mcgee-8 Reviews

Harry Potter and the Sorcerer's Stone (2001)

A nice surprise, a memorable film

[11 December 2001]

When I heard that Chris Columbus was directing the first Harry Potter movie, I had my doubts. But "The Sorcerer's Stone" turned out to be splendid -- as Ron would say, wicked. Looked good, good story, generally acted well. I was thinking as I took it in, this may be the Star Wars for my kids' generation.

The child actors, perhaps expertly coaxed by Columbus, all turned in good performances, particularly Rupert Grint as Ron. Emma Watson did overemote as Hermoine, but because her character's also a ham, and because the girl is so darn cute, I could cut her some slack this time.

As for the adults, I'm thinking that at the least, Robbie Coltrane deserves a supporting actor Oscar nom. The movie was well-cast, especially with J.K. Rowling's personal choice for Snape, Alan Rickman.

A couple of nit-picks: the Quidditch field (pitch?) looked rather phony from the sky, like it was in a Harry Potter video game. And I'm not sure I would've detected this had I not seen the NBC interview with Daniel Radcliffe, but in more than half the scenes, you can tell if you look close that there's no lenses in Harry's glasses.

Jaws (1975)

Still Spielberg's best

[22 April 2000]

I think "Jaws," after all these years, remains Steven Spielberg's best film (outdistancing his second-best, "Raiders Of The Lost Ark.") And it's my all-time personal favorite movie. While you'd likely not find it on many critics' best-of lists for the 20th Century, it's the most fully entertaining film I've ever seen -- a classic mix of drama, plot and characterization.

I believe Spielberg was quoted as saying he was disappointed that the shark scenes near the chief's boat looked less than authentic. And while it's true the shark that attacks the boat looks more mechanical than real, it's only in the film for a relatively short time, and does not distract from the overall brilliance of the movie.

An expert buildup to the shark attacks, a sense of chaos and fear that never feels phony, a fine (and underrated) collection of acting performances, a terrific score by John Williams, and refreshing moments of comic relief to ease the tension. All this and more make "Jaws" one of the great Hollywood films.

I especially like the acting chemistry between Roy Scheider, Robert Shaw and Richard Dreyfuss when the three are trying to hunt down the shark that's been terrorizing their beach-vacation town. Also, I found Shaw's character's tale about shark attacks on survivors of his sunken WWII boat to be a memorable piece of acting.

Spielberg aimed for higher meaning with films like "Schindler's List" and "Saving Private Ryan," and he made more money with "E.T." and "Jurassic Park," but I maintain that "Jaws" is Spielberg at his best, doing what he does best: solid storytelling and characterization, memorable and gripping plotlines, and first-rate entertainment that pushes all the right buttons.

Mary Poppins (1964)

A great score, a great film

[22 April 2000]

With expert flair, Disney made a spirited, visually enchanting and often-touching adaptation from the P.L. Travers books. Featuring one of the great movie scores of all time, and a knockout performance of prim, proper British beauty and intelligence by Julie Andrews, this movie hardly ever falters. Dick Van Dyke's performance is a marvel of energy and charm, despite the moments when his Cockney accent sounds less than natural.

David Tomlinson's performance as Mr. Banks deserves special notice, I think. Mr. Banks' moments of snobbery, and his later awakening to his family's needs, add humanizing elements to the film that keep it from being too sugary and sentimental.

And the score by the Sherman brothers is masterful. "Chim Chim Chiree," which won an Oscar for best song, is actually one of the lesser (although still good) songs, I think. I prefer "Supercali..." and "Feed The Birds" and "Step In Time." But every single song, even "Sister Suffragette," packs a wallop.

This was the first movie I fell in love with as a young child, and I remain entranced by moments in the film like the dancing chimney sweeps and the lady feeding the birds.

The West Wing (1999–2006)

Re-elect Jed!

[15 April 2000]

Martin Sheen, in a recent interview, described his character on "West Wing" as a cross between John Kennedy, Jimmy Carter and Bill Clinton.

That said, you know the show's going to lean leftward on issues, and it does, although so far it hasn't done too much to portray conservative Republicans as goofballs and hypocrites. The producers try to give the views of Sheen's "President Bartlet" as much common-sense, pragmatic populism as possible, and do at times give conservative views a reasonable mouthpiece. (Maybe not enough to please conservative viewers of the show -- but hey, what can one expect from "liberal" Hollywood..."The Life and Times of Trent Lott"?!)

