Nickelodeon brings back the '90s

Clarissa Darling. Tommy Pickles. Donkeylips. Big Pete. Kel. Oswald ‘Sam’ Rocket. Ug. Little Pete. Kenan. Lori Beth Denberg. Lil’ and Phil. Amanda Bynes.

Sound familiar? Do those names bring back a hint of nostalgia? If so, then you’ll be happy to know that Nickelodeon has announced they will be bringing back the ’90s this fall.

In a new segment on the TeenNick block fittingly titled “’90s Are All That!”, old-school shows such as “All That”; “Clarissa Explains It All”; “The Adventures of Pete and Pete”; “Rugrats”; “Rocket Power”; “Salute Your Shorts”; “The Amanda Show”; and “Kenan & Kel” will be added to the roster for all of us early-20-somethings to enjoy, along with a new batch of kids to discover what real cartoons and kids shows are all about — none of this Hannah Montana junk.

These classic shows will air in a midnight to 2 a.m. block every night of the week, perfect for us night owls. Nickelodeon also said related films will be added to the roster down the line…so get ready to hear ‘Welcome to the Good Burger. Home of the Good Burger. Can I take your orrrrdeerrr?’ at some point soon.

According to Entertainment Weekly magazine, Nickelodeon came up with the idea after seeing the love for the ’90s era of sitcoms and cartoons on Facebook. Currently, a page dedicated to the the topic has 9 million fans.

In case the kid in you hasn’t come to life lately or you’re a little fuzzy on some of the shows coming back to life this fall, here’s a rundown of what made these shows leave such a special place in our hearts.

“All That”: Running for 10 seasons overall, first airing in 1994, “All That” was a live-action comedy sketch show that featured such skits as ‘Vital Information’ with Lori Beth Denberg, ‘Good Burger’ with Kenan Thompson and Kel Mitchell, and ‘Lemonade Stand’ with Katrina Johnson. It also featured live musical acts during each show, including performances from such artists as TLC, Coolio, Brandy and Naughty By Nature.

“All That” spawned three spin-offs, two of which will also air in the ’90s Are All That!’ programming this fall. “Kenan and Kel,” was a sitcom series featuring “All That” players Kenan & Kel getting into sticky situations and “The Amanda Show” was a variety show featuring breakout “All That” star Amanda Bynes.

“Rugrats”: Who can forget “Rugrats”? Perhaps the most commercially successful of the shows returning this fall, “Rugrats” is the longest running NickToon, spanning 13 years (although “SpongeBob SquarePants” is breathing down their neck.) It revolved around babies Tommy, Chuckie, twins Phil and Lil’ and Tommy’s cousin, toddler Angelica, and their wild imaginations and play-dates. Three movies following this troop of babies were also brought to the big screen, with the first grossing more than $140 million. I guess babies really do rule.

“Clarissa Explains It All”: First airing in 1991, Clarissa, played by Melissa John Hart (later of “Sabrina, the Teenage Witch” fame), is a teen who vents her concerns about her family, especially her annoying little brother, Ferguson; boys; driving tests — any topic blown out of proportion by teens, really — by talking to the audience and breaking the fourth wall. It was one of the few Nickelodeon shows to confront teen issues such as sex and partying, and Clarissa was able to appeal to both a girl and boy fanbase.

“The Adventures of Pete and Pete”: “Pete and Pete” revolves around two brothers, Big Pete, the voice of reason, and Little Pete, the trouble-maker. It aired for 34 episodes from 1993-1996 and had many celebrity guest stars including Blondie’s Debbie Harry, L.L. Cool J, Selma Blair, J.K. Simmons and Janeane Garofalo. And who can forget Little’s Pete’s personal superhero and fan-favorite character, Artie, the Strongest Man in the World, and Petunia, Little Pete’s tattoo.

“Rocket Power”: One of the later NickToon favorites, it ran from 1999 to 2004. “Rocket Power” revolved around a group of California kids and the antics that ensued while skateboarding, biking, roller skating and what have you. It reminds me of the real-life Z-Boys, who were skateboarding pioneers, in a way — only in cartoon form. Pretty fun and hipper to watch if you’re a teen, than say, ‘Rugrats.’

“Salute Your Shorts”: It may have only run for a year — a mere 26 episodes — but it might be one of the most popular and memorable Nick shows. Taking place at Camp Anawanna, the show revolves around a bunch of kids at camp, obviously. They spend most of their time harrassing Camp Counselor Ug.

