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Where do old porn stars go when they 'die?' Not when they literally pass away and no longer cease to exist as living, breathing (f-ing, s-ing) individuals? Well, there's always work behind the scenes, and many have made the transition to Internet based business models...and quite successfully. Still, for most, the urge to be legitimized and escape the stigma of a career committed to sex is too much to bear. Instead, they continue in their carnal ways until the ultimate voting entity - the viewing public - demand they put their clothes back on. And then there's someone like Aramis Sartorio. Under the name "Tommy Pistol" he has been a Burning Angel mainstay (with titles like The XXXorcist and Evil Head) and alt-genre stalwart. Still, a life in service of smut was less than profitable, personally and psychologically. So his mainstream alter ego, Sartorio, has decided t...Read the entire review

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When the history of home video is written, few will deny the impact and import of DVD. Unlike VHS, which became a product of scientifically dimishing returns (technically and aesthetically), the promise of preservation has lead many studios and distributors to take advantage of the one and done dynamic. Indeed, many believe that once they place a title on the format, they no longer have to worry about keeping the fans happy. They've more or less done their job. And while the question of added content (or the lack thereof) constantly countermands such a position, the truth is that many obscure or outright unnecessary releases benefit greatly from a collection of complementary material. Take Satan's Slave, for example. Already available in severely edited, full screen versions, this mid '70s shocker is held in high regard by devotees of its cast and its creator - director N...Read the entire review

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When the history of post-modern horror is written, one film will definitely be delineating as defining a whole new subset of scares. Call it 'gorno' or 'torture porn' (though neither label legitimately explains the concept), but James Wan and partner Leigh Whannell hit slick suspense paydirt when the introduced Saw to unsuspecting viewers. While the first film was really an exercise in tension, subsequent installments took the blood drenched 'games' idea to new nauseating heights. By the time of the final installment, the plots were all premise and preposterous death traps. Now, like a well-meaning mimic (even down to a similarly styled three-letter name), Die wants to mine some of the same trapped rat dread. While it starts out promisingly enough, by the end, we no longer care for any aspect of this flawed entertainment - not the idea, not the execution, and defin...Read the entire review

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They were the most famous band in the world. Their every move inspired actual shifts in the pop culture dynamic, and a myriad of mimics who wanted to capitalize on their cash cow celebrity. Every album was greeted with childlike wonder, every single soaring straight to the top of the charts. By the time of its release, Sgt. Pepper's Lonely Hearts Club Band would become endemic of an entire era, the soundtrack to the Summer of Love. So it made sense that The Beatles, eager to spread their artistic wings beyond the three minute pop song (and shelter some of their hard earned dosh) decided to form the boutique label, Apple. With it, they could discover new talent, invest in film production, expand their media reach, and seek out the kind of eccentric forms of expression that stirred their potent pot-fueled imaginations. The story of the idea's rise and dramatic fall is outli...Read the entire review

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They called him "The Great One." He was a man of large appetites and even larger talents. He was a multiple pack-a-day chain smoker and loved his adult beverages. He refused to fly and traveled everywhere by private train car. At the height of his popularity, he was the highest paid television star in the history of the medium and millions watched his variety show every single week. While he was a god of the small screen and the nightclub stage, big screen mega-stardom mostly eluded him. From critical acclaim (he was Minnesota Fats alongside Paul Newman in The Hustler) to saccharine cult clamor (he's one of the few good things about the deaf mute mush of Gigot) his Tinseltown appearances further proved that only the TV was able to properly channel his larger than life persona. But Jackie Gleason was so much more than a curse word filled hick sheriff or a rich racist...Read the entire review

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When our entertainment mediums were young, the Western ruled. It was our first communal fairytale. Over the years, it was revered and rejected, reconfigured and reinvented, returned to its original roots and reimagined as the story of a still growing nation. It told history. It told travesty. But mostly, it told the standard heroic poems of villains and veiled good guys. Over the decades, it droned on, deviating little from the staid stereotypes and narrative routines that threatened to kill it. Once the '60s arrived, the dying artform was given new life by a group of gonzo Mediterraneans, each putting their spaghetti spin on things. Today, the Western is the realm of remakes, few finding anything original or new in the still overdone dynamic. Perhaps this is why something like The Scarlet Worm resonates as powerfully as it does. Writer David Lambert and director Michael ...Read the entire review

