The Show:

One of the better Jon Pertwee stories and a great six-parter, The Green Death has a bit of everything.  There’s some spot-on humor, a menace that’s actually creepy and scary, some solid sci-fi action, and the departure of a companion that’s actually bitter-sweet.  What’s more, this six episode story doesn’t drag in the middle or feel padded the way a lot of them do.  This new Special Edition of the show offers a lot of great extras as well as a better image.

Having returned from Skaro after their last adventure, The Doctor is busy working on the TARDIS.  He’s determined to finally get to Metebelis Three, the Blue Planet, that he’s been talking about for a while.  He finally thinks he’s gotten things sorted out, but when he invites Jo Grant (Katy Manning) for a ride she turns him down.
Jo has been watching a news show that’s been highlighting the work that Dr. Jones (Manning’s real-life boyfriend at the time, Stewart Bevan) has been doing protesting against the Global Chemicals oil plant while researching alternative sources of food.  Jo wants to travel to Wales and meet Professor Jones and hopefully join his commune, Wholeweal, which is referred to as ‘the Nut Hutch’ by the locals.

As events would have it, there’s been a mysterious death in the Global Chemical coal mine, could it have something to do with Global’s new oil refining process that yield’s more gas with no pollutants The Brigadier goes down to investigate and takes Jo with him, while the Doctor jumps in his TARDIS and heads off to the Blue Plant, which isn’t quite as relaxing as he was hoping.
In Wales there’s definitely something going on.  The Brig is getting stonewalled by Global’s executives so Jo decides to do some investigating herself and zips down into the mine with a local named Bert, only to get stuck down beneath the surface when the elevator is sabotaged.  While searching for an unused shaft that leads to the surface the pair make an important discovery:  there are giant poisonous maggots living in the mine shaft, feeding off of the byproducts of Global’s new process.  It won’t be long until the deadly grubs make it to the surface… and it’ll be up to The Doctor (freshly returned from his jaunt to Metebelis Three) and UNIT to stop the nearly indestructible menace from overrunning the Earth.

While this wasn’t the very best Pertwee adventure, it ranks high on the list.  The maggots are an effective and rather horrific foe for The Doctor to face, and they are much scarier than a guy in a rubber suit.  Yes, some of the Chroma Key special effects look pretty wretched, especially when seen today, but just the idea of Jo and The Doctor paddling a make shift boat across a lake to toxic waste filled with giant maggots is chilling.  The villain behind everything is a nice SF baddie, and while that type of antagonist has been done before (and often better) it still works well in the context of the show.
This is also the last series with Jo Grant as The Doctor’s companion. There had been several times when it felt like Jo was going to stop traveling with the Time Lord (in the previous story, Planet of the Daleks, it seemed like they were going to write her out too) but this time she does and it’s a melancholy ending to the adventure.  Unlike the usual departure of companions in the classic series, The Doctor seems sad and the last shot in the final episode is rather poignant.  After slipping away from Jo’s engagement party with a glum look on his face, The Doctor drives his car Bessie off into the sunset.  It’s one of my all-time favorite scenes from the original series.  Usually the Doctor would wave goodbye with a shrug, or it would be turned into a joke (such as when Sarah Jane Smith left) but this is much more appropriate.  After spending seasons with a companion viewers grow attached to them and morn their departure too.

Speaking of humor, there’s a good amount in this story too, something that wasn’t usually emphasized in Pertwee stories.  The depiction of Metebelis Three, a planet that The Doctor had been describing as a tranquil paradise, is hilarious, especially when you think of how many resources (and how much money) they spent in getting those few shots.  The scenes of The Doctor trying to get Professor Jones away from Jo are very enjoyable too.

The DVD:
This release is a two-disc affair. The six-episode story is on disc one while the second one is reserved for the bulk of the special features.

Audio:

This show comes with the original mono soundtrack that fits the show just fine.  The dynamic range is nothing to write home about, but the dialog is generally crisp and clear and there is no background noise, tape hiss, distortion or dropouts.  There are optional subtitles in English.

Video: I was pleased with the full frame color image.  The Restoration Team did their usual top-notch job, though it is not leaps and bounds better than the original release back from 2003, there is some improvement.  I have seen the 2003 release and while I didn’t do a side-by-side comparison, this version seems to be a bit more refined.  The episodes look nice with solid colors, tight lines, and nice detail.