Anyway, this show's not as much about the raw dealings of backroom politics (although it is about that, as well), as it is about the "human drama" (an overused term, but applicable) that goes on in the White House. And here, it has truly sparkled so far.

There's not been a better new show this season, in my view. Tasteful and intelligent and witty, it gently draws you into its plots the way the best dramas always have.

Sheen, one of America's better male actors, puts in his usual quality work, and Alison Janney and Timothy Busfield have a good chemistry in their budding press/press-secretary relationship. The much-maligned Rob Lowe is a revelation here as a Stephanopolous-type character, and John Spencer's performance as a weathered, worldly Chief Of Staff may be worthy of an Emmy.

My wife says she's going to write in Sheen for President this November! (Her commentary on this year's appallingly lame choices for Prez, no doubt!) I won't go that far, but I will say that Bartlet seems to have a sterling character that would be SO refreshing in a Chief Executive.

The Harlem Globetrotters on Gilligan's Island (1981 TV Movie)

Strangely fascinating

[8 April 2000]

I've had a strange fascination with this movie since it came out in '81. It's not great cinema, not a great TV movie, not very good by the TV-series' standards. But...

*It is the "last roundup" for the original cast. Jim Backus, Alan Hale and Natalie Schaefer have passed on in the years since, and there seems no clamoring to reunite the surviving members with a new Skipper and Mr/Mrs. Howell. As an admirer of the spirited, surreal comedy of the original series, I found this movie to be a not-too-bad farewell.

*I'm a big hoops fan, and this is one of the rare opportunities to see the Globetrotters on film. (The Globetrotters' cartoons and old film clips are shown occasionally, and ABC televises a Globetrotter game once a year, but that's about it.) They are master ballhandlers and showmen, and they demonstrate that here. (Also, we get to hear "coach" Scatman Crothers sing "Sweet Georgia Brown," which ain't bad.)

*This may be the final joint film appearance of Martin Landau and Barbara Bain before they divorced. In any case, it's fascinating to watch Mr. Landau mug and overact, in the days before he became a "serious," bankable character actor in films.

*Because Jim Backus was ill during the filming, the "Mr. Howell" role is filled mostly by the Howell's son, "Thurston Howell IV" -- played by David Ruprecht, who now hosts "Supermarket Sweep." I don't believe the Howells ever mentioned having a son in all the prior episodes/movies, but there he is, all of a sudden. (Backus does make a cameo at the end, thank goodness.)

*Longtime Laker announcer Chick Hearn's in the film, as the announcer for the "big game" between the Globetrotters and the Robots. He talks and talks and talks...and after a while, his yakking gets somewhat distracting. (The very final scene, the producers cut off Chick's mike while he was still talking!)

The humor's cornball and slight, and the site of the aging Bob Denver as the supposedly child-like Gilligan is laughable. But Ruprecht acquits himself pretty well, as do Russell Johnson and Alan Hale. (Dawn Wells doesn't have much to do, Natalie and Jim are too old -- and minus Tina Louise, the character of Ginger is lifeless.)

It's not as good as "Rescue From Gilligan's Island," but better than "Castaways On Gilligan's Island." For fans of the show (and the Globetrotters), it's worth a watch.

The Price is Right (1972– )

27 years and counting

[6 February 2000]

If Bob Barker didn't exist, television would've had to invent him. His folksy and highly-controlled approach is slick, witty, charming, disarming and utterly appropriate for the populist realm of game shows.

Until "Who Wants To Be Millionaire?," you could safely assert that there was no more populist a game show than "The Price Is Right." The cross-section of people who "come on down" to play the game is as culturally diverse a melting pot as you'll find on television. And because of this, it is easy for the viewer to relate to the contestants, and to feel for their ups and downs.

Skillfully facilitating all of this is Barker, who is refreshingly old-school in his across-the-board respect for the contestants. And he doesn't have to strain to "sell" the pricing games to the viewers -- most are clever, challenging and enduring.

