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Happy Feet:perceptive Treat

Conductor George Miller blends clever antics with music, dance, a tinge of darkness and photo-realistic computer animation to distinguish Cheerful Feet a treat against all for the purpose all ages. Although it was in the works fitting for several years, the first scenes with tens of thousands of Emperor penguins in formal Antarctica surprisingly recall the recent March of the Penguins.
Focusing in on the mating of Norma Jean (Nicole Kidman) and Memphis (Hugh Jackman), we see her handing misguided their egg to him as she goes off to distant fishing waters, leaving him to face the bitter cold age of incubation.
Memphis is careless during the hatching period and blames himself when their offspring Mumble (Elijah Wood) turns out to be
the only penguin in the flock that cannot carry a air, a prime necessity owing acceptance in this community. But the little guy can sashay! He is a born tapper, with speed, moves and grace to rival tapmaster Savion Glover, who provided the motion capturing dancing in the interest of the fuzzy bird.
His terpsichorean skills are not coolness to the elders here, led by cranky high clergywoman Hugo Weaving who blames him for the fish famine.
Mumble, infrequently an outcast, starts wandering. His path is riddled with mysterious dangers, introducing some fine action scenes featuring (can be little one frightening) hungry birds and a toothy seal. At last, he is befriended by five small aware, Latino penguins (led by Robin Williams) who pleasing him to an extravagantly feathered penguin (Williams again) serving as some kind of guru. Here, Mumble is embraced as "Grown Guy" and he enjoys a world less steely than Emperor Land.
Salvation in search Mumble lies in finding out what is occurrence to all the fish and he persists although he is warned by an elephant seal (the late Steve Irwin) that it will be a unsafe mission.
Eventually, his almost meet with with the dominators of the Earth and the debris of their customs, uniquely envisioned from the point of view of a bird, is sobering. After providing mankind with a thoughtful punishment in global ecology, the talking picture concludes with an upbeat ending that leaves you thinking.

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The Authenticate:
Say what you will surrounding the state of TV today, but there is no doubt that F/X has had some of the best model programs in years. Deliverance Me, Damages, and It’s Always Radiant In Philadelphia, and The Shield are just some of the fantastic offerings that elevate the channel beyond its focal cable brethren. Nip/Tuck was one of F/X’s ahead offspring, and it hit viewers twin few shows ever had. The foremost season of Nip/Tuck was practically perfect. It perfectly combined drama, humor, character development and shockingly taboo subjects, all wrapped up in a shiny shapeable veneer like the manner doctors Christian Troy and Sean McNamara have given so numberless of their patients.

Alas, such stunning consistency was not to last. The second season was already tipping off balance, going from character drama to melodrama. And the third season, with its absurd and pointless Carver storyline, went from melodrama to soap opera. In fact, season three was so bad that it turned off many of the show’s fans, setting the stakes high for season four. If Ryan Murphy and company couldn’t get Nip/Tuck back on track, it might have meant the end.

Luckily, it seems everyone involved realized how far off track they had gone, and season four has a renewed sense of focus. Of course, being Nip/Tuck, that doesn’t mean the show has stopped indulging in the outlandishly complex stories that are its stock in trade. But as we open this set, things seem to be going fairly well. Sean (Dylan Walsh) is back together with his wife Julia (Joely Richardson) after being separated. He and Christian (Julian McMahon) are doing well with their plastic surgery practice, attracting higher and higher profile clients. However, in the world of Nip/Tuck, no one stays happy for very long. Liz (Roma Maffia), the practice’s anesthesiologist, has an urban legend performed on her when she goes him with a girl from a bar and wakes up with her kidney removed. Julia discovers that the baby she’s carrying is going to have a genetic deformity. And Christian convinces Sean to sell a portion of the practice to Burt Laundau (Larry Hagman), a millionaire industrialist with a hot wife (Sanaa Lathan). Given Christian’s predisposition to unavailable women, you can guess how that one turns out.

