In the extras, all filmed in HD, Knowles called her part “the role of (her) life.” Rose said the film is “the quintessential show business story.” Hudson, who won an Oscar for her role, proved that a singer can get the boot on “American Idol” and still get more attention than either the winners or Beyoncé.
Hudson said she was in awe when she was chosen for the role. “I was outside on my knees shouting and crying — crazy.” The two-disc collection includes a production walk-through; actor and choreographer audition footage; 12 extended music numbers, also in HD; interviews with directors and screenwriters; still shots from the Broadway production.
Hudson doesn’t hesitate to vent about the experience. “That dancing thing was a journey that took a whole lot of prayer,” she said with a laugh. She was flattered to share the studio with Beyoncé, she said.
You’ll also find hilarious rants from Foxx and Murphy. Still wondering how big of a deal “Dreamgirls” is? In 1981 about $3.
5 million went into the production. Now there’s an entire disc devoted to the extras for a film that won two Oscars. Think that makes it a must-have?
Of course! (HD widescreen enhanced widescreen, 2006, PG-13 for language, some sexuality and drug content) Powerful and chilling, “Alpha Dog” (audio: ***1/2, video: ****, extras: **) faithfully recounts the true story of Jesse James Hollywood (Johnny Truelove in the film), a wealthy teenage drug dealer who masterminded the kidnapping and murder of an innocent 15-year-old boy whose older brother owed him $1,200. Director Nick Cassavetes (“The Notebook”) is unflinching in his portrayal of these immoral Los Angeles teens.
While some may be offended by the language (warning to parents: at least 367 variations of the F-bomb are said in the film, according to www.screenit.com), viewers should get beyond that.
Cassavetes had access to every document in the case and paints as truthful a picture as possible. The young cast, particularly Emile Hirsch (“The Girl Next Door”) and Justin Timberlake, gives impeccable performances. Bruce Willis and Sharon Stone were so affected by the script that they agreed to play supporting roles for nothing.
Universal’s HD-DVD/ DVD combo disc features a high-def picture on one side and standard-def on the flip side. Extras include a brief promotional feature and an interactive timeline via the U-Control pop-up video window. The bonus extras are slim to say the least; the real star is the film.
Anyone with an interest in true crime stories will be fascinated by “Alpha Dog.” (HD widescreen enhanced widescreen, 2007, Rated R for pervasive drug use and language, strong violence, sexuality and nudity) “Little Children” (audio: ****, video: ****, extras: 0) is hardly one for the kiddies. It’s an intensely acted look at an adulturous relationship between a bored mother and housewife (Kate Winslet) and a stay-at-home dad/wannabe lawyer (Patrick Wilson) who really doesn’t want to be since he continues to fail bar exams.
They meet in a park where their children play and embark on a sometimes comic, sometimes tense — but nearly always fascinating — relationship. Their story is intertwined with another about a convicted child molester (Jackie Earle Haley) who returns to the neighborhood and about how those around him react. The performances of Winslet and Haley are first-rate and were recognized with Oscar nominations.
The pity is that the disc contains no extras. It would have been interesting to hear Winslet, a mother herself, talk about why she was attracted to the role or to learn how Haley (the odd-looking pitcher in the early “Bad News Bears” movies) secured his part after being virtually invisible since 1979’s “Breaking Away.” (Enhanced widescreen, 2006, R for nudity, language and sexual content) Easily the year's lousiest horror film, the Michael Bay produced remake of the classic 80s horror chiller “The Hitcher” (audio: ****, Video: ****, extras: *1/2) arrives this week in a HD-DVD/ DVD combo package.
Sophia Bush ("One Tree Hill") stars as the better half of a couple who decide to give a ride to a hitchhiker (Sean Bean) who ends up being a homicidal maniac. Extras are the same for both versions with the HD side featuring Universal’s U-control pop-up video. They include 20-minutes of deleted scenes, a ridiculous alternate ending, and a handful of worthless featurettes with interviews.
Save 83 minutes of your life and skip this stinker. The 1986 original is a must see with Rutger Hauer as the hitcher. (HD widescreen, 2007, R for strong bloody violence, terror and language) “Happily N’ever After” (audio: ****, video: ****, extras: ****) boasts a lot of talent, especially among the voices: Sarah Michelle Gellar, Freddie Prinze Jr.
