Leprechaun [1993]

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Leprechaun [1993]
Customer Review: AN ORIGINAL SORY AND GOOD GORE BUT NOT MUCH ELSE
Ten years ago, an evil leprechaun (Warwick Davis) lives, protecting his ill-gotten cold collection. Today, Dan O’Grady, (Shay Duffin) after finding what he believes are magical gold coins, steals the gold and returns back home, followed by the leprechaun. Ten years later, Tory Redding (Jennifer Aniston (Yes, it’s the same one)) and her father JD (John Sanderford) move into the same house, which Tory isn’t extremely fond of. Due to heckling from neighbor Nathan, (Ken Olandt) Tory agrees to stay. When friend Ozzie (Mark Holton) finds the leprechaun in the basement, no one believes him. When he finds the sack of stolen gold coins, he tells his little brother Alex (Robert Gorman) and they take it to get it evaluated. The leprechaun tracks it down, killing the shop owner. As the residents around the town start to be killed off, Tory and her friends start to realize that the killer is a leprechaun. Understanding the significance of the gold coins, they use them in a plan to rid themselves of the malevolent creature.

The Good News: First of all, I want to get this out. This is the probably the goriest entry in the series. We have some really bloody kills such as a few really good looking face scratching, some convincing burn marks a face ripped off, a car burner to the nose, and an ear bitten off. The killings did look a little bit more creative than normal, and the effectiveness of them is a real testament to the movie. Another great thing about the killings is that the Leprechaun harmed before he killed. The great special FX is the best part here. This includes the only scare in the film: the recreation of the leprechaun. When Ozzie finds the crate with the Leprechaun in the basement, he leans in closer to hear what the crate is making and the hand shoots forth. The crate is then splintered into pieces as a terrified Ozzie is sent cowering away in fear, with the unbelievable story to tell. The Leprechaun’s make-up in this one is perhaps the most frightening of the series. It’s probably due to the fact that the film is a straight horror film, rather than the sequels’ more hilarious tone. Because of the cracks in the face and the different dimensions it has, with the lighting in the film, creates a really unnerving sight when first viewed. You can tell this was intended to be a great slasher film, as it does follow the slasher rules: the indestructible killer, the false death, the desolate location, the killer chasing the victim and catching them by walking, and the setting up of the sequel. All these things aside, the best reason to watch one is to see Jennifer Aniston in a pair of short-shorts for ninety minutes, as she never changes clothes.

The Bad News: The sequels are what made the series. They were all downright hilarious, which this one really isn’t. This one feels intended to be a straightforward horror story, and there are no real big laughs in this one. There are a few funny scenes that definitely show where the series is going, such as a pretty funny scene where Ozzie is drenched in paint after an accident, but the fans who love the series for it’s wacky gags and smart one-liners will be lost here. Also readily apparent is Warwick Davis’ almost disinterest in playing the leprechaun. I didn’t see the glee that he had in the sequels in his performance in this one. You can almost tell that he didn’t think this was going to be big and never really put his all in. Another big problem is that the film really doesn’t have a lot of suspense or shock scenes. Even the few scenes that follow those conventions are total letdowns. When Nathan goes outside to check on a noise, he wanders around the building for a while before he steps into a clearly visible bear-trap the Leprechaun has set. It’s all too easy to see. You would think that wandering around a big dark house after dark would be a slam-dunk scare, but it’s wasted.

The Final Verdict: It has a lot of people that are against it, and a lot of people who love this film. It is very hard to determine who will enjoy this movie, so give a rental or check it out on TV. Either way, it won’t hurt you too much.

Customer Review: Where’s me gold!
This Leprechaun is a great one for fans who grew up in the betamax video era and like their horror films cheesy and silly and fun. The ingredients for these films are simple: bad acting, rubbery effects, cheap lighting, awful dialogue, but all mixed together with a sense of humour and a willingness to never take anything too seriously.

The story is simple enough: someone has stolen the Leprechaun’s pot of gold and he’s on a murderous quest to get it back. In this case, he takes out his frustrations on a group of thinly written characters who are staying at the house where he has been imprisoned.

The most important element in a film like this is a great villain, and you get that here in the form of the tiny, crazy, gold-obsessed Leprechaun. Warwick Davis, playing the title character, is obviously having a grand old time in this role, and he injects a charm and lunacy into proceedings that elevates this above other low-budget horrors. Think of him as a kind of mini Freddy Krueger, but with a more sympathetic motivation - he just wants his gold back!

