When you are young, it’s all fun and games with a twinge of danger as long as you are ready to face the consequences. Later on, age starts biting your tail and you have a hard decision to morph into an adult or continue living your life on the fast and wild track. Many people would agree that at some in point in life we become complacent and decide to stop spinning our roulette wheel.
Mo Vaughn knows why you don’t remember him. But that doesn’t mean you shouldn’t.
“I didn’t really take any shit from any reporters. I just basically told it like it was,” the former American League MVP told me. “And I think that overlapped what I actually did.”
I spoke to Mo about his new clothing line, MVP Collections, his success as an entrepreneur across multiple industries, and how statistically he is the best hitter in the history of the Boston Red Sox. Listen to the full interview here.
Since you retired, you’ve started several different businesses – a trucking company, a real estate and housing company – and this is your latest entrepreneurial effort. Why have you been able to keep all your money when so many professional athletes go broke?
“Really, I look at needs. When I got into transportation, I looked at that as a fail-safe business. When I got into housing, the need was obvious. I’ve been very fortunate to have good partners. People that are trustworthy and know what they are talking about. I’ve got a lot of good ideas, but you’ve got to get with good people. Whatever is new and coming up, I’ve always tried to stay on top of that. And MVP Collections is an extension of that – I think there’s a need and a market for this. I go out and I look at certain styles – denim style, coded jeans – and they really weren’t there for big guys. And I was just thinking about how guys who need a two, three, four or five x jeans – 38 to 50 sized waist – had nowhere to go. So I was able to price point this thing: $58 bucks for a premium T, $208 for premium denim. It’s a lifestyle brand that’s affordable for the average guy.”
In the summer of 2011, I had a brief gig with a gigantic movie database, tagging films with certain key words. Under the ‘Plot’ category was my favorite tag: “Hide the Body!” It brings to mind movies like “Very Bad Things,” “I Know What You Did Last Summer” and “Shallow Grave,” films where someone dies under gruesome or mysterious circumstances and the remaining characters keep the death a secret because it benefits them somehow. “The Light Between Oceans,” a period piece set off the western coast of Australia, is a Hide the Body movie. Gotta say, didn’t see that coming.
This aspect of the plot wreaks havoc on the rest of the story, too. Try as they might to make a tasteful art film about love and betrayal – and for a few stretches, they succeed – the thriller angle of the story disrupts the tone once it comes to the forefront. There is clearly a lot going on between the ears of the main characters (grief has many layers), but very little of it is translated on screen for the viewer.
After serving his country in the Great War, Tom Sherbourne (Michael Fassbender) enlists to man a lighthouse on an island off the western Australian coast. Before he leaves for the island, he meets cute with Isabel Graysmark (Alicia Vikander). When Tom receives an extended contract to stay on the island, he asks Isabel to marry him, so she can be with him on the island. The two try to start a family, but Isabel’s first two pregnancies end in miscarriage. Days after the second miscarriage, a dinghy washes ashore and inside it is a dead man and a live newborn baby. Isabel convinces Tom not to report the encounter, and then they bury the dead man and claim the newfound baby as their own.
This month marks the 30th anniversary of “Howard the Duck” hitting theaters in 1986. That film was a large commercial and critical failure, offering up bad puns and a convoluted plot that audiences simply weren’t interested in seeing. However, sometimes the box office doesn’t tell the whole story, and those films deemed as flops are actually worth taking a second look at to discover an enjoyable, if weird, movie. Here are 15 films, in chronological order, that deserve to be rediscovered despite their terrible performance with ticket buyers.
Audiences weren’t ready for Steve Martin in anything but wacky comedies in the ’80s and probably weren’t exactly primed for a subversive musical drama that is caked in cynical darkness, either. But Herbert Ross’ Pennies from Heaven” (based on the UK miniseries of the same name by Dennis Potter) is an astounding achievement that juxtaposes the lively musical numbers of the day with the bleak existence many faced in the 1920s. It has incredible performances from Martin, Bernadette Peters and Christopher Walken, features some impressive song and dance sequences, and really hits the emotional core of broken dreams.
Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on social media with your friends.
WHAT: After defeating Ra’s al Ghul in battle, Oliver Queen (Stephen Amell) leaves behind his vigilante persona and moves to the suburbs with Felicity (Emily Bett Rickards) to live a normal life. But when Star City is threatened by a terrorist organization called H.I.V.E., Oliver returns as the newly dubbed Green Arrow to stop the group’s leader Damien Darhk (Neal McDonough) – a man with mysterious magical abilities – from destroying what he’s worked so hard to protect.
WHY: The fourth season of “Arrow” is a real low point in the show’s history; it’s as clunky and poorly conceived as Diggle’s awful new helmet. Though past seasons have certainly had their share of criticisms, it’s never been quite this bad. The flashbacks are more pointless than ever, persisting with a plot device that’s no longer necessary, while the Oliver/Felicity romance is horribly mishandled. Even Damien Darhk’s involvement doesn’t seem very well-thought-out. Not only is he too powerful for Oliver and his team, but he only appears when it’s convenient for the plot, going through the same motions over and over until his lame defeat in the finale. However, the biggest problem with “Arrow” (and to a lesser degree, “The Flash”) is that there isn’t enough story to warrant 23 hours of television, resulting in a lot of unnecessary filler. That’s never been more true than in Season Four, and with any luck, it’ll lead to the show receiving a much-needed reset, or at the very least, a return to its grittier, humbler roots.
EXTRAS: In addition to the 2015 Comic-Con panel, there’s a trio of profiles on Damien Darhk, Vandal Savage and Hawkman and Hawkgirl, deleted scenes and a gag reel.
FINAL VERDICT: RENT
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