berringercross Reviews

The Cabinet of Dr. Caligari (1920)

"Finally . . . finally! A somnambulist has been brought to the asylum for admission . . . "

[9/10 · 2 January 2019]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

The Cabinet of Dr. Caligari / Director: Robert Wiene / Career Catalog #22 / Review #0007

9/10

A mysterious doctor who carts around a cabinet containing the somnambulist Cesare visits a small town fair in Germany, bringing havoc and fear to its inhabitants. The granddaddy of all horror films, an entire genre was born on the strength of this one expressionist classic. No one had ever seen anything like it upon its initial release. It is angular, it is gothic, it is a shadowed waking nightmare of a world built upon subconscious terrors long thought buried yet always struggling to escape their psychological bonds.

While not as downright monstrous as Dracula or one of Frankenstein's creations, Cesare is still creepy in his own fashion and the brilliant Conrad Veidt portrays him perfectly, thoroughly stealing the spotlight from all those who surround him. It's easy to see his influence in some of the more human grotesqueries who have graced the silver screen over the last century since this film's release.

Silent films, by their very nature, had to be designed to complement light and shadow and fantastical set pieces to convey much of their story's intentions. Director Robert Wiene's keen eye ensured that "The Cabinet of Dr. Caligari" would stand head-and-shoulders above its contemporaries and still remains an impressive model today. Its vision of trees in particular stuck in my brain for almost twenty years between my first and second viewing of the work.

Overall, its philosophical take on the intellectual descent into murderous madness might be amateur hour at best, but its end result is as gloriously ghoulish as anything ever committed to celluloid. This remains one of my personal favorite horror films from the silent era. Perhaps it is, or will become, one of yours as well.

©2018 berringercrossreviews

The Thin Red Line (1998)

"If I never meet you in this life, let me feel the lack. A glance from your eyes . . . and my life will be yours."

[8/10 · 2 January 2019]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

The Thin Red Line / Director: Terrence Malick / Career Catalog #4 / Review #0006

8/10

A company of American soldiers hope to turn the tide of war while fighting against the Japanese in the hills of Guadalcanal. The opening shot of an alligator descending into a swamp is a masterful allegory on the soldier and the habitat into which his soul sinks during wartime. Honestly a tranquil, meditative journey is not usually the chosen approach for a film about combat. However, Terrence Malick does a wonderful job of exploring deeper meanings and deeper consequences than most other directors in his position. In his hands, there's something truly freeing about the condemnation of war. It's not just an angry damning of war's incivilities, it's a reflective contemplation on the insanities and misfortunes soldiers endure while trying to find a point within the pointlessness of armed conflict.

The violence, when present, is frightening and realistic but it's the tension in between battles that articulates the underlying horrors of war. The patience. The waiting. The slow crawl from one patch of terrain to the next, always uncertain as to which direction the bullet with your name on it may come from. Never sure how far your commanding officer will be willing to push you above and beyond your call of duty. Malick was gifted with an incredible cast and he seems to effortlessly guide them through some of their greatest performances. Nick Nolte, Ben Chaplin, and Elias Koteas are particular stand-outs, although Sean Penn also delivers another in a long line of career highlights.

Visually, this is one of the most striking war films I've seen this side of the Atlantic. Not since the days of Abel Gance's "J'Accuse!" and Georg Wilhelm Pabst's "Westfront 1918" have I had more haunting images burned into my memories. The accompanying score provided by Hans Zimmer sets each scene perfectly, accentuating the stress, the panic, and the mind-numbing brutality of life on the front lines. There's no smarmy sentimentality or forced patriotism here. There's just an impartial peek into the lives of the downtrodden who trudge wearily through what feels like an endless landscape of pain and suffering.

Malick's film was one of two major World War II blockbusters released in 1998, the other being Steven Spielberg's "Saving Private Ryan." I've always found it funny that cinema fans seem to be drawn into two camps, solidly backing one film or the other. For me, both films are remarkable examples of filmmaking and I love them both equally, albeit for different reasons. Overall, the sensitivity with which the subject matter in "The Thin Red Line" is portrayed is genuinely affecting and stays with the viewer well after the film has ended. Possibly Malick's best work, this should be seen by anyone who wants to acquire a more profound understanding regarding the ravages of war.

