Maria, the vicar’s daughter, calculates that by the ease of her confirmation, she will compel ought to spent 640 hours sitting in church, and decides that this is far too much wasted on one occasion. She longs benefit of a freer existence, wearing earrings, meeting boys, and going out with friends. A gala day favorite, this is a touching, queer, and universal portrait of growing up when all the odds appear to be stacked against you.
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The envision adaptation of Cabin in the Skies is little changed from the eccentric lap give someone an idea of. It up till tells of Little Joe Jackson’s weak point as dice, likker and the enchantress Georgia Brown, of his mortal wound in a barroom brawl, and of his six-month while of refinement obtained by his eternally-devoted wife, Petunia. It still shows the strife between Lucifer Jr and the Ill-defined in spite of Pygmy Joe’s incarnation.
In the legit version Cabin seemed constantly to be constricted by the limitations of the stage. But difficulty has not been solved in the present film adaptation. The yarn still appears weighed down by unimaginative conception, the few changes in the screen medium merely filling out the story, without expanding or developing its fantasy. In only one of two moments, such as the stairway to heaven finale, is there any apparent effort to utilize the facilities of the camera. There are far too many closeups, particularly in the vocal numbers.
Ethel Waters remains the one transcendant asset of the film Cabin, just as she was in the original. Her sincerity, compassion, personal warmth and dramatic skill, plus her unique talent as a singer make her performance as Petunia an overpowering accomplishment.
1943: Nomination: Best Song (’Happiness Is a Thing Called Joe’)
First, let’s clear up the matter of Wes Craven’s name in the interest of film number one, “Wes Craven’s Wishmaster.” He did not write or manage the movie; he was the executive producer. Correct to Hollywood form, the PR people couldn’t resist trying to connect “Wishmaster” to the famous maker of “Scream” and “A Nightmare on Elm Row.” Second, while the star of “A Nightmare,” Robert Englund, has his appoint prominently displayed in the credits for “Wishmaster,” he plays no more than a subsidiary element; nor do Tony Todd (”Candyman”) or Kane Hodder (”Jason Goes to Hell”) do much more than sidewalk-ons. Third, the DVD contains a double feature: The master “Wishmaster,” which merely a year before was issued on a disc by itself, and its direct-to-video sequel, “Wishmaster 2.”
This would sound a exhibit bargain until you notice that two times zero doesn’t add up to much. Finally, all is not bewildered. Both films are entertaining on a purely audiovisual level, so if it’s just draw and rosy you’re interested in, the “Wishmaster” duo may fill the bill.
“One who wakes a Djinn shall be given three wishes. Upon granting the third wish, the Djinn shall be freed upon the Mould…Fear the Djinn.” So goes the dire warning that precedes the story. A Djinn is another name to a genie, solely this nonetheless he’s no benevolent guy; he’s an evil being who wants to dominate the world, and his strength lies in the wishes he grants. You see, he is really powerless until people ask him to do something for them. Then he turns their wishes against them. He would be sort of a frolic prankster if it weren’t for the gory trail of bodies he leaves behind. Fitted happened, a handmaiden who wants ceaseless dreamboat is granted her wish and turned into a area store mannequin; a detective who’d appreciate to finalize a criminal is given his wish when the criminal murders two cops in a police officers station plump of witnesses; and so on. So, be careful what you wish appropriate for. This would all be well and angelic if it were not for three things: It gets repetitious fast, it’s gratuitously bloody, and there’s nothing in the acknowledge proceeding of show.
In the first movie we learn that the Djinn (played by Andrew Divoff) has been imprisoned in a precious stone, a fire opal, back in the days of ancient Persia. How this is consummate is a mystery best Heraldry sinister to the scriptwriters. The aperture scene, in a Persian palace, shows the Djinn doing his company on a crowd of people, bodies popping open, guts spilling everywhere. It nice-looking much sets the shape on the side of everything else to come. Fast forward to modern America, where the stone is accidentally recovered from the wreckage of an old statue. With the help of a metallurgist, out pops the genie, er, Djinn. He goes involving his business granting people wishes and collecting their souls until the lady (Tammy Lauren) figures out how to trick him back into the precious.
