Category: Reviews

Review: ‘Possession’ on DVD

Review: ‘Possession’ on DVD

You have to wonder about the career advice Sarah Michelle Gellar has been receiving from her agent. Once she established that she could not only kick ass and stake vampires on [[[Buffy the Vampire Slayer]]], she also won over fans and critics by feeling the emotional impact of the events going on in her life. One reason the episode regarding her mother’s death is so well remembered has much to do with Gellar’s performance. We also saw that she could do other roles and gained attention in 1999 with Cruel Intentions.

Yet, since the series ended in 2003, she has made schlock horror films based on international offerings ([[[The Grudge]]]), slight comedies ([[[Scooby Doo]]]), and eminently forgettable films ([[[Suburban Girl]]]). In the fist category comes Possession, out this week from 20th Century Fox Home Entertainment. Based on the 2002 Korean film [[[Addicgion]]], the American adaptation was filmed in 2007 and was initially set to release in 2008 before being consigned directly to DVD.

Set in San Francisco (although shot in Vancouver), the story is about a young married couple (Gellar and Michael Landes) trying to establish themselves while also taking in Michael’s criminal brother (Lee Pace). Lee creeps out Sarah so she insists he finally move out and this leads to a horrific car crash that sends both men to the hospital.

When Lee finally awakens, he appears in every way to have been changed…into his brother. He seems to possess Michael’s memories and is kinder, softer, and more emotionally vulnerable than he ever was before. With Michael comatose, Sarah has to decide whether or not to pull the plug on the life support equipment, complicated by the emotional connection she is forging with her brother-in-law.

Throughout, the question comes whether or not a freak accident swapped the men’s souls or Lee is faking it. This is intended to a psychological/supernatural thriller and while moodily shot using dim lighting, it also fails to emotionally connect with the audience. Largely this has to do with all three characters being woefully underwritten by Michael Petroni.  Directors Joel Bergvall and Simon Sandquist don’t help by letting the trio show much range. Lee Pace, we well know from [[[Pushing Daisies]]], can act and yes, he does the best job of the three by portraying two sides of the same man but even he feels flat.

Given that this story sprawls across a year or more, the lack of interaction with friends or family also robs the movie of feeling anything remotely real. Sarah’s brief interactions at work are the only proof that she has a life beyond her home.

The movie is a muddle and mercifully brief (1:25). The DVD comes complete with plenty of alternate and deleted scenes, none of which really would have helped make this a more enjoyable story. Then there’s the promo featurette that tells you absolutely nothing about the project.        

Gellar is an attractive, capable actress who has been repeatedly ill served by her film choices and maybe it’s time for her to find new representation.

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Review: ‘Pride and Prejudice and Zombies: Dawn of the Dreadfuls’ by Steve Hockensmith

Review: ‘Pride and Prejudice and Zombies: Dawn of the Dreadfuls’ by Steve Hockensmith

Pride and Prejudice and Zombies: Dawn of the Dreadfuls

by Steve Hockensmith
Illustrated by Patrick Arrasmith
Quirk Books; March 2010; $12.95

 

A year ago, Seth Grahame-Smith and Quirk Books initiated the
Quirk Classics series with the bestselling Pride and Prejudice and Zombies, which
blended the text of Jane Austen’s classic [[[Pride and Prejudice]]]with new scenes.
The result was part romantic comedy of manners, part over-the-top action
thriller in which the bloodthirsty Bennet sisters used their highly trained
martial skills to confront zombies and ninjas, in between searching for
husbands. Other authors in the series moved on with[[[Sense and Sensibility]]] and [[[Sea Monsters]]] and the soon-to-be published [[[Android Karenina]]]. Mr. Grahame-Smith has since moved on to other undead pursuits, but here is author Steve Hockensmith to take up the slack with this prequel to P & P & Z, set four years before those fateful events.

After a lull of many years, zombies (or, as they’re known by
the more genteel, the “dreadfuls,” “unmentionables,” or the “sorry stricken”) have
once again infested England. When Mr. Ford, Meryton’s apothecary, sits up at
his own funeral and begins a frantic search for brains, Mr. Oscar Bennet renews
his once forsworn vow to be a zombie-slaying warrior, and attempts to fulfill
his broken promise to raise his daughters in that tradition.