©2018 berringercrossreviews

Hercules in the Haunted World (1961)

"Zeus, my father, guide my hand if what I'm about to do is just!"

[5/10 · 1 January 2019]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

Hercules in the Haunted World / Director: Mario Bava / Career Catalog #15 / Review #0005

5/10

Mario Bava's entry in the sword-and-sandal genre is not exactly traditional to say the least. Hercules must travel down into Hades and steal the Stone of Forgetfulness to save a supernaturally cursed Deianira from being overtaken by madness. I've always been a fan of Bava's work, but I've found some of his non-horror pieces to be a little suspect. Let's face facts here, the film opens with a fight sequence that makes anything out of "Xena: Warrior Princess" look like an epic five star brawl and Hercules tossing an oversized hay cart has to be one of the most laughably bad special effects this side of "Manos: The Hands of Fate." At least the battle on the beach between Theseus and Sunis that follows fairly soon after fares a bit better in the action department. Fortunately we don't have many more fight scenes after that.

Italian filmmakers have always had good cinematographic eyes for natural landscapes, so it's no surprise that the outdoor sequences are masterfully shot. However, the best visuals come from some of the darker moments in the film, particularly within the chambers of the oracle, the garden of the Hesperides, and the tombs in Re Lico's private quarters. Hades itself seems a little bright and inviting by comparison.

I genuinely believe that too many peplum presentations take themselves too seriously. This is not a problem from which "Hercules in the Haunted World" suffers. Not only does it not take itself too seriously, sometimes it feels like it's intentionally playing up its absurdities, particularly when one witnesses the goofy Procrustes who looks like a rejected monster idea from the Jon Pertwee era of "Doctor Who." Theseus's womanizing exploits are also mildly amusing, most notably when he unwittingly pulls Persephone, favorite daughter of Pluto himself, out of Hades in a fit of puppy love.

Every opportunity one has to see the outstanding Christopher Lee on screen is a welcome one. I only wish he had more screen time in this film . . . and that he would have done his own dubbing for the English language edition. Overall, this is a fun little entrant in the "Hercules" franchise but it's slightly clunky and ultimately forgettable when placed alongside some of the timeless masterpieces of terror the director crafted elsewhere.

©2018 berringercrossreviews

Intolerance (1916)

"And so our very lives depend upon their extermination. An eye for an eye, a tooth for a tooth."

[9/10 · 31 December 2018]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

Intolerance: Love's Struggles Throughout the Ages / Director: D.W. Griffith / Career Catalog #483 / Review #0004

9/10

When discussing epic filmmaking, invariably the conversation will turn to D.W. Griffith, and rightfully so. Very few directors could not only control such a large scope of supporting cast members (I believe some sources cite the number of extras as bordering on three thousand), but to utilize them to the best of their abilities as well. From the massive scale of battle sequences in all of their awe-inspiring grandeur to the scenes of a mother rocking her child in all of their humbling solemnity, each sequence of this epic presentation is note perfect. Too, the set construction and its sumptuous detail were probably the best Griffith ever had, which ranks them high in the running as best of the entire silent era. The gate of Imgur Bel has always been a personal favorite of mine.

Ostensibly, this could be considered a precursor to "Pulp Fiction" or "Traffic" in the fact that it consists of multiple overlapping stories exploring common philosophical themes. In this case, we are treated to four segments showing how humanity's prejudice and hatred affect their fellow man. From the all-encompassing splendor of the fall of Babylon and the crucifixion of Jesus Christ to the St. Bartholomew's Day Massacre and an early twentieth century moral majority interfering with the lives of the lower classes (leading to an examination of the frailties of the judicial system), this film is a great reminder that ego and self-importance are not exclusive to our present society.

Indeed, there have been people in all periods who felt their ideals and their morals were better than those who didn't share their opinions. This is a sad truth of human nature. However I am hopeful that there will always be those who stand up against such intolerance and try to preserve some equality within human interaction. The brief flashes of nudity in the Babylonian chapter are a wonderful pre-Code reminder that even the concept of cinema was not immune to the concept of intolerance. When the (as far as I'm concerned anti-Constitutional) Hayes Code was implemented within Hollywood, some of the greatest filmmakers of that generation were subjected to the moral standards of a few pompous individuals who couldn't understand why the boundaries of cinema needed to be expanded upon and wanted to mold the creativity of others to fit their own antiquated beliefs. One of the best days in the history of American cinema was when the Hayes Code was abolished.

