Review: "The Smurfs" Movie is Smurfy

TRASH IN MY EYE No. 51 (of 2013) by Leroy Douresseaux

The Smurfs (2011)
Running time:  103 minutes (1 hour, 43 minutes)
MPAA – PG for some mild rude humor and action
DIRECTOR:  Raja Gosnell
WRITERS:  J. David Stem, David N. Weiss, Jay Scherick, and David Ronn; from a story by J. David Stem and David N. Weiss (based on the characters created by and works of Peyo)
PRODUCER:  Jordan Kerner
CINEMATOGRAPHER:  Phil Meheux (D.o.P.)
EDITOR:  Sabrina Plisco
COMPOSER:  Heitor Pereira

FANTASY/ANIMATION/COMEDY/FAMILY

Starring:  Hank Azaria, Neil Patrick Harris, Jayma Mays, Sofia Vergara, Tim Gunn; voices: Jonathan Winters, Alan Cumming, Katy Perry, Fred Armisen, George Lopez, Anton Yelchin, Kenan Thompson, John Oliver, Paul Reubens, and Frank Welker

The Smurfs is a 2011 fantasy movie and family comedy film from director Raja Gosnell.  Presented in 3D, The Smurfs is a hybrid live-action and computer-animated movie, because many of the characters and scenes are created using computer-animation (also known as CG animation).  The Smurfs movie finds the tiny blue Smurfs chased by the evil wizard Gargamel from their magical world into the real world.

The Smurfs, originally known in French as “Les Schtroumpfs,” began as a Belgian comic created by Belgian comics artist Peyo (the pen name of Pierre Culliford).  Over time, The Smurfs became a media franchise that included animated televisions series and movies, dolls and toys, and theme parks, among many things.  The huge popularity of the Smurfs in the United States is due in large part to the long-running Saturday morning animated series, “Smurfs,” (produced by Hanna-Barbera) that originally aired from September 1981 to December 1989.

I initially did not expect much from it, but I found The Smurfs movie to be a surprisingly well-made and entertaining family film.

The film opens as the Smurfs are busy preparing for their Festival of the Blue Moon.  While his Smurfs are engaged with their work, Papa Smurf (Jonathan Winters) is concerned by a troubling vision he has that involves Clumsy Smurf (Anton Yelchin).  Meanwhile, the evil wizard Gargamel (Hank Azaria) is determined to find the Smurfs’ village, so that he can capture them.  Gargamel wants to extract “Smurf essence” from each Smurf’s body that will in turn give him great magical power.

One of the Smurfs inadvertently leads Gargamel and his cat, Azrael (Frank Welker), to the village.  The Smurfs escape, but Papa Smurf, Smurfette (Katy Perry), Grouchy (George Lopez), Clumsy, Brainy (Fred Armisen), and Gutsy (Alan Cumming) end up in Forbidden Falls, where they are transported to present-day New York City.  Gargamel and Azrael are close behind, so the Smurfs find refuge with a young couple, Patrick Winslow (Neil Patrick Harris) and pregnant wife, Grace (Jayma Mays).  Can Smurfs and humans find common ground before Gargamel manages to kidnap the Smurfs and extract some Smurf essence?

The Smurfs movie can be overly sentimental, even sappy, and its gauzy version of middle class values may be a bit too flimsy for adults.  One cannot deny, however, that The Smurfs movie is sweet like your grandmother.  That sweetness is personified by two endearing characters, Grace Winslow and Clumsy Smurf; they’re like kettle chips – you can’t get enough of them.

For most of their existence in comics, film, and television, the Smurfs have been drawn, so I did not think I would like computer-generated Smurfs.  The 3D aspect of computer-animation, however, turns the Smurfs into something tangible; they’re like lovable, huggable, little plush figures.  CGI does indeed bring them to life, and the voice performances put the finishing touches that make the Smurfs seem real.

I cannot forget to give Hank Azaria credit for a fantastic performance as Gargamel.  Although known for his voice work on the long-running series, The Simpsons,” Azaria is a superb character actor, and his Gargamel easily surpasses the 1980s cartoon version.  Azaria’s Gargamel is also one of the best villains ever to appear in a live-action children’s film.  Azrael, a combination of real cats and CGI, is also a winning character, in large part because of the “voice” work of the great Frank Welker.  Welker and Jonathan Winters, who voices Papa Smurf, are the only returning voice actors from the 1980s Smurfs animated series.

So, The Smurfs 2011 is sugary and satisfying.  Simply put, if you ever loved the Smurfs, then, you owe it to yourself to see this movie.

6 of 10
B

Tuesday, July 30, 2013

Review: "The Hangover Part II" Not Quite the Same

TRASH IN MY EYE No. 36 (of 2013) by Leroy Douresseaux


The Hangover Part II (2011)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for pervasive language, strong sexual content including graphic nudity, drug use and brief violent images
DIRECTOR: Todd Phillips
WRITERS: Craig Mazin, Scot Armstrong, and Todd Phillips (based on characters created by Jon Lucas and Scott Moore)
PRODUCERS: Daniel Goldberg and Todd Phillips
CINEMATOGRAPHER: Lawrence Sher (D.o.P.)
EDITOR: Debra Neil-Fisher and Mike Sale
COMPOSER: Christophe Beck

COMEDY/MYSTERY

Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, Paul Giamatti, Mason Lee, Sasha Barrese, Jamie Chung, Jeffrey Tambor, Nirut Sirichanya, Bryan Callen, Mike Tyson, and Nick Cassavetes

The subject of this movie review is The Hangover Part II, a 2011 comedy from director Todd Phillips. The film is a sequel to the 2009 hit comedy, The Hangover. Most of the cast returns for this sequel, including Bradley Cooper, Ed Helms, Zach Galifianakis, and Justin Bartha, the characters the comprise “the Wolfpack.” In The Hangover Part II, another pre-wedding get-together turns bad, this time in Thailand.

The Hangover Part II opens two years after the Wolfpack’s escapade in Las Vegas, Nevada. Now, dentist Dr. Stuart “Stu” Price (Ed Helms) is getting married, but the nuptials are in Thailand, the home of Stu’s bride-to-be, Lauren (Jamie Chung). Stu invites Phil Wenneck (Bradley Cooper), Doug Billings (Justin Bartha), and reluctantly, Alan Garner (Zach Galifianakis) to attend the wedding.

In addition to the usual pre-wedding jitters, there is some other tension. Lauren’s father, Fohn Srisai (Nirut Sirichanya), hates Stu, and Alan does not like that Teddy (Mason Lee), Lauren’s little brother, is tagging along with the Wolfpack. Stu, Phil, Doug, Alan, and Teddy decide to spend one night around a campfire on the beach, drinking beers and roasting marshmallows. The following morning, Stu, Phil, and Alan wake up in a dirty hotel room in Bangkok. They can’t remember what happened after the campfire, and someone is missing again.

The Hangover Part II is not The Hangover. For one thing, the sequel lacks the element of surprise that made the first film such a delight. The Hangover practically came out of nowhere and caught audiences unaware, with its twists and turns that made Las Vegas seems like a wonderland of playful raunchiness and good-humored naughtiness. In spite of all the R-rated fun, The Hangover was joyful, and the danger was less about jeopardy and more about merriment.

I can’t say that The Hangover Part II is darker than the first film, because The Hangover wasn’t a film with a dark mood or even dark undertones. The Hangover Part II is just plain dark. It is raunchier, as if to say “Bangkok don’t play!” I also wouldn’t say that the story is especially cruel to the characters, but the screenplay does seem to be putting Phil, Stu, and Alan through their paces. It is as if fate doesn’t really care one way or the other about them. Whatever made Las Vegas a special, but safe playground for the Wolfpack isn’t a privilege the friends will get everywhere they go. Sometimes, in some city, one of the Wolfpack will get f***** up the a**, and it won’t be any bigger a deal than getting a bad tattoo after getting pissy drunk.

However, The Hangover Part II is funny, not as funny as the original, but funny in its own foul and revolting way. It is a sequel, but it is also basically a remake of the first movie, set in a new “sin city,” with some changes in circumstances, and a few new supporting characters.

Four years ago, I wrote that the fun in The Hangover was in getting the surprises. The fun in The Hangover Part II is being surprised that you are more amused than you are disgusted by the Wolfpack’s one night in Bangkok.

6 of 10
B

NOTES:
2012 Razzie Awards: 2 nominations: “Worst Prequel, Remake, Rip-Off or Sequel” (Both a Remake and a Sequel) and “Worst Supporting Actor” (Ken Jeong, also for Transformers: Dark of the Moon-2011, Zookeeper-2011, and Big Mommas: Like Father, Like Son-2011)

Wednesday, May 22, 2013

Review: "Dragon" is Martial Arty

TRASH IN MY EYE No. 28 (of 2013) by Leroy Douresseaux


Dragon (2011)
Wu xia – original title
COUNTRY OF ORIGIN: China/Hong Kong; Language: Mandarin
Running time: 98 minutes; (1 hour, 38 minutes)
MPAA – R for violence
DIRECTOR: Peter Chan
WRITER: Oi Wah Lam
PRODUCERS: Peter Chan and Jojo Yuet-Chun Hui
CINEMATOGRAPHERS: Yiu-Fai Lai (D.o.P.) and Jake Pollock (D.o.P.)
EDITOR: Derek Hui
COMPOSERS: Kwong Wing Chan, Peter Kam, and Chatchai Pongprapaphan

MARTIAL ARTS/ACTION/DRAMA/HISTORICAL

Starring: Donnie Yen, Takeshi Kaneshiro, Wei Tang, Jimmy Wang Yu, Zheng Wei, Li Jiamin, Kara Hui, Li Xiaoran, Yu Kang, and Wan To-shing

Wu Xia is a 2011 Hong Kong martial arts film and historical drama from director Peter Chan. The film stars Donnie Yen as a sinful man who is leading a new life until his former master and a determined detective begin hunting him. Yen is also the film’s “action director.” Wu Xia, which was originally just under two-hours long, was edited down to 98 minutes and released in the United States as Dragon, late last year (2012).