Now if we can just get “The Secret World of Alex Mack” and “Are You Afraid of the Dark?” added to that schedule, we’d be in business. Maybe some “Double Dare” and “Wild & Crazy Kids” too, for good measure.

Daniel Tosh's 'Happy Thoughts' delivers jaw-dropping comedy

“I’m not a misogynistic and racist person...But I do find those jokes funny, so I say them.”
— Daniel Tosh

Daniel Tosh. His name has garnered quite a bit of recognition over the last few years, no doubt due to his envelop-pushing comedy bits and “Tosh.O” gig on Comedy Central. And he’s only getting bigger — his latest comedy special, “Happy Thoughts,” premiered last Saturday on Comedy Central.

For those of you unaware of the comedy stylings of Tosh, be warned: He’s not everyone’s cup of tea. Tosh is an observational comedian who tends to mock outward trends, religions, celebrities, ways of life, what have you, and he could care less if you find him to be overly offensive. He is as honest as you can get when it comes to blunt, direct, in-your-face comedy, and there’s no looking back and no mind for the audience’s ‘awws’ that his jokes have gone too far.

During “Happy Thoughts,” Tosh’s third comedy special, the comedian touches on the topics of domestic violence (“People say there’s no excuse for domestic violence. To me, it sounds like a challenge.”), Mormons (“I don’t know why they’re wearing their pajamas under their clothes. I assume their God wants them to be comfy.”) and how women will always be number two in the world:

“At least we’re not women... right fellas? What is that like? Is it horrible? Is it awful? To know you’re number two. I love when women try to rationalize it, too. Nah, it’s great being a woman. Free drinks is not worth having equality.”

A comedian’s job is to make the audience laugh...not be politically correct, and Tosh addresses the fact that people take his jokes too literally. I can’t entirely spell it out how he addresses the issue, but let’s say he’s uses an example involving the idea of David Beckham and Brad Pitt having a baby.

On the other side of things, in Tosh’s weekly series, “Tosh.O,” which premiered in 2009, we get a green-screen half-hour show where Tosh provides commentary on Internet clips. First aimed at the 18-34 male set of eyes, the show has grown into a fan base of all ages and genders. As of June 2010, it hit a record-breaking high in viewership, beating out both “The Daily Show” and “The Colbert Report.”

What “Tosh.O” sets out to find are the dumbest and/or most hilarious people and web clips out there. Think MTV’s “Jackass,” but where the stunts aren’t necessarily done on purpose and the clips aren’t all about people getting hurt. Throw in a weekly “Web Redemption” where well-known YouTube “characters” get a chance to redeem themselves from the stupidity which made them famous in the first place — think, or see for that matter, the Daniel After Dentist kid, the football player who tackled his own teammate, the double rainbow guy, or Antoine Dodson, from the “Bed Intruder” song — and you have a show for the making. It’s an easy show to sit down and watch any time and just have a good laugh at other people’s expenses. It’s the new-age “America’s Funniest Home Videos” without the God-awful jokes from Bob Saget. And for that, Daniel Tosh, we thank you.

•

Daniel Tosh’s third comedy special “Happy Thoughts” aired last Saturday on Comedy Central. In case you missed it, you can find the DVD/CD special of “Happy Thoughts” in stores now.

•

“Tosh.O,” in its third season, airs reguarly on Comedy Central, Tuesdays at 10 p.m.

The Best (Oscars) and Worst (Razzies) in film

And so the time has come. Award season is over (tear, sniffle, sniffle). At least for the big players. We’ve had the Emmys, the Golden Globes, the SAG awards and the Grammys all pass us by. And beside the last-minute addition to bring back the Billboard Music Awards (May 22), and maybe a mediocre Kid’s Choice Awards (April 2) or the MTV Movie Awards (June 5), the ultimate culmination of great film, directing, acting, cinematography, costume designing, what have you, concluded with the 83rd Annual Academy Awards on Sunday. Couple that with the not-so-coveted Razzie Awards that were presented Saturday night and we can celebrate the hard work of the past year — the work we can admire…and the work we can blow a raspberry at.

The Academy Awards, as hard as they try not to, always seem to drag on. It’s three hours long, so how can they not? This year, though, the show seemed to move along at a decent pace. Others may disagree, but I didn’t get antsy or go on a snacking rampage to fill the void at any moment during the show.

