You have what you think is a pretty good gimmick. And a horror/slasher story to showcase it in. So you make a film to exploit the gimmick with the intent of capitalizing on it.

Wouldn’t you think the film you make be a reasonably decent one, one with legs to stand on? At least a little bit?

That’s not what writer/director/producer Richard L. Bare and executive producer William T. Orr decided to do. They took a budget of $1.5 million, set up camp for 48 days at the Hotel Del Coronado across the bay from San Diego and proceeded to shoot a film with the ploy of “Duo-Vision” (better known as split-screen) and churned out a piece of schlock that’s barely watchable. Actually, calling it schlock is giving it more credit than its due; this is 90+ minutes of drivel. (Note: They actually came in under budget on the film. I doubt utilizing the entire amount would have made it any better.)

At a sprawling California hotel, a killer is on the loose targeting comely single blonds. The action starts off promisingly enough with the demise of one guest shortly after checking in. And it’s here we have the pinnacle of the film’s “Duo-Vision” process. Because nearly everything hereafter goes downhill.

Duo-Vision loses steam quickly. In fact it does the equivalent of a plunge off a 500′ cliff. As the story unfolds (such that it is), the device becomes tedious. It detracts from the story in big, steaming heaps … but that isn’t necessarily a bad thing. If not for its contrived clicheness, you just might tune this turkey out all together.

It would be an entirely different matter if what was shown in Duo-Vision drew interest, engaged the viewer. But there are so many lackluster, unremarkable scenes on either side of the screen – and at precisely the same moments – the split-screen hype wears thin in short order. You become exhausted trying to keep up with the “nothing going on” constantly going on. Yes … it’s that bad.

Additionally, wouldn’t you think a film with so many familiar faces would have something redeeming? Edd Byrnes (Kookie of 77 Sunset Strip), David Bailey of the popular-at-the-time Mitchum deodorant commercial, the very familiar Arthur O’Connell (Fantastic Voyage, The Poseidon Adventure) and actor/novelist/co-founder of Second City comedy Roger Bowen (M*A*S*H, All In The Family) are all present in Wicked, Wicked, each and every one of them recognizable to some degree. So it had that going for it … right?

Nope. Casting didn’t work either. Try as he might (and it didn’t appear he tried in the least) Bare’s direction, plain and simple, was barely direction at all. Combine his efforts with a limp script to begin with, a dull hook incapable of sustaining interest, snooze-worthy dialog, film-making lacking fundamentals and enough drollness to cure insomnia and Wicked, Wicked flounders utterly.

The kicker is this, though: I’ve seen other reviews of the film and I’m convinced those who wrote about it saw a completely different movie than what I saw. Or they were wearing rose colored glasses. Of course, that automatically made me question what I’d seen … and then, almost instantly, I came back to the real world and to common sense. Yes, I’m sometimes delusional … but not so much I don’t know what a bad film looks like. And this? This is a bad film.

Still, there are a few items of note. Not enough to make you sit up straight though. Just little asides to induce a chuckle or two.

There’s an organist in the film who Bare thought, inexplicably, needed to make multiple appearances for effect. Why? I haven’t the slightest idea. But her wide-eyed, comical look is a welcome distraction to the story, if nothing more than to call out the dippy tunes she plays as background fare.

Plus there are a couple cringe-worthy lines of dialog. As example, late in the film after singer Lisa James (Tiffany Bolling) is swamped by reporters after being rescued from the killer, this gem crops up:

“What does it feel like to have your throat cut?” – Reporter
“It hurts …” – Lisa James

And then there’s James’ singing itself:

“Wicked, wicked that’s my ticket … you make me feel so wicked
Let me do what I love to do … make wicked, wicked love to you …”

Yeah. Really.

I’ll give the film two positives, however. 1) Randolph Roberts, who plays killer Jason Gant, does manage to convey a strange, child-like naivete on the one hand while doling out his inner knifing-bearing, evil cad on the other. And 2) the disc offers a trailer for the film. And believe me when I say it is infinitely more engaging than the actual product itself.

Technical information: 16 X 9 letterboxed edition with the original aspect ratio 2.40:1. Stereo sound is evident, but there is no back up information verifying what type of enhancements to the sound were involved. Was there noise reduction? Rerecording? And what kind of stereo sound is involved with the print? I have no clue. Nor is there any information regarding restoration either. The print is rumored to be restored (with some sources stating there was a process encompassing a couple year’s worth of effort) and I’m certain it is but I didn’t find any concrete evidence to back it up. Viewing the disc certainly doesn’t reveal anything indicating such.

I wanted something to come out of Wicked, Wicked. Something camp … something guffaw-worthy … something worth the effort of giving up an hour and a half of my time. Instead, I was left with a viewing void, time spent I will never, ever get back. And that, dear reader, is the truly wicked, wicked thing about this sad vehicle …

Wicked, Wicked was generously offered to CliqueClack for review by the fine folks (who obviously have a wicked, wicked sense of humor) at Warner Bros.

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This year ABC is doubling down on the winter mini-season, launching two high concept niche shows over what is normally, for most networks, a break from new content. Both Galavant and Marvel’s Agent Carter are period pieces consisting of 8 episodes each. However, for some reason, ABC decided to air Agent Carter over eight weeks while doubling up on Galavant’s shorter thirty-minute episodes over four. In this age of fewer summer reruns and little chance of syndication for a shorter run leads us to believe that the original plan was to air the show over eight weeks as well — otherwise why not just produce four-hour long installments? Maybe they thought stretching it out over eight weeks would lose too many audience members.

