blue hermit

Despite the inevitable comparisons with the CSI franchise I thought I couldn't do anything less than give Season 1 a straight 10. Bones carries torment, death and decay to new heights - or should that be depths? - and for me each episode has been genuinely interesting and absorbing to the extent that I placed an advance order for the DVD set.

Season 1 scripts were written with style and the casting of the principal players has been inspired. David Boreanaz and Emily Deschanel are perfectly matched and clearly have no trouble with the personality traits of their characters. They can be thankful for three thoroughly competent supporting actors in Michaela Conlin, Eric Millegan and T J Thyne, who contribute a lot to making the scenarios of each episode so believable.

So far I've had the opportunity to see the first three episodes of the show's Season 2 and it is obvious to me that someone with influence in the script department has been incapable of leaving well alone. It's not surprising, such "bright" ideas have given the kiss of lingering decline to many a brilliant show.

A disturbing trend is clearly to be seen. Dr Brennan has been demoted by the arrival of a new hands-on team leader Dr Camille Saroyan (played by Tamara Taylor) whose presence disrupts the team dynamics in the laboratory to such an extent that I find it really irritating, not interesting as must be the intention. Tamara Taylor has been given a problem role here similar to the one Kim Delaney had in the first season of CSI Miami, i.e. a character that appears to have no contribution to make other than to get in the way.

I'll see how the next few episodes turn out but I have a feeling I may not be placing an advance order for Season 2.

I actually sought out this film because of its promotional advertising. I've also read that everyone involved in making "The Sweetest Thing" had a great time. My first reaction on seeing the list of main players was that something with both Cameron Diaz and Christina Applegate in it must be worth a look. Having seen this film I wish I'd had the presence of mind to lie down in a darkened room until the desire to purchase the DVD had passed unfulfilled. In other words, I was very disappointed.

The cast are real troupers, they deal enthusiastically with crass dialogue, feeble humour and the abandonment of sauce for vulgarity. The music is poor, in fact the penis song is unbelievable. Between cringes, I yearned for the inspired "Springtime for Hitler". Those were the days before alternative humour. Anyone interested can have a look at "The Producers" (1968).

Cameron Diaz doesn't seem at her best as "Christine Walters". She doesn't quite seem to justify top billing. I think Christina Applegate has the more dominant screen presence playing "Courtney Rockcliffe".

I've heard there's a debate in some quarters about whether or not CA actually has a range beyond the air head bimbo in "Married.....with Children" that made her internationally famous. I remain neutral, but anyone watching TST might be interested in Applegates's characterization of "Julia Malfete" in "Just Visiting" (2001), a light hearted time travel story with thought provoking moments.

Selma Blair's performance in TST is a genuine plus. Thomas Jane makes a decent job of his role too. TST is the first time I've spotted either of them. I wouldn't mind seeing their future appearances. And, let's hear it for that appealing character actress Georgia B Engel and her colour de luxe dress shop. She's enlivened so many shows, classic and turkey alike. There's also Parker Posey in a wedding dress. I can only recall seeing her in the enjoyable "You've Got Mail" from back in 1998, but I know she's done other things.

Sadly, I don't think it is in the interest of the more recognizable faces to recall too loudly their involvement in this movie.

Not having read the comics, I watched this TV movie without expectations. I wasn't disappointed. "Witchblade" is original and very atmospheric.

The action takes place in an urban sprawl said to be New York, but a New York shrouded in an occult gloom. The director Ralph Hemecker, and Z D Zeik who has the writing credit for the movie, have blended a police action theme with the supernatural. What they've created involves and fascinates.

I think "Witchblade" gains a lot from a superior cast. Based on the end result, the obviously hot casting team of Gerussi, Mariano and Miller deserved a bonus when it was in the can. For a start, Yancy Butler is a captivating and lethal Sara Pezzini. I certainly didn't see Sara Pezzini on the horizon when, years ago, I watched a waif of an actress doing her best with Natasha Binder in "Hard Target" (1993). The clue is in the eyes. Man, those eyes!

Anthony Cistaro is brilliant as the morally ambivalent, super rich tycoon, Kenneth Irons. A man so unsatisfied by his power and riches in this world that he wants influence and opportunity in the dimension of the Witchblade.

Ian Nottingham is a great character. His lurking about and obscure relationship with Kenneth Irons had me guessing at times. I don't recall seeing any previous appearances by Eric Etebari, but I'd be happy to see more of his work. The same can be said of Will Yun Lee, David Chokachi, Kenneth Welsh and George Jenesky; not a born spear carrier among them.

