Review: Halle Berry Stellar in "Frankie & Alice"

TRASH IN MY EYE No. 7 (of 2016) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Frankie & Alice (2010)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA –  R for some sexual content, language and drug use
DIRECTOR:  Geoffrey Sax
WRITERS: Cheryl Edwards, Marko King, Mary King, Jonathan Watters, Joe Shrapnel, and Anna Waterhouse; from a story by Oscar Janiger, Philip Goldberg, and Cheryl Edwards
PRODUCERS:  Halle Berry, Vincent Cirrincione, Simon DeKaric, and Hassain Zaidi
CINEMATOGRAPHER:  Newton Thomas Sigel (D.o.P.)
EDITOR:  David M. Richardson
COMPOSER:  Andrew Lockington
Golden Globe nominee

DRAMA/BIOPIC

Starring:  Halle Berry, Stellan Skarsgard, Phylicia Rashad, Chandra Wilson, Alex Diakun, Joanne Baron, Brian Markison, Matt Frewer, and Scott Lyster

Frankie & Alice is a 2010 Canadian drama from director Geoffrey Sax and starring Halle Berry.  The film received a limited theatrical release in 2010 in order to qualify for the 2010-2011 movie awards season.  It did receive a wider theatrical release in August 2014.  Frankie & Alice follows a go-go dancer with multiple personality disorder and the psychotherapist who tries to help her.

Frankie & Alice opens in Los Angeles in 1973 where we meet Francine “Frankie” Lucinda Murdoch (Halle Berry), an African-American female go-go dancer.  During an attempted sexual encounter, Frankie experiences a personality change that throws her life into chaos.  Eventually her manic episodes land her in a mental care facility.  Frankie meets Dr. Joseph “Joe” Oswald (Stellan Skarsgard), a.k.a. “Dr. Oz.”

Dr. Oswald believes that Frankie suffers from multiple personality disorder (now known as “dissociative identity disorder”).  He identifies that Frankie has two other personalities:  “Genius,” a seven-year-old child; and “Alice,” a Southern racist White woman.  “Genius” and “Alice” are aware of each other, but Alice wants control of Frankie.  In order to discover a way to help Frankie, Dr. Oswald must uncover a terrible trauma in Frankie's past that is either forgotten or kept secret.

Halle Berry had apparently been trying to get Frankie & Alice produced since the 1990s.  Serious movement began on the film around 2004, apparently, but it was another six years before the film saw even a limited theatrical release.  That was reportedly almost two years after the film had finished production.  That is a shame really, because Frankie & Alice is a good movie.  In this film, Berry gives one of the best performances of her career, one that I think is on par with her Oscar-winning turn in 2001's Monster's Ball.

As a film, Frankie & Alice is not a fancy, big, prestige biographical drama in the tradition of such films as A Beautiful Mind and The King's Speech.  However, it is not quite one of those infamous disease-of-the-week made-for-television movies.  In some ways, the film is similar to a two-actor stage drama, focusing on the characters that Berry and Stellan Skarsgard portray.  Although he delivers a nice performance, Dr. Oswald is not close to Skarsgard's best work, and that is mainly because the character is not that well developed.  The movie gives us glimpses into him, but that is as far as that goes.

Watching the film and trying to follow its story, it is easy to see that eight different writers worked on it over the course of many years.  Frankie & Alice does have a patchwork feel to it.  There are so many other good characters with small roles, like Frankie's mother, Edna (Phylicia Rashad), and sister, Maxine (Chandra Wilson).  These two characters could have enriched both their stories and Frankie's.

Still, Halle Berry, of whom I am a huge fan, is so good here.  She carries this movie in a way that engages the audience with Frankie, but also with the characters, “Genius” and “Alice.”  Quite frankly, Berry should get credit for giving three excellent performances.  Her turn as the troubled and brittle “Alice” is superb; she sells that character as genuine, but she makes you believe that “Alice” could be a menace to Frankie.  Her turn as the sweet, but fearful “Genius” is heartbreaking and borders on brilliant.

Berry does not give one of those showy performances that cries out for an Oscar nomination, which she deserved, but did not get for this film.  She honestly plies her craft as an actor, and delivers a brilliant performance as an artist.  In fact, whatever faults it has, Frankie & Alice is still a quality drama because Berry is at its center delivering stellar work.

7 of 10
B+

Saturday, December 19, 2015


NOTES:
2011 Golden Globes, USA:  1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Halle Berry)

2011 Image Awards:  2 wins: “Outstanding Actress in a Motion Picture” (Halle Berry) and “Outstanding Independent Motion Picture;”  2 nominations: “Outstanding Writing in a Motion Picture-Theatrical or Television” (Mary King, Jonathan Watters, Cheryl Edwards, Joe Shrapnel, Marko King, and Anna Waterhouse), and “Outstanding Directing in a Motion Picture-Theatrical or Television” (Geoffrey Sax)

The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

Review: "14 Blades" is Martial Arts with Western and Persian Stylings

TRASH IN MY EYE No. 41 (of 2014) by Leroy Douresseaux

14 Blades (2010)
Jin yi wei – original Chinese title
COUNTRY OF ORIGIN:  Hong Kong/China; Language:  Mandarin Chinese
Running time:  113 minutes (1 hour, 53 minutes)
Rating:  MPAA – R for violence and bloody images
DIRECTOR:  Daniel Lee
WRITERS:  Daniel Lee, Kwong Man Wai, Tin Shu Mak, and Ho Leung Lau; from a story by Daniel Lee and Siu Cheung Chan
PRODUCERS:  Xiang Dong, Zhang He-Yun, Zhang Hong, Si Jian-Jun, Zhao Ping, Xu Ping-An, Wang Qi-Shun, Yi'an Sun, Susanna Tsang, Tianyun Wang, and Cui Xiao-Wen
CINEMATOGRAPHER:  Cheung Tung Leung
EDITORS:  Ka Fai Cheung and Man To Tang
COMPOSER:  Henry Lai

MARTIAL ARTS/DRAMA/HISTORICAL

Starring:  Donnie Yen, Wei Zhao, Chun Wu, Kate Tsui, Yuwu Qi, Ma Wu, Kar-Ying Law, Xiang Dong Xu, Chen Zhi Hui, Sammo Hung, and Loi Kwan Kam

14 Blades is a 2010 martial arts (wuxia) and historical drama from director Daniel Lee.  The film, a co-production of China and Hong Kong, received a limited theatrical release in August 2014 after making a film festival appearance in 2011.  14 Blades focuses on an imperial secret agent who is hunted while he tries to stop a conspiracy against the Emperor.

14 Blades opens in China during the late Ming dynasty (a period taking place from 1368 to 1644).  It is a time when the imperial court is plagued by corruption, and the young emperor is incompetent and seems more interested in pleasure than in governing.  He is protected by the Jinyiwei (the Brocade Guard), a secret police force and clandestine royal guard.  They ensure peace and stability and have the authority to execute almost anyone.  Their leader is called Qinglong (Donnie Yen), and he carries with him the Fourteen Blades, a box containing 14 different steel blades with which he executes his duties... and people.

Far from the imperial Forbidden City, the Emperor's uncle, Prince Quing (Sammo Hung), hatches a conspiracy with the traitorous royal eunuch, Jia Jingzhong (Kar-Ying Law).  Their plot involves taking control of the Jinyiwei and betraying Qinglong.  They succeed, and Qinglong soon finds himself wounded, hunted, and on the run.  He finds shelter with Boss Yong Qiao (Ma Wu) and his men in the Justice Escort Agency.  Boss' daughter, Hua Qiao (Wei Zhao), becomes attracted to Qinglong and is determined to assist him in his fight to protect the Emperor and the country from chaos and destruction.

My summary of 14 Blades does not do this epic film justice.  There are enough supporting characters with their own causes and motivations to turn 14 Blades into a television miniseries.  However, the film's core, Qinglong, remains strong, and when the beautiful Hua is added, 14 Blades suddenly has heart, an emotional center to go with the lust for revenge and the film's blistering marital artist action.

Donnie Yen and Wei Zhao give heartfelt, deeply emotional, thoughtful, and strong performances.  They make everything about their respective characters:  external conflicts, internal struggles, motivations, ideals, wants, and love seem genuine and honest.  They are believable and likeable; they draw the viewer to this film.  In fact, like a superstar athlete does for his teammates, Yen and Zhao make their fellow actors betters.  Their characters make the other characters even more interesting and engaging.  I would love to see these two actors in another movie similar to 14 Blades or in a romantic drama.

14 Blades is obviously a martial arts film, but the film also has suggestions of an Ancient Persian romance and an American Western film.  The former comes through in some of the locales, in the costumes, and in certain musical strains in Henry Lai's score.  The latter is also suggested by some of the settings, but also by the staging of some scenes and sequences and in the poses and attitudes of both heroes and villains.  Most notable is the Clint Eastwood-like pose and attitude that Donnie Yen frequently strikes.

That makes 14 Blades something different, even if the story occasionally becomes a bit muddled.  Still, its colorful characters and lavish costumes; to say nothing of the flashy fight choreography makes this movie thoroughly enjoyable.  With its attractive lead couple, 14 Blades, while different enough to stand out from other marital arts films, tells a familiar story of love and bravery that will captivate audiences.

