Review: "LAPUTA: CASTLE IN THE SKY" is in the Sky with Diamonds

TRASH IN MY EYE No. 41 of 2023 (No. 1930) by Leroy Douresseaux

Laputa: Castle in the Sky (1986)

Tenkū no Shiro Rapyuta – original Japanese title

Running time:  125 minutes (2 hours, 5 minutes)

MPAA – PG

DIRECTOR:  Hayao Miyazaki

WRITER:  Hayao Miyazaki

PRODUCER:  Isao Takahata

CINEMATOGRAPHER: Hirokata Takahashi

EDITORS:  Hayao Miyazaki, Yoshihiro Kasahara, and Takeshi Seyama

COMPOSER:  Joe Hisaishi

ANIMATION/FANTASY and ACTION/ADVENTURE

Starring:  (voices) Mayumi Tanaka, Keiko Yokozawa, Kotoe Hatsui, Minori Terada, Fujio Tokita, Ichiro Nagai, and Hiroshi Ito

Laputa: Castle in the Sky is a 1986 Japanese animated, action-adventure fantasy film written and directed by Hayao Miyazaki.  Laputa is also the first film fully produced by the Japanese animation studio, Studio Ghibli.  In North America, the film is known simply as Castle in the Sky, the title by which I will refer to it in this review.  Castle in the Sky follows the adventures of a young boy and girl who must race against time, pirates, and foreign agents in a bid to find a legendary island that floats in the sky.

Castle in the Sky opens on an airship.  Aboard the aircraft is a young girl, Sheeta (Mayumi Tanaka), an orphan girl abducted by the government agent, Colonel Muska (Minori Terada).  The airship is attacked by Captain Dola (Kotoe Hatsui) and her gang, “the Dola Pirates” (all of whom are apparently her sons).  Dola is seeking Sheeta's necklace, which holds a small orb made of pure “etherium” crystal.  Attempting to escape, Sheeta falls from the airship, but is saved by the magic of etherium in the now-glowing crystal, which lowers her slowly to the ground.

On the ground, Sheeta is caught by a young boy, Pazu (Keiko Yokozawa).  Soon, Pazu is on a mission to protect Sheeta from both Dola and Muska.  Pazu and Sheeta's goal is to reach the mythical flying island, “Laputa,” which is connected to both children's past, but in different ways.  The mystery of Laputa is what exactly is it – a paradise, a treasure trove, or something dangerous.

I have previously reviewed the following Miyazaki-directed films:  The Castle of Cagliostro (1979), Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004), Ponyo (2008), and The Wind Rises (2013).  As Netflix is shutting down its DVD-by-mail division, I am hoping to get to the Miyazaki films that I have not previously watched.  This is the first time I've watched Castle in the Sky.

For me, the most wonderful thing about Castle in the Sky is that it is steeped in Hayao Miyazaki's affinity for flight, a theme that dominates many of his films.  He fills this film with wonderful flying contraptions, such as the government's flying fortress, “Goliath,” and the Dola pirates' airship, “Tiger Moth.”  Even the robots of Laputa can become wonderful flying machines.  As with many of Miyazaki's films, Castle in the Sky is breathtaking, visually stunning, and mind-blowing, especially when the narrative takes to the air.

One of the film's most dominant themes is the innocence of children, as seen through the eyes of Pazu and Sheeta.  That shows in the two characters' resilience and determination in the face of constant turmoil and ceaseless obstacles.  Their relationship is the counterbalance to the film's darker elements, especially its focus on on humanity's relationship with nature and with technology.  Most of the film displays technology in harmony with nature, taking place in a fantasy version of the nineteenth century.  There is a “retro-future” aesthetic that finds a balance between mankind's technological creations and the natural world at large.  Castle in the Sky would go on to have a strong influence on the then emerging science fiction sub-genre known as “steampunk.”

I believe that if you, dear readers, have never seen a Miyazaki film, the first one you watch will validate the great things you may have heard about him.  When you see your second Miyazaki, you will certainly become a true believer.  Castle in the Sky is the kind of animated film that will make just about any movie fan a true believer in Hayao Miyazaki.  It is one of the greatest adventure films ever made, and one of the greatest animated films of all time.  Castle in the Sky mixes vivid imagination, eye-popping inventiveness, and stunning beauty in a way only the best animated films do.  Every frame of this film belongs on a wall in a museum.  If it were a Disney animated feature, Disney would call Laputa: Castle in the Sky an instant classic.  It certainly is a classic.

10 of 10

Tuesday, September 5, 2023

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Review: "GOTHIC" is a Mad, Mad, Mad, Mad Movie (Remembering Julian Sands)

TRASH IN MY EYE No. 33 of 2023 (No. 1922) by Leroy Douresseaux

Gothic (1986)

Running time: 87 minutes (1 hour, 27 minutes)

MPAA – R

DIRECTOR:  Ken Russell

WRITERS:  Stephen Volk

PRODUCERS:  Penny Corke

CINEMATOGRAPHER: Mike Southon (D.o.P.)

