up, for example reconciling in advance that the film will look entirely different, and probably less sexy, than the first two Giallo classics, Suspiria (1977) and Inferno (1980), induced anxieties in viewers that many of us hoped would enhance the film’s horror and suspense. So revered are Suspiria and Inferno that one needs an extremely open mind to avoid instantly turning Mother of Tears off, now that it’s available on DVD, and chucking the disc out the window, insulted by its comparison to the previous two movies. From scene one, in which a psychotic, villainous monkey stalks Asia Argento, playing protagonist Sarah Mandy, through Rome’s Natural History Museum, one realizes this film can only go downhill. Without the colored lights, the stylized 1970s horror aesthetic, or the terrifyingly fetishtistic speed metal/electronica soundtrack pounding during the chase, the mood is simply corny. Regarding the monkey, try to remember that an oddly elegant and intelligent crow ate an eyeball to great effect in Argento’s, Terror at the Opera. Argento has always favored animals to represent unwilling witnesses. The plot itself is also typically Argento and does follow-up: After a tainted red tunic is discovered in a cemetery, the third and last witch, Mother Lachrimarum (Moran Atias), is awaken from her catacombs beneath a mansion that she and her two deceased witch consorts, Mater Tenebrarum, the Mother of Darkness/Shadows, and Mater Suspiriorum, the Mother of Sighs, long ago recruited an architect to build. The Mother of Tears has beef with Sarah Mandy, due to Sarah’s heritage, and the unholy black witch relentlessly pursues Mandy until Mandy is forced to fight head-on. Mandy’s boyfriend, Michael Pierce (Adam James), is not much help, nor is Padre Johannes (Udo Kier), which makes sense; Argento’s films are all about empowered female characters, vengeful victims and ruthless criminals alike. Perhaps the flaw here is Argento’s casting of his daughter, and her inability to render that illicit sexual tension that the puerile Suzy Banyon (Jessica Harper) once did in the halls of her bewitched boarding school. Even Mother Lachrimarum’s young recruits, such as the Gothic and Lolita-style Katerina (Jun Ichikawa), are dumb-looking with their colored contacts and peacock hairstyles. There is only one character, the elder white witch Marta Colussi (Valeria Cavalli), who has the sexual draw to enchant Argento style, but she is short-lived. The CG effects employed throughout, especially in regards to the ghoulish antics happening amongst the Goth witch posse, are just plain bad. Only a few shots of gore really spook, and to be fair, they are lasting images. But the only semi-interesting this about the Mother of Tears DVD is the interview extra with the man himself, who is still master even if he makes a few stinkers. --Trinie Dalton
Sales Rank:11934 List Price: $19.98 Lowest New Price: $10.99 Lowest Used Price: $8.86 MPAA Rating: PG (Parental Guidance Suggested)
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Director(s):
Actor(s):
Ewan McGregor
Liam Neeson
Natalie Portman
Jake Lloyd
Pernilla August
"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menace as he steps off a spaceship and into the most anticipated cinematic event... well, ever. He might as well be speaking for the legions of fans of the original episodes in the Star Wars saga who can't help but secretly ask themselves: Sure, this is Star Wars, but is it my Star Wars? The original elevated moviegoers' expectations so high that it would have been impossible for any subsequent film to meet them. And as with all the Star Wars movies, The Phantom Menace features inexplicable plot twists, a fistful of loose threads, and some cheek-chewing dialogue. Han Solo's swagger is sorely missed, as is the pervading menace of heavy-breather Darth Vader. There is still way too much quasi-mystical mumbo jumbo, and some of what was fresh about Star Wars 22 years earlier feels formulaic. Yet there's much to admire. The special effects are stupendous; three worlds are populated with a mélange of creatures, flora, and horizons rendered in absolute detail. The action and battle scenes are breathtaking in their complexity. And one particular sequence of the film--the adrenaline-infused pod race through the Tatooine desert--makes the chariot race in Ben-Hur look like a Sunday stroll through the park.
