Flightplan

Flightplan: The In flight Thriller for Families
By Kristin Battestella

I didn’t expect to see the airplane thriller genre to revive anytime soon after 9/11, but the claustrophobic, understandably turbulent action offshoot made famous by the likes of Executive Decision and Air Force One never actually went away. Unfortunately real life events are still forcing a fictional tone down, but the 2002 Jodi Foster thriller Flightplan embraces the new less on action, more on brains turnabout.

Flightplan begins with former Engineer Kyle Pratt (Jodi Foster) preparing for a flight from Germany to America. Pratt and her six year old daughter (Marlene Lawston) are transporting her husband’s coffin home, and understandably so, both mother and daughter are upset and confused. Kid is very fearful of the outdoors and the jumbo plan designed by Pratt. The packed double decker plane provides little comfort to the family, and when Mrs. Pratt wakes up from a restless sleep, she discovers her situation has gotten worse. Every mother’s fear-kid has disappeared. When evidence implies that kid was never even on board the plane, both the crew and passengers suspect Pratt of foul play.

While researching for this review, I was surprised to find Jodi Foster’s role was intended for Sean Penn. The change is nominal-the masculine first name of Kyle is only mentioned once in the film, and although it would have been intriguing to see a father dealing with the loss of a six year old, the vigilante father theme has been done before. I wouldn’t think the role out of Penn’s range, especially now, as an older subdued actor. For Foster however, the role comes almost too easy. Make no mistake, her performance was spot on, and no doubt about it, this is Jodi’s film. Her facial realizations, actions, and movements are just right, yet it seems we’ve seen Foster in this kind of role before with previous hits Little Man Tate and Panic Room. Yet still, she adds her own spin on this near hysterical, yet highly intelligent mother. Panic Room was more action and stunts and about strong women taking control. Here, you would have somehow expected a man to be a propulsion engineer-except Foster plays Pratt as sympathetic, yet always with her wits about her. Not an easy line to walk, and its probably Foster’s Oscar winning talent that makes it seem so effortless and nonchalant.

I was impressed with the mostly unknown cast that holds its own with Foster. We see just enough of daughter Julia for the seeds of a realistic relationship, and hey, it’s a cute kid. Who wants to have her kidnapped, really? I’ve not seen Peter Sarsgaard before, but his portrayal of the ambiguous marshal Mike is equally subdued versus Foster. Likewise, Erika Christensen becomes fishy as the lone flight attendant who may be trying to help Foster, as does contentious stewardess Stephanie (Kate Beahan). The dialogue between all is tight and real, including the swift references to Foster simply as ‘Mrs. Pratt’. They are all just trying to be so polite!

Kudos to director Robert Schwentke and writers Peter Dowling and Billy Ray for keeping the film multi cultural and languaged. On-plane video and the jet’s crew are often heard repeating everything that’s said in English, German, and French. Making a film like this with an American protagonist and a solely American crew is simply not realistic.

Fortunately, the most obvious antagonist in Flightplan is Sean Bean as Captain Rich. His attempts at sympathy toward Pratt try his patience-and he seems quite the jerk. His flat out questioning of Pratt’s drinking or medication and labored indulgence of her absurd requests allude to a Twilight Zone feeling. Is there no one on Pratt’s side? Why does she have such blind faith in the Captain’s control of the plane? Thinking of his crew and passengers first makes Bean-who is very well known to American audiences for his villainous turns in Patriot Games, Goldeneye, and Don’t Say A Word- look like the bad guy. His uppity British tone had a tinge of villainy, but of course, early on you learn that nothing in Flightplan is what it seems.

Flightplan excels in delighting the mind over the action. We’ve seen films like Turbulence that pride themselves on how much they can make their prop plane shake, but Pratt’s knowledge of aeronautics and aviation provide smart set ups and believable in-flight action. The references to the 9/11 attacks are also well played. You can’t not mention it or how its change airline procedures. How the crew and passengers react to these restrictions in the unusual situation of having a child onboard go missing is more suspenseful and mind thrilling than losing cabin pressure.

The believability of a child missing on a plane-How many places could there be? It’s not like she could leave!- is helped by the ultra slick set of the plane. Lush bars and crew areas, double decker passenger lounges, spacious cockpit. The posh look of the common plane areas is state of the art, and the underbelly sequences are dark, cramped, full of mechanics-very realistic. If you don’t know what the innards of a plane look like, you can imagine with Flightplan.