EDITOR:  Michael Bradsell

COMPOSER: Thomas Dolby

DRAMA/HORROR/HISTORICAL

Starring:  Gabriel Byrne, Julian Sands, Natasha Richardson, Myriam Cyr, and Timothy Spall

Gothic is a 1986 British psychological horror film and historical drama directed by Ken Russell.  The film focuses on a group of five people whose activities on the night of June 16, 1816 invite something dark into the mansion where they are staying.

Gothic is a fictional account of the events that happened at the Villa Diodati on night of June 16, 1816.  To understand Gothic, there is the need for some historical reference.

English novelist, Mary Wollstonecraft Godwin (1797-1851); her future husband, the radical English romantic poet, Percy Bysshe Shelley (1792-1822); and their son, William (1816-19); accompanied Mary's stepsister, Claire Clairmont (1798-1879), to spend the summer of 1816 with the English romantic poet, Lord Byron (1788-1824).  They arrived in mid-May 1816, and by then, Mary was calling herself, “Mrs. Shelley,” although she was not yet married to Percy.  Byron was renting a mansion, the Villa Diodati, located near Lake Geneva, Switzerland.  The Shelleys rented a place nearby.  Byron's young physician, John William Polidori (1795-1821), also joined the gathering.

This summer of 1816 became legendary in literature.  On the night of June 16, 1816, Byron, Mary, Percy, Clairmont, and Polidori entertained themselves with German ghost stories from the Fantasmagoriana, a French anthology of such stories published in 1812.  This amusement led Byron to propose that they each write a ghost story.  Because of poor weather, the group famously spent three days together creating stories to tell each other.  Coming out of that contest were two completed landmark works of Gothic horror fiction.

The first is Mary Wollstonecraft Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus, a landmark in Gothic fiction, Gothic horror, and science fiction.  The second is John Polidori's 1819 short story, “The Vampyre,” which is considered the first modern vampire story and also the beginning of the romantic vampire genre.  Polidori's short story is also based on Byron's contribution to the ghost story contest, a vampire horror story that he turned into prose, but which Byron did not complete.  It was first published in 1819 as “A Fragment,” but is now known as “Fragment of a Novel.”

The film Gothic opens in the summer of 1816.  Mary Godwin (Natasha Richardson); her future husband, Percy Shelley (Julian Sands); and her stepsister, Claire Clairmont (Myriam Cyr), arrive at Villa Diodati on the shores of Lake Geneva in Switzerland.  They have been invited to spend some time there during the summer by the poet, Lord Byron (Gabriel Byrne), who also introduces them to his physician and friend, Dr. John Polidori (Timothy Spall). 

On June 16th, the group is forced to stay inside the mansion as a storm rages outside.  Mary, Percy, Claire, Byron, and Dr. Polidori amuse themselves by engaging in a game of hide-and-seek, and later read from Phantasmagoria, a book of German ghost stories Byron purchased.  Reading these stories inspires the five of them to hold a séance while gathered around a human skull, during which Claire has an apparent seizure.  Later, each member of the group begins to have strange and horrifying experiences, dreams, and hallucinations.  Percy believes the group collectively gave birth to something during the séance.  That something is a creature that not only manifests their worst fears, but also their worst behaviors.  And that creature could destroy them all.

The English actor Julian Sands went hiking in the San Gabriel Mountains northeast of Los Angeles in January of this year, 2023.  He was reported missing afterwards, and his remains were later found in the area he was visiting.  He is best remembered for his breakout role in the 1985 British film, A Room with a View, which was released in the U.S. in 1986.  Although I did see that film, the first film in which I saw Sands was Gothic.  It was also the first film I ever watched at the LSU Student Union Colonnade Theater, a movie theater on the campus of Louisiana State University.  [From what information I've gathered on the Internet, the theater no longer exists.]

The identification of Sands remains and the subsequent memorials of his life got me to thinking about Gothic, which I had not scene in its entirety since that first time I saw it.  I remember not being too crazy about it, but I have been feeling the need to acknowledge Sands' passing, as I was and still am a fan of his.

Also, I have seen a few of Gothic director Ken Russell's films, including the notorious The Devils (1971), which I also saw at the Colonnade.  However, the only one of his films that I have previously reviewed for the Negromancer blog is The Music Lovers, his 1971 biographical film about the 19th-century Russian composer, Pyotr Ilyich Tchaikovsky.  So re-watching Gothic is also a chance to acknowledge Ken Russell (1927-2011).