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Few classical pieces have crossed over into the mainstream as successfully as Bizet's Carmen. There isn't a baby boomer alive who doesn't know either the "Habanera" or "The Toreador Song" from the seminal opera, thanks in part to Phil Silvers, his character famed Broadway producer Harold Hecuba, and the cast of Gilligan's Island. During one memorable bit of stranded castaway sitcom madness, the survivors of the S.S. Minnow put on a musical version of Hamlet, hoping to inspire their visiting dignitary. Instead, Hecuba watches their satiric take on the Bard (including music lifted from Carmen and Offenbach's Tales of Hoffman) and then leaves the atoll, stealing the idea for himself. Or maybe your remember a crudely fashioned Bart Simpson singing the substitute elementary schoolyard lyrics to "Toreador" ("Toreador/ Don't spit on the floor-a/ Use a...Read the entire review

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If you were a child in the '60s and '70s, art was as much a part of your schooling as science. You took life drawing as well as English, music along with mathematics. Somewhere, someone thought that history had to be augmented with an appreciation for all things aesthetic. Today, budget cuts and PC-protests have removed most of these ancillary educational devices, rendering the post-modern experience a combination of memorization and rote test regurgitation. We bring this up because for many born after the end of disco, something like Peter and the Wolf will be nothing more than a shoulder shrug. The 'songs' will sound familiar, but for the most part, few will have seen the actual ballet or heard the score in pure symphonic bliss. We straggling boomers can remember when it was a ritual, a puppet show or local dance company presentation put on so that the elementary school...Read the entire review

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What is your favorite splatter epic? Is it John Carpenter's The Thing? How about J rg Buttgereit's sickening Nekromantik? Perhaps you are more inclined to enjoying such icky Eastern offerings as The Guinea Pig Series or the Mediterranean macabre of Lucio Fulci. From Day of the Dead to Hostel, Cannibal Holocaust to Peter Jackson's Dead Alive, blood and its onscreen bounty has been a jolly genre given since the gruesome gave way to the gory. Of course, there has to be more than mere vivisection, as many of the above titles and artists confirm. Still, some movies want to get away with being nothing but autopsies and atrocities. Take the recently release The Summer of Massacre. Jack-of-Too-Many-Trades Joe Castro set out to make a record-breaking bit of human deconstruction. Because of the means used to achieve this redolent rec...Read the entire review

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At this point, the cars no longer matter. They're a never-ending parade of high tech parts and gearhead fantasies that render each new model interchangeable within the TV series dynamic. Sure, there is someone in the home audience hoping that the new Lamborghini gets a critical overhaul by the seminal series hosts, and there is no denying the thrill of seeing a high profile star (Alice Cooper!) in a reasonably priced Kia. But the real draw of Top Gear circa 2012 (or in the case of this Blu-ray release, Summer of 2011) remains the quirky, eccentric approach to car culture. From trying to retrofit the British railway system with a new kind of "train" to taking vehicles of questionable present day value and running them through a collection of insane challenges, our trio of hosts - aging icon Jeremy Clarkson, pop hit show host wannabe Richard Hammond, and cultural cur...Read the entire review

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It's unfair to call Tom Palazzolo a filmmaker. There is much more to his work behind the lens than the mere capturing of images on celluloid. And don't call him a documentarian, either. While he does work in the fact-based arena, his movies are more a record of a specific time and place than a sweeping statement of social or interpersonal consequence. No, call Tom Palazzolo a "chronicler," a man devoted to being the fly on the wall as the world trundles by. Over the course of his long career (IMDb has him active starting in the '60s), this director has taken a recognized format and found a unique, personable style within its hemmed in, frequently rigid requirements. As a result, his images feel more like moving portraits in a gallery rather than simple pictures in motion. In this latest DVD collection from the man, we are treated to four more examples of his surreal souvenir app...Read the entire review

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The world is going to end. It may not be tomorrow, or at a precise date in December 2012. It could be decades or even millennia away. But one thing is for certain - just as clearly as the planet was created and evolved into the varied place we humans call home, there will be a moment in the future (the supernova of our sun, a dissipation of the ozone layer) when life on the globe will be impossible to maintain. For some, of course, that time is nigh. According to the talking heads who take part in Reality Films flimsy Apocalypse 2012: The World After Time Ends, we are on the precipice of total destruction. In fact, many believe it's too late. We are doomed to die by our own hand. The means seem like a laundry list of activist caveats: mistreatment of the environment, overpopulation, an overreliance on fossil fuels, the depletion of major natural resources (water, air, foo...Read the entire review