The behind the scenes features on the widescreen DVD are standard enough-and by the way, do get widescreen even if you are still clinging to full screen viewings. The scope of the plane and flying cannot be fully realized with a cropped picture. Schwentke and his team shed light on the featurettes, along with cast interviews, screen tests, and the usually movie magic reveals. What amazes me most about Flightplan is while it does have some potentially scary scenes and the obligatory plane explosions, the film is quite family friendly.

Younger children may be frightened by the kidnapping set up or death talk-especially children that might have recollections of September 11^th, but thinking kids 10 and up might enjoy a night in with Flightplan. Enough action, realistic folks to root for, and very little blood or language. Parents beware, however, over a few scenes involving the stereotyping of Arab passengers. I don’t suspect that is something even the smartest kid could really understand.

The conclusion of Flightplan, unfortunately, leaves a bit to desire. After showcasing Foster’s intelligence, the ending relies on one the the bad’s cohorts to confess everything. It’s also a bit foolish to have Pratt ultimately destroy the evidence that could clear her without the cohort’s capture. Still, all parties carry their performances through to the end. Not only carry, but step up as the story unfolds to its inevitable- if potential let down- ending.

But hey, it’s tough for parents to find a film the whole family can watch. Even if you think your children are too young to understand the finer points of Flightplan, it’s not the kind of film you have to keep looking your shoulder for while you watch. Let the kids cheer for something-and perhaps get a lesson and some food for thought with the entertainment.

Enterprise Season 4

Enterprise Season 4 Worthy of Star Trek Name
By Kristin Battestella

Sure Enterprise is considered by most Star Trek fans to be the ugly stepchild of The Original Series. I disagree. Still on a creative burnout from Star Trek: Voyager, creators Rick Berman and Brannon Braga did miss the boat with their prequel when it premiered in 2001. Stunt appearances by the Ferengi, The Borg, and a silly Temporal Cold War most likely sent the show to its early grave. Although early episodes foundered, Season Four of Enterprise returned the show to its 60s roots.

 

Under new writer and executive producer Manny Coto, Enterprise’s fourth season hailed the Gorn, showcased Orion Slave Girls, and explained what was up with Vulcans 100 years before Kirk. From the Andorians to Kahn, Coto even fixed the Klingon ridges snafu in a late season two-partner, which also included a ship bound spy for Section 31. Instead of attempting a season long arc as in Enterprise’s third season battle with the Xindi, Coto focused on mini story arcs of two or three episodes at a time. Brent Spiner, know to genre fans as Data on Star Trek: The Next Generation, appeared in a trilogy of episodes highlighting the trouble history of The Augments.

Perhaps Captain Archer and crew’s best episodes are ‘In a Mirror Darkly’ and ‘In a Mirror Part 2’. Told entirely in the alternate universe introduced in The Original Series episode ‘Mirror, Mirror’, Darkly’s attention to detail and full blown recreation of Kirk’s era make the case for a second look at Enterprise. Coto’s love shows in the faithful replica of the TOS era Defiant. Scott Bakula’s Captain Archer even dresses in Kirk’s green wrap, and red shirts, are, well, red shirted. Even the opening credits for the Mirror episodes are different, and male fans will enjoy a long-haired, mini-skirted Jolene Blalock as resident Vulcan T’Pol.

Many Enterprise fans were displeased with the series finale ‘These Are The Voyages…’. Besides a silly and unfitting end to Trip Tucker (Connor Trinneer), TNG’s Jonathan Frakes and Marina Sirtis take over an Enterprise episode that can’t be understood unless you are a TNG fan. As unpopular as the idea still is, Berman and Braga wrote the episode as a finale for all of Star Trek, not just this ill fated spin-off. Robocop’s Peter Weller guests in the prior two episodes, which serve as a much more fitting finale. In Coto’s final story arc, alien phobias and terrorism are finally defeated, and the steps towards what would become the Federation are orchestrated by Archer and company.

At a price tag of over $100 a season, Enterprise can be a tough investment for skeptical or non-diehard fans. Most series start slow, pick up form in the middle seasons, then fade in their final years. Had Season Four started Enterprise, it would still be on the air. Go against type and start with Season Four of Enterprise, the final but best season of the series.