While Gabriel Byrne as Lord Byron and Sands as Percy Shelley get top billing in Gothic, the film's main focus of this ensemble is Mary Godwin/Shelley, played by the late actress, Natasha Richardson (1963-2009).  Gothic is indeed a psychological horror film because writer Stephen Volk's screenplay forces the character to confront their deepest fears and their most troubling desires.  Volk also lays bare the characters' relationships, especially the dynamics between Byron and Clair, Byron and Polidori, and Percy and Mary.  Volk seems to use Mary to center this, including her own tribulations

Mary has recently delivered a premature baby girl who died, a loss which haunted her (also based on real events).  The death of the child is a recurring motif in this film, usually via the sound of small child crying or in the images of vague, doll-like baby corpses.  Russell, who was known for being typically over-the-top, uses the raging storm, the characters' ingestion of hallucinogens, and their worst nightmares to create a grand vision of a house haunted by its occupants' craziness, selfishness, and psychological issues.  Russell and Volk put Mary Shelley either front-and-center or at least near the most bizarre confrontations (real and imagine) and hallucinations.

Gothic is more about impressions than reality, and to that end, the cast gives good performances.  Sands and Cyr are a little overdone at times, but it's clear this screenplay considers them the most troubled.  As the film progresses, I appreciate Gabriel Byrne's performance as Lord Byron.  I've been watching Byrne for decades over a career full of performances in which one is not like any other, but here, I really believe he is Lord Byron.  Natasha Richardson gives Mary Shelley such depth of character that I wish this film was longer so that Richardson could give us more of Mary.

Gothic has excellent production values.  The costumes are perfectly fitted to the character's personalities.  The lighting and sound bring the raging storm and the raging emotions and madness to life.  The art direction and set decoration offer sets that are straight out of a fairy tale dream, although it is mostly for a story that is nightmarish and melodramatic.  The hair and make-up sell the madness and troubles of these characters and is a perfect match the surrealistic mood.

And just as soon as it began, Gothic's long nightmare is over, and the light of day returns, but with a foreboding.  In real life, the three main male characters would all be dead within eight years of this summer known for being a pivotal time in the history of Gothic fiction.  When I first saw this film, I only kind of understood the importance of what it was fictionalizing.  Since then, I have become more fascinated with that place and moment in the summer of 1816, and I have become more enamored with this dreamlike film.  In a nod to nostalgia, the recent passing of Julian Sands has raised Gothic in my estimation.  It's time for me to buy a physical copy so that I can watch it any time I want without bothering with streaming.

6 of 10

B

★★★ out of 4 stars

Saturday, July 22, 2023

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: Original "TOP GUN" is Still a Bad Movie

TRASH IN MY EYE No. 33 of 2022 (No. 1845) by Leroy Douresseaux

Top Gun (1986)
Running time:  110 minutes (1 hour, 50 minutes)
MPAA – PG
DIRECTOR:  Tony Scott
WRITERS:  Jim Cash & Jack Epps Jr. (based on the magazine article, “Top Guns,” by Ehud Yonay)
PRODUCERS:  Don Simpson and Jerry Bruckheimer
CINEMATOGRAPHER:  Jeffrey Kimball (D.o.P.)
EDITORS:  Chris Lebenzon and Billy Weber
COMPOSER:  Harold Faltermeyer
Academy Award winner

DRAMA/ACTION

Starring:  Tom Cruise, Kelly McGillis, Val Kilmer, Anthony Edwards, Tom Skerritt, Michael Ironside, Tim Robbins, John Stockwell, Barry Tubb, Rick Rossovich, Whip Hubley, James Tolkan, Adrian Pasdar, Meg Ryan, and Clarence Gilyard, Jr.

Top Gun is a 1986 action and drama film directed by Tony Scott and starring Tom Cruise.  The film was inspired by an article entitled, “Top Guns,” which was written by Ehud Yonay and published in the May 1983 issue of California Magazine.  Top Gun the film focuses on a daring young U.S. Navy pilot who is a student at an elite fighter weapons school where he competes with other students and learns a few things from a female instructor.

Top Gun opens on the Indian Ocean aboard the vessel, the “USS Enterprise.”  The story introduces United States Naval Aviator, Lieutenant Pete “Maverick” Mitchell (Tom Cruise), and his RIO (Radar Intercept Officer), Lieutenant Junior Grade Nick “Goose” Bradshaw (Anthony Edwards).  While on a mission flying their fighter aircraft, Maverick and Goose have an encounter with a hostile aircraft.  As a result of the incident, Maverick and Goose are invited to the U.S. Navy “Fighter Weapons School” in Miramar, California (also known as “Fightertown U.S.A.”).  The top one percent of naval aviators (pilots) get to attend Fighter Weapons School, also known as “Top Gun” (or “TOPGUN”).