Regarding "Intolerance," sure it's simplistic by today's standards with its overreacting and pared down intertitles. But 1916 was a vastly different time in both the American way of life and in our pursuits of cinematic pleasures. The medium was still growing and we were just beginning to learn how powerful the silver screen could be. Said simplicity doesn't mean the core message of "Intolerance" is as dated as the methods that were used to deliver its inherent wisdom. Intolerance comes in many forms and it is our constant duty to combat it as best we can.

©2018 berringercrossreviews

Lizzie (2018)

"You seem obsessed with the concept of illumination. Are you by chance an Edison?"

[8/10 · 31 December 2018]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

Lizzie / Director: Craig William Macneill / Career Catalog #12 / Review #0003

8/10

The put-upon daughter of an unscrupulous businessman and an ineffectual stepmother, concerned over her future being left in the hands of her failed horse-trading uncle, slowly becomes unhinged in her desire to protect her inheritance. The story of Lizzie Borden is an oft-told tale and is often overly sensationalized. It's refreshing to see such a low-key representation brought to the screen. The evolving relationship between Lizzie and her family's new maid Bridget Sullivan, as well as its inevitable consequences, is played very naturally with no hesitations or missteps. Both Chloe Sevigny and Kristen Stewart fold themselves into their roles so snugly that it's easy to forget we're watching actresses portraying roles and not real people living their lives on celluloid for our amusement. Both are willing to take emotional risks that other actresses might not want to endure. Allowing themselves to be vulnerable in their performances allows themselves a greater opportunity to be honest with their audience. Sometimes it is not what is said but what is left unsaid between them in certain scenes which creates the dramatic tension necessary to sustain the film.

I love films that can effortlessly transport me back to a specific period of time and "Lizzie" succeeds admirably in that respect. Even though it is limited in its locations and its costume design, I never once question its 1892 setting. The Borden home's own clever construction cages both Lizzie and Bridget in a colorless, sterile world where overpoweringly bright (yet sunless) whites and sinister shades of brown and black provide an aura of claustrophobia which dominates their lives . . . no matter how large the rooms are through which they roam. It's not surprising then that the violently shocking green leaves of the pear tree are predominantly seen in sequences at the beginning and the end of the film when Lizzie feels her freest.

Noah Greenberg's cinematography is masterful in its framing of characters and its capture of essence. I've been a fan of Greenberg's work since "Camino" three years prior and he certainly doesn't disappoint here. I was particularly fascinated by the use of candlelight in an early sequence when Bridget is introduced to the Borden home. Many modern filmmakers would have darkened the surrounding areas too much and would not have allowed the candle to become the center of the visual space . . . which would have been a woeful mistake. Here it is handled beautifully, with its warm glow creating a bubble between characters that feels at once threateningly fragile and intimately intense. The sound design is a superb counterpart to the visuals. An operatic sequence is bold and room-filling while more guarded conversations are quiet and lifelike without overwhelming the audience, as some recent films have had a tendency to do. Overall, I feel there is a greater depth of realism in this retelling of the Borden legacy and I personally found it to be a thrilling way to pass an hour and three quarter's worth of my time. Maybe you will, too.

©2018 berringercrossreviews

Silent Night, Deadly Night (1984)

"When we do something naughty, we are always caught . . . and then we are punished. Punishment is absolute. Punishment is necessary. Punishment is good."

[7/10 · 25 December 2018]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

Silent Night, Deadly Night / Director: Charles E. Sellier, Jr. / Career Catalog #2 / Review #0002

7/10

After visiting his creepy grandfather in a generic Utah mental facility, a young child witnesses the murder of his parents on Christmas Eve only to grow up and become a psychopathic Kris Kringle. Yes, it's as simple as that. There's no overthinking of the plot on this one, folks. After all, we're not exactly expecting Shakespeare when we go into a film of this sort. This is the kind of tale where we want to see some blood, guts, and nubile nudes prancing around. "Silent Night, Deadly Night" bestows that upon us in abundance. From an impalement upon the antlers of a mounted reindeer's head to a decapitation during a late night sledding excursion, the blood flows freely. On the flip side of the coin, there's no shortage of sexuality either as we're treated to everything from a wet dream involving a toy store worker to a babysitter romping around with her boyfriend on a basement pool table; that last bit of which is provided by the luscious scream queen Linnea Quigley herself. Let's face it, if you were a guy growing up in the Eighties, you probably had a crush on the curvaceous Quigley due in part to films like this one (and "Night of the Demons" . . . and "Return of the Living Dead" . . . and so on and so on and so on).