V: The Original Miniseries

Original V a Must for Genre Fans

By Kristin Battestella

Originally posted with Creative Singularity and Flames Rising

Need some old-fashioned special effects in your sc-fi? Forget that opus opening to Independence Day, today’s genre filmmakers grew up V. The groundbreaking four hour 1983 miniseries may look hokey today, but the story, characters, and drama are top-notch. The all-star cast helps, too.

When humanlike aliens arrived on earth, cameraman Mike Donovan (Marc Singer) suspects the visitors aren’t all they seem. Scientists who can expose these visitors disappear one by one. Politicians against the visitors abruptly change their minds , and entire towns and communities mysteriously disappear- including Donovan’s ex-wife and son.

Medical student Juliet Parrish (Faye Grant) holds secret meetings with a dwindling number of resistant Los Angelians, including streetwise Elias (Michael Wright), and Michael Durrell’s Robert Maxwell, an anthropologist trying to hide his family. Of course his teenage daughter Robin falls in love with a handsome visitor. Jane Badler shines as creepy Visitor leader Diana, who has other plans for the star crossed lovers. Blair Tefkin accepted the role of Robin after Dominique Dunn was murdered by her boyfriend early on in filming. The outstanding DVD commentary highlights several shots were footage of Dunn is still in the show.

Writer and director Kenneth Johnson made V as a tribute to freedom fighters from all times and places. Nazi allegories and Holocaust moments give V extra timelessness that is often lost in today’s fast-paced action flicks. Young Michael (David Packer) joins a Hitler Youth-like Visitor Friends organization, despite his grandfather Abraham’s (Leonardo Cimino) warnings of Visitor occupation being like the Holocaust all over again. When Donovan sneaks aboard the Visitor’s Mother Ship and attempts to reveal their true reptilian nature, his own mother (Neva Patterson) sides with the powerful Visitors against him. Nightmare on Elm Street fans should also look for Robert Englund as good, non-human eating Visitor Willie.

Johnson expertly weaves the parallel storylines together into one cohesive end. When the epic originally aired on NBC, V was a complete success in the ratings and earned two Emmy nominations, as well as a Writer’s Guild nom for Johnson. Kenneth Johnson, however, left the later series over creative differences and instead penned another SF television classic, Alien Nation. Unfortunately, Johnson’s revival V: The Second Generation appears to be in limbo at NBC.

Followed in 1984 by the six hour V: The Final Battle and a lesser, 19 episode V The Complete Television Series, the original V is a must-have for fans of sociological science fiction.

All three series are available now on DVD.

Aliens

Special Edition of Aliens A Must
By Kristin Battestella

Only a handful of sequels are equal to if not better than their predecessors. Although James Cameron’s 1986 sequel to Alien isn’t quite the same caliber as The Empire Strikes Back or The Godfather Part II, Aliens is a must see science fiction classic in its own right, regardless of its place in the Alien Legacy.

Ridley Scott's 1979 original Alien was technically a horror movie in space-complete with all the shocks and suspense of a psychological thriller. Despite the special effects, in Alien it's what you don’t' see that makes it exceptional. With the 1986 sequel, however, James Cameron's crafty movie making sets up a thrills and chills action flick that has a story to boot. Long before his over ambitious Titanic, Cameron was making history.

Sigourney Weaver reprises her role as Ellen Ripley, but after 56 years drifting in space, Ripley is all but a basket case. Bad enough, but the only person interested in her situation is Corporate sleaze Carter Burke, played devilishly by Mad About You Star Paul Reiser. Burke convinces Ripley to return to LV-426 with a group of Space Marines, but not just one alien has infiltrated the Terraforming colony. Ripley has to battle it out with the infamous Alien Queen and all her minions.

The Special Edition DVD of Aliens-available individually or in The Alien Legacy Set-includes 17 minutes of restored footage. These additional moments refine the movie and cap off a film that was already one of the best science fiction flicks since Star Wars. The restored footage highlights Ripley's trouble with the Corporation and showcases her lost daughter. Ripley left for space when she was 11, and now Ripley learns her daughter has grown up, married, and died. Instead of destroying Ripley, this extra storyline strengthens and solidifies Ripley's later attachment to little alien survivor Newt (Carrie Henn).

James Cameron often uses the same actors in his blockbusters. Terminator alumni Michael Biehn and Lance Henriksen round out the Aliens cast as Corporal Hicks and the android Bishop. The relationships Ripley develops with both men mirror her strength inside and out. After her betrayal by an android in the first film, Ripley’s respect and trust in Bishop is a significant step, as is her relationship with Hicks. They flirt, he shows her how to use weapons, early on Hicks protects Ripley and Newt. In a perfect world these three outsiders could be a unified family, but if in space no one can hear you scream, the odds are definitely against them.

