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The Fifth Season

For those unfamiliar with the series, Frasier was a spin-off from another popular sitcom Cheers. Over the years, Frasier has proven to be one of the best sitcoms on television. It is highly celebrated, holding many awards for some great performances, writing, and an overall comedy series. The show is about Frasier, a neurotic radio psychiatrist, and joining him are Dr. Niles Crane (David Hyde Pierce), his brother and fellow neurotic psychiatrist, Martin Crane (John Mahoney), Frasier’s father and retired police officer, Daphne Moon (Jane Leeves), Martin’s physical therapist, and Roz Doyle (Peri Gilpin), Frasier’s radio producer and longtime friend. Basically, each episode takes a look into their daily lives and interactions. The quirky behaviors of each character are what make this series really stand out. For instance, both Frasier and Niles seem to have more problems than the people they treat, which make for some sticky situations that are worth a laugh. Another wonderful aspect about the series is how a character can incorrectly interpret a situation, blowing it way out of portion. There is also a long running joke about Niles’ obsession with Daphne or Roz being a very ‘friendly’ first date. In general, there is quite a bit to love about this series. It is easily one of my favorite sitcoms. For more detail about this series please refer to my reviews of season two, season three, season four, and the final season.

If you caught the fourth season of Frasier, you know it ended with a slight cliffhanger. Notice I emphasize the word slight, because it is not a big one. Frasier, in a mix of emotions, went to pick up a woman at the airport who accidentally left a message on his machine with her flight information. The “blind date” did not turn out in Frasier’s favor, so he decided to be spontaneous and followed an attractive woman to Acapulco. The first episode of season four “Frasier’s Imaginary Friend” picks up with Frasier on an airplane trying to meet women on their way to Mexico. He meets a girl who is his dream woman. She is a supermodel and PhD candidate at the University of Washington studying Zoology. She is beauty and brains. Yet, no one believes Frasier could snag such a wonderful person. In order to appease his ego and pride, he slowly (and comically) destroys his wonderful relationship just to prove to his friends and family he was dating a supermodel. The episode is a great way to start a season. The rest of the episodes are quite funny and there are plenty of good episodes to go around.

As for fun episodes, this season has one of my favorites. “The Ski Lodge” is perfect moment in Frasier history where hormones and misunderstandings are the root of everybody’s problem. Frasier, Niles, Martin, Daphne, and Daphne’s friend Annie go away for a weekend of skiing. What makes this a great episode is how everyone seems to have the hots for someone else. It is a classic love triangle, figuratively speaking of course, as there are a lot more than three people caught in it! Another fun episode is “The 1000th Show”. Frasier has his 1000th radio show celebration and it is a big event. The mayor is giving him a key to the city amongst other things. Of course, Frasier being Frasier runs into some delays getting to the actual event. I enjoyed this episode because Niles and Frasier spend most of their time running around the streets of Seattle. We get to see Pike Place Market, The Space Needle, and the Seattle Monorail amongst other things.

Another episode which is a lot of fun puts Frasier finds himself in a relationship that strays away from the “traditional” male/female role. It is quite comical to see how Frasier handles the situation. In “Room Service” Bebe Neuwirth guest stars as Frasier’s ex-wife Dr. Lilith Sternin. After a night of partying, Niles and Lilith wake up in the same bed and the way Niles, Lilith, and Frasier react to the situation is brilliant.

In addition to the individual episodes, there are some exciting story arcs. While there have been severe problems with Niles and Maris in the past, in this season they officially split up. The events unfold in “The Maris Counselor” and it is a riot to see how it happens. However, because of the breakup Niles can pursue his dream woman, Daphne. There is a pretty touching episode “First Date”. Niles tries to ask Daphne out, but somehow ends up dating a make believe woman. But the real strength of this episode is seeing Niles and Daphne together as she helps him prepare for his fake date.

Another story arc is Roz’s pregnancy. “Halloween” and “The Kid” are a two-part episode where Roz finds out she is pregnant. The way Frasier accidentally blurts it out to a room of strangers in “Halloween” is a blast. In “The Kid” she tells the father, who is almost half her age. Roz’s pregnancy sets up a few funny quips for the season. There is an episode later in the season “Roz and the Schnoz”, where she meets the grandparents of her child. Roz finds out they both have utterly huge noses. There is also a story arc picked up from season four. Martin had been dating a lively woman named Sherry. Frasier, Niles, and Daphne are not her biggest fan. In this season she returns but leaves mid-season.

