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DVD Review: Dollhouse: Season One [Blu-ray]: Eliza Dushku, Harry Lennix, Fran Kranz, Tahmoh Penikett, Enver Gjokaj, Dichen Lachman, Olivia Williams, Amy Acker, Reed Diamond, Kurt Caceres, Brett Claywell, David Doty, Allan Kroeker, David Solomon, David Straiton, Dwight H. Little, Elodie Keene, Félix Enríquez Alcalá, James A. Contner, Joss Whedon: Movies & TV

Product Description
From Joss Whedon comes a new groundbreaking show starring Eliza Dushku as Echo, an operative in an underground organization that provides hired personas for various missions.

Disc 1: 230 Minutes

**Forced Trailers: Wolverine, Joss Whedon Properties Trailer, I Love You Beth Cooper, Nobel Son, Wrong Turn 3, The Keeper

**Ghost
*Episode Commentary with Joss Whedon and Eliza Dushku
**The Target
**Stage Fright
**Gray Hour
**True Believer

Disc 2: 230 Minutes

**Man on the Street
*Episode Commentary by Joss Whedon
**Echoes
**Needs
**A Spy in the House
**Haunted

Disc 3: 229 Minutes

**Briar Rose
**Omega

**Epitaph One
*Episode Commentary by Jed Whedon and Maurissa Tancharoen

**Original Unaired Pilot - “Echo”
**Commentary w/ Cast & Crew
**Deleted Scenes
**Making Dollhouse
**Coming Back Home
**Finding Echo
**Designing the Perfect Dollhouse
**A Private Engagement

One of the most inventive, challenging shows on television,

By Robert Moore (Chicago, IL USA) -
(TOP 50 REVIEWER)
  

Over the past fifteen years, no one has made more interesting television than Joss Whedon. BUFFY THE VAMPIRE SLAYER helped revolutionize television, not only making the empowered female hero a staple of television, but popularizing the long story arc and introducing the concept of the body count. ANGEL did little innovation in its own right, but still managed to roll out several seasons of excellent and consistently fascinating television. And FIREFLY not only brought new ground by blending the Western and Sci-fi, but brought a grittiness to the genre that later BATTLESTAR GALACTICA took to new heights. DOLLHOUSE, however, is both a far more challenging and adventurous series than any of these. Is it as consistently successful as these? Absolutely not. Does it represent Joss Whedon’s best work? Here the answer gets dicey. Speaking strictly on the basis of what has been shown so far the answer would be “No,” but a more honest and accurate answer would be, “Potentially.”

It is no secrete that DOLLHOUSE is considered a long shot to be renewed. The fault largely has to be laid at the feet of the executives of FOX. This show, unlike virtually every other show that FOX has ever done, is cutting edge and adventurous, taking risks unlike anything else you’ll find on commercial TV. Had the show been placed on any night of the week other than Friday it unquestionably would have attracted a healthy viewership. After all, there is no question that a large number of people are actually watching it. Between live viewers on the “death night” of Friday, the large number of people who DVR the show, the huge number of people who download it via Torrents, and those who buy it on iTunes or Amazon’s Unbox, a whole lot of people watch this show. But FOX shoved the show into the least promising time slot of the entire week, Friday nights. And what was the result? What anyone would imagine it would be: no one watched it live. DVR? Yes. Download? Yes. But live? No. The problem with Friday nights is that everyone in the 18-49 age group that advertisers desire is that they are all out doing stuff. The shows that have good ratings that night, like GHOST WHISPERER, attracts primarily viewers over the age of 49. FOX is responsible for the low ratings of DOLLHOUSE by not putting it on a better night. But despite that it has a show that plenty of people are watching, only not live.

DOLLHOUSE is built around an extremely difficult concept: people voluntarily (though not uncoerced) agreeing to become more or less indentured servants (which also involves nothing short of prostitution). Imprinted with the personalities who anyone needed for their jobs, the “Actives” who populate the Dollhouse can undertake virtually any job imaginable, for a fee. The first several episodes were somewhat slow and dragged a bit, a series of standalone episodes strongly encouraged by FOX. But once the show moved away from the “assignment of the week” it became the most bracing and exciting hour on television. The second half of the season featured one absolutely breathtaking episode after another, culminating in the final two, where the mysterious “Alpha” finally put in an appearance (played by the wonderful Alan Tudyk) makes his appearance. The show featured one startling twist and shock after another, some that could be anticipated (like many, I had guessed something crucial about Amy Acker’s character)) and others that could not. It became a show that was the least predictable on TV.

The question now is whether FOX will allow us to find out what happens next. Due to their terrible decision to put the show on Friday nights the ratings bombed (the original plan was to put the show on Mondays just before 24), which is unfortunately still the only came in town for the networks and advertisers, despite the otherwise large number of people who watch the series. I do have one hope for the continuance of DOLLHOUSE as we know it. Kevin Reilly, the head of FOX since the summer of 2007, has not been out-of-control in canceling shows. Unlike the FOX of the past, the Kevin Reilly FOX has been far more sober in canceling shows (though he has inexplicably renewed what is arguably the most hated show on TV, `TIL DEATH, which has the lowest viewer rating of any active show on TV). While head of NBC, Reilly made a habit of renewing critically acclaimed but low-rated series, like 30 ROCK, FRIDAY NIGHT LIGHTS, and THE OFFICE. Two of those three later became hits. My hope with DOLLHOUSE is that Reilly will remember that great shows have a potential of growing an audience, if you put them on the right night.

DOLLHOUSE is one of many shows of recent years that focuses extensively or even primarily on the question of what makes a person. BATTLESTAR GALACTICA, for instance, dealt at length about who could be said to be a person. In the first three seasons of that show Sharon Agathon (who was, interestingly, involved with Karl Agathon, who was played by Tahmoh Penikett, who plays FBI agent Paul Ballard on DOLLHOUSE) is at the center of whether or not she is a person, despite being a cybernetic machine. Living in a world where our self-identities are often the construct of the things that we identify with and purchase, products of the consumer society in which we live. Questions of authenticity are at the heart of our society. If you know many of the thinkers and writers with whom Joss Whedon is familiar there is no question that he is familiar with these kinds of issues. Many are not comfortable with this. Whedon made his mark as one of the great feminists on television (and interestingly DOLLHOUSE stars Eliza Dushku, whose mother, like Whedon’s, is a well known feminist). He has taken a lot of flak for the prostitution that the “Dolls” on the show engage in. The women are very much victims and there are few images of empowered women, completely unlike BUFFY with Buffy and Willow, ANGEL with Fred and Cordelia, and FIREFLY with River and Zoe. But the world is messy and complex and heavily nuanced. This show interacts and dialogues with that complexity. We are having a crisis of identity. We allow too many influences in society dictate who we are. How can we be authentic human beings when we do not have control over our own personhood? These questions transcend issues of feminism and penetrate to the question of what it means to be a person.