Extras:

This two-disc SE has the extras from the original release and adds a few great items that makes this worth a purchase.  First there is the commentary track with Terrance Dicks (script editor), Barry Letts (producer and co-writer), and Katy Manning (Jo Grant).  There’s also a bonus commentary track on episodes 3-5 with Richard Franklin (Capt. Yates), Mitzi McKenzie (Nancy) and Colin Mapson (visual effects designer) as well as Katy Manning and Russell T Davies teaming up for a track on episode 6.  Great stuff.
Video extras include the aptly titled making-of special, The One with the Maggots, a nearly half-hour look at the creation of this show with various members of the cast and crew.  Global Conspiracy is a pretty horrible spoof on the story where a reporter travels to the location where this adventure was recorded and talks to locals about the giant maggot infestation that occurred years ago.  It’s a cute concept, but that’s pretty much the only joke and since it runs 11 minutes in length it quickly gets boring.  Much more interesting are the interviews with Robert Sloman and Colin Mapson who worked on the special effects.  There’s also a clip from the news program Wales Today where Jon Pertwee returns to Wales to open a tourist center years after the filming (2 minutes) and Another installment of Doctor Forever where Russell T Davies relates how difficult it was getting Doctor Who back on the air.  After leaving Doctor Who, Katy Manning hosted an arts-and-crafts show and there are 5-minutes worth of clips edited together in What Katy Did Next. On top of all that, there’s a two-part Sarah Jane Adventures from 2010, Death of the Doctor where Katy Manning makes an appearance as Jo Grant.

In addition there is a pop-up informational text option which is very informative as always.   It does give some dry statistics, like how many people viewed each episode, but there are also some interesting notes such as script changes that were made and background information on the supporting characters.  The extras are rounded off with storyboard comparison, a trailer for the story, a photo gallery, and the listing from the Radio Times in .pdf format.
Final Thoughts:

This series is a wonderful mix of humor, adventure, and even a touch of melancholy.   The story moves at a quick pace and never gets bogged down the way most six-part stories do.  Fans of the show who have the original release will have to decide if the superb extras are worth the price of admission but if you don’t have this adventure yet picking this up is a no-brainer.  Highly Recommended.

THE PROGRAM

Not surprisingly, the Marvel Knights line of motion comics adaptations of previously successful graphic novels, would find a reason to capitalize on the release of “The Wolverine” with their latest incarnation in the increasingly mediocre in quality line, with “Wolverine: Origin.” The roughly 65-minute “film” adapts the 6-issue miniseries of the same name from writers Bill Jemas, Paul Jenkins and Joe Quesada. Right out the gate, the motion comic style is an obvious ill-fit for Andy Kubert and Richard Isanove’s artwork, taking a very stylized printed image and trying to bring it to life with little success. When traditional camera movements are added to the mix, most notably zooms, the art loses detail and the production quality is more reminiscent of lower resolution image overly zoomed-in on. To make matters worse the 66-minute (to be precise) runtime includes a set of opening and closing credits for each of the feature’s chapters; if I had to estimate, I’d argue if you subtracted these sequences, the actual amount of storytelling time is more in the ballpark of 50-minutes tops.

Even more disappointing than the sub-par motion comics translation of the art is the abysmal quality of the narrative source material itself, which is to be frank, insulting to the rich history of the character. Having read the comic personally back in the mid 2000s, it failed to live up to the hype of offering readers a satisfying true origin for the character of Wolverine. However, once you take an already disappointing story, butcher the artwork and slap on a generally lifeless voice cast to bring characters to life, the final product can only be somewhere in the ballpark of insufferable. Those who watched the live-action “X-Men Origins: Wolverine” have already seen the best this feature has to offer, namely the events leading up to Logan’s first manifestation of mutant powers. While that played out nicely in five minutes on the big screen, here it takes about a third of the runtime that’s padded with tired clichés of (minor) class warfare, alcoholism, and abuse. From there the iconic character’s name is further dragged through the mud and devolved into a simpering, pitiful excuse for a hero who not so cleverly is obsessed with a red-haired cousin (Wolverine fans, have we not already encountered a relationship with a red-haired character before) and has a hazy recollection of a traumatic event from the past.

