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Spock Vs Q: The Sequel (Alien Voices)
Spock Vs Q: The Sequel (Alien Voices)
by Alien voices
Edition: Audio CD
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5.0 out of 5 stars Spock gets "Q'ed", Q gets "Spocked", October 21, 2013
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If you are a Star Trek fan, then don't miss this. Whilst "Spock vs. Q" was the more intellectually stimulating, this sequel is all about comedy.

Briefly stated, events transpire such that Spock takes on Q's personality, and vice versa. Neither lose knowledge of their own identity, mind you; Spock still knows that he's Spock. However, he's got Q's personality, giving Leonard Nimoy ample opportunity to demonstrate to the Star Trek audience his dramatic versatility. Nimoy is all over the place on this one, clearly enjoying every second of losing Spock's inhibitions. If you've ever been a Spock fan, this hilarity is NOT to be missed.

John De Lancie, on the other hand, has the challenge of being "Q" with Spock's personality. Sound like an odd combo? It certainly is, but De Lancie's dramatic skills are such that he can suddenly become quite repressed and still command a great deal of the audience's attention. What's even more remarkable is how comical Q is when repressed; Q just can't believe how much he's becoming Spock here, and De Lancie very much offers this up for the audience's enjoyment.

If you're a true-blue trekker then you're going to like this; that much is certain. More casual fans will find this amusing as well, but you have to be "on the inside", so to speak, to really "get" this. It's a shame that's the case, because these are two very talented actors joining forces to put forth a superlative performance; it's a shame more people won't give themselves the opportunity to enjoy this.

This works on many levels, inasmuch as these two actors have an opportunity to show aspects of their dramatic ability the Star Trek audience doesn't usually get to see. Further, the characters Spock and Q get to briefly experience life as one another, which is very much an enrichment opportunity for both the characters in question and also for the audience.

This is a great exploration of role reversal, as well as being highly entertaining comedy. Don't miss this one; if you're wavering, just trust me: You're going to like this.

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0 of 2 people found the following review helpful
3.0 out of 5 stars Stallone, Schwarzeneggar ... and Caviezel, October 21, 2013
If you're a Stallone fan, a Schwarzeneggar fan, or even if you're a Jim Caviezel fan, then definitely go see "Escape Plan".

What makes this film work is that Stallone and Schwarzeneggar have clearly come to know their strengths and very much play to them. Schwarzeneggar couldn't be anything less than "larger than life" if he tried, yet he takes a serious approach to this part which lends his performance credibility. Whilst he is no one’s “gifted” actor, he does have talent, and he’s learned enough about his trade to be keenly aware of what works for him. Coming across as indomitable in both mind and spirit is perhaps his best dramatic asset.

On the other hand, Stallone is never “larger than life”. In his best work, he comes across as a force to be reckoned with most effectively when he plays it subtle. He’s been at this game for so long now that he finds the beats in each scene effortlessly, and he clearly knows how to bring intensity to his role whilst always coming across as someone who still holds something back.

What’s happening here is that Schwarzeneggar projects himself into the space around Stallone, whilst Stallone anchors the film. In essence, the theatrics are coming more from Schwarzeneggar, but we’re very much getting the story from Stallone’s point of view.

Now, Mr. Jim Caviezel. Seen “The Stoning Of Soraya M.”? Probably you haven’t. It’s an excellent film, but since “The Passion Of The Christ”, he’s been very much a direct-to-video actor (at least in the U.S.). What about “Outlander”? Again, a quality film, but you’ll have to look for it on cable. Caviezel has clearly come to the realization that, if he wants to become a bankable star, he needs to very effectively play some villains. He seems ready to very much distance himself from the typecasting associated with playing Jesus. He can play cruelty just as well as he plays compassion, and does so with effectiveness here. In terms of getting the audience to pay attention to him, he very much holds his own against the combined star power of Schwarzeneggar and Stallone. If he can find the right roles, Mr. Caviezel will be able to remind everyone that he’s one of the most talented actors working today.