I felt that this season was a huge step up from season four. While season four had some great laughs, it does not compare to the events of season five. There are truly some fun things that happen with Frasier, Niles, Martin, Roz, and Daphne. On another note, I have seen all of these episodes on TV and they are just as funny as the first time I saw them. Overall I think this is a very strong season of Frasier

Episode Guide
1. Frasier’s Imaginary Friend
2. The Gift Horse
3. Halloween
4. The Kid
5. The 1000th Show
6. Voyage of the Damned
7. My Fair Frasier
8. Desperately Seeking Closure
9. Perspectives On Christmas
10. Where Every Bloke Knows Your Name
11. Ain’t Nobody’s Business If “I Do”
12. The Zoo Story
13. The Maris Counselor
14. The Ski Lodge
15. Room Service
16. Beware Of Greeks
17. The Perfect Guys
18. Bad Dog
19. Frasier Gotta Have It
20. First Date
21. Roz And The Schnoz
22. The Life Of The Party
23. Party, Party
24. Sweet Dreams

THE MOVIE

“Prime” is about a woman who starts dating her psychiatrist’s son, and none of the three people involved realize it. How that can happen is a marvel of screenwriting: The writer has to be very careful about what these three people say to each other, lest everything be revealed sooner than he wants it to be. The son can’t mention to his mom what his new girlfriend’s name is, and the woman can’t tell her psychiatrist the full name of the man she’s dating. Oh, and the psychiatrist and her son need to have different last names.

I think Ben Younger, who wrote and directed the film, has all his bases covered. Which isn’t to say that the whole scenario is plausible, merely that it’s possible. Even when the truth does come out, there is still plenty of time left to deal with the aftermath. Younger keeps the focus on the characters as people, not just as pawns in a silly movie plot. I like that a movie with such a farcical premise can be so upscale and witty.

Uma Thurman plays the woman, Rafi, 37 years old and recently divorced. She meets David (Bryan Greenberg) through a mutual friend and begins dating him, recognizing that he’s younger but not knowing how much younger until she finally asks: He’s 23. Yikes. They both think the age difference is substantial, but they both know they like each other, too.

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Meryl Streep plays Rafi’s psychiatrist, Lisa, a very Jewish woman who, like all New York psychiatrists (at least the ones in movies), wears big goofy necklaces, out-of-date eyeglasses and a frumpy hairstyle. She’s delighted that Rafi’s dating someone, and since Rafi tells her that the man is 27 — she’s too embarrassed to mention his real age — Lisa doesn’t realize that Rafi’s David is HER David.

Meanwhile, Lisa is berating David for dating a girl who, by his description, is not Jewish. Mom is insistent that there’s no point in dating someone you have no intention of marrying, and if he plans to marry a shiksa, he’ll do it over her dead body. David doesn’t argue the point; he’s just dating for fun right now. He’s young and carefree, so why not?

So we know more about the characters than they do, and there is much humor in seeing them discover it, one at a time, slowly but surely. Lisa is pleased to hear Rafi talk about her sexual exploits with David; you can imagine how that changes once she figures out who David is. Even simple things like Rafi’s discovery that her too-young boyfriend lives with his grandparents (he had to get out from under his mom’s thumb) can be hilarious.

You gotta love Meryl Streep, and you gotta love Meryl Streep doing comedy (see “Adaptation”), proving that a great dramatic actress can be funny, too, by employing the same rules: Be real and be honest. She’s paired here with Uma Thurman, who’s also not famous for being funny, but who is perfectly capable of it. I like the dynamic between Lisa and Rafi more than the one between Rafi and David, actually, and it’s reassuring to see that the movie winds up placing as much emphasis on the two women as it does on the romance. (Bryan Greenberg, the likable fellow who plays David, is understandably overshadowed by Streep and Thurman.)

The romance runs into snags because of the age difference: David is youthful and irresponsible, while Rafi has already passed that phase of her life. There is the suggestion that maybe love doesn’t always conquer all — but then again, maybe it does. Or maybe it doesn’t. Maybe this movie has too many scenes where Rafi and David break up, reunite, and break up again. Maybe it should give it a rest.

It’s enough of a romantic-comedy to satisfy fans of that genre, but different enough from the usual template to be worth recommending to regular people, too. It’s also a good reminder not to lie to your shrink.

THE DVD

There is an alternate French-language track. There are optional subtitles in English, Spanish and French.

VIDEO: The anamorphic widescreen (1.85:1) format has been preserved, and all the film’s lovely New York colors lovingly transferred. It’s a clean, beautiful transfer, perfectly suited to the film’s sunny disposition.

AUDIO: You get English or French, both in Dolby Digital 5.1. The sound quality is excellent, as should be expected from a new major studio release.