The five Bennet daughters, previously brought up to be
ladies, not warriors, show some initial resistance to their father’s decision.
Almost immediately, they confront social ostracism; however, they also gain
self-confidence under the harsh tutelage of the handsome, mysterious Master Geoffrey
Hawksworth, who rapidly (somewhat too rapidly, if truth be told), turns these
untried girls into katana-wielding fighters. Putting aside her previous distaste for violence, Elizabeth begins to discover the true spirit of the
warrior within herself and her sisters. She must also sort out her feelings for
Hawksworth as well as the extremely odd Dr. Keckilpenny, who believes that
zombies can be “cured” through behavioral modification. (The reader, of course,
knows from the outset that both of these men must be wanting in at least some
respect; how else will Elizabeth have a free heart for Mr. Darcy?) Meanwhile, Jane
finds herself in the unwelcome role of bodyguard to the lecherous, lazy, and
cowardly Lord Lumpley, the owner of Netherfeld (the future residence of Mr.
Bingley). Lumpley has decidedly unsavory plans for Jane, and is concealing an
unpleasant secret of his own.

The original P & P & Z was an amusing satire, and
for the most part, the violence was played for laughs. In contrast, Hockensmith
chooses to explore in greater depth and with a certain amount of seriousness an
issue I brought up in my review of the original book: how does one maintain an
appropriate balance between the strictures of social propriety and the development
of killer instincts, required if the zombie invasion is to be defeated? Although
there are substantial touches of farce, the book is surprisingly poignant in
many places, and truly seems to mourn Elizabeth’s and Jane’s loss of innocence as
these two girls leave their sheltered life and face danger and heartbreak for
the first time, becoming strong women in the process. He even manages to make
Lydia somewhat more sympathetic by the end, which I didn’t think was possible.

Hockensmith has clearly read both the source material and P
& P & Z carefully, and it shows; actually, his attempt to provide a
background for a throwaway joke in P & P & Z (the Bennet daughters’
pastime of catching a deer and kissing it) drags on for far too long. He does introduce a glaring (but intriguing) inconsistency: he makes it
possible to prevent someone from becoming a zombie by chopping off the bitten
extremity, which leads to some freshly absurd scenarios. However, if that were true in P
& P & Z , than why doesn’t Charlotte Lucas consider amputation when a zombie
bites her on the leg, rather than succumbing to the twin scourges of becoming
undead and wife to the tedious Mr. Collins?

He also suggests that zombies are only a problem in England.
That being so, why is it that the best methods of combating them are sourced in
Japan and China? And given the zombie plague is so pervasive that it outweighs
any danger posed by Napoleon, how is it that the Bennet daughters can be spared
to travel to China for training, as they clearly do between the two books?

But such quibbles are only for the most avid of nitpickers,
who might also question the need for this volume at all, given that it has
strayed substantially away from the initial conceit of mashing up a classic
text with new scenes. Why not put aside such foolish qualms, sit back, and
enjoy the gory ride?

P.S. Visit the Quirk Classics message board, mention that
you read a review of Pride and Prejudice and Zombies: Dawn of the Dreadfuls at
ComicMix and link back here; you’ll be entered to win one of 50 Quirk Classics
Prize Packs, which include an advance copy of the book, a poster, audiobooks of
Pride and Prejudice and Zombies and Sense and Sensibility and Sea Monsters, and
more.

Amy Goldschlager is an editor and reviewer.

Publishers who
would like to submit books for review should contact ComicMix through the usual
channels or email Amy Goldschlager directly at amy.goldschlager (at) gmail
(dot) com

Review: ‘Bitch Slap’ on DVD

Review: ‘Bitch Slap’ on DVD

From the 1950s through the 1970s many a producer could make a nice career out of producing low budget exploitation films. Roger Corman turned his studio into a training ground and provided us with a generation of terrific filmmakers. Many who make films today were heavily influenced by these films and Quentin Tarantino and Robert Rodriguez paid homage with their [[[Grindhouse]]] extravaganza.