Naval aviators have to complete a five-week course of classroom studies and flight training (called a “hop”).  The top graduating aviator receives the “Top Gun” plaque.  Maverick's rival for Top Gun is top student, Lieutenant Tom “Iceman” Kazansky (Val Kilmer), who considers Maverick's attitude foolish and his flying dangerous.  Maverick also becomes romantically involved with Charlotte “Charlie” Blackwood (Kelly McGillis), an astrophysicist and civilian instructor, an unwise move for both.

Will Maverick earn the Top Gun trophy?  Or will his reckless ways and tendency to disobey orders endanger those around him and cost him his future.

Until recently, I had never watched Top Gun, not even a minute of it.  From the first time I saw a trailer for it, I thought Top Gun looked stupid, although I was a Tom Cruise fan at the time of its release (as I still am).  I only recently watched it in preparation for seeing the long-awaited sequel, Top Gun: Maverick, which has a good looking trailer and has received glowing early reviews.

But I was right.  Top Gun is stupid.  It is poorly written, especially on the character drama end.  Writers Jim Cash & Jack Epps Jr. are credited as the film's screenwriters.  The film's credited “Associate Producer,” the late Warren Skarren (1946-90), was a screenwriter known for rewriting the screenplays of big Hollywood projects (such as Beetlejuice and the 1989 Batman film).  Skarren apparently did some heavy rewriting for Top Gun's shooting script.  However, the film seems to be made from the parts of several screenplays that were combined to form a new script.  That especially shows during the character drama scenes, which are sometimes awkward, sometimes nonsensical, sometimes inauthentic, and sometimes all three at the same time.

To me, the film looks poorly edited (which was Oscar-nominated), once again, mainly on the drama scenes.  The film's musical score, composed by Harold Faltermeyer, is mostly atrocious.

However, the flight action sequences and the aerial stunts are quite good.  When the film is in the air with those fighter jets or when Maverick is riding his motorcycle, Top Gun can be entertaining and invigorating.  The drama is just so bad that it makes me forget the film's good stuff.

In 2015, Top Gun was added to the “National Film Registry” because it was considered “culturally, historically, or aesthetically significant.”  For me, the only reason that would be true is because of its lead actor, Tom Cruise.  I think Top Gun is the film that made  Cruise a celluloid god.  He became his generation's biggest movie star and remains so.  Top Gun began a decade (1986-96) that gave us “peak” Tom Cruise.  Yes, he is still in his prime, but that was the decade that saw him give his most acclaimed and memorable performances, and in 1996, he began his most successful film franchise with the first Mission: Impossible.  Yes, Cruise has given other memorable and acclaimed performances, but never so many as in that time period of 1986 to 1996.

So Top Gun is significant because of Tom Cruise.  He is so handsome and fresh-faced here, and his youth, dynamism, and screen presence save this thoroughly mediocre film.  Even with the great action sequences, this film would have been at best a cult film had any actor or movie star other than Tom Cruise been the lead.

Yeah, I could talk about the other actors who were in Top Gun, but what they did could not rise above the mediocrity of this film's drama – both in screenwriting and in directing.  Tom Cruise – in a fighter or on a motorcycle – is Top Gun.  As much as I am a fan of his, however, I wouldn't watch this shit again.  But yes, I will see Top Gun: Maverick.

4 of 10
C
★★ out of 4 stars

Wednesday, May 25, 2022


1987 Academy Awards, USA:  1 win: “Best Music, Original Song” (Giorgio Moroder-music and Tom Whitlock-lyrics for the song “Take My Breath Away”); 3 nominations: “Best Sound” (Donald O. Mitchell, Kevin O'Connell, Rick Kline, and William B. Kaplan), “Best Film Editing” (Billy Weber and Chris Lebenzon), and “Best Effects, Sound Effects Editing” (Cecelia Hall and George Watters II)

1987 Golden Globes, USA:  1 win: “Best Original Song - Motion Picture” (Giorgio Moroder-music and Tom Whitlock-lyrics for the song “Take My Breath Away”); 1 nomination: “Best Original Score - Motion Picture” (Harold Faltermeyer)

2015 National Film Preservation Board, USA:  National Film Registry


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "Star Trek IV: The Voyage Home" is Still a Classic

TRASH IN MY EYE No. 39 (of 2014) by Leroy Douresseaux

Star Trek IV: The Voyage Home (1986)
Running time:  119 minutes (1 hour, 59 minutes)
MPAA – PG
DIRECTOR:   Leonard Nimoy
WRITER:  Steve Meerson & Peter Krikes and Harve Bennett & Nicholas Meyer from a story by Leonard Nimoy and Harve Bennett (based upon the TV series “Star Trek” created by Gene Roddenberry)
PRODUCER:  Harve Bennett
CINEMATOGRAPHER:  Don Peterman (D.o.P.)
EDITOR:  Peter E. Berger
COMPOSER:  Leonard Rosenman
Academy Award nominee

