Michael Dorn

Michael Dorn

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Ted 2 Review

Good

Fans of the surprise 2012 hit Ted will find plenty to love in this sequel, in which Seth MacFarlane takes the same approach: throwing every kind of gag at the screen in the hopes that some of them stick. Thankfully, there are quite a few laugh-out-loud moments to make sure the film is continually entertaining, even if the plot isn't particularly inventive.

In the past three years, John (Mark Wahlberg) has seen his marriage fall apart, while Ted (voiced by MacFarlane) has married his girlfriend Tami-Lynn (Jessica Barth). A year later, Ted and Tami-Lynn are in a rut and decide that perhaps a child will help kickstart their romance. Unable to conceive for obvious reasons, they turn to adoption, but this raises a red flag about Ted's status in society: he isn't actually a person, and the state declares that he's property. On the verge of losing everything, Ted and John hire novice lawyer Samantha (Amanda Seyfried) to defend Ted's right to be treated as a person. But their opponent is a slick lawyer (John Slattery) hired in secret by toy company Hasbro, which is now in league with Ted's long-time stalker-nemesis Donny (Giovanni Ribisi).

The ongoing central gag here is that John and Ted have never grown up, stuck in their dope-smoking fanboy ways, which allows for all kinds of rude mayhem, plus lots of cameo appearances from genre stars, including a gratuitous trip to New York Comic-Con that turns into the film's funniest sequence with a series of sublimely silly running gags. On the other hand, the one-joke premise badly limits the film's scope for coherent storytelling, merely dashing from one nutty set-piece to the next and hoping that something funny will happen. Thankfully, most sequences are genuinely amusing, at least for audiences whose goal is just to have a good time at the movies.

Continue reading: Ted 2 Review

New York premiere of 'Ted 2'

Michael Dorn - New York premiere of 'Ted 2' at the Ziegfeld Theater - Red Carpet Arrivals at Ziegfeld Theater - New York City, New York, United States - Wednesday 24th June 2015

Destination Star Trek event at ExCel London - Inside

Michael Dorn - Destination Star Trek event at ExCel London - Inside at Excell London - London, United Kingdom - Friday 3rd October 2014

Star Trek and Ronald B Moore
Star Trek and Max Godenchick
Star Trek and Larry Nemecek
Star Trek and Larry Nemecek
Star Trek and John D Lancie

'Jack The Giant Slayer' Premiere

Patrick Stewart and Michael Dorn - Premiere of 'Jack The Giant Slayer' at TCL Chinese Theatre in Hollywood - Los Angeles, California, United States - Tuesday 26th February 2013

Patrick Stewart
Patrick Stewart
Patrick Stewart
Patrick Stewart
Patrick Stewart

Premiere of New Line Cinema's 'Jack The Giant Slayer' held at TCL Chinese Theatre - Arrivals

Patrick Stewart and Michael Dorn - Premiere of New Line Cinema's 'Jack The Giant Slayer' held at TCL Chinese Theatre - Arrivals - Hollywood, California, United States - Tuesday 26th February 2013

Patrick Stewart
Patrick Stewart and Michael Dorn
Patrick Stewart
Patrick Stewart

Picture - Michael Dorn,Cindy Cowan Hollywood, California, Tuesday 29th November 2011

Michael Dorn and Cindy Cowan - Michael Dorn,Cindy Cowan Hollywood, California - 'A Snow White Christmas' opening night gala at El Portal Theatre - Arrivals Tuesday 29th November 2011

Michael Dorn and Cindy Cowan

Heart of the Beholder Review


Excellent
The cover (and title) of Heart of the Beholder indicate a much different experience: Bathed in fire, a sword with a crucifix on it erupts from the ball of flames. Another Left Behind, you're thinking.

Sorry, folks, Kirk Carmeron is nowhere to be found: this is the true story about one of the first video rental shops in the country, and how the business was done in by fundamentalists, a corrupt district attorney, and a greedy businessman.

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Shadow Hours Review


Unbearable
Bad movies described as "a swift descent into sinful pleasure, decay, and debauchery" are hard to watch. Bad 2000s movies that resemble bad 1980s films are even harder to watch. Shadow Hours falls into the latter category, a mish-mashed train wreck of B-movie actors (including Michael Dorn, aka Star Trek's Worf), an uninteresting plot, vain attempts at capitalizing on the "underground" scenes of seedy Los Angeles, and really, really bad directing and horrendous music video-esque ballistic editing that was taught to me in film school right before I decided to drop out.

The film revolves around the life of Michael Holloway (Balthazar Getty) who is trying to restart his life with his one-dimensional wife Chloe (Rebecca Gayheart) after a nasty bout of drug and alcohol addictions. Michael takes a job of working the graveyard shift at the local gas station and is bombarded by the ugliness and weirdness of the nightlife of L.A. One night, he meets a strange gent named Stuart (Mr. Buckaroo Banzai, Peter Weller). He drives a Porsche, smokes French cigarettes, and drones on about life, eventually coaxing Mike into exploring the "underbelly" of L.A. together, a tour of punk bars, S&M clubs, and bare-knuckle fights.

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Star Trek: Nemesis Review


Terrible
Long has held the rule that even-numbered Star Trek movies are good and odd-numbered ones are bad. I hereby propose a new rule be adopted: Say what you will about the odds and evens, but above all else, every fifth movie is utter crap.