Regardless of whether ABC had faith in Galavant or not, the end result is a delightfully cheesy show, a dash of Disney, a pinch of Monty Python, with a side of The Princess Bride. Composer and Disney golden boy Alan Menken, along with the team behind Tangled, have created a fun world in which characters can turn from wholesome to risqué on a dime. With a relatively unknown cast save for former Psych cast member Timothy Omundson and go-to baddie Vinnie Jones, along with a few funny cameos, Menken and Co. have managed to make something that feels original yet familiar at the same time. The lead actors have wonderful chemistry and even Vinnie Jones, who has become almost a parody of himself at this point, works wonderfully as a gruff thug in contrast with Omundson’s prissy king.

The biggest complaint you could make about Galavant is it could have used a one or two more memorable songs. While the majority of the songs were fantastic and almost too catchy for their own good (the title song alone will be bouncing around your head for hours after), several songs throughout the season were less than stellar, there more to drive the plot or serve exposition. Admittedly, these only stick out because we’ve been so spoiled by some of the standout numbers: the pirates’ “Lords of the Sea” along with “Hey Hey We’re the Monks” being two prime examples. Some people will be turned off by the musical aspect of the show but frankly anyone who doesn’t like musicals should stay clear. Galavant doesn’t shy away from the cheesy, flamboyant nature of an old-fashioned musical. If anything they turn hard into the skid. Many of the musical numbers demand repeat viewings and you can’t help but laugh at some of the ridiculous antics that take place.

Plot and writing-wise there were weak points scattered throughout the season. A few parts of our heroes’ journey felt a bit glossed over while others felt like they went on longer than necessary. The pirates we meet in episode four are so funny and offbeat you could easily see multiple episodes dedicated to the adventures they had together on their way to Valencia. It’s a shame they weren’t kept in the mix.  The finale also had some awkward moments that didn’t seem to fit the rest of the season: Princess Isabella went from a strong independent woman to a more traditional damsel waiting to be rescued, and Galavant’s plan to get King Richard drunk to go after his brother seemed unnecessary — though it did lead to one of the best musical numbers, “We’re Off on a Secret Mission.” The biggest surprise that came out of Galavant‘s season finale is that it wasn’t a series finale, we’re left with all our characters in precarious situations and our story draws to a close on a cliffhanger. It seemed like this was a one season and done situation so the fact that we now have to hope for a second season to get any kind of resolution was a real shocker. Though after seeing how fun King Richard and Galavant are together, the promise of more of their growing bromance is exciting. With the way everyone is left at the show’s close, there’s a lot of potential for new settings, situations, and some dynamic pairings of characters. Hopefully these will lead to some great songs as well.

Whether or not we get another season, Galavant was different from the rest of the pack, it did something unique and will no doubt have fans and detractors both in abundance. But for those of us who love musicals and can appreciate the show for the funny, cheesy, self-aware approach it takes, Galavant is a welcome addition to the television landscape and here’s hoping we can have at least one more season of humming that damn catchy titular song over and over again.

The atrocities of war are ugly, but the resiliency of the human spirit to survive against all odds is nothing short of beautiful. Based upon the remarkable true story of Louis Zamperini, Universal Pictures’ Unbroken has taught me these life truths. If you ask me, it couldn’t have come at a better time than Christmas, a time of the year when we’re supposed to care about the plight of our fellow man – even if that plight and suffering occurred some 70 years ago.

Directed by Angelina Jolie, Unbroken is based upon the 2010 bestseller Unbroken: A World War II Story of Survival, Resilience, and Redemption, which was written by Laura Hillenbrand (who also penned the bestseller about Seabiscuit). Although Louis Zamperini died this past summer at the ripe old age of 97, his spirit lives on – reaching an almost legendary status – thanks to the book and film about his life.

The film begins up in the puffy, white clouds over the vast Pacific Ocean, where we’re first introduced to Louis: a young, charismatic World War II bombardier (portrayed by Jack O’Connell). One of the strongest attributes about Unbroken that I observed from its beginning is its convincing realism. It’s as if you’re actually right there in the cockpit with Louis and crew, part of the dizzying action of the war, wondering if (or when) this rickety plane is going to finally be submerged into the watery depths waiting below. In fact, the effects were so good at the beginning that if this film had been shown in 3D, I’ve no doubts I might have thrown up in my theater seat.

While Louis’ fate in the plane hangs precariously in the balance, we’re given flashbacks from his youth, which are designed to give you insights about his character and the likely causes for his unbroken spirit in the film’s latter half. The son of Italian immigrants, it seems Louis led a troubled youth full of thievery, underage drinking and fighting because he was constantly being bullied due to his immigrant status. However, his older brother Pete was always looking out for him. After observing how fast he is able to run away from the bullies, it’s Pete who encourages him to try out for the school’s track team. A natural athlete, Louis sets all kinds of records for running and is deemed good enough to represent the United States in the 1936 Olympic Games in Berlin. He was slated to return to the 1940 Olympics in Tokyo, but of course, World War II cancelled those and caused Louis’ life to take a different direction. Enlisting in the war was what most able-bodied, patriotic young men of the 1940s did, and Louis was no exception.

This brings us back to the surmounting action on the plane. After Louis’ plane goes down in the Pacific, he spends 47 days in a raft in shark-infested waters, only to be rescued by the Japanese. Considered an enemy of Japan, Louis is sent to a prisoner-of-war camp. It’s hard to say which is a worse fate: the days spent starving, dehydrated, sunburned and almost stark-raving mad while drifting aimlessly about on the tiny raft with two of his fellow survivors (Domhnall Gleeson and  Finn Wittrock) or the days spent freezing, malnourished and beaten – either for information about the Allies or just for the seeming sheer fun of it – while he’s a prisoner in the camp. One thing I didn’t enjoy was the seemingly endless torture/beatings. It felt like Louis was never going to get a break.