Exploitation movies are critic-proof. They will find their audiences thanks to the copious amounts of blood, senseless violence, and frequent displays of cleavage. But, for the most part, their time has come and gone as roadhouse promotions and drive-in theatres have gone the way of the nickelodeon. As a result, you have to admire anyone who sets out to make one these days.

Bitch Slap, out this week on DVD from 20th Century Fox Home Entertainment, is the latest such attempt at recreating a lost genre. Rick Jacobson and Eric Gruendemann cut their teeth on [[[Hercules]]] and [[[Xena]]] and have longed to take some of their syndicated television tendencies and mix them with an over-the-top exploitation film. They cowrote the script and Jacobson directed. Then they set out to bring in their pals (Lucy Lawless, Kevin Sorbo, and Renée O’Connor) to make cameo appearances in support of the stars.

You can see their influences through the clever opening and closing title sequences, which are nicely handled.

The movie features three curvaceous, bosomy beauties — Julia Voth, Erin Cummings, America Olivo – stuck out on the desert and caught up in a violent quest for diamonds and guns. Chasing them or trying to run away from them is another TV vet, Michael Hurst.

The movie cuts between the current action in the hot sun and is constantly flashing back to show how the stripper, the killer and the corporate powerbroker got caught up in this adventure. Clearly, the intention is to have fun and to constantly surprise the audience as we see things progress bringing them to this point.

Unfortunately, it’s an underwhelming mess. The script is too clever for its own good and leaves things confusing and poorly laid out. And while it’s interesting to watch these characters come to known one another, building some level of trust, there’s not enough of a spine to really make you care.

Instead, you’re there for the T&A and frankly, the trio remains clothed throughout despite the sex scenes and the times they pour water on each other or wrestle on the ground. The violence is pretty much as you expect with poor makeup and squib effects. After a while, I got bored watching the endless action despite nice stunt coordination from veteran Zoë Bell.

Much of the film’s flashbacks were shot using green screen technology and the backgrounds don’t seamlessly blend with the actors, adding the cheesy look. 

The movie comes complete with a nice four-part behind-the-scenes documentary that shows how much affection went into the project despite the poor results. We see the first cast read through as they introduce themselves and each actor recounts how they got their part. In many ways, this was more engaging than the film itself, especially as they struggled to work within a limited budget and shooting schedule.

The movie had a limited release back in January, earning all of $16,788 at the box office. This DVD is intended to find a more appreciative audience and comes unrated which has to be for the language – certainly not the sex or violence.

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Review: ‘The Neverending Story’ on Blu-ray

Review: ‘The Neverending Story’ on Blu-ray

Many ComicMix readers no doubt have struggled form time to time telling fantasy from reality. We want to let our minds wander, explore strange new worlds, and avoid the harsh and unpleasant realities that await us in the mundane world. The clash between fantasy and reality fuels the 1983 Michael Ende novel The Neverending Story and presented an interesting dramatic opportunity for the inevitable film adaptation, but Wolfgang Peterson, in his follow up to the acclaimed [[[Das Boot]]], botched the chance.

The movie was released in 1984 and despite glowing reviews, failed to perform at the box office and its sequels and related adaptations have all gone wanting. The film has been dusted off for Blu-ray, being released tomorrow by Warner Home Video. This appears to be the same version as was released on DVD in 2001 complete with the utter lack of extras. The print looks terrific and sharp while the upgraded 5.1 audio is the only compelling reason to buy this version.

The movie adapts just half the novel and made enough alterations to annoy Ende. Bastian is a terrific reader with a strong imagination, a place he retreats after his mother’s death and constant bullying from classmates. His father tries to convince him to live in the real world and begin adjusting to their new reality. A chance encounter at a used bookstore leaves the boy with a copy of [[[The Neverending Story]]] which he reads in one sitting, hidden in an unused attic at his school. By the end of the book, he is shocked to discover he has become a pivotal character in the tale and holds the key for the realm of Fantasia’s survival.