Since the concept of Christmas began, a certain percentage of children have always held an irrational fear of that jolly old red-dressed elf. Story author Paul Ciami and screenplay writer Michael Hickey gave those children a reason to fear St. Nick. So much so, in fact, that this film carries with it the distinction of being one of the most controversial films of all time. Parents groups still try to block the re-releases of this film. This raises an interesting point that not every individual adheres to the same moral standards as everyone else. This has always irked me. We live in a land of freedom and we should never try to take freedom of choice away from another person. If something offends our personal sensibilities, we should be able to choose not to watch the offending article without taking away the right to view said material from those who aren't offended. It is not the responsibility of a film (or a television show, or a radio program - remember radios?) to censor what you see and hear. It is not their responsibility to play parent to your children either.

A final note about the film itself, it always amazed me that one of the most brutal, unforgiving horror films had such a warm, family-friendly soundtrack. Three of the original songs featured in this film ("Santa's Watching," "Sweet Little Baby," and "The Warm Side of the Door") really hammer the Christmas spirit home and could be featured on any discerning listener's favorite yuletide compilation album. Sadly nothing else songwriter Morgan Ames wrote would be as memorable as the pieces presented here. Overall this film might not be a perennial necessity, but it sure is a lot of fun for those of us who like a little holiday-themed extermination with our eggnog.

©2018 berringercrossreviews

Home Alone (1990)

"How low can you get giving Kris Kringle a parking ticket on Christmas Eve? What's next? Rabies shots for the Easter Bunny?"

[10/10 · 21 December 2018]

A Museum of Artistic Accomplishment in Cinema (M.A.A.C.) Review

Home Alone / Director: Chris Columbus / Career Catalog #3 / Review #0001

9/10

After a series of unforeseeable events, an eight-year-old boy is left alone at Christmas time and must contend with two neighborhood crooks. This ridiculous premise is made quasi-believable by the warmth the writers imbue in their creation and the characterization of childhood innocence star Macaulay Culkin brings to the screen. While his family members are painted with familiar colors, they never devolve into the realm of stereotypes or one-dimensional representations. They function well together and it's easy to imagine they have been interacting with (and getting on the nerves of) each other long before the camera intruded upon their presence. Catherine O'Hara's iconic histrionics over realizing she left one of her children behind are particularly fascinating. Her roundabout road trip to return home provides a good counterpoint to Culkin's main storyline.

Then you have the acerbic wit of Joe Pesci thrown into the mix. It's hard to believe he filmed this role in the same year "Goodfellas" was released. The two performances are such polar opposites of each other and yet, when combined, stand as a testament to Pesci's abilities as an actor. His comedic compatibility with Daniel Stern is off the charts and it's hard to see anyone else filling their roles as admirably as they did.

I really like the fact that the filmmakers never took the easy route and wound up exploring more than one fear for our youthful hero. Not only does he have the fear of criminals invading his home (however bungling the burglars might be), he also has to deal with his fear of the basement and his fear of murderous local legend Marley whom he continually runs into over the course of his exploits. It's not just fear that Culkin's character has to tackle, but the day-to-day aspects of living a life on his own. The filmmakers were aware that sometimes the simplest of things can make the funniest of scenes. From torn grocery bags spilling their contents over a suburban sidewalk to the application of aftershave, there are a thousand little details other films would overlook that make this one a memorable experience.

This film has all the magic of the month of December in one place, from hectic holiday travel schedules to the inarguably argumentative confrontations uptight relatives will inevitably share. I can't imagine the holiday season passing without indulging in this yuletide favorite. It just doesn't feel like Christmas until I've had my fill of purposefully cartoonish violence and heartwarming heartland schmaltz.