Dragon is set in 1917 and takes place mostly at Liu Village on the border of Yunnan on the southwest edge of China. Liu Jin-Xi (Donnie Yen) is a village craftsman and papermaker who lives with his wife, Yu (Wei Tang), and his sons, the older Fangzheng (Zheng Wei) and the younger Xiaotian (Li Jiamin). Jin-Xi’s quiet life is irrevocably shattered by the arrival of two gangsters who attempt to rob the local general store.

Jin-Xi stops them, but one of the criminals is the notorious Yan Dongsheng (Yu Kang). Xu Bai-jiu (Takeshi Kaneshiro), a detective sent to investigate the case, is shocked that a local village craftsman could single-handedly stop two hardened criminals, especially Dongsheng, an escaped convict and trained killer. Bai-jiu suspects that Jin-Xi is actually a martial arts master and perhaps, a member of one of the region’s most vicious gangs, the 72 Devils. The detective doggedly pursues the shy villager, but he is unaware that his investigation has drawn the attention of China’s criminal underworld.

For fans of martial arts films, Dragon has many spectacular fights scenes, and some of them are spectacular because they look so odd. But it is all good and also stimulating for lovers of martial arts battles in movies. Sometimes, I found my mind being bended by what I saw, to the point that my imagination seemed inspired by the fighting.

There is, however, an art house sensibility to director Peter Chan’s film, as if Chan refused to allow Dragon to be only fists, fingers, feet, and elbows of fury. Chan takes Oi Wah Lam’s superbly layered script and turns the film into a rumination on nature vs. nurture, the character of the law, and the vigor and influence of human emotions. Chan structures the story in order to ask a few questions. If blood always leaves a trail that one can trace back to a man’s past, then, is that man a slave to the dictates of his blood relations? Is it by tradition, genetics, or both? Is the execution of law more important than acts of humanity? Can man control or alter his emotions?

There is also a mythological strain in Dragon. For its universal father versus son conflict, Dragon offers a sire whose voice and exclamations can rouse thunder, so it is not a stretch to think of the final battle as a brawl between Odin-All-Father and Thor-Son. In fact, this may be the sire-vs.-the-fruit-of-his-loins clash with the most at stake since Darth Vader fought Luke Skywalker over the forest moon of Endor in Return of the Jedi (1983).

Dragon has many excellent performances, but Donnie Yen and Takeshi Kaneshiro are the standouts. As Liu Jin-xi, Yen is a force of nature; physically, he is brilliant – his face capable of assuming and conveying myriad emotions and thoughts. His performance is all outwards, and not internal, so he confronts the viewers and makes them engage with the character he is playing. Kaneshiro as Bai-jiu offers a performance that is more interior. His performance sends out intriguing bits of information about the implacable detective in a way that makes the character as charming as an old friend.

As the director of the film’s action, Yen makes Dragon exhilarating and mesmerizing martial arts entertainment. As the director, Peter Chan tickles the brain, as he tackles dynamic human themes and conflicts. By any name, Dragon or Wu Xia is a dragon, a fire-breathing beast that is too smart to be just another Chinese fight movie.

9 of 10
A

Monday, April 15, 2013

Kansas City Film Critics Chose "The Descendants" in 2011

by Leroy Douresseaux

I'm still playing catch-up on the 2012 film awards season.  I discovered that I missed the Kansas City Film Critics Circle (KCFCC) in 2011, although I covered them in 2010.  So here are their 2011 awards:

2011 Loutzenhiser Awards:

Best Film: The Descendants

Robert Altman Award for Best Director: Terrence Malick, The Tree of Life

Best Actor: George Clooney, The Descendants

Best Actress: Kirsten Dunst, Melancholia

Best Supporting Actor: Christopher Plummer, Beginners

Best Supporting Actress: Jessica Chastain, The Tree of Life

Best Original Screenplay: Mike Mills, Beginners

Best Adapted Screenplay: Steven Zaillian & Aaron Sorkin, Moneyball

Best Animated Film: Rango

Best Foreign Language Film: A Separation (Iran)

Best Documentary: Cave of Forgotten Dreams

Vince Koehler Award for Best Science Fiction, Fantasy or Horror Film: Hugo

Review: "The Raid: Redemption" Simply Terrific

TRASH IN MY EYE No. 14 (of 2013) by Leroy Douresseaux


The Raid: Redemption (2011)
Serbuan maut – original title
COUNTRY OF ORIGIN: Indonesia; Language: Indonesian
Running time: 101 minutes (1 hour, 41 minutes)
Not rated by the MPAA
EDITOR/WRITER/DIRECTOR: Gareth Huw Evans
PRODUCER: Ario Sagantoro
CINEMATOGRAPHERS: Matt Flannery (D.o.P.) and Dimas Imam Subhono (D.o.P.)
COMPOSERS: Aria Prayogi and Fajar Yuskemal (Indonesian version); Mike Shinoda and Joseph Trapanese (U.S. release)

ACTION/CRIME/MARTIAL ARTS

Starring: Iko Uwais, Joe Taslim, Doni Alamsyah, Yayan Ruhian, Pierre Gruno, Ray Sahetapy, Tegar Satrya, Iang Darmawan, Eka “Piranha” Rahmadia, and Verdi Solaiman

The Raid: Redemption is a 2011 Indonesian martial arts and crime film from director Gareth Evans. The film, which was released in the United States in 2012, showcases “pencak silat,” the traditional Indonesian martial arts. The Raid: Redemption stars Iko Uwais as a member of a SWAT team trapped in a notorious tenement building and forced to fight off ruthless criminals.

Rama (Iko Uwais) is a rookie cop and expectant father. The morning that the film begins, he joins a unit of Detachment 88 (kind of the Indonesian equivalent of an American SWAT team) as it prepares to raid one of Jakarta, Indonesia’s most notorious apartment blocks. Led by Sergeant Jaka (Joe Taslim) and Lieutenant Wahyu (Pierre Gruno), Rama and the other officers infiltrate the building in order to capture Tama Riyadi (Ray Sahetapy), a legendary mobster. But the team soon finds itself trapped in the building and forced to fight its way out. Tama’s right-hand men, Andi (Doni Alamsyah) and Mad Dog (Yayan Ruhian), lead an army of killers and thugs ready and willing to claim the bounty Tama has placed on the cops.

On the surface, The Raid: Redemption seems like a “no frills” film, but the breathtaking pencak silat brawls, duels, fights, etc are a celebration of the cinematic ballet that martial arts can be in film. This is bone-crunching frills, a kind of body-smashing version of Crouching Tiger, Hidden Dragon’s exquisite martial arts duels and clashes.

The Raid: Redemption is also the kind of movie that is especially the work of the director, film editor, and fight choreographer(s). Gareth Evans is editor and director, and actors, Iko Uwais and Yayan Ruhian, designed the fight choreography. For all the fights there are, one doesn’t resemble the other. Each fight is its own thrilling thing. It helps that Mike Shinoda and Joseph Trapanese’s musical score for the U.S. release heightens the sense of impending doom and nerve-wracking action; this is a score worth owning.

Evans manages to make a tense cop thriller full of action, without the movie turning into the ridiculous thrill machine that many Hollywood action films are. Evan also gets a number of good performances from his cast. Few gun-toting movie thugs and street-level cops are as interesting as the ones in The Raid: Redemption. Because the performances successfully construct the characters, you hate to see many of them blown away.

Sometimes, I am reluctant to recommend even movies that I really like, but I heartily recommend The Raid: Redemption. If you don’t want to read subtitles, the DVD has an English dub, so don’t use a foreign language as a reason not to see one of the best action movies in a long, long time.

9 of 10
A+

NOTES:
2013 Image Awards: 1 nomination: “Outstanding International Motion Picture”

Friday, February 22, 2013

38th Saturn Award Winners - Complete List

by Leroy Douresseaux

The Saturn Awards are presented annually by the Academy of Science Fiction, Fantasy & Horror Films to honor the top works in science fiction, fantasy, and horror in film, television, and home video.  Last year, I posted the nominations for the 38th Saturn Awards, but not the winners.  Well, the nominations for the 39th Saturn Awards were announces, so that reminded me of my slip-up.

The qualifying period for the 38th annual Saturn Awards was Feb. 1, 2011, to Jan. 31, 2012. This year’s Saturn Awards were presented on July 26, 2012 in Burbank.

38th Saturn Award winners:

FILM CATEGORIES

Best Science Fiction Film:
Rise of the Planet of the Apes - 20th Century Fox

Best Fantasy Film:
Harry Potter and the Deathly Hallows: Part 2 - Warner Bros.