Much of the film, though, takes place in the fantasy realm and the creature designs and characterizations are imaginatively done. The production designers have done a nice job in creating a wondrous place with magical creatures, talismans, castles, and races that all get along. Yes, they look like puppets but done right, it can work—look at the recent Where the Wild Things Are.  If anything disappoints its some of the rear projection and blue screen work which is glaringly obvious on Blu-ray.

The movie fails, though, to make us care. These are fantastic creatures but none have personality nor do our twin heroes – Bastian or Atreyu. In fact, Bastian is conflicted throughout reading the book because he just talked with his dad about living in the world yet his imagination can save a different world. It can be a strong them but is barely handled. At film’s end, when Bastian emerges from the school, there’s no resolution, no bookend to complement the opening. In fact, Bastian’s absence is ignored by teachers and father and there are no consequences for his actions.

The book, which remains a beloved volume, has many more imaginative characters and settings than is seen here. Yes, not everything could be replicated and such a large book needed modifying for the screen. No question. But the lingering shots of Atreyu on his journey could easily have been set against more interesting visuals.

While the film has endured as a bit of a holiday time cable staple, it’s really a tedious adventure failing to come close to the magic contained within the source material.

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Review: ‘Clash of the Titans’ on Blu-ray

Review: ‘Clash of the Titans’ on Blu-ray

Filmmakers like Steven Spielberg and George Lucas grew up fascinated by the amazing stop-motion magic from model maker Ray Harryhausen. His films were cutting edge forays into the realms of monsters, science fiction, and fantasy for decades. His Jason and the Argonauts remains one of the best Greek myths brought to film and his work only got better through his Sinbad films.

By 1981, though, Lucas rewrote the special effects rulebook with [[[Star Wars]]] followed soon after by Spielberg’s [[[Close Encounters of the Third Kind]]]. The effects were aided by computers, the model makers improved the technology and the scripts grew stronger and more sophisticated.

As a result, when Harryhausen unleashed Clash Of The Titans in the summer of 1981, it was not well received by an audience who considered his work a thing of the past. Despite its all-star cast, the movie featured a then unknown Harry Hamlin in the lead and the sum of the parts proved disappointing despite it finishing the year 11th at the box office. It would prove to be Harryhausen’s final feature film and a disappointment way to say farewell to his fans.

The movie has served as fodder for the 3-D remake coming this spring so Warner Home Video has dusted off the movie and is releasing it in Blu-ray on Tuesday.

Harryhausen eschewed the computer technologies available to him and did it the old fashioned way so while his creatures were interesting to look at, their stilted movements looked terrible and worse, dated. Similarly, at a time when Industrial Light & Magic showed what can be done on film, Harryhausen and director Desmond Davis chose to use substandard blue screen, double-exposure and poor matte paintings to achieve the effects. The entire film looked cheap and frankly, something that would have been more engaging a decade previous.

These are the Greek gods playing games with mortals. The politics of the gods is fascinating subject matter and in strong hands, can be compelling. Instead, screenwriter Beverly Cross served up a rehashed story that never delved into the character or their motivations. They were like Zeus’ clay pawns, moved on a chess board to advance the story.

Davis was clearly not a good director as he got wooden performances from a cast that included such heavyweights as Maggie Smith. Claire Bloom, Burgess Meredith, and Sir Laurence Olivier. Nor could he get anything subtle from Hamlin, who developed far better acting skills on television soon after. He also settled for horrible sets so Mount Olympus looked like a schoolhouse production, lacking grandeur and scale. Thankfully, the location shooting around Europe made Earth seem a far more interesting place.

And while Harryhausen swears the mechanical owl Bubo was conceived long before R2D2, it is hard to believe. Once that droid rolled across the screen, most genre productions had cute robotic companions much to the detriment of the stories. It’s no different here and a real let down from someone far more imaginative as was Harryhausen.

The Blu-ray edition is lackluster in that the original film seems to have been barely touched for the upgrade. Inconsistent film stocks look worse in h-def and the transfer is competent at best. The audio is fine although it shows us how dated even Laurence Rosenthal’s score was, shamed by John Williams and a new generation of composers.