Yes, it’s back to business for the show, in several areas. The relationship between Sean and Christian is at the forefront of the season, and it’s contrasted against Sean and Christian’s other human interactions. Not surprisingly, they come up wanting. Sean finds a wedge between him and Julia in the form of Marlo (the wonderful Peter Dinklage), who has more compassion for Sean’s handicapped baby than Sean himself does. Christian seduces Michelle, Burt’s wife, and practically blackmails her into sleeping with him. To further complicate things, a dark figure from Michelle’s past, James (Jacqueline Bisset), reappears and starts demanding money and favors.

What’s amazing is that even with all of this and more, this season still feels like the strongest since the first. The more outrageous elements are generally played for laughs, providing a much-needed counterpoint from the heavy drama of the main storylines. It also helps that the writers seem to have a sense of where they’re going, and where they’ve been before. The cast give 110% in their performances, and this season has some of the most impressive Julian McMahon scenes in the entire series. Furthermore, guest appearances by actors such as the aforementioned Mr. Dinklage, Rosie O’Donnell, and Catherine Deneuve enhance the impact instead of lessening it.

That being said, season four still does not reach the heights of the first time out. The James/organ hijacking storyline feels a little too close to the Carver for comfort, for one thing. I can’t count how many times someone got blackmailed over the course of 15 episodes. Also, the gimmick of having a live character see and converse with an imaginary character during times of stress was terribly overused. Usually Sean spoke with an imaginary Escobar, but here he sees four or five people. Christian sees every girl he ever dated. Even Kimber thinks she catches a glimpse of Xenu. It used to be effective, now it’s just old.

Regardless, Nip/Tuck’s fourth season is exactly what the show needed. The writers have managed to correct the creative freefall they found themselves in and put things back on the right course. Hopefully next season (premiering in the next few months) will find everyone in an even better place than they get to here.

The HD DVD:

The Image:
Warner Bros. presents Nip/Tuck season 4 in its original aspect ratio of 1.78:1 in a 1080p VC-1 encoded transfer. Seeing as how F/X has some of the worst broadcast quality of any television station, even a piss-poor transfer of Nip/Tuck is going to look good. Luckily, what we get is pretty darn decent. The first few episodes are uneven. I recall one particular shot where it looks like the image was digitally zoomed in and all the quality went out the window. However, I only noticed it once. From the second disc onwards, things pick up considerably. Fleshtones are accurate and the colors are very well rendered. Detail is good, but not the best I’ve ever seen. There is a good amount of grain, but it’s uniform throughout the show which leads me to believe it’s intentional. This is a very big step up from the broadcasts and I was quite happy with it.

The Audio:
Warner offers up a Dolby Digital Plus 5.1 mix and a 2.0 mix for the surround-impaired. While a good majority of Nip/Tuck centers on dialogue, every time Sean and Christian do a surgery, they play music, and that’s where the soundstage comes alive. All the dialogue is crisp, clear, and well balanced. The pop music is lively and spread well across the channels. The ambient effects were well placed and the entire mix feels very organic. This is one of the better mixes I’ve heard lately.

The Supplements:
For such a popular show, there aren’t very many special features on the set, and what we do get is meager and insubstantial.

• Deleted Scenes: The only HD (1080i) extra on the disc is these sets of deleted scenes, scattered amongst the episodes from which they were cut. As far as deleted scenes go, they’re not bad, with plenty of good material. Unfortunately, there aren’t all that many, and the total runtime is short.
• Clever Casting - The Season’s Guest Stars: A quick overview of the various guest actors who popped up this season. Most of the comments veer toward the “Oh, we absolutely had to get so-and-so” and there’s not much said about any one person.
• Sizzle - The Sexuality of Nip/Tuck: Probably the most interesting of the featurettes, this one goes a little outside the normal cast and crew interviews to include sex experts. They are, of course, looking at all the steamy content on display, and some interesting comments are made, but it’s over before it really gets a chance to heat up.
• The Cutting Edge - How Real Life Dramas Are Incorporated Into The Show: This is a quick and dirty look at real-life surgeries that inspired many of those found in the show.
• Gag Reel: And a really bad one, too.

