by Erik Davis Feb 25th 2010 // 2:15PM

Filed under: Newsstand, Movie Marketing

There's a moment of a stir sweeping across these internets today after the
New York Times
published a alibi that wags its uptight bit finger at the studios and online outlets who speak for red-band trailers and all the pretentious mouldy-mouthedness that comes along with them. They cite the latest red-band

trailer as being an lesson of the brand of trash Hollywood is pushing to an audience that, realistically, can call up a procedure on all sides of their so-called "age gates" faster than it takes the11-year-hoary Hit Girl to blast the word c*nt out in delightful HD.

While online outlets hold that they're playing by the rules set up by the MPAA by installing "age gates" in candid of their trailers, it's not hard to consciousness that some are easier to sidestep than others. And unbroken if you can't penetrate c be into in, there's a good happen the trailer liking show up on some sexually transmitted-networking site within an hour of its launch. Fact is — and the

Times

is right about this — these red-band trailers gain more momentum because of their R-rated nature, and because kids don't get to see that sort of stuff from regular green-join trailers. But sites like
(who, admittedly, are the red-band version of a big blog) exact bulls**t, noting (in one of their true-to-rules rants), "God forbid an ad respecting a cinema literally show you what's in the factual movie."

Personally, I think it's about circumstance we stop pretending our teenagers are idiots who wouldn't at all be exposed to this sort of stuff if it weren't fitting for undisturbed-to-access red-troop trailers. Watching one episode of MTV's

16 and Expectant

should make you aware that there are much bigger problems that await parents, and that hearing Tracy Morgan yell the info f*ck in a red-platoon

Cop Abroad

trailer should be the least of their concerns.

Lionsgate was real on the money when they told the Times that they stand behind their red-keep

Boot-Ass

trailer because "It's surely important repayment for people to skilled in what breed of motion picture this is so they can make an appropriate decision alongside whether or not they hankering to see it." Yes, commodities full stop.

That said, some would argue that the film's R rating should be enough to warn parents of the latent dangers contained within, and that while Lionsgate is pretending to be concerned beside false advertising, they're also wisely attempting to entice a younger audience by blinding them with sinful language and unwelcome action prior to the integument hitting theaters in arrange to over persuaded them on their product.

But is this wrong? Are red-band trailers any more dangerous than the hundreds of thousands of easy-to-access non flick picture show-related R-rated subject-matter spread across the internet? Should the studios stop producing red-band trailers? Should they continue to produce them, but figure out a more secure way to distribute them to people over the age of 17? Or should parents be laboured to take a cheap more responsibility in what they do or do not allow their children to view online?

“The Endless Summer II” is one of those rare bits of movie marginalia

that are entirely without merit and, still, a pleasure to sit through.

Directed by Bruce Brown, who 30 years ago made the same surfer’s trek around the globe, the sequel is still the ultimate surfer’s home movie, and a great part of its appeal is its unpretentiousness and lack of polish. But this handmade quality is also its downside. Though marginally slicker, the movie is as flat and corny — in concept, sensibility and execution — as its predecessor. The photography is ravishing but unimaginative, like the most banal calendar art. The continuity is jerky and arbitrary. And the narration is the worst sort of travelogue prose, alternating among the ungrammatical, the redundant and the hackneyed.

Other than that it’s perfection.

Watching the film, you experience the somewhat happy, somewhat disturbing sensation of being sucked into a time warp. About the only differences are the fashions and the performers, who in this bright-spirited sequel are the one major improvement.

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As before, the kids — whose names are Patrick O’Connell and Robert “Wingnut” Weaver — are surfers, not performers, but they’re charmers nonetheless. The bleached-blond O’Connell, who rides a short board and runs up and down his waves like the arm of a lie detector, is a sort of happy idiot, giggling his way around the world. By contrast, Weaver is quieter, darker and more of a soul surfer, taking long, elegant rides like the surf dudes of old on his long board.

The movie definitely tests your patience and begins to live up to its name. Regardless of the beauty of the setting, one wave looks pretty much like another, and Brown isn’t enough of a filmmaker to break the monotony. But you have to love these kids. No matter what happens, they’re stoked.

The Endless Summer II is rated PG, despite the bare bosoms in France.