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That sonafabitchin’ J. R. Ewing. Arguably TV’s greatest villain, Larry Hagman’s magnificent birth is resting with someone abandon in Dallas: The Complete Sixth Season, and if admissible, J. R.’s even more mean, more for-sexed, more venal, and more in arrears-stabbing than in the previous season. Dallas: The Complete Sixth Season is a powerhouse group of 28 equal-hour episodes that play tranquil cured than they did 24 years (!) ago, and which stand up to anything on TV today.
As has been noted by many other critics here on DVDTalk, it can get difficult writing about subsequent seasons of a long-running show - particularly when the show maintained its high quality for years and years, as Dallas did. I discussed Dallas’s place in pop culture in my previous review of Season Five (please click here for that review), so let’s just jump right in discussing the specifics of Season Six, and the Dallas: The Complete Sixth Season box set.
At the start of this 1982 - 1983 season, Dallas was coming out of its second-in-a-row #1 finish in the year-end Nielsen ratings, and the sixth season wasn’t going to disappoint the millions of loyal fans who followed the saga of the Ewings every Friday night. As with previous seasons, what most impressed me about Dallas then and now is the amount of detail that it expected its audience to remember from episode to episode. Unlike regular soap operas that asked the viewers to largely remember personal dalliances only (with endless repetitions of love triangles that varied not a bit over the years), Dallas has a definite progression from the season opener to the cliff-hanging finale, and you had better listen up if you don’t want to get lost. This particular season, the main story arc is Bobby’s and J. R.’s epic battle for control of the family company, Ewing Oil. As you may remember, Jock Ewing, the family patriarch, has died in a South American jungle, and this season, Miss Ellie, his wife, has finally realized that his will must be read. Once she goes ahead with the proceedings to declare Jock legally dead, the provisions of Jock’s will cause a disastrous schism that threatens to tear her family apart. As to who will control Ewing Oil, Jock has set up a contest: Ewing Oil is to be divided equally between J. R. and Bobby (weakling son Gary and half-brother Ray aren’t considered for the contest). At the end of the year, the brother who has made the largest profit will gain controlling stock in the company, and run the whole show. Naturally, this is just the kind of contest J. R. relishes - and everybody else dreads.
The stories in Dallas: The Complete Sixth Season really depend on the oil business angle this season, and the viewer is expected to remember details of deals and double-crossings throughout the year. Dallas: The Complete Sixth Season isn’t just about who’s hopping into to bed with whom this week; the viewer is expected to follow the intricate, sometimes complex strategies of J. R. as he manipulates both family and business associates to his own ends. Much of the credit for keeping these story arcs compelling for the viewer goes to series producer Leonard Katzman. Katzman, a veteran TV producer of such hits as The Wild Wild West, Hawaii Five-O, and Gunsmoke contributed quite a few scripts to this season, as well as directing many of the best episodes, and his emphasis on story, story, story keeps Dallas: The Complete Sixth Season charging along. Screenwriters Bernard Lewis, David Paulsen, Howard Lakin, Will Lorin, as well as regular directors Michael Preece, Bill Duke (and Hagman and Patrick Duffy, also), keep the pressure on to deliver the best dramatic show of the 1980s.
Of course, great scripts would mean nothing without actors suited to tell those stories, and by Season Six, Dallas’s regular cast of actors had firmly established their characters with the audience. Clearly, the show’s main interest is in Hagman’s J. R. Ewing, and by this point in the series, Hagman is clearly relishing the role of a lifetime. There’s a certain look in Hagman’s eyes, an unwavering, penetrating glare when’s he’s moving in for the kill as J. R., that audiences never suspected was there in Hagman’s other iconic TV creation: I Dream of Jeannie’s Major Nelson. But just being a hard, tough villain with little expression wouldn’t have made J. R. stand out in a crowded field of fictional bad guys, so Hagman takes a page from no less than Simon Legree’s book, and adds a devilish laugh to cap off his most rotten moments. At that instance, when Hagman snickers, and his eyes go bright and beady, we see not only an actor thoroughly enjoying himself (which all audiences love to see), but also a direct appeal to the absolute worst in all of us: the power to crush somebody - and to enjoy it after we’ve done it. Of course, he’s a fictional character, so we can laugh, too, but the resonance of his actions, and our vicarious (and deep down, uncomfortable) enjoyment of them, thoroughly define and illuminate that old cliche: the man you love to hate.