Best Horror/Thriller Film:
The Girl With the Dragon Tattoo - Sony

Best Action/Adventure Film:
Mission: Impossible Ghost Protocol - Paramount

Best Actor:
Michael Shannon, Take Shelter - Sony Pictures Classics

Best Actress:
Kirsten Dunst, Melancholia - Magnolia

Best Supporting Actor:
Andy Serkis, Rise of the Planet of the Apes - 20th Century Fox

Best Supporting Actress:
Emily Blunt, The Adjustment Bureau - Universal

Best Performance by a Younger Actor:
Joel Courtney, Super 8 - Paramount

Best Direction:
J.J. Abrams, Super 8 - Paramount

Best Writing:
Jeff Nichols, Take Shelter - Sony Pictures Classics

Best Music:
Michael Giacchino, Super 8 - Paramount

Best Production Design:
Dante Ferretti, Hugo - Paramount

Best Editing:
Paul Hirsch, Mission: Impossible Ghost Protocol - Paramount

Best Costume:
Alexandra Byrne, Thor - Paramount/Marvel

Best Make-Up:
Dave Elsey, Fran Needham, Conor O’ Sullivan, X-Men: First Class - 20th Century Fox

Best Special Effects:
Dan Lemmon, Joe Letteri, R. Christopher White, Daniel Barrett, Rise of the Planet of the Apes - 20th Century Fox

Best International Film:
The Skin I Live In - Sony Pictures Classics

Best Animated Film:
Puss in Boots - Paramount/DreamWorks Animation

TELEVISION CATEGORIES:

Best Network Television Series:
Fringe - Fox

Best Syndicated/Cable Television Series:
Breaking Bad - AMC

Best Presentation on Television (10 Episodes or Less):
The Walking Dead - AMC

Best Youth-Oriented Series on Television:
Teen Wolf - MTV

Best Actor on Television:
Bryan Cranston, Breaking Bad - AMC

Best Actress on Television:
Anna Torv, Fringe - Fox

Best Supporting Actor on Television:
Aaron Paul, Breaking Bad - AMC

Best Supporting Actress on Television:
Michelle Forbes, The Killing - AMC

Best Guest Performer on Television:
Tom Skerritt, Leverage - TNT

HOME-ENTERTAINMENT CATEGORIES

Best DVD Release: (TIE)
Atlas Shrugged: Part One - Fox
The Perfect Host - Magnolia

Best DVD Special Edition Release:
Giorgio Moroder Presents Metropolis - Kino International

Best DVD Collection:
Stanley Kubrick: The Essential Collection - Warner

Best DVD Television Series Release:
Spartacus: Gods of the Arena – Starz

Special Awards:

The George Pal Memorial Award: Martin Scorsese

The Life Career Award: Frank Oz and James Remar

The Filmmakers Showcase Award: Drew Goddard

The Milestone Award: The Simpsons

The Innovator Award: Robert Kirkman

The Appreciation Award: Jeffrey Ross (for hosting the Saturn Awards)

www.saturnawards.org.

"Babel" Wins "Album of the Year" at 2013 Grammys

by Leroy Douresseaux

Babel, the second album from English folk rock band, Mumford and Sons, won "Album of the Year" at the 55th Grammy Awards.  Dan Auerbach was the night's big winner, winning four trophies - three as a member of The Black Keys and one as "Producer of the Year, Non-Classical."

The 55th Grammy Awards were held on February 10, 2013, at the Staples Center in Los Angeles. The show was broadcast on CBS at 8 p.m. ET/PT and hosted for the second time by LL Cool J. Nominations were announced on December 5, 2012.

There are currently 81 categories, up from 78 at the 54th Grammy Awards. The three new categories are “Best Classical Compendium,” “Best Latin Jazz Album,” and “Best Urban Contemporary Album.”  A full list of winners can be found at www.grammy.com or www.grammy.org.

Winners in top categories for the 55th annual Grammy Awards:

Record of the Year:
"Somebody That I Used To Know," Gotye Featuring Kimbra
- Wally de Backer, producer; Wally de Backer & François Tétaz, engineers/mixers; William Bowden, mastering engineer

Album of the Year:
"Babel," Mumford & Sons
- Markus Dravs, producer; Robin Baynton & Ruadhri Cushnan, engineers/mixers; Bob Ludwig, mastering engineer

Song of the Year:
"We Are Young," Jack Antonoff, Jeff Bhasker, Andrew Dost & Nate Ruess, songwriters (fun. featuring Janelle Monáe).

New Artist:
fun.

Pop Vocal Album:
"Stronger," Kelly Clarkson

Rock Album:
"El Camino," The Black Keys

R&B Album:
"Black Radio," Robert Glasper Experiment

Rap Album:
"Take Care," Drake

Country Album:
"Uncaged," Zac Brown Band

Latin Pop, Rock or Urban Album:
"Imaginaries," Quetzal

Jazz Vocal Album:
"Radio Music Society," Esperanza Spalding

A top category that does not get enough attention, as far as I’m concerned:

Producer of the Year, Non-Classical: Dan Auerbach (from The Black Keys)

Of concern to movie fans are the film music and soundtrack categories:

Music for Visual Media

Best Compilation Soundtrack for Visual Media (best movie soundtrack):
Midnight In Paris – Various Artists

Best Score Soundtrack for Visual Media (best original music-score for a film):
The Girl with the Dragon Tattoo – Trent Reznor & Atticus Ross, composers

Best Song Written for Visual Media (best song for film or television):
"Safe & Sound" (from The Hunger Games)
 - T Bone Burnett, Taylor Swift, John Paul White & Joy Williams, songwriters (performed Taylor Swift Featuring The Civil Wars)

Nominees in the three new categories for the 55th Grammys:

Best Classical Compendium:
Penderecki: Fonogrammi; Horn Concerto; Partita; The Awakening Of Jacob; Anaklasis - Antoni Wit, conductor; Aleksandra Nagórko & Andrzej Sasin, producers

Best Latin Jazz Album:
¡Ritmo! – The Clare Fischer Latin Jazz Big Band

Best Urban Contemporary Album:
Channel Orange – Frank Ocean

2013 Grammy Nominations in the Top Catagories - A List

The Grammy Awards (or Grammys) are given out by the National Academy of Recording Arts and Sciences of the United States. The Grammy is an accolade that recognizes outstanding achievement in the music industry. It is the music industry equivalent to the Academy Awards for film, the Emmy Awards for television, and the Tony Award for stage.

There are currently 81 categories, up from 78 at the 54th Grammy Awards. The three new categories are “Best Classical Compendium,” “Best Latin Jazz Album,” and “Best Urban Contemporary Album.”

The 55th Grammy Awards will be held on Sunday, February 10, 2013, at the Staples Center in Los Angeles. The show will be broadcast on CBS at 8 p.m. ET/PT and will be hosted for the second time by LL Cool J. Nominations were announced on December 5, 2012

Nominees in top categories for the 55th annual Grammy Awards:

Record of the Year:
"Lonely Boy," The Black Keys
"Stronger (What Doesn't Kill You)," Kelly Clarkson
"We Are Young," fun. featuring Janelle Monae
"Somebody That I Used To Know," Gotye Featuring Kimbra
"Thinkin Bout You," Frank Ocean
"We Are Never Ever Getting Back Together," Taylor Swift.

Album of the Year:
"El Camino," The Black Keys
"Some Nights," fun.
"Babel," Mumford & Sons
"Channel Orange," Frank Ocean
"Blunderbuss," Jack White.

Song of the Year:
"The A Team," Ed Sheeran, songwriter (performed by Ed Sheeran)
"Adorn," Miguel Pimentel, songwriter (Miguel)
"Call Me Maybe" Tavish Crowe, Carly Rae Jepsen & Josh Ramsay, songwriters (Carly Rae Jepsen)
"Stronger (What Doesn't Kill You)," Jorgen Elofsson, David Gamson, Greg Kurstin & Ali Tamposi, songwriters (Kelly Clarkson)
"We Are Young," Jack Antonoff, Jeff Bhasker, Andrew Dost & Nate Ruess, songwriters (fun. featuring Janelle Monáe).

New Artist:
Alabama Shakes
fun.
Hunter Hayes
The Lumineers
Frank Ocean

Pop Vocal Album:
"Stronger," Kelly Clarkson
"Ceremonials," Florence & The Machine
"Some Nights," fun.
"Overexposed," Maroon 5
"The Truth About Love," Pink

Rock Album:
"El Camino," The Black Keys
"Mylo Xyloto," Coldplay
"The 2nd Law," Muse
"Wrecking Ball," Bruce Springsteen
"Blunderbuss," Jack White

R&B Album:
"Black Radio," Robert Glasper Experiment
"Back To Love," Anthony Hamilton
"Write Me Back," R. Kelly
"Beautiful Surprise," Tamia
"Open Invitation," Tyrese

Rap Album:
"Take Care," Drake
"Food & Liquor II: The Great American Rap Album, Pt. 1," Lupe Fiasco
"Life Is Good," Nas
"Undun," The Roots
"God Forgives, I Don't," Rick Ross
"Based on a T.R.U. Story," Chainz

Country Album:
"Uncaged," Zac Brown Band
"Hunter Hayes," Hunter Hayes
"Living For A Song: A Tribute To Hank Cochran," Jamey Johnson
"Four The Record," Miranda Lambert
"The Time Jumpers," The Time Jumpers

Latin Pop, Rock or Urban Album:
"Campo," Campo;
"Dejenme Llorar," Carla Morrison
"Imaginaries," Quetzal
"Electro-Jarocho," Sistema Bomb
"La Bala," Ana Tijoux

Jazz Vocal Album:
"Soul Shadows," Denise Donatelli
"1619 Broadway: The Brill Building Project," Kurt Elling
"Live," Al Jarreau (And The Metropole Orkest)
"The Book Of Chet," Luciana Souza
"Radio Music Society," Esperanza Spalding

A top category that does not get enough attention, as far as I’m concerned:
Producer of the Year, Non-Classical:
1. Dan Auerbach
2. Jeff Bhasker
3. Diplo
4. Markus Dravs
5. Salaam Remi