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Frank Zappa was never what one would call a commercial rock star. Instead, he was a fringe dweller, influential as Hell but lacking the mainstream appeal that translated into consistent hit records and jukebox singles. While his work in the late '60s is often considered the foundation for much of the psychedelic and acid to come, he also worked within the realms of jazz, classical, R&B, and the avant-garde. Nowhere was the latter more in evidence than when he decided to start his own record labels. Named Bizarre and Straight and co-created with then manager Herb Cohen, the sonic boutiques would eventual house some of the most unusual acts in the history of music: Wild Man Fischer, the goofy groupie experiment The GTOs, the rather refined acapella group The Persuasions, and Alice Cooper, back when it was the name of the entire band. As with many examples of outside the norm v...Read the entire review

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When Alex Cox was fired from Fear and Loathing in Las Vegas, paving the way for Terry Gilliam to take over, it was seen as yet another example of the elusive nature of Hunter S. Thompson, both as a writer and a gonzo journalism legend. Like previous masterworks such as Naked Lunch and Gravity's Rainbow, many believed the maverick's work would never make an easy translation to the big screen, and while it was a bomb upon delivery, home video resurrected the Johnny Depp/Benicio Del Toro title, turning it into a certified cult phenomenon. As a result, the artist consistently known as Captain Jack Sparrow decided to champion an adaptation of Thompson's first novel, a weird little walk through the Puerto Rico of the late '50s/early '60s entitled The Rum Diary. Bringing film geek great Bruce Robinson (Withnail and I) along for the ride, the process w...Read the entire review

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There was a time when they were proclaimed as the saving grace of rock and roll. Heralded as the Next Big Thing while staying firmly rooted in their western wasteland mentality, they encompassed everything experimental and evocative about the emerging American punk movement. Combining the classic riffing of rockabilly (thanks to Billy Zoom's amazing instrumentation), a jarring journeyman bass throb (at the hands of group leader John Doe), in combination with a powerful, potent backbeat (the work of one DJ Bonebrake), the resulting sonic boom was covered in the evocative poetry and surreal vocal stylings of the sole female member (the inexplicable Exene Cervenka) to create a music that was raw, urgent, fresh, familiar, and confrontational, all in one pulse-pounding, ear-bleeding package. During their initial run, they made at least two classic albums, released dozens of sensationa...Read the entire review

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Apparently the reports of Tyler Perry "retiring" his delirious drag act, Mabel "Madea" Simmons, were - to pull a paraphrase - greatly exaggerated. Instead of putting the Mad Woman of the Ghetto to rest once and for all, the hilarious he/she has been back in both movie (Big Happy Family) and stage play form. The most recent example is the holiday themed A Madea Christmas. Rushed onto the boards in time for a whirlwind tour (and eventual DVD/Blu-ray release), it represents the second phase in the cantankerous old grandmother's media stance. Where before she was a joke spouting malapropisms and misguided Bible verse, she is now the joking voice of cultural reason. As part of this conversion from pratfall to preacher, Perry moves away from his milking melodramatics to a more straightforward sense of story. The results may not be classic, but when they contain Ma...Read the entire review

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Mexican maverick Guillermo Del Toro loves the '70s - particularly the influential ABC Movie of the Week and its wealth of untapped made for TV macabre. He worships at the altar of Kolchak: The Night Stalker (both the original films, the eventual series, and the rogue supernatural reporter himself) and adores such one-off masterworks as the Kim Darby/Jim Hutton mini-demon fest, Don't Be Afraid of the Dark. As a matter of fact, it has always been Del Toro's dream to bring the popular installment of the seminal Me Decade show to the big screen. Finally, in 2011, he achieved his aims, turning the tale of a troubled young woman terrorized by tiny creatures into a sprawling quasi-epic involving childhood lost, motherhood found, and tooth fairies from Hell. While gorgeous to look at and well approached, there is an inherent problem with the Del Toro produced, Troy ...Read the entire review

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When will homemade horror filmmakers finally "get" it - attempted badness is never as good as actual awfulness. No matter how much you love The Lost Skeleton of Cadavra, it can never be as delightful as a real dud like The Barn That Dripped Blood or Attack of the Crab Monsters. So when someone sets out to make a purposefully pathetic fright flick, odds are they won't succeed and no matter how hard co-writer/producer Kevin Stewart and co-writer/director Jordan Downey try, their holiday themed Thankskilling comes across as underbaked and underdeveloped. Sure, the cover art proclaims it is "The Best Worst Movie Ever" (take that, Troll 2), but the end result is not as funny as it is flimsy, aimed at a certain pharmaceutically enhanced demographic and destined to make them (and few others) happy.