Saturday

Reedsport police

9:11 a.m. — Missing trailer on the 2600 stumbling-block of Frontage Method.

Roseburg policewomen

8:13 p.m. — Assault on the 2100 block of Vine Street. Child transported to clinic. One squire arrested.

Sunday

Roseburg police

1:50 p.m. — Stolen bike on the 1500 block of Cobb Street.

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11:49 p.m. — Video games stolen from Fullerton Elementary School, 2560 Bradford Drive.

ACCIDENTS

Saturday

Douglas County sheriff

3:35 p.m. — Two-vehicle smash-up on the 200 block of Metz Hill Road, Oakland. Female complained she hit head; another person complained of chest pain. No one taken to the clinic.

3:48 p.m. — Vehicle down embankment on the 8000 block of Cow Rill Motorway, Riddle. No injuries.

Sunday

Douglas County sheriff

8:33 p.m. — Mechanism implore embankment at the intersection of Garden Valley Road and Yew Lane, Garden Valley. One person arrested on suspicion of driving under the influence of intoxicants.

Oregon State patrol

11:42 a.m. — Overturned car in ditch at Milepost 35, Highway 138 East, Idleyld Park. Person enchanted to asylum.

ARRESTS

The Front-page news-Reconsideration publishes the names of individuals who should prefer to been arrested on suspicion of at least a person felony debit or three misdemeanors or a combination of felony and misdemeanor charges.

Friday

Douglas County sheriff

Kyle Alan Lowry, 30, of Eugene on bad vibes of against the law possession of methamphetamine, possession of burglars tools, foremost-degree rip-off, first-limit burglary, deposit gewgaws within 100 yards of freely and first-degree vile mischief.

Kenneth Scintilla Simmons, 43, of Eugene on suspicion of on suspicion of illicit proprietorship of methamphetamine, possession of burglars tools, first-degree theft, first-condition criminal mischief and in the beginning-degree burglary.

Roseburg police

Michael Merle Adams, 44, of Roseburg on leeriness of unofficial acquainted with of a motor conveyance.
Saturday
Oregon State of affairs regulate
Sajon Drive Naive, 25, of Myrtle Brook on suspicion of unlawful possession of a controlled substance.
Roseburg police
Phillip Ray Baca, 35, of Roseburg on suspicion of ruin to cash-box as a sex sinner.
Sunday
Douglas County sheriff
A 15-year-old female from Canyonville was captivated to the Immature Internment Center on dash of unauthorized manoeuvre of a motor vehicle.
Winston the coppers
Michael Curtis, McNamar, 23, of Roseburg on suspicion of unlawful obtain of methamphetamine.
FIRE RUNS
Saturday
Douglas County Fire Locality No. 2
4:06 p.m. — Possible bonfire imminent Milepost 127 southbound, Interstate 5, Roseburg.
6:54 p.m. — Flue fire at residence on the 400 block of Russell Avenue, Roseburg.
Winston-Dillard Fire Department
5:56 p.m. — Fire at Roseburg Set on fire Products particle quarter instil, 10600 South Highway 99, Dillard. Fervid at the beck control by 8:18 p.m.
Sunday
Roseburg Fire Pivot on
2:50 p.m. — Sign on fire at the Greyhound Station, 835 S.E. Stephens St. Sign falling down, flames up against edifice.

After the positively dismal sixth season, Magnum P.I.: The Complete Seventh Season roars back into form with one of the series’ strongest seasons. At the time of production, the makers of Magnum P.I. thought this season would be the very last one, and it’s obvious the writers, cast and crew made an effort to go out with a bang — literally. I’m not spoiling any surprises by recounting it here (after all, there was another season to follow), but at the end of Season Seven, Thomas Magnum dies from an assassin’s bullet. In the final episode, appearing as a ghost, he ties up loose ends among his family and friends, and walks off into the clouds (a cheesy moment in an otherwise excellent season). Numerous episodes from Season Seven are all-time fan favorites, with Tom Selleck and company putting to rest the bad memories from weaker Seasons Five and Six.