SCI-FI/ACTION/ADVENTURE

Starring:  William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei Walter Koenig, Nichelle Nichols, Catherine Hicks, Mark Leonard, Jane Wyatt, Robin Curtis, Robert Ellenstein, Brock Peters, Scott DeVenney, Alex Henteloff, JaneWiedlin, and Majel Barrett with Madge Sinclair

The subject of this movie review is Star Trek IV: The Voyage Home, a 1986 science fiction and action-adventure movie.  It is the fourth movie in the Star Trek film franchise, which is based on “Star Trek,” a science fiction television series originally broadcast on NBC from September 1966 to June 1969.  Star Trek IV: The Voyage Home finds the former crew of the USS Enterprise traveling back in time to Earth’s past in order to retrieve the only beings that can save the Earth from a destructive alien probe.

The Voyage Home opens in the year 2286.  A large cylindrical probe of unknown alien origin moves through space.  The probe emits an indecipherable signal that disables the power of every starship and space station it passes.  After taking up orbit over Earth, the probe not only sends out a signal that disables the global power grid, but also generates planetary storms and clouds that cover the Earth.

Meanwhile, the former crew members of the USS Enterprise prepare to leave Vulcan, where they have been living in exile following the events of Star Trek III: The Search for Spock.  Admiral James T. Kirk (William Shatner) and his bridge crew:  Doctor Leonard McCoy (DeForest Kelley), Montgomery Scott (James Doohan), Hikaru Sulu (George Takei), Pavel Chekov (Walter Koenig), and Uhura (Nichelle Nichols), must return to earth to face charges related to their rescue of the now-revived Captain Spock (Leonard Nimoy).

Kirk and company are approaching Earth in the Klingon Bird of Prey starship they confiscated when they receive Starfleet Command’s planetary distress call concerning the probe.  Spock discovers that an animal that is extinct in their time can save the Earth from the probe.  To find the animal, Kirk and company must travel back in time to Earth of the late 20th century, specifically 1986.  Once there, Kirk and his companions must navigate a world that might be as alien to them as anything they’ve encountered in their travels through the galaxy during their own time.

Of the 12 Star Trek feature films released to date, Star Trek IV: The Voyage Home is my favorite.  I have seen it many times; in fact, I thought that I had already reviewed it before now, but apparently I had not.  One of the reasons that I am so enamored with The Voyage Home is that it involves time travel.  Two of my favorite episodes of the original “Star Trek” involve time travel, “Tomorrow is Yesterday” (Episode #19 of Season One) and “The City on the Edge of Forever” (Episode #28 of Season One).

I am especially enamored with “Tomorrow is Yesterday” because the USS Enterprise and her crew travel back in time to 1969, in what was then the present decade at the time of this episode’s first airing.  As a child, I wondered what it would be like to meet the crew of the Enterprise in “my time.”  Star Trek IV: The Voyage Home touches upon that same sense of wonder, the sense that Star Trek is real and now and that I could meet the crew of the Enterprise.

The Voyage Home is also the end of a three-story arc that began with Star Trek II: The Wrath of Kahn and continued through The Search for Spock.  This movie was a voyage home in several ways.  Kirk, Spock, McCoy, and their friends were returning home to Earth, but they get sidetracked to Earth’s past which brought them to San Francisco.  This city would one day be the home of the United Federation of Planets.  In the real world, 1986 was Star Trek’s 20th anniversary.

When I saw this movie, I felt that, in a way, the characters were almost really visiting me.  Crazy?  Silly?  Yes, but the joy that Star Trek IV: The Voyage Home gave me is emblematic of the joy “Star Trek” the television series has always given me.

9 of 10
A+

NOTES:
1987 Academy Awards, USA:  4 nominations: “Best Cinematography” (Donald Peterman), “Best Sound” (Terry Porter, David J. Hudson, Mel Metcalfe, and Gene S. Cantamessa), “Best Effects, Sound Effects Editing” (Mark A. Mangini), and “Best Music, Original Score” (Leonard Rosenman)

Sunday, August 03, 2014


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Labyrinth" Gets Better with Age

TRASH IN MY EYE No. 118 (of 2005) by Leroy Douresseaux

Labyrinth (1986)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – PG
DIRECTOR:  Jim Henson
WRITERS:  Terry Jones; from a story by Dennis Lee and Jim Henson
PRODUCERS:  Eric Rattray
CINEMATOGRAPHER:  Alex Thompson, B.S.C.
EDITOR:  John Grover
COMPOSER:  Trevor Jones
SONGS:  David Bowie
BAFTA Awards nominee