, Sigourney Weaver, Patrick Warburton and George Carlin. We also see — from the cover art — that this animated film comes from a producer of “Shrek” and “Shrek 2.” So why hasn’t anyone heard of it?
That would be because it’s bad. Not so bad it makes your teeth hurt or triggers a gag threshold. Small children may enjoy this.
But in a time when moviegoers have come to love animated films such as “Spirited Away,” “Toy Story,” “Madagascar,” “Happy Feet,” “Finding Nemo,” “The Incredibles,” “The Emperor’s New Groove,” and, yes, “Shrek,” we’ve learned to expect more. The story about Cinderella’s wicked stepmother who decides to bring unhappy endings to classic fairy tales is clever. Weaver has the most fun with her part and brings a lot of sass to the role.
But for the most part, the writing never lifts and the dialogue never zings. Carlin is a snappy wizard. He could be a great voice in animation, but he’s not allowed much more than a walk on here.
What a waste! First time director Paul J. Bolger advises that he wanted to keep his CGI animation palate simple.
He does. Where films such as “Shrek” and “Nemo” have produced amazing work, “Never” has the look of a child’s coloring book on the move. The colors are primary; the art is basic.
Colors are vibrant, especially in the Blu-ray presentation, but it’s shallow work. No shadows, depth or detail. There are plenty of extras — games for children, deleted scenes, storyboards and making-of featurettes — on both the Blu-ray and DVD presentations.
(HD widescreen, 2007, PG for mild action and some rude humor) A LOT OF STEPHEN KING stories translate well to film. “Christine,” “Dolores Claiborne,” “The Shawshank Redemption,” “The Green Mile,” “The Dead Zone,” “Stand By Me,” “Misery,” and “The Shining” to name some of the best. Some aren’t quite classics but try very hard, like “The Secret Window” (audio: ****, video: ****, extras: ***), available now in Blu-ray.
One of the things you’re going to like about this presentation is the view through the Secret Window. It looks to be quite a wondrous place, full of blooms and sunlight — a metaphor for all the good things that don’t happen to our lead. Johnny Depp plays Mort Rainey, a best-selling author going through the collapse of his marriage.
David Koepp both directed and wrote the script from King’s short story. Koepp also wrote the screenplays for “Spider-man,” “Panic Room,” and “Mission Impossible.” He provides an energetic commentary for the film and the deleted scenes.
It’s obvious that he had fun working on “Secret” and film fans should enjoy what he has to say. The Blu-ray picture makes re-viewing the film a pleasure. What we’re watching here is an individual’s breakdown in a bad old Stephen King kind of way.
Depp is a master at conveying story without words. Facial expressions have depth; skin tones are right. The choice of clothing is perfect right down to the raggedy seam of Rainey’s robe.
The visuals are textured and natural, adding depth to the story. Koepp has provided viewers with their own “Secret Window” — the screen — allowing us to look in on a nearly perfect slice of personal destruction. The sound is also excellent This is a fine new viewing experience.
(HD widescreen, 2004, PG-13 for violence, terror, sexual content and language) Newly available on HD-DVD is the Jim Carrey/Kate Winslet mind-bender “Eternal Sunshine of the Spotless Mind” (audio: ***1/2, video: ****, extras: ***) written by the brilliant Charlie Kaufman ("Being John Malkovich") and directed by music video guru Michel Gondry. "Eternal Sunshine" boasts a brilliant HD transfer with deep blacks and impressive contrast levels. The disc scores high on the audio end as well, sporting an immersive Dolby Digital-Plus 5.
1 surround mix. Extras are identical to those on the two-disc DVD released in 2005. There's a fine commentary with Gondry and Kaufman and nearly two hours of interviews with the film's cast and crew, featurettes, deleted scenes, and a Gondry-directed Polyphonic Spree music video.
A strong release across the board. (HD widescreen, 2004, R for language, some drug and sexual content) As evidenced by their scarcity here, the U.S.
market for modern cowboy movies made in Thailand falls somewhere between the slight and the nonexistent. But make an exception for “Tears of the Black Tiger” (audio: ***1/2, video: ***, extras: *). Like "Grindhouse" or "The Good German," the film uses the techniques, scenery and music of older films, incorporating them into a modern script full of sharp, witty writing and visual panache that plays like "Oklahoma" on hallucinogens.