7 of 10
B+

Saturday, September 6, 2014


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

"Easy Money" Finds the Mean Streets of Stockholm

TRASH IN MY EYE No. 23 (of 2013) by Leroy Douresseaux


Easy Money (2012)
Snabba Cash (2010) – original title
COUNTRY OF ORIGIN: Sweden; Language: Swedish and others
Running time: 125 minutes (2 hour, 5 minutes)
MPAA – R for strong violence, pervasive language, drug content and some sexuality
DIRECTOR: Daniel Espinosa
WRITERS: Maria Karlsson with Hassan Loo Sattarvandi, Fredrik Wikström, and Daniel Espinosa (based on the novel by Jens Lapidus)
PRODUCER: Fredrik Wikström
CINEMATOGRAPHER: Aril Wretblad
EDITOR: Theis Schmidt
COMPOSER: Jon Ekstrand

CRIME/DRAMA/THRILLER

Starring: Joel Kinnaman, Matias Padin Varela, Dragomir Mrsic, Lisa Henni, Mahmut Suvakci, Jones Danko, Lea Stojanov, Dejan Cukic, Annika Ryberg Whittembury, Fares Fares, and Maxim Kovalevski

Snabba Cash is a 2010 Swedish crime thriller from director Daniel Espinosa. In 2012, it was released in the United States as Easy Money. The film is based on Snabba cash, a 2006 novel by Jens Lapidus, a Swedish author and criminal defense attorney. The film follows a poor college student who becomes involved with drug dealers in order to maintain his double life.

Johan “JW” Westlund (Joel Kinnaman) is a promising student at the Stockholm School of Economics, but he leads a double life. JW is a poor man pretending to be a rich man in the upper class areas of Stockholm. He illegally drives a taxi and does odd jobs for shady businessman, Abdulkarim (Mahmut Suvakci), in order to earn the money that helps him keep up the façade of his pretend lifestyle. After he meets wealthy heiress, Sophie (Lisa Henni), JW believes that he needs more money and is lured into Abdulkarim’s world of drug dealing and violence.

Jorge Salinas (Matias Padin Varela) is a fugitive from prison, on the run from both the police and Serbian mobsters. Jorge hopes to broker a massive drug deal with Abdulkarim that will allow him to leave a life of crime forever. Mrado (Dragomir Mrsic) is a hit man and errand boy for Radovan (Dejan Cukic), a Yugoslavian mafia boss based in Sweden. Radovan sends Mrado on a hunt for Jorge, but Mrado’s efforts are complicated by the unexpected arrival of his 8-year-old daughter, Lovisa (Lea Stojanov). JW’s life becomes entangled with Jorge and Mrado in a dramatic struggle for life and death.

The press material for Easy Money’s DVD release declares “Martin Scorsese’s Presents ‘Easy Money’.” I can see why Scorsese might admire Easy Money. Director Francis Ford Coppola created the epic film series, The Godfather, which detailed the drama of American mafia royalty. However, Scorsese’s epic crime dramas, like Goodfellas (1990) and Casino (1995), center on the mob’s middle-management and assorted street-level types, like capos, local bosses, hit men, enforcers, and armed robbers. In his bid to win the heart of a rich girl and enter the world of the well-to-do, JW follows the easy money breadcrumb trail to a Goodfellas-like life. This is a darker side of the lower-class, one that can be unfamiliar, even to one of JW’s working-class roots.

Like Scorsese’s crime films, Easy Money is a tale of complicated, messy relationships between men who are criminals. Some of these relationships are born out of long held associations; others come about when men unite because of necessity. That’s what makes this movie so brutally real – the character drama that focuses on the bonds of men, bonds that are convincingly authentic to the viewer.

Director Daniel Espinosa wowed people with his 2012 Denzel Washington-Ryan Reynolds international thriller, Safe House, by unveiling the complexities of both Washington and Ryan’s characters. In Easy Money, Espinosa has a lead character in JW, but he turns his film into something like an ensemble character drama with JW as an axis. Thus, Espinosa gets strong, leading man-type performances from the rest of the cast, especially Matias Padin Varela as Jorge and Dragomir Mrsic as Mrado, in addition to the intense turn from Joel Kinnaman, who does his fiercest hawk-like face for the camera.

One glaring weakness of Easy Money is the relationship between JW and Sophie, which doesn’t make sense. Where are the scenes that convince us that Sophie would be so crazy-in-love with JW? Yeah, it’s cool that Sophie is ultimately a down-ass chick, but it’s difficult to see in the film where, when, or why that happened.

Easy Money is not an art house foreign film. It plays like the best of the big boys of American crime films. This isn’t a slick tale about cool anti-heroes and murderous hoods, like The Fast and the Furious. Easy Money follows in the footsteps of Scorsese and even Quentin Tarantino. The language barrier can’t stop the easy-to-like and hard-to-resist Easy Money from entertaining crime film fans the world over.

8 of 10
A

Monday, March 25, 2013

Review: "The Last Exorcism" is Kinda Crazy

TRASH IN MY EYE No. 15 (of 2013) by Leroy Douresseaux

The Last Exorcism (2010)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – PG-13 for disturbing violent content and terror, some sexual references and thematic material
DIRECTOR: Daniel Stamm
WRITERS: Huck Botko and Andrew Gurland
PRODUCERS: Marc Abraham, Thomas A. Bliss, Eric Newman, Eli Roth
CINEMATOGRAPHER: Zoltan Honti
EDITOR: Shilpa Sahi
COMPOSER: Nathan Barr

HORROR

Starring: Patrick Fabian, Ashley Bell, Iris Bahr, Louis Herthum, Caleb Landry Jones, Tony Bentley, John Wright, Jr., Shanna Forrestall, Justin Shafer, Becky Fly, Denise Lee, Logan Craig Reid, and Adam Grimes

The Last Exorcism is a 2010 supernatural horror film. It is also a found footage film, a movie that pretends that it is made of film or video that was found somewhere. That film or video is a recording of real events that happened sometime in the past – usually the recent past. The best known examples of found footage films are The Blair Witch Project and the Paranormal Activity franchise. The Last Exorcism follows a troubled evangelical minister and the documentary crew filming his last exorcism.

The Reverend Cotton Marcus (Patrick Fabian) is a Baton Rouge, Louisiana-based evangelical minister. Years earlier, he and his wife, Shanna (Shanna Forrestall), went through the difficult birth of their son, Justin (Justin Shafer), and Cotton had a crisis of faith. After he learns of an autistic child being killed during an exorcism, Cotton begins performing fake exorcisms on people who claim to be possessed, but are probably suffering from some mental or psychological disorder.

As the film begins, Cotton decides to retire and want to perform his last exorcism. He agrees to let director/producer Iris Reisen (Iris Bahr) and cameraman Daniel Moskowitz (Adam Grimes) film his final exorcism as a documentary to help expose exorcism as a fraud. At random, Cotton chooses an exorcism request sent by farmer Louis Sweetzer (Louis Herthum), who claims that his 16-year-old daughter, Nell (Ashley Bell), is slaughtering his farm animals while she is possessed.

Cotton, Iris, and Daniel travel to the Sweetzer farm in Ivanwood, Louisiana, where they meet Louis and his hostile son, Caleb (Caleb Landry Jones). After meeting Nell, Cotton begins his fake exorcism routine with all the bells and whistles, but things turn really strange from there.

The Last Exorcism is like a cross between a horror movie and a reality television series, with the goofiness and inadvertent comedy of reality TV sometimes taking over the movie. There are moments when The Last Exorcism seems as if it is going to end up being an earnest movie crippled by its low-budget and by worn-out exorcism film clichés.

Then, the last half hour kicks in, and things get real fk-up. That’s when the party starts and we have us a horror movie. That’s it. That’s The Last Exorcism in a nutshell.

The acting from the leads is quite good. Ashley Bell’s mostly calm turn as Nell makes the moments when her character becomes possessed that much scarier, and Bell apparently did her own body contortions. Although it takes the entire movie, Patrick Fabian eventually sells Cotton Marcus as an authentic character.

As Louis Sweetzer, Louis Herthum gives an award-worthy performance. He reveals Louis’ troubled nature (which includes alcoholism), lingering grief over his wife’s death, and his stubborn religious fundamentalism in layers, one over the other. This is a performance that is both passionate and subtle. Somewhere, from some film group, there should have been at least a best supporting actor nomination for Herthum. In some ways, he gives The Last Exorcism gravitas.