Among the host of new characters, there are a few familiar walk-ons. We witness the first meeting between R2-D2 and C-3PO, Jabba the Hutt looks younger and slimmer (but not young and slim), and Yoda is as crabby as ever. Natalie Portman's stately Queen Amidala sports hairdos that make Princess Leia look dowdy and wields a mean laser. We never bond with Jedi Knight Qui-Gon Jinn (Liam Neeson), and Obi-Wan's day is yet to come. Jar Jar Binks, a cross between a Muppet, a frog, and a hippie, provides many of the movie's lighter moments, while Sith Lord Darth Maul is a formidable force. Baby-faced Anakin Skywalker (Jake Lloyd) looks too young and innocent to command the powers of the Force or wield a lightsaber (much less transmute into the future Darth Vader), but his boyish exuberance wins over skeptics.
Near the end of the movie, Palpatine, the new leader of the Republic, may be speaking for fans eagerly awaiting Episode II when he pats young Anakin on the head and says, "We will watch your career with great interest." Indeed! --Tod Nelson
Sales Rank:10312 List Price: $9.98 Lowest New Price: $5.15 Lowest Used Price: $4.97 MPAA Rating: R (Restricted)
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Director(s):
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Felissa Rose
Jonathan Tiersten
Karen Fields
Christopher Collet
Mike Kellin
Welcome to camp arawak where teenage boys and girls learn to experience the joys of nature as well as each other. But when these happy campters begin to die in a series of horrible accidents they discover that someone or something has turned this summer of fun into a vacation to dismember. Studio: Starz/sphe Release Date: 08/20/2002 Starring: Mike Kellin Paul Deangelo Run time: 84 minutes Rating: R Director: Robert Hiltzik
Sales Rank:19039 List Price: $14.98 Lowest New Price: $8.11 Lowest Used Price: $8.96 MPAA Rating: PG-13 (Parental Guidance Suggested)
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Actor(s):
John Phillip Law
Don Stroud
Barry Primus
Corin Redgrave
Karen Ericson
The incredibly prolific exploitation film producer and director, Roger Corman, tries his hand at a war film with Von Richthofen and Brown, about WWI air battles between German icon Baron Manfred Von Richtofen (John Phillip Law), and his alleged captor, Canadian Lt. Roy Brown (Don Stroud). With a slowly unfolding plot that may be tedious to anyone but war buffs trolling for historical accuracy, the film is mostly about its flight sequences, as it should be. Von Richthofen and Brown shows The Red Baron's rise to glory and his noble downfall, while building sympathy for the opposing forces who plan revenge on his unbeatable German team. Interpretive scenes during which he snidely paints his squadron's planes, including his own conspicuous red, and later depicting his controversial death, during which he is shot mid-air but somehow lands his plane, are the most arresting to those not aircraft-obsessed. Tension built between Von Richthofen and Brown is half-baked, making further argument for the film's battle-scene priority. War aficionados will appreciate this film, while Corman fans will yearn for more sex, gore, melodrama, and classic Corman action. --Trinie Dalton
Sales Rank:12719 List Price: $14.94 Lowest New Price: $8.51 Lowest Used Price: $9.05 MPAA Rating: Unrated
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Director(s):
Actor(s):
Joan Crawford
Diane Baker
Leif Erickson
Howard St. John
John Anthony Hayes
Poor Joan Crawford just can't get a break. She hacks her husband to pieces and is sent away to a mental hospital; then after she comes back and tries to adjust to a normal life, there's more ax-swinging and more noggins rolling. Her pretty sculptress daughter (Diane Baker) just wants Mom to return to society and a happy, well-adjusted life... or does she? The plot is a little trite and predictable, the direction a bit staid, but it's all Joan's show anyway. Obviously director William Castle told her to play up her character's insanity, and Crawford turns the knob on the acting meter up to 10, then breaks it off and throws it away. She spectacularly mugs her way through the whole film, abruptly changing from severe schoolmarm to trampy vamp and back again several times. The scene where Mom meets her daughter's fiancée for the first time is particularly memorable; Mom guzzles half an iced-tea glass full of bourbon, then crawls all over the boyfriend while the viewer squirms uncomfortably. Back in '64, lucky moviegoers were given little cardboard axes when this feature made its run in the theaters. Sadly, the cardboard axes are long gone, but this is still highly recommended for fans of Crawford, Castle, and high-powered thespianism in general. --Jerry Renshaw