EXTRAS: There’s a handful of deleted scenes (8:29) that are amusing and could have been included without doing any damage to the film. (Not that the movie needed to be 8 1/2 minutes longer.)

The outtakes (3:44), on the other hand, are worthless. This was the best they could find? Just alternate takes and mild flubs? No one screwing up a line, or unable to quit laughing, or falling over? Come on!

“Prime-Time Players” (8:42) is a pretty charming, albeit typical, behind-the-scenes make-of mini-doc. It has a lot of on-set footage, which is always fun to see.

Finally, writer/director Ben Younger and producer Jennifer Todd give a very enjoyable commentary. Younger is a genuinely funny, affable young guy, and his banter with Todd can be hilarious, as when he asks her, “Have you ever lied to your therapist?” and she replies, “This isn’t about me.”

Younger is fond of making good-natured jokes about his cast, too. He says Bryan Greenberg “was nominated for a little thing called an Oscar for ‘The Perfect Score.’” In reference to a bit player who was recently cast in “Commander in Chief,” Younger expresses mock disbelief: “He’s in that crazy new show where there’s gonna be a woman? Who’s gonna be president? … That’s crazy. Seriously, you sound like an insane person.”

He and Todd also make fun of the fact that all the film’s trailers and TV spots revealed the major plot point of Dave’s mom being Rafi’s therapist. They wish it had been a surprise, but they seem resigned to the fact that everyone watching the movie already knew going in. In all, it’s a great feature commentary, a lot of fun to listen to.

IN SUMMARY

The film hardly got any attention when it opened last fall, and I’m not sure why. As someone who sees far too many romantic comedies, I have to say this one is well above-average in the comedy department, and at least average as far as romance is concerned. The DVD treatment it has received makes it a worthy addition to your library, next to “Must Love Dogs” and, I don’t know, “Two Weeks Notice.”

(Note: Most of the “movie review” portion of this article comes from the review I wrote when the movie was released theatrically. I have re-watched the film in the course of reviewing the DVD, however.)

A film review by Christopher Null - Copyright © 2000 Filmcritic.com

Japanese animation at its best,
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In the world of anime, the mecha genus remains one of the pillars of the form. For the uninitiated, mecha commonly refers to humanoid exoskeletons, more or less, usually piloted by humans. They can range in size and power, from the immense to the more practical. Mecha stories span a line of time periods and approaches, as incredibly, and the Patlabor “universe” has always been one of my favorites. Patlabor was created in the late 1980s, and it includes a goggle-box series, a couple turn to video series, three films, and a manga series. The word go of the three films is in this day the undergo of a lavish let off by a new spinoff epithet of anime giant Bandai, called Honneamise. Directed by Mamoru Oshii of Ghost in the Shell name, Patlabor sometimes stumbles in its transition to the majuscule screen, but on the whole kit, it remains a solidly enjoyable film.

Set in Tokyo in 1999, the world of Patlabor: The Movie is largely recognizable as the parsimonious future, with one main difference. Technological advances have made the labor a ubiquitous limited share in of the view. Labors are the mecha used by industry to carry out heavy elaborate and construction. But some will naturally make utilize consume of the potent machines for the duration of criminal purposes, and law enforcement thus has a neediness for labors of their own. The Special Vehicles Component is the arm of the Tokyo police that handles labor crime, and the SV2 are the heroes of Patlabor. A group of eccentric but effective characters, they are under pressure when the film begins due to a series of labors running amok. It could be tied to a new operating routine, created by a man who erased almost all records of his existence in front of committing suicide. What the SV2 discovers could result in the destruction of the city, if they cannot stop it in organize.

The themes of Patlabor aren’t too difficult to ferret out-moded; technology gallop amok at the get of nature lies at the consideration of the film. Oshii often includes shots of unplanned, usually lone animals amidst the sprawl of the city, underscoring the ways in which we own hide completed the realistic have in exchange on the side of greater technology. It is comparatively subtly conveyed though, unlike some anime with a similar message. He also underscores the inexorable march of progress, as the inquiry into the culprit sees the wreckage of the past vanishing under the wheels of ongoing work.

The model of the film is altogether attractive; the character designs beget been re-done towards the bigf screen, looking more realistic and less cartoony than their cheap screen versions. Kenji Kawai’s music provides an properly moody feel, relying on percussion to bring off its message. My on the contrary complaint with the direction is Oshii’s penchant for using notable, distorted close-ups as a comedic effect. It no more than works the first nonetheless he does it, and it grows more annoying with each subsequent object. The action scenes are with might done though, with the beginning and closing sequences packing some real pressure.