On a professional level, whilst Schwarzeneggar appears to be seeking to kick-start his career after his governorship, Stallone is more about choosing roles in which we drop into a character’s life, apparently only to follow along with him for a short while. When we then depart from that character at the end of the film, there’s no real “Oh, NOW he truly UNDERSTANDS” moment, nor are there any “Isn’t great that we’re all better people?” summations. Sly seems to very much embrace the notion that what distinguishes an “A” movie from a “B” movie is that in a “B” movie, everything is explained to the audience. With films like “Rambo: Burmese”, “Bullet To The Head” and now “Escape Plan”, Stallone is playing characters he thinks are cool, and either they’ll find an audience, or they won’t. He’s not interested in explaining his every move, and it works for him. He seems to have very much revitalized his career, and I hope “Escape Plan” will be a success for him. It’s gotten mixed reviews in the press, but here’s one I found intriquing:

Per Ben Rawson-Jones of “Digital Spy”, this film “defies those who wrote off the abilities of its stars to cut the muscular mustard in today's youth-orientated cultural climate. These supposedly old dogs have plenty of life - but their effectiveness relies on the foundation of a smart script that plays to their strengths and the audience's perception of their star personas."[

Well, it seems Mr. Rawson-Jones has said in a few sentences what I needed a few paragraphs to say, but I’ll sum up by saying that if you’re a Stallone fan or a Schwarzeneggar fan, then I’m pretty sure you’ll enjoy this film.

An Unfinished Life
An Unfinished Life
DVD ~ Jennifer Lopez
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1 of 1 people found the following review helpful
4.0 out of 5 stars A very fine, if largely unknown, film starring Robert Redford, Morgan Freeman, and Jennifer Lopez, July 24, 2012
This review is from: An Unfinished Life (DVD)
I bought this movie from a clearance bin; listed at only $5, I thought I'd take a chance. I'm glad I did; it's become one of my favorite Robert Redford films.

Redford plays Einar, a man in grief over the loss of his son Griffin. Jennifer Lopez plays Einar's daughter-in-law Jean, whom Einar holds responsible. She fell asleep at the wheel while driving, and the resulting accident caused Griffin's death.

Morgan Freeman plays Redford's trusted friend Mitch, under Einar's care after having been mauled by a bear the year before. The bear responsible for this is now in captivity; Einar wants him to remain locked up where the bear can't hurt anyone. This turns out to be Einar's approach to life; he lives with his grief over Griffin, and fears moving forward. Mitch, however, wants the bear set free.

What's at stake in this disagreement is how the past is dealt with; should one let go of the past, move forward, release the bear in to the wild, and take one's chances? Or should one play it safe, keep the bear locked up, even though such an animal was meant to roam free? As one can easily see, this conflict between Einar and Mitch forms an important subplot regarding how things need to be restored to their rightful order. This film's plot and subplot both focus on how the past figures into the present; one can act defensively, and allow the past to dictate one's choices, or one can accept that things have changed in the present, and therefore different choices need to be made.

Becca Gardner plays Grif, Einar's granddaughter. She represents just such an important choice Einar will need to make. There's a necessity of forgiveness at work here; when Jean shows up on Einar's doorstep, broke and running from an abusive boyfriend, Einar is confronted with a painful choice.

Einar allows her to stay with him for a time, largely due to Jean's revelation that Grif is his granddaughter. If Einar chooses to reject Jean, she'll leave and take Grif with her. So too will go Einar's chance to establish a family bond with Grif. As the film unfolds, it's clear that Einar is coming to greatly value and love his granddaughter; the very real possibility of losing his relationship with Grif necessitates making peace with Jean. Einar has to therefore begin to view Jean three-dimensionally. She's not just the wife who cost him his son; she is the caring and concerned mother of his granddaughter.