The concept behind the film, encompassing the usual grand frontier themes of unrequited love, loss, and revenge, is somewhat of an inside joke for older Thai audiences. The moviemaking techniques include overdubs that reverberate as if on a soundstage, explanatory title cards, and extremely saturated, painting-like colors in every frame. Although the effect is convincing, the zany, out-of-nowhere humor and wonderfully exaggerated choerography reminds the viewer that the film is, indeed, modern.
You'll have a better idea of the meaning of it all after viewing a choice extra: a subtitled Thai talk show with director Wisit Sasanatieng, the producers, and the actors. One producer explains how the project was initially scrapped because no one could grasp the heady ideas Sasanatieng was trying to express. When the group's next project was met with popular acclaim, they took another whack at it — and knocked it out of the park.
(Enhanced widescreen, 2000, not rated, but contains language, cartoonish violence and graphic elements) Seldom is an indie cast as splendid as the one assembled for “Diggers” (audio: ***1/2, video: ***, extras: **), a flick that's been making the rounds at film festivals and is now receiving a simultaneous theatrical/HDNet/DVD release. A good-natured film peppered with ribald humor, it's a buddy film in the "Diner" and "Big Chill" mold, with characters coming to grips with their lives after being forced out of the clamdigger business in the Hamptons by a larger company. The who's who list of actors include Paul Rudd ("The 40-Year-Old Virgin"), Maura Tierney ("E.
R."), Sarah Paulson ("Studio 60 on the Sunset Strip"), Ron Eldard ("Freedomland"), Lauren Ambrose ("Six Feet Under"), and Ken Marino (MTV's "The State"), who used his comedy background to great effect in writing the screenplay. Extras include an HDNet special with director Katherine Dieckmann and Marino (the semi-autobiographical story is "a love letter to my dad," he explains), and an informative homage to the bayman profession.
Dieckmann and Marino also offer earnest running commentary for the film and for deleted scenes. (Enhanced widescreen, 2007, R for language, drug use and sexual content) Sit through enough flaccid features and pointless profiles and DVD extras lose their appeal. Three cheers, then, for quality over quantity.
“Brute Force” (audio: ****, video: ****, extras: ****) is hardly loaded – just a commentary and interview (a trailer and stills don’t count) – but it would be hard to overstate how much they add to director Jules Dassin’s unrelenting prison drama. The commentary is with film noir authorities Alain Silver and James Ursini, who touch on everything: Dassin’s precise framing, the filmic references in Mikós Rózsa’s score, the icons that drive the pervasive fatalism. That fatalism, they say, is rooted in experience.
While the immediate theme is repression – a clash between a sadistic guard (an unforgettable Hume Cronyn) and a half-dozen inmates led by a feline Burt Lancaster – it mirrored creeping fascism in America. No? Many in the cast and crew soon would be blacklisted.
In his interview, Paul Mason, a criminologist at Cardiff University in Wales, identifies that same allegory. He also puts “Brute Force” on the prison movie timeline. It can hardly avoid some of the genre’s conventions, he says, but its greatness is in how it doesn’t subscribe – by showing the horrors of incarceration in an honest way.
(Full-screen, 1947, unrated, violence) It takes just a few minutes with creator Hugh Wilson and co-stars Loni Anderson and Frank Bonner to see why their sitcom set in a Queen City radio station clicked. “WKRP in Cincinnati: The Complete First Season” (audio: ***, video: ***, extras: **) still works for the same reason. Yeah, the fashions and ’dos date it, but the sense of fun is undeniable.
Ditto for the commentary. A few things you might not know:
When CBS wanted him for the series, he was in the driver’s seat. Also included are a feature about Anderson, who played against the dumb blonde stereotype, and the story behind the “Fish Story” episode. The network wanted broader laughs, and Wilson reluctantly complied, loading up on cliches and sight gags.
It was credited, though, to the pseudonymous Raoul Plager. Surprise! It got huge ratings.
The only bum note in the three-disc, 22-episode set is what’s missing – the classic rock that played as big a role as any character. A note on the back cover says it’s been edited. Translation: ownership and copyrights and who knows what else gummed everything up.
C’est la vie. Enjoy anyway. (Full-screen, 1978-79, unrated) Like most boomers, I can safely say that it has been at least 41 years since I have seen an episode of "The Adventures of Ozzie and Harriet" in its entirety.