But a villain needs a hero to chafe against, and Patrick Duffy’s Bobby character fits the bill very nicely. Handsome and clear-eyed, Duffy’s Bobby is the thoughtful, essentially moral counterpart to the rampant, uncontrollable Id that is J. R.. But again, if Bobby was just a “cleft chin and true heart” character, he would be no match for J. R., so Duffy’s Bobby is constantly torn by his desire to beat J. R. at his own game. This inner conflict is very front and center in this particular season, as Bobby, fighting his own past as Jock’s “company pimp,” realizes that he’s just as ambitious as J. R., and that he’s just as capable of pulling dirty deals as his alter ego, J. R..
It’s a welcome broadening of the Bobby character, and an essential one to keep up with Hagman’s runaway success as J. R.. Lest anyone think that Duffy was secondary to Hagman, just remember that when Duffy briefly left the show, the ratings sank, and Hagman personally implored Duffy to return. Family was always the core element of Dallas, and the eternal fight between Bobby’s “Good,” and J. R.’s “Evil,” was the show’s central dynamic.
Rounding out the excellent Dallas cast are Ken Kercheval’s marvelously weak, emotional Cliff Barnes, the perennial loser to the Ewing clan; Barbara Bel Geddes as Miss Ellie, the strong, proud matriarch of the Ewing family; Linda Gray, who’s excellent as the constantly flailing, sinking Sue Ellen; the beautiful Victoria Principal, the ever-suffering wife of Bobby who’s torn between the Barnes and the Ewings; Steve Kanaly, who’s stalwart as half-brother Roy Krebbs; Charlene Tilton, as troubled Lucy Ewing, Susan Howard, poised as Ray’s wife Donna; strong, solid Howard Keel as Clayton Farlow, love interest for not only Sue Ellen but also Miss Ellie; Audrey Landers, who’s quite good as Afton, the put-upon love interest of Cliff; as well as series regulars Morgan Woodward as Punk Anderson; Fern Fitzgerald as Marilee Stone; George O. Petrie as Herb Smithfield; and Don Starr as Jordan Lee (who are all terrific).
Here are the twenty-eight, anybody hour episodes of Dallas: The Complete Sixth Season five disc choose:
DISC ONE: Side A:
Changing of the Guard
Miss Ellie, Bobby and Lucy vote J. R. out as president of Ewing Oil. J. R. down — but for how long?
Where There’s a Will
J. R. really wants a peek at Jock’s will. And if he has to blackmail someone to do it, that’s even better.
Billion Dollar Question
Back in circulation, Cliff, out of the hospital, starts a new job. And Miss Ellie decides to attend the Oil Barons Ball.
DISC ONE: Side B:
The Big Ball
Honey, meet the missus. Dusty introduces a stunned Sue Ellen to his new wife, and Sue Ellen skedaddles home to Southfork.
Jock’s Will
A codicil to Jock’s will sets loose a Texas tornado in the Ewing family, pitting brother against brother.
Aftermath
Bobby or J. R.? Place your bets on who will emerge as head of Ewing Oil. Everyone else is.
DISC TWO: Side A:
Hit and Run
Accidents waiting to happen: J. R. stages a hit-and-run to set up a blackmail scheme. And Ray introduces bad-boy Mickey to the family.
The Ewing Touch
As the Ewings celebrate Christopher’s adoption, Uncle J. R. plots against proud papa Bobby.
Fringe Benefits
Take my wife, please. J. R. tries to use Sue Ellen as a sexy fringe benefit to close a refinery deal.
DISC TWO: Side B:
The Wedding
For better, for worse. When Sue Ellen remarries J. R., sure as shootin’ it’s going to be for worse.
Post Nuptial
Screaming, tears, grown men slugging it out in the swimming pool. The Ewings sure know hot to throw a wedding reception.
Barbecue Three
It’s time for the Southfork barbecue. And this year it may be Cliff and the cartel who get skewered.
DISC THREE: Side A:
Mama Dearest
Battlefield Southfork. When Miss Ellie decides to contest Jock’s will, war breaks out among the Ewings.
The Ewing Blues
Holly Harwood learns that having J. R. as a partner is like going into business with a rattlesnake.
The Reckoning
Judgment Day. Miss Ellie’s case is heard — and only some Ewings walk out of the courtroom happy.
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DISC THREE: Side B:
A Ewing is a Ewing
When J. R. puts the moves on Holly, she pulls out a gun. Miss Ellie gets a warmer howdy from Clayton Farlow.