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In the time of the pilgrims,...Read the entire review

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It takes a lot to stand out in the world of horror. You either have to reinvent the genre, fully embrace its often creaky conventions, or do something so unusual or out of character that it calls attention to your new or novel approach. Without that, you simply get lumped in with a hundred hackneyed pretenders to the paranormal throne - and end up seeming as such. With his African-American-ccentric approach and unique cinematic style, Sean Weathers is such an eerie auteur wannabe. His fixation is on taking the racial element out of fright, allowing individuals of color to fight and survive the same unholy harms that Caucasians in the mainstream battle regularly, is truly original. His oddball first film, House of the Damned, takes zombies, family curses, comedy, ancient rituals, and undead rapping and turns it into a (mostly) terrific take on the type. While he might not...Read the entire review

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When the one two career-ending punch of Straight to Hell and Walker landed at director Alex Cox's door, he was effectively blacklisted from Hollywood. No matter the mainstream success of his debut, Repo Man, or the cult classicism of his take on the seminal Sex Pistol's bassist, Sid and Nancy, he was a man without a studio or a support group to offer an outlet. Having befriended some in the Mexican film industry, he was eventually hired to helm an unusual police drama. Entitled El Patrullero (translated, Highway Patrolman), it was virtually unseen in America. Now, some two decades later, DVD has brought about a resurgence in Cox's canon. Among the mini-masterworks audiences have finally experienced are Searchers 2.0 and a visionary recut of Hell. Now, with this lost gem, it's clear that this was one filmmaker whose ambition...Read the entire review

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Hey Warner Brothers - here's a quick question. What, exactly, do you think "essential" means? No, not in the dictionary definition of the oft-used term. Heck, anyone with a Kindle or a correctly functioning web browser can come up with that one. What we mean is this - what exactly makes up the concept you call "essential?" Huh? The reason one asks is because of the recent release The Essential Daffy Duck. Contained on this two disc collection of Merrie Melody/Looney Tunes 'classics', including some of the fowl's original offerings, we are supposed to believe that this collection represents a quality overview of Daffy's animated career. The problems begins, however, when you start to look over the actual contents. Disc Two represents some of the most recent work from the crazed character, material one would barely consider "essential." And then, to make matters worse, you ...Read the entire review

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Tyler Perry is actually responsible for two classic comedic characters (based, of course, on one's definition of said 'archetypal' adjective). While many would argue that he's only managed one - the broad stroke black woman stereotype that is the amazing Mabel "Madea" Simmons - there is another that deserves equally funny bone footing. From the moment Perry stepped onstage in a defiant drag evangelism, he brought along a bumbling buffoon of a fashion disaster known as Leroy "Mr." Brown. As played by gospel legend David Mann, he would represent the conceptual opposite of his creator's maternal madwoman. Superstitious, silly, and as subtle as a slap in the face, Brown was often the highlight of Perry's more profound pro-faith meditations. So naturally, when the African American artist decided to expand his brand and enter the medium of television, this couture clashing clown had t...Read the entire review

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As with almost everything he touches, Tyler Perry's television output has been a boon for Atlanta Superstation TBS. From the moment House of Payne proved that the playwright's "go with God" message could translate into straight-up sitcom gold, the channel has been championing the movie mogul's every output. With his latest - Tyler Perry's For Better or Worse scheduled to start over the Thanksgiving Holiday weekend, it's interesting to note that his most popular series is shutting down for a while. Based on one of his more infamous characters, Meet the Browns saw David Mann recreating his celebrated stage role as the fashion dysfunctional patriarch of the extended family of Mabel "Madea" Simmons. As Leroy Brown, the noted actor and singer soars, especially when given a live audience to work with. Here, as in the previous packaging of the ...Read the entire review