As for the hosts, as one of my fellow Facebookers stated, “Anne Hathaway didn’t seem to be in that great a shape at the Academy Awards, but she must have been because she carried James Franco all night.” True story. Hathaway was her usual bubbly self, making the best of the moment — even the awkward ones — and even showcasing the singing chops she debuted when Hugh Jackman hosted two years ago. Surprise — Anne can sing!

I had high expectations for her co-host, James Franco. I’m not sure what went wrong, but there was absolutely no delivery to his lines. I know he was reluctant to host in the first place — but if he had pretended it was just another acting job, he could have brought out the funny-cool demeanor that we often see in gigs like “Pineapple Express” or “Freaks and Geeks.” Except for maybe his Marilyn Monroe costume change (although any man in a bright pink dress and a blond wig is funny), Franco just seemed like a hum-drum robot.

As far as awards went, all the acting awards were predictable — Best Actor: Colin Firth “The King’s Speech”; Best Actress: Natalie Portman “The Black Swan”; Best Supporting Actor: Christian Bale “The Fighter”; Best Supporting Actress: Melissa Leo “The Fighter”; as was Best Animated Feature, “Toy Story 3” and Best Adapted Screenplay, Aaron Sorkin for “The Social Network.”

The only toss-ups were Best Director — which surprisingly went to Tom Hooper for “The King’s Speech”; most were betting on David Fincher for “The Social Network” to snag that one, and Best Picture — which again went to the more formal Oscar choice, “The King’s Speech,” rather than the younger, clever, hip movie “The Social Network.”

Overall, though, it was well-balanced: “The Social Network” took home three awards; “The King’s Speech” took home four awards; “Inception” took home four awards (Best Director should have been one of those, but Christopher Nolan was snubbed from a nomination yet again); and “Alice in Wonderland” and “Toy Story 3” both received two awards. One of “Toy Story 3’s” awards went to Randy Newman for Best Original Song. Newman, with 20 Oscar nominations, now adds two wins to his belt, and he gave quite an amusing acceptance speech. Who knew the man was so funny?

•

For those unfamiliar with the Razzie Awards, more formally known as the Golden Raspberry Awards, it is a presentation of the worst in show. The first-ever Razzies, back in 1981, awarded “Can’t Stop the Music” (a pseudo-biography on the Village People) the Worst Picture Award. Since then, such movies as “Showgirls,” “Cocktail,” “Wild Wild West,” “Catwoman” and “The Love Guru” have all taken the cake, or the raspberry if you will. The Razzies are always presented — but not yet aired on TV — the night before the Academy Awards. Hopefully, that will soon change.

Despite a $318 million worldwide gross for “The Last Airbender” and a $228 million worldwide gross for “Sex and the City 2” — which also made it the highest grossing romantic comedy of 2010 — both didn’t pan out well at this year’s Razzie Awards. I guess money isn’t everything.

***“The Last Airbender” snagged the Worst Picture Award (along with Worst Eye-Gouging Use of 3-D; Worst Screenplay; Worst Director; and Worst Supporting Actor), while fellow nominees of the category included far-worse films such as “The Bounty Hunter,” “Twilight: Eclipse,” and “Vampires Suck.”

“Sex and the City 2” snagged Worst Prequel, Remake, Ripoff or Sequel; Worst Screen Couple or Ensemble (More-so suited for the cast of “Valentine’s Day”); and all four ladies went home with the Worst Actress award, which should have gone to the all-time worst actress out there, Megan Fox, for her role in “Jonah Hex.” That movie (it would demean the industry to call it a “film”) should have also taken home Worst Picture, though it wasn’t even nominated.

***As a “Sex and the City” fan, I didn’t think the movie sequel was as God-awful as the critics claimed. It was a weird premise, sure, having the girls head over to Abu Dhabi. But, hey, it was still fun. And the same goes for “The Last Airbender.” I’m sure the fan boys who envy the original animated series were stoked about the movie. But maybe fandom just isn’t enough these days.

The most well-deserved wins of the night went to five-time nominee Jessica Alba for Worst Supporting Actress for her roles in “The Killer Inside Me,” “Little Fockers,” “Machete” and “Valentine’s Day,” and to pretty boy Ashton Kutcher, who took home Worst Actor for “Valentine’s Day,” and “The Killers,” starring alongside Katherine Heigl, who would have also made a great Worst Actress nominee.