6 of 10
B

Wednesday, February 27, 2013

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"Superman/Batman: Apocalypse" Rocks the House

TRASH IN MY EYE No. 65 (of 2012) by Leroy Douresseaux


Superman/Batman: Apocalypse (2010) – straight-to-video
Running time: 78 minutes (1 hour, 18 minutes)
MPAA – PG-13 for violence and brief sensuality
DIRECTOR: Lauren Montgomery
WRITERS: Tab Murphy (Based upon the graphic novel by Jeph Loeb and Michael Turner and characters created by Bob Kane (Batman), Jerry Siegel and Joe Shuster (Superman), William Moulton Marston (Wonder Woman), and Jack Kirby (Darkseid and The New Gods)
PRODUCERS: Lauren Montgomery, Bobbie Page, and Bruce W. Timm
EDITOR: Margaret Hou

ANIMATION/SUPERHERO/ACTION

Starring: Andre Braugher, Kevin Conroy, Tim Daly, Susan Eisenberg, Summer Glau, Julianne Grossman, Edward Asner, and Rachel Quaintance

Superman/Batman: Apocalypse is the ninth in Warner Bros. Animation’s line of DC Universe Animated Original Movies. It is a sequel to the animated film, Superman/Batman: Public Enemies (2009), and is based on “The Supergirl from Krypton,” a storyline in the Superman/Batman comic book series from DC Comics. Superman/Batman: Apocalypse focuses on a mysterious teen-aged girl with super-human powers, her connection to Superman, and a villain’s diabolical plan to control her.

While investigating the wreckage of a spaceship that landed in Gotham City Harbor, Batman (Kevin Conroy) discovers that the ship had a passenger. It is a young woman who raises all sorts of havoc with her apparent super human powers, but Batman manages to subdue her. It is Superman (Tim Daly), however, who discovers that the young woman is Kara Zor-El (Summer Glau), his biological cousin, and like himself, a refuge from Krypton. Kara has little memory of her past, and her powers make her dangerous. Wonder Woman (Susan Eisenberg) steps in and takes Kara to her home, Themyscira, the island home of the Amazons.

They are not the only ones interested in Kara. On the planet, Apokolips, its lord, Darkseid (Andre Braugher), has learned of Kara and desires her to lead his honor guard, the Female Furies, so he kidnaps her. To rescue Kara, Superman, Batman, and Wonder Woman must recruit the former leader of the Furies, Big Barda (Julianne Grossman), but even her help may not be enough to overcome Darkseid, a god.

What I like about Superman/Batman: Apocalypse is that it gets everything right. First, the writing is strong. Screenwriter Tab Murphy efficiently presents the characters: their personalities, quirks, motivations, conflicts, and relationships. It all comes across as genuine – from Kara’s confusion and struggle to adjust to a new world to Superman’s almost desperate yearning to both protect Kara and to connect with someone from the world of his birth. Also, the action of the story is gripping, from the first moments to the tear-the-roof-off-the-mutha, battle royale featuring Superman, Kara, and Darkseid.

The animation is also good, not as good as feature film animation, but the characters look good during the action and fight scenes, which is what counts in these direct-to-DVD movies based upon superhero comic books. The animation’s design style is based on the art of the artist who drew “The Supergirl from Krypton, the late Michael Turner. This movie’s designers and animators capture Turner’s quirky style and his graceful approach to drawing women. Kara’s hairdo certainly reflects Turner’s sensibilities.

All in all, Superman/Batman: Apocalypse is one of the better DC Universe Animated movies, and is one I’d watch again.

8 of 10
A

Sunday, July 29, 2012

Review: "Batman: Under the Red Hood" is Very Red

TRASH IN MY EYE No. 60 (of 2012) by Leroy Douresseaux

Batman: Under the Red Hood (2010) – straight-to-video
Running minutes: 75 minutes (1 hour, 15 minutes)
MPAA – PG-13 for violent content and some drug references
DIRECTOR: Brandon Vietti
WRITER: Judd Winick
PRODUCERS: Bobbie Page and Bruce Timm
EDITOR: Margaret Hou
COMPOSER: Christopher Drake
ANIMATION STUDIO: Answer Studio

ANIMATION/SUPERHERO/SCI-FI/ACTION with elements of drama

Starring: (voices) Bruce Greenwood, Jensen Ackles, John Di Maggio, Neil Patrick Harris, Jason Isaacs, Wade Williams, Carlos Alazraqui, Gary Cole, Kelly Hu, Phil LaMarr, Jim Piddock, Kevin Michael Richardson, and Alexander Martella

Batman: Under the Red Hood is a 2010 direct-to-video superhero animated film from Warner Bros. Animation. Starring DC Comics avenger of the night, Batman, this is also the eighth feature in the DC Universe Animated Original Movies line.

The film is adapted from two storylines that appeared in Batman comic book titles published by DC Comics. The first is “A Death in the Family,” which was published in Batman #426-429 (1988-89). The second is “Under the Hood,” which was published in Batman #635-641, 645-650, Batman Annual #25 (2005-2006) and was written by Batman: Under the Red Hood screenwriter, Judd Winick.

Batman: Under the Red Hood begins when tragedy strikes Batman (Bruce Greenwood) and Jason Todd (Alexander Martella), the second young man to be Robin, during a mission to stop The Joker (John Di Maggio). Five years later, a new masked vigilante is using The Joker’s old alias, Red Hood (Jensen Ackles) and is wreaking havoc in Gotham City’s organized crime community.

Batman with his original Robin by his side, now called Nightwing (Neil Patrick Harris), try to put a stop to Red Hood, but find him to be more than a match for both of them. Crime boss, Black Mask (Wade Williams) is determined to get rid of the Red Hood, even if it means making a most dangerous choice. For the villain whom Black Mask hires to assassinate Red Hood will set in motion a game of death.

Batman: Under the Red Hood is dark and edgy, first of all because it is one of the most violent (if not the most violent) of DC Universe Animated Original Movies. The film is also surprisingly morbid with its scenes that depict the death of a young person, multiple corpses, the theft of a corpse, exhumation, a funky resurrection scene, mass shootings, brutal beatings, etc. This is a dark, dark, Dark Knight indeed.

The Joker is practically a supporting character with relatively few scenes (although his presence hangs over the entire narrative). This version of the character is well written and also superbly voice acted by John Di Maggio, who gives the kind of turn that adds a rude and dark humor to The Joker’s edginess. Neil Patrick Harris is an odd touch as Nightwing, but his performance gives this film some needed warmth. Jensen Ackles, best known as “Dean Winchester” in the television series, “Supernatural,” brings some righteous rage and energy to this movie. That is the opposite of Bruce Greenwood as Batman, whose voice stands out only in a few scenes. Also, either Wade Williams is the reason that Black Mask is a joke or the character is simply inappropriately and unintentionally comical.

The animation is high quality, which shows in the action scenes. The art direction is good, but there have been better visualizations of Batman’s world, especially Gotham City, in other animated features. Still, Batman: Under the Red Hood is a good film, but there is something about it that keeps me from fully embracing it. Could it be the whole “death in the family” thing or the film’s emphasis on violence that is bothering me? Maybe.

7 of 10
A-

Tuesday, July 24, 2012

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"Justice League: Crisis on Two Earths" is Twice the Fun

TRASH IN MY EYE No. 59 (of 2012) by Leroy Douresseaux


Justice League: Crisis on Two Earths (2010) – straight-to-video
Running minutes: 75 minutes (1 hour, 15 minutes)
MPAA – PG-13 for action violence
DIRECTOR: Sam Liu and Lauren Montgomery
WRITER: Dwayne McDuffie
PRODUCERS: Bobbie Page with Bruce Timm
EDITOR: Margaret Hou
COMPOSERS: James L. Venable with Christopher Drake
ANIMATION STUDIO: Moi Animation Studio

ANIMATION/SUPERHERO/SCI-FI/ACTION with elements of drama

Starring: (voices) William Baldwin, Mark Harmon, Chris Noth, Gina Torres, James Woods, Jonathan Adams, Brian Bloom, Bruce Davison, Josh Keaton, Vanessa Marshall, Nolan North, Freddi Rogers, James Patrick Stuart, and Cedric Yarbrough

Justice League: Crisis on Two Earths is a 2010 direct-to-video superhero animated film from Warner Bros. Animation. Starring DC Comics’ ultimate superhero team, the Justice League, this is also the seventh feature in the DC Universe Animated Original Movies line.

The film’s premise borrows from two DC Comics stories, “Crisis on Earth-Three” (Justice League of America #29-30, 1964) and the 2000 graphic novel, JLA: Earth 2, by Grant Morrison and Frank Quitely. Justice League: Crisis on Two Earths follows the Justice League as the team helps a good version of the arch-villain Lex Luthor from a parallel Earth where evil versions of the Justice League dominate the planet.

While rebuilding the Watchtower, their headquarters that orbits the Earth, the Justice League: Superman, Batman, Wonder Woman, Green Lantern, Martian Manhunter, and Flash are surprised to learn that supervillain Lex Luthor insists on having a meeting with the team. But wait! Isn’t Luthor in prison? This Lex Luthor (Chris Noth) hails from an alternate universe where evil counterparts of the Justice League rule over earth.

On Luthor’s Earth, Superman is Ultraman, Batman is Owlman, Wonder Woman is Superwoman, Green Lantern is Power Ring, and Flash is Johnny Quick. They form the Crime Syndicate. Now, the Justice League must help Luthor free his Earth from the Syndicate’s tyranny, but a certain Syndicate member is hoping to set a more diabolical plan in motion.

I thoroughly enjoyed watching Justice League: Crisis on Two Earths. Why do I like it? Of all the straight-to-DVD superhero films I’ve watched, this one offers the most bang for the buck that is my viewing pleasure in terms of fights. Superheroes and supervillains fight, and Crisis on Two Earths doesn’t deny the viewer, as we see every combination of battle possible. It seems as if every member of the Justice League gets a shot at every member of the Crime Syndicate and vice versa – from battles of entire squads to skirmishes of smaller groupings of characters.