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Ayn Rand continues to be one of the most misapplied philosophical minds in all free thinking society. Luckily, the Occupy Movement has stolen much of the Teabaggers thundering, rendering their need to channel this devoutly anti-Communist Russian migr ad nauseum. The funny thing is, Rand is really only famous because of a pair of overinflated novels - The Fountainhead and Atlas Shrugged. In between, she worked as a screenwriter, scholar, and social activist. Somewhere along the line, her reality and her limited literary output became confused, considered one in the same thing. Granted, her narratives often reflected her viewpoints, but not without larding same with unnecessary melodrama, soap opera sex scenes, and enough ancillary asides to confuse a class of graduate students. While many have tried to bring her baffling tomes to the big screen, few have succeeded...Read the entire review

The Product: Ever since Vampira advertised her "assets" to awake adolescent males across the '50s TV landscape, the horror host has been part of the scary movie dynamic. Originally pimping the Universal Shock! package, these presenters mimicked your favorite monsters while adding a bit of burlesque to the macabre mix. By the '60s, icons such as Zacherley and Ghoulardi were delivering the shivers to eager viewers everywhere. Perhaps the last great example of the 'boob' tube type was Elvira, Mistress of the Dark, though a post-millennial move by such retro revivalist as Wolfman Mac and (the new) Svengoolie are eager to bring it all back. And sitting somewhere in the fringes of both horror hosting and film making is Scarlet Fry. Born Walter ("Atta boy!") Ruether, this weird wannabe has been donning different get-ups and producing his own collection of homemade scare shorts since the early '9...Read the entire review

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Chuck Barris is a fallen idol, a forgotten cog in the glorious, gangrenous pop culture machine that has chugged and mugged its way into American living rooms since the early '40s. No one had their calloused thumb more readily poised on the pulse of a nation in naughty transition better than the notorious 'Chucky Baby'. From the chaperoned sexual hook-ups of The Dating Game through the misery loves matrimony of The Newlywed Game (and countless permutations on said premises), this off-color Oompa Loompa saw deep into the wounded psyche of a people burned by liberation and fear and winked a bloodshot eye. But his crowning achievement (as well as personal downfall) had to be the talent show as social enema known as The Gong Show. Here, for a few moments of fame and a couple hundred bucks, anyone with the vaguest notion of personal performance capability tried to ...Read the entire review

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Are there any more devoted fans than Deadheads? For decades, we heard the urban legends of their transient, tagalong devotion, their tie-dyed, get in the mini-bus venue to venue vaga-bonding. As their favorite force of nature, the Grateful Dead grew from Americana revivalists to the last lingering vestige of the psychedelic '60s. They also became a well oiled - and well loved - machine, manufacturing concerts and the accompanying cash is record amounts. With a festival like atmosphere and jam band bravado, their tours were tantamount to revivals, places where non-religious revelation could comingle with all manner of alternative realities and recreational pharmaceuticals. When founder Jerry Garcia died, it looked like the Dead would end forever. Granted, while not part of the live experience enterprise anymore, the influence of the group can be felt throughout the rest of the mu...Read the entire review

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The problem with most family-oriented films is that they treat children like consumers, not competent, thinking beings. They believe that all aspects of cinema must be spoon-fed to them in a Pixie Stick spiked frenzy, elements like pacing and characterization left for more snooty, mature movies. This gets even more disturbing when you consider how focused and micromanaged these movies really are. Studios aim for specific elements of the various demos while determining what will and will not have the schoolyard recess reporters gossiping like goons. In the case of this past popcorn season's Judy Moody and the NOT Bummer Summer, we have a ditzy dish best served to pre-pubescent girls. It's full of glitter and filly tutus, posters adorned with dozens of stickers and an adult character whose as amiably arrested as the non-adolescents she's in charge of. It's loud, lumbering, ...Read the entire review

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It seems like, every few years, a new amazing British comedy comes out of the woodwork to make its brilliant humorous presence known. Either as part of BBC America or the timeline treasure trove known as home video, previously secret series arrive and reveal their abject genius to one and all. In the past, we've had some earnest examples as The Goodies, No, Honestly, Fry and Laurie, Mr. Bean, Blackadder, Red Dwarf, and The Young Ones. Now, we can add the amazing Snuff Box to the list. While it follows a familiar design - the sketch comedy show set within a specific, identifiable dynamic - it achieves its aims in a way so wild and wooly that it threatens to peel the skin off the back of your head and befuddle your brain via a direct link to your funny bone. The results rewrite every rule you thought was inherent in th...Read the entire review