FANTASY/FAMILY with elements of adventure

Starring:  Jennifer Connelly, David Bowie, Toby Froud, Shari Weiser (Hoggle costume)/Brian Henson (Hoggle voice), Rob Mills (Ludo costume)/Ron Mueck (Ludo voice), David Goelz (voice), David Shaughnessey, Frank Oz (voice), Danny John-Jules, Shelley Thompson, Christopher Malcolm, and Kevin Clash

The subject of this movie review is Labyrinth, a 1986 British-American fantasy film directed by the late Jim Henson.  The film was written by Terry Jones from a story by Henson and Dennis Lee, although various writers contributed without receiving screen credit, including George Lucas (who was also an executive producer of the film), Elaine May, and Laura Philips.  In the film, a teen girl wishes her baby brother away and is then forced to travel through the Goblin King’s Labyrinth in order to save the infant.

Four years after the groundbreaking film, The Dark Crystal, appeared in theatres, Labyrinth was released early in the summer of 1986.  It was the last film directed by famed puppeteer and creator of “The Muppets,” the late Jim Henson’s (1936-1990).  Met with a cool reception at the box office, Labyrinth has gone on to find a large audience on home video, where children who were born long after the film first played in theatres can watch and enjoy it.

Tired of babysitting on yet another weekend night, Sarah (Jennifer Connelly), a teenager with an active imagination who loves to envision herself in fantasy worlds, calls on the goblins from her favorite book, Labyrinth, to take her baby stepbrother, Toby (Toby Froud) away.  What she doesn’t know is that goblins do exist in another world, and they hear her plea.  They take Toby, and Sarah finds herself face to face with Jareth the Goblin King (David Bowie) in her home.  He tries to dissuade her from following him back to his world, but she realizes that she must rescue her brother.

Following Jareth, she discovers that the Labyrinth itself guards Goblin City, in the middle of which sits Jareth’s castle.  Sarah must navigate the twisted maze of deception, full of strange, kooky, and menacing characters if she is to save Toby before the end of 13 hours or he will become a permanent resident of Goblin City.  To save Toby and outwit Jareth, Sarah befriends some of the goblins to aid her on her quest.  Can Sarah and her friends save Toby in time?

Labyrinth doesn’t have The Dark Crystal’s production values, but the creature costumes, makeup, and effects are very good.  In fact, the Goblins (designed by Brian Froud, the father of Toby Froud) are some of the most vividly imaginative creatures to populate a fantasy film.  The performances are good, not great; David Bowie sings the songs he composed for the film, and the tunes have the feel of most music and songs composed for fantasy films of the 1980’s, which is to say they work well enough for the film, even if they’d sound funky on the radio.

The film seems to meander quite often; the filmmakers obviously have the kind of ideas that would fit an epic film, but not enough of them.  Thus, Labyrinth at times feels like a wandering film; the filmmakers are just biding time until the stage the final confrontation between Sarah and Jareth, but to get a full-length film, they had to stretch the middle.  In fact, Labyrinth, because of the quality of its filmmaking, would today be a TV movie.  Still, this is fun to watch just to see the Jim Henson Company’s fabulous puppetry in action – always a good enough reason to watch any Jim Henson production.

6 of 10
B

NOTES:
1987 BAFTA Awards:  1 nomination: “Best Special Visual Effects” (Roy Field, Brian Froud, George Gibbs, and Tony Dunsterville)

Updated:  Friday, March 21, 2014


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Review: "Big Trouble in Little China" is Still a Big Deal (Happy Birthday, Kurt Russell)

TRASH IN MY EYE No. 7 (of 2003) by Leroy Douresseaux

John Carpenter’s Big Trouble in Little China (1986)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – PG-13
DIRECTOR: John Carpenter
WRITERS: Gary Goldman and David Z. Weinstein; adaptation by W. D. Richter
PRODUCERS: Larry J. Franco
CINEMATOGRAPHER: Dean Cundey
EDITORS: Steve Mirkovich, Mark Warner, and Edward A. Warschilka
COMPOSERS: John Carpenter and Alan Howarth

ACTION/ADVENTURE/FANTASY with elements of comedy

Starring: Kurt Russell, Kim Cattrall, Dennis Dun, James Hong, Victor Wong, Kate Burton, and Donald Li

Big Trouble in Little China is a 1986 fantasy and martial arts film from director John Carpenter (Halloween) and starring Kurt Russell. The comic adventure film follows a truck driver who plunges into a mysterious underworld beneath Chinatown where he takes on a powerful ancient sorcerer.

Big Trouble in Little China may well be John Carpenter’s most entertaining film with its heady mish mash of kung fu, eastern mysticism, action movies, fantasy, and camp. It’s a celebration of how a dumb movie can actually be outrageous, inventive, silly, and kinda smart, after all.

