Reviews

To watch this show, one needs to appreciate the theory that forms the basis for its storytelling conceit. Forming the basis of the thesis I am currently working on at Fretwell Tech U., I have grown to marvel at the intense allegorical sinews that support the five minutes of short storytelling.

The show begins and ends, for example, the same way each time. This repetition serves to reflect the banality of the post-modern soul, while at the same time reflecting its kineticism, through dynamic visual juxtapositions: colour and light fuse with motion to render the viewer helplessly enamoured with the final product.

Zeugma, asyndeton and anaphora are used to elucidate the complexity of the 90s soul. Consciousness is explored, and yet never fully realized - the viewer gets to experience the orgasmic reality of a perpetual silence.

I once wrote on my hand "Freaky Stories" to remember to watch it.

There is one trap that modern cookery shows have fallen into; and that headfirst. That is: there is too much talk about food.

As a result, the charismatic Jamie Oliver (he speaks funny! Did you notice?) is left out to dry by appalling scripts. The plots are non-sensical, there is little to no pathos, even less bathos, and the love stories - well let's just say it's no Romeo and Juliet (that was written by Shakespeare - he's also English, just like Jamie).

Take a typical episode:

Synopsis, "Here's how to cook". What? We know nothing of the characters, their situation, who's in love with whom, and do we care about them? Not likely!

The special effects are good though.

P.S. Be warned, that is not how you spell "tucker". Although it may well be how you spell "pukka". For those kids in Grade school working on projects and such.

Many people may treat "Fast Tracks" as a mere glimpse into the world of the up and coming athlete. But there is much more. So much more.

In truth, the sporting tribulations of the protagonists are a mere metaphor for the greater drama of the human comedy - life.

Indeed, just as Samantha falls while she learns to throw discuss, so too do great writers fall when they write, lovers when they love, leaders when they lead.

Tragedy is by no means restricted to a sporting primary school in suburban Western Australia.

As a parent living in Australia today in the new millenium, it is so refreshing to encounter a show which we can comfortably allow our children to watch with only minimal supervision. The show, aimed at a family audience, while it does contain some mature themes (the Wayne character's familiarity with the nextdoor neighbour Rosie is something which I think is inappropriate for a younger audience) it also features many situations which todays young teen will encounter in day to day Australia. Wayne gets up to such hi-jinks as not doing his homework, coming late to class and failing to study for a test. Normally, I wouldn't allow my children to watch such things, but this show demonstrates the consequences of such feckless behaviour. Perhaps it will scare some negligent parents' children straight.

There are also positive examples to look to. The Rupert character is one, for example, whom any mother would be delighted to invite around to dinner - although one would like to steer clear of some of his oafish, load-mouthed mates.

It is therefore clear that the appropriate age group for viewing this show should be that of such characters as Rupert - late teens, perhaps 17 or 18. In Wayne's libido, although at times horrifyingly frankly discussed, many youths would see a parallel to their own problems with growing up. Take note, however: any younger than 17, and these risque messages would be lost, and the show would no doubt have an unintentional corrupting effect on innocent young minds. You have been warned. Please, please be discriminating.

Many viewers will recognize some of the names in the cast list of this picture: Stuart Hughes, Alyson Court, and of course the irrepressible Rosemary Dunsmore. With a cast like that, one suspects we're in for a real treat.

Prepare to be bitterly disappointed.

The plot is what lets you down. Skating is not just about passion, it is about beauty, art, poetry. This movie seems to be saying: if your passion burns strong enough, its fire can melt the heart and soul of skating. That's exactly what happens - there is no longer any heart.

Is that really what we want to tell the world about skating?

That some users may scoff at the so called "inadequecies" of this film is a thoroughly depressing revelation for humanity. That there are people in this beautiful world of ours who can mock innocence, child-like wonder and human triumph is enough to reduce me to tears. Just like this film. Love. Human Love. Triumph. Joy. These are the ingredients for this stupendously delicious home cooked meal, and I, for one, am asking for seconds. And, I shall never laugh. And nor should you, gentle viewer, for this film will light up your nights, and restore your faith in humanity. It will make you believe again.

With a title like "Mom P.I." you almost don't need to have seen it to know it's going to be good. In fact, you feel like you've seen it all before... and loved every minute of it! "Mom" is a great character, and don't I wish she was my mum! But, then again, that's exactly why I love it. Great entertainment, a treat for the whole family! Especially those youngsters (although there are bits which may scare the really little ones... perhaps parents should watch in advance to ensure suitability. Don't worry- you'll love watching it more than once. I know I could have watched it a thousand times!). Happy viewing!