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Hollywood had a hard time dealing with the '60s, and more specifically, the growing counterculture. For a while, they just ignored it, assuming it was all a youth coup phase and that The Establishment would right the constantly shifting social paradigm eventually. As the War in Vietnam raged on and the Generation Gap grew exponentially, it soon became clear that Beach Blanket Bingos weren't going to keep Joe and Jane Teenager from tuning in, turning on, and dropping out...of the demographic. So the studios responded like any out of touch adult - they tried to be 'cool.' While actual rebels such as Dennis Hopper were truly in touch with the adolescent unrest at hand, clueless copycats like American International Pictures produced propaganda such as Riot on Sunset Strip. Meant as a kind of expose on the situation simmering in Los Angeles (and by inference, the rest o...Read the entire review

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The argument over who was/is better - Charlie Chaplin or Buster Keaton - is really rather pointless. It's like debating genius when equally important and creative entities are in the discussion. Was Lennon or McCartney more important to the Beatles? How about Picasso and Monet, or Parker vs. Coltrane? There will never be a definitive answer, no real consensus beyond their mutual status as masters. So as long as we have their work to wonder over and consider, it doesn't really matter who's the greatest, right? Thankfully, the preservationist nature of DVD (and its upgrade companion, Blu-ray) has brought the efforts of both Chaplin and Keaton to the fore. Kino, specifically, has been championing the latter, released many of old Stoneface's considered classics. This time around, we get the delightful double feature Go West and Battling Butler. While not quite up there...Read the entire review

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For many, the legacy of Pee-Wee Herman lies in a seedy mug shot and a equally grimy Sarasota, FL porn shop. It was is such an unlikely locale that character originator Paul Reubens was arrested and charged with acts unbecoming a kid show host. Though he had never specifically aimed his material at children, his Pee-Wee's Playhouse had become a Saturday morning staple for several years, guaranteeing him the attention of the pre-adolescent set...and parents who went ballistic upon the news. For decades now, Reubens has planned his comeback. He made a memorable early appearance at the MTV Video Music Awards (asking the classic self-deprecating line "Heard any good jokes lately?") and discussed plans for movies, specials and other reentries into the limelight. The project that finally came to pass was a massive hit Broadway performance that melded elements of his weekly telev...Read the entire review

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Whenever the great girl groups of the rock and roll era are discussed, one animated band always seems to get shortchanged. Fans of flesh and blood combos can argue all they want for the Go-Gos superiority or the Bangles, but when it comes to the queens of pen and ink performance, no one can hold a hand drawn candle to the collection of creative musicians known as Jem and the Holograms. About as pre-fab as the Monkees, this half-hour hit parade could have been a crass business bungle. After all, it was based on a line of dolls from Hasbro and initially conceived mainly as a crass commercial tie in. But Jem, Kimber, Aja and Shana managed to figured out a way - through some very talented people behind the scenes - to transcend their demographically accurate marketing strategy and become something of an anomaly in the standard Madison Avenue kid's show carnival. Instead of being hop...Read the entire review

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They are the most prog of prog rockers, the dinosaurs that punk rebelled against and fans fled from once New Wave and other sonic possibilities arrived on the scene. Still, for a group so uniformly vilified, Emerson, Lake and Palmer remained wildly popular. Selling over 40 million albums and heralded for their pomp (and pretension), the trio constantly tempted aesthetic fate. Formed in the late '60s and first praised by the public with 1970's self-titled LP, Emerson, Lake and Palmer would go on have hits both likely ("Lucky Man," "From the Beginning," "Still...You Turn Me On") and unusual (their nine minute plus take on Aaron Copeland's classic "Fanfare for the Common Man'). Along the way, egos and bad blood, health issues and diminishing interest split the boys, each going off to often successful side projects. By 2010, the year of this live reunion concert at the High Voltage ...Read the entire review

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It had to happen sometime - what with all the touting and temptation. At some point in every gimmick's lifetime, the stunt destroys its intended target. Now, not the audience (in the case of the creaky ploy being discussed today - 3D), but the user of such a device. In the case of Hoodwinked Too! Hood vs. Evil, the decision to add a dimension more or less undermines what the original fairytale satire was attempting. Trying to avoid the formulas and stereotypes that seem to plague the animated family film, this sly spoof poked fun at everything we've come to expect from the pen and ink genre...and then some. Now, however, the bloom is off the CG rose and the cliched chickens have come home to roost. While the majority of the movie is forgettable farce, the overuse of 3D in various action scenes renders the rest moot. We spend so much time dipping and diving around the moth...Read the entire review