Schleprock Reviews

Ed (2000–2004)

Hysterical Lucidity

[27 February 2003]

This past episode CAPTAIN LUCIDITY, where Ed gets control of his dreams through 'lucid dreaming' - was absolute genius comedy. I was deep in hysterics. A nice change of pace from the usual guy/girl friction.

Through a 'controlled' dream-state, Ed (along with all the other lovable clowns on this under-appreciated show) navigates his romantic concerns and desires for Frankie, and usual heart-beacon Carol Vessey. Nice concept, eh? Well, the writers hardly settled for the concept alone. They ran with it Gump style!! Absolute brilliant use of the entire cast's character traits (though some 'Cheswick' moments were sadly ignored). I'd swear 'Ed Stevens' wrote the episode. What higher compliment can you pay to the writers? That was one impressive hour of entertainment, folks. Absolute comic brilliance. And to boot - a fine dramatic closing. When you're laughing along with a tear-jerker moment - you know you've been won over.

I'll bet ya 10 bucks you can't top that episode...

The Mothman Prophecies (2002)

Stellar visuals

[7/10 · 20 June 2002]

Can't say I was overtly impressed with the actual storyline (the theme is engaging, but the actual thread of actions - not too enchanting. It could be viewed as corny). BUT – the cinematography of this movie is truly something to behold!! Absolutely enchanting; captivating; encompassing. Superb.

The lead in car crash was done in a way I've never quite seen. That slow motion swim you feel when something is happening just a little too fast for you to register it all – never captured more effectively on film than it was here. From there, every nuance of the film's creepy premise is exposed with true visionary brilliance by Photographer Fred Murphy. A lot of films depend heavily on smash cuts and other camera tricks to mask weak content. This movie is not an exception in that area (again, the premise is quite engaging, but the content a little flimsy. Which is a shame. There's plenty they could have done with it). However, you'll be immersed in these visuals like few other films. More importantly, the visuals are there to enhance the story, not mask it. That's the difference between ‘flashy' and effective. The ‘look' of this film could never be questioned. It's gargantuan in that area. And the final sequence doesn't disappoint - visually. Striking.

If atmosphere is your bag – I'd definitely recommend a rental. (I give it a 10 on cinematography. A 7 overall).

Grand Canyon (1991)

Kasdan's vision is expertly shown

[10/10 · 6 June 2002]

Perhaps you won't care for the social commentary, or the film makers point of view (I myself am mystified at the ‘insignificance' angle Kasdan seemed to promote – when clearly, the actions taken in the movie promote CERTAIN significance. The ending confused me). However, there's absolutely no denying the manner in which the story is presented; the magnificent symbolism throughout; the threaded character arcs; visuals; dialogue – is absolute masterwork. I've watched the movie dozens of times, and I still marvel at its perfection. There's not a moment, action, cut, or line that doesn't have everything to do with the theme. Realistic human performances from all the actors. Scene to scene it's woven fantastically.

I have a pretty level sap-meter. The buzzer never went off during this film. If you're a thinker (rather than a casual viewer) – this movie delivers. Exponentially. Absolutely mesmerizing. (Do you have to agree with the message to appreciate the display? Who cares if it made you warm and fuzzy or not, was it interesting?)

Personally, the movie affected me – significantly. In my top 5.

Note: The front-page reviewer clearly speaks from a flawed African American perception. What he may have failed to recognize, is, there was a hand – shake. Not a hand - out. The ‘spiritually dead white man', simply saw a man to respect, and admire. And he did something about it. The fact he was black had little, if anything, to do with it (color is simply used to draw the parallel. And the chasm. It's no accident the opening sequence shifts from black and white to color either). If you view the blacks in this movie as ‘token' – you may want to reassess YOUR angst. You may be seeing only black and white yourself, eh. Just a thought.