By the start of the 1986-1987 season, the once-powerful Magnum P.I. ratings machine had already fallen far from the Nielsen Top Thirty. The producers, Tom Selleck being one of them, decided to give the series a final send-off worthy of earlier seasons, with the Magnum character maturing and coming to terms with his romantic past, his war-time experiences, and with the memory of his dead father. Magnum P.I.: The Complete Seventh Season is a remarkably contemplative season (while still packing a lot of action and laughs), with the Magnum character undergoing significant emotional experiences. Age is certainly a factor in this seventh season. Despite the wish of many viewers to basically keep Magnum an overgrown adolescent, the producers put Thomas (and us) on edge by constantly referring back to Thomas’ upcoming fortieth birthday. Playing into this theme, Magnum is even shown failing in physical endeavors (his leg goes out during running exercises; he fails to outrun assassins in the season’s final episode), as well as doubting his ability to pull in the chicks like he used to in his salad days.

Magnum’s wartime experiences are again fodder for good drama, with the terrific Solo Flight episode expertly blending in the meditative themes that run through this season. Magnum, trapped under plane wreckage on top of a mountain and delirious from an insect bite (a mountain he wanted to climb alone, in order to think through his life), recounts not only his brutal war memories (there’s a truly horrific flashback to Magnum and his friends in cages, being tortured by the North Vietnamese), but also his deeply sad, mournful feelings about his father, who died in the Korean War. As well, recollections of treachery concerning his wartime friend Philippe “La Bulle” Trusseau (Robert Loggia) haunt unrelated cases, such as Death and Taxes, an exciting episode where a psychotic murderer of prostitutes tries to impress Thomas with his skills.

Thomas’ romantic past is also a source of pain for Thomas. His relationship with his ex-wife Michelle (Marta DuBois) is again revisited here, with Thomas coming to the painful realization that her child, supposedly by her current husband, is most probably Thomas’ and that he won’t ever be able to raise her as his own. Indeed, during the final episode, Thomas, now in limbo after being shot and killed, goes about fixing Michelle’s romance with John Beck, while saying goodbye to his little girl. As well, Thomas almost gets married again this season, to Cynthia Farrell (Dana Delaney). Thomas, packed and ready at LAX airport to take Cynthia back to Hawaii, is dumped by Farrell - another indication of the producers’ efforts to round out the Magnum character, and further distance him from the established image of the playboy, sure-shot scorer with women.

Despite all this morose sturm und drang, Magnum P.I.: The Complete Seventh Season still has time for plenty of Magnum hijinks, with fun episodes sprinkled throughout the season. Top of that list is one of the series’ funniest episodes, Paper War, where Magnum and Higgins engage in a rapidly escalating series of practical jokes that wind up having deadly consequences for both of them. There’s a nice edge of meanness to both characters here; they’re like deadly little boys who aren’t screwing around, even though they’re just playing practical jokes. And even though the episode is played mostly for laughs, there’s a surprisingly resonant ending, where Thomas and Higgins, stuck together in an elevator, get down to some truths about each other that they may have wished stayed hidden. Murder By Night is a nicely realized, snappy film noir piece - with Selleck looking perfect in period dress. And for the first time, Murder, She Wrote’s Jessica Fletcher teams up with Thomas for a energetic two-part crossover, Novel Connection, with the Murder, She Wrote follow-up Magnum on Ice included as a bonus episode. Angela Lansbury seems to enjoy mixing it up with Selleck very much; they’re an inspired team with Jessica Fletcher providing the deductive reasoning (versus Magnum’s frequent hunches), and Thomas providing the brawn.

As the season draws to a close, the mood becomes darker again, with a sensational turn by Frank Sinatra (that’s right, the Frank Sinatra, pallie) in Laura, showing again what a fine, intuitive actor he was as he portrays a tortured retired cop trying to track down the molester/killer of his granddaughter. And of course, there’s the season finale, Limbo, which was intended to be the series finale. I remember when this final episode aired; CBS took a lot of flak from dedicated fans of the show, and through a strenuous letter-writing campaign (as well as a slight bump in the ratings), the series was brought back for one final go-around. Knowing that, it makes Limbo seem rather quaint (not helped by the cloud walk-out by Thomas), but emotionally, it fits in perfectly with where the producers of the series were taking the Magnum character in Season Seven. Magnum, dying by the sword so to speak, and limited by his limbo status in not being able to directly speak to or be seen by his loved ones, gently guides them to accepting his death, as he accepts this grim fact himself. The ghostly guide is a stock plot convention to be sure, but Selleck’s underplayed emotion and the sensitive script impart a sense of passing that’s surprising considering we’re talking about a fictional TV detective. Off hand, I don’t recall any episodes specifically from Season Eight, but Limbo indeed is a fitting “final” tribute to one of the most iconic television detectives of the 1980s.

