input: To call this episode brilliant feels like too little. To say it keeps up the excellent work of the season premiere is reductive too, 'cause there's never been a far-from-great Sopranos episode so far. In fact, the title might be a smug invitation for those who aren't real fans yet: Join the Club...

Picking up where Junior left off (putting a bullet in his nephew's gut after mistaking him for a crook he killed in the first season), the story begins with Tony being absolutely fine. With no recollection whatsoever of what happened to him, he's attending some kind of convention. Only he's not speaking with his normal accent, and there seems to be something wrong with his papers: apparently, he is not Tony Soprano but Kevin Finnerty, or at least that's what a group of people think, and until the mess is sorted out he can't leave his hotel.

Naturally, in pure Sopranos tradition, that turns out to be nothing but a dream: Tony is actually in a coma, with the doctors uncertain regarding his fate, his family and friends worried sick and Junior refusing to believe the whole thing actually happened. Unfortunately it did, and Anthony Jr. looks willing to avenge the attempt on his father's life.

Dreams have popped up rather frequently in the series, often as some kind of spiritual trial for the protagonists (most notably in the Season Five show The Test Dream). Join the Club, however, takes the metaphysical qualities of the program, already hinted at by the previous episode's use of a William S. Burroughs poem, and pushes the envelope in the most audacious way: Tony hallucinating about his dead friends (the first occurrence of the sort was caused by food poisoning, four seasons ago) is one thing, him actually being in what would appear to be Purgatory is radically different. The "heavenly" section of the story is crammed with allegorical significances, not least the name Tony is given (as one character points out, spelling it in a certain way will give you the word "infinity"), and none of it comes off as overblown or far-fetched: David Chase has created a piece of work that is far too intelligent to use weird set-ups just for their own sake; it all helps the narrative. Talking about "help from above" in the case of Tony Soprano might be stretching it a tad, though.

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pos/neg ans: positive

input: I see a lot of really negative posts by people who wrote in August, though the movie was not released in the US, at least, until the middle of September. Maybe these are unhappy expats living in S. Korea who saw it early. I am in the US and just saw it today. I thought the special effects were excellent, better than the trailer. The story was non-Western, but I think we are all used to this from many other movies. It wasn't at all hard to follow. The acting by the leads was weak, but other people were quite good. There was humor throughout, too. I rated it at 8 because I had a good time watching it, which is what I went for.

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pos/neg ans: positive

input: Fox's "The True Story Of Jesse James" (1957) is a remarkably poor widescreen remake of their prestigious 1939 Tyrone Power/Henry Fonda classic "Jesse James". I'm not sure where the fault lies but the casting in this version of the two central characters, the uneven direction of Nicholas Ray and the ham-fisted screenplay must surely have something to do with it.

In the late thirties and forties Tyrone Power was Fox's top leading man but in the fifties his star began to wane and studio head Darryl Zanuck started to groom newcomer Robert Wagner to take his place. This was a major error on Zanuck's part as Wagner proved to be a less than a suitable replacement. With the possible exceptions of "Broken Lance" (1954) and "Between Heaven & Hell" (1956) it is hard to think of Wagner distinguishing himself in anything! Also, Jeffrey Hunter was nothing more than a Fox contract player before being assigned to play Frank James to Wagner's Jesse in "The True Story Of Jesse James". Borrowed from the studio the previous year this actor's one distinguishing mark was his excellent and revealing performance in John Ford's classic "The Searchers". But his playing here, along with Wagner as the second half of the James Brothers, is nothing short of boring. Neither player bring any personality or colour to their respective roles. They totally miss the mark, lacking the charisma and appeal so vividly displayed by Power and Fonda in the original. The movie is also marred by too many flashbacks and with the all over the place screenplay Wagner, as the Robin Hood of the American west, comes across as a charmless introverted twit that you can feel no empathy for whatsoever. The supporting cast are hardly worth mentioning but it is a shame to see such a great actress as Agnes Moorhead barely getting a look in as Ma James.

The best aspects of this uninvolving so-so western is the wonderful Cinemascope/Colour cinematography by the great Joe McDonald and the excellent music score by the underrated and little known composer Leigh Harline!

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pos/neg ans: negative

input: This movie was exactly what I expected it to be when i first read the casting. I probably could have written a more exciting plot, it's a pity that they left it to a pack of Howler Monkeys. Alberto Tomba was surely a good skier but he has to thank God (and we too) that he does not have to rely on his actor skills to earn his living. He can't play, he can't talk, he can't even move very good on mainland without his skis... Michelle Hunziker is a pretty blonde girl, and that's all. She obviously wasn't chosen for her astounding competence in dramatic roles but most probably for her nice legs. Nevertheless I must admit that she could be the Tomba's acting teacher, because he's even a worse actor than her, and that's funny, especially considering that she isn't italian. I laughed all the time, watching this movie. I found it so ridiculous and meaningless that it actually made me laugh, loud, very loud.

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pos/neg ans:
negative