Star Trek: Nemesis, the tenth (and God help us, the last) movie in the unstoppable Trek series, offers the thinnest story since Star Trek V took the previous crew to the center of the galaxy in search of God. But at least this one isn't saddled by metaphysical nonsense. All of that's out the shuttle bay doors in favor of good, old-fashioned idiocy, ripped from yesterday's headlines.

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Star Trek: Generations Review


OK
The seventh Star Trek movie went where no man had gone before, at least not in Hollywood: Attempting to take an old and lethargic movie franchise and reinvigorate it with a new cast -- uniting both the original and new casts in one massive crossover movie.

Generations (having dispensed with the numbering of the sequels) is a fair enough film. It's massively contrived to be sure -- the Kirk-era cast and Picard-era cast were meant to be some 80 years apart -- but considering the difficulty of trying to combine two crews in one movie, Shatner & Stewart turned in a fair enough endeavor.

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Star Trek: Insurrection Review


Weak
By 1998, the Star Trek legacy was looking thin. The series had run through all of its big villains, Trek's cast was happily dabbling in other projects, and the memory of Kirk and co. had long since faded happily into the land of reruns.

But you can't keep Trek down, and the crew saddled up for this lackluster experience, the likes of which would typically comprise an hour-long episode of The Next Generation, and not even a season finale.

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Star Trek: First Contact Review


Good
People tend to measure the quality of a Star Trek movie in relation to those near it in the cycle. Compared to episodes before (5 and 7) and those that followed (9 and 10), this eighth installment of the unkillable series is surprisingly watchable.

Jonthan "Riker" Frakes is at the helm this time, taking the Next Generation crew on its first mission without the original series cast. The setup comes fast, as Frakes trots out one of the series' most reliable villains: The Borg. Building from the mythology set up in the series, Picard (a former Borg captive) has a serious axe to grind, and when Starfleet ends up in a skirmish with an invading Borg ship, he defies orders and engages them in battle. The day is won, but an escape pod shoots from the ship, tunnels through time (stop rolling your eyes), and lands on earth. We see the effects immediately: The Borg has completely taken over the planet. The only sensible solution: Follow the Borg through the time hole and try to wipe 'em out in the past.

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Star Trek: Nemesis Review


Grim

"Star Trek" films have always faced considerable scrutiny from their detail-oriented fans, so one would think by the 10th big screen outing the shepherds of the series would know better than to make a movie full of flubs.

Yet while "Star Trek: Nemesis" is a formidable, dignified sci-fi adventure when sticking to the substance of its story -- about a baneful young clone of Capt. Picard leading enemy aliens in battle against the starship Enterprise -- the picture grows decidedly flimsier with its many out-sized, out of character and logically porous action set pieces.

Take, for example, the silly dune buggy sequence in which Picard (Patrick Stewart), android Lt. Commander Data (Brent Spiner) and Klingon Lt. Commander Worf (Michael Dorn) go conspicuously gallivanting around the planet of a pre-warp civilization (a violation of Star Fleet's Prime Directive that goes completely unaddressed), being shot at by locals and staging daredevil stunts, a la "XXX."

Continue reading: Star Trek: Nemesis Review

Shadow Hours Review


Unbearable

In "Shadow Hours" -- a bottom-feeder shocksploitation flick full of vapid, infernal biblical metaphors -- writer-director Isaac Eaton expects the audience to identify with a worthless, weak-willed, reprobate recently out of rehab who abandons his gorgeous, loyal, pregnant wife to follow a rich stranger into a hellish fantasy version of L.A.'s seamy underbelly.

Balthazar Getty -- the poor man's Charlie Sheen -- stars as an grumpy skid row gas jockey working the graveyard shift when a mysterious slickster (Peter Weller) pulls up in a Porsche, dark sunglasses and a $2,000 suit. He's looking for some gritty, down-and-out soul to torture as a "research assistant" on a book, apparently about the joys of social malignancy.

Soon Weller is dragging our complaisant hero around to strip bars, drug dens, graphically depicted S&M dungeons and dingy basements where they bet on bloody bare-knuckle brawls. But even after finding himself utterly appalled by his experiences, Getty's pump attendant -- already sickened by daily exposure to the dregs of humanity at his ghetto gas station -- continues to ride shotgun for the mystery man night after night.

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The Santa Clause 2 Review


Weak

At least one of the seven credited writers of the sequel-for-sequel's-sake holiday kiddie flick "The Santa Clause 2" clearly felt obliged to try to remedy the picture's contemptibly contrived premise by writing some really funny dialogue. And at least for-hire director Michael Lembeck (a sitcom vet making his screen debut) managed to infuse the movie with a fun, touching, sweet spirit.

But these acts are akin to Christmas miracles, coming as they do under the burden of a plot -- scratch that, a gimmick -- that revolves around finding even more fine print on the calling card of a dead St. Nick, which turned divorced suburban dad Scott Calvin (Tim Allen) into Santa Claus in the original family comedy from 1994.

It seems the elves waited eight years to inform their new Santa that he has until this Christmas to find a Mrs. Claus -- or else. "The de-Santafication process has already begun," frets head elf Bernard (David Krumholtz) as he shoos Scott off to find a wife. Meanwhile cherubic techie-elf Curtis (played by Spencer Breslin, one of those child actors who runs all his lines together without taking a breath or showing a hint of inflection) clones a big, rubbery toy Santa automaton (played by Allen in heavy prosthetic makeup) to stand in for Scott (unconvincingly) so the other elves won't learn of his predicament and panic at his absence.

Continue reading: The Santa Clause 2 Review

Michael Dorn

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