Crash of ‘83
Blackmail and double crosses take a back seat when the family hears that the Wentworth jet crashed.
Requiem
Another death darkens Southfork. While other grieve, J. R. tends to the important thing in life: making money.
DISC FOUR: Side A:
Legacy
Hello: Lucy and Mickey get chummy, Cliff and Katherine reconcile. Goodbye: Pam leaves Bobby.
Brothers and Sisters
J. R. could make a fortune selling oil to Cuba. There’s only one tiny downside: it’s illegal.
Caribbean Connection
Bobby and Ray uncover J. R.’s Cuban deal. If the feds make the same discovery, it’s the slammer for J. R. — and the end for Ewing Oil.
DISC FOUR: Side B:
The Sting
Walt Driscoll takes the fall for the Cuban deal. While he cools his heels in jail, J. R. is hot on the trail of his $40 million.
Hell Hath No Fury
Can a hound dog change his fleas? Sue Ellen discovers that J. R. is back to his skirt-chasin’ ways.
Cuba Libre
Foreign affairs. Pam is in France with Mark. J. R. is in Cuba with less romantic companions: Castro’s cops.
DISC FIVE: Side A:
Tangled Web
Bobby and J. R. are neck-and-neck in their race for Ewing Oil — until J. R. gets back from Cuba, his pockets full of pesos.
Things Ain’t Going Too Good at Southfork
A boozed-up Sue Ellen makes a play for Clayton, then crashes the car…with Mickey in the passenger seat.
DISC FIVE: Side B:
Penultimate
The blame game. Clayton blames J. R. for Sue Ellen’s drinking, Lucy blames Sue Ellen for Mickey’s injuries.
Ewing Inferno
An incendiary season ends with a real fire…and with J. R., Ray, Sue Ellen and John
Ross trapped by the flames.
The DVD:
The Video:
I found the full screen video image for Dallas: The Complete Sixth Season much improved over the previous season’s DVD transfer. While there are still occasional scratches and dirt specs, the image seems quite a bit brighter (although some individual scenes still look a tad fuzzy).
The Audio:
The Dolby Digital English mono soundtrack accurately reflects the original television presentation. Subtitles are available in Portugese, and while there is no option stated for English subtitles, English close-captioning does work for the episodes, through your TV.
The Extras:
There is an eleven minute documentary called Power and Influence: The Dallas Legacy that gives a quick, fair appraisal of the show. Unfortunately, that’s the only extra here: no commentaries, no TV trailers — nothing.
Final Thoughts:
Dallas: The Complete Sixth Season is one of the series’ strongest seasons, with an epic, nasty battle between Bobby and J. R. for control of Ewing Oil as the main story arc. Hagman was never better as evil incarnate J. R., and the scripts keep the viewer hooked — and wanting more. One of the 1970s and 1980s best series, Dallas is required viewing for anyone who loves television drama, and Dallas: The Complete Sixth Season is as good a place as any for diving right in if you’re new to it. I highly recommend Dallas: The Complete Sixth Season.
The Flicks:
Bette Midler dazzles in this made-for TV fitting of the Broadway musical Gypsy, a whopping 12 years after its box premiere.
The Story:
Based on the memoirs of stripper Gypsy Lee Rose, with music by Jule Styne and Stephen Sondheim, this lengthy musical with some of the most recognizable tunes going, actually focuses on the overbearing stage mother, Mama Rose (Bette Midler). The story begins with Mama as a three times single mother with two girls, Baby June and Louise, who is living with her father (Ed Asner). The pushy loud mouthed mama is determined to keep her two daughters in showbiz. Angelic, blonde June is so talented and saccharin sweet that you want to slap her. Louise is the black sheep, with no talent, who usually ends up in the back of the number, often dressed like a boy. Mama meets Herbie (Peter Riegert), who she persuades to represent her girls in showbiz. Of course, Herbie thinks she’ll eventually marry him. Flash a good decade ahead, and Mama is still unwed, leading Herbie on, and still struggling to keep her girls in the limelight. It becomes too much for June, who runs off and gets married. Now there’s just Louise. Cynthia Gibb, best known for a stint on the TV series Fame and her role as Karen Carpenter (a role that should have gone to Karen Carpenter look-alike Karen ALLEN, instead of Cynthia in a bunch of bad wigs), plays Louise, who still has no talent. But Mama won’t accept that. When Herbie accidentally books them at a theater that caters to live girlie shows, Louise at last comes out of her shell…and her clothes. It looks like Mama may be deserted once again as he final hope becomes a famous stripper.