Because of his “celebrity status” as a former Olympic athlete, Louis is quickly singled out by the camp’s ruthless leader, Mutsushiro “The Bird” Watanabe (portrayed by musician Miyavi), to endure additional hardships on his cruel whims. It seems “The Bird” is angry because he comes from a life of privilege and he feels it is beneath him to be the commander of a lowly prison camp (he wants to be promoted). I’d never heard of the musician Miyavi, but he gives an amazing performance as the film’s villain. You will truly grow to hate him by the climax. I didn’t read the book, but I overheard some women discussing it after the film ended. While they enjoyed the film, they felt that the character of “The Bird” didn’t come across as clearly from the book to the film adaptation. It seems they were left wanting more. If that’s the case, perhaps I’ll be reading the book next year.

My personal take on “The Bird” is that he is oddly fascinated by – and begrudgingly respectful of – the resiliency of Louis’ spirit. He attempts to break him because I think he perceives that Japan is losing the war and Louis has become a sort of twisted symbol of his hatred for the Allies at-large. In a weird way, I think “The Bird” almost feels like the two of them are equals or friends, and perhaps he secretly wishes he possessed more of Louis’ inner strengths. While he gets frustrated that he cannot break him, I think inwardly he respects that. If he were to break him, I think it would expose fragilities about himself and the rest of mankind that he is not willing to face.

While undergoing the routine tortures of “The Bird” and his men, Louis becomes almost a mascot to his fellow prisoners. As long as he remains strong of character in the unrelenting face of adversity, it gives them a flicker of hope. His mantra, “If I can take it, I can make it,” resonates true for all of the prisoners in the camp. While it’s not really fair to expect one individual to be that brave, it’s a fact of life that sometimes we all need a hero to cling to so that we do not give up and lose all hope in the darkest of times. Louis is remembered as a hero to many in his generation, and his inspirational story has introduced him to millions of people in a new one. Perhaps “A minute of pain is worth a lifetime of glory.” However, I can’t say that with any unwavering certainty.

What I found most remarkable about this film is the fact that it hadn’t already been made. I read on IMDb that Universal secured the rights to Louis’ story for a film all the way back in 1957, when they were eyeing Tony Curtis to possibly portray him. Imagine what that film would have been like!

Unbroken is probably the best film I watched in a theater in 2014 (although at times it can be cringe-worthy). I’m sure it’s not perfect, and if you read the book, you might not feel it deserves quite as much praise. But I think it’s beautiful to watch for the scenery and the overall message about not giving up, and the musical score is equally alluring. What I found most interesting about Louis is the fact that he was able to eventually forgive his captors and go back to Japan to be a torch-bearer in a later Olympics ceremony. I’m sad knowing he passed away this year before the film came out. It would have been nice to have seen him at the premiere being celebrated for being such an extraordinary human being.

Editor’s note: Zamperini was able to see the film privately before he died. He and Jolie became very close friends and she downloaded a copy of the film to her laptop and drove to the hospital to watch with him.

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Ten years, seven seasons, fifty-six hours, and one terrible live action adaptation … now we’re here at the end of the avatar’s world — no not the “Dances with Smurfs” one. The world of Avatar: The Last Airbender is no more, at least for the foreseeable future. After three seasons of the original Avatar, many wondered if their follow-up, set seventy years after the first series, would be as well-done or as well-received by the viewing public. While not as consistently great as its parent series, The Legend of Korra had many moments that were well deserving of its lineage.

It’s a shame that such a well done piece of animation failed to find the number or quality of audience that Nickelodeon was hoping for. If it had, the last year could have gone much differently. After moving to streaming online only, scaring fans that the show would end without a proper finale, Nickelodeon moved the show back to airing for the end of the season just as suddenly.

After all that drama, it came out in the press that the budget for the final season was slashed heavily. To the point that one episode of the final season would be a clip show. Luckily the writers were clever enough to take this setback and give us an especially funny episode, albeit one with practically no plot or character development.

It’s doubtful the executives at Nickelodeon knew what they were doing when it came to Korra. Lucky for us the creative team behind the show kept their focus on getting us to the end of their story. Season four (or Book 4 as it’s called) was titled “Balance.” As such, the series explored several variations on the term: Work and family, spirituality and the physical, war and peace, along with love and duty were all running themes this year. The two-part finale did an amazing job at addressing each of these over a forty-five minute run time.

The finale started with Kuvira, a powerful and charismatic leader, poised to take over Republic City. To do so, she has a giant mech equipped with a spirit-powered super weapon. Seeing the rows of soldiers with her at the helm invokes tones of World War II. The use of a weapon of mass destruction not only invokes images of Hiroshima but modern acts of terror as well. The show has smartly strayed from turning Kuvira into a one-note villain, instead juxtaposing her intentions with Korra’s. They both are strong women who feel driven to an end: they both want a world at peace … but their views on achieving this balance are vastly different. A big arc this season was for Korra to look at her enemies, to see their similarities rather than their differences. Every antagonist she has faced had a quality that mirrors something inside of her.

Once the action begins, the episode really takes off. Throughout the good and the bad of this show one thing has always stood true: the action scenes are phenomenal. The way the fight scenes are choreographed and presented is some of the best action in any medium, not just animation. They lead you down a path where as a viewer you would ask yourself “why they don’t use a certain ability or tool at their disposal”,  the next second they do just that. Instead of building roadblocks out of characters stupidity, as many shows do, they have smart, creative characters whose conflicts feel organic. Team Avatar joining forces, using a multilateral attack of ground and air-based abilities is a great culmination to all the battles we’ve seen. It would have been nice to see more of the new Air Nomads at this point to really hammer home that the air nation is back in full swing, but understandably they wanted to keep the focus on our main group.