The disc comes with two extras culled from the 2002 DVD release so if you have that edition, you can skip this one. The disc comes with an extended look at the new film and while the effects and creatures look impressive, and it has a nicely pedigreed cast, it also looks to lack the same depth of character that helped spoil this film.

The packaging is nice, though. Similar to the recent [[[North by Northwest]]], the disc is contained in a bookcase, with a 48-page booklet containing actor bios and a short article on Harryhausen’s amazing career. The package also contains a discount movie ticket for the remake.

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Review: ‘FlashForward’ Season One Part One on DVD

Review: ‘FlashForward’ Season One Part One on DVD

You have wonder why ABC Studios released the first ten episodes of FlashForward
on DVD considering they’re already available either on their website or Hulu. And yet, the two-disc set came out this week, a convenient package for those who may have missed out on the fun. And, if you like what you see, the package contains a coupon good for saving $10 on the Complete First Season, advertised as coming in August.

There are just two bonus features contained here: Creating Catastrophe, a 7:06 look at filming the explosive opening scenes from the pilot; and A Look Ahead, 4:48 of enticing clips that focuses more on the relationships than the overall mystery.

The mystery, for those who have yet to discover the series, is how all of mankind blacked out for 2:17 at precisely the same moment (10 p.m. PST) and everyone experienced a glimpse into their future, April 29, 2010 to be exact. While a global phenomena, the show follows the investigation of an FBI task force headed up by Joseph Fiennes, apparently the people who gathered the most clues the fastest, so everyone else has seemingly backed off.

[[[FlashForward]]] is based on the 1999 novel by Robert J. Sawyer
which traces the incident to an accident caused by the CERN Super Collider and actually showed a future decades away. The cool concept is well executed in the book and offered the producers, Marc Guggenheim, David S. Goyer and Brannon Braga a starting point. Other than the basic concepts, the book (well recommended) and the show have nothing in common.

What they have done is nicely show the many ways people react to knowing what’s in store for them. Fiennes saw himself investigating and falling off the wagon; his partner John Cho discovers he’s dead; his fiancée comes to realize she’s attending his funeral; and so on. We have a suicidal man rededicate his life and Fiennes’ nanny comes to a spiritual rebirth. It’s a large, sprawling cast of investigators and their loved ones in addition to the people who may or may not be behind this incident (and potentially a previous limited test in Africa years before).

It could be that the cast is too large so we go weeks between seeing some of these people. As a result, their reactions are blunted and they feel disconnected from the main story. Threads are also added and dropped without much reason. For example, there is clearly a connection between Fiennes’ young daughter Charlie and Dylan, the autistic son of Lloyd Simcoe, the very man Fiennes’ wife, Olivia may have an affair with by spring. Lloyd, by the way, has something to do with the blackout and has a connection to Dominic Monaghan’s physicist. See, it gets messy after a while.

On the other hand, it’s nice to see a show dealing with characters and how they change based on this event. Most series refuse to let their characters grow and change this rapidly for fear audiences won’t grow attached to them. We’re also given a diverse cast, filled with many familiar genre performers but mostly getting larger-than-normal roles so that’s a plus.

The series stated off to great reviews and strong ratings but it slid quickly which prompted the network to suspend the series after these ten episodes and then return post-Olympics. The show will resume on March 18 with a two-hour premier and run uninterrupted until its conclusion with a two-hour finale on May 27 (well after Sweeps end and the new season has been announced).

This is a strong concept, but like [[[Lost]]], needs a resolution. In fact, this probably should have been a one-season show so the producers could have planned accordingly. Goyer hasn’t done much TV and certainly not been involved to this degree which may be why it felt and looked a little different at the outset.  Guggenheim, strong with ensembles, was the first to leave over creative differences with the network. Goyer became the new showrunner and his approach clearly didn’t please ABC since he departed during the hiatus and his wife, Executive Producer Jessika Borsiczky, moved over to take the reins. Her touch will be seen this spring.