Stretching the realms of plausibility is what makes sitcoms great! Well, actually, Alex P. Keaton is what makes sitcoms great. And he's not in this. So, it ain't great. And, what's more, it stretches the realms of plausibility. The students in the class are geeky. A little too geeky if you know what I mean. And they never get beaten up! I smell a rat, and that rat is of alien form. Yes, I think it is fairly obvious that the only explanation for their super- intelligence and their physical invulnerability is that they are extra- terrestrials planning an invasion. Impossible? Remember, Robin Williams looked human in Mork and Mindy. I rest my case.

I love this show because it is so funny.

I think it is funny how the characters can talk in funny ways.

Sometimes it is also serious, but mostly it is funny.

To me, this movie seems less of a "comedy which makes you think", and more of a powerfully in depth character study, which is always making you laugh. But enough pigeon-holing.

This movie is all characters. The key element, for mine, is the symmetry between them. Four guys. Two black guys, two Hispanic. Two with (pathetic) jobs, two without. Two with more than women on their minds, two without. Because the symmetrical dynamic is always switching, we are always privy to meaningful dialogue, and witness powerful confrontations. That is, the director doesn't just make his point in the first 30 minutes, but is always reevaluating his characters, and their struggles.

Each viewer will no doubt have a favourite character, and his journey will be of most interest and focus. The beauty of this movie, however, is that none of the characters are developed at the expense of another. All are richly detailed, and, if you are like me, your focal character may change with every viewing.

None of the characters are overly likeable; we are always confronted with scenes which really demonstrate their failings and shortcomings. Herein lies the strength of the film. Unlike so many other "cool" and "wacky" comedies, these characters have real depth, and we can't. as honest viewers, think any one of the characters are summed up by the words "cool" or "wacky" or any other simplistic assessment that can easily be applied to characters in so many other movies (and fairly, too). They are all distinct in many ways. The most notable example is each character's technique in dealing with the inherent racism of their society. The most fascinating character here is Vinnie, as he chooses rather than confronting this difficult problem, to deny it even applies to him: "He thinks he's Italian".

My only request when seeing this movie, is not to fall into the trap of missing an appreciation of its depth. Sure, it's got a "cool" title, they just cruise around doing cool stuff ("Jose sent me" is such a good idea!), and they say cool one liners. But beyond that, the characters are at once frustrating and liberating, enjoyable and unlikeable, but most of all, they are all very human, very real.

This is one of the funniest shows I have ever seen. Not intentionally, mind you, but how it cracks me up. This show is so brilliant in the way it follows every formula that the writers could possibly dream up - I can just imagine them pitching the show to a producer: "The girls are like the 'Odd Couple' (tell me more) we have a *crazy* scenario for them... the are living with a single dad (hmmm, it worked in 'Full House', go on..) the is a spicy chemistry between their dad and their baby sitter (this gets better and better) and they have two comic sidekicks in their next-door neighbours, one's a streetsmart black kid (right, so we won't be eliminating the black audience, good) and the other is a quirky little white kid, just made for goofy one liners (boys, you've got yourself a deal!)" Every convention is thus followed to the letter, and, you can do nothing except find it so bad it's funny - unless you find it so bad it's not funny.

If you're on the floor, and rolling around in fits of laughter after the first 30 mins of a film, you know it's something special. Well, I didn't go quite that far, but I came pretty close. And this was before the movie had really got into its swing. The icy cold narrative from Ricci is perhaps the wittiest non PC dialogue I've heard yet. Anyone comparing it with the loathsomely unfunny Chasing Amy, really has missed the point of the humour; it isn't dirty jokes and toilet humour, it is a snide attack on the aforementioned "Politically Correct" affront to self respecting icy cold bitches. It does drop off a bit during the middle of the film, the laughs don't come quite so thick and fast, but it finishes strongly, leaving you with a pleasantly bitter aftertaste. Friends' star Kudrow, although excruciatingly annoying in that bland, pathetic sitcom, delivers an amusing and telling performance, but everyone in this film plays second fiddle to a sterling performance from Ricci. To some the film up in one word, it would have to be "witty". That sure is giving any film a wrap, but this one whole heartedly deserves it; it's a fair dinkum corker!