There are a few brief moments of enjoyment to be had from “Wolverine: Origin,” namely the final chapter, which is still on the whole, crafted from cliché, but does tantalize viewers with the notion of a possible origin for Sabertooth (yes, truth be told, one writer says it wasn’t supposed to be intentional, but Marvel has played with the idea since) as well as the eventual emergence of the Wolverine we know and love: the stubborn hardass, who deep down, in his own way will take a hit for a friend or loved one. These flashes of quality would have had greater impact to the audience had the voice cast turned in anything beyond flat performances with the occasional, necessary accent. No matter how you try and spin it, the underlying problem is “Wolverine: Origin” was not a quality offering on the printed page and when it comes to the motion comic format, lacked an art style that would adequately transfer. When you ignore two huge red flags of that nature, the only possible outcome is what viewers are offered here: a poor excuse for entertainment and an insult to an iconic character.

THE DVD

The Video

The 1.78:1 anamorphic widescreen transfer captures the animation reasonably enough and accurately compared to the source material, down to the drab color choices. Likely a result of the motion comic process, there aren’t a lot of smooth lines to be found and shockingly some compression artifacts are noticeable, despite the brief running time.

The Audio

The Dolby Digital English stereo audio track is a decent enough presentation given the stilted nature of many of the vocal performances. The mix itself doesn’t feel fluid nor natural, but isn’t terribly distracting given the mediocre animation quality to begin with providing little visual stimulation.

The Extras

An interview segment with the creative team behind the comic is the lone extra.

Final Thoughts

Thoroughly disappointing from an entertainment standpoint and marginal in technical merit, “Wolverine: Origin” is a huge step-back for the already shaky motion comic format. At this point in comic history, the “true” origin of Wolverine should have remained forbidden ground, because what stands here as likely “canon” would be laughable if it weren’t so sad. Skip It.

THE PROGRAM

Before “Unsolved Mysteries” and after “In Search Of…” there was “Arthur C. Clarke’s Mysterious World” a 13-episode miniseries intended to be an all encompassing overview of the many strange places and events that captivate the imagination of a 20th century audience, including but not limited to Sasquatch, UFOs, and the Tunguska Explosion. Hosted by Arthur C. Clarke himself, the series makes no false claims regarding the validity of the stories presented, instead offering first hand eyewitnesses to tell their stories and experts (some believable, some quite less so), to offer claims and evidence. Clarke himself acts as a voice of reason throughout, introducing the subjects, popping up sometimes mid-episode to not so slyly let the audience know he thinks some wild claims are hokum, before only reappearing a final time to wrap up what’s been presented. The series holds up quite nicely, approximately 30 years after its first airing and makes a nice introduction to the “Arthur C. Clarke Collection,” which gathers three separate Clarke involved productions tackling subjects as mundane as Stonehenge and other rock formations along the English countryside to investigations into ESP and the existence of zombies.

Following “Arthur C. Clarke’s Mysterious World,” a second 13-episode series delving into far more paranormal topics, “Arthur C. Clarke’s Strange Powers” is arguably the lesser of the three series in the collection. The shows are far less sensational than “In Search Of…” or “Unsolved Mysteries” which allows for the viewer to ponder the intelligent approach some episodes take to merely presenting evidence, but there are times when things get so “out there” that the dry presentation makes one long for a poorly staged reenactment and ominous narration. The highlight of the series is 100% Clarke himself, who is much more blunt in his assessment of some topics, stopping short of telling viewers they wasted 25-minutes of their time listening to claims of nonsense. In the final episode of the series, Strange Powers: The Verdict, Clarke offers his own opinion on the validity of each prior episode and chances are logical minds will be right on board with his assessment.

The final series, produced a decade after “Mysterious World,” is the most comprehensive of all, consisting of 43 episodes that follow a format fairly identical with the prior two offerings. In “Arthur C. Clarke’s Mysterious Universe,” Clarke introduces and wraps up each episode, with a narrator providing calm narration as expected. The topics are a strong mixture of the believable but confusing (codes, ancient archaeology, and feats of human physicality) to the tantalizing, fantastical, but more easily dismissed as nonsense (crop circles, ghosts, alien encounters). Viewers of the previous two series are going to see some familiar ground tread, but in this outing, the pacing is speedier, covering breadth rather than depth. Whether you’re a believer or a skeptic, all three series’ have something to offer you and the less-sensational approach to wild topics is quite refreshing. At the end of the day, the “Arthur C. Clarke Collection” offers 69 episodes that at the very least are entertaining exercises in nostalgia for a more simpler time in television production and a noble effort from a respected author to tackle issues deemed as silly in a serious manner.

