I’m surprised since it usually takes two or three sequels before a movie series turns in to a spoof of itself. It only took “Wishmaster” one sequel before it basically becomes a parody of the first film’s premise. Even Andrew Divoff, who was menacing in the first film, mugs for the camera delivering dialogue in over the top inflections sounding a lot like a sinister impression of George Takei, for some reason. “Wishmaster 2: Evil Never Dies” tries to hide the fact that it’s about the same narrative as the first film by making the djinn the main character. Except this time he’s in prison– for some reason!
A special police team is sent to transfer a high risk prisoner from holding to a local prison where the Butterfly clan should not be able to get to him. Once at the prison, things go south fast and the team members find themselves in a fight for their lives.
Kristi Jacobson’s HBO-aired documentary goes inside the segregation units at Red Onion State Prison, a supermax facility located in rural Virginia. The convicts incarcerated here are among the most violent in the penal system – and while they initially come across as articulate and charismatic in their on-camera interviews, the insouciant manner in how they detail the carnage that landed them behind bars is more than a little unsettling.
Life is funny. One moment you’re in prison being beaten up, the next moment you’re having a miniature skull growing out of your forehead. “Dangerous Worry Dolls” is a silly, dumb, and very unscary take on the further obsession of mini monsters doing dangerous things by Charles Band. You have to give it to the man, he always finds a way to squeeze in miniature monsters on to film and look for new and unique ways to make them villains. “Dangerous Worry Dolls” is terrible, but at least Band has a new and unique idea for making mini-monsters become the villain for a movie that looks like it was made on a budget of ten dollars.
Two-time Academy Award-nominated filmmaker Roger Weisberg (“Sound and Fury,” “Why Can’t We Be a Family Again?”) helmed this intriguing documentary short on efforts by New York’s notorious Sing Sing Prison to reduce recidivism through higher education.
A primary force in this endeavor is Sean Pica, who first came to Sing Sing as a 16-year-old convict—he earned his Bachelor’s Degree while incarcerated and later returned to run the prison’s program in conjunction with Mercy College. Also interviewed is Jermaine Archer, a former drug dealer and convicted murderer who is banking on his degree to help facilitate a successful reintegration with the outside world. Also included here is graduation ceremony within the prison—and no less a figure than legendary singer/actor Harry Belafonte is the commencement speaker, offering an upbeat pep talk for the unlikely student body.
The film details how the program also provides job-hunting consultation involving work-appropriate clothing, resume writing and interview training. One graduate, Clarence Maclin, benefits from this last boost and is able to gain work as a social worker counseling juvenile offenders. There is also a financial consideration of how the investment in education proves to be more cost-effective: recidivism among graduates of the Sing Sing program is miniscule.
Sadly, “First Degree” has a troubling post-script: funding for this type of program has been shrinking over the years while the U.S. prison population is ballooning. Hopefully, this well-made and moving tribute to the power of education can help change minds and bring more money back to this worthy cause.
“The Great Escape” is mostly known these days for the iconic imagery of Steve McQueen riding his motorbike trying to escape the clutches of German soldiers. As a hardcore McQueen fan, I am all for giving him his due, but “The Great Escape” offers so much more than McQueen on a motorbike telling Nazis to fuck off as he desperately attempts escaping their forces. “The Great Escape” is a classic man film about a group of soldiers bonding to escape their prison, and garners an immense cast of acting heavyweights.
After “Fast Times at Ridgemont High,” actor Sean Penn barely skidded the realm of being typecast and completely destroyed his break out role by taking on a new form as a dramatic actor. One of his more intense efforts is the 1983 “Bad Boys,” an underrated but excellent near masterpiece about boys on the verge of being men who don’t realize they’re about to become hardened criminals if they don’t break out of their cycles of violence soon. “Bad Boys” is a message at the core about when these young men will transform in to individuals capable of being tried as adults and when they will eventually make it in to an actual penitentiary. In the realm of “Bad Boys,” the penitentiary is the final stop for these young men, and counselor Ramon Herrerra makes a point of showing main character Mick O’Brien his environment, if he doesn’t find a way to change his fate soon.
The first time I ever saw “Cool Hand Luke” was on cable, on a Sunday evening, edited, and filled with commercials. And yet all of the quality managed to be retained in spite of the obvious differences a network version would possess. And it still managed to earn its place as one of my top ten movies of all time. Possibly one of the greatest movies ever made embodying everything that a good movie for men should be made of. From clever dialogue, male bonding, some of the most memorable sequences ever filmed (Newman really ate fifty eggs?), and social undertones that I take away after every viewing. Lucas Jackson is that embittered war veteran, the man who is considered a war hero and yet hates his country with every inch of his being.