The rest of the cast are as anonymous as you would expect from a small scale horror, with the exception of Jennifer Aniston, who makes a pre-Friends appearance here in what was probably her biggest role to date. She does okay with the material she’s given (the Leprechaun gets all the best lines) and she looks pretty and vulnerable in the best horror tradition.

I can’t imagine this Leprechaun will be to everyone’s taste - it is pretty stupid, after all - but it was a pleasant surprise to me. If you’ve ever enjoyed the likes of Ghoulies, C.H.U.D. or Return Of The Living Dead, you won’t be disappointed by this one. If nothing else, this may be the only chance you have to see a death by pogo stick.

Carousel [1956]

Manet: Le Dejeuner Sur L’Herbe (Art in context)
List Price: $7.50
Used Price: $13.96
Customer Review: MO not MA, ok
this is a great book about a most unkowned work: Le Dejeuner Sur L’Herbe. Unkown? Le Dejeuner? Yes because what Joel Isaccson is writing about in this book is about young MONET, not MANET, and his Dejeuner.

Corner of Garden I Framed Art by Claude Monet - 22.5×26.5″
Price: $349.99

Temptation of St. Anthony Fine Art Poster Print by Salvador Dali, 32×24
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Carousel [1956]
The 1956 screen adaptation of Carousel, like its immediate predecessor Oklahoma!, boasted then state-of-the-art widescreen cinematography, stereophonic sound, a starring romantic duo with on-screen chemistry, and the Rodgers & Hammerstein imprimatur. Adding to its promise was a source (the venerable Ferenc Molnar play Liliom) that had already been filmed three times. Contributing to the lustre are the coastal Maine locations where 20th Century Fox filmed principal photography. Yet unlike the original Broadway production, and despite evident craft, Carousel proved a box-office disappointment. Why? Hindsight argues that movie-goers of the 1950s may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.

Whatever the obstacle, Carousel may well be a revelation to first-time viewers. The score is among the composers’ most affecting, from the glorious instrumental “Carousel Waltz” to a succession of exquisite love songs (”If I Loved You”), a heart-rending secular hymn (”You’ll Never Walk Alone”), and the expectant father’s poignant reverie, “Soliloquy”. Top-line stars Shirley Jones (as factory worker Julie Jordan) and Gordon MacRae (as Billy Bigelow, the carnival barker who woos and weds her) achieve greater dramatic urgency here than in the more successful Oklahoma!. MacRae in particular attains a personal best as the conflicted Billy, whose anxiety and wounded pride after losing his job are crucial to the plot. It’s Billy’s impatience to support his new family that drives him to an ill-fated decision, which transforms the fable into a ghost story. –Sam Sutherland, Amazon.com

Customer Review: Well worth going to the Carousel
Regarded by many as the best Rodgers and Hammerstein musical, it still manages to pack a punch after all these years. Most people will probably already be familiar with the hymn-like standard ‘You’ll Never Walk Alone’, but there are plenty of other gems here that are worth tuning in for. Fans of Frank Sinatra may recognise Billy’s ‘Soliloquy’. The scene on the beach where Gordon McRae belts it out is now a movie musicals’ classic. My personal favourite is the beautifully tender duet ‘If I Loved You’, a song so loaded with the promise of romance and deeply felt regret all at the same time - surely (or Shirley??) one of the best love songs in any Broadway repertoire.

Another of the musical’s high points comes with the opening ‘Carousel Waltz’ itself, an instrumental piece that perfectly captures the very mood of a funfair and is probably one of Rodgers’ finest compositions. It won’t leave your head for days!

While the camerawork may look a bit dated now, the story is still relevant and quite moving. Both of the leads (Gordon McRae and Shirley Jones) are well cast and the singing is excellent. Exquisite stuff indeed.

Customer Review: A Timeless Musical Masterpiece
Undoubtedly the most touching and beautifully written of Rogers and Hammerstein's movie-musicals, this film is in turns lightheartedly funny and tear-jerkingly sad. Featuring classic songs “June is Busting Out All Over”, “If I Loved You” and “You'll Never Walk Alone” and the undisputed talent of Shirley Jones and Gordon McRae, this film will leave you with tears streaming down your face long after the credits.