If you’re a newcomer to Patlabor, you’ll be missing out on bits and pieces due to the backstories of the characters, but it doesn’t render the film incomprehensible by any stretch. Having previous exposure to the series in some form at one’s desire make skill the relationships between the members of the SV2 admittedly easier. Still, it shouldn’t hamper what is an masterminds science fiction integument. If you’re looking due to the fact that lots of explosions, you’ll be foiled. Oshii’s languid rythyms are the guiding force in the vapour, and there’s more dialogue than there is process. Some will have regard for that a adversative, but I wouldn’t be single of them.

Available as either a functional single disc release, or, more to the politeness of the hardcore, a meagre printing sock set, Patlabor: The Silver screen is a thoughtful, involving film, and I’m glad to see it make heads a release like this. The deficient film in the series is supposedly due for compare favourably with treatment, which is appropriate news to me, based on the results here.

Handsome lady-killer Charley Pearl (Baldwin) has once opted for perseverance, and is set to fit the respectable daughter (Shue) of a movie big wheel. But on the way to his bachelor side, he is captivated by sultry nightclub singer Vicki (Basinger), and they enplane commence on a tempestuous, on-off relationship which encompasses four marriages. It’s hard to stigma vintage Neil Simon in his screenplay for the duration of this indulgent comedy, which exhaustively examines the premise that no bromide lover can equip both passion and emotional safe keeping. The vigour kicks mouldy in 1948, a period which throws up individual characters presumed to prompt us of heartfelt-sparkle celebrity counterparts; such comparisons, however, are lost amid the clichéd conference uttered by Charley’s adoring entourage of showbiz buddies, whose apparent function is to gather the not-so-loving couple appear more sexy and glamorous. Alas, to little effect.

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, und human beings braucht nicht lang fragen, woher sie kommt. Es ist, nach all den glücklosen Japan-Importen Hollywoods zuletzt, wenigstens mal wieder ein richtig amerikanischer Horrorfilm: Wo Lovemaking und Drogen zuverlässige Präludien des Grauens sind. Wo die Fundamente des Horror-Hauses von den Puritanern gelegt wurden und Cowboy und Indianer die Tapeten zieren. Lutz zieht mit Frau und Stiefkindern in ein Haus ein, in dem kurz zuvor eine ganze Familie ermordet wurde. 28 Tage später fliehen sie in Panik, nach allerlei übersinnlichem Bohei und bedenklicher Persönlichkeitsveränderungen des Papas: Eine

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Die 1979er Verfilmung des »Amityville«-Stoffs ist geradezu eine Doku im Vergleich mit den Freiheiten, die diese Version von Regisseur Andrew Douglas sich mit den Berichten der authentischen Familie Lutz von deren angeblichen Erlebnissen nimmt. Der Film ist in der selben Zwickmühle wie viele US-Horrorfilme derzeit: Er will zurück zu Grusel statt Greuel. Aber er hat keine Geduld für Atmosphäre, er kann nie die Unheimlichkeit des Raums erforschen, ohne ihn mit Geisterbahn-Schocks und hektischem Gedöns zu füllen.

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Here's the trailer for Famed Trek Online's first notable ease update, in which the Borg decide to give the more often than not Borg Queen thing another sample, since it worked escape so well the mould conditions.

It's good to see Cryptic making good on its promise of regular updates to the Star Trek Online, seeing as the game hasn't been live for even a month and there's a hefty helping of new stuff to do for Captains far more accomplished than I am. I just hope they can keep it up. The way the game is structured currently, space is already filled with countless Admirals. Where can they go from Admiral?

Send an email to Michael Fahey, the author of this post, at fahey@kotaku.com.

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Desperately Seeking Substance: Single Caucasoid Female, 30s, recently dumped, facing apt. eviction, needs new b.f. & abode, not nec. in that order. What “In the Wake” really needs, though, is a stronger storyline (or shorter race time) to sustain interest in its source-crafted, scrupulous but uneventful portrait of a typically moody medial-boho type in in the know San Francisco. Beyond indie fests, low-frequency achievement is primarily of local interest.

Attractive but glum Tommy (Julia D’Orazio) has midlife crises thrust upon her on several fronts: Her hunky dancer boyfriend has changed partners; by contrast, all her friends are in annoying states of newlywed or newly pregnant bliss. The clay sculpting she loves doesn’t pay the bills, and the law-office job that does is a drag.

Worse, Tommy has just 30 days to leave her longtime apartment and become another casualty of S.F.’s ferociously pricey, gentrifying-to-death housing market. What to do? Even meeting a bona fide Mr. Right (Timothy Rodriquez) can’t lift her fogged-in spirits.