I’m all in favor of the idea of the Razzies, but it’s too bad that the awards in the past few years only seem to go to those films that are not only bad, but blockbuster bad. Whatever happened to the concept of recognizing actual bad movies without regard to box office? I’d like it better if the Razzies went to those movies that made no money because they were, well, just so bad. I’m not sure why the Razzies have gone off the path the last few years, but they really should get back to finding those hidden awful gems, like “Xanadu” “Road House” and “Gigli.”

Justin Bieber, Lady Gaga: Too much of a good thing?

Ellen DeGeneres listens to singer Justin Bieber as she holds a box containing strands of his hair. The box will be auctioned off and the proceeds will go to Gentle Barn.

There are two people who have been in the news as of recently, at least more so than usual, who may be getting too much coverage for their own good: Justin Bieber and Lady Gaga. Not that it would matter to me, but I fear the pop stars risk overexposure and pretty soon people will be tossing any news of either aside. Call it the Lindsay Lohan Syndrome. Sometimes, enough is enough.

Here’s my reasoning:

Sixteen-year-old Bieber is on the fast track to take over the world, just as Gaga has done in the last few years. He’s a teen sensation who can actually sing (and play drums, guitar, piano…whatever you throw in front of him); he’s got the pretty-boy duds and he seems like a genuinely nice kid, always smiling, never getting into trouble.

But when the biggest news of the week is that the Bieb has gotten a haircut, I think we need to slow down. Websites posted this nugget as “Breaking News,” and it was on nearly every site — even mainstream news sites — as a top story. And it wasn’t just a blip on the radar. It had legs, as we say in the news biz, for the entire week. Keep in mind we have fighting in Libya and skyrocketing gas prices to contend with. The Bieb even made special appearances on “Ellen” and “Entertainment Tonight” to showcase his new locks.

It apparently isn’t enough that we see him as a musical artist. No, now he stars in his own movie, makes cameo appearances on “Saturday Night Live,” shows up as a troubled teen in episodes of “C.S.I.” and takes home the MVP trophy in the NBA’s celebrity all-star game. You’d think that much exposure would amount to saturation, but not with this kid. He’s also on product lines of nail polish (really?), dolls and bed sheets. He seems to be popping up just about everywhere.

The Bieb has been so pumped up by the media, his handlers and his legions of fans that everybody seemed to consider him a shoo-in to win the Grammy award last week for Best New Artist. When jazz-bassist Esperanza Spalding took the prize instead, the look on the Bieb’s face was one of utter disappointment, almost like he was set up.

Bieb, we get it. You can sing, dude, and I’ll admit, you are adorable with whatever hairstyle you so choose. But you’re just getting started in the biz. Slow down or you’ll be on the track to has-been teen sensation sooner, rather than later.

•

I’ll admit I dig some of Lady Gaga’s music. Any girl who denies it is lying. (Heck, even the old bald guy who sits across the aisle at work thinks she’s a huge talent.) The Fame, as well as the follow-up bonus disc, The Fame Monster, brought out a new sound at a time when it was much needed in the music world. Her crazy fashions, along with her even more bizarre music videos held our attention for the last three years, and she’s earned the worldwide success that she now holds. And just as with Bieber, Gaga can actually sing and shred the piano quite well.

My problem now is, we need some breathing room. I get it, Gaga is a massive icon these days, especially with the LGBT community, but as far as her music goes, it’s too much too soon.
She just got finished with a massive tour and now her third album in three years is being released on May 23. Her newest single, “Born This Way,” was released on Feb. 11 to much anticipation, and it seems to play about every 30 minutes on the radio. In fact, I’ve had it stuck in my head for the last few days. But that’s not the point.

The point is, “Born This Way” is not nearly as good as her previous accomplishments. And her first performance of it on the Grammys wasn’t as earth-shattering as everyone assumed it would be. I was actually pretty bored during it. The whole arrive-in-an-embryo stunt took it a little too far in the creative mindset of things, and I don’t think I was the only one who was less intrigued by the stunt, more so than applauding her conceptual vision.

To couple with her mediocre hit single, which she claimed to have written in 10 minutes (best have kept that to yourself, Gaga, as it shows), “Born This Way” is in the midst of big debate on whether it resembles — or rips off, for that matter — Madonna’s “Express Yourself.” Both not only have similar beats, but similar messages. Only Madonna’s is way, way better and Gaga — as much as she portrays herself as the new-age Madonna — will never come close to Madonna-status.

