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Review of POLICE SQUAD!: THE COMPLETE SERIES (Blu-ray)

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Grade: B/B-
TV comedy
Rated TV-PG

All right, I’ll talk: I’m a big Jerry Zucker, Jim Abrahams, and David Zucker fan. I think Airplane! and Top Secret! are hilarious, and The Naked Gun: From the Files of Police Squad! gets my vote for funniest laugh-out-loud movie ever made (sorry, Mel Brooks).

This trio of high school friends from a Milwaukee suburb specializes in visual puns, sight gags, “triples,” and running gags that expand with every repetition. David Zucker once told me they gravitated toward rapid-fire jokes out of self-defense. When they first created Kentucky Fried Theater they borrowed money from their parents and couldn’t afford actors, so they had to do all of the skits onstage themselves. They hated not getting laughs and went the rapid-fire route because they discovered it was easier to keep audiences laughing than it was to get them to laugh in the first place.

Police Squad! aired in 1982, with the trio pitching it as Airplane! but with the police genre. The title and opening sequence pays tribute to M Squad, a popular ‘50s cop show staring Broderick Crawford. There are some funny jokes here, but as with SNL or other sketch comedy shows there are some misfires as well. Police Squad! ran just six episodes, maybe because the trio’s brand of rapid-fire gags hang better on a model that’s full length.

That said, once you get past a first episode that’s not quite as funny as The Naked Gun, the others have their share of laugh-out-loud moments and plenty of smiles and groans. Groans? Yeah. Baseball announcer Steve Stone said it best: “Puns are like children. You love your own, and can’t stand anyone else’s.” You can almost create a drinking game out of predicting what visual pun will splash across the screen next after you hear a familiar expression that can be taken more than one way. A few of the gags are off-color, which is why this short-lived TV series carries a TV-PG rating. More

Review of ONWARD (Blu-ray combo)

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Grade: B/B+
Animation
Rated PG

So what happens to a “shire” when centuries of technology make magic obsolete, and the closest to it for modern-day elves and other residents in the city of New Mushroomton is some version of fantasy role-playing games? In Onward we find out, as a timid elf receives a time capsule present from his father, who apparently died of cancer years ago: a wizard staff.

Ian (voiced by Tom Holland) is unimpressed, but older obnoxious brother Barley (Chris Pratt), who’s totally into role-playing games, is delighted that his father was also into wizardry. Then they read a letter that was part of the parcel and discover a “visitation spell” that can bring their father back for one day, so Ian can meet him for the first time. But what happens when unconfident Ian botches the job and brings back only Dad’s bottom half? The elves have less than a day to find a gemstone that, added to the staff, will be powerful enough to bring back all of their father.

That’s the premise of Onward, which is directed by Dan Scanlon (Monsters University), and I found myself thinking of Back to the Future and Marty’s limited time to set things right, or else his family, the top halves of which are slowly vanishing on a photo he frequently looks at, will cease to exist. And of course there’s been no shortage of wizard-quest films with a single high-stakes prize the goal and all manner of obstacles en route, so Onward feels a bit commonplace in its premise and plotting. More

Review of EMMA (2020) (Blu-ray combo)

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Grade: B-/C+
Drama-comedy
Rated PG

Director Autumn de Wilde’s 2020 reincarnation of Jane Austen’s Emma feels like a throwback to early PBS series, where everything and everyone was measured, staid, proper, understated, ever-so-subtly clever, and wrapped in beautiful cinematic finery. In other words, Emma 2020 is for Austen and period costume enthusiasts who like their classics rendered in classical fashion, and that includes the speech (“Husband, comport yourself”).

When it comes to family viewing, the early 19th-century language can be a minor stumbling block, but so can the plot and characters. Emma Woodhouse isn’t the most likable person. A woman of means, she’s not desperate to find a husband to support her. Instead, like the bored young woman she is, she banters with servants and friends and keeps herself entertained by playing matchmaker—or matchbreaker, as the case may be. In this game, others are pawns.

But the thing is, the pacing is so leisurely and the camera so intimately focused on Emma’s non-verbal as well as verbal communication that a good 30 minutes passes before anything really happens. And one of the most interesting characters, Emma’s widowed father (Bill Nighy), doesn’t get as much screen time as fans might like. When our family tried watching Emma together, our college-age kids found it tough going. My wife and I, normally fans of costumed classics, also found it slow—something that, for me, was compounded by the sound mix on this Blu-ray release. Though the featured audio is the standard DTS-HDMA 5.1, most of the sound is dialogue on the center channel that feels contained rather than projected. Add that to the archaic language and British accents, and it can make the dialogue difficult to follow at times.