This story is also surprisingly dark – from Owlman’s (James Woods) fanatical cynicism and narcissism to Batman’s (William Baldwin) cold-blooded and calculated decision making. The characters also make blunt assessments about each other, as Rose Wilson (Freddi Rogers) does of her father, President Slade Wilson (Bruce Davison). Also, the frank nature of the relationship between Owlman and Superwoman (Gina Torres) is not glossed over for the sake of younger viewers.

The voice-over performances by the voice cast bring to life the excellent character writing from television animation writer/producer, the late Dwayne McDuffie. The direction by Sam Liu and Lauren Montgomery is marvelous, especially in the framing of the action and fight scenes. Moi Animation Studio, the studio that produces the actual animation, does itself proud. This is a pretty movie that captures the color and energy of classic, four-color, superhero comic books. Justice League: Crisis on Two Earths – Encore! Encore!

8 of 10
A

Saturday, July 14, 2012

Gareth Edwards' "Monsters" Not Like Other Monster Flicks

TRASH IN MY EYE No. 108 (of 2011) by Leroy Douresseaux


Monsters (2010)
COUNTRY OF ORIGIN: United Kingdom
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – R for language
CINEMATOGRAPHER/WRITER/DIRECTOR: Gareth Edwards
PRODUCERS: Allan Niblo and James Richardson
EDITORS: Colin Goudie
COMPOSER: Jon Hopkins
BAFTA nominee

SCI-FI/DRAMA

Starring: Scoot McNairy Whitney Able, and Mario Zuniga Benavides

Monsters is a 2011 British science fiction film and quasi-monster movie. It is the debut feature film of Gareth Edwards, who wrote, directed, and shot Monsters. A cinematic one-man-army and DIY filmmaker, Edwards also created the film’s special effects.

Monsters opens six years after NASA discovered the possibility of alien life within our solar system. The agency sent a probe to collect samples, but upon re-entry, the probe crashed in Mexico. Now, a huge swath of northern Mexico near the border of the United States is quarantined as the “INFECTED ZONE” because a new alien life form began to appear in this region. The U.S. and Mexican militaries struggle to contain the tentacled creatures in the infected zone.

The film focuses on Andrew Kaulder (Scoot McNairy), a young American photojournalist, who travels about Mexico taking pictures of the creatures and the aftermath of their appearances. Kaulder’s employers send him to a Mexican hospital to find Samantha “Sam” Wynden (Whitney Able), an American injured during a creature attack. Sam turns out to be the daughter of Kaulder’s boss, a wealthy media mogul, and Sam’s father insists that Kaulder escort her back to the United States. However, circumstances force the couple into a more dangerous trip than either imagined.

Monsters looks like a low-budget movie compared to most sci-fi alien invasion movies, but Monsters is not competing with movies like Independence Day (1996) or even with classic black and white B-movie monster flicks. Monsters is essentially an allegorical road movie about the state of the environment and about First World nations waging war on Third World nations. Without preaching, writer/director Gareth Edwards uses clean imagery which conveys potent symbolism concerning our current state of affairs.

Actors Scoot McNairy and Whitney Able were dating at the time they were shooting Monsters, which likely contributed to the absorbing screen chemistry they show here. [They are now married.] Their naturalistic performances are pitch perfect for this movie’s message about mankind’s current situation.

Edwards presents some potent images and effective scenes throughout this film, especially in the last act when Kaulder and Sam enter a post-disaster American small town. In the film, the area was damaged by a creature, but I’m guessing that in the real world, this is an American neighborhood, post-hurricane or other natural disaster. This point in the narrative affirms that for a science fiction monster movie, Monsters is a surprisingly human story.

7 of 10
B+

NOTE:
2011 BAFTA Awards: 1 nomination: “Outstanding Debut by a British Writer, Director or Producer” (Gareth Edwards – Director/Writer)

Friday, December 30, 2011

Review: Takashi Miike Does Epic in "13 Assassins"

TRASH IN MY EYE No. 60 (of 2011) by Leroy Douresseaux

13 Assassins (2010)
Jûsan-nin no shikaku (original title)
COUNTRY OF ORIGIN: Japan
Running time: 125 minutes (2 hours, 5 minutes)
MPAA – R for sequences of bloody violence, some disturbing images and brief nudity
DIRECTOR: Takashi Miike
WRITER: Daisuke Tengan (based upon a screenplay by Kaneo Ikegami)
PRODUCER: Minami Ichikawa, Tôichirô Shiraishi, and Michihiko Yanagisawa
CINEMATOGRAPHER: Nobuyasu Kita (D.o.P.)
EDITOR: Kenji Yamashita
COMPOSER: Kôji Endô

DRAMA/HISTORICAL/MARTIAL ARTS/ACTION

Starring: Kôji Yakusho, Takayuki Yamada, Yûsuke Iseya, Gorô Inagaki, Masachika Ichimura, Mikijiro Hira, Hiroki Matsukata, Ikki Sawamura, Arata Furuta, Tsuyoshi Ihara, Masataka Kubota, Sôsuke Takaoka, Seiji Rokkaku, Yûma Ishigaki, Kôen Kondô, and Ikki Namioka

13 Assassins (Jûsan-nin no shikaku) is a 2010 Japanese period drama (a jidaigeki) from prolific director, Takashi Miike. This samurai epic is based on a true story and is also a remake of the 1963 Japanese film, Jûsan-nin no shikaku. The story is about a band of samurai warriors out to kill a tyrannical young lord. 13 Assassins is also one of the best films of 2010.

The film is set in the last decades of Feudal Japan, when the era of the samurai is waning. The sadistic young Lord Matsudaira Naritsugu (Gorô Inagaki) rapes and kills at will. He is seemingly untouchable because he is the former Shogun’s son and the current Shogun’s younger brother. After Naritsugu’s actions lead to the destruction of a prominent family, a senior political figure, Sir Doi (Mikijiro Hira), decides that Naritsugu must be killed. Doi hires Shinzaemon Shimada (Kôji Yakusho), an older samurai whom he can trust, to assassinate Naritsugu.

Shinzaemon, who was once a Shogun’s samurai, gathers 11 other samurai, including his nephew, Shinroukuro (Takayuki Yamada), and the 12 plan the assassination. Lord Naritsugu is traveling to his family’s territory, so Shinzaemon plots to steer him to the small village of Ochiai, in the province of Mino, where they will ambush him. Along the way, Shinzaemon adds a thirteenth member to his group, a mysterious woodsman who says his name is Koyata Kiga (Yûsuke Iseya). Meanwhile, the assassins learn that Naritsugu’s security detail is much larger than it was supposed to be.

13 Assassins is the first Takashi Miike film I’ve seen. Before this movie, I’d heard of him via the controversy around his work, such as Ichi the Killer (2001) and his episode, “Imprint,” of the “Masters of Horror” television anthology series. In 13 Assassins, Miike certainly doesn’t spare the audience of blood, dismemberment, and assorted wanton murder. Lord Naritsugu is one of the vilest characters I’ve ever seen depicted on screen, and he is the instigator of some of the most vicious murders portrayed in the 13 Assassins. Kudos to Gorô Inagaki for his brilliant performance as Naritsugu.

However, the depictions of violent death both in battle and in character drama shouldn’t be the only thing people take away from 13 Assassins. What audiences should recognize is Miike’s supreme skills as a helmsman, particularly as a director of this grand, historical epic. In 13 Assassins’ climatic battle, there are a little more than 200 combatants, but you might think there were 10 times more.

Miike and his collaborators and crew, in particularly director of photography, Nobuyasu Kita, and film editor, Kenji Yamashita, stage a fight that makes battles in films like the Lord of the Rings trilogy, Michael Bay’s Pearl Harbor, Cold Mountain, etc. look small. Such films use computers and digital technology to make their battles look super-sized, while Miike goes intimate – up close and personal – with the mayhem, desperation, and frantic pace of battle. That makes this battle look grand and glorious, but also sad, wasteful, and pathetic.

I find that with only a few exceptions, notably Shinzaemon Shimada and his nephew Shinroukuro, Miike misses the chance to really delve into the many wonderful characters fashioned by screenwriter Daisuke Tengan. That’s a shame because some of them have gripping back stories and engaging personalities. Still, that really isn’t much of a blemish, if it’s a blemish at all, on this superb film. 13 Assassins is one of the best samurai dramas I’ve ever seen, and it is one of the best historical films of the new century. Film lovers should not miss 13 Assassins.

9 of 10
A+

Tuesday, July 19, 2011

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Review: Giamatti, Hoffman Golden in "Barney's Version"

TRASH IN MY EYE No. 58 (of 2011) by Leroy Douresseaux

Barney’s Version (2010)
COUNTRY OF ORIGIN: Canada
Running time: 134 minutes; MPAA – R for language and some sexual content
DIRECTOR: Richard J. Lewis
WRITER: Michael Konyves (based upon the novel by Mordecai Richler)
PRODUCER: Robert Lantos
CINEMATOGRAPHER: Guy Dufaux
EDITOR: Susan Shipton
COMPOSER: Pasquale Catalano
Academy Award nominee

DRAMA/COMEDY

Starring: Paul Giamatti, Dustin Hoffman, Rosamund Pike, Scott Speedman, Anna Hopkins, Jake Hoffman, Minnie Driver, Bruce Greenwood, Rachelle Lefevre, Thomas Trabacchi, Clé Bennett, Saul Rubinek, Mark Addy, and David Cronenberg, Denys Arcand, and Atom Egoyan

Barney’s Version is a 2010 Canadian film based upon the 1997 novel of the same title by Mordecai Richler. A comedy and drama, Barney’s Version looks at three decades in the life of a picaresque character and his three wives.