Korra gets one more talk with her teacher Tenzin; they have a heart to heart, demonstrating they have helped one another grow. Their dynamic is what drove the first season … now at the end we see that master and student view each other as equals. Neither one is above the other; balance once again.

For the last few minutes of the show the writers finally address the big issue that has sparked fan discussion since book two: the Mako/Korra/Asami relationship. Since day one, Mako and Korra never gelled the way they were intended to. It was obvious they were trying to capture a little of the Aang/Katara romantic magic of the first series, but it never felt right. Conversely, the friendship between Korra and Asami felt natural. It grew out of something organically. The last words we hear Mako tell Korra are platonic: “I’ll follow you into battle no matter how crazy things get, I’ve got your back and I always will.” These aren’t the words of someone in love, but those of a dear friend. In this moment the show finally lets go of the idea that Korra and Mako are romantically linked; instead they’re comrades, soldiers in arms, but not in love.

Fittingly, we see Korra and Asami together one last time. They talk about their regrets, say their apologies to one another, then decide to go off on a vacation together into the spirit world for an indefinite time. In probably the most beautiful moment of the series, they walk hand in hand into a spirit portal, turn in to face each other, look into each others eyes … and vanish. Many fans (including this one) have hoped against all odds that this same-sex pairing would be allowed to happen on a Nickelodeon animated show. It would be a safe bet there is probably a version of this episode’s script where they embraced or kissed in the end. By leaving it vague yet so assuredly true, the writers manage to show us a beautifully realized romance while still leaving enough deniability for those unready to deal with it.

Korra managed to bring peace to the world as well as find love in an unexpected place along the way. This season was about balance, it delivered on every front: a unique, smartly written story with beautiful animation, amazing action, and memorable characters. These are the ways Korra became a legend.

There is probably just as much folly in trying to review The Hobbit: The Battle of the Five Armies as there was in making three movies out of a very slim volume of a book. If you’re a fan of the films, you’ll see it no matter what some critic says, and if you’re not a fan there’s nothing I or anyone else could say to convince you to see it (and who would go see the third part of a trilogy without seeing the first two parts anyway?).

The plot, in a nutshell, picks up exactly where we left off in The Desolation of Smaug. The fearsome dragon is launching an all-out attack on Laketown, Gandalf is still imprisoned somewhere, and Thorin and his compatriots are hoping to reclaim their land, their home, their birthright once Smaug is dispatched. Once that happens, everyone in Middle-earth shows up to claim the land (and the treasure) for themselves. There’s bloodshed, there is death, there are tears, but in the end can this trilogy stand up next to The Lord of the Rings? In a word, no. Think Star Wars Episodes I-III compared to Episodes IV-VI (but maybe not quite that bad).

The Good

• The best thing in this movie is Richard Armitage’s performance as Thorin. He grieves for the lives lost in Laketown, then succumbs to the madness of Smaug’s treasure, turning on his friends whom he believes may have stolen the Arkenstone, and descends further into madness before coming to his senses and joining the battle to save his homeland. Armitage gets to run the gamut of emotions here and it is some fine work indeed.
• Martin Freeman is also very good in what little he has to do. His big moment really comes as he tries to talk Thorin down from his madness, but even though the movie is called The Hobbit, it’s really not about our friend Bilbo by this point.
• The destruction of Laketown is a harrowing, dramatic, thrilling moment of filmmaking that will have you on the edge of your seat.
• During Gandalf’s rescue, the moment Galadriel shows that she can kick everyone’s asses if she really wanted to, the psychedelic showdown between she and Sauron, and Saruman’s own kick-ass moves.
• The beautifully edited final descent into madness of Thorin before snapping back to reality, and his battle on the ice with Azog.
• Billy Connolly’s late arrival as Thorin’s cousin.
• The closing theme sung by original Hobbit Billy Boyd.

The Bad

• Almost every plot thread left dangling at the end of part two is pretty much wrapped up within the first half hour or so of part three. Smaug is dispatched rather quickly, Gandalf is rescued and I’m still not even quite sure why he was caged in the first place (or by who), elves show up and a name is dropped just to connect these films to the LOTR trilogy. There is very little plot leading up to the titular event outside of Thorin’s madness.
• After Smaug is killed (is that a spoiler?), it seems that everyone in Middle-earth just shows up at Thorin’s doorstep to collect what they believe is theirs. How did the elves, the orcs and all the others know so quickly that the Lonely Mountain was now vacant? I remember that sweeping scene of fire signals being lit across the mountaintops in one of the original LOTR movies, but there’s nothing like that here. It’s like everyone got a text that read “Ding-dong the dragon’s dead.”
• Five armies is really too many to keep track of during a battle, which takes up way too much of the movie’s running time. It’s easy enough to keep track of the characters we know, but who they’re fighting most of the time is just a jumble.
• Again, too little plot, too much fighting. And some of the CGI looks almost unfinished.

In my humble opinion, The Desolation of Smaug was the best entry in the trilogy because it moved the story along after the deadly dull meandering of the first movie. This one drops the ball a bit because we know many of the characters do survive into the next/original trilogy. There are, however, three surprising deaths (at least to those who haven’t read the book, and may not even be in the book) that do hit hard emotionally. Outside of Armitage’s terrific performance, it’s these moments that give the movie the heart and emotion it desperately needs.