Although there may not be a Season Two of DOLLHOUSE, Joss Whedon has produced a wonderfully self-contained series even if it doesn’t continue. Unliked the vast majority of TV creators and writers, Whedon has always felt that each season of a series should end in a way so that if it is the last episode, fans aren’t left unnecessarily suffering. The final episode of ever season of every show he has done has not ended on a cliffhanger unless the show had already been renewed before production on the finale had begun. Seasons One, Two, Three, Four, Five, Six, and Seven of BUFFY as well as Seasons One, Two, Four, and Five of ANGEL could all serve as series ends. They already knew that ANGEL had been renewed when the finale of Season Three was filming. FIREFLY was cancelled right in the middle of filming, so it never had the opportunity of any kind of ending.

The DVDs will feature an episode that FOX currently has no plan on broadcasting. It guest stars Felicia Day (one of the Potentials from Season Seven of BUFFY and the love female lead in DR. HORRIBLE’S SING-ALONG BLOG) and purportedly does some exceptionally over-the-top things. Kristin of Eonline has reported that if FOX does not renew DOLLHOUSE, Joss Whedon is interested in developing a new show out of that final though unbroadcast episode of DOLLHOUSE. Hopefully, this time he will try to do something on one of the cable networks. Instead of FOX, I would like to see him on the Sci Fi channel (or as it is soon to be known, SyFy) or HBO or Showtime or even AMC. Because we haven’t seen this episode yet, we have no idea what direction a new Joss Whedon series based on this would look like. But if it is even a fraction as interesting as DOLLHOUSE, I am game. The truth is, this show should never have been on FOX to begin with. That it did was a result of Eliza Dushku having a contract with FOX to develop a new show. She immediately asked Joss Whedon to create that show. I think she has done a great job as Echo in the series, but I hope that we’ll continue to see her either on FOX in this show or on a cable channel in the same role on a new show.

Will this be the end of DOLLHOUSE? I hope not. I had grown to have almost no interest in FOX and hadn’t been watching any FOX shows in several seasons, but first with TERMINATOR: THE SARAH CONNOR CHRONICLES and then with DOLLHOUSE and FRINGE, I thought it was finally becoming a network that was interested in exciting and complex programming. And maybe it will be. Time will tell. But here is what confuses me. There is no shortage of great series on TV. But so many of those shows are lightly watched. Some are on cable and as a result are sheltered by lowered expectations. MAD MEN, BREAKING BAD, BATTLESTAR GALACTICA, and TRUE BLOOD are all interesting or even great shows that get very few viewers, far less than even failing shows on CBS or NBC or ABC. Then there are more heavily watched shows like PUSHING DAISIES, ELI STONE, TERMINATOR: THE SARAH CONNOR CHRONICLES, CHUCK, and DOLLHOUSE that either get cancelled or are in danger of cancellation because they are on one of the broadcast networks. There is no question that the television industry is broken. Viewership is in decline for all the networks for all evenings. There is little to indicate that this is going to reverse. But the networks have not managed to come up with any kind of functional model to deal with lessened viewership. FOX can’t figure out what to do with shows like TERMINATOR: THE SARAH CONNOR CHRONICLES and DOLLHOUSE that are heavily watched but have few live viewers. If FOX cancels them, in their place will go two other shows with perhaps even fewer viewers and far less critical buzz.

Whatever happens, we at least got one splendid season of the always-fascinating Joss Whedon. Hopefully we’ll get more seasons of DOLLHOUSE. If not, more seasons of some new Joss Whedon series.

May 15, 2009 — Awesome news!!!! Against hope FOX has renewed DOLLHOUSE for a second season! The Hollywood Reporter broke the story but it has since been confirmed by some writers on the show. It has been renewed for only 13 episodes, which is similar to what has happened to CHUCK and FRIDAY NIGHT LIGHTS. But unless one wants to quibble with the number of episodes, this is great news. The one fly in the ointment is that FOX is apparently keeping the show on Friday night. It seems that they have decided to keep a show going that a core group of people care passionately about rather than a show that might get slightly more viewers, but who don’t care that much one way or another.

mostly good,

By James Morris -

I am a huge fan of Dollhouse, very glad it’s getting renewed, and will be buying this Blu-ray set as soon as it’s available.

This show is great because it’s not like every other show. Most shows on these days are either a hospital show, a crime scene investigation show, a “reality show”, or a family based sitcom.

The first few episodes can be a bit painful, but the show really picks up by the end of the season. The reason is partly because Fox requested the first few episodes be standalone, for the sake of new viewers. Surprise, Fox’s call was dead wrong there, and caused many people to lose interest in the show. The last few episodes are great, and season two will be more like these.

Can’t wait to see how season two plays out.
Slow start… but a great show!,

By Jay W. Abbit -

Joss Whedon does it again with another great show. If you’re familiar with ‘Buffy, the Vampire Slayer’, ‘Angel’, or ‘Firefly’, this is a definite must for you. While not nearly as fun as Whedon’s previous franchises, ‘Dollhouse’ is still a great show, and easily better than 98% of the shows currently on the air. The show has many twists and turns, and is quite filled with mystery and intrigue as we slowly find out/are given hints regarding why each ‘doll’ is in the ‘dollhouse’ and what type of life they had previously. Most of the acting is great, the dialogue is Whedon great, and overall cinematography is more film oriented and involved than your usual ‘talking head’ tv show. Now, for the cons: some of the cast/characters don’t click with each other, most notably the characters of Boyd and Victor, two very prominent characters. Also, we’re given many hints as to future storylines, but this first season was mostly stand alone episodes and wasn’t quite as epic or mythological based as it should of been.

Overall: Still one of the best shows currently in production!
Search Dollhouse: Season One [Blu-ray]: Eliza Dushku, Harry Lennix, Fran Kranz, Tahmoh Penikett, Enver Gjokaj, Dichen Lachman, Olivia Williams, Amy Acker, Reed Diamond, Kurt Caceres, Brett Claywell, David Doty, Allan Kroeker, David Solomon, David Straiton, Dwight H. Little, Elodie Keene, Félix Enríquez Alcalá, James A. Contner, Joss Whedon: Movies & TV from AmAzon

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DVD Review: Battlestar Galactica: Season 4.5: Edward James Olmos, Jamie Bamber, Mary McDonnell, Katee Sackhoff, Tricia Helfer, Grace Park: Movies & TV

Product Description
All will be revealed as the thrilling final episodes of Battlestar Galactica 4.5 land on DVD. From their initial action-packed battles against the Cylons to their desperate attempts to find the fabled 13th colony, Earth, a determined band of human survivors has captivated audiences everywhere with their desperate quest to find a new home for their dwindling numbers. Join them now as the fleet journeys into the furthest reaches of unexplored space and faces a crucial decision that will change all of their lives irrevocably. Presented uninterrupted in Dolby Digital 5.1 Surround Sound, this epic 4-disc set contains over 10 hours of intense, groundbreaking DVD features, including extended episodes that never aired - a must own addition to every fan’s collection. Relive the anticipation, the action and the excitement of this groundbreaking series that is destined to live on as “one of the best dramas on TV.” (TIME)

An absolutely brilliant ending to a glorious series,

By Robert Moore (Chicago, IL USA) -
(TOP 50 REVIEWER)
  

Warning! Spoiler alert! The following review contains very signficant spoilers, including several regarding the final episode of the series. If you wish to remain spoiler free, do NOT read the following review.