On a side note, as this is my first cinematic review, I would like to say that it is my firm belief you get out what you are willing to put into a film. No more, no less. Everyone has a different idea of what makes a film important or enjoyable because everyone has a different set of experiences they have lived through which color their perception of what they see and hear. You'll never read the words "pretentious," "overrated," or "the Emperor's new clothes" in one of my reviews. Many people misuse the word "pretentious" when they actually mean "snobbish." Many people misuse "overrated" and "the Emperor's new clothes" when they actually mean "I don't like this film and I can't imagine why anyone else would either." These statements are limited ideological viewpoints which cheapen the medium of cinema as a whole.

Many people forget that critical analysis is nothing more than the opinion of one person. There are no set-in-stone rules for any avenue of art, nor should there be. Creation is as wide and as varied as human imagination itself. Your opinion . . . my opinion . . . anyone's opinion from that of a professional critic to an armchair reviewer should never be accepted as fact or gospel. Good reviewers understand this concept and often provide for interesting reads. Bad reviewers who forget or scoff at this concept become nothing more than parodies that waste time, effort, and space. So I bid you good watching . . . and good reviewing . . . at this joyous time of the year.

©2018 berringercrossreviews

That '70s Show: That Disco Episode (1998) Season 1, Episode 7

That Disco Episode ***1/2

[7/10 · 30 June 2010]

Original Air Date: November 8th, 1998

When a new disco opens in Kenosha, Jackie drags the gang there for a fun-filled Saturday night of fancy dancing and dating faux pas. Knowing they needed to elaborate on the interpersonal relationships that had been introduced into the show, the writers maneuvered the group into a social setting which allowed them free reign to strengthen and separate their interconnected personalities. Both Kelso and Eric feel the first pangs of jealousy in their respective relationships with Jackie and Donna even as Hyde and Fez become formidable characters who break out of the background mold they've been cast in over the last few installments.

While it's not as consistently entertaining as the previous six shows, this episode gets a merit badge for trying hard. From the whacked-out stoner's circle to the father/son aftermath as Eric tries to run down Red's list of chores, the effort is certainly present. Even the interstitials try harder, with Fez sucking helium from a balloon in order to try his hand at chipmunk-sounding salsa singing. Some of the funniest scenes come from Kitty Forman trying to teach Hyde how to dance; including a first person perspective camera angle made all the more humorous by actress Debra Jo Rupp's exquisite ability to provide picture perfect comic facial expressions. Overall however, "That Disco Episode" proves that not every portion of the series can be a classic piece of jocular genius. Still, this sitcom's "average" is markedly better than most of their competition's best.

©2010 berringercrossreviews

That '70s Show: The Keg (1998) Season 1, Episode 6

The Keg ****1/2

[9/10 · 28 June 2010]

Original Air Date: October 25th, 1998

What do you do when you find a keg of beer in the middle of the street? You sacrifice a virgin to the gods! No, wait...that can't be right. Actually, the correct answer is: take it to a vacant house and have a party in the empty backyard pool! Based on this simple premise, another chapter in the scrawny little neighbor boy/saucy redhead next door saga unfolds beautifully. Between passing notes and cutting class, the monotony of everyday routine is broken up by this exciting discovery; what can only be described as the equivalent to the holy grail of tantalizing teenage fantasy.

As evidenced by this show, beer can make people do some strange things. It can turn Kelso into a mathematical genius or transform Eric into a hose-swinging macho man, though one of the real highlights of this episode actually takes place back at the Forman residence. When Red and Bob get wind of the situation and go out looking for the party, Kitty and Midge get drunk off daiquiris while watching "Rich Man, Poor Man" and share a few too many details about their personal lives with each other. This is the kind of one-on-one interaction that makes "That '70s Show" such a memorable fascination. Not only can the writers of the show pull off purely kinetic comic mishaps on grand scales, they can also pay attention to littler details that ensure not a moment of this twenty-two minute installment is wasted. Overall, "The Keg" is just one more magnificent monument in this sitcom's lasting legacy.

©2010 berringercrossreviews

That '70s Show: Eric's Burger Job (1998) Season 1, Episode 5

Eric's Burger Job ****1/2

[9/10 · 26 June 2010]

Original Air Date: September 27th, 1998

When her parents go away for the weekend there's a party at Donna's house, but the only person she really wants to attend is stuck working late at his new job. This fifth episode of "That '70s Show" derives much of its humor from the familiarity principle: everyone's been in similar situations to what Eric Forman is going through. Let's face it, who hasn't begun their working life with a menial job such as being employed by a fast food restaurant (or a retail outlet, or a grocery store, or a video store, etc.)? It really hits home for a lot of us and that's what makes this piece so funny.