This is TV film making strong enough to stand on its own. A thoroughly professional effort. I hope Marc Silvestri was equally pleased with the filming of his work.

"Witchblade" entertains. Recommended.

Ally Sheedy is in the cast list of "High Art". Like me, a lot of couch potatoes would probably think: " Oh, that's the girl who was in that movie about the cute robot." True, "Short Circuit" (1986) was fun to watch, but this is a very different story. It is also a far cry from "Buried Alive 2" (1997), which I remember cured my insomnia one night. I suppose HA is what is called an "art house movie". It strikes me that one look at a synopsis of the script would have most distributors feeling in need of a drink. (I could be wrong of course!). This is a rather bleak tale of friendship and lesbian love, arising out of a chance encounter between an assistant photo editor and a long lost art photographer in the building where they live.

Initially, I started watching this one one morning for the sake of something to do while a work crew was relaying the floors in my kitchen and bathroom, so the soundtrack was punctuated by a certain amount of unscripted percussion. I quickly realized I was getting interested. There is stuff in HA for people to dislike if they are so minded. Hard nosed types could say there are too many losers in it to be worth bothering with. Someone with strong religious convictions could feel distaste at its perceived decadence. Drug takers, failed talents, useless men and the spiritually lost can all be found in this movie. I reckon Lisa Cholodenko's film is an audio - visual think piece rather than an entertainment. This whole thing smacks of deep personal commitment from its director. I notice she also has the writing credit.

The mature and rather gaunt Ally Sheedy in this movie is excellent as "Lucy Berliner", the once famous photographer who vanished to Germany years ago and has since returned to self - imposed obscurity. She is truly believable as the character on screen. Radha Mitchell is "Syd", the assistant editor at Frame Magazine. Actually, she is a little wooden at times. I think she puts in a much more assured performance in the recent, exciting sci- fi outing "Pitch Black" (2000). I recognized the names of Patricia Clarkson and Tammy Grimes among the supporting players in HA. Nice to see people getting work. HA also offers the pleasure of watching the seldom seen actress, Anh Duong. As "Dominique Podhue", her striking looks steal the attention in some scenes. I agree with her character's assessment of the photos too.

I think "High Art" on release must have been tough going for the audiences who got the chance to see it. I got my copy in the small hours via a VCR and a cable channel. It certainly hasn't been seen much in the UK. This aside, it is well made, insightful and deserving of appreciation

I searched out this one after seeing the hilarious and linguistically challenging "Clueless" (1995), perhaps Alicia Silverstone's best known effort from early in her film career. "True Crime" has Kevin Dillon, which should be helpful in improving most film projects. In fact everyone in the cast does a good job . The only disappointment I think the movie has for me is an awkward "feel" to some of the scenes, coming from the need to run a quite uncompromising, grown up theme as part of what in tone starts out as a schoolgirl adventure.

Alicia Silverstone is pretty good in this one. She carries off well the naive enthusiasm and growing unease that affects Mary Giordano as she manoeuvres towards the truth behind the serial murders. I reckon her characterization of MG has some mileage in it too. The inference of the story line is that she goes on to a career in law enforcement. It could be really interesting for an older Silverstone to revisit Giordano at a time of crisis later in the officer's life. Just a thought!

"True Crime" shows its director in a good light. Pat Verducci also has the writing credit. I don't know of any other film work PV has done. I can only wonder what happened after such a promising start.

Like most productions, this one has a largely unknown supporting cast, although Bill Nunn (Detective Jerry Guinn) is hardly that. Over the past decade he seems to have been able to secure an impressive number of screen appearances. I recall seeing him recently in "Carriers" (1998), a made for TV presentation with a military theme. Bill Nunn played "Captain Arends". Fans of the classic US TV comedy show "Who's the Boss" may also have an interest in "Carriers" because the leading player is Judith Light, remembered with affection by many because of her lengthy involvement with the show.

"True Crime" could easily not have worked, but it does OK. I think it is an entertaining story worth seeing.

Described as a TV movie, I don't know whether "Perfect Prey" was planned as a TV pilot. Far worse have been deemed suitable for series production. I don't think this watchable piece of work got the exposure it deserved when it first appeared. This is a better than average serial killer thriller. The main characters are certainly well cast.