In the words of the immortal Butthead, forewarned is . . . uh . . . something.

I am astonished that the finale of BSG is proving to be controversial. I watched the final episode with a sense of excitement, delight, and deep gratitude. I found it moving and appropriate to the series as a whole. I would rank it with the best series finales that I have ever seen, alongside BUFFY THE VAMPIRE SLAYER and SIX FEET UNDER. In particular I found the final 20 or so minutes to be especially gratifying, as we see the final 38,000 some odd survivors of the long journey from the 12 Colonies to New Earth finally find their new home. Did everything end precisely as I wanted? Of course not. But what is important is that it ended the way that Ron Moore clearly intended it to end. I had long suspected that one of the first things that had been conceived was the role of Hera (or someone like Hera) in the overall scheme of things. That she would indeed prove to be “The Shape of Things to Come” was something of which I was confident, and I found the role ascribed to her — essentially the DNA mother of our own humanity — as both powerful and fulfilling of the great importance assigned to her. [And Ron Moore's brief cameo as the gent reading the magazine about what is obviously Hera's remains was similar to J. Michael Straczynski's cameo at the end of BABYLON 5.]

The 2008-2009 television season has seen the ending of a string of truly great series. BATTLESTAR GALACTICA, THE SHIELD, and THE WIRE managed to end on their own terms, with their overall arcs ended on their own schedule. Other equally great series like PUSHING DAISIES were stopped in mid-stride. That a show as great as PUSHING DAISIES could be cancelled makes me all the more grateful that some shows like BSG manage to make it all the way to the end. My own television viewing will now be greatly diminished by the end of BSG. No show of the past five years has so consistently obsessed me. It wasn’t always as consistent as I would have liked. FRIDAY NIGHT LIGHTS is a far steadier, more consistently brilliant show, but while it has never had anywhere near as many as weak episodes as BSG, neither has it ever reached BSG’s best moments. Never, ever have I had a series (with the exception of BUFFY THE VAMPIRE SLAYER) at its best so completely shock and amaze me. No other show (except BUFFY) has managed to astonish me so frequently. And it did this by almost never recycling stories seen on other series. BSG not only never recycled stories from other shows, but never recycled its own stories. Any stunning plot twist, once used, was never used again.

Rarely do series redefine their genre, but BSG has done more to alter what one can do on a television Sci-fi series than any since STAR TREK first debuted in the late sixties. No future serious series in the genre can ignore the achievements of BSG. They might decide not to take up the challenge that BSG has laid down, but even that is a way of acknowledging the new standards it has laid down. Series like STARGATE SG-1 now seem oddly simplistic in comparison. Ron Moore stated in his initial mission statement that his goal was to completely redefine TV Sci-fi and in this he was supremely successful. It is impossible to overstate the importance of BSG in taking TV Sci-fi to the next level. Many have noted that it was the first important Sci-fi series that was made for adults rather than teens, but it is also the first that was directed to thinking adults instead of only Sci-fi geeks. BSG expanded the audience of those interested in Sci-fi, with thousands of people who had previously been determined not to watch any show in the genre obsessed with the fate of those on Galactica. And it has also been a huge hit with academics and intellectuals. The only television series that has received as much attention from academics has been BUFFY, and the only show to attract as much attention from nonacademic intellectuals has been BUFFY and THE SOPRANOS. Who would have thought a show based on the passionately maligned 1978 series (a show that has a small but dedicated cadre of fans, but which is otherwise attacked by TV critics and serious Sci-fi fans and writers as one of the worst series in TV history) could have ascended to such heights?

I have started rewatching the series from the very beginning in light of the series finale and I am amazed at how good it all feels knowing how it will end. The series finale of BSG fit the rest of the series so perfectly that it managed retroactively to make the rest even better. I frankly have long suspected that Ron Moore is a big, fat liar. He has often stated things that were not true or at least were only partially true. I think he had a great deal of the overall story planned from near the beginning. I believe he had many of the main arc details in mind from the beginning. I do think that he left a lot of room for alternation and development, but I believe he knew from the time of the miniseries that he intended to have the remnants of the human race align with the Cylons to become the genetic ancestors of our own human race. One of the first moments in BSG of note was when Caprica Six looked at an infant with amazement, shortly before she broke its neck (an act that is one of the most effective mission statements I’ve ever seen — after that, you knew the show was capable of anything). And the crucial moment came when President Laura Roslin stressed to Commander Adama that it was crucial that they leave that part of the galaxy to find a new home where the survivors could “start having babies.” Early in the first episode of Season One Head Six asks Gaius Baltar if he would like to have a child. We then soon learn of the mission of the other Sharon on Caprica to try and make Helo fall in love with her and get her pregnant. In retrospect, we see that “The Plan” was to perpetuate the Cylon race by biological reproduction.

Similarly, from early on the show was concerned with ever deepening religious themes, as God (though Head Baltar in the finale tells Head Six that he doesn’t care for that name) directed the fate of both Cylons and humans to their eventual fate. Even Starbuck is shown to be an instrument of God, as she is sent back to the fleet after her death in order to help them find their way to their new home. Until the finale we had no idea precisely how deep this idea that God had a plan for them truly was, but as the series comes to an end we realize that Head Six’s words to Baltar in the first regular season episode were absolutely true: this all was God’s plan. To what degree this God coincides with a Christian or Muslim or Jewish god is very much open to debate, but that it unceasingly is at the core of BSG cannot now be questioned.

BSG begins with the question — put forward by Bill Adama as he participates in Galactica’s decommissioning ceremony — whether humanity had a right to survive. The answer to this is delayed for the length of the series, as we see the fleet undergo a series of trials. The parallels with the account in Exodus of the Children of Israel departing from Egypt to the Promised Land increase as the series nears its end. Just as the Children of Israel undergo a series of temptations, so do the members of the fate. Likewise, the fleet’s Moses, Laura Roslin, is allowed to see the promised land but not enter (she dies as Adama finds the spot upon which to build the cabin she longed for). That humanity has earned the right to survive comes as the crew of Galactica undertakes the ship’s final mission, the rescue of the Human-Cylon hybrid child Hera, whose DNA becomes the foundation of a new humanity.

So, the show’s many rich and deep themes are successfully and beautifully resolved at the end. Those who found the ending unsatisfying seem not to recognize this. But I’m baffled. What more can one ask of a series than to resolve successfully all its major themes?

While I loved the end of the series, I can understand some of the uneasiness some felt. In order to break the cycle (”All of this has happened before; all of this will happen again”) of death and destruction, Lee Adama persuades the survivors to embrace a nontechnological culture. I understand this on a poetic level even as I question it on a psychological level. And like many I found the departure of Starbuck, one of the great iconic characters in the history of TV (it is funny now to remember how upset some were that Starbuck was going to be played by a girl), both too sudden and less than satisfying. But this is nitpicking and should be recognized as such. To carp on something that wasn’t quite done to one’s satisfaction while ignoring the massive number of things that were done so exceptionally well is petty.