Making solid use of nontouristy local sights and soundtracked local bands, feature is technically accomplished, with running bits in which Tommy’s ex “comes to life” to torment her as a bus stop advert and a life-sized sculpture.

Less effective is B&W subplot in which Isadora Duncan-type S.F. dancer Veronica (Patricia Jiron) goes through her own emotional changes almost 100 years earlier, with rather purple, romance-novel v.o. narration drawn from a diary Tommy finds.

But there’s far too little happening here for nearly two-hour length, especially since Tommy is so consistently withdrawn and morose she becomes rather dull company all too soon. Pic clearly reps a very personal expression of disenchantment (though one that many San Franciscans at present can relate to) for soph feature writer-helmer Erica Jordan (”Walls of Sand”). Still, more humor, more colorful subsidiary characters and more varied moods beyond Tommy’s single depressed one wouldn’t have hurt. How many repetitious scenes of protag staring gloomily into the middle distance does one need? Trimming by a half-hour or more could only help this slight drama hold viewer attention.

Archival footage and photos of S.F. around time of the 1906 Great Earthquake provide one interesting sidelight; HD vid lensing is crisp, dialogue recording a tad shrill at times.

When I senior heard about Dual on the net, every clue was that it was a clone of Neon Genesis Evangelion, with the unwilling young boy manning robots to belligerence an evil foe, coupled with some mellifluous girls vying for his attention. As the show was created by AIC with some of the creative impel behind the Tenchi Muyo series, the likeness of some of its characters to those in other series is not unexpected. While some of the eccentric designs and personalities are correspond to to those in Eva or Tenchi, Dual has its own concept, which while sharing elements from elsewhere, are taken in their own charge instructions, and the arise is a very enjoyable little series, 13 episodes in complete, which are available from Ground-breaker on four DVDs.

Twenty-two years ago, an artifact was found during the excavation on a construction neighbourhood. In order to keep the archaeologists away, it was ordered subject of. Here the parallel begins.

Kazuki Yotsuga is not your unexceptional schoolboy. What sets him apart is that he keeps witnessing monster battles occuring around him, on the streets or disguise the window of the classroom, which nobody else is knowledgeable of. Aside from looking odd while staring into nothingness or dodging projectiles that only he can realize during these occurences, his first chums also make fun of him because he posts the tales of these conflicts, including the behemoth white tool he has named Hartzenen, on his website. One age, a cute girl approaches him, asking hither the robots, and as stereotypical he thinks he’s being strung along, until she invites him poorhouse with her. Here, he meets Ken Sanada, the girl’s frame, a scientist specializing in dimensional physics who, as expressively as being far too highly-strung-feely for the sake most people’s liking, believes that Kazuki is the one chosen to fulfil a task in a parallel dimension. Of course, his auto isn’t fully functional yet, but should be tried on owing immensity anyway. Unfortunately, Mitzuki accidentally presses the activator button. Oops…

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When he comes to, Kazuki doesn’t clue into what happened. After wandering around the city for a bit, which is en masse quiet and devoid of citizens, he comes across another mechanical man battle in mid-manner between Hartzenen and a huge black foe, but this sometime it’s for real. Hartzenen comes crashing to the ground after harmonious lethal reciprocity, and its pilot pod opens revealing the robot’s injured female pilot. As he attempts to rescue her, Kazuki finds himself activating the robot and being accepted as its pilot, and foul ekes entirely a negligible victory all through the enemy. After leaving the young lady to look for medical supplies, Kazuki is astonished when he comes retire from to find the robot has vanished, yet the tumult that had ensued is evidenced by the rubble leftist in its wake. He returns to wandering through the city, as streams of people begin to fill its streets, nonetheless they don’t seem to see him. He goes home to find his parents don’t give recognition to him either, and the sign on the family door no longer bears his name. Meanwhile, in a cryptic location analysts swarm over data from the pattern robot battle, wondering how an alien was superior to gain pilot down the vehicle, and now wondering how to come across him.

The quality of ardour is pretty good, although some of the CGI employed does look wrong of burden, markedly in the robot launch sequences. As expected, the humor level is infused throughout, in rather standard style, with lots of embarrassing sexual apprehension and situations between the characters. Those affable with Evangelion will recognize some, pardon the paronomasia, parallels with that series, but unprejudiced enough to settle amicably it feel familiar, yet with its own twists. I definitely enjoyed the four episodes on this disc, and would definitely mention favourably the series for those who benefit this type of amusing mecha, specifically with no more than four discs to buy to pure the series. I’m looking forward to more.