THE DVD

The Video

The 1.33:1 original aspect ratio transfer is a reasonably visually pleasing presentation considering the age of the program; each disc contains a disclaimer referring to quality of archival footage, which truth be told does look rough from time to time. The footage filmed for the series though does hold up quite well, colors aren’t perfectly natural and detail is average at best, but there are few issues with compression artifacts and source material damage is kept to a minimum.

The Audio

The Dolby Digital English 2.0 audio holds up shockingly well for such an aged documentary series. The narration is clean and never overbearing; opening and closing title music feels a bit jarring in terms of its mix.

The Extras

None.

Final Thoughts

The “Arthur C. Clarke Collection” is a must-own for aficionados of vintage television related to the “unknown.” I’d rank it second only to “In Search Of…” in terms of sheer entertainment value and the involvement of Clarke keeps the whole tone of the series far more grounded than expected. Provided you can tolerate some occasional episodes of nonsense, the “Arthur C. Clarke Collection” raises some intriguing questions and is well worth the sizable time investment to get through all 69-episodes. Recommended.

Watching Combat! (1962-67) again for the first time in about ten years, I kept thinking how difficult, if not impossible it would be to try and produce a series like it now. Following the adventures of an American squad of G.I.s fighting their way through Vichy France in the months following D-Day (like M*A*S*H, it ran years longer than the historical space it occupies), Combat could only have been made during the early to mid-1960s.

At the time, primetime network television had developed a streamlined but unsustainable production method that had evolved from the B-movie and theatrical film series production of the 1940s and early ‘50s. By 1962 it was possible to shoot a program like Combat! in 35mm and give it a slickness rivaling medium-budget feature films.

In Combat!‘s case, that included a second unit sent to France to film establishing and long shots incorporating explicitly French topography and architecture. This footage was then (usually) seamlessly matched with first unit scenes shot on MGM’s expansive but rapidly decaying back lots, standing sets all torn down by 1973. It probably didn’t take much to make its European streets look as beaten and shot up as they do on the series. Moreover, the series began less than 20 years after D-Day, and so props – the guns, the tanks, and other hardware needed, was easily accessible both in Hollywood and on location in France.

Finally, Combat!‘s prolific output (152 hour episodes over just five seasons) was made possible due to a production method common to numerous hour dramas of the period, Maverick and Rawhide being two other famous examples. In short, the series had not one but two stars alternating the leading role. On Combat!, Rick Jason and Vic Morrow were the stars, but often Jason would be the focus of an episode in which Morrow did not appear, or vice versa, though they’d also appear together equally in some shows, or make token appearances in programs otherwise focusing on the other.

I hadn’t watched Combat! at all since 2004, when I was bitterly disappointed by a “Season One, Campaign One” DVD set licensed by Disney to Image. Those episodes looked terrible, smeary old video masters that were time-compressed to boot. Combat! The Complete Fourth Season, though still below par considering how good it should look, is still an improvement. Clearly old masters are again utilized, but to my eyes these are more acceptable to what I saw of the first season shows. (Probably this is a cost issue, remastering more than a hundred hours of shows, but it’s also possible the ownership of Combat!, which was a Selmur Production for ABC, may have something to do with it. Selmur’s other films and TV shows have likewise been sketchily released.)

The legacy of Combat! is two-fold. In retrospect, the show proved a training ground for a wide range of talent, many of whom went on to bigger and sometimes better things. Directors Robert Altman, Richard Donner, Burt Kennedy, Tom Gries all got big breaks on the show, which had scripts by the likes of Richard Matheson, Richard Maibaum, Robert Pirosh, and others. By season four Gries was still directing Combat! though most of the others had moved on by this point.

The show was, clearly, influenced by the early-’60s fascination with all things military. Soldier-themed toys and comic books where all the rage with children then, and World War II veterans, by then in their early forties, ate up big screen recreations of famous battles: The Longest Day (1962), The Battle of the Bulge (1965), Tora! Tora! Tora! (1970), etc.

Combat!, though, struck a chord. As an episodic, weekly series produced on a television budget (about $125,000 per episode), shows were usually confined to the adventures of a single infantry squad. In telling its stories from the point-of-view of the ordinary foot soldier, audiences around the world embraced its universally recognizable characters and themes. It was, for instance, phenomenally popular in Japan.