Sadly the end of BSG signals the disbanding of one of the most wonderful and largest casts in the history of television. Only LOST can match BSG in the size and richness of its cast of characters. I’m going to miss Adama, Laura Roslin, Lee, Kara, Sharon (in whatever form), Helo, Hera, Tigh, Tyrol, Baltar, all of the Sixes, Dee, Ellen, Duck, Kat, Billy, Tory, Anders, Racetrack, Cally, Doc Cottle, Jake, Elosha, Sgt. Mathis, Captain Kelly, Zarek, Gaeta, Seelix, Hotdog, Romo Lampkin and all the others (all the way down to the tattooed Asian guy who never had a line of dialogue and whose main function seemed to be to keep Galactica’s card games going) — not to mention the Cavils, Dorals, D’Annas, Simons, and Leobens. And I’m going to miss Galactica itself. For five years this show has been one of the great presences in my life. I won’t be saying goodbye easily.

We do have the BSG prequel CAPRICA to look forward to next month (the pilot film is being released on DVD in April and will go to series in January 2010) and the film BATTLESTAR GALACTICA: THE PLAN appears in the fall. The latter will almost certainly resolve one of the final remaining mysteries of BSG: who Caprica Six saw in the miniseries and uttered the words, “I’ve been expecting you.” So, while I’m heartbroken that this great series is leaving us, its departure is eased by the new series and the upcoming film. And I am intensely grateful that such a great series ended so marvelouslyl. I believe that those who are complaining about the finale are way off base and I also believe that as they rewatch the series and reassess the finale in light of that they’ll recognize what a brilliant ending it was.

ashes to ashes, dust to dust, with a warning for the future.,

By Marian M. Matsunaga “karma” (sequim,WA) -

It’s all over. Bummer.

BSG in it’s latest iteration carried those poor survivors a heck of a lot farther than the original series (there are still die-hard fans of the original series out there, who absolutely HATE this series, but theirs is a minority, I believe).

For a series that had only three well-known actors surrounded by fresh new Canadian, Australian, English and American actors, The talent pool they were taken from is rich indeed, and it showed in their performances. I believe we will be seeing much more of these young people in the future. Of course, they wouldn’t be as good without quality writing and directing, either. This series had it all! For once, the network heads decided to let BSG run WITHOUT too much network interference, which ALWAYS destroys the show in question.

I have to give kudos to Edward J. Olmos, Mary McDonnell, Dean Stockwell and all those relative unknowns they acted beside, and the Writers and Directors, as well as the crew for bringing such a quality program to Network TV. Now, I may be just a little bit biased, but I have to say that BSG was (is?) the best show I have seen in the 55+ years I’ve been exposed to TV. The fact that we have a drama in space turns off some folk, but believe me when I say that I would rather watch a GREAT space drama than a crappy show on Earth that is predictable and boring, with performances on par with a 7th grade reading class!

With all the extras and websites devoted to this series out there, including SciFi Channel, the storyline is now complete, but boy, was it ever difficult to predict what was going to happen next! In four years of predictions, I was right only ONCE, and that came at the end! Ron Moore and David Eick are the next wave in QUALITY storytelling. There seems to be TWO new series coming soon on SciFi Channel that are tie-ins to BSG. One is called “Caprica”, and the other is “Battlestar Galactica, The Plan”. I believe that these two new series will tie up most, if not all (hopefully)of the plot holes and apparent dead ends seen in the new BSG series. If Ron Moore and David Eick have a hand in them, I’ll be watching!

My hope is that “Hollyweird” finally gives breathing room for those forward thinking folk like Moore and Eick, and other Writers and Directors who are well past the “status quo” of Hollywood storytelling, which has grown old, fat, and not without the ubiquitous olfactory signal to let you know how bad what you’re watching REALLY is!

BSG broke the mold, so all you Hollyweird knuckleheads are on notice!

Battlestar Concludes,

By Brandon J. Smith -
(TOP 1000 REVIEWER)
  

While I would give the series as a whole (and each individual season preceding this) 5 stars, I feel compelled to drop this final chapter to 4 stars. Battlestar Galactica is a brilliant, gutsy show, and the risks it took are part of the reason we fans got so intense about it over the years. It was called the most subversive show in television history by Rolling Stone magazine, and, given the plot-lines about terrorism and insurgency at the height of the Iraq War, I think that’s a fair assessment. The final season (4.0 and 4.5) become more about the internal mythology of the show, and this is where a few problems sneak in. As shows like Lost demonstrate, it’s easier to set up mysteries than to resolve them. Battlestar resolves many of the plot-lines brilliantly (I love the choice of the final cylon in particular; and one character’s suicide is truly haunting), but others leave me wanting. Starbuck, one of the best characters in this all-around extraordinary cast, gets muddled. I’m trying to avoid spoilers, so I’ll just say that the resolution of the mystery surrounding her character is not satisfactorily handled. Ron Moore’s decision to leave her conclusion ambiguous is, in my opinion, a glaring error.

The series finale is naturally the focus of this set, and I must say I’ve had mixed feelings about it since it aired. On the one hand, it was an intense, emotional experience, never boring for a moment, and brought nearly every character and plotline to a conclusion. However, I think it may have over-reached, beating us over the head with its “message.” Battlestar Galactica was often a reflection of ourselves and our world, but never before had it been didactic, as it is in its final scene.

With another movie on its way and a prequel series for next year, Battlestar Galactica isn’t over yet, but this is the end of the story as begun in the 2003 miniseries. It’s been a remarkable journey and absolutely essential viewing for sci-fi and non-sci-fi fans alike.
Search Battlestar Galactica: Season 4.5: Edward James Olmos, Jamie Bamber, Mary McDonnell, Katee Sackhoff, Tricia Helfer, Grace Park: Movies & TV from AmAzon

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DVD Review: Ghost Month: Marina Resa, Shirley To, Rick Irvin, Akiko Shima, Danny Draven: Movies & TVASIN=B001RJXG8Q&

Product Description
Studio: North American Motion Pic Release Date: 07/21/2009 Run time: 90 minutes Rating: R

Haunted for 1 month.,

By Micheal Hunt (Hellbourne) -

The story is of a girl named Alyssa who takes on a job as a housekeeper out in the middle of nowhere for a woman named Miss Wu and her Aunt Chen. At first she thinks the job will be a nice peaceful relaxing job being so far out of reach of others, all except for the neighbor Blake who owns the horse farm next door.

Alyssa soon finds herself being educated on traditional Chinese beliefs, like feng shui and things like that, but one particular event is the Ghost Month. Apparently the belief is that for a certain month every year, the ghosts are freed from hell and will come looking for you.

It kind of reminded me of Gremlins when Miss Wu explains the rules that for the month, if you hear voices behind you calling your name, ignore them, and don’t turn around and they will leave you alone. Don’t whistle as it invites ghosts to come into the house. And these salts or ashes or something they lay on the porch must not be disturbed, in which Alyssa does disturb and the ghosts seem to stalk her from there on.