In addition, fans are treated to bits and pieces of the Sulaco, extended scenes on LV-426, and a special speech from Hudson as played by Bill Paxton. Jennette Goldstein (who later appeared in Terminator 2) is also treated with more dialogue for no-nonsense Private Vazquez. Another storyline skillfully restored after being left on the cutting room floor shows repaired robot sentries repelling several alien attacks. These sequences add extra time to the movie, but they also add depth and intelligence to the love-to-hate Xenomorph. Now instead of one big assault, we see the trial and error and brain power of the aliens. Not only do they have acid for blood, but now the aliens are smart-and that’s frightening. As Hudson says, “They cut the power!”. Details like these give the creatures a life of their own and help a movie seemingly about marines versus slime outlast the competition- 20 years and three sub par sequels later.

The stellar theatrical release of Aliens was a blockbuster success and garnered critical acclaim for its production, direction, and acting. The uninitiated need not see the original film in order to enjoy Aliens, but the extra material is worth a look from naysayers. Cameron’s extra footage goes beyond human good, alien bad. 17 minutes can go a long way in adding character to an action movie that already carried a level of seriousness. Without the popularity of Aliens and its subsequent rise to cult status, the still quality but inferior Alien 3, Alien Resurrection, and the fan boy Alien vs Predator would not have been made.

Although the Special Edition of Aliens has been available on DVD for some time, it’s never to late to add a must have to your collection. Parts may be too scary for kids, and high tech fans might find a few of Stan Winston’s creatures a tad hokey, but the Special Edition of Aliens is more than worth the trip to your favorite retailer. Die Hards will definitely pay the price of admission-if they haven't done so already.

Mr. Natural

Mr. Natural!
by Kristin Battestella

What to say about Mr. Natural? Fans either seem to love or hate this one, but it should definately not be dismissed as it had been. Released in 1974, The Brothers were in a transition period, and the album was mostly ignored, although I don’t know why.

Charade (Which I always assumed was ‘Cha-raid’ is pronounced by the boys as ‘Cha-rod’) starts of the album slowly. Its lyrics are full of the beach and the ocean and makin’ love. This songs reminds me of the Love Shop scene in Logan’s Run! Barry and Robin alternate the lead in perfect fashion. The one problem I have with this album is there isn’t enough Maurice. Only two songs were written by all three brothers and I can hardly find Maurice doing backing vocals at all. I protest!

Throw a Penny speeds things up a bit. It sounds a little bit like an 80s after school special, but I like that. All the lyrics on this album are in top form. Each song has a story and a message that make them recognizable as Bee Gees songs, but the music is a step up from the early 70s sound.
Throw a Penny slides into Down The Road. The transition between the songs is very cool. Down The Road is very up and rocking and was often played live by the boys at the time. I thought Cucumber Castle was the top Soul Barry album, but Mr. Natural is most certainly in the running. Perhaps even a truer representative considering Robin is on this album.

Voices starts out similiar to I Started A Joke, but quickly establishes its own idenity. Again sharing a lead with Barry and Robin-the only contest in that department on this album is trying to figure whether its a ‘Barry-Robin Song’ or a ‘Robin-Barry Song.’ Voices I tend to think of as the latter. Its softer in the beginning and slowly picks up and becomes more powerful as soul Barry comes in. The music on the album is very noticeable and more previlant than previous Gibb music.

Give A Hand Take A Hand was written by the boys in 1969 and done by some PP Arnold dude. The boys take their song back and really belt it out. The words in the song are very powerful and telling. Again I think it is in the country gospel vein, perhaps since it was written in 69. I personally think this is what Cucumber Castle would have sounded like with Robin on it. His, well, whailing, completes Barry’s soulful delivery. This is also the one song that I think I can hear Maurice on. If anybody knows what parts are really him, please let me know!

Dogs is probably my favorite on the album. Its story is very universal, something everyone can relate to. Its slower verses, but kick ass chorus make me wonder how this song was not a hit. This song to me is proof the boys could still have their songwriter storytelling and major production in the music. Without this establishment, Main Course and the subsequent a ‘fever’ would not have happened.