Fatso Burger in itself is another testament to that sense of familiarity with its scarily generic set design and recognizably mundane color schematic. There's even a cookie cutter employer molded out of guest star Danny Bonaduce (who found fame in the actual seventies by appearing on another popular sitcom, "The Partridge Family"). Throw in a goofy, mock informational training video, replete with grainy black-and-white, and the scenario is concluded.

Things are also coming together nicely cast-wise for this installment. Danny Masterson has started to imbue more sincere (and sincerely endearing) sarcasm into his role of Hyde while Topher Grace (as Eric) has finally found the balance between indecisive square and altruistic centerpiece. Even Ashton Kutcher has expanded his dim bulb routine for Kelso; paying particular attention to the crafting of the job interview sequence using understated gestures and vocal patterns for maximum effect. There's still room for Kurtwood Smith to steal the one liner's spotlight as well with his slaughterhouse joke near the beginning of the program (though the introduction of Wilmer Valderrama's trademark catchphrase "it gives me needs" deserves an honorable mention, too). Last but not least, this is the episode that features Donna's famous disappearing sister Tina (played by pretty jailbait Amanda Fuller), who would never be seen again in the series' run. Overall, "Eric's Burger Job" hits almost as many high notes as one chapter of a sitcom can, making it a wonderful addition to the incredible first season.

©2010 berringercrossreviews

That '70s Show: Battle of the Sexists (1998) Season 1, Episode 4

Battle of the Sexists ****

[8/10 · 19 June 2010]

Original Air Date: September 20th, 1998

With Red Forman low on work hours due to cutbacks, he drives his wife crazy with his incessant household fix-it spree. Meanwhile his son Eric is being driven crazy by the fact that the girl he loves has beaten him in one-on-one basketball. For the first time in the show's short history, there are no extravagant extra details (concerts, birthday parties, political rallies) going on in the lives of our favorite television family. In truth, that makes it hard to remember this is indeed a simple sitcom and not an every day slice of American life seen through comical goggles.

Every member of the cast plays at least a semi-integral role in the development of major situations, giving them all opportunities to shine instead of having one or two standouts among the crowd like the initial episodes. More depth is given to Jackie Burkhart (Mila Kunis) and Steven Hyde (Danny Masterson) during the episode's subplot which focuses on the annoying-but-comfortable relationship between Jackie and Kelso. More validity is given to the budding relationship between Eric and Donna. There's even more room for Wilmer Valderrama to expand on the mannerisms of his foreign exchange student personification, Fez. It's nice to see such intricate detail being woven into the fabric of these characters' interactions with one another and it was easy to see that the show would keep solidifying itself from here. Overall, "Battle of the Sexists" might not be one of the most memorable installments from the first season, but you could do a whole lot worse with other television tidbits from the same era.

©2010 berringercrossreviews

That '70s Show: Streaking (1998) Season 1, Episode 3

Streaking ****1/2

[9/10 · 15 June 2010]

Original Air Date: September 6th, 1998

President Gerald R. Ford is coming to small town Wisconsin and Forman clan patriarch Red (Kurtwood Smith) is given the opportunity to ask him one question. The only question facing Red however, is will he ask the pre-approved inquiry or invoke his freedom of speech and ask his own, harder hitting query. For the third show in a series' run, this is a surprisingly dead on sitcom portrait of America. The writers, cast, even (soon to be) long time director David Trainer are all comfortable in their positions and expertly blend together the matchless melting pot of Midwestern values and hyperactive humor.

This show presents a novel way of dealing with the economic recession of the seventies while touching upon the popular counter cultural subject of streaking through populated events (for evidence of this activity's reputation look no further than Ray Steven's 1974 song "The Streak"). Nothing is taboo for this show, be it the sexual inclinations of Donna Pinciotti's parents hinted at before her very ears or religious symbolism depicted in the school cafeteria during a moment of rebellious decision regarding the title pursuit.