Of concern to movie fans are the film music and soundtrack categories:

Music for Visual Media

Best Compilation Soundtrack for Visual Media (best movie soundtrack)
1. The Descendants – Various Artists
2. Marley – Bob Marley & The Wailers
3. Midnight In Paris – Various Artists
4. The Muppets – Various Artists
5. Rock Of Ages – Various Artists

Best Score Soundtrack for Visual Media (best original music-score for a film)
1. The Adventures Of Tintin - The Secret Of The Unicorn – John Williams, composer
2. The Artist – Ludovic Bource, composer
3. The Dark Knight Rises – Hans Zimmer, composer
4. The Girl with the Dragon Tattoo – Trent Reznor & Atticus Ross, composers
5. Hugo – Howard Shore, composer
6. Journey – Austin Wintory, composer

Best Song Written for Visual Media (best song for film or television)
"Abraham's Daughter" (from The Hunger Games)
T Bone Burnett, Win Butler & Régine Chassagne, songwriters (performed by Arcade Fire)

"Learn Me Right" (from Brave)
Mumford & Sons, songwriters (performed by Birdy & Mumford & Sons)

"Let Me Be Your Star" (from Smash)
Marc Shaiman & Scott Wittman, songwriters (performed by Katharine McPhee & Megan Hilty"

"Man or Muppet" (from The Muppets)
Bret McKenzie, songwriter (performed by Jason Segel & Walter)

"Safe & Sound" (from The Hunger Games)
T Bone Burnett, Taylor Swift, John Paul White & Joy Williams, songwriters (performed Taylor Swift Featuring The Civil Wars)

Nominees in the three new categories for the 55th Grammys:

Best Classical Compendium
1. Partch: Bitter Music - Partch, ensemble; John Schneider, producer
2. Penderecki: Fonogrammi; Horn Concerto; Partita; The Awakening Of Jacob; Anaklasis - Antoni Wit, conductor; Aleksandra Nagórko & Andrzej Sasin, producers
3. Une Fête Baroque - Emmanuelle Haïm, conductor; Daniel Zalay, producer

Best Latin Jazz Album
1. Flamenco Sketches – Chano Domínguez
2. ¡Ritmo! – The Clare Fischer Latin Jazz Big Band
3. Multiverse – Bobby Sanabria Big Band
4. Duos III – Luciana Souza
5. New Cuban Express – Manuel Valera New Cuban Express

Best Urban Contemporary Album
1. Fortune – Chris Brown
2. Kaleidoscope Dream – Miguel
3. Channel Orange – Frank Ocean

Review: "Batman: Year One" is a Dark Knight That Actually Rises

TRASH IN MY EYE No. 92 (of 2012) by Leroy Douresseaux

Batman: Year One (2011) – straight-to-video
Running minutes: 64 minutes (1 hour, 4 minutes)
MPAA – PG-13 for violence, and for some sexual material
DIRECTORS: Lauren Montgomery and Sam Liu
WRITERS: Tab Murphy (based upon the story by Frank Miller and the characters created by Bob Kane and Bill Finger)
PRODUCERS: Lauren Montgomery
EDITOR: Margaret Hou
COMPOSER: Christopher Drake

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

Starring: (voices) Bryan Cranston, Ben McKenzie, Eliza Dushku, Jon Polito, Alex Rocco, Katee Sackhoff, Jeff Bennett, Grey DeLisle, Fred Tatasciore, Steve Blum, Robin Atkin Downes, Keith Ferguson, Stephen Root, and Michael Gough

Batman: Year One is a 2011 direct-to-video superhero animated film from Warner Bros. Animation. Starring the DC Comics character, Batman, this is also the 12th feature in the DC Universe Animated Original Movies line. Executive produced by Bruce Timm, this film is adapted from the “Batman: Year One” story arc written by Frank Miller (300) and drawn by David Mazzuchelli and originally published in the comic book series, Batman #404-407 (February to May 1987 cover date).

As the film opens, Bruce Wayne (Ben McKenzie) returns to Gotham City after a 12-year absence from his hometown. Meanwhile, policeman detective James Gordon (Bryan Cranston) and his pregnant wife, Barbara (Grey DeLisle), move to Gotham from Chicago. Gordon quickly discovers how corrupt the Gotham City Police Department is after meeting his new partner, Detective Arnold Flass (Fred Tatasciore), who savagely assaults civilians and accepts bribes from the mob. Commissioner Gillian B. Loeb (Jon Polito) seems more like a kingpin of crime than a police commissioner.

Bruce Wayne has decided to fight the street crime that took his parents lives and to put an end to the corruption of the city’s elites. Wayne’s first mission in his war on crime goes badly, but he is soon inspired to put on a weird costume that strikes fear into the hearts of criminals. Soon, the media is calling this mysterious vigilante figure, “The Batman.” Inspired by The Batman, Selina Kyle (Eliza Dushku), a prostitute, puts on a costume and becomes The Catwoman.

After watching the first 10 minutes of Batman: Year One, I didn’t hold out much hope that it would amount to much. However, it turned out to be a very entertaining film. The animation is good, not great, but the script is excellent. The writing captures the motivations of the characters and hits the conflicts dead center. It makes clear the reasons for disputes and the consequences that will result depending on how these clashes are settled. The conflicts, personal strife, and internal battles drive the drama in Batman: Year One.

When it comes to Batman: Year One, the Dark Knight rises, indeed.

7 of 10
B+

Sunday, July 29, 2012

"Green Lantern: Emerald Knights" Good Space Opera

TRASH IN MY EYE No. 91 (of 2012) by Leroy Douresseaux


Green Lantern: Emerald Knights (2011) – straight-to-video
Running minutes: 84 minutes (1 hour, 24 minutes)
MPAA – PG-13 for sci-fi action violence throughout, and for some language
DIRECTORS: Lauren Montgomery, Chris Berkeley, and Jay Oliva
WRITERS: Alan Burnett, Eddie Berganza, Todd Casey, Dave Gibbons, Michael Green, Marc Guggenheim, Geoff Johns, and Peter Tomasi
PRODUCERS: Greg Berlanti, Donald De Line, and Lauren Montgomery
EDITOR: Margaret Hou
COMPOSER: Christopher Drake
ANIMATION STUDIO: Studio 4’C

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

Starring: (voices) Nathan Fillion, Jason Isaacs, Elisabeth Moss, Henry Rollins, Arnold Vosloo, Grey DeLisle, Kelly Hu, Michael Jackson, Bruce Thomas, and Roddy Piper

Green Lantern: Emerald Knights is a 2011 direct-to-video superhero animated film from Warner Bros. Animation. Starring DC Comics characters, Green Lantern and the Green Lantern Corps, this is also the eleventh feature in the DC Universe Animated Original Movies (DCU AOM) line. Executive produced by Bruce Timm, this film is adapted from DC Comics’ Green Lantern mythology.

Green Lantern: Emerald Knights is not a direct sequel to an earlier DCU AOM film Green Lantern: First Flight, but both films use the same character designs. Emerald Knights is, like Batman: Gotham Knights, an anthology film, and it tells six stories (about various Green Lanterns) structured inside a larger, framing story. That framing story focuses on the Green Lantern Corps and their battle with an ancient enemy. While the Corps awaits that enemy, a new recruit hears stories about various Green Lanterns, including a story about the unlikely very first Green Lantern.

Green Lantern: Emerald Knights is set on and around the Green Lantern home world, Oa. The planet’s sun is about to become the gateway for Krona, an anti-matter, alien evil that the Guardians of the Universe (essentially the creators of the Green Lanterns) banished ages ago. While they wait for the epic battle to begin, Hal Jordan, the Green Lantern of Earth (Nathan Fillion), helps a Green Lantern rookie, a young woman named Arisia Rrab (Elisabeth Moss), by telling her stories about legendary Green Lanterns and about pivotal moments in the history of the Green Lantern Corps.

Some of the stories include “The First Green Lantern,” which tells the story of Avra, an unlikely Green Lantern who actually was not the first person to get a Green Lantern ring. “Kilowog” tells the story of the Green Lantern drill sergeant, Kilowog (Henry Rollins), and Sgt. Deegan (Wade Williams), who was Kilowog’s drill instructor. In “Abin Sur,” Hal Jordan’s predecessor, Abin Sur (Arnold Vosloo), hears a dark prophecy from Atrocitus (Bruce Thomas), an alien criminal he captured.

Green Lantern: Emerald Knights has excellent visuals. I would describe this movie as the hand-drawn animation equivalent of the computer-animated series, “Star Wars: The Clone Wars.” In fact, the action is on par with the Star Wars animated series, and the voice acting here has range, quality, and emotional resonance.

However, some of the action is laughable, ridiculous, and way too over-the-top even for superhero/space opera fantasy. The framing sequence has a paper-thin plot and story. I’d say that the writers should be embarrassed about this, but I bet they didn’t even notice. Still, the anthology part of this is pretty good, so I’d recommend Green Lantern: Emerald Knights.

7 of 10
B+

Sunday, September 16, 2012

"In Time" is Timely and Right on Time

TRASH IN MY EYE No. 85 (of 2012) by Leroy Douresseaux


In Time (2011)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – PG-13 for violence, some sexuality and partial nudity, and strong language
WRITER/DIRECTOR: Andrew Niccol
PRODUCERS: Marc Abraham, Eric Newman, and Andrew Niccol
CINEMATOGRAPHER: Roger Deakins
EDITOR: Zach Staenberg
COMPOSER: Craig Armstrong

SCI-FI/DRAMA with elements of action and crime

Starring: Justin Timberlake, Amanda Seyfried, Cillian Murphy, Vincent Kartheiser, Alex Pettyfer, Johnny Galecki, Yaya DaCosta, Collins Pennie, Toby Hemingway, Olivia Wilde, and Matt Bomer

In Time is a 2012 science fiction drama from writer-director Andrew Niccol. The film stars Justine Timberlake as a fugitive in a future where time has replaced money as the currency that determines life and death.