The show is engaging thanks to the cast and the characters but the overall mystery remains too ill-defined and possibly even unnecessary. But its here and needs to be resolved. Since April 29 comes during this run, you have to wonder what the aftermath will be like before a new wrinkle is introduced for the hoped-for second season.

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Review: ‘Justice League: Crisis on Two Earths’

Review: ‘Justice League: Crisis on Two Earths’

DC Comics brought the notion of parallel universes to comics, beginning with the classic “[[[Flash of Two Worlds]]]” and then began the annual team-ups between the Justice League of America and the Justice Society of America. Since then, the inhabitants of Earth -3, the Crime Syndicate of America, have been interpreted and reinterpreted with regularity. As a result, they have remained a popular aspect of the multiverse and certainly ripe for use in animation.

[[[Justice League: Crisis on Two Worlds]]] brings us a brand new take on the CSA, using Grant Morrison’s [[[JLA: Earth-2]]] graphic novel as a launching pad and going in a brand new direction.  The original animated feature goes on sale this month in a variety of formats from Warner Premiere and Warner Home Video. With a script from veteran comics and animation writer Dwayne McDuffie, the story posits an early version of the JLA with a limited membership. We open as they are still building their satellite headquarters only to have their work interrupted by the arrival of the parallel universe Lex Luthor.

On his world, the CSA has effectively taken control of the world, dividing it in six sections with each member exerting control through ten super-powered “made men”. Luthor and the Jester were the last of the metahuman resistance but the Joker-doppelganger sacrifices himself, taking their version of the Martian Manhunter with him, to allow Luthor to escape.

The JLA argues whether or not their mission should include other realties and when Batman is outvoted, he remains behind to oversee construction. The others cross the barrier and the action begins, rarely letting up. Overall, it’s a swift story that’s very entertaining with some playful touches including Slade Wilson as Earth-2’s US President. We see many “evil” versions of familiar JLAers in addition to the addition of new heroes to the JLA, so we get to watch the growth of the World’s Greatest Super-Heroes.

It’s far from perfect including my dislike for the character designs. Each of the Warner Premier videos is stand-alone and that seems to mean they are forced to reimagine how the heroes appear. This time, they’re a little too lean, too angular to appear as powerful as they should be, notably Superman. While a stellar alignment of voices is used, most feel miscast or bad matches to the characters designed. For me, the best characterization, dialogue and voice work are seen in Superwoman, performed by Gina Torres.

The overall threat, put into place by Owlman, has a poor rationale while the resolution leaves huge dangling threads. It’s a good effort, overall, but also not WP’s strongest offering.

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Review: The Unclothed Man in the 35th Century AD

Review: The Unclothed Man in the 35th Century AD

The Unclothed Man in the 35th Century A.D.

By Dash Shaw
Fantagraphics, September 2009, $19.99

Dash Shaw seemed to appear out of nowhere with his massive 2008 graphic novel [[[Bottomless Belly Button]]] – but, of course, for those who were paying attention, Shaw had been an up-and-comer for several years before that, regularly contributing stories to the anthology [[[Mome]]] and active online. (This is the point where most reviewers would allow the reader to quietly assume that the reviewer – all-knowing, all-seeing – is one of the few who were paying attention, but that isn’t the case here. I first heard of Shaw when [[[Bottomless]]] arrived, just like most of you. Feel free to gloat in comments if you are one of the cognoscenti.)

As usual with explosions like that, the creator had other works floating around – either just starting (like Body World, Shaw’s online graphic novel which will be published as a book later this year), or those earlier short stories (from Mome and other places) – which could, and would, be picked up for print publication. And that sudden high profile also usually leads to new work – and it did for Shaw, who wrote, directed and co-animated a series of short movies for IFC.com called “The Unclothed Man in the 35th Century A.D.”

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Review: ‘Graylight’

Review: ‘Graylight’

Graylight

By Naomi Nowak
NBM ComicsLit, 144 pages, $12.95

[[[Graylight]]] is a wispy story surrounded with lovely, ethereal artwork, but utterly fails to create characters or situations with enough clarity to maintain your interest. The attractive Swedish artist hails from Sweden and developed her style as she discovered comics and began producing graphic novels, influenced by European albums and [[[Manga]]].