It's not just the standout scripting of the episode or the marvelous way it's presented, it's also the undeniably superb casting choices the producers made. There's the show-stealing performance from Kurtwood which begins to truly define his curmudgeonly lovable character. There's also the wonderful highlighting of differences and similarities between working class grump Kurtwood and fun-loving, American flag jumpsuit wearing next door neighbor Don Stark (who plays air-headed Bob Pinciotti a little too perfectly). Each teenager spotlighted on the show has already been well-rounded in their creation and it's also incredible to have two generations of sex symbols living under the same roof on screen: the heartbreakingly hot Laura Prepon (Donna) and the ageless Aphrodite Tanya Roberts (as Donna's mom Midge Pinciotti). I do believe the series marginally missed out by not developing the high school principal (Mark Bramhall) into a recurring supporting role, though that's a very minor nitpick compared to the successes achieved. Overall, "Streaking" hits another horsehide out of the park on the entertainment ball field that is television.

©2010 berringercrossreviews

That '70s Show: Eric's Birthday (1998) Season 1, Episode 2

Eric's Birthday *****

[10/10 · 9 June 2010]

Original Air Date: August 30th, 1998

It's only the second show for this long-running television blockbuster and we already have our first near perfect episode. All Eric Forman (Topher Grace) wants for his seventeenth birthday is a cassette tape player for his Vista Cruiser. All he doesn't want is an eight-track tape deck and a surprise party to go along with it. As life so often proves, however, you can't always get what you want...although you might get everything else!

In a sea swelling with unbridled overtones of sexual angst and parental neuroses (not to mention sibling favoritism), this episode stands out as a testament to familial heart and unbreakable friendships. While it was evident that almost every member of the cast had the potential for bigger and better things, one particular standout in this installment is Debra Jo Rupp. As Eric's mother Kitty Forman, she utilizes elastic facial expressions and slightly paranoiac vocal inflections to her best advantage, creating a fascinating maternal figurehead that ranks her alongside other classic mother alumni such as Florence Henderson (Carol Brady from the appropriately titled "The Brady Bunch") and Barbara Billingsley (June Cleaver of "Leave it to Beaver" fame). First runner-up to Rupp's humorous portrayal is the always luscious Laura Prepon as Eric's intended girlfriend Donna Pinciotti. One can't help but chuckle while watching her "seductive eyes" sequence on the porch.

This would also be the episode that introduced Eric's sister Laurie (played by vivacious blonde bombshell Lisa Robin Kelly) who provides the object of a little creative editing (both stylistically and via Michael Kelso's thought process) as Kelso (Ashton Kutcher) tries to convince the guys that Laurie was coming on to him in Forman's basement...when everyone else who witnessed the event clearly saw that wasn't the case. Overall, "Eric's Birthday" represents everything that was right about "That '70s Show" and should be viewed by anyone who wants to learn how to craft exemplary short form comedic entertainment.

©2010 berringercrossreviews

That '70s Show: That '70s Pilot (1998) Season 1, Episode 1

That '70s Pilot ****

[8/10 · 8 June 2010]

Original Air Date: August 23rd, 1998

Five local Point Place, Wisconsin teenagers and their foreign exchange student tagalong head out to a Todd Rundgren concert in Milwaukee after their circumstantial leader is given an old Vista Cruiser by his parents. With that simple premise, a modern day television classic was born and laughter could be heard around the world and across the decades. This little show had a mountainous power: a power to capture the spirit of the seventies on top of nineties sensibilities. With its well-defined characters, sharp-tongued dialogue and minimalist approach to situation comedy, "That '70s Show" became an era unto its own (lasting just two years shy of a decade). A lot of the future hallmarks of the show are present right from the start: the awkward, interpersonal relationships of its teen focal point, the first person camera views, the floating wall used to signify the stoned genus. In this day and age, it has become harder and harder to find true, lasting greatness gracing our television screens. "That '70s Show" will forever be the benchmark that reminds us moments of greatness are still within the boob tube's grasp, however few and far between they may seem.

On a final note, from a musical standpoint, am I the only one who prefers the Todd Griffin rendition of the theme song used throughout the first season to the version used by Cheap Trick from the second season onward? Neither one touches Big Star's original "In the Street" obviously, but Griffin's take felt more enthusiastic than Trick's, which ultimately felt as toned down as most of their post-'82 output. It's also a shame a lot of the ancillary music was cut from the DVD releases of the series, considering its use helped transport the viewer back to the decadent time depicted therein.

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