It went off the air in 1966, after a 14-year run. An opportunity to get reacquainted with the Nelsons is now available with "The Nelson Family Presents the Best of the Adventures of Ozzie Harriet" (audio: ***, video: ***, extras: ****). Fans of the show will find 24 episodes on four discs with tons of extras, including several clips of Ricky Nelson performing "I'm Walkin'" (his debut), "Cindy," “Whole Lotta Shakin' Goin' On," and others; "The Story of Ozzie and Harriet" (a biography of the Nelson clan); commentaries on several episodes with David Nelson and Sam Nelson (Ricky's youngest son); a radio episode from 1949; home movies; a promotional episode; and two amusing trivia games.
Right or wrong answers are signaled by lines of dialog from the show. A wrong answer might give you Ozzie saying, "Well, let's just not tell anybody about that." A right answer might give you Harriet gushing, "That's wonderful!
" The responses rotate and you are never sure exactly what you're going to hear. Over the years, "The Adventures of Ozzie Harriet" has gotten kind of a bum rap. Sure, the show's make-up was kind of homogeneous (and what the heck did Ozzie do for a living?
). Still, even discounting the nostalgia value, (considerable), the show was funny. (Full-screen, 1952, not rated) So what’s the matter with Shirley Valentine?
She’s not being allowed to be Shirley Valentine, that’s what’s the matter. So this lonesome English housewife talks to her kitchen wall and finally succumbs to her yearnings to escape a home where her family treats her like the maid. Halfway through this 1989 film, which was written, directed, produced and scored by Britain’s Willy Russell, she takes a trip to Greece and just might not come back.
“Shirley Valentine” (audio: ***, video: ***, extras: 0) hasn’t aged very well. The story seems stagey, a reminder that it is based on a Broadway show starring Pauline Collins, who plays her with endearing humor. The script could be better.
There are moments where you cringe because no one would behave like that, you hope. Such as when her grown daughter shows up at home just before Shirley leaves for Greece, races to her bed and immediately demands cocoa just the way she likes it. Who couldn’t help but root for this fleshy, middle-aged gal?
The nasties who impose on Shirley make it all the more satisfying when she at last finds peace and happiness in a table by the sea. Few men would take to this film, unless they can grasp that it gives hope to anyone taken for granted and stuck in a rut. (Enhanced widescreen, 2007, R, there is sexual innuendo and language and brief nude scene) How could anyone who ever saw "Fletch" forget those hysterical characters played by Chevy Chase in the 1985 flick?
If you want to relive it, or see it for the first time, it’s worth a gander with “Fletch: The ‘Jane Doe’ Edition” (audio: ***½, video: ***½, extras: **½). Released during the "Beverly Hills Cop" action-packed comedy era, "Fletch" is about Irwin "Fletch" Fletcher, a journalist who goes undercover to bust a citywide drug ring in L.A.
. Fletch, who writes the "Jane Doe" column, uses his supersleuth laid-back skills, changing identities along the way, to fit his investigative purposes, and to solve more than just the drug-ring mystery. He does it with humor that’ll still leaving you laughing 22 years later.
The picture’s been digitally remastered, as well as the sound quality, which updates a classic. Extras are newly produced, but something is seriously missing: Chase. Other than two compilations of movie scenes, "From John Cocktoastin to Harry S.
Truman: The Disguises" and "Favorite Fletch Moments," the only other new bonus is a making-of featurette, "Just Charge it to The Underhills: Making and Remembering Fletch." Some of the movie’s heavy hitters return to reminisce and laugh about being a part of the film, especially working with Chase and his penchant for ad-libbing. Actors Tim Matheson (Alan Stanwyk), Dana Wheeler-Nicholson (Gail Stanwyk), Larry Flash Jenkins (Gummy) and M.
Emmet Walsh (Dr. Joseph Dolan) are featured on the making-of, as well as screenwriter Andrew Bergman and producers Alan Greisman and Peter Douglas. Some of them talk about director Michael Ritchie’s intelligence and humor in putting "Fletch" together and his death in 2001 of complications from prostate cancer.
Chase’s no-show on the disc is disappointing. Jason Hillhouse, a DVD producer for a Burbank, Calif., production company who produces and hosts the track, tries to get clever at the end of the piece, saying he’s so fired for forgetting to ask Chase to be a part of it.
Maybe one day Chase will agree to be a part of an anniversary edition, and maybe even partake in a commentary. (Enhanced widescreen, 1985, PG for violence and language) “An Officer and a Gentleman: Special Collector’s Edition” (audio: ***, video: ***, extras: ***) is a rare, special treasure. It’s a tale of romance, adventure.