Impulsive, irascible, and fearlessly blunt with a foul mouth, Barney Panofsky (Paul Giamatti) is a Jewish Canadian television producer who drinks hard, smokes too many cigars, and is a rabid hockey fan. He owns Totally Unnecessary Productions, which produces a long-running soap opera, “Constable O’Malley of the North.”

At the age of 65, Barney looks back on his life. There is success and wealth, but there are also many mistakes and failures. Underlying his story are three wives: Clara “Chambers” Charnofsky (Rachelle Lefevre), a free-spirit who loves free love (and Barney’s friends); the second wife, Mrs. Panofsky (Minnie Driver), a talkative, self-centered Jewish princess; and Miriam Grant (Rosamund Pike), the love of his life who gives birth to his children. Also part of Barney’s life story is Bernard “Boogie” Moscovitch (Scott Speedman), a drug addict and failed writer who gets Barney in trouble with the law.

Barney’s Version is marked by some good performances, and, in particular, a topnotch lead performance by Paul Giamatti, who won a Golden Globe for his portrayal of Barney Panofsky. Dustin Hoffman, as Barney’s father, Izzy Panofsky, gives one of those robust, fragrant supporting performances that stand out from the other supporting performances. Like many films that make extensive use of flashbacks, however, Barney’s Version ends up looking like an interesting highlight reel rather than a fully developed story that is, in turn, about something or that is built around a solid thematic structure.

I’m not saying that Barney’s Version is not a good movie, but simply that it seems like no more than bits and pieces of a larger story about one of those great fictional characters that grab a hold of our imagination. By the end of Barney’s Version, I thought, “This is good, but there is more. Something is missing.” Still, movie lovers who love character dramas will want to try Barney’s Version.

7 of 10
B+

NOTES:
2011 Academy Awards: 1 nomination: “Best Achievement in Makeup” (Adrien Morot)

2011 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Paul Giamatti)

Friday, July 08, 2011

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Review: "Client 9" Digs into Eliot Spitzer Scandal

TRASH IN MY EYE No. 51 (of 2011) by Leroy Douresseaux

Client 9: The Rise and Fall of Eliot Spitzer (2010)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – R some sexual material, nudity and language
WRITER/DIRECTOR: Alex Gibney
PRODUCERS: Maiken Baird, Alex Gibney, Jedd Wider, and Todd Wider
CINEMATOGRAPHER: Maryse Alberti
EDITORS: Plummy Tucker with Alison Amron
COMPOSER: Peter Nashel

DOCUMENTARY – Politics

Starring: Eliot Spitzer, Wayne Barrett, Joe Bruno, David Brown, Darren Dopp, Peter Elkind, Maurice “Hank” Greenberg, Noreen Harrington, Ken Langone, Roger Stone, Cecil Suwal, Hulbert Waldroup, and Wrenn Schmidt

Client 9: The Rise and Fall of Eliot Spitzer is a 2010 documentary film from Oscar-winning documentary filmmaker, Alex Gibney (Taxi to the Dark Side). Client 9 takes an in-depth look at the rise and fall of Eliot Spitzer, former State Attorney General and Governor of New York. The film includes an interview with Spitzer, who was elected as the 54th governor of New York in 2006 and later resigned when he was exposed as being involved in a high-priced prostitution ring.

The film reveals Spitzer’s beginnings as a crusading state’s Attorney General who went after Wall Street, big banks, and big insurance companies for fraud, predatory lending, price fixing, etc. Then, Client 9 chronicles his downfall by interviewing the key players, including Spitzer’s Wall Street adversaries (such as Hank Greenberg and Ken Lagone) and political enemies, (like Joe Bruno). Gibney also talks to some of the people behind Emperors Club VIP, the high-priced escort service from which Spitzer obtained call girls. The film also looks the crusade that defined Spitzer’s public and professional life – fighting corruption on Wall Street and in New York state politics. This film also suggests that shadowy and powerful figures from Wall Street and Albany (the state capitol) likely played a part in revealing Spitzer’s patronization of high-priced prostitutes.

In some ways, Client 9 is less about Spitzer than about the corruption against which he crusaded, particularly corruption on Wall Street. Even the Emperors Club, which provided Spitzer with call girls, is connected to Wall Street because it services some of the financial industry’s big players. Although Spitzer does participate in this documentary, the former governor turned cable television pundit is careful, even guarded about what he says, which is understandable, but this reticence ends up making him an ensemble player in what should be a starring role in his melodrama.

The film does offer startling insight into the way the U.S. Justice Department prosecutes crimes involving politicians. Also, the press and news media, which is obsessed with sex and scandal and overly reliant (by my estimation) on tips and leaks that offer salacious details, doesn’t come out looking too good.

Compared to Gibney’s other films, Client 9: The Rise and Fall of Eliot Spitzer isn’t great, but it is good. Ultimately, it barely skims the surface of the darkness behind Spitzer and the institutions and people behind his rise and especially his fall.

7 of 10
B+

Wednesday, June 15, 2011

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Review: "TRON: Legacy" is All Good All on its Own

TRASH IN MY EYE No. 49 (of 2011) by Leroy Douresseaux

TRON: Legacy (2010)
Running time: 125 minutes (2 hours, 5 minutes)
MPAA – PG sequences of sci-fi action violence and brief mild language
DIRECTOR: Joseph Kosinski
WRITERS: Edward Kitsis and Adam Horowitz; from a story by Edward Kitsis and Adam Horowitz and Brian Klugman and Lee Sternthal (based upon the characters created by Steven Lisberger and Bonnie MacBird)
PRODUCERS: Sean Bailey, Steven Lisberger, and Jeffrey Silver
CINEMATOGRAPHER: Claudio Miranda
EDITOR: James Haygood
COMPOSER: Daft Punk
Academy Award nominee

SCI-FI/ACTION/DRAMA

Starring: Jeff Bridges, Garrett Hedlund, Olivia Wilde, Bruce Boxleitner, James Frain, Beau Garrett, and Michael Sheen

TRON: Legacy is a 2010 science fiction film. It is the sequel to Walt Disney Pictures’ 1982 sci-fi film, Tron. Tron: Legacy follows Sam Flynn, the son of Kevin Flynn, the innovative software engineer who entered the Digital World, a place that existed inside a computer (as depicted in the original Tron).

In 1989, Kevin Flynn (Jeff Bridges), who was also the CEO of ENCOM International, disappeared seven years after he defeated the Master Control Program in the Digital World. Twenty years later, Sam Flynn (Garrett Hedlund), now a tech-savvy 27-year-old, has little interest in ENCOM, although he is the controlling shareholder. His father’s friend and ENCOM executive, Alan Bradley (Bruce Boxleitner), tells Sam that he has received a mysterious page from a number originating at Kevin Flynn’s old arcade, which has been shutdown for 20 years.

Entering the arcade, Sam finds a concealed computer laboratory hidden in the basement. Sitting at his father’s computer, Sam accidentally transports himself to the Grid, a virtual world inside his father’s computer. There, he finds a world of gladiatorial games and fierce computer programs, and the Grid is ruled by CLU, a renegade program that looks like a young Kevin Flynn and was actually created by Flynn. Escaping CLU’s attempt to kill him, Sam is reunited with his now older father and Quorra (Olivia Wilde), a warrior and Kevin Flynn’s confidant. Together, reunited father and son try to stop CLU’s plot to invade the real world.

With its dazzling visuals and state-of-the-art production design, Tron: Legacy is one of the most innovative films of the last few years. It is a digital light show that dazzles the mind via the eyes, sometimes threatening to fry both. The computer-generated, younger version of Jeff Bridges as CLU is quite impressive, except for those few moments when CLU looks too plastic and moves awkwardly.

As in the original Tron, the human characters and story occasionally get lost in Tron: Legacy, especially amidst the elegant, eye-popping special effects. It is not that the story is bad. This is a standard action movie pitting good guys against bad guys, but a movie this visually adventurous deserves a more daring story. However, with the imaginative landscapes and production design and inventive costume design, this standard action movie doesn’t look so standard.

At this point, I have to say that you, dear reader, should see this visually splendid film for yourself. Some of the effects are breathtaking, and the simply magnificent score by the electronic music duo, Daft Punk, is the perfect soundtrack for a milestone film like Tron: Legacy. Modern with the touch of retro-1980’s synthesizer music, Daft Punk’s score thunders and swells, and best of all, it sweeps you off your feet just like film. It may be a little soft on story and character, but Tron: Legacy soars to the next level visually, sonically, and musically.