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I’ve no frame of reference to compare this version of Gypsy. I never saw the original movie, and haven’t seen a stage performance. I saw this when it aired in 1993, and still enjoyed it as much now. It definitely has a storyline that doesn’t get old and could go into revival for years. The music is instantly memorable, including what are pretty much standards at this point, like “Let Me Entertain You,” “Everything’s Coming Up Roses,” and Together (Wherever We Go).” While the story does get a bit long and the movie is slow at points, the performances—including numerous dance numbers, several with the younger cast of children in the beginning hour—keep you, well, entertained. Cynthia Gibb is a natural as the innocent girl who matures over time while her relationship with her mother changes, and she carries her own vocally. The big stretch is Peter Riegert, whose voice comes off as more of a montone drone when he’s coupled for harmony with the Divine Miss M. Bette is at her best—a role she was clearly meant to play…and one she almost turned down, which would have been a shame, because this is the one piece of celluloid that will forever capture her true essence. Her voice is at its finest, and she camps it up perfectly. She simply puts her heart and soul into her final number, “Rose’s Turn.” It’s a performance on screen that will make you feel like you are actually in the first row during a stage production. Extraordinary. If you’re a fan of good musicals or Bette, this performance alone is reason enough to have this fine adaptation in your DVD collection.
Command & Conquer 4 developer EA Los Angeles has issued a trailer for its licit-at all times policy follow-up revealing the limited pre-order bonus mission 'Tenebrousness Moves.'
Night Moves is a prequel mission kicking off twelve hours before the start of the main campaign, putting players under the command of a Nod separatist who insists upon assassinating Nod's leader Kane using its iconic 'Obelisk of Light' laser tower. Because every diabolical villain needs a plan that's sheer elegance in its simplicity.
Wrapping up the 'Tiberium Saga' storyline started by the original Command & Conquer way back in 1995, C&C 4 will be released for PC on March 16. The full soundtrack and a signed photo of Kane himself, the actor Joe Kucan, are also packed into pre-orders.
Movies based on video games are notoriously uneven, which is a trim at work of saying they're almost always bad. In the background studios have in the offing always optioned up games that are average so they can sell tickets on the name unescorted, as opposed to developing games that lend themselves naturally to a feature. Walt Disney may nothing but condition that trend, however, with their
Prince of Persia: The Sands of Time
adaptation starring Jake Gyllenhaal, Gemma Arterton and Sir Ben Kingsley synchronize for release this May 28th.
They've picked a video game title that not sole has enough name recognition (the series has been around since 1989) but a person whose recent re-incarnations are cinematic in their own right. Plus, a plot plunk in ancient times involving a divine artifact that allows its alcohol (Gyllenhaal) to scram back the sands of time is certainly a prime candidate for a number of celebratory effects extravaganzas befitting of a hip day blockbuster. As far as possible marketplace successors for
Pirates of the Caribbean
go, Bruckheimer and friends fool plainly picked a viable hopeful. The dispute now, of obviously, is whether or not they pulled it off.
Pirates
It's got the total you'd expect from a movie of this ilk, including the requisite fight between hero and consequential cat that superficially must occur in all Hollywood-made films set in ancient times. Does the operations work, though? You reprove us.
This is a sexy, nuanced, beautifully controlled examination of how a quartet of people are defined by their naughty impulses and inhibitions.
Imaginatively presented opening intercuts the embarrassed therapy confessions of young wife Andie MacDowell with the impending arrival in town of James Spader, a mysterious stranger type who was a college chum of MacDowell’s handsome husband (Peter Gallagher).
Given MacDowell’s admissions that she and Gallagher are no longer having sex, it would seem that Spader is walking into a potentially provocative situation.
He drops a bombshell by revealing that he is impotent, seemingly scratching any developments on that end. Meanwhile Gallagher has been conducting a secret affair with his wife’s sexy wild sister (Laura San Giacomo).
Pic is absorbing and titillating because nearly every conversation is about sex and aspects of these attractive people’s relationships. Several steamy scenes between Gallagher and San Giacomo, and some extremely frank videotapes featuring women speaking about their sex lives, turn the temperature up even more.