Mr. Natural is great and was one of the songs promoted at the album’s release, naturally. Again after hearing this song I don’t understand how it was so easily dismissed. Again Robin’s voice and the lyrics tug at your heartstrings, and this song will get stuck in your head. A year before this album, this song would have been so slow, in the vein of the singer-songwriter, but the upbeat speed and melody really set it off.

Next is a solo Barry outing, Lost in Your Love. This was the first song from the album I heard, and it was my favorite, until I heard the rest of the album! It’s distinctive in that it’s piano heavy, unlike the rest of the guitar driven album. Barry is on top, and the piano playing is very powerful in competition with his voice. It must be Maurice. Tempo, lyrics, everything in this song is perfect.

I Can’t Let You Go is back to the more progressive transition sound of the album. Again ‘traditional’ Gibb lyrics combined with a kick up musically. The arrangement of voices is also different on this album. They don’t seem to harmonize when you might expect it. The suprise is very effective.

I expected Heavy Breathing to be long and slow and sound like heavy breathing. It doesn’t. This might be the most shocking song on the album. At the time The Bee Gees had done nothing quite like this. They really do sound like a black seventies soul band on this song. The arrangement is so fresh and the guitar work is excellent. It reminds me of Cream, and I often wonder if Eric Clapton was in the studio with them on this song!

Had A Lot Of Love Last Night is the opposite of Heavy Breathing. This one I expected to be fast, but it is very slow and heartfelt. It finishes the album on the same note as Charade. The setup of starting and ending with slow songs makes nice bookends to the surprises in the middle.

It’s almost a shame they discovered falsetto and went on that path. Mr. Natural gives a very convincing argument about what might have happened had they continued in this soul vein. We got our answer with the release of This Is Where I Came In. The brothers themselves described that album as going back like they never did falsetto.

Now in retrospect Mr. Natural has become an elusive, but pivotal and critical must in the history of the Brothers Gibb. The word that comes to my mind with Mr. Natural is ‘vintage’. If it were a fine wine, it’d be just the right age now. Even my Mom likes this one!

Still Waters

This time I’ve tackled Still Waters.
by Kristin Battestella

The boys were doing well in 1997. Hall of Fame Induction, the One Night Only wave. Twenty years after disco a whole generation of new fans were hearing the Bee Gees for the first time. I myself was one of these. My father had to force me to watch One Night Only, but the song Alone was what peaked my interests.

Alone, the first song from Still Waters, was like nothing I had ever heard before, much less like any of the Bee Gees music I had heard. The bagpipes and upbeat tempo should conflict with the saddening lyrics, but it all blends together perfectly with Barry’s verses and Robin’s chorus. I was alone at the time and again the feeling of ‘How do they know what its like?!’ sold me on this song. I listened to the MSN Album Preview of Still Waters, loved it, so I went and bought it.

I Surrender sounds slightly different. Barry’s breathly lead is tops. The one complaint I’ve heard about this album is it is too much breathy Barry. You just have to be in the right mood, I guess. The harmony of the boys is great on this album, and the lyrics, well, one should not read them with their parents around!

I burned this cd for my sister, and the only song she liked was I Could Not Love You More. Its a great ballad, again I believe a stupid boy band turned it down. It’s the shortest song on the album, but its build up and lyrics are spectacular. Still Waters Run Deep is next, again with a great harmony in the chorus. There isn’t much Robin on this album, but imo SWRD and the next song My Lover’s Prayer are made by Robin’s interludes. My Lover’s Prayer is a great little song in the old fashioned doowop or acepella sound. One should really listen to this album with that special someone. If you can’t feel the love, something is wrong!

With My Eyes Closed is a very intruiging song. It doesn’t sound like a Bee Gees song, and Barry’s breathy rap may seem out of place with the music. That is until the second turnaround. Robin joins in the background with some sort of sultry chant. The chant fills in the gaps and the two voices come together like the two separated lovers the lyrics speak of. Very effective.

Irrestible Force is a funny one. You need to read the lyrics to understand what Robin is saying, and it took me awhile to understand them. ‘Are they talking about physics?!’ Let’s just say they are not. In the second half of the album, one may not like the echoes and overdubs or find them redunant, but I like the bridges full of harmonizing sounds.

Brother Mo time! Closer Than Close is Maurice’s contribution to the album, and really the only time you can honestly say you’re hearing him. The lyrics are very personal and Maurice’s delivery is well, DAMN! Again everytime you get a taste of Maurice you want to hear more!
Next is I Will, my favorite song on the album. It starts out sounding a little bit like that silly Titanic song, but Robin and Barry’s story of a love triangle is very well arranged and written, musically and lyrically. 