And as you deal with those tragedies, the film closes with a hauntingly beautiful but sad song that really feels like we’re saying goodbye to a group of characters and a world we’ve come to know over these last fourteen years. It’s those moments that I wish the rest of the movie would have had (and perhaps it will in the inevitable extended edition) because it was those moments that had me nearly sobbing as the credits rolled past. Saying goodbye to Middle-earth was more emotional than most of the movie, and I almost feel that the movie didn’t earn that reaction (but I’m a softy).

The Battle of the Five Armies isn’t the worst of the trilogy and it isn’t the best. It certainly demonstrates the folly of stretching a single book into three films, but I suppose we should applaud Peter Jackson’s tenacity in getting these films made. Now here’s hoping he focuses on something a little smaller in scale to recharge his creative batteries.

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I’ve always found humans with disabilities that don’t allow themselves to become hindered by them as inspirational, whether they’re as humble and cheerful as the fictitious Tiny Tim in Charles Dickens’ A Christmas Carol or as fiercely competitive as real-life Olympian athlete Amy Purdy. However, it wasn’t until I was sent a copy of Dolphin Tale and Dolphin Tale 2 by Warner Bros. Home Entertainment that I found animals with disabilities could be equally inspirational.

Inspired by the true story of Winter, a young dolphin who lost her tail due to an infection and was given a new life and a second chance thanks to a specially-fitted prosthetic tail, Dolphin Tale was a runaway family hit in 2011. I had heard of it and wanted to see it, but just never had the opportunity to do so until now. And it was just as heartwarming as I’d expected it to be, making my mother and me laugh and cry. I always knew dolphins were a highly intelligent species, but I gained a newfound respect for them after watching this series.

Dolphin Tale 2 picks up a few years after the original and was written and directed by Charles Martin Smith (who also directed the first movie and has a cameo in the sequel as the government agent threatening to take away Winter). Everyone in the original cast is back, from the kids Sawyer and Hazel (Nathan Gamble and Cozi Zuehlsdorff – though they’re teenagers going through puberty now), to their respective parents (Ashley Judd and Harry Connick Jr.) and all your other favorite characters portrayed by Morgan Freeman, Austin Stowell, Austin Highsmith and Kris Kristofferson. Even Rufus the bird is back, and up to mischief as always!

What’s perhaps most amazing about this 2014 sequel (aside from Winter herself that is) is that it’s another true story about the dolphin’s inspirational journey. After the death of her surrogate mother, Panama, Winter becomes disconsolate and unwilling to engage with anyone, even her best friend Sawyer. Because of a government mandate that dolphins in aquariums must be paired due to their social nature, the Clearwater Marine Aquarium & Hospital risks losing Winter unless a suitable companion dolphin can be found quickly.

While this may sound easy enough, we discover how tricky the process of pairing can actually be. Just as not every human being is compatible with every other human being (with marriage success and fail rates speaking volumes about compability studies), dolphins are also not always compatible. While the aquarium could have chosen to try and pair Winter with Mandy, another dolphin they rescued, Dr. Clay Haskett (Harry Connick Jr.) makes the ethical decision to release Mandy because she’s been rehabilitated and no longer requires care in their facility. It’s not always easy making the responsible decision with your mind when your heart wants to pull you in the opposite direction. Just when things look their bleakest, a baby dolphin named Hope shows up at the aquarium … but is Hope the answer to everyone’s prayers?

If you can watch either of these movies without shedding at least half of a tear, that’s commendable (though not something I’d applaud you for). I, for one, couldn’t do it. The dolphins were adorable, and I couldn’t help but feel compassion for them whenever they were in danger. What I find so captivating about both stories is that so many people (especially children) with disabilities are given inspiration and hope just by watching them. It was emotionally uplifting to see the children come and be able to interact with the dolphins and other marine life in such a profound way.

There is something extraordinary about this dolphin that goes far beyond her prosthetic tail. One could make the argument that she simply adapts in order to survive, but I feel there’s more to it than that. What separates a quitter from one who is perseverant and refuses to give up? I think it comes down to an inner drive and a personal zest for life, but what I never stopped to think about was that animals can also possess these personality traits – they’re not exclusive to humans. Smith does a wonderful job telling Winter’s story in a compelling, yet realistic manner in both movies. I was able to emotionally connect with the animals on a level much deeper than I ever thought was personally possible.

I also liked the character development from the original to the sequel. Everyone has come full circle in a meaningful way, not just Winter. Sawyer has emerged from the shy loner he was in the first movie into this blossoming young man who now leads the volunteers at the aquarium, while Hazel seems to enjoy the spotlight as an enthusiastic public speaker when visitors come to observe the animals. Dr. Clay Haskett is still making the important – and often difficult – decisions that define him as a respected professional in his field. Dr. Cameron McCarthy (Morgan Freeman) continues to amaze with his advances in the study of prosthetics and how they relate to humans and animals alike, while Sawyer’s older cousin Kyle (Austin Stowell) has embraced his new life working with animal rescues at the aquarium after his injury in the previous movie temporarily set him back.

The Dolphin Tale 2 Blu-ray/DVD Combo Pack is jam-packed with bonus features that I think you and your children will enjoy watching together, including a blooper reel, footage of surfer Bethany Hamilton meeting Winter, an incredible underwater look at the making of the movie, and a couple of other behind-the-scenes featurettes that you won’t want to miss. And if you can’t make a pilgrimage to the Clearwater Marine Aquarium in Florida to visit the real Winter and Hope, I must confess I also visited the website www.seewinter.com to see what it was all about. The website allows you and your children to learn more about the dolphins’ escapades, including updates, visitors’ information and information on how to make a donation to their noble cause of “rescuing, rehabbing and releasing” marine life. There’s even a gift shop where you can purchase your very own Winter or Hope plushie just in time for the holidays.