Here are the 21, joined hour episodes of the five-disc pin down company, Magnum P.I.: The Complete Seventh Condition, as described on the tri-fold slipcase:

DISC ONE:

L.A.
Magnum sees the not-so-glamorous side of Hollywood when he looks into the death of a young comedienne with the help of an attractive entertainment lawyer.

One Picture is Worth

Art proves to be a very expressive medium when magnum protects a deaf painter from the killer who knows she witnessed his last crime.

Straight and Narrow

Nothing comes between sisters when a former call girl hires a reluctant Magnum to find her missing sibling.

A.A. P.I.

It’s time for celebrations and sleuthing when a murder occurs as Magnum is receiving the Local P.I. of the Year Award.

DISC TWO:

Death and Taxes

A crazed killer with unnerving information on Magnum’s time in Vietnam communicates his fiendish plans through nursery rhymes.

Little Girl Who
Magnum’s fatherly instincts kick in when his ex-wife goes on the run and leaves him in charge of her little girl.

Paper War
It’s the ultimate battle of wills when a feuding Magnum and Higgins are trapped in a building elevator that is set to be demolished.

Novel Connection
It’s a case of he said-she said when Magnum must deal with Murder, She Wrote’s Jessica Fletcher after an attempt is made on the life of one of Robin Master’s guests. (The concluding Murder, She Wrote episode, Magnum on Ice, is included here).

DISC THREE:

Kapu

When a beautiful island girl witnesses a murder, Magnum finds himself protecting her and the old native ways of Forbidden Island as the killers try to catch up to them.

Missing Melody

T.C.’s past comes to haunt him when his daughter is kidnapped, and he attempts to sell his helicopter to raise the ransom.

Death of the Flowers

After a devastating fight at a florist, suspicion blooms in both Carol and Rick as they question whether their respective mentors may be involved in illegal affairs.

Autumn Warrior

It’s survival of the fittest when Higgins takes a group of boys from prison camp for a weekend outdoors and somebody tries to sabotage the experience.

Murder by Night

Everything old is new again when Magnum takes on a 1940s mystery in this film-noir trip to the past.

DISC FOUR:

On the Fly

A case of mistaken identity has Magnum fighting back against two rival Mexican crime families who both want him dead.

Solo Flight
Alone on a mountaintop, Magnum begins to question his own judgment in a case and is almost killed while lost in reflection on his past.

Forty

With the big 4-0 looming around the corner, Magnum is concerned that the loss of his lucky $2 bill will hinder him in the investigation of a top-secret arms smuggling case.

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Laura

Revenge is bittersweet when Magnum helps a retired New York police officer chase the two men who murdered his granddaughter.

DISC FIVE:

Out of Sync
The path of true love doesn’t run smoothly when Magnum’s plans with his on-again, off-again fiancée are ruined by an actress who wants his help in catching a porn director.

The Aunt Who Came to Dinner
Family matters command attention when Magnum’s beloved Aunt Phoebe is convinced she’s being followed by someone who wants to kill her.

The People vs. Orville Wright

Rick just can’t seem to catch a lucky break when he is arrested for the murder of a hit man contracted to kill Icepick.

Limbo

When Magnum is trapped in a state between life and death, he struggles to save his ex-wife and break through to his friends before it is too late.

The DVD:

The Video:
The full frame, 1.33:1 transfers for Magnum P.I.: The Complete Seventh Season, are all over the place. Some episodes look bright and clear, while others, such as One Picture is Worth, look grainy and washed out. A decidedly mixed bag.

The Audio:
The Dolby Digital English 2.0 mono soundtrack accurately reflects the original television presentation. English subtitles and close-captions are available.