One of the interesting elements about "Price" is that a contestant can be inept as a pricer, but if they're lucky enough, they could still advance to win the "showcase" at the end of the show. The "anything can happen" element this creates helps make the show even more interesting, if occasionally frustrating. (It seems unfair to disqualify an excellent showcase guest that is over by a few hundred, while the "winning" guest is under by several thousand. But those are the rules.)

Cheers to Mr. Barker, and to Rod and "the beauties."

Sesame Street (1969– )

A class act

[25 January 2000]

This show has always been a class act, with storylines never too corny or smarmy to alienate the adults and never too vague or dark to drive away the kids.

I've always been a fan of many of the "shorts" that are shown between the street segments and the Muppet bits. Some of them are as artsy and surreal as they are educational. And the actors who inhabit the street, from "old-timers" like Bob McGrath and Loretta Long to relative newcomers like Alison Bartlett and Ruth Buzzi, always project warmth and dignity in their attempts to enlighten children.

But without the comic genius of Jim Henson's Muppets, and unforgettable characters like Grover, Oscar, Ernie and Bert, Elmo and others, I doubt that Sesame Street would've lasted 15 years, much less 30. They make the difference between this show being a dignified (but somewhat dated) educational tool, and a virtually untouchable national treasure.

I always thought that several of the songs written for this show, particularly the ones by Joe Raposo and Jeff Moss, were a cut above the norm. ("I Don't Want To Live On The Moon," for example, is a stone-cold classic, in my view.) And this show, of all places, featured what I think is one of TV's all-time great live musical performances: Stevie Wonder's sizzling version of "Superstition."

Despite the recent love and props for Elmo, it is possible that this show's best days might be behind it. For one thing, the show is just not as unique as it once was: cable shows such as "Blue's Clues," "Bear In The Big Blue House," and "Out Of The Box" seem to have more impact and even a bit more quality. (Also, since Henson's death in 1990, the comic inventiveness of the Muppet skits has decreased somewhat.) Nevertheless, "Sesame Street" remains the best kids show on PBS, and should still have quite a bit of a run left.

I Dream of Jeannie (1965–1970)

An underrated gem

[25 January 2000]

In my view, this is one of the top 10 or 15 sitcoms ever, and it certainly is one of my personal favorites. Its misfortune was to be produced during an era full of silly, mostly non-topical comedies (Beverly Hillbillies, Bewitched, My Favorite Martian and so on) and I think it's been underrated because of that.

But sit down sometime and take a good look. You'll see a spirited ensemble performance from the actors, with standout work from Larry Hagman and Hayden Rorke. I don't think Hagman ever got enough credit for the wonderfully manic and nervous mannerisms that made Major Nelson so damn funny and endearing. And Rorke's prissy and arrogant Dr. Bellows was a terrific comic foil -- cartoonish in the best sense of that word.

Bill Daily did a good comic turn as Major Healy, although I think his character never was allowed to develop as much as Hagman's and Rorke's. (His finest comic hour was to come, on "The Bob Newhart Show.") And of course, there was the gorgeous Barbara Eden as Jeannie, sprightly and innocent and an excellent counterpoint to Hagman's world-weary astronaut. The romantic chemistry between Jeannie and Tony was one of the strongest in TV history.

The show was fast-paced, rarely sappy, full of pleasant "NBC Peacock" colors, and a showcase for fine comic timing and physical slapstick.

Defending Your Life (1991)

"Life" is beautiful

[22 January 2000]

This is one of a trio of Hollywood films -- "Oh, God!" and "It's A Wonderful Life" are the others -- that have inspired my imagination about things metaphysical.

Of the three, I prefer this one, because it least drifts into corniness and banality. Brooks is one of the century's great comic auteurs -- he's not nearly as prolific as Woody Allen, but he may well have a better cinematic batting average.

This movie shines with wit and wisdom and inventiveness. It features memorable performances from two of America's finest actors, Streep and Torn. And Brooks the actor remains the best deliverer of lines written by Brooks the brilliant screenwriter.

I say there is even an actual hint of plausibility in Brooks' vision of the afterlife, beyond what is played for laughs. It's not Billy Graham's vision, and that cuts into Brooks' cred with the Christian faithful, but for me there's something endearing and provocative about Judgement City. For one thing, I like that it seems created by advanced beings WITHIN the universe, rather than BEYOND the universe.