Any time you can interact with a child using such a unique inspirational story is a good thing in my opinion. I hope to hear more about this amazing dolphin – and facility – for many years to come.

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It’s that time of year when movie fans like to pull out a classic horror film or check out something new in the genre. Times have changed over the years when it comes to horror. Before John Carpenter’s classic Halloween hit the big screen and spawned a slew of imitators that focused more on blood and gore than pure horror, scary movies were more about the supernatural. There was a spate of Devil movies in the 70s after the success of The Exorcist, and before that it was mostly monsters and ghosts that came out to spook audiences.

Recently, horror movies have moved away from blood and gore (for better or worse, mostly because of studio imposed PG-13 ratings) for more supernatural spookiness with films like the Insidious movies, The Conjuring, Annabelle and Ouija, and the July release of the 70s throwback Deliver Us From Evil, now available on home video.

The film is based on the true life stories of police officer Ralph Sarchie (Eric Bana), an everyday guy who found himself up against some very extraordinary circumstances. When we meet Sarchie, he’s investigating some bizarre crimes: odd noises in a basement, dead bodies, a mother throwing her baby into the lion pit at the Bronx Zoo. When he tracks down the man believed responsible for a murder and arresting the mother of the baby, a priest (Edgar Ramirez) shows up to helpfully explain that what is happening may not be of earthly origins. Sarchie comes face-to-face with demonic evil and ultimately finds himself assisting in an exorcism to rescue his own family from that evil.

Audiences accustomed to more high-tech horror may become a bit impatient with the pacing of Deliver Us From Evil, mainly because it starts out more like a 70s police procedural like Serpico before finally becoming The Exorcist in the last act. There’s no pea soup and no head spinning, just some stigmata and a weird neck thing (and exploding windows), so even the exorcism itself is a bit anti-climactic. It’s not a bad movie, it’s just a bit overly long and not very scary.

The Blu-ray edition of the film is certainly worth picking up if you were a fan of the film, or even if you’re just curious. The image is spotless and for a film that takes place mostly at night or in very dark settings, the presentation is beautiful. Colors are somewhat muted, blacks are nice and deep with no discernible artifacts, and it really has the look of a film from the 70s. The sound design, especially during the exorcism scene will kick your surrounds into action if you have a home theater setup. Sound effects and music never drown out the dialog throughout the rest of the movie.

Extras on the disk include:

• Audio commentary with director Scott Derrickson — Derrickson discusses the advantage of shooting the opening in Abu Dhabi, how Sarchie served as a consultant on the film and his relationship with Derrickson, why he changed the priest from Irish to Latin American, shooting in the Bronx Zoo (the first movie to do so in 30 years), working with Eric Bana and Edgar Ramirez (who initially turned down the role of Mendoza because it wasn’t interesting enough), how Sarchie lead to the production of The Exorcism of Emily Rose, the materials he gave to the actors to study and how his own fandom for the horror genre helped him make an effective horror film.
• Illuminating Evil (13:36) — Derrickson, Jerry Bruckheimer, Ralph Sarchie and others discuss how the Sepico-meets-The Exorcist story originated. Of note: The role of Mendoza was actually based on two Irish priests who were mentors to Sarchie; Joel McHale is Derrickson’s best friend and the role was written especially for him.
• Deliver Us From Demons (8:25) — Derrickson and make-up artist Mike Marino discuss the art of making realistic make-ups and Santino’s (Sean Harris) scarification. Harris often slept on set so he wouldn’t have to go through the lengthy make-up application process on a daily basis.
• The Two Sergeants (8:05) — Derrickson, Ralph Sarchie and Eric Bana discuss how the movie is a fictional story based on the real Sarchie (who never really murdered anyone). Bana also discusses how filming on location in the Bronx and studying Sarchie helped him maintain the Bronx accent, and how uncomfortable he was having Sarchie on set at the beginning of the shoot.
• The Demon Detective (9:37) — Ralph Sarchie discusses his police work and how he became involved in the field of demonology. Sarchie and Derrickson also touch on how Sarchie’s faith informs his work.

While I wasn’t a big fan of the film, I have to say the special features (including the director’s commentary) made me respect the film and what they were trying to do. Perhaps if they had gone more for the scares instead of focusing on Sarchie (and while the film is based on the real man, the story is entirely fictional), they could have had a great old-school Devil movie. As it is, Deliver Us From Evil is a bit of a mish-mash but a mish-mash that’s represented extremely well on Blu-ray.

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Let’s get something out-of-the-way right now so there’s zero confusion.

Here’s what I’ll do: I’ll warn you with a “Ready? Here we go” when I’m moving on to the spoilers. Fair enough?

I saw “No Sanctuary” — the season 5 premiere of The Walking Dead — a week or so ago. Thrilled to get an advanced screening of it, I viewed it twice. I relished in it.

For Dead fans, it’s been a long haul since “A,” the season four closer that aired back on March 30th leaving us wondering the fate of the group corralled in that box car by the residents of Terminus. (And don’t tell me that was a spoiler — I can’t imagine anyone not being up to date on the series.)

So … here are several thoughts on “No Sanctuary.” Ready? Here we go …

Know what would have been nice? Had we lost a character of substance. (Not the nicest sentiment, I agree. But losing someone would have made the premiere infinitely more interesting.) Doing so would have shot a “no one is safe” reminder going into the new season.)