The Extras:
Two bonus featurettes are included here in the Magnum P.I.: The Complete Seventh Season disc set. First, a six minute Inside the Ultimate Crossover is included, with Angela Lansbury and other members of the production crew discussing the Magnum/Murder, She Wrote crossover episodes. And America’s Top Sleuths, a thirty-minute promo reel made by Universal/NBC, is included (I believe this was already included on a previous Murder, She Wrote or Magnum set).

Final Thoughts:
Stronger than ever, Magnum P.I.: The Complete Seventh Season is a socko return to form for the primo 1980’s detective series. Surprisingly reflective and downbeat at times, this intended final season of the series has a number of fan favorites, including the highly-charged final episode, where a deceased Magnum strolls out among the clouds (don’t worry; he’ll be back for Season Eight). There are still a lot of laughs and thrills in this contemplative season, taking Magnum through an emotional rollercoaster ride while serving up plenty of gun play and Magnum ’stache wriggling. One of the best seasons of the series. I highly recommend Magnum P.I.: The Complete Seventh Season.

---

Paul Mavis is an internationally published steam and tube historian, a colleague of the Online Film Critics Society, and the framer of The Espionage Filmography.

Celtic Pride

Celtic Pride

is a basketball movie starring Dan
Akroyd and Daniel Stern as two rabid fans of the Boston Celtics. The
Celtics have reached the NBA finals, and lose the 6th game in the
series to the Utah Jazz, resulting in a 3-3 tie. The final decisive
game, played in the Boston Garden just before it's torn down, will
immortalise the winning team in the annals of Basketball history.

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Our heroes, with typical Irish names such as Jimmy Flaherty
(Akroyd), and Mike O'Hara (Stern), in a desire to see their team win,
inadvertently kidnap the egomanical star of opposing team, Lewis Scott
(Damon Wayans). This starts the downslide from which the plot never
recovers.

Much of excitement in

Celtic Pride

is derived from
the basketball game action (both from the players and from the fans)
rather than the antics of Akroyd and Stern. While there are a few
jokes that work really well, a lot of is clumsy and unappealing. The
scary thing is that the stereotypes of the fans of Basketball, and
sports fans in general, is on the mark, but there are is no
psychoanalysis in the script. This is worth renting if you're really
bored, but I'd skip it otherwise.

|

Trembling
Rated:
 NR
"It holds up thanks to the definitive period atmosphere - studio fog was perfected in these Cosmic horror films - and Chaney's iconic werewolf."

Horror
Rated:
 R
"I not in any degree would play a joke on guessed that I would foretell this, but

The Wolfman

could accept benefited from less Del Toro and more CGI."

Drama
Rated:
 PG-13
"…features tweens in grownups? clothing."

Action/Adventure
Rated:
 PG-13
"A tiny cite chapter among the bonanza of visual wonders in

Avatar

convinced me the movie had achieved not alone technical mastery, but something more…"

Dearest
Rated:
 G
"…means to tap into nostalgia for the studio?s traditionally dynamic musicals of the 1990s, but it may have picked the wrong year to do so."

THE COMEDY MAKES IT 'BEAR'ABLE



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Courtesy Photo

"BROTHER BEAR"


85 minutes | Rated: G

NY/LA: Friday, October 24, 2003

WIDE: Saturday, November 1, 2003
Directed by Aaron Blaise, Bob Walker

Voices of Joaquin Phoenix, Jeremy Suarez, Rick Moranis, Dave Thomas, Michael Clarke Duncan, D.B. Sweeney, Joan Copeland

DIVAN CRITIQUE

   BABY SCREEN SHRINKAGE:

20%

   WIDESCREEN:

COULDN'T HURT

As a video babysitter, you can't go wrong. It's a passable family rental too, but mostly because the two wisecracking moose that relieve the tedium.

   VIDEO RELEASE:

03.30.2004

Perhaps a better title would have been "Oh Brother! Bear."

Disney's latest assembly-line cartoon about an orphan hero learning generic life-affirming lessons to the bland light-rock melodies of Phil Collins, "Brother Bear" is so overloaded with musical montage sequences of Northwestern nature and lip-service touches of ancient Native American culture that there's hardly room left for character development.