Here's where Jennifer Lopez puts in some first-rate acting; she doesn't shirk her character's responsibility, but neither will she wear sackcloth-and-ashes to please Einar. She knows that he hates her, but she refuses to hate herself. She endures her guilt, but she will not give up on life. J.Lo really hits the ball out of the ballpark on this one; kudos to her for turning in such a complex, yet sympathetic, performance.

And so the plot unfolds, with Jean's abusive boyfriend eventually showing up to "re-claim" her, Einar must finally make a decision. Defend Jean and forgive her, and thereby remain in his granddaughter's life, or continue to hold on to his anger and resentment over his son's untimely death.

What this film is really all about is embracing the fact that people are more than the balance between what they do right vs. what they've done wrong. People are more than their mistakes. Yes, this film is a bit predictable, BUT WHO CARES??? What possible difference does that make? What really matters, folks, is that this is a good story told exceptionally well. This story has much depth and complexity, telling us how a man goes from tunnel vision to a much more balanced view of his life and circumstances. The real antagonist for Einar, as he comes to discover, isn't so much Jean, as it is anger and fear. This story is told in the best possible way through first-rate acting and well-written dialog. Although certainly predictable, this is a very satisfying, and even uplifting, film. This is a movie that deserves critical respect, and is quite worthy of repeated viewings.

Imho, this film is almost a classic, at least in the "family" genre. There are light-hearted moments and moments of great tension and conflict; deep friendship, love and terrible grief are all present in abundance. This film deals quite respectfully with its subject matter, and while it doesn't insist that the audience agree with its values and message, it does make a strong case for forgiveness. There aren't too many films that accomplish such goals quite as well as this one does; I therefore give this film "two thumbs up" and recommend it to you unreservedly.

The Stoning of Soraya M
The Stoning of Soraya M
DVD ~ Mozhan MarnÚ
Offered by Mediaflix
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3 of 3 people found the following review helpful
4.0 out of 5 stars Absolutely a Must-See Film, July 22, 2012
This review is from: The Stoning of Soraya M (DVD)
The first thing I'll say about this film is that I couldn't disagree more strongly with Kathleen C. Fennessy's review. No, this film would not somehow been better as a documentary, and no, these first-rate actors are not investing their mono-dimensional roles with conviction, since these aren't mono-dimensional roles.

This is a film that, once seen, can't ever be forgotten. Mozhan Marno plays Soraya, a woman falsely accused of adultery by her husband. His motive is to marry a girl only fourteen years old, and when Soraya won't agree to a divorce, he convinces the authorities that she has committed adultery against him.

It's during this process that we see how much the Iranian people live in fear of the religious authorities ruling over them. A lowly fix-it man is bullied into testifying against Soraya, and eventually, even her own two sons turn against her.

The scenes occurring just before Soraya is led out to be executed are unforgettable; Soraya's tender love for her daughters is observed as being more significant that her fear of the terrible death that awaits her. As she gives her family treasures to her daughters, she is calm and affectionate towards them. This is the last time they will see her, and she wants to be remembered for who she is. So much is communicated onscreen not by words but rather by tone and expression; it's riveting, it is tragic ... and finally it is enraging. For how can any society stand by and allow this sort of thing to happen? Yet the reality of the atrocity committed hear is inescapable.

Soraya's friend Zahra, played by Shohreh Aghdashloo, is witness to this false accusation and subsequent execution by stoning; yet she has no outlet to the outside world, no way to tell anyone of this terrible atrocity committed against her friend Soraya. Then, French-Iranian journalist Freidoune Sahebjam's (Jim Caviezel) car breaks down quite close to Zahra's home. She befriends him, and tells him Soraya's story.

Shohreh's riveting performance is quite convincing as a woman whose heart has been shattered beyond recovery, but whose unbreakable will to tell the world of this injustice is without equal. This is an actress who can communicate volumes in a single glance.