In Time opens in the year 2169. In this world, people are genetically engineered to stop aging at 25, but they live only one more year after they turn 25. People can extend their lives by earning time, instead of money, for their labor, and the amount a time people have is displayed by a digital clock implanted in their forearms. However, that live-saving time must also be used to pay bills, debts, cost-of-living expenses, etc. Society is divided into specialized towns called “Time Zones,” that reflect class, wealth, and status. The super-rich have been able to obtain enough time to practically live as immortals in Time Zones like New Greenwich.

Will Salas (Justin Timberlake) is a 28-year-old factory worker living in Dayton, a ghetto Time Zone. A chance meeting with 105-year-old Henry Hamilton (Matt Bomer) changes Will’s life, but tragedy strikes immediately after his windfall. Accused of murder, Will goes on the run, pursued by Raymond Leon (Cillian Murphy), a cop called a “Timekeeper.” Will takes a hostage, New Greenwich resident, Sylvia Weis (Amanda Seyfried), and he is determined to destroy the system that makes the poor slaves to time and the wealthy masters of it.

Andrew Niccol is the director of one of my all-time favorite films, Gattaca (1997). Niccols’s work sometimes uses science fiction and fantasy settings, elements, and themes to tell stories concerning societal or political issues. In Time can be viewed as an allegorical tale about the increasing concentration of vast amounts of wealth in the hands of a relatively small group of people, happening in our own time. Call the time-wealthy this movie’s “the 1%.” In Time essentially addresses the naked greed of the modern financial class and Wall Street types that manipulate financial markets entirely for their benefit, regardless of how many people are left hungry, homeless, and destitute.

Lest you think In Time is heavy-handed, Niccol is clever in the way he uses familiar genres or elements to make his film entertaining and not strident or didactic. The relationship between Will and Sylvia recalls such true crime romance as Bonnie and Clyde, with Will also acting as a kind of Robin Hood. The characters Will and Sylvia are thematically similar to another pair of fugitives, Logan 3 and Jessica 6 of the novel, Logan’s Run.

All these citizens-turned-outlaw fugitive elements make In Time a crime fiction treat, while Justin Timberlake and Amanda Seyfried make In Time dark and sexy. With them onscreen the majority of the runtime, In Time is never boring, and they actually bring clarity to Niccol’s concepts, ideas, and themes. Seyfriend can do sexy-but-dangerous as well as any young starlet; she’s like an irresistible, gourmet chocolate treat that might hide at least one razorblade (but you never know). Timberlake is a good, but not great actor, but he is a movie star. He sells this movie. Niccol is lucky to have them. This duo makes sure that In Time is on time when speaking about these times in which we live.

8 of 10
A

Wednesday, November 14, 2012

Review: "All-Star Superman" is Not All-Star

TRASH IN MY EYE No. 74 (of 2012) by Leroy Douresseaux

All-Star Superman (2011)
Running time: 76 minutes (1 hour, 16 minutes)
MPAA – PG for sequences of action and violence, language including brief innuendo, and some sensuality
DIRECTOR: Sam Liu
WRITER: Dwayne McDuffie (based upon the comic books by Grant Morrison and Frank Quitely and the characters created by Joe Shuster and Jerry Siegel)
PRODUCERS: Bobbie Page and Bruce Timm
EDITOR: Margaret Hou

ANIMATION/SUPERHERO/DRAMA

Starring: (voices) James Denton, Christina Hendricks, Anthony LaPaglia, Edward Asner, Obba Babatundé, Steve Blum, Linda Cardellini, Alexis Denisof, John Di Maggio, Matthew Gray Gubler, Kevin Michael Richardson, Fred Tatasciore, and Arnold Vosloo

All-Star Superman is a direct-to-DVD animated film from Warner Bros. Animation. Starring DC Comics’ beloved superhero, Superman, this film is based on the 12-issue comic book series, All-Star Superman, written by Grant Morrison and drawn by Frank Quitely and published from 2005 to 2008. All-Star Superman is also the 10th feature in DC Universe Animated Original Movies series.

All-Star Superman begins with Lex Luthor’s (Anthony LaPaglia) successful plot to expose Superman (James Denton) to massive amounts of solar radiation. This overdose of solar radiation gives the Man of Steel new powers, but the radiation is also slowly killing him. Superman is left with only weeks to live and with his extraordinary powers deteriorating. As he prepares for his demise, Superman attempts to settle his affairs with Lois Lane (Christina Hendricks). However, before he dies, Superman must stop Luthor’s diabolical scheme to drastically change the world and then rule it.

Watching All-Star Superman, I could not help but be impressed by how many characters and subplots the film’s screenwriter, the late Dwayne McDuffie, managed to stuff into a movie that runs a little more than 70 minutes. Sadly, most of it really isn’t dramatic or exciting, mainly because much of this material needs to get more screen time than it ultimately does. Honestly, All-Star Superman is at its best whenever Lex Luthor (superbly voiced by Anthony LaPaglia) is onscreen, which he isn’t nearly enough.

Some of the voice performances are bad. Matthew Gray Gubler is terrible as Jimmy Olsen. Ed Asner is just wrong as Perry White, the editor-in-chief of the Daily Planet, the newspaper where Clark Kent/Superman works.

The animation and character design is quite good. All-Star Superman is pretty to look at, but it is too bad that the entire film is such a chore to watch.

5 of 10
C+

Sunday, September 16, 2012

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"A Separation" is a Unique Family Drama

TRASH IN MY EYE No. 70 (of 2012) by Leroy Douresseaux


A Separation (2011)
Jodaeiye Nader az Simin – Iranian title
COUNTRY OF ORIGIN: Iran; Language: Persian
Running time: 123 minutes (2 hours, 3 minutes)
MPAA – PG-13 for mature thematic material
WRITER/PRODUCER/DIRECTOR: Asghar Farhadi
CINEMATOGRAPHER: Mahmoud Kalari
EDITOR: Hayedeh Safiyari
COMPOSER: Sattar Oraki
Academy Award winner

DRAMA

Starring: Peyman Moadi, Leila Hatami, Sarina Farhadi, Sareh Bayat, Shahab Hosseini, Kimia Hosseini, Ali-Asghar Shahbazi, Shirin Yazdanbakhsh, and Babak Karimi

The subject of this movie review is A Separation, a 2011 Iranian drama from filmmaker, Asghar Farhadi. The film, originally titled Jodaeiye Nader az Simin, won the Academy Award for “Best Foreign Language Film” in 2012. A Separation focuses on an Iranian middleclass couple who separate and the resulting troubles from that separation.

As the film opens, Nader Lavasani (Peyman Moadi) and his wife, Simin (Leila Hatami), are seeking a divorce after 14 years of marriage. Simin wants to leave Iran in order to improve the life of their 11-year-old daughter, Termeh (Sarina Farhadi). Nader does not want to leave because he wants to care for his father (Ali-Asghar Shahbazi), who has Alzheimer's disease and whose situation is deteriorating. Now, Termeh must choose the parent with which she will live. When Nader hires a lower class woman to care for his father, it sets off a series of events that makes things worse.

A Separation is a potent family drama, and writer-director Asghar Farhadi manages to unveil a train wreck without resorting to the kind of hysterics some American films about divorce use. A Separation is so atypical of divorce films that it is less about feuding spouses and more about the dynamics of family life. Farhadi’s depiction of inter-family relationships is so blunt and honest that it sometimes seems alien and contrived. I frequently found myself saying that certain incidences in the film could not happen, but I think this was simply because I have devoured so many contrived Hollywood family dramas that anything that is different seems to be phony. Farhadi is simply honest about the lengths to which people will go to lie to members of their immediate family and other close relatives out of pride or because they are being stubborn.

Good performances abound, though I wish the film gave more focus to Leila Hatami as Nader’s wife, Simin. The story treats Simin as a supporting character, but she is just as important to A Separation as Nader, although her screen time suggests otherwise. Ms. Hatami, however, makes the most of her time and forces Simin to the forefront. A Separation is one of the year’s best modern (non-genre) dramas and people looking for something good, but different will find a gem in this.

8 of 10
A

NOTES:
2012 Academy Awards: 1 win: “Best Foreign Language Film of the Year” (Iran) and 1 nomination: “Best Writing, Original Screenplay” (Asghar Farhadi)

2012 BAFTA Awards: 1 nomination: “Best Film Not in the English Language” Asghar Farhadi)

2012 Golden Globes, USA: 1 win: “Best Foreign Language Film” (Iran)

2012 Image Awards: 1 nomination: “Outstanding Foreign Motion Picture”

Thursday, August 30, 2012

Review: Rooney Mara is All Woman in "The Girl with the Dragon Tattoo"

TRASH IN MY EYE No. 68 (of 2012) by Leroy Douresseaux

The Girl with the Dragon Tattoo (2011)
Running time: 158 minutes (2 hours, 38 minutes)
MPAA - R for brutal violent content including rape and torture, strong sexuality, graphic nudity, and language
DIRECTOR: David Fincher
WRITER: Steven Zaillian (based upon the novel, Man som hatar kvinnor, by Stieg Larsson)
PRODUCERS: Cean Chaffin, Scott Rudin, Soren Staermose, and Ole Sondberg
CINEMATOGRAPHER: Jeff Cronenweth
EDITORS: Kirk Baxter and Angus Wall
COMPOSERS: Trent Reznor and Atticus Ross
Academy Award winner

DRAMA/MYSTERY/THRILLER

Starring: Daniel Craig, Rooney Mara, Christopher Plummer, Stellan Skarsgard, Steven Berkoff, Robin Wright, Yorick van Wageningen, Joely Richardson, Geraldine James, Goran Visnjic, Donald Sumpter, Ulf Friberg, Julian Sands, and David Dencik

The subject of this movie review is The Girl with the Dragon Tattoo, a 2011 American thriller and murder mystery from director David Fincher. The film is based upon the late author Stieg Larsson's 2005 novel, Man som hatar kvinnor (translates to "Men who hate women"). The novel is best known by the title used for its English-language release, The Girl with the Dragon Tattoo, which was previously adapted into a 2009 Swedish film.