Obsessions is a very intriguing listen. The Brothers refer to this as a ‘stalker song’. The extra effects in the song set it off, and some of my favorite perverse lines are in this one. Depending on your mood, you can either get into the groove or sleep quite pleasanty after listening to Still Waters. When I’ve got troubles I can listen to Still Waters, and well, it calms my turbulent waters still.

Miracles Happen is a very inspiring song. It was meant to be a Christmas song for the remake of A Miracle on 34th Street. Instead the song appears here. A boys choir joins the boys for some very heart-warming lyrics.

Smoke and Mirrors is the final song of the 12 track album. It’s strong and fast. You can hear seeds of Robin’s This Is Where I Came In sound in the lead. Supposedly this song is about the ‘smoke and mirrors’ of the business or something, and at one time this was to be the title of the album, but the boys chose to go the sweet and sexy route of the rest of the album. I’m glad they did. Whew!

Naturally, there are two more b-sides that didn’t make it onto the American release. Love Never Dies and Rings Around the Moon were part of the 1994 Love Songs project that never materialized. Love Never Dies is a powerful song from Robin and Maurice. I haven’t been able to find the lyrics for Rings Around the Moon, but what you hear in the song is very uplifting. This song deserves to be in the tops lists of Bee Gees Ballads. Still Waters seems to reflect the feelings of the brothers at the time. At peace with themselves enough to express themselves whole heartily and thus inspire others. So go listen and express yourself too!

Bee Gees Gold

I picked Bee Gees Gold this time!
by Kristin Battestella

It’s the first Bee Gees album I ever got. I finally started to admit I liked The Bee Gees after hearing the awesome early music, and had been searching for just a compilation with the songs I liked. None of that Disco! 

A year after I graduated High School, way back in 1999! My friend came home from college unexpectedly on a Monday night. With nothing else to do we trekked to the mall, for I wanted Beatles 1. We get to the music place and there is this simple little cassette called Bee Gees Gold. I read the track listing, and recognized 6 of the 12 songs. For 7 dollars I thought it was worth it and bought it and Beatles 1. It took me 3 weeks before I got around to listening to the Beatles tape! 

I’m not sure what the criteria was for the Gold compilation. All the Bee Gees Gold records prior to Main Course, I assume. They don’t go in any time order, perhaps they go in numbers sold, since How Can You Mend A Broken Heart is first. That was a given.

The second track is Holiday, which I hadn’t heard before. I was hooked on it instantly with its church organ feel and deep lyrics by Robin. Unfortunately I think Holiday might get a bit lost in the mix since its followed by To Love Somebody, then Massachusetts. Dynamite!

I cried the first time I heard Words. How many times have we all wished if we had said something different, or said the right thing, or if we hadn’t said what we said. ‘Those gosh darn words!’ Barry is in his element. I’m still crying over Words, then Lonely Days comes on very slow. I must admit I was perplexed by 3 men saying ‘Good Morning Mr. Sunshine’ but of course, quickly the song turns into a rocking testament. I had remembered hearing the song before, but not knowing it was the Bee Gees. If I had a dime for every time that happens! By now, I was already convinced the tape was worth the money.

Side 2 begins with Run to Me,excellent, then my favorite, I’ve Gotta Get A Message To You. My World surprised me. It’s seems like such a simple little song with only a few lyrics, but the overlay of the voices, well, rocks. I Can’t See Nobody blew my mind. At first I was sure it was Maurice singing, the range and sound was so different from everything else, but it is indeed early Robin. It will get stuck in your head.

I heard I Started A Joke on the radio and associated it with Laughing, by the Guess Who. I don’t know why. Robin won’t tell what this song is really about, but you can tell it’s very personal and it just makes you cry. And you will try and find the Vicount Jetliner Melody, trust me! The Last song is New York Mining Disaster 1941. Again ‘This song is the Bee Gees? It can’t be!’ It is.

I played this tape in the car for my dad, and he was surprised that all these songs were Bee Gees songs also. To this day whenever we’ve got a long road trip, we always end up singing Lonely Days, and I am girl! I wore the tape out in two weeks, and am on my fifth dub of it. I’ve got the songs all on other cds now, in much better condition, but sometimes I still like to just pop in those original tunes that got me hooked. 