By season four Sgt. Chip Saunders (Vic Morrow) had become more popular than Lt. Gil Hanley (Rick Jason), with Morrow the show’s emotional center, while Jason, with his perpetual Lee Van Cleef-type sneer and erudite features (he always reminded me of Laurence Harvey), gradually faded to second-lead status, though even here are episodes in which he and not Morrow appear. Others in the squad include PFC Paul “Caje” LeMay (Pierre Jalbert), dangerously impulsive Pvt. Kirby (Jack Hogan), “Doc” (Conlan Carter), and gentle giant PFC Littlejohn (Dick Peabody).

As television historian Stephen Bowie points out, Combat!‘s season four is composed of the same writing and producing staff as seasons two and three, so it’s pretty much business as usual. The episodes I watched were intelligent, well acted, and by television standards expertly produced, though none really stood out. “The Linesman,” for instance, directed by Tom Gries, is a decent enough character study with Jack Lord playing a martinet Signal Corpsman, whose psychological problems make him an ineffective leader running afoul of Chip Saunders.

In “9 Place Vendee” (a clever title whose meaning is revealed at the end of the episode) is a Gil Hanley show with the lieutenant searching a German-occupied French village for a wounded OSS man. There he encounters a French boy (Pat Michenaud) who is desperately trying to tell the American something, but neither can understand the other’s language. You’d think after three seasons Hanley would have picked up more than a word or two of French, but the overdone episode avoids the obvious: why doesn’t the boy draw a picture or use hand gestures to convey his message Nevertheless, that the show tries whenever possible to have the French speak French and the Germans German is an achievement. You’d never see that on Hogan’s Heroes.

Guest stars this season include Jack Carter, Lloyd Bochner, Don Gordon, Christopher Dark, Simon Oakland, William Campbell, Nina Foch, Fernando Lamas, Ramon Novarro, Leonard Nimoy, John Agar, Albert Paulsen, Peter Mark Richman, Sal Mineo, Tom Skeritt, Claude Akins, Keenan Wynn, and Michael Forest. Of particular note is, in a rare television appearance, indeed her only appearance in anything made between 1954 and 1984, actress Luise Rainer (and at 103 in 2013, she’s surely the oldest Oscar-winner).

Tim and John Considine co-wrote the episode “Hear No Evil,” while Vic Morrow directed the two-part season finale, “Hills Are for Heroes,” written by Gene L. Coon. Other regular or interesting directors this season include Alan Crosland, Jr., Georg Fenady, Bernard McEveety, Sutton Roley, John Peyser, and Michael Caffey.

Video & Audio

The season’s 31 episodes, spread across eight compactly packaged single-sided, dual-layered discs, are acceptable but not great, sourcing older video masters. On my largish monitor their age was noticeable but the shows still watchable. The Dolby Digital mono audio, English only with no subtitles, is okay.

My big complaint is the absurdly unhelpful packaging, which nowhere – not inside the case, as a paper insert, on the discs themselves – are episode titles listed. They’re not even numbered on the DVDs, so the viewer looking for a specific episode has no way of knowing what’s where and how to find it.

Extra Features

The main supplement is bits of trivia on each episode as provided by Jo Davidsmeyer, author of the book Combat! A Viewer’s Companion to the WWII TV Series. Also included are photo galleries and audio commentaries, none of which are identified on the packaging, either.

Parting Thoughts

Combat! is a good show poorly served on DVD, though these sets, though these reissued season sets are somewhat better than what’s come before. Recommended.

Stuart Galbraith IV is a Kyoto-based film historian whose work includes film history books, DVD and Blu-ray audio commentaries and special features. Visit Stuart’s Cine Blogarama here.

I can’t remember the last time I watched a Wesley Snipes movie, and I’m pretty sure that’s a good thing. I don’t think it was as far back as White Men Can’t Jump, which may have been the only role that he was ever believable in, but that might not be far off. He’s just an awful actor who chooses horrible projects to attach his name to. I tell you my feelings now so you’ll know I watched Gallowwalkers from a biased perspective. But honestly, I’m not sure it would have mattered. Wesley Snipes or Daniel Day-Lewis, I doubt anyone could have turned this movie into something worthwhile. I’m sure putting someone as bad as Snipes into your lead role didn’t help, but it probably didn’t hurt much either.