8 of 10
A

NOTES:
2011 Academy Awards: 1 nomination: “Best Achievement in Sound Editing” (Gwendolyn Yates Whittle and Addison Teague)

Friday, June 10, 2011

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Review: Portman and Aronofsky Give "Black Swan" Its Wings

TRASH IN MY EYE No. 42 (of 2011) by Leroy Douresseaux

Black Swan (2010)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – R for strong sexual content, disturbing violent images, language and some drug use
DIRECTOR: Darren Aronofsky
WRITERS: Mark Heyman, Andrés Heinz, and John McLaughlin; from a story by Andrés Heinz
PRODUCERS: Scott Franklin, Mike Medavoy, Arnold Messer, and Brian Oliver
CINEMATOGRAPHER: Matthew Libatique (D.o.P.)
EDITOR: Andrew Weisblum
COMPOSER: Clint Mansell
Academy Award winner

DRAMA/THRILLER

Starring: Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder, and Benjamin Millepied

Black Swan in an Oscar-winning psychological thriller directed by Darren Aronofsky. It is the story of a ballerina descending into delusion and paranoia as opening night nears and the pressure to be perfect builds. Black Swan isn’t entirely satisfying, except for the dark and gleaming magic director Darren Aronofsky and star Natalie Portman make.

Nina Sayers (Natalie Portman) is a ballerina in a prestigious New York City ballet company. Her life is completely consumed with dance, and she lives with her obsessive mother, the former ballerina Erica Sayers (Barbara Hershey), who exerts a suffocating control over her daughter. Thomas Leroy (Vincent Cassel), the artistic director of her ballet company, decides to make Swan Lake the opening production of their new ballet season. Thomas wants to replace prima ballerina, Beth MacIntyre (Winona Ryder), and needs to cast a new principal dancer. But this new lead must be able to portray both the innocent and fragile White Swan and her sensual evil twin, the Black Swan.

Nina is Thomas’ first choice to play the coveted role of the Swan Queen, but Nina has competition. A new dancer named Lily (Mila Kunis) impresses Thomas as well. Swan Lake requires a dancer who can play the White Swan with innocence and grace and also capture the guile and sensuality of the Black Swan. Nina is a perfect fit for the White Swan, but bad girl Lily is the personification of the Black Swan. The two young dancers become friends, but as opening night approaches, that friendship twists into a treacherous rivalry. Nina struggles to access the dark side within her that will allow her to depict the Black Swan with perfection, but her new reckless behavior threatens to destroy her.

Black Swan is indeed a good movie; in fact, it is sometimes riveting, but not because of the writing. The script is shallow, and the screenwriters put the onus on the viewers to accept the great leaps of faith the writers make with the development of Nina Sayers. The depictions of her delusions and paranoia often seem contrived, but the writers handle Nina better than they do the other characters.

Vincent Cassel’s Thomas Leroy is such a stereotype that you can see Cassel fighting onscreen to make his character real or tangible rather than just be a type. Barbara Hershey is more successful in making Erica Sayers a character that electrifies the story every time she appears, but Erica is really a tired stage mother type. Mila Kunis is blood sugar sex magic as Lily, but I get the feeling that the screenwriters were afraid of where this character could take the story. Lily often seems like spicy seasoning overused in some places and woefully underutilized in others.

Black Swan’s success is in Natalie Portman and in the way Darren Aronofsky uses the camera to drink in every bit of Portman’s virtuoso performance. This duo makes Black Swan wonderfully creepy, almost always managing to stop whenever the entire thing seems on the verge of turning campy. Portman is passionate when being passionate is better than being intense. Black Swan looks good under Aronofsky’s bold direction. Watching this film, I believed that I could see him with a handheld camera just outside the picture frame gliding behind Portman.

Perhaps it is Aronofsky chasing Portman that makes this movie feel so wildly melodramatic. Everything that is so attractively lurid, sensational, and bracing about Black Swan is because of this director-star pairing made in heaven.

8 of 10
A

NOTES:
2011 Academy Awards: 1 win: “Best Performance by an Actress in a Leading Role” (Natalie Portman); 1 nominations: “Best Motion Picture of the Year” (Mike Medavoy, Brian Oliver, and Scott Franklin), “Best Achievement in Cinematography” (Matthew Libatique), “Best Achievement in Directing” (Darren Aronofsky), and “Best Achievement in Editing” (Andrew Weisblum)

2011 BAFTA Awards: 1 win: “Best Actress” (Natalie Portman); 11 nominations: “Best Achievement in Special Visual Effects,” “Best Cinematography” (Matthew Libatique), “Best Costume Design” (Amy Westcott), “Best Editing” (Andrew Weisblum), “Best Film,” “Best Make Up/Hair,” “Best Production Design” (Thérèse DePrez and Tora Peterson), “Best Screenplay-Original” (Mark Heyman, Andres Heinz, and John J. McLaughlin), “Best Sound,” “Best Supporting Actress” (Barbara Hershey), and “David Lean Award for Achievement in Direction” (Darren Aronofsky)

2011 Golden Globes: 1 win “Best Performance by an Actress in a Motion Picture – Drama” (Natalie Portman); 3 nominations: “Best Director - Motion Picture” (Darren Aronofsky), “Best Motion Picture – Drama,” and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Mila Kunis)

Sunday, May 22, 2011

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Oscar-Nominated "Gasland" is Fracking Good

TRASH IN MY EYE No. 40 (of 2011) by Leroy Douresseaux


GasLand (2010)
Running minutes: 107 minutes (1 hour, 47 minutes)
WRITER/DIRECTOR: Josh Fox
PRODUCERS: Trish Adlesic, Josh Fox, and Molly Gandour
EDITOR: Matthew Sanchez
Academy Award nominee

DOCUMENTARY

Starring: Josh Fox

GasLand is a 2010 documentary from writer/director Josh Fox. GasLand is Fox’s first documentary feature film, and it earned a best documentary Oscar nomination. Fox travels across the United States to examine the negative aspects of natural gas drilling. Fox focuses on communities in the U.S. impacted by natural gas drilling, specifically a process known as hydraulic fracturing or “fracking.”

Fox begins his film by telling his audience that he received a letter from a natural gas company offering to lease his family’s land in Milanville, Pennsylvania for $100,000 to drill for gas. That started Fox’s quest for information about natural gas drilling. He discovers that all across America, rural landowners get lucrative offers from energy companies wanting to lease their property. These companies want to tap into large, underground reserves of natural gas.

A hydraulic drilling process called fracking, this preferred method of drilling was developed by Halliburton. The evidence, disputed by energy companies and people sympathetic to them, is that fracking poisons water sources. From the heartland, across the South, and back to the Northeast, Fox finds people whose water is so contaminated by chemicals used in the fracking process that the water can burst into flame, even when lit by a match. Fox’s film questions whether natural gas is really a viable alternative to our dwindling energy resources. If it is, does its potential harmful effects to the nation’s water supply outweigh the benefits of natural gas?

Visually, GasLand is quite potent. It has a visual kick, and sometimes those visuals are poetic and lyrical. I don’t know how effective the film will be in the long term. While its premise is simple and its subject matter straightforward, GasLand seems overripe with information; there is just so much depicted here, particularly in terms of how many people are suffering because of fracking. Still, the film’s sense of urgency is palatable.

Environmental experts predict that finding fresh water is going to be a problem for many humans in the 21st century. Thus, the most effective element of GasLand is its portrayal of energy companies and their determination to extract natural gas through fracking, regardless of the environmental consequences. The men that run these companies seem not to have a care in the world that real people can be and are being negatively impacted by fracking. This means that GasLand is a call-to-arms, an activist documentary that must be seen simply because this is about all our futures.

7 of 10
A-

NOTES:
2011 Academy Awards: 1 nomination: “Best Documentary, Features” (Josh Fox and Trish Adlesic)

"The Voyage of the Dawn Treader" an Excellent Adventure

TRASH IN MY EYE No. 41 (of 2011) by Leroy Douresseaux

The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – PG for some frightening images and sequences of fantasy action
DIRECTOR: Michael Apted
WRITERS: Christopher Markus and Stephen McFeely and Michael Petroini (based upon the book by C.S. Lewis)
PRODUCERS: Andrew Adamson, Mark Johnson, and Philip Steuer
CINEMATOGRAPHER: Dante Spinotti
EDITORS: Rick Shaine
Golden Globe nominee

FANTASY/ADVENTURE/FAMILY

Starring: Ben Barnes, Georgie Henley, Skandar Keynes, Will Poulter, Gary Sweet, Arthur Angel, Arabella Morton, Bille Brown, William Moseley, Anna Popplewell, Tilda Swinton, and the voices of Simon Pegg and Liam Neeson

20th Century Fox joins Walden Media to produce the third film adaptation of C.S. Lewis’s book series, The Chronicles of Narnia. The Chronicles of Narnia: The Voyage of the Dawn Treader finds the youngest Pevensie children, Edmund and Lucy, joined by a dour cousin on a return journey to Narnia, where they grapple with temptation. More so than the other films, The Voyage of the Dawn Treader is a rip-snorting adventure

One year after the events depicted in The Chronicles of Narnia: Prince Caspian, the two youngest Pevensie children, Edmund (Skandar Keynes) and Lucy (Georgie Henley), are living in Cambridge with their cousins, the Scrubbs. Their older siblings, Susan (Anna Popplewell) and Peter (William Moseley), are in the United States with their parents. Lucy and Edmund now have their obnoxious cousin, Eustace Scrubb (Will Poulter), as a disagreeable companion.

