Reviews

It's more like the Teacher's Edition.

"Evangelion" can be a life-changing experience when seen in it's entirety; if nothing else, it will redefine the way you look at anime. "Evangelion: Death/Rebirth" will not affect you quite so profoundly, but it's still worth viewing and, in my opinion, owning when the official U.S. DVD release hits stores in late July 2002.

Originally released in Japan prior to "End of Evangelion" to promote the theatrical finale to the series, the first half ("Death") is a summation of the first 24 episodes meant to "refresh the memories" of long time fans of the anime, and initiate those who have not seen the series into the mythology of Eva's world circa 2015 A.D.; The second half ("Rebirth") is a sneak peek at the first few minutes of "End of Evangelion" (the two part movie which - sort of - wraps up the series).

To say that "Death" is largely redundant if one has seen the series is fair enough; To say that "Rebirth" is redundant because the movie itself will be available domestically on DVD in September is also fair. But "Evangelion: Death/Rebirth" is not a total waste; a great deal of new animation was created for the film, including a number scenes which were given the "director's cut" treatment and which have been, until now, mostly unavailable in the U.S. except as fansubbed movie files off the internet. This alone is enough to recommend the title to many longtime Eva fans.

Granted, I won't watch it as often as the other episodes or the movie itself, but I'll own the DVD when it comes out. Bottom line, if you haven't seen Eva yet, watch the 24 episodes in their entirety first. You'll get more out of the movie AND out of "Death/Rebirth" that way.

Cowboy Bebop is one of those anime that defies easy classification. On the surface it's just another sci-fi action series, but to leave it at that would be criminal because the series is so much more complex than that description alone can convey.

While the story is set in a space age post-apocalyptic future of sorts (though in a society no more dystopian or dysfunctional than our own), it embraces so many different genres that it is impossible to settle on any single definition as the "right" one. It's science fiction, but it is also a cop action/drama, a mythic western, a Chandleresque detective show and, at times, even a comedy. And the heroic/tragic climax of the series is worthy of classic John Woo. Few series manage to combine so many disparate themes in a single mold and make it work; it not only works, but works flawlessly in Cowboy Bebop.

Cowboy Bebop is almost guaranteed to go down in anime history as one of the most original series of the 1990s. The story manages to achieve a level of creativity and originality that's rare in episodic television, especially episodic anime, avoiding the more common formulaic approach. The soundtrack is unlike anything I've heard in an anime, eschewing the normal J-pop for a more eclectic selection of jazz, blues, and folksy tracks that bring a fresh feel to the story (one of the trademarks of a Yoko Kanno score, and with Cowboy Bebop she outdoes herself). Countless pop-culture references abound, from Bruce Lee to 2001: A Space Oddysey, abound, but they are always well crafted and inobtrusive rather than in-your-face.

The characters are well-crafted, endearing, and complex. In short, they strike you as real people, not just the standard formula archetypes. If they are not perfect (they are not), if they must bear the burden of a dark and/or forgotten past (which most of them do), neither are they as hopelessly neurotic as the cast of, say, Evangelion. You care about the characters, and more importantly, a part of you identifies with them... and in the end this is what makes the series work, every bit as much as the storytelling.

Though it is not suitable for younger audiences (probably rating about a PG-13, were it to be reviewed by the MPAA) it is strongly recommended for everyone else. Long-time anime fans will love it, not as the Next New Thing, but as something truly New. Newbies and the uninitiated will get a taste of what truly excellent animated storytelling can be, and will find themselves hooked for life.

The One takes an intriguing, if not inspired premise (multiple parallel universes being a staple of science fiction almost as long as the genre has been around) and combines it with Jet Li's current marketability at the American box office and video rental/retail industry to create what should have been a sure-fire hit.

Unfortunately the movie falls far short of what it might have been. The plot, what there is of it, fails to rise above the level of comic book-style story telling, and depends more on special effects and wires than it does on engaging characterization and clever plot development.

In the end, the film is predictable as it is disappointing. It ought to satisfy fans of Mortal Kombat or perhaps X-Men (which was satisfying in it's own way, if not exactly classic film making), and die-hard fans of Jet Li, but all others might better spend their time and money on Li's other recent release, Kiss of the Dragon.

Behind Enemy Lines is an entertaining, if somewhat predictable foray into the action-thriller for Owen Wilson. Although the casting is at first somewhat distracting - Wilson's previous work has centered on, with rare exceptions, comedies or roles which serve primarily as comic relief, and it's somewhat difficult initially to take him seriously - Wilson does an excellent turn as leading man in a serious action role.

The plot is somewhat thin at points, and the movie is maybe a half an hour shorter than it should have been - certain points need far deeper explanation than they're given, or at least better clarification - but it's still a decent enough way to spend a couple of hours.

