Q: "Addictive" is an adjective I've heard many times when talking of certain TV shows. Most recently, dramas like Lost, Heroes and Prison Break have earned that description. However, as compelling as they may be (and they really are) I can wait a few days before I see the next episode of either series, even Prison Break which some have lazily classified as "the new 24". With all due respect, there can be no such thing, and for a good reason: no other silver-screen thriller is based on a real-time structure. That's what sets 24 apart from any other show, and that's why I practically have to watch an entire season (on DVD) in seven days or less: once the frickin' clock starts ticking, it's impossible to tune out.

An episode whose events unfolded over the course of a single day was a trademark of NYPD Blue (and, more recently, Deadwood); having an entire season of a new series last 24 hours, one per ep (the actual running time is 41 minutes; the remaining 19 are occupied by commercials when the show airs on telly), was the most groundbreaking idea in mainstream television since Hill Street Blues introduced non-linear storytelling (a mandatory element nowadays). And it truly paid off.

Ironically enough, the original plan for the series was to make it revolve around a wedding (fortunately, creators Joel Surnow and Robert Cochran realized the format was more suitable for a conspiracy thriller), which is probably the reason the first glimpse we get of the hero suggests a cheerful atmosphere: looking extremely relaxed, Jack Bauer (Kiefer Sutherland) is enjoying a game of chess with his daughter Kimberly (Elisha Cuthbert) and, minutes later, being tender with Teri (Leslie Hope), the wife with whom he has just reconciled. As in The Sopranos, though, something unexpected and shocking is just behind the corner: not only has Kim snuck out of her room, Jack also receives a phone call urging him to get to work immediately. At midnight? I'm afraid so: Bauer is a CTU (Counter Terrorist Unit) agent, and his boss has acquired reliable intel about a possible hit on the life of David Palmer (Dennis Haysbert), an African-American Presidential candidate who will be in Los Angeles for the whole day (oh, right, I almost forgot: events occur on the day of the California Presidential Primary). No time for napping, then: Jack has to spend the next 24 hours working on the case. Unfortunately, he has a tendency to ignore protocol, and that doesn't sit well with George Mason (Xander Berkeley), a slimy man from Division who has been asked to interfere with the operation.

The plot is very dense, making the show hard to recommend for those with a short attention span, but anyone willing to take a look will be rewarded instantly: the writing is sharp and precise, the attention to detail unsurpassed, and the suspense is consistently sky-high, mainly thanks to the real-time trickery which considerably enhances the adrenaline level.

Another great quality of this pilot is the characterization: most genre shows (sci-fi and thriller) tend to simply introduce the key players and then define them later on (a textbook example is CSI, where character development is minimal, but then again that matches the show's unique style), whereas the series debut of 24 offers a rich array of fully rounded people, among whom Jack (Sutherland's best role - ever!) and Palmer (the real revelation of the show) stand out for being perfectly described after one episode only (the former divided between job and family, reckless but humane, the latter honorable and endowed with great integrity). A couple of supporting parts border on stereotype (Mason and Tony Almeida especially), but two factors ought to be taken into account: a) this is the first episode; b) there's so much going on most viewers won't even complain about a "flaw" or two. After all, how many network programs manage to begin with a conspiracy, a missing teenager AND a huge explosion - and still have equally satisfying material for the rest of the season?

Tick, tock, tick, tock... OPTIONS:
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A: positive
Q: There is one good thing in this movie: Lola Glaudini's ass! Sorry to be so blunt but it's the truth. Too bad she didn't do a nude. It would at least have made this mess tolerable. We see another chick's boobs but she's nowhere near Lola. And man, is Armand Assante old or what? The man looks like crap! "Consequence" is the usual B-Movie you would expect. The story had potential. It's like they had good ideas but didn't know how to execute them. The cinematography is just plain awful. Ugly! The directing is uninspired and the end result is a bland thriller with lame twists and washed up actors. Lola Gaudini is great as the vixen in a cheap, slutty way but not even she saves "Consequence" from being trash and not funny trash, just plain old stinking trash. OPTIONS:
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A: negative
Q: I usually talk a bit about the plot in the first part of my review but in this film there's really not much to talk of. Just a mish-mash of other FAR better sword & sorcery epics. Lack of cohesiveness runs rampant as does banality. Even the main villaness refusing to wear clothing other then a loincloth is pretty boring as she pretty much has a chest of a young boy.Mildly amusing in it's ineptitude at best and severely retarded at it's worst. Lucio Fulci was scrapping the bottom of the barrel here and it shows.

My Grade: D-

DVD Extras: Posters & Stills galleries; Lucio Fulci Bio; and US & International Theatrical trailers

Eye Candy: Sabrina Siani is topless throughout (some may consider that appealing, I did not); various extras are topless as well OPTIONS:
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A: negative
Q: I unknowingly had this movie on my shelf for a while in a Mill Creek Collection, and one night I just decided to watch it; though not expecting much. As the beginning credits roll around I'm surprised to discover this film was made under the Filmirage company. Filmirage brought the world such amazing stinkers as "Troll 2", "Ator the Invincible", and "Quest for the Mighty Sword", so I was compelled to watch.

As the movie started out it had potential to be pretty decent, even though it was unoriginal. The gore scenes could have been improved if they were extended and more frequent. But after a while into the film, the pace started dragging and I found myself thinking "Okay someone better get killed soon",or "Someone better mutate". At the onset of this drag, when I was having these thoughts, though someone may have gotten killed or have mutated, however as noted, the gore and effects weren't very good. What made matters worse was that the scene transitions were confusing; example: first Dr. Houseman would be at the Zoo, then he'd have a flash back about possibly killing someone, finally he'd wake up in a cold sweat in bed-- making the audience ask "Was he dreaming he was at the zoo?". Like the movie's pace, these scene transitions got progressively worse.

I could try to say the character development of Dr. Houseman was pretty good, but towards the end of the film, that is, once you've seen what the Doctor has metamorphosed into, hopefully you'll laugh-- which really, is the only reason to see this movie at least once; this movie unintentionally runs like a long-winded joke.

The costume of the um, thing that Doctor Houseman becomes can also be seen in Joe D' Amato's "Quest for the Mighty Sword", which was made in the same year. You've gotta love Filmirage movies, they're always re-using the same stuff! OPTIONS:
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A: negative