Jim Caviezel is only in this film for about twenty minutes, yet his performance in noteworthy. A master of his craft, he doesn't just get the accent spot-on; his character is inhabited and animated by Freidoune Sahebjam's middle eastern cultural heritage. Caviezel isn't just someone who does accents well; this is someone who not only becomes his character, he becomes an embodiment of his character's culture. Caviezel's performance alone is worth the price of admission, yet there's so much more to recommend this important, well-acted, and profoundly effecting film.

Be warned that this film is not for the weak of heart. Those of a particularly sensitive nature must prepare themselves for the execution scene, as very little is left to the imagination. It's not just the blood and suffering depicted that effects one so profoundly; it is the presentation of humanity at its worse. One can't pretend that this is "just a film"; this sort of thing happens quite frequently, even today.

I can't recommend this masterful film highly enough. This film has a very important story to tell, and the filmmakers quite refreshingly realize that an important story must be presented with first-rate acting, direction and special effects. No punches are pulled, yet no one beats you over the head with the film's message. This is quite simply a great film, one that once seen, is never forgotten.

Trouble In Shangri-La
Trouble In Shangri-La
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4.0 out of 5 stars "Trouble In Shangri-La": A first-rate Stevie Nicks album, trouble or no ..., July 17, 2012
This review is from: Trouble In Shangri-La (Audio CD)
In "the business", you have to be able to do three things, two of them quite well.

For example, Stevie Nicks is one heck of a good songwriter, and "the word around the campfire", so to speak, is that she can carry a tune right along with the very best of them.

So, you might ask, what's the 3rd thing?

Well, Stevie's third thing seems to be production, regarding which she's seeming to come into her own on "Trouble In Shangri-la".

Stevie Nicks co-produced much of this album alongside such luminaries as Sheryl Crow and John Shanks; David Kahn also puts in an appearance. Stevie's approach to creating backing tracks for her songs seems to be one of building not so much a foundation but rather a bedrock for each song's vocal track; the backing tracks are excellent, but what's most noteworthy is how much they both center each song's vocals in the listener's perception, but also provide a musical telling of each song's lyrical identity apart from that of each song's main melody. The backing tracks seem to have their own way of telling each song's story. They are clearly not an afterthought to the main melodic framework of these songs, which is always a good sign of top-notch production. Ms. Nicks, and of course her co-producers, deserve kudos for their masterful production work here.

And the songs themselves? They're quite good, both those composed by Ms. Nicks, as well as those contributed by other artists. Co-producer John Shanks' song "Every Day", co-written with guitarist extraordinaire Damon Johnson, is an outstanding radio-friendly single whose lyric does harken, after a fashion, back to Nick's image as an enchantress ("Don't give me visions to explain / There are no doubts I feel the strain / Of all my senses yearning / Over and over again") while simultaneously standing on its own, its vision of deep, yearning love needing no imagery context to establish its meaning. Other songs, like "Sorcerer", again speak to a more mystical view of things, but reveal themselves to be about certain times and experiences in Stevie's life.

Each song is strong and easily memorable after only a few listens; some, like the aforementioned "Every Day", "Sorcerer", and oldie-but-goodie "Planets of the Universe", become unforgettable after only one listen. "Too Far From Texas", a song from longtime Nicks collaborator Sandy Stewart, is quite memorable right from the first playing, as are several other tracks here as well (Don't miss Natalie Maines' excellent co-lead vocal on "TFFT").

This album may well be the most consistent since "Bella Donna" (although Miss Nicks has produced many great tunes over the years, making each of her releases well worth owning). Quite possible the best singer-songwriter of her generation, she continues to impress and amaze her listeners with her continuously developing musical gifts.

While this isn't a "new" Stevie Nicks, it's a more experienced Stevie that's heard on this album. She started out in the early 70's as a wonderfully gifted songwriter, and, imho, has only built upon her raw talents and musical gifts throughout the years.

I strongly recommend "Trouble In Shangri-la" as one of Miss Nicks' best solo efforts; if you're a long-time fan, you'll not be disappointed by anything here. If you are new to her work, this is a very good place to start.