Growth. Richard Gere plays Zack Mayo, a loner who has joined the Navy to become a pilot. Before he can start his journey, however, he must go through 13 weeks of training run by drill sergeant Foley, played by Louis Gossett Jr.
Mayo learns a lot about life, love and himself during this time, which is made more interesting after he meets one of the local girls looking to hook an officer husband (Debra Winger). David Keith, Robert Loggia, David Caruso and Lisa Blount also star. This 25th anniversary edition is packed with extras.
There’s a commentary by director Taylor Hackford that is enlightening and entertaining. According to the folks in “An Officer and a Gentleman: 25 Years Later,” the famous ending (you know the one), with Zack Mayo walking through a factory dressed in white, picking up his woman and carrying her off into happily ever after, almost didn’t get into the film. It was thought to be too “hokey.
” Interesting. Interesting, too, is the absence of Winger from this featurette, when most of the other principals —- grayer and a more heavy, for the most part — appear. Gossett, who won a best supporting acting Oscar for his role as Marine Sgt.
Foley, other cast members and town residents talk about their experiences in the featurette “Return to Port Townsend,” where the movie was filmed. There’s also “True Stories of Military Romance;” “Gere and Gossett: Hand to Hand Combat;” and a photo gallery to round out the extras. The movie still holds up today.
It has working-class integrity, adventure and romance that time haven't dimmed. (Enhanced widescreen, 1982, R for nudity, language and simulated sex) David Fincher's “The Game” (audio: **1/2, video: **, Extras: 0) is a fun mind-bender for most of its running time but turns ridiculous in its closing reel. Michael Douglas and Sean Penn are both excellent in their roles as siblings.
This is a sub-par HD-DVD release. The film was obviously not given the attention it deserved by the studio. The transfer is all over the place.
Some scenes look quite good, sporting solid detail and color, while many others suffer from murk, heavy film grain, and shimmering. The picture looks soft throughout. Yes, this is a step up from the original DVD release of "The Game" (which wasn't even enhanced) but to call this new transfer high definition is an insult to the format.
One of the weakest HD titles I've seen. Skip it. (HD wide-screen, 1997, R for violence and language) Kevin Peter Hall must have been a sight to behold after he’d don 100 pounds of special equipment, costume and makeup to become Harry of "Harry and the Hendersons," (audio: ***1/2, video: ***1/2, extras: ***) both on the big and small screens (TV for a brief 20-plus episodes in 1990).
You can get a look at how Hall was transformed from a 7-foot-2 actor to a 8-plus-foot Yeti in the special edition DVD. The movie was a hit after its release in 1987, becoming a lovable tale about a family in Washington state who accidentally runs into Bigfoot on a camping trip. After adopting the kindhearted, harry beast, they discover a devotion and love for the creature that leads them to set him free — back into the wild before hunters and scientists get a hold of him.
The movie has a great cast, including John Lithgow (George Henderson), Melinda Dillon (Nancy Henderson), Don Ameche (Dr. Wallace Wrightgood) and David Suchet (Jacques LaFleur). The picture quality and surround sound bring new life to the movie, especially since some of it takes place outdoors, where sounds create an ambiance.
Bonuses include two deleted scenes, a newswrap short produced to promote the movie in the 1980s, the theatrical trailer, a making-of featurette and a bonus called "Harry ...
Finding the Missing Link." This is a great look at creating Harry’s character through not only costume, but through Hall’s ability to show character through his eyes. Rick Baker ("An American Werewolf in London") was brought on to design the costume.
The Oscar winner in 1988 for best makeup comes back in the bonus feature to show how it all came together, including an explanation as to why each hair on the costume had to be individually sewn. Director William Dear ("Angels in the Outfield") also gives commentary as the flick runs, explaining time and again how he wanted to show how an innocent creature interacts with modern society. (Enhanced widescreen, 1987, PG for language and violence) The plot lines on “Melrose Place: Second Season” (audio: ***, video: ***, extras: **) certainly got more interesting and heated.
The bonus features on the eight-disc set, not so much, except for commentary by creator Darren Star on two of the season’s most sizzling episodes. From a devastating car wreck that leaves Kimberly (Marcia Cross) horribly scarred both physically and mentally to a jilted groom (Billy aka Andrew Shue) at the altar, season two’s 31 episodes pack a punch (in more ways than that cliched phrase). It seemed hard to believe these beauts aired 14 years ago.