To add more twists to the plot, it seems the ghosts are really trying to tell Alyssa something, something about events that have taken place in the house. Along the way you discover a plot that leaves you wondering what exactly is going on, and who is involved with it. And by the end, the confusing little sequences that happen all start to make sense.

However, there are parts of this movie I felt they did not need - The side story of Alyssa’s ex boyfriend Blake really was not needed, it just added a stupid and unneeded few scenes to the film. It really slowed things down. If I had have been the editor, i;d have completely cut that story out of the whole movie. If you see the movie, you will probably agree it was not needed, it was just there.

I would not say this is a horror movie, as there is pretty much no blood. It’s more just a thriller of a haunting and a few smokey effects on a ghost that has been seen before, so don’t expect the FX to blow you away or show you something original and new.

I guess this movie is for people who liked movies along the lines of “The Grudge” where someone haunted is trying to unlock a mystery. Overall, it’s not a bad movie. I would not pay too much for it, the cost of a rental at least would surplice.

P.S: The first reviewer said this movie is based on a real event that happened. I hope you mean it’s really a Chinese belief, not the story itself was supposed to be true.

AWSOME!! A must see tale of a real event!,

By M. BROWN -

AWSOME!! A must see tale of a real event, Ghost Month! Can’t wait to see this movie. This stuff really happens in China. I saw the trailer [...], and it looks like a upcoming WINNER!!
ASIN=B001RJXG8Q&Search Ghost Month: Marina Resa, Shirley To, Rick Irvin, Akiko Shima, Danny Draven: Movies & TV from AmAzon

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DVD Review: Watchmen (Theatrical Cut) (Widescreen Single-Disc Edition): Jackie Earle Haley, Patrick Wilson, Carla Gugino, Malin Akerman, Billy Crudup, Matthew Goode, Jeffrey Dean Morgan, Matt Frewer, Stephen McHattie, Laura Mennell, Rob LaBelle, Gary Houston, Zack Snyder, Deborah Snyder, Herb Gains, Lawrence Gordon, Alan Moore, Alex Tse, Dave Gibbons, David Hayter: Movies & TVASIN=B0029NY9YO&

Amazon.com
Everybody’s favorite graphic novel comes to the screen (after years of rumors and false starts), less a roaring work of adaptation than a respectful and faithful take on a radical original. Watchmen is set in the mid-1980s, a time of increased nuclear tension between the United States and the Soviet Union, as Richard Nixon is enjoying his fifth term as president and the world’s superheroes have been forcibly retired. (As you can probably tell, the mix of authentic history and alternate reality is heady.) Things begin with a bang: the mysterious high-rise murder of the Comedian (Jeffrey Dean Morgan), a masked hero with a checkered past, puts the rest of the retired superhero community on alert. The credits sequence, a series of tableaux that wittily catches us up on crime-fighting backstory, actually turns out to be the high point of the movie. Thereafter we meet the other caped and hooded avengers: the furious Rorschach (Jackie Earle Haley), the inexplicably naked Dr. Manhattan (Billy Crudup, amidst much blue-skinned, genital-swinging digital work), Silk Spectre II (Malin Akerman), Nite Owl II (Patrick Wilson), and Ozymandias (Matthew Goode). The corkscrewing storytelling, which worked well in the comic book, gives the movie the strange sense of never quite getting in gear, even as some of the episodes are arresting. Director Zack Snyder (300) doesn’t try to approximate the electric impact of the original (written by Alan Moore–who declined to be credited on the movie–and illustrated by Dave Gibbons) but retains careful fidelity to his source material. That doesn’t feel right, even with the generally enjoyable roll-out of anecdotes. Even less forgivable is the blah acting, excepting Jeffrey Dean Morgan (lusty) and Patrick Wilson (mellow). Watchmen certainly fills the eyes, although less so the ears: the song choices are regrettable, especially during an embarrassing mid-air coupling between Nite Owl II and Silk Spectre II as they unite their–ah–Roman numerals. In the end it feels as though a huge work of transcription has been successfully completed, which isn’t the same as making a full-blooded movie experience. –Robert Horton

Product Description
Studio: Warner Home Video Release Date: 07/21/2009 Run time: 128 minutes Rating: R

Additional changes for Director’s Cut,

By S. Chi (Washington D.C.) -
(TOP 500 REVIEWER)
  

This review is from: Watchmen (Director’s Cut) (Two-Disc Special Edition + Amazon Digital Bundle + Digital Copy) (DVD)

The director’s cut runs about 25 minutes longer, and incorporates more elements from the comics, adds more violence, as well as more shots of Dr. Manhatten’s schlong. Some of the previous scenes are reworked with additional dialogue. Information has been supported by sites such as AICN etc.

Overall, the storyline and conversations are better fleshed out, and this version is truer to the comics. The largest additional addition is that of Hollis Mason’s death, which is spectacularly directed to the score of the Intermezzo from the opera Cavalleria Rusticana (think Godfather III).

(1) Rorschach gets additional dialogue, some straight from the comics.

(2) When Rorschach searches the Comedian’s apartment shortly after the opening scene, he encounters two cops still stationed there. He fights briefly with them before jumping back out the window.

(3) Conversation between Dan and Rorschach (beans scene) is extended.

(4) All flashbacks extended, with the exception of Sally’s.

(5) Dr. Manhatten discussing the symbol on his forehead. Additional questions in the face to face with Dr. Manhatten. Dan and Hollis watch Dr. Manhatten go crazy on their TV set.

(6) Laurie getting interrogated by the military as they try to determine Dr. M’s whereabouts (on Mars). Alessandro Juliani’s (Lt. Gaeta from Battlestar Galactica) scene has been reinserted. He plays one of the scientists who bursts in during the interrogation of Laurie to tell the military that they’ve located Dr. M on Mars.

(7) Probably the biggest addition is the depiction of Hollis Mason’s death at the hands of the knot heads. Interestingly, the death is done from poor Hollis’ POV, where he imagines himself fighting the gangsters of the 1940s. He delivers left and right hooks to Captain Evil, before being done in by “Moloch”. The score for the death scene is very fitting.

(8) Dan taking revenge on an isolated knot head at a bar, post Hollis’ death. It’s a brutal revenge.

(9) The shootout by hired hitman Roy Chess is much more brutal- e.g. more blood and gore, fingers blown off.

(10) Conversation between Dr. Long and Rorschach is extended.

(11) Longer jail-break scene with arguments between Rorschach and Laurie. Prison guards open fire on Dan’s ship.

(12) Longer conversation between Dr. M and L on Mars.

(13) Riot scene is longer with more conversation between the Comedian and the rioters.

(14) Agent Forbes (Fulvio Cecere) has a larger role as the government agent in charge of handling all the Watchmen.

This is THE version to get. It feels complete.

This Is The Masterpiece We Never Thought Would Ever Happen,

By The Great Rocky Hill (Pittsburgh, PA USA) -

This review is from: Watchmen [Theatrical Release] (Theatrical Release)

*SPOILER WARNING*

Let me be blunt.