The adventure beings when a magical painting transports Lucy, Edmund, and Eustace to an ocean in Narnia. There, the trio is rescued by Caspian (Ben Barnes) and the large talking mouse, Reepicheep (Simon Pegg), and taken aboard the sailing ship, the Dawn Treader. Three years have passed in Narnia since the Pevensie siblings last visited, and Caspian is now the King of Narnia. King Caspain is on a quest to find the seven Lost Lords of Narnia and invites the Pevensies and their cousin to join him.

During a visit to the Lone Islands, they discover a slavery ring that sacrifices people to a mysterious green mist. In order to save the sacrificial victims, the crew of the Dawn Treader must sail to Dark Island where resides a corrupting evil that threatens to destroy all of Narnia. Lucy, Edmund, King Caspian, and Eustace will find themselves tested as they journey to the far end of world and to the home of the great lion, Aslan (Liam Neeson).

As was the case with Prince Caspian, I enjoyed The Voyage of the Dawn Treader much more than I did the first Narnia film, The Lion, the Witch and the Wardrobe. Dawn Treader is the cleanest and purest of the series, thus far. It is a straightforward adventure, an ocean-going tale that takes the characters from one obstacle they must overcome to another. Its philosophical theme is also simple – fighting, avoiding, and overcoming temptation. Its spiritual theme – the yearning to be one with the almighty or perfection – is surprisingly up front, and the story is almost frank in equating Aslan with the Christian God.

The main characters: Lucy, Edmond, and Caspian do not offer anything new in terms of personality; they’re like old friends, now. The story does get a much needed jolt in new characters, such as the firm captain of the Dawn Treader, Lord Drinian (Gary Sweet), and especially the tart Eustace Scrubb. While the arc of Eustace’s change is interesting, what is best about the character is Will Poulter’s portrayal of Eustace. Pitch-perfect in his performance, Poulter makes the annoying Eustace a scene stealer who will make the audience want more of him.

The special effects in this third movie are better than those in the second film. Although not as impressive as those in the original film (which won an Oscar), the visual effects in this film seem more inventive and even more magical. This is Michael Apted’s touch as director; he makes the most of what he has. He doesn’t get the most impressive acting, but he makes it seem so. Apted doesn’t have a solid villain in the evil green mist, which essentially represents temptation, but he adds chilling touches using the mist.

In the final act, The Chronicles of Narnia: The Voyage of the Dawn Treader especially emphasizes its Christian elements. The spiritual messages will make some yearn for God, but even more people will be sad that the end of this movie means that we must once again leave Narnia – until we return…

8 of 10
A

NOTES:
2011 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (David Hodges, Hillary Lindsey, and Carrie Underwood for “There’s A Place for Us”)

Monday, May 16, 2011


The Chronicles of Narnia: The Voyage of the Dawn Treader [Blu-ray]

"Skyline" No "Independence Day"

TRASH IN MY EYE No. 38 (of 2011) by Leroy Douresseaux


Skyline (2010)
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – PG-13 for sequences of intense sci-fi action and violence, some language, and brief sexual content
DIRECTORS: The Brothers Strause
WRITERS: Joshua Cordes and Liam O'Donnell
PRODUCERS: Kristian James Andresen, Liam O'Donnell, and Colin Strause and Greg Strause
CINEMATOGRAPHER: Michael Watson (D.o.P.)
EDITOR: Nicholas Wayman-Harris
COMPOSER: Matthew Margeson

SCI-FI/ACTION

Starring: Eric Balfour, Scottie Thompson, Brittany Daniel, Crystal Reed, Neil Hopkins, David Zayas, Robin Gammell, and Donald Faison

Skyline is a 2010 alien invasion film from Colin and Greg Strause. Known as the Brothers Strause, the siblings directed Aliens vs. Predator: Requiem. They also own the visual effects company, Hydraulx, which has created special effects for films like 300, The Day After Tomorrow, and Terminator 3: Rise of the Machines.

Skyline follows New York City-based artist, Jarrod (Eric Balfour), and his girlfriend, Elaine (Scottie Thompson). The two are traveling to Los Angeles for the birthday party of Terry (Donald Faison), Jarrod’s best friend who runs a successful movie special effects company. After a night of wild partying, Jarrod and company awaken to discover Terry’s apartment filled with a mysterious blue light. The origin of the light is an alien invasion. Monstrous alien ships hover over the city and are vacuuming up thousands of people. Jarrod and friends stick together to survive and plot a way to escape while the alien machines pick them off one by one.

Skyline has some wonderful visual special and creature effects. The film seems to be a mixture of ideas from George Pal’s The War of the Worlds (1953) and Independence Day (1996). There is some Oscar-worthy visual effects work here, but even this dazzling light show cannot blind the viewer to Skyline’s glaring problems – a poor cast and even poorer characters.

I don’t want to dog the actors, but they don’t inspire interest or even engage what interest you might have for this flick. The one actor who could do this film some good, Donald Faison, isn’t in the movie for very long. The rest of the actors have no star power and their acting isn’t bad – it’s just lackluster. The characters are just deadwood and driftwood. The writers merely hint at their personalities, professions, and interests, but abandon that when its time for the invasion theatrics to begin.

You may find yourself begging for more science fiction/alien stuff, especially during the moments when the movie focuses on the characters. Skyline is half a really good alien invasion movie, and the other half is pure tedium.

5 of 10
C+

Saturday, May 07, 2011

"The Tourist" May Trap Jolie and Depp Fans

TRASH IN MY EYE No. 37 (of 2011) by Leroy Douresseaux


The Tourist (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – PG-13 for violence and brief strong language
DIRECTOR: Florian Henckel von Donnersmarck
WRITERS: Florian Henckel von Donnersmarck, Christopher McQuarrie, and Julian Fellowes (based upon the film Anthony Zimmer by Jérôme Salle)
PRODUCERS: Gary Barber, Roger Birnbaum, Jonathan Glickman, Tim Headington, and Graham King
CINEMATOGRAPHER: John Seale
EDITORS: Joe Hutshing and Patricia Rommel
COMPOSER: James Newton Howard
Golden Globe nominee

CRIME/ROMANCE with elements of comedy

Starring: Johnny Depp, Angelina Jolie, Paul Bettany, Timothy Dalton, Steve Berkoff and Rufus Sewell

Movies that bring together a big-time male and female movie star for a tale of romance and/or sex can be disastrous, such as Perfect Strangers with Halle Berry and Bruce Willis. The recent film, The Tourist, brings together A-list stars, Johnny Depp and Angelina Jolie (although they weren’t the original choices for this movie). Depp and Jolie have almost no screen chemistry; they simply seem like a mismatched pair, and for some reason, this works for The Tourist.

A remake of a French action film, The Tourist is the story of an American in Venice who becomes a decoy in a cat-and-mouse game involving the police, gangsters, a thief, and his lover. Widower Frank Tupelo (Johnny Depp) is an American tourist on a train to Venice, Italy, when he encounters a mysterious beauty, Elise Clifton-Ward (Angelina Jolie). Ward is going to Venice for a long-awaited reunion with her former boyfriend, Alexander Pearce.

Frank is smitten with Elise, and while she surprisingly spends some time with him, Elise abandons Frank to find Pearce. Elise isn’t the only one looking for Pearce. The others include Robert Shaw (Steve Berkoff), a gangster from whom Pearce stole 2.3 billion dollars, and Inspector John Acheson (Paul Bettany) and Scotland Yard. The problem for Frank is that they think he is Pearce because they saw Frank kissing Elise. But no one knows what Pearce now looks like, even Elise.

Truthfully, The Tourist has a slow, muddled plot. Combine that with the obvious-from-the-beginning lack of chemistry between Johnny Depp and Angelina Jolie, and this is a recipe for disaster. So why do I like this movie? Well, I am a huge fan of Depp, and I also like Jolie quite a bit. Perhaps, putting them in such a lovely setting as Venice and also adding a bit of international intrigue are just enough to get a sap like me to go along for The Tourist’s ride.

This film is beautifully photographed by the accomplished, Australian cinematographer, John Seale, who won an Academy Award for his work on The English Patient (1996). Seale also received Oscar nominations for Witness, Rain Man, and Cold Mountain. Seale does the majority of the work that gives The Tourist its elegance and sophistication. This glowing, shimmering romantic, half-romp is one of the most beautiful movies of the year. It seems as if the director, writers, and even the stars Depp and Jolie didn’t know how to make The Tourist work, but the cinematographer did. How often does that happen?

That’s okay. Fans of Jolie and Depp can find reasons to enjoy The Tourist. It does not matter what those reason are.