The film opens with Mikael Blomkvist (Daniel Craig), the co-owner of Millennium magazine, losing a libel case. He doesn't know that a brilliant, but troubled computer hacker and researcher named Lisbeth Salander (Rooney Mara) has just compiled an extensive background check on him for Swedish business magnate Henrik Vanger (Christopher Plummer). Vanger wants Blomkvist to solve the apparent murder of his niece, Harriet Vanger, 40 years ago. There is a common thread that eventually brings Mikael and Lisbeth together, when she becomes his assistant. Are their talents enough to solve what seems to be a series of murders of young women over a 20-year period, including the time when Harriet disappeared?

I saw the American film version of The Girl with the Dragon Tattoo about two weeks after I saw the 2009 Swedish version, so I could not help but compare the two. I prefer the Swedish film, and I have to admit that there were things in the Swedish version that were not in the American version, and I missed them. I think the American film pales a little in comparison to it. Why?

The American film's casting is inferior. Daniel Craig is too rough and craggy-looking to play the introspective Mikael Blomkvist, and Christopher Plummer, fine actor that he is, seems out of place as Henrik Vanger. That the overrated, anorexic-like Ellen Page was once considered as the choice to play Lisbeth Salander makes me realize that I'm luck the filmmakers got one bit of casting dead right. That is casting Rooney Mara as Lisbeth.

The premise of The Girl with the Dragon Tattoo is simply great. The subplots are also exciting and appealing, and the words to describe how good the characters are fail me. Give David Fincher this kind of material and he'll give us an exceptional movie, which he does in spite of my complaints. Still, everything turns on Lisbeth Salander.

That is why I give a lot of the credit for this movie's quality to Rooney Mara's performance as Lisbeth. Following Noomi Rapace's mesmerizing turn in the Swedish version is not a job for the squeamish or the overrated. Mara's Lisbeth has a spry sense of humor and sparkling wit. She is both feral and vulnerable, and she seems chaste while also being capable of being quite the seductress. Her intelligence and willingness to get physical with opponents makes Lisbeth often seem like a superhero.

Fincher makes Mara the focus of the story, and sometimes his attention to details about Lisbeth seems lurid. However, the script has holes and some of the other actors aren't up to snuff, so Fincher rightly builds the success of this film on Rooney Mara1s solid foundation. In Mara, the American version of The Girl with the Dragon Tattoo has a dragon of an actress, indeed.

7 of 10
A-

NOTES:
2012 Academy Awards: 1 win: "Best Achievement in Film Editing" (Angus Wall and Kirk Baxter); 4 nominations: "Best Performance by an Actress in a Leading Role" (Rooney Mara), "Best Achievement in Cinematography" (Jeff Cronenweth), "Best Achievement in Sound Editing" (Ren Klyce), and "Best Achievement in Sound Mixing" (David Parker, Michael Semanick, Ren Klyce, and Bo Persson)

2012 BAFTA Awards: 2 nominations: "Best Cinematography" (Jeff Cronenweth) and "Best Original Music" (Atticus Ross and Trent Reznor)

2012 Golden Globes, USA: 2 nominations: "Best Original Score - Motion Picture" (Atticus Ross and Trent Reznor) and "Best Performance by an Actress in a Motion Picture-Drama" (Rooney Mara)

Thursday, August 16, 2012

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Silence Makes "The Artist" Golden

TRASH IN MY EYE No. 66 (of 2012) by Leroy Douresseaux


The Artist (2011)
COUNTRY OF ORIGIN: France, Belgium; Language: English
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for a disturbing image and a crude gesture
WRITER/DIRECTOR: Michel Hazanavicius
PRODUCERS: Thomas Langmann and Emmanuel Montamat
CINEMATOGRAPHER: Guillaume Schiffman
EDITORS: Anne-Sophie Bion and Michel Hazanavicius
COMPOSER: Ludovic Bource
Academy Award winner

COMEDY/DRAMA

Starring: Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell, Penelope Ann Miller, Missi Pyle, Beth Grant, Ed Lauter, Ken Davitian, Michael McDowell, and Uggy

The Artist is a 2011 French romantic comedy and drama done in the style of a black and white silent film. It should be noted that although the film is French, what dialogue it does have is in English. The Artist won the Academy Award for “Best Picture,” one of five it won at the 84th Academy Awards (February 2012). It was the first primarily silent film to win the best picture Oscar since 1927 and the first black and white film to win since Schindler’s List (1993).

The Artist was also one of the best reviewed films of the year (if not the best). I had my doubts, but after seeing it, I can say that it is indeed a fine and exceptional film. It is a true feel-good movie, and is also visually quite beautiful.

The Artist opens in 1927 and finds silent film star, George Valentin (Jean Dujardin), posing for pictures with his dog and frequent film sidekick, Jack the dog (Uggy). That is when he meets aspiring actress, Peppy Miller (Bérénice Bejo). George and Peppy strike up a friendship that creates newspaper headlines, and soon Peppy is getting small parts in some films.

George’s boss at Kinograph Motion Picture Company, Al Zimmer (John Goodman), informs his star that silent films are about to be replaced by “talkies,” motion pictures with a sound. As silent films fade away, Peppy’s career begins to rise. How will George survive in this new era in motion pictures and will his relationship with Peppy survive all the changes occurring in this new world?

Some of you, dear readers, may groan when I say that I found The Artist to be inimitably charming. Well, it’s true; this movie has a lot of charm, and I think its charm is what wins people over. There is a simplicity in the storytelling here that reminds viewers that movies don’t need a wall of surround sound noise and the tsunami of cinema technology to create something that wins hearts and captures imaginations.

For a little over two decades, beginning especially with Terminator 2: Judgment Day and personified by Jurassic Park (1993), movie making (in general) and the Hollywood filmmaking industry (in particular), have been on an inexorable march towards post human cinema. Movies seem to be mostly generated inside a computer, but The Artist harks back to what is still pure about movies. A group of people in front and behind the camera come together and ply their trade, show off their skills, and let their humanity show.

Taking advantage of the human body and face’s ability to express emotion, ideas, and even thought, actors Jean Dujardin and Bérénice Bejo embody Michel Hazanavicius’ delicate but spry love story. In The Artist, the people are the show, not science, although I imagine that it took cinema-tech to bring us back to early filmmaking and to remind us of people power in film. The Artist deserved its Oscars.

9 of 10
A+

NOTES:
2012 Academy Awards: 5 wins: “Best Motion Picture of the Year” (Thomas Langmann), “Best Achievement in Directing” (Michel Hazanavicius), “Best Performance by an Actor in a Leading Role” (Jean Dujardin), “Best Achievement in Costume Design” (Mark Bridges), and “Best Achievement in Music Written for Motion Pictures, Original Score” (Ludovic Bource); 5 nominations: “Best Achievement in Art Direction” (Laurence Bennett-production designer and Robert Gould-set decorator), “Best Achievement in Cinematography” (Guillaume Schiffman), “Best Achievement in Film Editing” (Anne-Sophie Bion and Michel Hazanavicius), “Best Performance by an Actress in a Supporting Role” (Bérénice Bejo), and “Best Writing, Original Screenplay” Michel Hazanavicius)

2012 BAFTA Awards: 7 wins: “Best Cinematography” (Guillaume Schiffman), “Best Costume Design” (Mark Bridges), “Best Director” (Michel Hazanavicius), “Best Film” (Thomas Langmann), “Best Leading Actor” (Jean Dujardin), “Best Original Music” (Ludovic Bource), and “Best Original Screenplay” (Michel Hazanavicius); 5 nominations: “Best Editing” (Anne-Sophie Bion and Michel Hazanavicius), “Best Leading Actress” (Bérénice Bejo), “Best Make Up & Hair” (Julie Hewett and Cydney Cornell), “Best Production Design” (Laurence Bennett and Robert Gould), and “Best Sound” (Michael Krikorian and Nadine Muse)

2012 Golden Globes, USA: 3 wins: “Best Motion Picture - Comedy or Musical,” “Best Original Score - Motion Picture” (Ludovic Bource), and “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Jean Dujardin); 3 nominations: “Best Director - Motion Picture” (Michel Hazanavicius), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Bérénice Bejo), and “Best Screenplay - Motion Picture” (Michel Hazanavicius)

2011 Cannes Film Festival: 1 win: “Best Actor” (Jean Dujardin) and 1 nomination: “Palme d'Or” (Michel Hazanavicius)

Sunday, August 12, 2012

Review: Fine Actors Kick "Coriolanus" Up a Notch

TRASH IN MY EYE No. 51 (of 2012) by Leroy Douresseaux

Coriolanus (2011)
COUNTRY OF ORIGIN: U.K.
Running time: 123 minutes (2 hours, 3 minutes)
MPAA – R for some bloody violence
DIRECTOR: Ralph Fiennes
WRITER: John Logan (based on the play Coriolanus by William Shakespeare)
PRODUCERS: Ralph Fiennes, John Logan, Gabrielle Tana, Julia Taylor-Stanley, and Colin Vaines
CINEMATOGRAPHER: Barry Ackroyd
EDITOR: Nicolas Gaster
COMPOSER: Ilan Eshkeri
BAFTA nominee

DRAMA/WAR

Starring: Ralph Fiennes, Gerard Butler, Brian Cox, Vanessa Redgrave, Jessica Chastain, John Cani, Paul Jesson, James Nesbitt, Dragan Micanovic, and Harry Fenn

The subject of this movie review is Coriolanus, a 2011 military drama starring Ralph Fiennes and Gerard Butler. The film is based on William Shakespeare’s tragedy, Coriolanus, which was based on the story of a legendary Roman general. The film is Fiennes’ directorial debut and is the story of a banished Roman hero who joins Rome’s enemy to take his revenge on the city.