What it boils down to is Gaga needs to take some time away. I could be wrong and her new album will be the most glorious thing we’ve ever heard, but I really think by the end of the year the world will have Gaga fatigue.

She’ll still have her Little Monsters making her songs #1 on the charts and buying up her concert tickets, but the majority of casual listeners — even the bald guy — will be looking for the Next Big Thing.

So step back Bieber, re-evaluate yourself Gaga, let us breathe and give us some room to appreciate your talent, rather than making you an easy target for the butt of every joke.

The Grammys: A night of pure entertainment

Ah the Grammys… one of the few instances in a year where I let myself wander outside my comfort zone and take a listen to what the majority of others are listening to on a daily basis: Top 40 Radio.

The Grammys are a place where the Gagas, the Biebers and the Eminems of the world, along with many others in every respective musical genre, come together once a year for a night of pure entertainment.

The Grammys are simply a celebration of music, and I respect that. Plus, the Grammys like to mix it up by throwing a few legendary acts in with the performers of today. Last year Elton John, Stevie Nicks and Jeff Beck graced the stage. This year we were rewarded with Bob Dylan, Barbra Streisand and Mick Jagger.

As Forrest Gump would say, you never know what you’re gonna get. And this year was no different: I mean, Lady Gaga showed up in a giant egg, for Pete’s sake.

Here’s a rundown of some of my favorite performances of the night:

• Christina Aguilera: Aguilera redeemed herself from her Super Bowl foul with a powerful performance of Aretha Franklin’s “Ain’t No Way.” In a tribute to Franklin, Aguilera was joined by Jennifer Hudson, Florence Welch (from Florence & The Machine), Martina McBride and gospel singer Yolanda Adams. The quartet did Aretha proud with a 10-minute mash-up tribute to the diva with such songs as “Respect,” “Spirit in the Dark” and “Sisters Are Doin’ It For Themselves.” But it was Aguilera who truly stood out. We all know Aguilera’s got the chops, but it’s soulful songs such as Aretha’s where her powerhouse vocals really shine.

• Bruno Mars: Mars started out the performance accompanying rapper B.O.B. and Janelle Monae. All three artists complemented each other nicely during renditions of B.O.B.’s “Nothin’ On You” and Monae’s “Cold War.” But it was Mars who broke away from the pack with a ’50s style take on his hit song “Grenade,” equipped with the dance moves and black and white screening to go with it. Classy, real classy.

• Jaden Smith: Coming out of nowhere, the 12-year-old tyke bred from Will Smith and Jada Pinkett, busted out some rhymes alongside teen sensation Justin Bieber during a performance of the latter’s “Never Say Never.” Surprisingly, Jaden’s raps flowed smoothly and he seemed comfortable on stage. Perhaps Jaden has inherited his father’s famous rapping chops. Let’s hope this lead’s to a cover of “Parents Just Don’t Understand.”

• Skylar Grey: She may be the breakthrough artist of the night, performing on Eminem’s “I Need a Doctor” alongside Dr. Dre. Grey only sings the chorus of that song, but the words and vocals hit hard and it complements the edgy rap side of things that Eminem and Dre provide. The entire song is hard-hitting, but low-key all in the same. It’s a nice pairing.

• Mumford & Sons, the Avett Brothers and Bob Dylan: Mumford & Sons, and the Avett Brothers prove that there is still good ol’ authentic bluegrass music out there. Mumford & Sons performed “The Cave” with two horn players backing up their four-piece band, then segued into the Avett Brothers’ strong-headed performance of “Head Full of Doubt, Road Full of Promise.” And then in one big culmination, the bands backed up legend Bob Dylan, as he performed “Maggie’s Farm.” Dylan may be getting a little raspy in his old age, and the back-up bands may have been shouting over him, but Dylan gave it his all and deserved the standing ovation he received from the audience.

• Cee Lo Green: Cee Lo Green, along with his partner-in-crime Danger Mouse, always enjoy dressing up as famous pairings as part of their band Gnarls Barkley. So it’s no surprise that even as he took to the stage solo to perform “[The Song Otherwise Known As] Forget You” that he looked like a new-age Elton John, dressed in colorful feathers resembling those of a peacock and a bedazzled head covering and glasses, rocking out on the piano. To couple with his costume was a fun set full of rocket ships…and puppets singing and dancing along. Yeah, that’s right…puppets. Oh, and for what’s it’s worth, Gwyneth Paltrow was there too.