Of course, like anyone fond of the series, I don’t really want to see any character get offed.

Still … I lean toward the idea of the show living on the edge rather than the cushy feel-good warm fuzzies the episode left us with detailing the reunion of everyone (with the exception of Beth) free of Terminus, whole and hale.

Don’t get me wrong: Carol’s “homecoming” and her touching re-acquaintance with Daryl was pleasant enough. Same with Rick and Carl’s realization Judith was in good hands and back in the fold.

But … it was too comfortable, too complacent, too convenient.

Lord knows the group has contended with its trials and tribulations. And most recently with the events at Terminus. I expected a lot more from the opener, though. The truth of the matter is I was mildly disappointed with it.

More than not, it was a lot of same old same old. Blazing firepower against devious enemies and relentless walkers, a timely rescue courtesy of Carol (contributing to Rick gainsaying his previous thoughts and actions toward her), lots of coincidental circumstances “just in the nick of time” avoiding the demise of some familiar faces (Glenn, Rick, more) and the tough luck happenstances of others with which we’re not so acquainted (the many Terminans).

However it may appear, I’m not quite that heartless. I have soft spots here and there for many of the group. I just hope the writers got some of those television tropes out of their systems for the time being. (They won’t. They sure did fill the opener with stuff that seemed more filler and fodder than anything else.) But they will continue to surprise us unexpectedly as in the past. Those are the times I relish most.

Carol’s diversion — blowing up the propane tank at Terminus — was nice. (I guess.) Seeing various events taking place at Terminus, Carol naturally saw a call for action. But … you see what I mean about things being a little too convenient? Convenient and somewhat cheese-fest? Though, in the grand scheme of things, her efforts did set up reestablishing herself back in Rick’s good graces. But that was “safe” story telling. I want something more jarring and innovative. I’ve seen enough walkers blasted and stabbed and mown down with round after round after round of ammunition.

One of the biggest puzzles of Terminus is still up in the air. Were they cannibals? Those bins stenciled with “Burn, Feed, Wash” — what were they all about? Were the Terminans actually processing corpses for their own consumption? Surely they knew of infection, maybe not. Maybe they knew that eating fresh kills didn’t make any difference so filet of biter was on the menu. Or were they simply accommodating any who strolled into Terminus as a gesture of welcome? “Hey buddy … you look famished. Care for some nice BBQ?” Lots of questions going on there which we may still never learn the answers.

Or … do we?

There were a few nifty moments during the hour. The “then” segments in the show revealed much about the Terminans. They used to be “good guys,” untarnished and still discerning, still decent. We learned Mary is Gareth’s mother. Gareth’s mother?!? Who was right at home a few episodes back, flipping slabs of meat behind the grill for Maggie and Glenn and Bob and the others?!? Yikes! While that was a nice little jewel from the writers, did it solidify in anyone’s mind the Terminans are out and out cannibals? Still, thoroughly enjoyable bookends to the episode. (Plus … we’re not quite finished with Terminus just yet. *cue drama button*)

Best of all, the writers left Beth’s fate from last season wide open. Not everything was tidied up with a neat, clean red bow. Something to look forward to.

The Walking Dead is back. Finally. For me, this was somewhat a low key, *meh* chapter to start a season. But I know it will improve going forward. Later in the week I will publish talks with some of the cast from this summer’s Comic-Con that will shed some light on what’s to come.

Stay tuned …

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Step right up, come one, come all to Fraulein Elsa’s Cabinet of Curiosities. Otherwise known as season four of the FX hit American Horror Story (this time subtitled Freak Show). AHS is really like nothing else on TV today, and its closest antecedents were the anthology shows popular back in the 1950s and 1960s (and those had different casts and stories each week).

Season three, Coven, brought an even wider audience to the show and the anticipation for season four has been at a fever pitch since tidbits about the story and characters began to “leak” out not long after the last season concluded. So far we’ve had a modern day haunted house in Los Angeles, a New England asylum (with demons and aliens!) in 1964, and a New Orleans based coven of witches that bounced around between two eras of witchcraft.

Season four takes us to Jupiter, FL, 1952, the site of Elsa Mars’ Freak Show (and also historically a place know for its circus background). But like any town on American Horror Story, Jupiter has more than a few dark secrets to reveal. As the season starts, Jupiter is beset by a series of gruesome murders perpetrated by one of the most frightening clowns in TV history (sorry, Pennywise). But why the clown (we’ll come to know him as Twisty) is killing people and kidnapping children remains to be seen … as does what he hides behind his half mask that covers his mouth.

Elsewhere, we meet Dot and Bette, conjoined twins are responsible for the murder of their mother (and a self-inflicted wound) which they hope to pin on the town serial killer … except no one is buying it since their wound was too fresh. But to the rescue comes Fraulein Elsa who spirits the girls out of the hospital and into her show, hoping their oddity and notoriety will bring audiences flocking to her failing show (unfortunately, the banners heralding their arrival also bring the police).

There is an entire cavalcade of characters to meet throughout the first 90 minutes, including Elsa’s right hand, Ethel Darling (Kathy Bates), a bearded lady, her son Jimmy (Lobster Boy) and a host of real-life oddities with impressive acting skills. And then there’s everyone’s favorite character from season two – Pepper! Yes, this marks the first time any character has crossed from one season to another, and with Freak Show taking place 12 years before Asylum, we can assume we know where Pepper will end up by the end of the season.