My only real complaint is with the cinematography. After two hours of the jarring sort of hand-held camerawork that one finds in the Blair Witch Project or the opening of Saving Private Ryan, intersperced with a too-liberal helping of high-speed pans, freeze frames, and John Woo style slow-mo and bullet-time shots, one has to wonder if the film crew has ever heard of a steadycam...

On the surface a documentary about the making of From Dusk Till Dawn, 'Full Tilt Boogie' is a frank, revealing, and ultimately informative look at independent filmmaking in today's Hollywood. Be warned, however, that if you're expecting yet another neat, polished "making of" documentary, you'll likely be disappointed. `Full Tilt Boogie' has none of the glitz or big budget finish, none of the behind the scenes looks at special visual and makeup effects. While it still delivers the obligatory interviews with cast and crew members, this is largely a film about the unsung heroes behind the actors, directors, and SFX maestros, about the legions of everyday men and women who help bring the movies to life. While this unorthodox approach to the `making of' documentary may not be to everyone's liking, (it's 90-plus minute running time especially may try the patience of the average viewer) `Full Tilt Boogie' is a must for any student of filmmaking, or anyone who has ever considered a career in the industry

I wasn't exactly sure what to expect from this film (what with sequels being a touch-and-go proposition under the best of circumstances, and horror sequels even moreso. But The Prophecy III more than adequately lives up to it's predecessors. Brad Dourif is at the top of his form in his all-too brief role as the blind, gun-toting Zealot (my only complaint being that we don't get to see more of him). Steve Hytner returns once again as Joseph, whose character is greatly expanded for the final chapter of the trilogy (before being abandoned about half way through the film, just when he was getting really interesting). Christopher Walken fans may be somewhat disappointed by his greatly reduced role, and even insulted by the fact that his Gabriel is played largely for laughs in this installment (if you haven't seen the first film, you'll fail to pick up on the irony in what is probably one of the trilogy's funniest moments); seems Gabriel has mellowed somewhat in his years as a "monkey," and perhaps even seen the error of his ways. But Vincent Spano, playing the role of the dark angel Zophiel (every bit as menacing as Walken's Gabriel and as creepy as Vigo Mortensen's Lucifer, and far more energetic than either; Zophiel is definitely a hands-on kind of angel) more than makes up for this. My only real complaint is that the "main" character is never really fully developed. But by the time the end credits roll, most of the loose ends have been resolved, and there's a sense of closure that suggests future sequels are as unlikely as they are unnecessary. If you liked the first two movies (or even if you liked the original Prophecy, but you didn't care for the first sequel), The Prophecy III: The Ascent definitely belongs on your "to rent" list. Give it a 3.5 out of 5 stars (would have been a "4" but it missed the opportunity to properly develop some of the it's most interesting characters).

One of the most genuinely frightening movies that I have ever seen. Maybe THE most frightening movie that I have ever seen. I was jumping at shadows and having nightmares for weeks after seeing this one -- and movies don't, as a rule. frighten me. If you're looking for a jarring, uncompromising ride to Hell and back, (and make no mistake; the film's tagline promises "infinite terror," and it's not kidding) then look no further.

Unfortunately the film's eventual descent into gore will leave many viewers with a bad taste in their mouth, myself included. As the plot (such as it is) plays out, the action becomes more and more gruesome, sacrificing genuine psychological horror for something far more visceral and, in the end, less effective.

Despite misgivings, I find that I can't completely trash this film. It delivers what it promises -- terror, on a number of levels -- and in that respects it succeeds admirably. If you don't dwell to deeply on the plot, and the fact that it's blatantly derivative of some of the best (and worst) sci-fi and horror films ever made, you might just have a good time.

But if you're looking for a cinematic masterpiece, or if you have a weak stomach, then your time and money is probably better spent elsewhere. Oh, and one closing thought:

Explosive decompression, aside from not being explosive, does not work that way; the absolute WORST thing you could do, were you to find yourself trapped in a vacuum, would be to "expel all of the air from your lungs". Just a little continuity error that's always bugged me...

Perhaps one of anime director Hayao Miyazaki's most underrated productions, "Rupan sansei Kariosutoro no shiro" is still, in my opinion, one of his best -- and one of my favorite anime of all-time. It's storytelling, high adventure, and slapstick comedy at it's best. And main character Lupin, (a.k.a. The Wolf in the English-language release) gentleman thief and part-time hero, is probably one of the most fully realized characters in anime.

The animation is beautiful, with a fluidity, complexity, and attention to detail that's uncommon even in contemporary titles (a Miyazaki trademark), despite being somewhat simplistic by today's standards. And the story is easily worthy of Hitchcock (albiet, by way of Jim Carrey!). Having seen both the subtitled and the dubbed versions of this film, I would strongly recommend either one to any fan of anime, animation, or film in general. (U.S. release title - The Castle of Cagliostro)