Mind Meld - Secrets Behind the Voyage of a Lifetime
Mind Meld - Secrets Behind the Voyage of a Lifetime
DVD ~ William Shatner
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2 of 2 people found the following review helpful
4.0 out of 5 stars Shatner and Nimoy, conversing in Shatner's backyard ..., June 9, 2012
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If you are a Star Trek fan, particularly of the original series, you'll love this. This is a heck of a good conversation between William Shatner and Leonard Nimoy; they discuss their deep friendship, their relationships (or lack thereof) with the other original cast members, Star Trek's impact upon their lives, and much more. This doesn't come across as an interview; it's two old friends, who shared a phenomenal experience, reflecting upon that experience in terms only they two can really understand, yet we, the audience, find ourselves invited into this shared confidence to interpret what is said however we see fit.

As I said, if you are a fan of the original show, don't hesitate to get this DVD. You'll be glad you did.

Band Of Joy
Band Of Joy
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2 of 2 people found the following review helpful
5.0 out of 5 stars As much a classic as anything Plant's done before ..., June 9, 2012
This review is from: Band Of Joy (Audio CD)
One thing you've got to respect about Robert Plant is that he neither backtracks nor repeats himself. The title "Band Of Joy" comes down from the musical group Plant played with before joining "The New Yardbirds" (which quickly became Led Zep), yet this isn't Plant pretending that it's 1968 all over again.

Yet so many of these songs are decades old; Plant, along with guitarist Buddy Miller (who worked with Plant and Alison Kraus on the "Raising Sand" project) seek to find new arrangments and interpretations for these songs. Plant has obviously learned a lot about production from T-Bone Burnett; Burnett gives much of "Raising Sand" a skeletal musical style, and whilst this album can't be said to mimic that, one can say with great certainty that there's not one unncessary riff, lick or note on "Band Of Joy".

Still, I hesitate to use the word "minimalist" to describe the sound of this record, because this particular collection of songs just has such a FULL sound to it. Plant knows what to over-do and what to under-do; knowing "when to do what" makes doing both unnoticeable; all one hears is one heck of a good-sounding record. You don't notice the "why" or the "how", you only hear the end result, which is greatness.

Plant only pens one track here, "Central Two O' Nine", writing with Buddy Miller. This song fits the record perfectly, but one should note that all of these songs now sound like Plant songs; he's made quite a mark upon them. Plant's attention to detail, evident in his approach not to just to each song, nor to each line within each song, but rather to every word of every line, is remarkable. He's obviously put great thought into how to first inhabit these songs, and then communicate their deepest meanings to the listener. So much of what is expressed in this music is ineffable, but through melody and phrasing, Plant makes the meaning clear.

Others deserve kudos as well; Buddy Miller is both excellent guitarist and producer; a good chunk of the credit for this album's quality must decidedly go to him. Adding a feminine touch is singer Patty Griffin; she provides a wonderful vocal compliment to Plant's singing. She is cast in a supportive role, and yet her contribution to this record is quite distinct. With Griffin present, you get Plant's interpretation of these songs, but you get Griffin's as well; it's like listening to two people telling you the same story simoultaneously. Overall they agree, but their perspectives are unique, and the combination gives each song not just one soul, but two.

The rhythm section is phenomenal, featuring Byron House (bass) and Marco Giovino (drums); they're a force to be reckoned with in their own right. Multi-instrumentalist Darrell Scott adds great color and texture to each song, rounding out the album's sound.

Plant has proven, beyond a shadow of a doubt, that he's a great artist in his own right; he needn't depend upon the past glories of Led Zep. He is just as relevant today as he ever was; he is a solo artist who puts together great bands. These musicians he's gathered together for "Band Of Joy" play like a band that's toured together for decades. Yet in the midst of this "Band Of Joy" that's larger than the sum of its parts is Plant; not just technically a great singer, but an artist who can communicate what is wordless in the depths of the heart.

I recommend this brilliant album wholeheartedly. Enjoy it.