The commentaries on "Collision Course" and "The Bitch is Back" are the highlight of the package as Star remembers relationships off and on the set; he also created "Beverly Hills, 90210" and "Sex and the City." The other bonus features are just rehashes of the season put into pretty packages, including a two-parter, "The Best of the Worst," and three separate shorts featuring "complex relationships," first between Billy and Alison (Courtney Thorne-Smith), then Amanda (Heather Locklear), Jake (Grant Show), Jo (Daphne Zuniga) and Reed (who winds up dead by the end of season two thanks to Jo’s shotgun reflexes), and finally Michael (Thomas Calabro), Kimberly, Sydney (Lauren Leighton) and Matt (Doug Savant). What I didn’t know is Savant, who is now on "Desperate Housewives," is married to Laura Leighton in real life.
Star gives no commentary on these 28 episodes, in which Jason Priestley’s character, Brandon, hooks up with Christine Elise’s character, Emily Valentine, on the show and in real life. Features include "Meet the Walshes," where actors Carol Potter and James Eckhouse return to relive those eight seasons when they played Brandon and Brenda’s parents; and an extra looking at "Our Favorite Valentine" — how Elise’s character’s hair made waves with the teen crowd watching the show. There’s also a bonus called "Everything you Need to know about “Beverly Hills, 90210, Season 2” with John Aboud and Michael Colton.
This is one of the funniest remakes of an intro, with Aboud and Colton wearing wigs and acting like the characters in the flick; they’re two not-so-pretty guys with a lot of facial hair. Their tongue and cheek look at the season evokes laughs. (Both full-screen, "Melrose Place”1993-94, not rated; "Beverly Hills, 90210” 1991-92, not rated) Chemistry’s so important to making any movie or series work; if a relationship is believable, even endearing, it’ll snag viewers.
The talented Amanda Bynes ("She’s the Man") and Jennie Garth ("Beverly Hills, 90210") make “What I Like About You: The Complete First Season” (audio: ***, video: ***, extras: ½) likable. The show is about two sisters — Holly (Bynes) finds herself needing to live with sister Valerie (Garth). What ensues is comedy and pathos, as both women work through their relationship.
The three-disc set features the season’s 22 episodes, from the pilot, which aired on Sept. 20, 2002, to the final season show when Val finds Holly in the bedroom with a boyfriend. It was time for the birds and bees talk.
"What I Like About You" finished production in 2006 for The WB, but still runs in syndication. The set includes one bonus feature, a gag reel, notable for the number of times the actors forget their lines. Other than that, it looks like the first season didn’t garner anything else to tout as an extra.
(Full-screen, 2002-2003, not rated) You may not understand the work of the enigmatic sculptor/performance artist/filmmaker any better after watching the fascinating documentary “Matthew Barney: No Restraint” (audio: ***1/2, video: ***, extras: ***), but I guarantee you will be intrigued. Barney, a Yale graduate, former football star and husband of Icelandic rock star Bjork, combines athletics with improbably sculptural materials (like petroleum jelly) to create elaborate performance/film series like “Cremaster” and “Drawing Restraint,” numbers 1-11. The main focus of the documentary is Barney and Bjork’s collaboration on “Drawing Restraint 9,” a film that came out last year to some acclaim.
We see Barney in his Brooklyn studio, testing materials and stunts to be shot on board the Japanese whaling ship where most of the action takes place. Interviews with Barney, Bjork, gallery owners, art critics, museum directors and even Barney’s father, who jokes about his son’s early aspirations to be a plastic surgeon, are included. Special features include interview clips of Barney, Bjork and NY Times art critic Michael Kimmelman, who discusses Barney’s “extraordinary use of new materials” and how his almost immediate success worked against his being taken seriously (at first) by the art world.
Two time-lapse segments on making enormous petroleum jelly castings — one in Brooklyn and one on the Japanese ship — are fun to watch. (Enhanced widescreen, 2004, unrated but contains some language and a bit of nudity) This is the season that “Will Grace,” began to nose-dive. The sixth session offered dubious plotlines and silly zingers rather than the smart story lines it had been known for.
For example: Grace (best friend of stuffy gay lawyer Will), and her husband Leo’s on-again, off-again marriage becomes too much to follow, or flamboyantly funny Jack's procession from professional freeloader to acting coach to student nurse.
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