The Man Show (1999–2014)

Boys will be boys

[20 January 2000]

Often tasteless and sexist, but just as often laugh-out-loud funny. Led by expert comics Carolla and Kimmel, "The Man Show" is a brutally honest exploration into the psyche of men. It covers for its political incorrectness by never taking itself too seriously.

"Boys will be boys" seems to be this show's mantra, but I have yet to catch the "Man Show" boys trying to politicize their immature fetishes. Granted, there may some boneheads out there who use some of the show's takes on life to reinforce their chauvinist biases, but free comic expression should not be held hostage to how idiots might misinterpret it.

As many a married woman would tell you, "guy stuff" is, first and foremost, a fertile ground for comedy. And in this post-Lenny Bruce universe, "funny" tramples "PC" just about every time.

Malcolm in the Middle (2000–2006)

Good so far

[17 January 2000]

Well-written, with characters that have lots of screen presence (particularly Jane Kaczmarek as the mom and Frankie Muniz as Malcolm). And like "The Simpsons," it points out that love and morality can survive (problematically) in a dysfunctional family.

The show, though savvy and sprightly, doesn't seem particularly innovative so far: it seems to be a Heinz-57 mix of things that have worked in previous ground-breaking family comedies such as "Simpsons," "Wonder Years," "Parker Lewis Can't Lose," and even "Married With Children. (It hasn't yet taken the risks of shows like the overrated "Drew Carey" and the underrated "Sabrina.")

Somehow, this portrayal of family life reminds me of the one in "A Christmas Story." The story of Malcolm, like the story of Ralphie, is redeemed by unflinching honesty about middle-class angst, and a strong sense of how to sell that honesty with entertaining flair.

Star Wars: Episode I - The Phantom Menace (1999)

A mixed bag

[17 January 2000]

Yes, the character of Jar Jar was botched. True, Jake Lloyd's acting left something to be desired. Sure, the movie lacked the flair and drama of the original trilogy. And definitely, the film sorely missed what Harrison Ford brought to Episodes 4-6, a dose of down-to-earth humor and grit.

Yet I can't quite call this movie unwatchable. It is a visual treat throughout, particularly during the Pod Race and climactic sword battle. And I thought that Neeson, McGregor and Portman all gave fine performances, especially since they didn't have the best script to work with. (Also, it was nice to see Frank Oz do Yoda again, as only he can.)

Perhaps this movie will have an effect not unlike that of the critically panned "Star Trek: The Motion Picture," which resulted in a better second film. Perhaps Lucas and Co. will rebound with a livelier flick, closer in quality to "A New Hope," "The Empire Strikes Back" and "Return Of The Jedi." With the news that Jar Jar will return for Episode 2, I can't say I'm too optimistic. But with the right Anakin, it could be done.

Saturday Night Live (1975– )

Thank you, Don Pardo

[17 January 2000]

Hmmm, how can one review a show as multi-tentacled as this one? In its 25 years it has ranged from brilliant to pathetic, and more than once has done so during a single 90-minute episode.

It is undeniable that this show has provided many classic comic moments, and has been a showcase for what Dan Aykroyd called, on the 25th Anniversary show, "the finest comedy minds of our age." Even at its darkest moments (1980-86), the show's performers had plenty of verve and charm, even if the writing did not match up to other SNL periods.

For many, it's a slam dunk that the 1975-80 years were the best. For me, it's more of a close call. Certainly the first five years were the most culturally significant -- and no one, not even Phil Hartman or Dana Carvey, has equaled the comic brilliance shown by Aykroyd and Bill Murray in the '70s.

But as good as the '70s cast was, I believe the 1986-90 cast was overall as good, maybe even a bit better. While the late-'80s SNL may've lacked the comic fireworks of the '70s version, it had a bit more comic consistency, and was easier to watch -- there were less production gaffes, and the performing seemed more focused. (I'm very much a libertarian on drug issues, but I could sense a certain drug-induced spaciness during the whole '70s run, and it makes the reruns less watchable.)

The later SNL years of Phil Hartman (1990-94) featured some excellent performances by Mike Myers, Chris Farley, Jan Hooks and others, but the show never again came close to how it was before Jon Lovitz and Nora Dunn left in 1990.

Since Hartman left, SNL has gone into a second extended down period -- not nearly as bad as the '80s "Ebersol years," but comically uneven to say the least. Every so often the show will rekindle the old magic, but the current actors and writers aren't good enough to overshadow the impression that SNL is played out, predictable, and a hollow shell of what it once was.