Kelly McGillis is a natural as the troubled but intelligent and determined investigator, Audrey Maclean. David Keith's performance as the handsome, persuasive killer is chilling. Watching him, you can truly believe that evil is abroad and relishing the suffering of its victims. Bruce Dern does well with the part of Captain Swaggert, with murders on his hands he knows are beyond the abilities of his team to solve without the fresh eye of outside help. Interested viewers will, I'm sure, enjoy the contrast in characterization between Dern's lawman in this movie and his marvellously venal sheriff in "Last man Standing". Last but by no means least, D W Moffett shows real style with his Detective Jimmy Cerullo.

There's a pleasing professionalism about the rest of the cast, who aren't well known. Their work helps to ensure an enjoyable movie. Particularly worth a mention is the young actress given the thankless role of the murder victim in the pink dress. With her body propped up against a nodding donkey, her frozen eyes allow a peek into hell for the imaginative movie watcher. The feeling of brooding sadness in the scene surfaces at various times during the duration of the film, and adds considerable atmosphere.

The movie is effectively directed by Howard McCain and nicely scripted by Robert McDonnell. There's some neat editing by Hanneh Rudkilde. The rest of the crew weren't asleep on the job either. What really damages "Perfect Prey" is the marked resemblance of the plot to that of "The Silence of the Lambs", which many of its potential audience will have seen. In my opinion Kelly McGillis is a more believable investigator than the otherwise admirable Jodie Foster, but that, as they say, is neither here nor there.

It's worth a look, seek it out next time you intend making the sofa look untidy for a couple of hours.

"Back to Back" didn't stun the world with its market impact when released. Watching it five years later there doesn't seem to be much wrong with it, there's sufficient action and plot to stop most people falling asleep on the sofa. It has an "R" rating, but for me the violence is in context and doesn't detract from the entertainment value of the movie.

The director, Roger Nygard, obviously knows his job. As a piece of film making, "Back to Back" is well put together. The cast and crew do a good job with a neat script. Admittedly, coincidence does have a field day in the story line. The script boasts two yakuza hit men (one a disciple of Elvis), suitably evil mafiosi, a disgraced ex-cop, his much exasperated daughter, a mad bomber bank robber and, last but not least, an obnoxious, corrupt detective who you just know has been responsible for everything that has gone wrong for years.

The cast is definitely above average. Some of the names are regulars among the ranks of supporting players featuring in bigger budget movies. There's Michael Rooker (Bob Malone), who I last saw making a fair job of Stan Zedkov in "The Replacement Killers" (1998). Sci-Fi enthusiasts will I'm sure be pleased to spot Stephen Furst, Vir Cotto from "Babylon 5", in the minor role of Jimmy, one of two no-accounts planning to sell Hideo back to the Mob. Also, a real inspiration in the casting of "Back to Back" has to be offering Bobcat Goldthwait the part of the psycho bank robber. Villainous and comic, he's great!

Danielle Harris is much more than eye candy as daughter Chelsea Malone: wayward fathers need a firm hand! It is entertaining to see the changes brought about by advancing years (at least in this young lady's case it is!). I remember DH as little Melissa, the younger daughter of the Crandell family in "Don't Tell Mom the Babysitter's Dead" (1991). By 1996 she certainly had looks and screen presence aplenty. I recently spotted her again in "Urban Legend", dating from 1998, a movie in which costume and make up render her almost unrecognizable.

I have not seen the two Japanese actors before who play Koji and Hideo. The mentor and his pupil scenario is nicely done. If I didn't know from experience how difficult it is to find the work of Japanese actors, it would be interesting to see other things they've done. Look out too for the enjoyable cameo from Leland Orser as the Wheelchair Guy. His brief screen appearance is a realistic peek into the precarious existence of someone surviving on the street.

TV movies are sometimes bland, this one is well worth seeing.

"Jade" hasn't got enough in the way of memorable scenes or entertaining dialogue to be a thriller. My impression is of a "that'll do, let's get it in the can" attitude towards the script, the direction and the lack luster air of some of the cast. The video cassette I have says on the packaging:"An Erotic Thriller". There is quite a lot of what could be called sex in this movie, but the last thing it has is eroticism. I bought my copy from the special offers rack at a local store, reduced 70% from retail. There is a hung jury on whether or not I wasted my money!

Two of the leading players, David Caruso "David Corelli" and Linda Fiorentino "Trina Gavin" look uncomfortable in every scene they do. When David Caruso left east coast cop TV to make movies in Hollywood I imagine this by the numbers effort wasn't the sort of thing he had in mind. Linda Fiorentino has made better appearances too. I prefer to remember her in "The Last Seduction" and "Body Count". "Body Count" also provides an opportunity to see David Caruso doing much better work.