The Movie

The story follows Aman, a western warrior who cannot outrun the curse that chases him. This gunslinger was once the son of a wild woman, but she was forced to give him up when she joined a secret society of nuns living in the dessert. Growing up in a slaughterhouse, Aman fell in love with his caregiver’s daughter and they planned the wonderful life they would lead together. However, all of that was taken away when a group of bandits attacked the farm while Aman was away, stealing the young couple’s dreams and shattering their peaceful lives. Driven by vengeance, our hero tracked down the villains, attacked the prison in which they were captured, and killed them all one by one. His revenge was complete, but the story was not yet ended.

In once saving Aman’s life, his mother has caused a curse to be visited upon him. Those who he killed with his gun were able to return to life, becoming undead beings with vengeance on their minds. Now the group of outlaws have returned, and Aman must kill them again, once and for all. But it won’t be so easy a second time. They are led by the powerful Kansa, who seeks a method of returning his dead son to life as well, allowing father & son to be reunited. Aman must find help if he is to survive the retaliation of the undead and destroy them once more, and that helps comes in the form of a young cowboy named Fabulos. The pair must hone their skills and outsmart their enemies in order to defeat death and put the evil curse to rest.

It’s exactly as bad as it sounds. The story barely made any sense at all, was set in some strange pseudo-West, and relied heavily on the belief that if killing someone once didn’t work we would all agree that they must be killed again. I’m not so sure I wouldn’t have just given up and moved away. That’s basically how I felt during the majority of the movie; like giving up. The plot was just so silly. And not only that, but it was unfolded poorly, acted badly, and never hooked me. I really didn’t care that Aman’s past was sad, that his home was attacked, or that he felt he had to do something about it twice. It’s the film’s job to make me like it; it’s not my job to work at finding something worthwhile to latch onto. And if it were, I would have been hard-pressed.

It definitely wouldn’t have been Wesley Snipes’ acting that allowed me to look past the other flaws of the film. He’s literally terrible at delivering lines, and since that’s half of an actor’s job I start to feel that special kind of anger that only comes when someone else in making millions of dollars for doing something that I could do better myself. I’m mad that he’s rich & famous, I’m not, and yet I could also have posed in the dessert with one leg cocked out pretending that I was a bad ass. I’m not saying I’m a great actor, I’m saying that neither is he. I guess these are the perfect kinds of movies for him, since he really can’t make them that much worse, but I can’t help giving him the majority of the blame for what turned out to be a pretty strange and crappy film.

And it wasn’t even all bad, just mostly so. There were a few bright moments that, sadly, were covered up by the large amount of bad ones. The set was actually pretty cool; an alternate wild west landscape laid out across long desserts and rolling hills. And the weird culture of the area was kind of interesting; it might have made for a good short story or graphic novel. It had that feel to it, with some cool shots and a nice amount blood. It was an odd mix of Blade and Mad Max that never really turned into a coherent film and left me more frustrated than bored. There was plenty of action, it just seemed pointless, useless, and not very well thought out. And I guess that pretty much sums it up.

The DVD

Video: With an aspect ratio of 2.35:1 Widescreen, the video is a really nice quality. The film was shot using a Panavision Panaflex, and the picture comes across clear and clean. The set lends itself to a nice visual, with plenty of sunlight, good contrast, and crisp action.

Audio: The film was done in English 5.1 Dolby Digital audio, with an option for either English or Spanish subtitles. The sound quality of the film was fine, with some good background music and no glaring problems.

Extras: There are few extras on the disc. Behind the Scenes With Interviews is a ten-minute, self-explanatory segment that gives a little insight into the film. And Also From Lionsgate shares three trailers: Warm Bodies, The Revenant, and Chaos.

Final Thoughts

Skip It. Gallowwalkers just isn’t a very good movie. Its plot is shaky, the acting is fairly awful, and when it was over I just didn’t care. The story is slightly interesting, but it’s badly done. Wesley Snipes didn’t help a bit, delivering every line with blunt force and fake emotion. The video was nice, the audio was fine, and the extras were pretty boring. I can’t recommend this movie to anyone, unless you just want to see Snipes pretending he’s a cowboy. That’s about all it’s good for.

Olie Coen
111 Archer Avenue
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