6 of 10
B

NOTES:
2011 Golden Globes: 3 nominations: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Johnny Depp), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Angelina Jolie)

Thursday, May 05, 2011

Review: Great Performances Help Deliver "The King's Speech"

TRASH IN MY EYE No. 35 (of 2011) by Leroy Douresseaux

The King’s Speech (2010)
COUNTRY OF ORIGIN: United Kingdom
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for some language
DIRECTOR: Tom Hooper
WRITER: David Seidler
PRODUCERS: Iain Canning, Emile Sherman, and Gareth Unwin
CINEMATOGRAPHER: Danny Cohen (D.o.P.)
EDITOR: Tariq Anwar
COMPOSER: Alexandre Desplat
Academy Award winner

DRAMA/HISTORICAL

Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce, Jennifer Ehle, Michael Gambon, Derek Jacobi, Timothy Spall, Eve Best, Freya Wilson, Ramona Marquez, Dominic Applewhite, Calum Gittins, Ben Wimsett, and Claire Bloom

The King’s Speech isn’t just any British historical drama. After all, it won the Academy Award as “Best Picture” of 2010. I don’t think it is as good as some of the British costume or period dramas from Merchant Ivory Productions (like Howard’s End and Remains of the Day) or even Shakespeare in Love (another best picture Oscar winner). However, this film about a king with a stammer and the man who helps him overcome it is a really good movie that I heartily recommend to fans of historical dramas.

The film begins in 1925. Prince Albert, Duke of York (Colin Firth) addresses a crowd, and his stammering speech clearly unsettles thousands of listeners. Known as “Bertie” to his wife, Elizabeth, Duchess of York (Helena Bonham Carter), and to his family, Prince Albert tries several unsuccessful treatments for his stammer and eventually gives finding a cure. The Duchess convinces Prince Albert to see Lionel Logue (Geoffrey Rush), an unorthodox Australian speech therapist living in London.

Logue’s pioneering treatment helps Albert, and the two men form an unlikely friendship. After Albert’s older brother, David, the Prince of Wales (Guy Pearce), steps down as King, Albert becomes King George VI and relies on Lionel even more. As war with Germany looms, George VI will need Logue’s help to deliver the King’s speech to Great Britain and the British Empire, a radio address that will assure the people’s confidence in their still-new king.

Tom Hooper, the director of The King’s Speech, was primarily known for his work directing for television (including the Emmy-winning, HBO miniseries, John Adams). However, the visual style he uses for The King’s Speech gives the film the grand feel of a historical epic, while simultaneously capturing the intimacy necessary for a character drama. Hooper is aided and abetted by art direction that brings the royal existence of the 1920s and 1930s to vivid life.

As well directed as The King’s Speech is, the core of the movie rests on the performances of Colin Firth and Geoffrey Rush. This movie is essentially the tale of a troubled prince/king who is shown the way to victory by a curmudgeonly wizard, and, in that sense, Firth as the distressed royal and Rush as the stern but doting old mage are triumphant. I have been watching Firth for years, so I know that he is an excellent actor. Still, I almost totally believed that he was the sorely troubled King George VI, fighting a real stammer. What can I say about Rush other than that he is always good, but, as Logue, this is one of those performances that will be marked in his career as a peak in a great body of work.

Helena Bonham Carter is also quite good, making the most of her time on screen and even stealing a few scenes. Firth won an Oscar for his performance here, and Rush and Carter should have also won Oscars, although they did receive nominations. There is much to like about The King’s Speech, but this trio makes the film a classic among British historical dramas.

8 of 10
A

NOTES:
2011 Academy Awards: 4 wins: “Best Motion Picture of the Year” (Iain Canning, Emile Sherman, and Gareth Unwin), “Best Achievement in Directing” (Tom Hooper), “Best Performance by an Actor in a Leading Role” (Colin Firth), and “Best Writing, Screenplay Written Directly for the Screen” (David Seidler); 8 nominations: “Best Achievement in Art Direction” (Eve Stewart and Judy Farr), “Best Achievement in Cinematography” (Danny Cohen), “Best Achievement in Costume Design” (Jenny Beavan), “Best Achievement in Editing” (Tariq Anwar), “Best Achievement in Music Written for Motion Pictures, Original Score” (Alexandre Desplat), “Best Achievement in Sound Mixing” (Paul Hamblin, Martin Jensen, and John Midgley), “Best Performance by an Actor in a Supporting Role” (Geoffrey Rush), and “Best Performance by an Actress in a Supporting Role” (Helena Bonham Carter)

2011 BAFTA Awards: 7 wins: “Alexander Korda Award for Best British Film” (Emile Sherman, Iain Canning, and Gareth Unwin), “Anthony Asquith Award for Film Music” (Alexandre Desplat), “Best Actor” (Colin Firth), “Best Film” (Emile Sherman, Gareth Unwin, and Iain Canning), “Best Screenplay-Original” (David Seidler), “Best Supporting Actor” (Geoffrey Rush), and “Best Supporting Actress” (Helena Bonham Carter); 7 nominations: “Best Cinematography” (Danny Cohen), “Best Costume Design” (Jenny Beavan), “Best Editing” (Tariq Anwar), “Best Make Up/Hair,” “Best Production Design” (Eve Stewart and Judy Farr), “Best Sound” (John Midgley-production mixer, Paul Hamblin-re-recording mixer, Martin Jensen-re-recording mixer, and Lee Walpole-supervising sound editor), and “David Lean Award for Achievement in Direction” (Tom Hooper)

2011 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture – Drama” (Colin Firth); 6 nominations: “Best Director - Motion Picture” (Tom Hooper), “Best Motion Picture – Drama,” “Best Original Score - Motion Picture” (Alexandre Desplat), “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Geoffrey Rush), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Helena Bonham Carter), and “Best Screenplay - Motion Picture” (David Seidler)

Thursday, April 28, 2011

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"The Town" Brings Heat to Boston

TRASH IN MY EYE No. 33 (of 2011) by Leroy Douresseaux

The Town (2010)
Running time: 125 minutes (2 hour, 5 minutes)
MPAA – R for strong violence, pervasive language, some sexuality and drug use
DIRECTOR: Ben Affleck
WRITERS: Peter Craig, Ben Affleck, and Aaron Stockard (based upon the novel Prince of Thieves by Chuck Hogan)
PRODUCERS: Basil Iwanyk and Graham King
CINEMATOGRAPHER: Robert Elswit (D.o.P.)
EDITOR: Dylan Tichenor
COMPOSERS: David Buckley and Harry Gregson-Williams
Academy Awards nominee

CRIME/DRAMA

Starring: Ben Affleck, Rebecca Hall, Jon Hamm, Jeremy Renner, Blake Lively, Titus Welliver, Pete Postlethwaite, and Chris Cooper

The Town is a 2010 crime drama directed by Ben Affleck, who also stars in the film and is one of the writers. Based upon the novel, Prince of Thieves by Chuck Hogan, The Town focuses on a career bank robber who falls in love with a bank manager he takes hostage after a heist.

Charlestown, a neighborhood in Boston, Massachusetts, is the home of lifelong friends: Doug MacRay (Ben Affleck), James “Jem” Coughlin (Jeremy Renner), Albert “Gloansy” Magloan (Slaine), and Desmond “Dez” Elden (Owen Burke). This quartet is also a dangerous and highly-successful team of bank robbers.

After robbing a bank, they take bank manager, Claire Kessey (Rebecca Hall), hostage. Even after releasing her, Doug stalks Claire to learn how much she is cooperating with the FBI. Meanwhile, Fergus “Fergie” Colm (Pete Postlethwaite), the local crime boss known as “the Florist,” pushes MacRay and his crew to attempt ever more dangerous and complex heists. MacRay is ready to leave Charlestown, but the weight of his obligations to best friend, Jem, seems to hold him in a life of crime. As MacRay prepares for his most dangerous heist ever, FBI Special Agent Adam Frawley (Jon Hamm) gets closer to discovering MacRay and his team.

Ben Affleck’s The Town seems like a Boston version of Michael Mann’s 1995 crime classic, Heat, which is about Los Angeles-based bank robbers. Several times while watching The Town, I thought of Heat. I also think that The Town isn’t as good as Affleck’s previous directorial effort, the excellent Gone Baby Gone.

The Town is still good, but I can’t imagine that is will ever be called a crime classic, in spite of what seems like a tremendous effort on Affleck’s part to make a great crime drama. Everything is well-done, but the character drama seems a little flat. Only when the narrative gets into the action set pieces (the before, during, and after the robberies) does The Town spring to mad life. In these instances, Affleck is strongest and most sure of his craft, whereas in the character moments, he and his narrative drift a little.

There are two exceptional things about The Town. First is Jeremy Renner as the volatile Jem. Crime films thrive on great supporting performances, and The Town has one in Renner. He makes Jem seem so complete, whole, and real that you might forget that Jem is just a fictional character; Renner lights up the screen whenever Jem appears. Blake Lively also delivers a strong turn as Jem’s troubled sister, Krista Coughlin, an unstable single mother and addict who is MacRay’s former girlfriend. Lively makes Krista good enough to warrant much more screen time that the character actually gets.

Like Heat, The Town has a shootout scene that tears the roof off the mutha. That is enough to make me overlook the film’s deficiencies, but as good as it is, The Town could have been so much more.

7 of 10
B+

NOTES:
2011 Academy Awards: 1 nomination: “Best Performance by an Actor in a Supporting Role” (Jeremy Renner)

2011 BAFTA Awards: 1 nomination: “Best Supporting Actor” (Pete Postlethwaite)

2011 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Jeremy Renner)

Tuesday, April 19, 2011