The story revolves around big-talking, wisecracking trucker Jack Burton, played by Kurt Russell as a kind of John Wayne beset by bad luck and pratfalls. Determined to get money owed to him, Burton follows Wang Chi (Dennis Dunn), a business associate, to the airport to pick up his fiancée, Miao Yin (Suzee Pai). When gang members kidnap her, Jack and Wang follow them into a wild adventure that tests the limits of Jack’s endurance and disbelief. Lo Pan (James Hong), a 2,000-year-old sorcerer who rules an underground empire in Chinatown, needs Miao to extend his life and power. A busybody lawyer (Kim Cattrall) further complicates Jack’s life when she tags along for the ride through Lo Pan’s terror filled labyrinth.

Carpenter directs the film at a break neck pace. Virtually every scene is packed with something strange and wondrous, so much so that the viewer never has time to really pay attention to the holes in the film. But it’s all played for fun: wild and lunatic martial arts fights, bizarre and ugly monsters, colorful costumes, imaginative sets, sparkling special effects, off-kilter shootouts and chases. It’s a great time at the movies, and that it maintains its charm without its SFX seeming dated is a testament to Carpenter’s skill, an under appreciated cinematic genius.

As usual, the team-up of Carpenter and actor Kurt Russell, who have worked together on three films and a television movie, results in a good movie. Russell, known as an action star, is actually an excellent comic actor. I don’t think this movie would really work without him, and it is certainly worth watching again because of him.

8 of 10
A

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Review: Blue Velvet (Happy B'day, David Lynch)

TRASH IN MY EYE No. 77 (of 2003) by Leroy Douresseaux

Blue Velvet (1986)
Running time: 120 minutes (2 hours)
MPAA – R
WRITER/DIRECTOR: David Lynch
PRODUCER: Fred Caruso
CINEMATOGRAPHER: Frederick Elmes (D.o.P.)
EDITOR: Duwayne Dunham
COMPOSER: Angelo Badalamenti
Academy Award nominee

CRIME/DRAMA/MYSTERY/THRILLER

Starring: Isabella Rossellini, Kyle MacLachlan, Dennis Hopper, Laura Dern, George Dickerson, Priscilla Pointer, Jack Harvey, Brad Dourif, Hope Lange, and Dean Stockwell

By the late 1980’s, David Lynch’s film Blue Velvet was a trendy, cult favorite at the university I attended. One associate told me quite flatly that he really couldn’t tell me what the story was about, but that he liked the movie because “you were supposed to like it.” Apparently Woody Allen liked it so much that when he and Lynch were two of the 1986 Oscar nominees for Best Director, he asked Orion, his studio at that time, not to create an ad campaign to support his chances (for the film Hannah and Her Sisters) in competition against Lynch. Allen really believed that Lynch should win. Blue Velvet is not that good.

Jeffrey Beaumont (Kyle MacLachlan) is home from college because of his father’s illness. While taking a walk on a back road, he discovers a severed ear, which piques his curiosity. He makes a connection to the ear with a troubled and enigmatic singer, Dorothy Vallens (Isabella Rossellini). Jeffrey becomes obsessed with Dorothy at the same time he’s chasing Sandy Williams (Laura Dern), a high school girl he has become sweet on. As he digs deeper into the mystery, he discovers a bizarre and dark underworld of drugs and murder beneath the façade of his hometown Lumberton, USA, not the least of which is Dorothy’s sicko paramour, Frank Booth (Dennis Hopper).

At this point in his development as a surrealist, David Lynch was formulating his visual style, but the narrative style that would make the connection between him and his audience was still in the tinkering stage. The story of Blue Velvet is a noir-ish tale of criminals, damsels in distress, girlfriends, crooked cops, and the steady lawman, but these elements are mostly window dressing for the director’s pictorial staging. Out of the story we may get the idea that there is something dark, wet, and nasty behind the white picket fences of small town America/suburbia, but that idea has been done to death, even in 1986. There is usually something kinda brown and squishy behind every pretty façade.

There are a lot of good moments and characters in Blue Velvet. Some of it will make you laugh, and some of it is quite imaginative, as well as shocking. It’s fun to watch Lynch go through the process of staging everything and creating his visual shorthand for his brand of storytelling. However, in the end, this is a baby step towards what he would do in the future. It’s like Martin Scorcese’s Mean Streets in the sense that this is the shape of things to come, or at least the mold for Lynch’s future films.

I heartily recommend it to people who like to watch movies, not just for the sake of watching movies, but who particularly enjoy this form of storytelling for what only it can do. Blue Velvet is special, and because of the way that it tells its tale, it could only be a movie, so you have to watch it to experience it, warts and all.