The Conclusion:
Nip/Tuck season 4 gave the show a much-needed reprise from the excesses of the two previous seasons. This time around, we see the show’s creators with their feet on the ground and their eyes on the prize. It’s not perfect, but it’s a step in the right direction that the show desperately needed. I was quite happy with both the picture and the sound on this HD DVD, but the extras are brief and insubstantial. Still, for fans, this is worth picking up. Recommended.

Daniel Hirshleifer is the High Definition Editor for DVD Talk.

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Writer/director Stillman again casts an caring leer on the foibles of preppy young Americans, this time two cousins all at sea in the sexual, moral and governmental whirl of a changing Elderly World. It’s the ‘last decade of the Cold War’. Ted (Nichols) is a young, dangerous-minded car-following executive getting over a failed affair, his recovery hardly helped when Fred (Eigeman) - a brash naval narc - turns up uninvited to arrest in his Barcelona pampas. When Fred starts ‘borrowing’ money from his host and meddling in his encounters with various girls, tensions between the pair come to a boil. An incisive comedy of misplaced American manners, this is for the most separate a extraordinarily strange portrait of immaturity deceived by its own ignorance and blinkered obduracy. Agreed, it’s harder to like or take responsibility for about Ted and Fred as much as their younger (and hence more forgivably deluded) counterparts in Stillman’s earlier Metropolitan, and the story’s unwonted shift into life-and-death melodrama in the final reel is a little clumsy. But the film looks cloth, the performances are dapper and droll, and there’s more than adequate originality here to confirm Stillman as a distinctive, beguiling endowment.

“Why do I play a joke on to hate them dad?”
“Because he’s the exclusive thing grade between you and a change one’s mind biography.”

The Feature:
Growing up, I loved wrestling more than any other sport. And no, I’m not just talking about professional wrestling; I’m also talking about amateur wrestling. Unfortunately, I never had the discipline to join my high school team, but I frequently attended the matches, and watched on, as my friends frequently got their butts kicked. It wasn’t until one of my buddies passed out from dehydration, that I learned about wrestling’s dirty little secret… cutting weight. In order to make his weight class, he was ordered to lose six pounds in less than a week by the wrestling coach. As a result, he pushed himself so hard to drop the weight, that he almost killed himself by training too hard. With that being said, I have the job of reviewing “Reversal”, a movie about amateur wrestling that deals with the same exact issue, among others.

“Reversal” begins by developing the relationship between seven-year old Leo Leone and his father (Jim Petulla), the coach of his wrestling team. At such a young age, Leo learns how wrestling is a metaphor for everything in life. Together, Leo and his father train for his upcoming match, and I’m left with the uncomfortable feeling that Leo’s father is looking to live vicariously through his son.

It’s 10 years later, and Leo (Danny Mousetis) and his father are still tight, although they don’t seem to have a deep relationship outside of wrestling. It’s very unnerving to see Coach Leone wear Oklahoma T-Shirts, manipulating his son into believing that he really wants to attend the University of Oklahoma. Sure, his intentions are not necessarily bad. It’s obvious that he loves his son, and a college education is an absolute necessity these days; but when you see Leo’s nose bleed in the middle of a conversation, and later, him throwing up after dinner, then you know something is wrong.
Leo begins dating a girl named Shaw (Kelly Vint), who doesn’t fit the “cheerleader” mold that most athletes go after. They have a realistic chemistry that develops over the course of the movie. With her help, Leo is able to realize that he has to make a choice between living his own life, or letting his father continue to live vicariously through him.

“Reversal” is a unique movie, especially because of the fact that it touts a cast of relative unknowns. “Reversal” is more than just the ins and outs of amateur wrestling. It’s about the relationship between fathers and sons, husbands and wives; it’s about taking control of your life; it’s about sacrifice; and it’s about accomplishing the goals you have set for yourself.