She received excellent notices for her first two offerings and this third book, released this month through NBM’s ComicsLit imprint, is said to be aimed at women 16 to 24.

It’s attractive and certainly a quick read but everything is sketchy. A woman has a son, Edmund, sees her mate walk away, and then she becomes a reclusive and famous author. Erik, middling journalist arrives in town to seek her out for a profile but first encounters Sasha, a woman who claims to be collecting geological samples but clearly has been drawn to the area for other reasons. She’s been there long enough to develop relationships with the locals and has a demonstrated habit of stealing. When she accompanies the journalist, the woman is offended that permission wasn’t obtained before hand and is rude. The younger woman leaves but not before stealing a book. Over the next few weeks, the handsome son stalks her in the hopes of retrieving his mother’s book.

So, we have several triangles going: the two women and the son; the two men and the woman. Toss in some witchcraft and you have the makings of something interesting.

Nowak’s pastels and art are lovely to look upon and her page compositions are interesting to study. Somewhere along the way, though, she needs to stop and learn storytelling, both in words and pictures. Her characters are underdeveloped and the exact motivations for the reclusive mother/witch are murky at best. Who Sasha is and what she really wants is left up in the air.

The story is sparse and the dialogue does nothing to help the reader. In fact, her characters need more distinctive voices to help make them more identifiable.  While lovely to look at it, its misty look and feel is easily forgotten because you care nothing for the people and the situation. The book has no substance and can be easily dismissed. If you like Nowak’s art, then check this out, otherwise, wait until she has something to say.

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Review: ‘The Mary Tyler Moore Show – The Complete Sixth Season’

Review: ‘The Mary Tyler Moore Show – The Complete Sixth Season’

There were many groundbreaking television series as the 1970s arrived and most have been extensively written about because of their casting or long-term cultural impact. Norman Lear made the sitcoms more relevant by making his characters more like us and Larry Gelbart helped make sitcoms comment on issues of the day by adding an edge to the humor. But James L. Brooks, Allan Burns and company helped bring about a revolution in character-based comedy with [[[The Mary Tyler Moore Show]]].

Running from the 1970-71 season through the 1976-77 season, the series was built around Mary, a single, independent working girl. Initially, she was to be divorced but CBS wasn’t ready for that but she still broke ground. She had friends at home and at work, she dated, she gave terrible parties, but was exceptionally competent at her job, producing the evening news at WJM.

20th Century Fox Home Entertainment finally released the penultimate season this month and as with the best of comedy, it’s all in the timing. One of the show’s best writers, David Lloyd, died recently and just about every obituary singled out his episode “Chuckles Bites the Dust”, which is included in The Complete Sixth Season three-disc set so now we can see it once more.

By the sixth season, neighbor Rhoda Morgenstern (Valerie Harper) had been spun off into her show as was her landlady Phyllis (Cloris Leachman) so the series focused more on the newsroom. By now, the relationships and inter-personal dynamics between Mary, her boss Lou (Ed Asner), the news writer Murray (Gavin McLeod), and anchor Ted (Ted Knight) had been sharpened. The ensemble worked well together and their comic timing is strongly evident here, especially when they’re all together such as at Chuckles’ funeral. The supporting cast had been broadened allowing Betty White’s salacious Su Ann Nivens and Georgia Engels’ innocent Georgette to gain more screen time and each get showcased during the 24 episode season. It may have been MTM’s name in the title, but she graciously allowed everyone to take their turn.

The season opens and closes interestingly on characters not Mary. “Edie gets Married” is a terrific spotlight for Asner as he watches his ex remarry while “Ted and the Kid” shows how Ted and Georgette struggle to conceive only to wind up adopting (spoiling the episode was the pat pregnancy at the end). In between, we see Mary date and fall in love, only to have her heart snapped in two. She meets new neighbors, recurring characters played by Mary Kay Place and Penny Marshall (just as she gained fame as Laverne). Place, by the way, also wrote for the series so her contributions were strongly felt.

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