Coriolanus is set in “a place calling itself Rome” (but the movie was filmed in Serbia). General Caius Martius (Ralph Fiennes) leads the forces of Rome to victory against Volsces and the leader of its forces, Tullus Aufidius (Gerard Butler). Martius should be the hero of Rome, beloved by all, but the citizens of Rome are hungry. He may be a great soldier, but Martius despises the people for whom he supposedly fights. Martius is elected as a consul to the Roman Senate, but his inflexible self-belief and extreme views present an opportunity for his enemies. Before long, Martius finds that some of his friends have turned to enemies, but some of his enemies may become his friends.

Throughout my schooling, teachers told me that Shakespeare’s work was timeless, and Coriolanus certainly has contemporary parallels. Caius Martius’ story is a familiar one. He is the proud warrior who saves the state, but who is despised by the citizenry and politicians. The politicians wish to exploit him and have little or no use for him otherwise. Those politicians also loath that he fought when they did not – either because they could not or chose not to.

As a director, Fiennes makes smart choices, including having the accomplished John Logan as his screenwriter. He also surrounds himself with a strong supporting cast; Brian Cox as Menenius and Venessa Redgrave as Volumnia (Martius’ mother) are just plain great. Fiennes’ inexperience as a director, however, shows in some scenes, especially those that make up the first hour of the film. This first half of Coriolanus drifts and the use of Shakespeare’s dialogue seems out of place in the film’s modern Eastern European setting.

The second half of the film is strong and passionate, and that’s where Fiennes’ talents show. He knows great performances and first-rate acting, and he gets that from his cast. Fiennes lets Gerard Butler do what he does best – smolder. Coriolanus is not the best film adaptation of Shakespeare, but the good acting and the subject matter make it one worth watching in these times.

6 of 10
B

NOTES:
2012 BAFTA Awards: 1 nomination: “Outstanding Debut by a British Writer, Director or Producer” (Ralph Fiennes-director)

Wednesday, June 20, 2012

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Gary Oldman the Master of "Tinker Tailor Soldier Spy"

TRASH IN MY EYE No. 48 (of 2012) by Leroy Douresseaux


Tinker Tailor Soldier Spy (2011)
COUNTRY OF ORIGIN: U.K. with France
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – R for violence, some sexuality/nudity and language
DIRECTOR: Tomas Alfredson
WRITERS: Bridget O'Connor and Peter Straughan (based on the novel by John le Carré)
PRODUCERS: Tim Bevan, Eric Fellner, and Robyn Slovo
CINEMATOGRAPHER: Hoyte Van Hoytema (D.o.P.)
EDITOR: Dino Jonsäter
COMPOSER: Alberto Iglesias
Academy Award nominee

DRAMA/SPY/THRILLER/HISTORICAL

Starring: Gary Oldman, Colin Firth, Tom Hardy, Benedict Cumberbatch, Mark Strong, Toby Jones, David Dencik, Ciarán Hinds, Simon McBurney, Roger Lloyd-Pack, Stephen Graham, Kathy Burke, Jamie Thomas King, Stuart Grahma, Svetlana Khodchenkova, William Haddock, and John Hurt

Tinker Tailor Soldier Spy is a 2011 British drama and espionage film. It is a co-production between British film production company, Working Title Films, and the French StudioCanal and is based upon John le Carré’s 1974 novel, Tinker Tailor Soldier Spy. The film is set in London in the early 1970s and focuses on an espionage veteran who returns from semi-retirement to uncover a Soviet agent working within British Intelligence. It is one of the best films of 2011.

In October 1973, Control (John Hurt), the head of the British Intelligence Service (known as “the Circus”), sends agent Jim Prideaux (Mark Strong) on a mission to Hungary, which goes badly wrong. Control and his right-hand man, George Smiley (Gary Oldman), are forced into retirement.

Later, Oliver Lacon (Simon McBurney), a civil servant in charge of intelligence, brings Smiley out of retirement. Lacon tells Smiley that Control, who is now dead, believed that the Soviet Union had managed to place a mole (or spy) in a senior role in British Intelligence and that the mole had been there for a long time. Control had assigned codenames to the senior intelligence officers that he suspected of being the Soviet mole. They are Percy Alleline, “Tinker” (Toby Jones); Bill Haydon, “Tailor” (Colin Firth); Roy Bland, “Soldier” (Ciarán Hinds); and Toby Esterhase, “Poorman” (David Dencik). Smiley takes the assignment only to learn that he is “Beggarman,” Control’s fifth suspect.

I could easily consider Tinker Tailor Soldier Spy a slowing moving spy movie, but I choose to view it as a delicious gumbo on simmer that slowly cooks to perfection. In this case, the perfection is the last half-hour of the movie, which is outstanding and begins with a brilliant scene featuring Smiley, Lacon, and a cabinet minister. Tinker Tailor Soldier Spy is the kind of dense and layered story an espionage film should be… at least when it’s not being a James Bond movie.

Of course, a film adaptation of John le Carré loses the depth, the morsels, and the back story of the novels. The film works because it is a character drama that takes the international intrigue that was the Cold War and transforms it into a conflict (a game, or even a war) between rivals, within and without British Intelligence. The story becomes one about personalities and indeed; the conflicts are more personal and more intimate than they are large-scale and extra-national or international. The movie is a story of lonely and desperate men who can never reveal their secrets to others, even to the point that they become a mystery to themselves.

Such a character drama relies on great performances, and there are many. Tom Hardy and Benedict Cumberbatch are excellent in strong supporting roles. David Dencik gives extra to Esterhase, enlarging a character that could have been not much more than a superficial little prick.

The most important performance is, of course, Gary Oldman’s. I’ve thought of him as a genius since I first started seeking out films in which he appeared some 20 years ago. He plays George Smiley as a tiger ready to pounce, as an intense man of action, and as the consummate spymaster who leads men and manipulates others to achieve his ends. What is amazing is that Oldman pulls this off by playing Smiley as a quiet, detached man, so that in the moments when he does strike, the viewer is both surprised at this sudden turn and also amazed at what Oldman is keeping under wraps as Smiley.

Tinker Tailor Soldier Spy is superbly directed by Tomas Alfredson and expertly written by the husband and wife team of Peter Straughan and the late Bridget O'Connor (to whom this film is dedicated). It is simply a great film. However, the strength of Tinker Tailor Soldier Spy is Gary Oldman, the master of this spy game and the winner of this chess match of espionage.

9 of 10
A+

NOTES:
2012 Academy Awards: 3 nominations: “Best Performance by an Actor in a Leading Role” (Gary Oldman), “Best Achievement in Music Written for Motion Pictures, Original Score” (Alberto Iglesias), and “Best Writing, Adapted Screenplay” (Bridget O'Connor and Peter Straughan)

2012 BAFTA Awards: 2 wins: “Best Adapted Screenplay” (Bridget O'Connor and Peter Straughan) and “Outstanding British Film” (Peter Straughan, Robyn Slovo, Tomas Alfredson, Bridget O'Connor, Eric Fellner, and Tim Bevan); 9 nominations: “Best Film” (Tim Bevan, Robyn Slovo, Eric Fellner), “Best Leading Actor” (Gary Oldman), “Best Cinematography” (Hoyte Van Hoytema), “Best Costume Design” (Jacqueline Durran), “Best Director” (Tomas Alfredson), “Best Editing” (Dino Jonsäter), “Best Original Music” (Alberto Iglesias), “Best Production Design” (Tatiana Macdonald and Maria Djurkovic), “Best Sound” (Doug Cooper, Andy Shelley, Howard Bargroff, John Casali, and Stephen Griffiths)

Sunday, June 10, 2012

Review: Adepero Oduye is Spectacular in Dee Rees' "Pariah"

TRASH IN MY EYE No. 44 (of 2012) by Leroy Douresseaux

Pariah (2011)
Running time: 86 minutes (1 hour, 26 minutes)
MPAA – R for sexual content and language
WRITER/DIRECTOR: Dee Rees
PRODUCER: Nekisa Cooper
CINEMATOGRAPHER: Bradford Young
EDITOR: Mako Kamitsuna

DRAMA

Starring: Adepero Oduye, Pernell Walker, Kim Wayans, Charles Parnell, Sahra Mellesse, and Aasha Davis

Pariah is a 2011 independent film from director Dee Rees. This contemporary drama is a coming of age story about a Brooklyn teen discovering her sexual identity, while negotiating her way through the very different worlds of the lesbian club scene and of her conservative family. Filmmaker Spike Lee is one of the film’s executive producers.