6 of 10
B

NOTES:
1987 Academy Awards: 1 nomination: “Best Director” (David Lynch)

1987 Golden Globes: 2 nominations: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Dennis Hopper) and “Best Screenplay - Motion Picture” (David Lynch)

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Review: James Cameron's "Aliens" is Still a Blast

TRASH IN MY EYE No. 162 (of 2003) by Leroy Douresseaux

Aliens (1986)
Running time:  137 minutes (2 hours, 17 minutes)
DIRECTOR: James Cameron
WRITER: James Cameron; from a story by David Giler & Walter Hill and James Cameron
PRODUCER: Gale Anne Hurd
CINEMATOGRAPHER: Adrian Biddle (director of photography)
EDITOR: Ray Lovejoy
COMPOSER: James Horner
Academy Award winner

SCI-FI/ACTION/THRILLER with elements of horror

Starring: Sigourney Weaver, Michael Biehn, Paul Reiser, Lance Henriksen, Carrie Henn, Bill Paxton, William Hope, and Jenette Goldman

One of the landmark action films of the last two decades is James Cameron’s Aliens. With it’s heart stopping plot twists, quick-cut editing, and nerve shattering suspense, Aliens almost killed the idea of cerebral science fiction films, and, to this day, sci-fi and action are synonymous terms when applied to film.

Aliens is the sequel to the film Alien, the 1979 Ridley Scott film that was easily one of the best of that year and spawned countless imitators. The film also introduced to a larger audience to the work of one of its visual effects creators/designers, European surrealist H. R. Giger (who earned an Academy Award for his work on the picture).

A giant corporation has colonized the planet that first appeared in Alien and where a group of interstellar miners of the Nostromo mining ship encountered the horrific alien life form. When earth loses contact with the colony, they send a group of space marines to learn what’s happened at the colony. Lt. Ellen Ripley (Sigourney Weaver), the only surviving member of the Nostromo crew, goes along as a consultant. The mission turns disastrous after the aliens slaughter most of the marines. Ripley has to use her familiarity with the aliens to lead the rest of the remaining crew to safety, including a little girl who is the sole surviving colonist.

The performances in the film are excellent, in particular Ms. Weaver who’s Lt. Ripley must act as warrior to save her group from the relentlessly attacking creatures and as a mother to the little girl Newt (Carrie Henn). Bill Paxton as the whiny and frantic Pvt. Hudson made his first big screen splash with a wild-eyed, inspired, and memorable performance. Michael Biehn, (as Cpl. Dwayne Hicks), however, should have earned leading man status with his role, but never did, and Paul Reiser (as the dishonest, evil, and murderous corporate weasel Carter J. Burke) was decidedly out of character with the kind of roles that would later make him famous in the early to mid-90’s.

Several filmmakers ably assisted James Cameron in making this film a classic. James Horner’s Oscar-nominated score would be so well appreciated that nearly two decades later, many studios still uses pieces of it as background music in movie trailers and commercials to sell other action, suspense, thriller, and horror films. Stan Winston won one of his several Oscars as one of the SFX artists on this film who adapted Giger’s work from the first film to better suit Aliens, which was more kinetic than its atmospheric predecessor. Film editor Ray Lovejoy’s achievement in helping to create this film’s frantic, breakneck, and breathless pace also shaped how action films would look from then on.

Aliens was the picture where Cameron first started getting notice for the difficulty of his film shoots and for being a hard man to please. He’s a creative director and a great filmmaker, regardless of his temperament. He got the most out of what he had to make a great film, for instance, cutting away and shooting at angles that would hide the fact that many of the actors playing aliens were only wearing half of a suit. It didn’t matter. All that camera movement created the intensity for which Aliens is so celebrated. The film suffers from one of the faults that mar most thrillers and suspense films. It was too long, and, as good as every part of the last act is, it was a bit too much. Lovers of sci-fi, action, thrillers, and horror films, however, should not miss this film.

8 of 10
A

NOTES:
1987 Academy Awards: 2 wins: “Best Effects, Sound Effects Editing” (Don Sharpe) and “Best Effects, Visual Effects” (Robert Skotak, Stan Winston, John Richardson, and Suzanne M. Benson); 5 nominations: “Best Actress in a Leading Role” (Sigourney Weaver), “Best Art Direction-Set Decoration” (Peter Lamont and Crispian Sallis), “Best Film Editing” (Ray Lovejoy), “Best Music, Original Score” (James Horner), and “Best Sound” (Graham V. Hartstone, Nicolas Le Messurier, Michael A. Carter, and Roy Charman)

1987 BAFTA Awards: 1 win: “Best Special Visual Effects” (Robert Skotak, Brian Johnson, John Richardson, and Stan Winston); 3 nominations: “Best Make Up Artist” (Peter Robb-King), “Best Production Design” (Peter Lamont), “Best Sound” (Don Sharpe, Roy Charman, and Graham V. Hartstone)

1987 Golden Globes, USA: 1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Sigourney Weaver)

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