Perhaps fortunately, Chazz Palminteri and Richard Crenna seem completely at home with their roles of "Matt Gavin" and " Lew Edwards" respectively. The MG characterization is well done. Chazz Palminteri's interpretation, with its calculated cordiality and sinister edge, makes a decent job of unexceptional material. LE is Governor of California. Richard Crenna gives him just the right amount of ruthless deviousness to be entirely believable as a career politician.

Other things about "Jade" are worth a mention - at least they interest me, anyway! The set dressing of the rich man's house has been done in impressive style by people who clearly know how to create visual atmosphere. Some of the soundtrack music is also better than routine. The closing credits are accompanied by an excellent, haunting vocal, "The Mystic Dream", performed by Loreena McKennitt. At least I think that's the lady's name, the credit is fuzzy on my tape.

Being few and far between, the good bits don't save the movie.

I like this movie. It's not bad at all as a story of betrayal and new beginnings.The humour is quirky and at times the violence startling, but I enjoyed it sufficiently to obtain a copy for my video library. Jennifer Leitzes' film certainly gets your attention from the very first scene.

This is an action movie. Ammunition consumption is enormous and the products of the gun makers' art send many malevolent bad hats to their doom. Good will to one's fellow man (or woman!) is in short supply in "Montana". The story proceeds with a brisk clarity, something I think is quite refreshing when there are so many movies around relying upon incredible plotting and intrusive style statements.

See this movie too for the sometimes surprising casting. I'm not sure Kyra Sedgwick would have been my first choice to play Claire Kelsky. No matter, her astute, charmless and dangerous sub-boss in the gang is professionally done. Claire is matched in status in the outfit by Nicholas Roth, one of the best character creations I've seen from Stanley Tucci. His lightning fast, well-read and refined killer is a classic. I'm impressed too by John Ritter's chilling Doctor Wexler, what a carnivore!

Robbie Coltrane matches the quality of these performances with his portrayal of the ruthless Boss, the maker of the one big and fatal mistake in the story, i.e. that of failing to recognise in his relationship with Claire Kelsky and Nicholas Roth that loyalty works both ways or not at all. Duncan, the sharp, slippery money man is the excellent creation of Philip Seymore Hoffman. His dialogue with Kitty, the trapped but quietly determined gangster's moll, played by the equally good Robin Tunney, provides one of the key moments in the movie.

The coarse language will offend some viewers, but I found it interesting and stimulating entertainment. So, not for everyone, but see it and hopefully enjoy.

"The Big Hit" (TBH) could have been a superior caper movie. My impression is that when production values, themes and market were being considered, some short - sighted decisions were made. If the intention was to release a hard - nosed, unflinching but human story of criminals falling out in a storm of violence and profanity, they could have got a few pointers how to do it properly if they had had the opportunity and inclination to look at "Montana"(director Jennifer Leitzes), which I understand hit the distributors' shelves the same year.

"Montana" and for that matter, the exceptional "Fargo", display far more of the craft of film making than this disappointing effort. Violence and obscenity are an essential and realistic ingredient in these examples of Leitzes' and the Coen Brothers' work; yet the stories grip, the fate of the characters quickly becomes of great interest to the viewer and, in my case, I was totally absorbed until the closing credits began scrolling up the screen. TBH moved in my mind from undecided to tiresome in about half an hour. I stuck it out because I follow the careers of some of the actors involved.

Looking at TBH from another angle, if the film was to have been a comedy thriller - there are repeated attempts at humour - why was no effort made to expand the potential audience by avoiding an "R" rating? I have friends and relatives I wouldn't invite to a showing of this movie. There are numerous scenes that could have been funny or exciting, but the cast isn't allowed to exploit them with style or delicacy.

There is a good cast. The more prominent players: Mark Wahlburg, Lou Diamond Phillips and Avery Brooks, get through the material with frenetic professionalism. It was nice to see Elliott Gould and Lainie Kazan again too, even if they don't have much to do. Among the remaining cast, the modest contribution from Christina Applegate shines. This lady continues to be underrated by the moguls of the large screen. Also, China Chow makes a cracking debut as the kidnap victim. I hope to see more examples of her work in times to come. Another enjoyable experience is the performance by Lela Rochon, who gets the characterisation of the unscrupulous Chantel just right.

There are performances worth watching in this movie. Having sat through it though, all I can say is that I can't bring myself to recommend it. If I've completely missed the point of the production, I don't apologise for saying I'm grateful to have done so.