The film centers on Alike Freeman (Adepero Oduye), a 17-year-old African-American teenager who lives in the Fort Greene neighborhood of Brooklyn, New York. She lives with her family: her religious mother, Audrey (Kim Wayans); her policeman father, Arthur (Charles Parnell); and her younger sister, Sharonda (Sahra Mellesse).

Alike is gradually embracing her identity as a lesbian, with her openly gay friend, Laura (Pernell Walker), as her guide and support. At home, however, her parents’ marriage has reached a breaking point, and the tension grows whenever her parents discuss her development as a person. When she begins to socialize with Bina (Aasha Davis), a young woman who attends her high school, Alike starts to feel better about her identity, but her family and her social life only grow more complicated.

The easy way out of this review is to say that Pariah is an amazing film, because, y’all, it surely is. I cannot think of a film that deals with the black gay teen experience as well as Pariah does, and if there is one, all the better. The comic actress, Kim Wayans, as other members of the Wayans clan have done, takes a moment to show the range and scope of her talent with a dramatic turn as Alike’s mother, Audrey, that is rich in pathos.

If this movie is a revelation (and it is), then, it is all the more a surprise because Adepero Oduye as Alike Freeman is an illumination casting much needed light on the corporate product landscape that is the American film industry. As Alike blossoms, as a young adult and as a young artist, Adepero grows onscreen before our eyes. The joy we see in Alike as she becomes more confident and assured in the choices that she makes, the more Adepero seizes command of this film.

Adepero has a winning, Tom Cruise-like smile. Dee Rees has made a winning film that will make you smile like Tom Cruise. This film promises a lot in terms of Rees talent. If by chance she doesn’t live up to it that will be understandable. Pariah is a fine film and will certainly be a hard act to follow.

9 of 10
A+

NOTES:
2012 Black Reel Awards: 1 win: “Best Breakthrough Performance” (Adepero Oduye); 8 nominations: “Best Actress” (Adepero Oduye), “Best Breakthrough Performance” (Kim Wayans), “Best Director” (Dee Rees), “Best Ensemble” (Kim Wayans, Adepero Oduye, Charles Parnell, Sahra Mellesse, Aasha Davis, Pernell Walker), “Best Film” (Nekisa Cooper), “Best Screenplay, Original or Adapted” (Dee Rees), “Outstanding Supporting Actress” (Kim Wayans), and “Outstanding Supporting Actress” (Pernell Walker)

2012 Image Awards: 1 win: “Outstanding Independent Motion Picture;” 6 nominations: "Outstanding Actress in a Motion Picture" (Adepero Oduye), “Outstanding Directing in a Motion Picture-Theatrical or Television” (Dee Rees), “Outstanding Motion Picture,” “Outstanding Supporting Actor in a Motion Picture” (Charles Parnell), “Outstanding Supporting Actress in a Motion Picture” (Kim Wayans), and “Outstanding Writing in a Motion Picture-Theatrical or Television” (Dee Rees)

Monday, May 28, 2012

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Review: Antonio Banderas Stomps the Yard in "Puss in Boots"

TRASH IN MY EYE No. 41 (of 2012) by Leroy Douresseaux

Puss in Boots (2011)
Running time: 90 minutes (1 hour, 30 minutes)
MPAA – PG for some adventure action and mild rude humor
DIRECTOR: Chris Miller
WRITERS: Tom Wheeler; from a story by Will Davies and Brian Lynch (based upon the character created by Charles Perrault)
PRODUCERS: Joe M. Aguilar and Latifa Ouaou
EDITOR: Eric Dapkewicz
COMPOSER: Henry Jackman
Academy Award nominee

ANIMATION/FANTASY/ADVENTURE/COMEDY with elements of a Western

Starring: (voice) Antonio Banderas, Salma Hayek, Zach Galifianakis, Billy Bob Thornton, Amy Sedaris, Constance Marie, and Guillermo del Toro

I don’t think DreamWorks Animation gets enough credit. They aren’t a weak sister to Pixar Animation Studios. In fact, in 2011, Pixar unleashed the god-awful Cars 2, but DreamWorks more than surpassed that with two excellent films, Kung Fu Panda 2 and the subject of this movie review…

Puss in Boots is a 2011 computer-animated adventure comedy film from DreamWorks Animation. The film stars Antonio Banderas, giving voice to the outlaw cat, Puss in Boots, the character that first appeared in Shrek 2 (2004). Puss in Boots the movie is both a spin-off of and prequel to the Shrek film franchise.

The story details the origins of Puss in Boots (Antonio Banderas) and tells how he became an outlaw. He was an orphaned kitten who finds a home at an orphanage run by the kind Imelda (Constance Marie) in the town of San Ricardo. While attempting to steal magic beans (from “Jack and the Beanstalk), Puss is reunited with his long-estranged childhood friend, the talking egg Humpty Alexander Dumpty (Zach Galifianakis). Puss is drawn to Humpty’s ally, Kitty Softpaws (Salma Hayek), a street-savvy Tuxedo cat.

The trio hatches a plan to steal the beans from the current owners, the outlaw couple, Jack (Billy Bob Thorton) and Jill (Amy Sedaris). The task, however, proves more difficult than Puss imagined, as he must survive a strange world and also a plot against his loved ones.

Part Zorro and part Valentino, Puss in Boots is a charming rogue, the kind of character that can drive a swashbuckling adventure film to success. Puss in Boots the movie is part Raiders of the Lost Ark with the style of a spaghetti Western plus the cracked fairy tale approach that defined the Shrek movies.

Puss in Boots isn’t groundbreaking, nor is it as technically dazzling as other DreamWorks Animations films, such as the Kung Fu Panda films and Megamind. Puss in Boots does, however, have enough bubbly charm and effervescence to share with less fortunate films.

Those less fortunate films would be movies that don’t have Antonio Banderas, an actor born to be loved by the camera, or, in the case of voice acting in an animated film, an actor with a bejeweled voice. Together with the artists that animated the Puss in Boots character, Banderas turned on the wit and magnetism, so that Puss in Boots virtually has no faults – as long as Puss in Boots is the center of attention. I appreciate the people involved with this movie, because I plan on watching Puss in Boots many more times.

8 of 10
A

NOTES:
2012 Academy Awards: 1 nomination: “Best Animated Feature Film of the Year” (Chris Miller)

2012 Golden Globes, USA: 1 nomination: “Best Animated Feature Film”

Tuesday, May 22, 2012

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"The Iron Lady" is Rusty and Crusty

TRASH IN MY EYE No. 40 (of 2012) by Leroy Douresseaux


The Iron Lady (2011)
COUNTRY OF ORIGIN: U.K. with France
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG-13 for some violent images and brief nudity
DIRECTOR: Phyllida Lloyd
WRITER: Abi Morgan
PRODUCER: Damian Jones
CINEMATOGRAPHER: Elliot Davis (D.o.P.)
EDITOR: Justine Wright
COMPOSER: Thomas Newman
Academy Award winner

DRAMA/HISTORICAL/BIOPIC

Starring: Meryl Streep, Jim Broadbent, Olivia Colman, Susan Browne, Alexandra Roach, Henry Lloyd, Anthony Head, and Nicholas Farrell

The Iron Lady is a 2011 British drama starring Meryl Streep. The film dramatizes pivotal moments in the life of Margaret Thatcher, the first female Prime Minister of the United Kingdom. Thatcher was also the longest serving Prime Minister of the 20th century.

The film opens in late 2008 and finds former Prime Minister of the United Kingdom, Margaret Thatcher (Meryl Streep), struggling with dementia. Over the course of a few days, Thatcher looks back on the defining moments of her personal and professional life, while she also reminisces with her late husband, Denis Thatcher (Jim Broadbent). Meanwhile, her daughter, Carol (Olivia Colman), worries about her mother’s seeming inability to distinguish between the past and the present and also to let go of Denis’ possessions. Carol doesn’t know that her mother’s hallucinations involve conversations with her dead husband.

The Iron Lady won two Oscars, including a best actress win by Meryl Streep for her portrayal of Thatcher. Streep is good, but this movie is a disaster. It’s like some kind of Kabuki puppet theatre version of a British movie. Frankly, the movie is so stiff and weird, and for that reason alone, I think someone else should have won the best actress Oscar (Glenn Close for Albert Nobbs or Viola Davis for The Help). As for the best makeup Oscar: if making actors look like prune-faced goblins is Oscar-worthy, then, this film’s makeup guys, Mark Coulier and J. Roy Helland, should also get a genius grant.

I was not a fan of Thatcher growing up, but I remember her tremendous stature in the world, especially in Europe and in the United States. Thus, this movie is too small for such a monumental figure, although there are a few moments when Streep brings out Thatcher’s unbending will in way that aroused me and even made me hetero for a few moments (Hee hee).

However, The Iron Lady is ultimately a poor highlight reel about a powerful woman who broke down barriers. This isn’t really a movie about Margaret Thatcher; it’s a movie about an old lady with dementia. Even a non-fan of Thatcher, like myself, thinks she deserves better.

3 of 10
D+

NOTES:
2012 Academy Awards: 2 wins: “Best Performance by an Actress in a Leading Role” (Meryl Streep) and “Best Achievement in Makeup” (Mark Coulier and J. Roy Helland)

2012 BAFTA Awards: 2 wins: “Best Leading Actress” (Meryl Streep) and “Best Make Up & Hair” (Mark Coulier, Marese Langan, and J. Roy Helland); 2 nominations: “Best Original Screenplay” (Abi Morgan) and “Best Supporting Actor” (Jim Broadbent)

2012 Golden Globes, USA: 1 win: “Best Performance by an Actress in a Motion Picture – Drama” (Meryl Streep)

Sunday, May 20, 2012