And this film is mostly dialogue and long lingering reaction shots, plus pastoral shots that showcase the English countryside where it was shot in Tetbury, Lewes, Wiltshire, Surrey, Godalming, Hitchins, Oxfordshire, Buckinghamshire, and Cheltenham. Like PBS series and movies of old, this Emma is absolutely stunning to look at, and the costume and set design are every bit as eye appealing as the natural settings. More

Review of THE CALL OF THE WILD (2020) (Blu-ray combo)

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Grade: B/B-
Rated PG
Adventure-Drama

Writer-slash-prospector Jack London penned his classic third novel, The Call of the Wild, in 1903, and the first of seven film adaptations and TV series was released way back in 1935. As a result, people think they know this dog story even if they haven’t read or seen it. What they typically know is that it’s a Yukon gold rush story involving a sled dog. Since the other well-known thing London wrote was “To Build a Fire,” in which a man freezes to death, they naturally assume The Call of the Wild is a sad movie.

And in places, it is. If you have family members who are especially sensitive to bad things happening to animals, this first feature from 20th Century since Disney acquired the movie division of Fox might not be for them.

Overall, though, The Call of the Wild isn’t another weepy Marley & Me or Hachi: A Dog’s Tale or Old Yeller. {Spoiler alert—skip to next paragraph] Dogs are mistreated and animals and humans die—but not Buck.

Buck is the dog whose epic/episodic journey we follow, from owner to owner and from the easy California life of a pampered pet to the harsh world of a sled dog learning how to survive in the wild. Buck is also regrettably CGI, and it takes some time to adjust to that and accept him as a character. From the moment we see him bounding around a judge’s mansion it’s painfully obvious that we’re not watching a real dog. There’s just something “off” about the movement or design. But you get used to it, and as director Chris Sanders told ComingSoon.com, the decision to go with CGI animals was pretty much made for them, because “you just could not safely put a real dog” into the dangerous situations the film depicts. That includes some pretty spectacular scenes.

Sanders also said, “In a situation where you’re using real dogs, you would have a number of dogs playing Buck. So you might have two, three, four or more dogs that are specialized in different behaviors standing in for Buck, which means you’d have a huge inconsistency with these characters. But the most important thing is that we wanted this character to act and to be a character; this is a fable about a dog. The human beings are characters that come and go in Buck’s life . . . .” More

Review of THE CAPER OF THE GOLDEN BULLS (Blu-ray)

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Grade: B-/C+
Not rated (would be PG)
Crime comedy-drama

Heist or “caper” movies surged during the ‘60s and early ‘70s, with no fewer than 40 of them made. The Thomas Crown Affair, The Italian Job, The Taking of Pelham 1-2-3, Ocean’s 11 and The Pink Panther inspired remakes, and films like The Sting and How to Steal a Million continue to get a lot of love. But a forgotten heist film, The Caper of the Golden Bulls, deserves at least a little love.

Unlike today’s heist movies, there’s practically no violence in this 1967 entry that’s just been released on Blu-ray by Kino Lorber. Shot during the decade James Bond debuted on the big screen, Caper was made at a time when keeping it suave and clever was a priority. Russell Rouse had written the screenplay for Pillow Talk, and as director he brought a light touch to Caper, bolstered by a bright and cheery Vic Mizy soundtrack that came out of the “Blame It on the Bossa Nova” era but would be just as at home in an Austin Powers score.

Stephen Boyd (best known for playing Ben-Hur’s chariot-racing nemesis in the 1959 epic) stars as Peter Churchman, who’s no choirboy. But he’s still a heck of a nice guy. He and his fellow flyboys got into the bank robbery business after the war, but they’ve been retired and waiting out the statute of limitations so they can carry on with their lives without fear of discovery. Churchman owns a club in a small Spanish town and has a relationship with local law enforcement that will remind viewers of Casablanca. His old military pals are married, as Peter hopes to be. Then one of the gang—a “waif” the group enlisted because she had certain skills (Giovanna Ralli)—blackmails Peter so that he’ll agree to get the group together for one last job: to steal the jewels of the statues of the Virgins that have been brought to Pamplona for the Feast of San Fermin. More

Review of SPIES IN DISGUISE (Blu-ray combo)

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Grade: B
Rated PG
Animation

Spies in Disguise is surprisingly entertaining . . . and surprisingly adult for an animated children’s feature that parents can also watch without being bored out of their skulls.

The bare rear end of a very large man is shown as he’s caught taking a bath. A man whose hand has shrunk because of a chemical transformation peeks inside his pants and screams. A man turned into a pigeon talks about #1 and #2 coming out of the same place. Characters sip martinis and champagne. And Yakuza down shots and take plenty of shots at heroes, with violence ramped up to take full advantage of the cover that animation provides. If this were live action it would easily merit a PG-13 rating.

Then again, if this were live action, it would be more of a challenge to tackle the main premise of Spies in Disguise: a nerdier version of “Q” (voiced by Tom Holland), mocked because of always wanting to invent “nice” devices for conflict resolution rather than the lethal ones his agency wants, is fired for slipping his “kitty glitter bomb” into the field kit of superspy Lance Sterling (Will Smith). When Sterling is framed and is deemed a rogue agent, he seeks Walter’s help to make him “disappear”—but the formula doesn’t make him invisible. It turns him into a pigeon.

Kids will take delight in the pigeon transformation and the rendering of birds in this 13th feature from Fox Animation Studios (Ice Age, Rio, The Peanuts Movie). And hey, so will adults. There’s a “cute” factor that this film has that works as a buffer for the violence and adult elements. More