• Muse’s performance of “Resistance:” Progressive space rock is what Muse is, and they put on quite a show for us Americans… they’re from England. With towers of TV screens made to look as if they come crashing down on us, along with actors pretending to riot and destroy said TV screens, the performance definitely defined the title of the song.

The Awards:

Grammys are awarded in 109 categories, including Best Spoken Word Album, Best Tropical Latin Album, Best Banda Album and Best Comedy Album. Here are some of the winners in the more traditional, popular categories.

Record of the Year: “Need You Now” by Lady Antebellum
Album of the Year: The Suburbs by Arcade Fire
Song of the Year: “Need You Now” by Lady Antebellum
Best New Artist: Esperanza Spaulding
Best Female Pop Vocal Performance: “Bad Romance” by Lady Gaga
Best Male Pop Vocal Performance: “Just the Way You Are” by Bruno Mars
Best Pop Performance by a Duo or Group with Vocals: “Hey, Soul Sister (Live)” by Train
Best Pop Vocal Album: The Fame Monster by Lady Gaga
Best Rock Performance by A Duo or Group with Vocals: “Tighten Up” by The Black Keys
Best Alternative Music Album: Brothers by The Black Keys
Best Rock Album: The Resistance by Muse
Best R&B Album: Wake Up! by John Legend & The Roots
Best Rap Solo Performance: “Not Afraid” by Eminem
Best Rap Song: “Empire State of Mind” by Jay-Z featuring Alicia Keys
Best Rap Album: Recovery by Eminem
Best Female Country Vocal Performance: “The House That Built Me” by Miranda Lambert
Best Male Country Vocal Performance: “ ‘Til Summer Comes Around” by Keith Urban
Best Country Album: Need You Now by Lady Antebellum

Tarantino’s ‘True Romance’ not your typical love story

"People have asked me:
‘So would you ever do a romance movie?’
Like that’s so not what I would do.
‘Well, I did a romantic movie, True Romance.’
‘No, No, I mean like a real romantic movie.’
‘Well, that is a real romantic movie.’
‘No, like one without violence?’
‘Well, there’ll be a lot of things in any movie I do that will be contradictory,

but anybody who’s a fan of the movie can tell you,

the title — True Romance — is not ironic… this is True Romance.”
— Quentin Tarantino

And Tarantino is right at that. “True Romance” may contain more violence, more blood and more F-bombs than your typical Jennifer Aniston romantic comedy, but it is the epitome of romance — and it begs the question: How far would you go for the one you love?

Directed by Tony Scott, and the first major screenplay out of Mr. Tarantino’s handbook, “True Romance” takes you on a ride you’ll never forget — and it may leave you saying “What the heck” more than “Awww.”

“True Romance” tells the story of Clarence (Christian Slater), a lonely comic book store clerk, who on his birthday meets a lovely lady named Alabama (Patricia Arquette) at a movie double-feature. They have a grand ol’ time together that night and are quickly head-over-heels in love. Later that night, Alabama’s conscious comes into play and she admits to Clarence that she’s a call girl that Clarence’s boss hired for his birthday.

Though upset and frustrated, Clarence can’t deny that he loves Alabama, and they marry the next day. Now arises the problem of Alabama getting out of her ‘contract’ with her crazy-eyed, dread-head pimp, Drexl (played wonderfully by Gary Oldman, who makes the most out of his 10-minute scene). The problem is solved when Clarence kills Drexl, (an act Alabama deems “so romantic”) but instead of grabbing her bag of clothes, he grabs a bag of cocaine. They realize their mistake and hatch a plan to make the best of it by profiting off of the sale of the drugs and escaping to Cancun together, to live happily every after.

Of course, it’s not that simple. Unlike the typical rom-com, Clarence and Alabama have to work hard to stay together — they flee to L.A., are confronted by gangsters, make drug deals and find themselves in the middle of massive shootouts — all in the name of love.

And it’s well worth it, as Clarence and Alabama are truly meant for each other. Alabama is a woman who fights with her heart — just wait until a scene where she’s caputured by a henchman, played by James Gandolfini (aka Tony Soprano). She’s may be sweet, but she’s also in love and nobody — not even a 300-pound henchman — will stand in her way.