The Captains - A Film By William Shatner
The Captains - A Film By William Shatner
DVD ~ William Shatner
Offered by Media Favorites
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4 of 6 people found the following review helpful
4.0 out of 5 stars 4 and 1/2 stars; Quite a good documentary, June 6, 2012
First, let me say this: If William Shatner had directed "Star Trek V: The Final Frontier" with the poignance and depth that he applied to "The Captains", I imagine that "STV:TFF" would be considered one of the better of the Star Trek movies, if not one of the best.

This documentary, written and directed by Shatner, was considerably better than what I was expecting. Although there are some scenes of Shatner doing some Star Trek stand-up at a convention (quite funny, by the way), and a few choice scenes from the various series and films, much of this documentary is Shatner interviewing those persons who enacted the roles that allowed Star Trek to move beyond Kirk's tenure in The Original Series. Avery Brooks, Kate Mulgrew, Sir Patrick Stewart, and Scott Bakula represent the various series, and Chris Pine is also interviewed, chiming in with thoughts on what it's like to be Kirk. Jonathan Frakes, who is now a Star Trek captain in his own right, having been given command of the "Titan" at the end of "Star Trek: Nemesis", is also on hand to put forth a few insightful comments.

The interviews get into the personal trials and tribulations of what being a Star Trek captain meant to each of the actors mentioned above. Shatner the interviewer is really quite blunt, and pushes his subjects with very direct questions, clearly seeking raw, uncensored answers.

He asks Kate Mulgrew a few questions regarding being a woman in the Captain's chair that some might consider quite politically incorrect in nature; Mulgrew answers quite frankly, and in turn interviews Shatner about his own inner turmoils. This is brilliant as the interviewer quickly becomes the interviewee, answering just as candidly as his subject, his heart just as much on his sleeve as hers. Mulgrew clearly trusts Shatner, as he trusts her; there's obviously a mutual respect between these two.

Sir Patrick Stewart speaks about his own personal life, and the effect his tenure in "The Next Generation" had upon his marriages; one can plainly see anguish on his face as he relates how his marriages ended. Avery Brooks puts forth much insight on the decisions made in order to take upon the role of captain, and the impact those decisions had upon his family, and Scott Bakula offers the same.

This documentary digs much more deeply into each actor's inner world and identity than what I was expecting; this was a most pleasant surprise. Although quite serious at times, the tone of this film is not overly heavy-handed; director Shatner most skillfully varies the tone and pace of the film, allowing for various heart-to-hearts with each actor to therefore resonate more fully.

I can't say enough how pleasantly surprised I was at the quality of this film. Shatner's conversation with Stewart, towards the end of the film, regarding how each would feel if their roles in "Star Trek" were the only work for which either of them were ever remembered, is a particularly poignant moment in a film replete with the same. Although this entire documentary is, indirectly at least, a homage to the cultural impact of Star Trek, this particular conversation carries much weight; one can see that these two men are contemplating their lives' work, and finding that it is indeed worthy of great respect. This reveals to us the unifying point of "The Captains"; this film is very much fraught with the respect Shatner has come to have for Star Trek, and yet, most refreshingly, this respect is presented as an undertone of the film, perhaps not exactly subtle, but not demanding incessant attention either.

Clearly, Shatner has finally, after a few twists and turns along the way, come to truly love Star Trek. Rather than telling the Trekers to "Get a life!" and "Move out of your parent's basements!", this film is Shatner's own celebration of his role in Star Trek, as well as his invitation to Trekers everywhere to deepen their understanding of what went into creating these various Star Trek series, at least from the point of view as seen from the captain's chair. There's nary a dull moment to be had in these very moving interviews; even the most knowledgeable Trekker will come away feeling like he's discovered something new.

Shatner is a talented man, and his abilities as a director have developed such that he's now quite capable of putting forth a first-rate documentary. I'd have given this film five stars, but regarding such lofty ratings, I apply them only to films like "Casablanca", "Judgment at Nuremburg" (look for a very youthful Shatner playing Spencer Tracy's assistant), and a very few other classics. My point? Well, whilst this might not be a classic in the most conventional sense of the films just mentioned, it's sure to be a classic for Trekers, and perhaps also for those seeking to better understand this historically significant phenomena that has become a cultural landmark.