Alan Moore should eat crow and be proud of this movie. “Unfilmable” it most certainly wasn’t.

And the fanboys all need to take a laxative. This was in at least some ways better than the maxi-series/graphic novel, which will never be demoted from its status as a classic of its medium.

Aside from the overly graphic violence, a gratuituous sex scene, and Dr. Manhattan’s needless nudity (he needed to wear pants, and seeing his genitalia added nothing to the plot)I really have nothing negative to say about Watchmen.

Let’s diffuse some of the criticisms I’ve come across.

Yes, Matthew Goode was foppish as Ozymandias. He’s supposed to be that way. He’s not intended to exude menace. That’s his style. A villian as sublime as Ozymandias is subtle. Coming across as overtly malevolent would have caused his plans to fail. His slender, Aryan appearance and slight German accent made him the perfect choice to play the type of foe who believes that the murder of millions is the only way to save the world.

Which brings me to the casting. There was not one actor who didn’t fit their respective character like Rorschach’s inkblot mask. The decisions made concerning who should play who were more accurate than any comic book movie I can think of.

Jeffrey Dean Morgan’s Comedian was Burt Reynolds as a misogynist sociopath. It was as if the character himself was directly lifted from the pages of the graphic novel and given life. It was uncanny how Morgan captured this character’s all too easy violence, his nonchalant, happy penchant for brutality.

I said in a review of Batman:The Dark Knight that Heath Ledger’s portrayal of the Joker was unfathomably good, especially considering Ledger’s teen idol pedigree.

Jackie Earle Haley’s Rorschach dethrones Ledger’s Joker in that regard. From out of some forgotten void, a former heart throb returns to play a madman akin to Robert DeNiro’s Travis Bickle or Michael Douglas’ William Foster. My money would be on Haley’s Rorschach as Steve Ditko’s right-wing Objectivist Mr. A, the analogue for Alan Moore and Dave Gibbons’ character, is channeled with such a chilling and disturbed beauty. His guilt is blended with an intolerance as he claims that the dead heroine Silhouette met her fate due to being a lesbian. When Haley takes off the mask, things become even more unnverving as you see how “fascinatingly ugly” Walter Kovacs, Rorschach’s alter ego is, inside and out. Again, having a former Tiger Beat hero play such a character was just remarkable to me. 20 years from now, people will never believe that Haley was once a Bad News Bear, and for that alone he deserves an Oscar. Seriously. His performance is more than enough to recommend this film to anyone.

None of the other performances disappoint. Patrick Wilson’s Nite Owl also deserves mention as he nails down the David Brinkley (from Robert Mayer’s obscure but very influential 1977 novel ‘Superfolks’) as Batman that Moore and Gibbons intended Nite Owl to be. He’s awkward, stuffy, insecure, and rusty in crimefighting and life in general, and Wilson flawlessly gets that across.

As an aside, and us comics fans need to face this fact, the film versions of Silk Spectre, Nite Owl, and Ozymandias absolutely trump the comics versions in terms of design. Silk Spectre is sexier, Nite Owl is fierce, sleek, and punches his wonky-looking comics counterpart back to DC’s Silver Age, and here Ozymandias is a Greek god compared to Gibbons’ take.

Some people are complaining that Malin Akerman’s Silk Spectre was dry, but I thought she was fine. In fact, she was just the right mixture of innocent and sultry and thusly kept with the spirit of not only Silk Spectre herself but also of the characters that inspired Moore and Gibbons to create her. Akerman was one mod version of Phantom Lady or Nightshade.

Remember, they’re all analogues because if they weren’t, we wouldn’t have had any Blue Beetle or Question tales in the 80’s.

Carla Gugino is quite the aging diva here. Her makeup job as a senior (The Silk Spectre’s mother and predecessor) is so astonishing you’d think she was an unknown. In the flashback sequences she is the epitome of retro eroticism.

She sees herself in an underground porn comic and is flattered. Wow.

And speaking of unknowns, can anyone honestly think of any famous actors who would have done as well or better in these roles? Yet another reason why Watchmen is such a success. John Cusack as Nite Owl? Please.

So the casting was faithful as was the entire movie for the most part, thereby squashing another gripe the fans had. I’ll even go as far as to say that Watchmen works so well because it is very faithful to its source material.

Yes, the ending is somewhat different, yet is pretty much the same. Ozymandias stages nuclear attacks instead of an alien invasion to unite mankind, “killing millions to save billions” as he himself would put it.

You know, when I read the Watchmen chapter in David Hughes’ book “The Greatest Sci-Fi Movies Never Made,” and saw that Sam Hamm didn’t feel that the ending of the original comics story “worked” for him, I knew then and there that the makers of Watchmen the film weren’t going to completely stick to Moore and Gibbons’ vision. And that slight difference (it’s just a parallel path to the same destination) only made for a better movie.

Alien invasions are not timely in any period, let alone this alternate Nixon-led 1985 or 2009. The threat of mutually assured nuclear holocaust is. If humanity is to be dealt a serious blow, it will be by humanity’s own hand, not something from beyond our solar system.

What we have with the cinematic Watchmen, is what I believe we had with the original tale. It’s a treatise on those who rule the world, masked as a superhero yarn, which in turn is masked as a murder mystery. It makes you think, and at the same time is mindful of that needed sense of wonder. It’s scary, nihilistic, exciting, provocative, and its ending is as hopeful as it is troubling.

The tale of the Watchmen is like a railroad track that is built with the best of aims yet leads to nowhere but perdition. What will our elites do, or what are they above or not above doing to improve the human condition? Who in power can we trust? In the movie, we see Nixon, Kissinger, and other real-life malefactors who did what they did for personal gain. What of Ozymandias? What did he stand to gain? Did he really love humankind or have nothing but detached contempt for it? We see this with Billy Crudup’s Dr. Manhattan as well, although Manhattan suffers from disappointment and heartbroken selfishness, whereas Ozymandias has this sense of birthright to save the world from itself by way of genocide.

I may need to dig out my copy of Watchmen the graphic novel as it has admittedly been a few years since I last perused it, but as a comics fan of 30 years, as someone who holds the highest respect and a deep love for comics as an artform and recognizes the Moore/Gibbons masterwork as deserving of its status, I will state that Watchmen was more that worth the wait. One could even make a case that it’s a better movie because it took so long to happen, that development hell aided in making it what it is.

And it bears repeating, Watchmen, with some minor and essential tweaking, is reverent of the comic book, and that reverence is another component that makes the movie so engrossing.

There was a time when I didn’t think that a Watchmen film should be made. However, upon seeing the final product, I am left with some questions.

Why isn’t Alan Moore rejoicing?

And why isn’t comics fandom rejoicing along with him?

Even if you’ve never read a comic book in your life, I strongly recommend Watchmen. If it doesn’t make you a fan of the comic book or of comics in general, then you didn’t enjoy the film, and if you didn’t enjoy the film, I have nothing to say to you. If you think that your unfamiliarity with the characters, the fact that they aren’t icons like Batman and Spider-Man, will hinder your enjoyment, remind yourself of the Hellboy phenomenon. Hellboy was a mid-level character that has never had an ongoing series and was published by a company that was not Marvel or DC. He has since been the subject of a pair of moviehouse blockbusters. Also be mindful of the the popular Men In Black franchise and its origin as an obscure independent comic book. From the looks of it, the heroes/villians (are they one and the same?) of Watchmen are about to join that club.

