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| 1. Quantum Leap - The Complete Third Season | |
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Reviews (39)
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| 2. Hunter - The Complete Second Season Director: Tony Mordente, Corey Allen, David G. Phinney, Dennis Dugan, Kim Manners, Peter Kiwitt, Bob Bralver, James Fargo, John Peter Kousakis, Ron Satlof, Stepfanie Kramer, Jefferson Kibbee, Gus Trikonis, Don Chaffey, Randy Roberts, Alexander Singer, Winrich Kolbe, Fred Dryer, Michael Preece, Dennis Donnelly | |
![]() | list price: $39.98
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Description Reviews (1)
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| 3. Wiseguy - The Complete First Season: Part 1 and Part 2 Director: Kim Manners, Les Sheldon, Roy Campanella II, Peter D. Marshall, Aaron Lipstadt, Neill Fearnley, Larry Shaw, Colin Bucksey, Bill Corcoran, Gus Trikonis, James A. Contner, Jan Eliasberg, Ron Rapiel, William A. Fraker, Charles Correll, Mario Van Peebles, Mario Azzopardi, Tucker Gates, Matthew Meshekoff, Jorge Montesi | |
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Amazon.com Season 1, Part 1--the first of six Wiseguy DVD sets--includes the entire nine-episode arc (plus pilot) in which Vinnie infiltrates the New Jersey mob family of Sonny Steelgrave, a silk-suited kingpin played by Ray Sharkey in his finest TV role. Their brotherly relationship poses a moral dilemma for Vinnie (giving the arc its dramatic core and primary source of suspense), and Wiseguy earned its reputation as a well-written series that favored character-driven tension while providing the requisite pulp fiction (i.e. occasional murder and mayhem) that kept viewers and advertisers happy. While the DVD packaging gives bogus equal billing to Annette Bening (who appears here in one pivotal episode), her pre-stardom appearance is indicative of the show's consistently high standards in writing, casting, and stylish direction. The styles may be dated (including poodle-puff hairdos for women, including Bening), but there's not a weak episode in the bunch, including the stand-alone shows (involving domestic crises for McPike and Burroughs) that allowed character growth beyond the story-arc structure. After the intense "Sonny Steelgrave" arc of first-season episodes, the producers of Wiseguy faced the challenge of topping themselves, and they did it by casting a relatively unknown New York stage actor named Kevin Spacey, who proceeded to chew up the scenery as only a future Oscar®-winner could. But Spacey's not the only reason for the giddy success of the "Mel Profitt" arc, which finds OCB agent Vinnie Terranova (Ken Wahl) teaming up with sociopathic assassin Roger Lococco (William Russ) in an effort to infiltrate the global drugs-and-guns empire of the Proffitt siblings Mel (Spacey), a "manic-depressive genius with acute paranoia," and his codependent sister Susan (Joan Severance), who keeps her incestuously devoted brother happy by injecting home-brewed narcotics between his toes (hence giving Spacey his trademark line, "Only the toes knows!"). TV audiences in 1988 had never seen such a twisted sibling relationship, and there's plenty of eccentric chemistry between Spacey and then-newcomer Severance, who later developed a loyal male following as a B-movie sexpot. Completing their triangle of terror is Russ, playing Lococco as a tormented Vietnam vet with a massive chip on his shoulder, luring Vinnie into a life of luxury and lethal behavior, thus complicating matters considerably for Vinnie's covert handlers McPike (Jonathan Banks) and Lifeguard (Jim Byrnes), who grow increasingly worried as Vinnie gains Mel Profitt's hard-won trust. The quality of these 12 episodes remains consistently high as the Profitts reach "psychotic critical mass," leading to Mafia connections and a new direction for Vinnie's loving mother (well-played by Elsa Raven). Through it all, Wahl (who proves himself a man of few words in a sparse one-episode commentary) maintains his strong presence as a leading man, generously allowing Spacey's rising star to shine. Wiseguy still had some highlights in its future, but the "Mel Profitt" arc represents the series at its best. --Jeff Shannon Reviews (1)
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| 4. Take This Job and Shove It Director: Gus Trikonis | |
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Reviews (5)
There are, of course, plenty of dated hillbilly blue collar sterotypes throughout the film (monster truck racing, junkyard backyards, trashed-out clunker cars, honky-tonk cry-in-your-beer country music, pointless bar fights, lady mud wrestling, and beer-swilling galore), but there are also more dramatic social comments on display. The basic plot revolves around a chain of breweries being bought out by a corporation. Our hero, Frank Macklin (Robert Hays), returns to his hometown as the corporate hatchet man, assigned to make the corproation's newest acquisition more profitable. To do this, he must stand up to his old drinkin' buddies who work at the brewery, who don't understand why he's changed, or that "getting out" made him so different from the good 'ol boy of years past. I liked Art Carney as the brewery owner, and Eddie Albert as the inconsiderate and bullying corporate boss. While both are more famous for their comedic roles, they do very well with the more dramatic material offered here. In fact, the whole cast is just fine, but they were saddled with hillbilly comedy that doesn't seem to fit with the themes of the blue collar worker facing a changing world, and the erosion of a rural lifetime of experience in the name of progress and profit. There are three scenes that are just excellent; in one, a blue collar man realizes over breakfast that he will forever be tied down and kept from his dreams by his wife and children. In the second, an aged brewery worker admits that he can't read. In the third, Macklin seeks out his two friends, and finds them drinking the day away. Sadly, these scenes are not typical of the film as a whole, although there are good scenes sprinkled throughout. The classic honky-tonk cry-in-your-beer country music is excellet for it's genre, although I suppose many today may find it dated, as it is clearly pre-Garth Brooks. Lacy J. Dalton and David Allen Coe both appear in the film as the owners of the local honky-tonk, and Johnny Paycheck (who made Coe's song a blue collar standard), cameos, as does country legend Charlie Rich. I really wanted to like this movie, but it was ultimately only mildly enjoyable. The sad thing is that the movie had everything going for it; characters, cast, social setting, music, and more. It made me mourn for the obvious lack of vision that put the focus on blue collar hillbilly comdeic antics, instead of the social commentary of the blue collar code of honor versus the evils of progress and automation. The social message would have been a far better focus, and would have made the film far more memorable. Instead, we must sit through a good 'ol boy social comedy; a mixed metaphor, and a tepid, lukewarm blue collar comedy. The end result is a film that wanted (and deserved) to be something more, but missed its chance.
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| 5. Dempsey Director: Gus Trikonis | |
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| 6. Malice in Wonderland Director: Gus Trikonis | |
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| 7. Miss All American Beauty Director: Gus Trikonis | |
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| 8. Lost Kingdom Director: T.J. Scott, George Mendeluk, Robert Radler, Timothy Bond, Michael Hurst, Kevin Sorbo, Bruce Seth Green, Adam Nimoy, Charles Siebert, Garth Maxwell, Oley Sassone, Richard Compton, Doug Lefler, James A. Contner, Chris Long, Robert Trebor, John Cameron (II), Rick Jacobson, Peter Ellis (III), Gus Trikonis | |
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| 9. Beauty and the Beast (TV Series) Director: Beth Hillshafer, Bruce Malmuth, Victor Lobl, Gabrielle Beaumont, Peter Medak, Michael Switzer, Frank Beascoechea, Christopher Leitch, Jack Arnold, Alan Cooke, Thomas J. Wright, Daniel Attias, Gus Trikonis, Paul Lynch, Richard Franklin, Ron Perlman, Kenneth R. Koch | |
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Reviews (3)
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