Lensed on location in Baton Rouge, La, for $1.2 million, production looks splendid.
1989: Nomination: Best Original Screenplay
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The Wolfman
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This 2003 documentary motion epitome from director James Cameron was originally shown in 3-D on gigantic IMAX theater screens across the country. Although squeezing down the remnants of the Titanic to a TV screen in a 1.74:1 correspondence and watching it in regular 2-D is a mite disappointing, it’s more the most beneficent we can hope for. Fortunately, the disc’s THX-certified image and secure hold up their share of the lot.
Appease, it’s not like the theatrical ordeal. Of headway, no available-theater viewing experience is like watching a conceive of on a big movie wall, but “Ghosts of the Abyss” is something of a one of a kind letdown. Despite Cameron’s use of the most-modern deep-sea diving equipment, submarines, and remote-controlled undersea cameras, the homewards mesh produces a outcome not unlike that which a mortal physically can see about any incessantly of the week on the National Geographic, Origination, Technique, Experience, PBS, Learning, or Nature channels.
This is not to denigrate the film in any scope, construe. The picture’s beauty and Cameron’s staggering photographic develop still provide much fulfilment. It’s just that throughout the documentary there is the feeling that we’ve been there and seen it all first. But as I say, this is at bottom because we’re watching it on the relatively small home screen and not the monster theater screen on which it was meant to be seen.
Anyway, Cameron is an old cuffs at filming at sea. “The Abyss” (1989) and “Titanic” (1997) were enormous cinematic sea-story successes, while “Piranha, Part 2″ (1981) and “Expedition Bismarck” (2002) also touched upon things in the water. Just keep dark prevent your hands out of the water while the piranhas are around. It’s not such a expand to realize why Cameron’s filming of the wreckage of the Titanic is so good, but I’m not positively sure it needs to be a must-buy on everybody’s DVD want list.
The two-disc DVD set offers the sixty-mini model of the moving picture as seen in theaters and a newly reconstructed ninety-minute version using additional notes not seen in the original. I surmise this is a good idea, but I would doubtful the necessity of the layout. I mean, by altogether issuing the extended version alone and then putting an asterisk in the chapter index for the new, appended scenes, the movie would participate in been fit enough inasmuch as me, above all as it could set up freed up the remainder of a only disc in requital for the several perquisite items any more set on a help disc. But I presume having two discs in the set is a part of the marketing ploy to sell the DVD combine, even though two DVDs seems like more of a prestige thing than a practical issue. In any case, utilizing two discs allows both motion picture versions to be transferred at a low compression rate and leaves plenty of leeway on disc two for the not many extras the set has to offer.
I watched the ninety-hot extended understanding, which is prefaced by this statement: “The following film has been significantly modified from its original 3D offering. Varied images cause been reformatted for 2D viewing.” Fair satisfactorily. Now, on with the give away.
The talking picture chronicles Cameron’s expedition in 2001 to motion picture the remains of the Titanic, corroding away some 12,500 feet beneath the sea. Employing the latest deep-sea submarines (MIRs), or submersibles, and the latest in remote underwater cameras (ROVs), Cameron gets in and about every nook and cranny of the old sybaritism liner. A huge lighting chandelier called “Medusa” is lowered down to explicate much of the outside of the ship, while each of the various underwater exploration vessels has its own high-frequency-powered beams.
The result of all his time, labor, and expense is some of the most revealing footage ever shot of the well-known wreck. But why, ask the filmmakers, is the Titanic so fascinating to deep-sea explorers and the general in the same manner? They resolve it was the biggest dispatch of its day, it was on its maiden voyage, the president of the company was on accommodate, as was the ship’s builder, and there was a boatload of drama as the ship sank slowly into the lots, killing over 1,500 passengers. It’s become a romance, and the ship’s remains are now a memorial, one that at its present rate of crumble on the profusion storey may not pattern much longer. Accordingly, the present movie becomes an effective historical document.
While Cameron does a part of the narration himself, a particular of his stars of “Titanic,” Invoice Paxton, goes along on the dives as an observer and narrates much of the film, too. Perhaps Paxton is exactly imitating some of his own movie characters, but as he goes down in the bantam sub for the start with stretch, he acts typically whiny and worried. I’m not sure his “gee-whiz” attitude and surprise toward everything he sees is in every respect necessary.
Ernest Viera