I strongly recommend Bee Gees Gold for your car or to drift off sweetly.

The Field

Irish Locales Make The Field

By Kristin Battestella

I stumbled upon The Field through a six degrees game on the imdb. The 1990 film based upon the play by John B. Keane stars Richard Harris, Sean Bean, and Tom Berenger, but The Field is more than a connecting degree. Stunning Irish landscapes, potent performances, and bittersweet storylines make The Field a delightful little film.

Bull McCabe (Richard Harris) and his son Tadgh (Sean Bean) are proud Irishmen who rent the field from the Widow (Frances Tomelty) They till the land with fertilizing seaweed and graze their animals on the field, but after years of being terrorized by Tadgh, The Widow decides to sell the field at a public auction. None of the townsfolk will dare bid against Bull, and he uses the town idiot Bird (John Heard) in his intimidation plans. Newly arrived Irish American developer (Tom Berenger) wants the field for a new roadway, and unfortunately, he doesn’t take Bull threats to heart.

As refreshing as it is to see Sean Bean (Patriot Games, The Fellowship of The Ring) in a non villainous role, Richard Harris owns The Field. His Oscar nominated performance alone was worth the DVD purchase. Bull McCabe is just that, a bullheaded old school man who despises the English and those who couldn’t keep their land during the potato famine. Bull and his wife haven’t spoken to each other since their eldest son died 15 years prior, and Harris is superb at balancing the hardened laborer with the tortured father. When the pressure of purchasing the field under legal means becomes too much, Bull is willing to sacrifice himself, what’s left of his family, and anyone else who stands in his way.

As stellar as Harris’ performance is, the role would be diminished without worthy support. Bean is admirable as the tormented Tadgh. He’s young, not the brightest bulb, and not all that interested in the field-which puts him in direct conflict with Bull. The Elephant Man star John Hurt is unrecognizable at Bird. He puts on the town idiot role inside and out-the tattered looks, stuttering, and do-anything-for-a- drink style is a sad representation of what happens to those who lost their livelihood during the famine. As much as Bull genuinely likes Bird, he’s not above manipulating him into his devious plans. Richard Harris may be the star, but each character in the field brings his or her element of tragedy.

Little seen in the U.S. upon its release, The Field has another ace the hole. The on Location Irish filming is a character unto itself. Briefly, you can understand Tom Berenger’s want to change this small tight nit Irish community. If it weren’t for his fancy car, you could swear The Field takes place in the 19^th century. Horse draw carriages, no roads to speak of, thatched roof homes- the juxtaposition of this aging, strapped community against lush green and fertile land, stunning cliffscapes, and quaint Irish ways adds surprising depth to a film based on a play. These exceptional visual layers, however, can’t cover the thinness of the play turned movie. As bittersweet as the story is, some of its mystery elements are in fact too obvious to a film audience. The chain of events is a likely one, but the performances make the watch worthwhile.

Today’s American audiences might also find The Field slow or poorly directed. Naturally there’s no effects to speak of, and perhaps more monologues than we’re used to. With little action, there’s no need to move the camera either. Director’s slow zooming, following shots, or vast panoramas are meant to capture the scope of the region and the inner complexities of the characters. It’s not overtly art house styled, but viewers looking for something fast paced won’t find it in The Field.

Perhaps not commonly available at most retailers, The Field is more affordable at online purchasers. The DVD has no features beyond the film. I would have preferred a play to screen documentary and cast commentaries, but the film speaks for itself. Fans of Irish films and any of the actors involved should not miss The Field. Likewise classic film buffs or old school studies shouldn’t miss the tragic tale. Watch The Field today, ready with tissues instead of popcorn.

National Treasure

National Treasure Neat for Kids
By Kristin Battestella

Capitalizing on its Pirates of the Caribbean franchise, Disney tried for gold again with 2004’s National Treasure. The intelligent and ambitious vehicle has not gone on to as much success as Pirates. Nevertheless, National Treasure is ideal for tweens interested in a thinking person’s movie.

Acclaimed film veteran Christopher Plummer opens the tale, telling his young grandson Ben Gates how their family holds a vital clue in finding a vast treasure brought to the New World by the Knights Templar and protected by Free Masons from the British. Hidden and since lost from memory, Ben (Nicholas Cage) spends his adult life searching for the treasure, despite his father’s (Jon Voight) bitter realization that the treasure is no more than a myth. After the discovery of a ship buried in the Artic Circle, Ben realizes the next clue found there suggests the treasure map is on the back of the Declaration of Independence.