If you are a comics fan and haven’t seen it yet, leave the nitpicker in you at home, allow yourself to be surprised in the best way possible, and go ahead and be a little smug as the closing credits roll. You deserve it for being so far ahead of the curve.

A monument of comics finally has a cinematic counterpart. Hold your head high.

“You don’t understand… I’M not locked in here with you… YOU’RE locked in here with ME.”,

By S. Wik “postalmeister” (AZ) -

This review is from: Watchmen (Director’s Cut) (Amazon Digital Bundle + Digital Copy and BD-Live) [Blu-ray] (Blu-ray)

Destined to become a classic, Watchmen is like no superhero movie you’ve ever seen. It reveals in an incredibly believeable way, how anyone who would choose to run around in a costume beating people up must be some sort of zealot/fetishist/psychopath. remember that nobody save for Dr. Manhattan has any superpowers, and you’ll understand what I mean.

It also shows how the existence of people like this would have altered the course of history in obvious and subtle ways. Nixon campaigning for a fourth term? Awesome. And now we know who was behind JFK’s assassination (and who carried it out!) Don’t miss the cameo by “Lee Iacocca”! LOL

As for the fanboy whining (and to be honest, I haven’t seen very much of that, but I’ll address it anyway because it’s fun) I’ve been a huge fan of Watchmen since it was originally published in the mid-80’s and I have to say EVERY change they made for this film was an improvement! Trust me, I’m shocked that I’m saying that, but it’s true.

Rorscach’s “origin” retains the coolness of him “becoming” Rorschach years after he misguidedly thought he already was, but is FAR more powerful as portrayed in the film. It makes more sense than the scene in the comic and brilliantly does away with the Mad Max ripoff with the handcuffs and the hacksaw.

The new ending is more poignant, makes far, far more sense, and even ties together strands from the original comic’s plot (especially those involving Ozy and Dr. Manhattan) in ways so much more clever than the original, that Moore should be kicking himself for not having come up with it himself.

Can’t wait to see the Director’s Cut!
ASIN=B0029NY9YO&Search Watchmen (Theatrical Cut) (Widescreen Single-Disc Edition): Jackie Earle Haley, Patrick Wilson, Carla Gugino, Malin Akerman, Billy Crudup, Matthew Goode, Jeffrey Dean Morgan, Matt Frewer, Stephen McHattie, Laura Mennell, Rob LaBelle, Gary Houston, Zack Snyder, Deborah Snyder, Herb Gains, Lawrence Gordon, Alan Moore, Alex Tse, Dave Gibbons, David Hayter: Movies & TV from AmAzon

ASIN=B0029NY9YO&

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DVD Review: Psych: The Complete Third Season: James Roday, Dulé Hill, Timothy Omundson, Maggie Lawson, Kirsten Nelson, Corbin Bernsen, Mykelti Williamson, Christopher Wiehl, Kofi Natei, Drew Powell, Frank Gifford, Liam James, Eric Laneuville, Jay Chandrasekhar, John Badham, John Landis, Martha Coolidge, Mel Damski, Michael McMurray: Movies & TVASIN=B001W79MHW&

Product Description
Fake psychic detective Shawn Spencer (James Roday) and his best friend Gus (Dulé Hill) are cracking the case – and cracking up audiences everywhere – in all 16 Season Three episodes from the quick-witted detective series Psych. After earning a reputation for taking on the unusual cases that leave most sleuths scratching their heads, Shawn and Gus are in for more mayhem this season as they tackle mysteries that range from the decidedly abnormal to the hauntingly paranormal. Join guest stars Cybill Shepherd (The L Word), Gary Cole (Pineapple Express), Phylicia Rashad (A Raisin in the Sun) and many more in this fresh and funny show that Maureen Ryan of Chicago Tribune declares, “Roday and Hill have the kind of chemistry you just can’t manufacture.”

Gentlemen, please don’t be ridiculous,

By E. A Solinas “ea_solinas” (MD USA) -
(TOP 10 REVIEWER)
  

“Psych” is one of those lucky shows that — like a fine wine — seems to get better as it ages. Not that you should stick it in a cellar and forget about it for fifty years, though. The third season of this quirky comedy/mystery show is definitely worth seeing at least a few times — James Roday and Dule Hill continue to be absolutely hilarious as the faux psychic and his frazzled friend, and their cases continue to get even weirder.

“Psych” may be breaking up when Gus is given a choice by his boss — his pharmaceutical job, or the agency. To prove their worth, Shawn offers to investigate the company VP’s haunted house… and Gus soon finds that there’s more than meets the eye to this haunting. Meanwhile Shawn’s mother (Cybill Shepherd) drops in for work, stirring up some old skeletons for our favorite faux psychic.

Among the cases Gus and Shawn take on: a vanishing body at the high school reunion, a treasure map, the implosion of Henry’s greatest case, roller derby robberies, Coast Guard clashes, a murdered sea lion, a body hidden in a Nativity scene, a firebug with a murderous secret, a murdered footballer, an old summer camp haunted by an axe murderer, and an attempt to clear the name of a pathological liar.

Their cases become personal when Lassiter (Timothy Ormundson) is accused of killing a drug lord, and Shawn is determined to prove that the disgraced cop didn’t do it. And the Yin Yang serial returns to Santa Barbara, wanting Shawn as the newest “challenger.” So he/she leads Shawn through a ghastly series of riddles… and if Shawn doesn’t outwit him/her, those close to him may die.

Clearly Steve Franks is sticking to the old adage: “If it ain’t broke, don’t fix it.” “Psych” ain’t broke, so the third season of coasts along smoothly in a flurry of pop culture references, bizarre dialogue (”Señor pantalones del fuego?”) and crimes that befuddle the SBPD.

It does end and begin unusually — the season premiere is a twistaround of the usual mystery, and finale quickly becomes a serious, deadly game of cat-and-mouse. But the mysteries in the middle of the season are perfect examples of “Psych”: the writers deftly juggle funny-sounding plot twists (roller derbies, stowing away on a murderer’s boat) with some twisty-turny police work.

There’s even an endless parade of pop culture references — “Speed,” Hamlet, the Peanuts dance, “Gone With The Wind,” and of course “Friday the 13th.” However, “Psych’s” biggest charm point has always been the insanely kooky dialogue. Mostly Shawn provides it (”Just once, can you grab life by the little Lassiters and follow your instincts?”) but the other characters get some good lines here and there (”All I can remember after that are hundreds of those tiny razor sharp claws and teeth.” “Lower primate my ass. I recognize a military formation when I see one!”).