Stop Making Sense (1984)

A masterpiece

[16 January 2000]

As cinema, as music, as artistic statement, as joyous spectacle, it is hard to top this tour-de-force. Perhaps its being merely a "concert film" disqualified it from many critics' "Best of Century" lists. But down the road a few decades, I have a feeling this one's going get more and more formal recognition as a masterpiece. Future generations will marvel at the surgical-like precision of the playing and the choreography, the irresistible groove created by the band, and David Byrne's bold and provocative songpoetry. Even those who don't like the Heads can still enjoy the pleasures of pure inspiration at work. It's like the planets were in perfect alignment during that December 1983 concert -- had the film been produced in '81 or '86, it might not have been as good.

The Simpsons (1989– )

Excellent!

[13 January 2000]

A brilliant social commentary, and a treasure-trove of inspired comedy, filled with quality jokes ranging from highfalutin' to salt-of-the-earth. With its rapid-fire dialogue (reminiscent of the Jay Ward cartoons), "The Simpsons" alternates between highbrow and lowbrow quicker than any show ever, and usually hits the comic bullseye doing so. And despite prudish allegations of its immorality, it has proven itself to be a responsible and decent show. It asserts that moral goodness can survive in a dysfunctional climate, and in doing so never loses its keen sense of irony.

The voice actors are outstanding, the music is outstanding, the animation (since the relatively crude early episodes) is consistently fun to watch. It was certainly the best half-hour comedy of the '90s (sorry, "Seinfeld" and "Frasier" fans), and perhaps the best TV comedy show ever. Long ago it eclipsed "Bullwinkle" and "The Flintstones" as TV's greatest animated show.

There's really not much bad to say about "The Simpsons", except that it relies a bit too much on borrowing from movies and shows, and seems to be playing it more safe in recent seasons, too often settling for silly schtick that lacks the satiric bite of earlier episodes. Also, while the animation remains good, the now-familiar Groening style has less of a whomp than it once did.

The Flintstones (1960–1966)

A lot of fun

[13 January 2000]

Forget the wisecracks about it being a "Honeymooners ripoff" with crappy animation. While there is a grain of truth in those charges, it doesn't overshadow that show had solid slapstick, innovative animated gadgetry, an excellent cast, simple-but-memorable storylines and endearing charm.

There has never been a "fab four" in animated voice-overs like the Flintstones' team of Reed, Blanc, VanderPyl and Benaderet. They took dialogue that in lesser hands might've sounded mediocre and gave it real comic pizazz. (The Flintstones franchise was never the same after Alan Reed, the original voice of Fred Flintstone, died in 1977.)

Also, in watching every episode more than once, I detected a consistently common-sense approach in how writers viewed modern society (transplanted to a mythical "stone age," of course.) It somehow seems rooted in the WWII generation ethos -- heroes get their due, charlatans get their comeuppance, and life, though unfair, is still inspiring. Yet with the show's down-to-earth approach, the comedy rarely gets sappy. And sometimes it's inspired surrealism: Fred's "ballet bowling" and "Betbetbetbetbet..." habit are two examples.

Mystery Science Theater 3000 (1988–1999)

One for the ages

[11 January 2000]

Other than perhaps "The Simpsons," I can't think of a better show on TV during the 1990s. But while "The Simpsons" is not above going lowbrow in its attempt to get a laugh, MST3K rarely detoured from the comic high road. The show's respect for its audience was refreshing (and almost unheard of), and the level of intelligence and sophistication shown by the writers and performers was often breathtaking. MST3K was consistently superior to just about all that has passed for "quality" TV.

That said, I think the show did lose something when Joel left, and later when Frank and Trace left. The writing stayed strong -- and Mike's comments on the films were overall as strong as Hodgson's -- but the in-between segments were more uneven. Mike and Mary Jo just didn't have the onscreen presence of their predecessors, although their performances did not distract from the overall genius of the show. (A tip of my hat to Kevin Murphy, whose Tom Servo usually seemed the closest to what I was thinking as I watched those horrid films.)

Unfortunately I haven't yet seen most of the Sci-Fi Channel episodes...so I might change my mind about the "in-betweens." I hope the next decade brings several of the 10 years of episodes to video, but if the relatively paltry output from Rhino is any indication of what's to come, I wouldn't hold my breath.