To stop his former business partner Ian Howe (Sean Bean) from stealing and destroying the Declaration, Ben and his understudy Riley steal the Declaration first. After interfering with their plans, historian Abigail Chase (Diane Kruger) insists on coming along to ensure the protection of the invaluable document. With Ian and FBI investigator (Harvey Kietel) on their trail, the trio travels from Washington to Philadelphia and New York, gathering clues and searching for the treasure.

The premise of National Treasure is more intelligent that most, but it is ambitious and not fully executed. Trying to ride the Da Vinci Code tail, National Treasure resorts to basic exposition on American history with some fantastical turns tossed in along the way. The script is too broad and witty in the wrong places. Intellectual teens or history fans will no doubt dig Treasure, but for smarter adults, the movie doesn’t hold many repeat viewings. The first time around, the Declaration heist, Philadelphia chase, and New York underground escape only go so far, and eventually, plot holes take center stage.

Often shown on broadcast and basic cable channels, National Treasure is only worth a second or third view for the cast. Justin Bartha as Riley has most of the amusing moments as the sarcastic sidekick. His deadpan style is offbeat and more refreshing than if the role was set up with a blatant laugh track. Likewise, Nicholas Cage is clearly having fun with the role. The Oscar winner and action star surely has his pick of material, so after dark pictures like his award winning turn in Leaving Las Vegas, and more recently Snake Eyes and 8mm, Cage delivers his historical wit with a lighthearted manner his fans will no doubt enjoy. Relative newcomer Diane Krueger (Troy) fits the bill as Doctor Chase.

All the secondary characters are under written and not properly showcased- the talented actors behind them do as much as they can within the script. Krueger is the pretty but brainy and clearly attracted to Ben, and Harvey Keital (Pulp Fiction) is the scary FBI agent who really isn’t all that scary and in fact helpful stereotype. Villain veteran Sean Bean (Patriot Games, Goldeneye, Don’t Say A Word) suffers greatly as the clichéd European unobstructed bad guy bent on acquiring the treasure simply because he can. Bean’s sublte threats on Riley’s sidekick are some of the better played scenes in the film.


Whether he was made up to look older or was unwell during filming, Jon Voight does not look well as Patrick Gates. Although the relationship between the father and son is a big part of National Treasure, the script does little to add to the oft-told scenario. Voight seems tired as the Old Dad-perhaps that is his award winning acting range, but for someone who was also once a respected Historian, Dad’s left with clichéd phrases and glib remarks. The only thing I found rewarding in the Voight and Cage duo is that Cage was in Gone in Sixty Seconds with Voight’s real life daughter Angelina Jolie and they, of course, aren’t speaking to each other.

The scope of National Treasure is also a bit presumptuous for someone who has grown up in the areas in which the film takes place. Although the Declaration heist is very vague and undefined in most places, it also gives away real facts and science. Would the powers that be really let a movie show how to steal the Declaration of Independence? Likewise, the Philadelphia locales are taken somewhat out of context. The elaborate double chase through Philadelphia takes the audience on a course that isn’t actually possible through the city. One notices these things after multiple viewings, but younger audiences will take the substitution of story for van chases and death defying avalanches, which in the end, was probably Disney’s intention.


Yes, I’ve been harsh on National Treasure, and I don’t expect you to see it ten times like I have, but I expected more from a big vehicle backed with a lot of money and starring Nicholas Cage and Sean Bean. Female fans will most definitely watch for them, but National Treasure is more for young conspiracy fans interested on loose coincidences and facts about Benjamin Franklin. History teachers might benefit from a viewing followed by a fact or fiction discussion and trip to Philadelphia, but I don’t think that’s what Disney had in mind when they launched their massive contests and treasure chances with the film’s box office release.

National Treasure is available on DVD with some fun extras for the kids, and the film has been popular enough to warrant a sequel. National Treasure: Book of Secrets is currently filming. Focusing on the mysterious surrounding The Lincoln assassination, I don’t see how it could top the original if it tries to stretch its tiny premise against the original’s well, national attempts.

More intelligent than The Mummy, and most definitely better than The Scorpion King, National Treasure is the young man’s Indiana Jones. And even then, I’d recommend The Young Indiana Jones Chronicles first, but *they* aren’t really available on DVD yet.