I recommend "The Captains" most wholeheartedly. Please enjoy this very wonderful film.
Comment Comments (2) | Permalink | Most recent comment: Apr 17, 2014 3:12 PM PDT

DVD ~ Jim Caviezel
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3 of 3 people found the following review helpful
4.0 out of 5 stars A very pleasant surprise ..., April 24, 2012
This review is from: Outlander (DVD)
I'm not sure why this fine film didn't get a wide theatrical release; it could be that industry execs are still thinking that Jim Caviezal is typecast from his portrayal of Jesus in "The Passion Of The Christ".

Typecast or not, Jim Caviezal is a first-rate actor. "Outlander" is a well-written film, but it's the kind of sci-fi adventure story that no actor goes into thinking that he'll get an oscar nod for his knock-your-socks-off great interpretation of his character ... because the characters, as written, really aren't anyone you haven't encountered before in similar films.

Paul Newman said, "Give an actor a good script, and he can move the earth." Caviezal is living proof of this; what puts this particular film over the top, so to speak, is that Caviezal take a reasonably good script and adds a tremendous amount of depth to it. Without any great monologues to work with, he creates the heart and soul of this script through his interactions with the other characters in the story, as a man from the future, learning to inhabit the past. He is that rare actor who can successfully portray a quality of indomitability, whilst all the while seeming quite human, with no pretensions towards perfection. Caviezal is fierce without being boorish or arrogant; and he's a man of flesh and blood, seemingly quite three-dimensional, without relying upon a "tragic flaw" to convince his audience that he's just as human as they are.

In this, as well as other films he's done, Jim Caviezal inhabits not just his character, but also has the dramatic ability to allow his character's culture to inhabit him. Films like "The Stoning of Soraya M." and "Frequency" show clearly Caviezal's commitment to not just create the person, but to also give the audience an excellent sense of that person's era and culture, particularly in the way both of these express themselves in that person's speech, demeanor, and perspective.

Well, that gets tricky here, because Caviezal's character is from the future, and he must acclimate himself to a place in the distant past. He becomes a hybrid of both worlds; there's just something in the way he behaves that portrays the influences of his own future culture, along with this new (to him anyway) environment of the past in which he should be a fish out of water, but instead he soon becomes a leader.

I won't bore you with a re-hash of the plot; read the synopsis if you're curious about that. What I will tell you is that this is a good screenplay rendered into a fine film by the dramatic gifts of its star.

If you're either a sci-fi fan, or, just a Jim Caviezal fan, you'll like this. What you'll also like is this: As I'm writing this in April of 2012, principle photography is being shot on "The Tomb", in which Caviezal will star with Stallone and Schwarzeneggar; he'll play a prison warden. If successful, hopefully the studio execs will be convinced that Caviezal can open films on his own; an actor with this kind of ability shouldn't be typecast or denied his just and due success.

Never Do That
Never Do That
Price: $0.99

5.0 out of 5 stars Indeed it is a gem ..., January 6, 2012
This review is from: Never Do That (MP3 Music)
... that, upon reflection, very much causes the listener to wonder just exactly Chrissie was writing about here.

But that's a mark of great lyrics; they don't always come straight down upon the event, or even the subject, being discussed; rather, observations are made, feelings are expressed, but we're left to apply them as we will to our own experience.

We very much need to think along with these lyrics here to get at least some picture of what's happening. Some may find that frustrating, and that's fine; there's nothing wrong with songs that just flat-out "tell it like it is". ("Back On The Chain Gang", anyone?)

But some mystery is nice too, and that's here in abundance.

Great melody, wonderful arrangement and production, excellent musicianship ... all framing a much more reflective and introspective songwriter.

Highly recommended.

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