In addition to the horror and general weirdness, the first episode also had some heart as well and really portrayed the “freaks” as a family (the season’s overarching theme). Elsa may not be the world’s best mother, but she has brought all of society’s rejects together and given them a sense of worth … at least that’s what they think. Elsa may have ulterior motives, and her obsession with the movies and putting herself center stage tells a lot about her true character. The question is, does she really care for the family she created, or is she just using them for her own fame? Whatever her motives, Jessica Lange once again gives a bravura performance.

Kathy Bates, who won an Emmy for season three, gives the warmest performance in the episode, showing how much she truly cares for Elsa and the “family” even when she knows Elsa’s true colors. I think maybe she thinks Elsa will redeem herself. The role also shows her fearlessness, sporting a fuzzy beard and what can only be described as a “butch” haircut, and a less than flattering wardrobe (except for when she’s on stage). And, to my delight, she also imbues her character with a thick, classic Baltimore accent, hon! (Not Cajun, as some reviews have suggested.)

But even with conjoined twins, a Lobster Boy, a bearded lady and a killer clown, the episode’s most stunningly bizarre moment came when Elsa took to the stage to perform for a “sold out” audience (a local millionaire bought out the show for her son and they were the only two in the audience). In a scene right out of Moulin Rouge, Else took center stage and belted out David Bowie’s “Life on Mars” … which wasn’t released until 1971. It was actually a beautifully staged scene and even heartbreaking at the end when Elsa realized there was really no one watching her. And then as she sulked in her tent, she revealed another secret … she’s not as different from her “family” as we thought she was.

Ryan Murphy packed a lot into the first 90 minute episode of the season, and despite some earlier reviews which called the first two episodes lackluster, I am totally looking forward to what comes next as we meet new characters and more secrets are revealed. What did you think of the premiere?

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I’ve not read a book by Dennis Lehane, but I have seen several of the movies based on his books (of which he is usually the credited screenwriter). Some of those films I have enjoyed and some I have not, mainly because they all seem to have a sort of commonality to them – cold, grey, extremely bleak with nary a character you can actually root for (case in point: Mystic River). Gone Baby Gone and Shutter Island were more successful, in my book, perhaps because the directors made the material interesting (and Shutter Island certainly divided audiences with its extremely ambiguous conclusion).

The latest Lehane novel to make it to the big screen is Animal Rescue, which now goes by the title The Drop. The Drop is another cold, grey, bleak story about Brooklyn. Specifically Brooklyn’s neighborhood bars and the organized crime element that uses those bars as nightly drops for all of the money collected during the day. One such bar is Cousin Marv’s, run by Marv (James Gandolfini) and his cousin Bob Saginowski (Tom Hardy), but owned by the Chechen mob.

Marv’s is robbed one night, and Bob nervously gives the police a vital clue as to who one of the suspects may be. The money is eventually returned, and the Chechens tell Marv his bar will be the drop on Super Bowl Sunday. Meanwhile, Bob finds an abused dog in a trash can, and with the help of the owner of said trash can (Noomi Rapace), raises the dog as his own … until a shady character (Matthias Schoenaerts) shows up claiming to be the dog’s real owner and makes veiled threats to Bob if he doesn’t get the dog back (and even worse threats as to what he’ll do to the dog when he does). If the Chechens and the psycho dog owner weren’t enough, Bob also has to deal with a very nosy detective snooping around the bar and his private life.

The Drop is one big puzzle where all of the seemingly disparate pieces will connect together at some point to paint a bigger picture and reveal many truths about the characters. To really sell the deceptions of each character, director Michaël R. Roskam has cast a group of very talented actors. The late James Gandolfini (in his last role) makes Marv seem like an average guy stuck in a shady situation, but he slowly reveals many layers of the character. It’s a fine performance, but perhaps a little too Tony Soprano in the end.

Tom Hardy, however, is pretty remarkable, nailing the Brooklynese with great skill, never once wavering or slipping into his natural accent, nor acting very stilted while trying to maintain the foreign accent (like Richard Armitage in Into the Storm). He makes Bob seem like a very simple (or simple-minded at times) person, naïve on the outside, just a working class guy who gives away free drinks to the locals and has a big enough heart to rescue a dog from a trash can. There is more to Bob than meets the eye, but Hardy keeps all of Bob’s secrets intact until he’s forced to reveal them. Schoenaerts, who worked with Roskam on Rust and Bone, also pulls off an American accent without a hitch but his Eric Deeds is not someone you’d want to run into in a dark alley … or a well-lit one for that matter. Deeds always has an edge and if you get too close to him, you will get cut. The only main cast member who gets short shrift is Rapace as Nadia (employing a non-American accent), the woman who only seems to show up when she needs to either take care of the dog or be put in danger because of her own secrets.

The film’s poster unfortunately screams that the film has a twist, and in fact it has quite a few. One you may see coming after the first robbery, while another was quite a surprise. Roskam keeps things moving pretty well as the mysteries pile up on each other, but the developing romantic feelings between Bob and Nadia tend to slow the story down a bit. Luckily, and I have to put this out there for the animal lovers because it’s very hard to focus on the characters when you’re more worried about the dog’s survival, the dog does not get harmed in any way after his rescue from the garbage.

The Drop wasn’t as good as Gone Baby Gone, but was much better than Mystic River. The story may be a bit convoluted but the performances are certainly worth the price of admission, especially Hardy’s. Seeing Gandolfini on screen one more time (he died in June 2013) may also bring in the curious viewer, but it’s not a film that you can just casually stroll into and sit back and enjoy. Thankfully, the film also is very restrained as far as violence goes with only one scene with an execution by gun (in darkness) and any other bodily harm happening off-screen. If you enjoy crime dramas with a mystery woven in highlighted by some terrific performances, then you should enjoy The Drop.

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