Roday is eccentric, charming and eternally kooky, as if Shawn is deliberately living out his life like a TV show. But he gets to show a very serious, intense side in the finale. Hill continues to be the normal one with a mild goofy side (”I’m King Kong!”), and gets to do a daring rescue by leaping through a wall of flames. And Ormundson gets to explore some of Lassiter’s other facets (his crumbling marriage and his brief removal from the force).

The third season of “Psych” is all about the weird and the wacky, but also injects some very serious, very creepy moments as well. All around a wonderful success, and it bodes well for what comes up this summer.

One of the best reasons to own a TV,

By Erin McD -

‘Psych’ is perhaps the primary example of what can happen when intelligent people stop obsessing over Gritty Angst and start having fun. This show has always been terrific and wittily unique, but its third season finds new ways to turn convention on its head, which makes for some extremely satisfying television. Plus, it gets bonus points for being seriously re-watchable.
Recommended to everyone, but especially to the people who think there’s no way the concept of a fake psychic could stay interesting this long. I am so very ready for Season 4.

I love these guys!,

By m -

This is one of my favorite shows. It’s lighthearted & there’s no graphic corpses….you can safely pick this show to watch while you’re eating dinner, if you are so inclined, without seeing maggots or an autopsy (I no longer watch CSI, Criminal Intent, or even NCIS anywhere near the dinner hour). My favorite is when they run away screaming like girls & the many fake names that Gus gets (Knick Knack, the candystriper, & Methuselah Hunnicut). All of the characters are wonderful. This is a fun show you can watch with the family. I love it!
ASIN=B001W79MHW&Search Psych: The Complete Third Season: James Roday, Dulé Hill, Timothy Omundson, Maggie Lawson, Kirsten Nelson, Corbin Bernsen, Mykelti Williamson, Christopher Wiehl, Kofi Natei, Drew Powell, Frank Gifford, Liam James, Eric Laneuville, Jay Chandrasekhar, John Badham, John Landis, Martha Coolidge, Mel Damski, Michael McMurray: Movies & TV from AmAzon

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DVD Review: Monk: Season Seven: Tony Shalhoub, Traylor Howard, Jason Gray-Stanford, Ted Levine, Monk Season 7: Movies & TVASIN=B001W79MHM&

Product Description
Tony Shalhoub returns to his acclaimed three-time Primetime Emmy® Award and Golden Globe®-winning role for a stellar seventh season in the quirky and irreverent detective show, Monk. Join him and phenomenal guest stars Brad Garrett, David Strathairn, Eric McCormack, Sarah Silverman, Hector Elizando, John Turturro and more in 16 hilarious, unforgettable episodes – including the all-star 100th episode, “Mr. Monk’s 100th Case!” Despite his overwhelming fear of germs, crowds, small places and almost everything else, Monk proves once again why he’s “a TV treasure” (Chicago Tribune) and the only man for the case!

Monkly matters,

By E. A Solinas “ea_solinas” (MD USA) -
(TOP 10 REVIEWER)
  

Quirky detective Adrian Monk has only one more season of obsessive-compulsive detection left. Start mourning now, because it’s still one of the best shows on TV.

In the meantime, the seventh season of his dramedy/mystery series holds up well and shows little signs of its age. It’s got everything you’d expect of “Monk” — new phobias, personal crises (shot in the leg!), lots of hilarious writing, bizarre mysteries, and the celebration of Mr. Monk’s one-hundredth case.

Monk is having more trouble than ever after Dr. Kroger unexpectedly dies, and the neighbor girl starts playing the piano. So he decides to buy the house of an old man who recently fell down the stairs. Unfortunately, some creepy people want to get their greedy hands on whatever is hidden in that house — and they’ll destroy his dream-house to do it.

Unfortunately (for Monk) it’s the least weird case he encounters this season. He has to deal with (in no particular order): a murdered homeless man, miraculous fountains, lottery murders, a stolen bike at a biotech lab, submarine “suicides,” exploding grills, protecting a boxer, the impossible murder of Monk’s annoying neighbor, and a manly-bonding football game with Stottlemeyer.

And Monk struggles with his own problems, with the help of his new therapist Dr. Bell (Hector Elizondo) and his assistant Natalie (Traylor Howard: bad hypnosis, a kindly old lady, a crush, a looming physical, and a half-brother escaped from prison. And Monk tries to stop the parking lot where Trudy died from being demolished, only for the council-woman involved to be found murdered in the bay…

Most quirky TV series don’t survive past the first few episodes, or the first season at most. So while the seventh season of “Monk” has a few bumps in the road (such as “Mr Monk and the Bully,” where he comes across as rather too vindictive), it still has the right balance of humor, poignancy and brain-twisters.

The whole season is pretty much a solid string of enjoyably complex murder mysteries — baffling crimes, obscure clues, and a few new eccentricities for Monk. Despite all the murder and bittersweet moments, the episodes are peppered with some comedy as well (Randy watching the football game upside-down in the stairwell) and plenty of solid dialogue (”It’s a square tomato. You’re doing the Lord’s work!”).

This season Monk’s biggest problem is his biggest phobia of all — his fear of being left by everyone, whether it’s a mother substitute or his beloved shrink. Fortunately Shalhoub has the skill to keep his tragicomic character from seeming cartoonish — good-hearted, socially clueless (see “guy banter”) and trapped in the cage of his own fears and sorrow. The only flaw is that for some reason, Monk tends to be a wee bit more mean-spirited here.

Traylor Howard does a solid job as Monk’s assistant Elizondo is quite good as the replacement for Dr. Kroger, and Jason Gray-Stanford continues to be hilarious as Randy (”Ergo the killer. Is that Hungarian?”). Ted Levine gets to show different side to Stottlemeyer, when the longtime cop becomes a monk (yes, the religious kind) and goofs off at tailgate parties. Not in the same episode, of course.

There’s only one more season of “Monk” to go, but the seventh is a heckuva penultimate chapter, with plenty of befuddling mysteries and strange problems.

One of the Best Shows on Television,

By Annette N. Landcraft “Keepin’ It Real” (Hemet, CA) -

I don’t think I can say it better than what others have said. Monk is simply one of the best television shows on. I must say they did show a darker side of Mr. Monk in this season. The way he treated Natalie on the show when he got shot was suprisingly insensitive for a guy whose character is based on a man unable to let go of his dead wife. One of the reasons that I love his character is that loving devotion to his wife. Otherwise this is another good season of the show. Like the seasons before, I am looking forward to adding this to my home library.

Second to Last Season. Monk! You will be missed. ,

By Rodney C. Walmer “Wasitchu” (New York) -

Monk caught me from the very first episode. I love this show. Every episode, and I mean every episode is gold. This season is no different. It is a fantastic season, with Tony Shaloub at his very best. What a versatile actor he is. He seems to seamlessly fit into any part he attempts to do. While, I have a policy of not purchasing any season of television for more then $20, I will purchase this one when I can get it on sale. Truthfully, I cannot wait, even though, I have seen every episode on USA network.

Wasitchu
ASIN=B001W79MHM&Search Monk: Season Seven: Tony Shalhoub, Traylor Howard, Jason Gray-Stanford, Ted Levine, Monk Season 7: Movies & TV from AmAzon

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