And Clarence is happy to have such a beautiful lady in his lonely life. Christian Slater is perfect to play such a nice guy turned reckless fighter. His leading man looks may not be the conventional Brad Pitt type (who, by the way, also has a small, but wonderful role in the film), but he’s got heart, which brings out a bit of psychotic in him, and he’ll do anything for Alabama.

Everything about “True Romance” is superb: the writing, the characters, the editing and the music (score by Hans Zimmer) all fuse together nicely. It may not have made any money at the box office ($11.5 million in 1993), but it has gone on to be a huge cult favorite.

Add to the mix a top-notch supporting cast, and you can’t go wrong: The already mentioned Gandolfini, Pitt and Oldman, along with Dennis Hopper, Christopher Walken, Michael Rapaport, Val Kilmer, Samuel L. Jackson, Chris Penn and Tom Sizemore, work their magic and put on a great show for us.

In one of the best scenes of the movie, Hopper, who plays Clarence’s police officer dad, is confronted by a gangster (Walken) about the whereabouts of Clarence. They exchange racially-slurred jabs at one another in a somewhat comical way — all the while, Clarence’s dad knows that he’ll be killed for not dispensing any information — but by getting in that one last insult, he wins and can die a happy man.

Clarence and Alabama’s relationship may have been born in a destructive environment (maybe not as destructive as, say, Sid and Nancy) but it’s a relationship full of love all the same. They get their fairy tale ending just as the rom-com couples do — only theirs come with a few more bruises, scrapes and bullet wounds — but it’s a fairy tale ending all the same.

So if you’re looking for something a little-less cookie cutter when it comes to romance flicks, go back a couple decades and discover this hidden Tarantino gem to see what true love is all about.

‘Storm of the Century’: A Stephen King film that still gives me the chills

Given the weather yesterday, I was reminded of a favorite made-for-TV movie that appeared back in the day that has always been one of my faves: Stephen King’s “Storm of the Century.”

King decided he would write a fresh screenplay for the TV screen — not based on any of his books — that would air in February of 1999, on ABC, in a three-part series. It was the first time King had decided to go this route. Ironically, the screenplay would later be turned into a book. But anyhow, “Storm of the Century” took the TV airwaves by storm, literally.

“Storm of the Century” takes place on a little island in Maine where a powerful storm blocks all travel on and off the island. The main character, town Sheriff Mike Anderson (Tim Daly of “Wings” fame; more recently “Private Practice”) manages to keep the townspeople safe and everything and everyone under control. That is, until a stranger shows up.

Andre Linoge (Colm Feore) seems to know all of the town’s secrets — ranging from abortion to who’s growing marijuana. He’s a menacing character with a gift for instantly getting under everyone’s skin. It probably helps that Feore has a perfect deadpan stare. Throw in an all-around creepy aura that seems to extend beyond the TV screen and you’ve got the makings of a first-class villain.

Soon, Linoge is put in jail for killing one of the town’s residents, but somehow, someway, he is able to get people to kill themselves and others (though not in that order) while he is behind bars. All the while repeating, “Give me what I want and I’ll go away.”

I was 13 when “Storm of the Century” first aired, the perfect age to be thoroughly creeped out by scary movies — and it sure did — or does — I still have a hard time sleeping without a light on every time I watch this film.

Obviously, being a made-for-TV movie, there wasn’t much blood and gore, but King has made a career out of keeping people scared with an eerie, drawn-out storyline that keeps the tension alive. And being a mini-series, it was the perfect way to keep viewers coming back each night. At some points it does fall flat, but it’s a movie that gets to you — imagine, getting stuck on an island, being held hostage by Mother Nature alone, not able to escape the grips of a dangerous man.

The conclusion of the film finds the town realizing that Linoge is a demon who requires an heir to take over for him, as he is not immortal. He wants one of the eight children of the island to be his heir, and if the town refuses, Linoge will kill everyone on the island.

The town agrees to forfeit a child — everyone except for Mike, the sheriff. In the end, stones are drawn from a bag by each parent of the children, and Sheriff Mike’s kid is chosen to be taken away.

Everybody loves a Stephen King movie, although some may be cheesy (“Maximum Overdrive”; “Pet Semetary”); you can’t deny that he can write. And I applaud the man for trying something new that worked out well. He would succeed again with “Rose Red” in 2002, and “Kingdom Hospital” in 2004.

If you’re a big fan of suspense, next snow storm (probably next week at the rate we’re going) cuddle up and watch this four-hour feat of a movie. If nothing else, you’ll be glad you don’t live on an island.