Man on the Moon (1999)

Moon on the Man?

[8/10 · 9 January 2000]

In a way, Carrey-as-Kaufman's opening objections to the movie ring truer than the filmmakers probably intended. The film is, as many here have noted, a mostly shallow biography. It is saved only somewhat by a terrific impersonation and a fascinating subject.

I'm not a Johnny-come-lately to either the Kaufman or Carrey bandwagons. I dug Andy from his SNL appearances on -- always saw the genius subtext of every ballsy bit he tried, even the "controversial" wrestling stuff. And I liked Carrey from "In Living Color" on...in addition to becoming a fine actor, he has become perhaps the most talented physical comedian since Buster Keaton. It's fitting that they both have the same birthday...this is truly a match made in comedy heaven.

So for that reason, and almost that reason alone, the movie is worth seeing at least once. But man, what a botched attempt at a great film! We get overly simplified transitions between Kaufman bits, a woefully slight treatment of Kaufman's developing years (Why TM? Why Zmuda? Why the "performance art" approach?), and a sloppy approach to the details of Kaufman's life (for example, no mention that he did "Van Dyke & Company" before "Taxi"; that Dick Ebersol, not Lorne Michaels, produced SNL when Kaufman was fired from the show...and where was Elayne Boosler, a close pal and former girlfriend of Andy's? Her presence was acknowledged not at all.)

It's almost a shame to waste a great performance like Carrey's on a movie this compromised and lame (it does look as if it were brutally edited.) Someday, I hope, another fine actor will take on portraying Andy, and be supported by a director, writer and producer more committed to providing insight about Kaufman the man.

The Duck Factory (1984)

An interesting failure

[3 January 2000]

This show had talented actors (Jim Carrey, Jack Gilford, Jay Tarses, Don Messick, etc.) and an interesting premise (life behind the scenes of an eccentric cartoon factory). But it never quite clicked...the writing was mediocre, and the network never gave it a chance to develop into the decent show it might've become. In a way, it was a show ahead of its time -- with the '90s animation boom, perhaps this would've drawn a bigger initial audience and the show would've had time to find itself. For animation fans, though, it was a rare chance to see longtime voice-over artists such as Messick, Janet Waldo and Bill Scott. And, of course, there was Carrey -- only 22 at the time -- who might've had more opportunity to showcase his wackiness had the show continued.

Toy Story 2 (1999)

More from a Golden Age

[9/10 · 14 December 1999]

With top-notch work from Pixar, Disney, the Simpsons and South Park production teams, Mike Judge and others, the 1990s were the best decade for animation since the 1950s, and maybe the best ever. And "Toy Story 2" continued that hot streak, with outstanding technical work, a clever and thought-provoking story, and an Oscar-worthy score by Randy Newman.

Technically, TS-2 aims higher than the original, and succeeds brilliantly. Yet I slightly prefer TS-1, because I favor the relatively simple charm of TS-1's plot to the more helter-skelter vibe I got from TS-2. (Also, as a sequel it lacked the inspired originality of TS-1.) That said, I did one part of TS-2's script that eclipsed TS-1's.

Black Shampoo (1976)

Insert your own wisecracks

[2/10 · 13 December 1999]

They just don't make 'em like this no more. Grungy as only a '70s B-Movie can be, and filled with hilariously overblown 'tude. The acting is minimal, the script is charmless and vulgar, and the lousy video version I saw made it look like a cheapo porn flick.

If you want to invite your friends over for a MST3K-type party, this would be a good one to rent. The opportunities to throw wisecracks at the screen are hard to resist!

Hercules (1997)

Disney's spin on the Greek legends

[8/10 · 24 October 1999]

My 3-year-old son's seen "Hercules" more than a hundred times, so I've got this one pretty much memorized. It is a clever, lively film. Cheesy in spots, but few Disney films aren't. Fine animation, as per usual from Disney. In the post-"Little Mermaid" pantheon, I'd put it ahead of Hunchback and (barely) ahead of Mulan and Aladdin. But behind Lion King, Little Mermaid, Pocahontas and Beauty and The Beast. (I haven't seen Tarzan yet, so I'm not sure how it compares with that.)