Joaquin Phoenix provides the voice of Kenai, a sullen Indian teenager who is hell-bent on tracking and killing a bear he blames for his guardian big brother's death — until he's transformed into a bear himself by the spirits, hell-bent on teaching him to grow up and not go off half-cocked.

To get his human form back, he's told he must "journey to where the spirits touch the earth" — a mountain that pierces the nightly display of the aurora borealis. Along the way he befriends a lost cub named Koda (provided a jolly playful voice by Jeremy Suarez, who was Cuba Gooding, Jr.'s kid in

"Jerry Maguire"

) and a pair of goofy moose with the voices of Rick Moranis and Dave Thomas, reprising the comical quintessence of their Canadian doofus characters ("Beauty, eh?") from the days of "SCTV."

The hilarious, seemingly ad-libbed presence of these two helps settle the film into a humorous narrative rhythm that is almost enough to save it from the intrusive (and awful) music. But after every song about "precious moments you'll never forget," etc., "Brother Bear" has to recover that rhythm and its comedy footing.

Disney has recently announced that it will stop producing cell-animated movies in favor of the invariably higher-grossing CGI cartoons. But what they fail to realize is that movies like "Finding Nemo" and "Monsters, Inc." aren't hits because they're computer-generated.

They're hits because the people who make them are devoted to the kind of creativity and originality that delights a broad audience of adults, young adults and kids, whereas Disney's hand-drawn features have long wallowed in the kind of formulaic rut that spawns movies like "Brother Bear" — movies parents slog through with a few grins for the sake of their kids, who haven't seen enough good movies yet to know any better.

"Brother Bear" isn't a bad cinema, but it is apparently a product of minimum energy.

“Jack the Bear,” a mostly likable first feature from “thirtysomething” co-creator Marshall Herskovitz, concerns a boy who discovers that monsters are to be found not on the contrary on TV but also in real life. A shrewd portrayal of crank fatherhood by Danny DeVito and a socko performance from babies Robert J. Steinmiller Jr. as the eponymous idol are major assets, but selling this offbeater may be a tricky proposition fitting for Fox.

Lensed in spring 1991, the film world-preemed in the non-competing Panorama slot at the Berlin Film Fest to enthusiastic response.

Based on Dan McCall’s 1974 tome, and set in suburban Oakland in 1972, film mixes comedy and horror to make its points about latent evil. Twelve-year-old Jack (Steinmiller) and his younger brother Dylan (Miko Hughes) have moved here with their oddball father, John Leary (DeVito), after the death of their mother in a car crash following a quarrel with Leary. (Andrea Marcovicci, as the mother , is glimpsed only in stylized flashbacks).

Using the name Al Gore, Leary gets a gig as host of a late night show that recycles old horror movies. But he drinks too much and is often on the brink of losing his job. He tends to neglect his sons, and it’s Jack (whose mother had nicknamed him Bear) who has to take his little brother to school on his first day.

Pic’s first half rather indulgently explores the relationships between the Learys and their neighbors in a street that seems permanently under repair. Jack and Dylan mix easily with local boys, but there’s also the sinister Norman Strick (Gary Sinise), a crippled, bigoted war vet and supporter of a far-right-wing candidate in the 1972 election. (A clip from Don Siegel’s classic “Invasion of the Body Snatchers” is used to underline the point about the evil that lurks in everyone.)

In some touchingly acted scenes, Jack finds first love with a knowing schoolgirl (Reese Witherspoon), but the girl soon decides she doesn’t want to be tied down. On a tougher note is a chilling moment in which the generally decent Jack “punishes” his little brother by forcing him close to a broken-down fence that holds back a pack of vicious dogs.

However, the real menace issaved for the final act, when the deranged Strick kidnaps Dylan and then, like some monster from a real horror flick, comes after Jack. Though these scenes sometimes appear to have strayed in from a different film, they drive the momentum toward a satisfying conclusion.

DeVito gives an interesting portrayal as the fond father whose personal problems hinder his relationship with his sons, and it’s not his fault that the small-fry steal the film.

Steinmiller’s performance is especially good in its range and feeling.

Use of the Super 35 widescreen format is justified by the panorama of the bustling suburban street, and James Horner’s music effectively helps build the mood created by script and direction. It remains to be seen, however, if a substantial audience will shell out for what is basically a small-scale picture.