Review: DreamWorks "ANTZ" Can Still Dance

TRASH IN MY EYE No. 11 of 2024 (No. 1955) by Leroy Douresseaux

Antz (1998)

Running time:  83 minutes (1 hour, 23 minutes)

MPAA – PG for mild language and menacing action

DIRECTORS:  Eric Darnell and Tim Johnson

WRITERS:  Todd Alcott and Chris Weitz & Paul Weitz

PRODUCERS:  Brad Lewis, Kenneth Nakada, Aron Warner, and Patty Wooton

EDITOR:  Stan Webb

COMPOSERS:  Harry Gregson-Williams and John Powell

ANIMATION/FANTASY/ADVENTURE/COMEDY

Starring:  (voices):  Woody Allen, Sharon Stone, Gene Hackman, Sylvester Stallone, Anne Bancroft, Danny Glover, Jennifer Lopez, Paul Mazursky, Grant Shaud, John Mahoney, Dan Aykroyd, Jane Curtain, and Christopher Walken

Antz is a 1998 computer-animated adventure comedy film from directors Eric Darnell and Tim Johnson.  It was produced by DreamWorks Pictures, DreamWorks Animation, and Pacific Data Images and released by DreamWorks Pictures.  Antz was also DreamWorks Animation's debut film.  The movie focuses on a neurotic ant who bucks the system of his ant colony in order to pursue an ant princess, which sends them both on a perilous journey.

Antz opens in an ant colony, the home of a race of anthropomorphic ants (walk and talk like humans).  The focus is on Z (Woody Allen), an anxious and neurotic worker ant who chafes at the state of conformity in the colony. While at the local bar one night, Z has a chance encounter with the Queen Ant's daughter, Princess Bala (Sharon Stone), and he falls in love with her.  Z doesn't know that Bala is struggling with her suffocating royal life, although her mother, the Queen Aunt (Anne Bancroft), is the ruler of the colony.  Bala also has misgivings about her planned marriage to General Mandible (Gene Hackman), the cunning and arrogant leader of the colony's ant military.

Z wants to see more of Bala, but as a worker ant, he can't get near her.  He convinces Corporal Weaver (Sylvester Stallone), a soldier ant, to switch places with him.  This causes a series of events that finds Z and Princess Bala on a perilous journey outside the colony.  Meanwhile, General Mandible uses this turn of events to serve his own plans.

I am about to watch DreamWorks Animation's most recent release, Orion and the Dark, which was animated by the French production company, Mikros Animation.  So I decided that it was time to finish my review of DreamWorks' first animated feature film, Antz.

Early in Antz, I was not impressed by the CGI-animation.  It looks stiff and not imaginative, but as the film progresses, especially once the story leaves the colony, Antz begins to show some visual inventiveness.  The film's technical prowess improves as the story demands more complicated and involved action set pieces.

I like the voice cast, which I would call stellar; nine members of Antz's voice cast have won or been nominated for an Oscar – some several times.  However, I'm not that crazy about Woody Allen as the lead character, Z.  It's not that he doesn't do a good job; he does, but Allen is playing a character type that is familiar from his own films, such Hollywood Ending (2002) and Scoop (2006).  At times, Woody doing Woody doesn't really serve this film well.  As much as I like Sharon Stone, I can think of other actresses who could have given a better performance as Princess Bala.  I can say, however, that Gene Hackman is convincingly menacing as General Mandible.

So I'm glad that I finally watched Antz.  2023 was the 25th anniversary of its initial wide theatrical release (specifically October 2, 1998).  It is not as good as even recent DreamWorks Animation productions like The Bad Guys and Puss in Boots: The Last Wish.  Still, Antz is what kicked off a line of fine animated feature films.

6 of 10

B

★★★ out of 4 stars

Thursday, February 15, 2024

NOTES:

1999 BAFTA Awards:  1 nomination: “Best Special Effects” (Ken Bielenberg, Philippe Gluckman, John Bell, and Kendal Cronkhite

The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: Spielberg's "THE COLOR PURPLE" Still Wants to Be Seen (Celebrating "The Fabelmans")

TRASH IN MY EYE No. 7 of 2023 (No. 1896) by Leroy Douresseaux

The Color Purple (1985)

Running time:  154 minutes (2 hours, 34 minutes)

MPAA – PG-13

DIRECTOR:  Steven Spielberg

WRITER:  Menno Meyjes (based on the novel by Alice Walker)

PRODUCERS:  Steven Spielberg; Quincy Jones, Frank Marshall, and Kathleen Kennedy

CINEMATOGRAPHER:  Allen Daviau (D.o.P.)

EDITOR:  Michael Kahn

COMPOSER:  Quincy Jones

Academy Award nominee

DRAMA

Starring:  Whoopi Golderg, Danny Glover, Oprah Winfrey, Margaret Avery, Willard E. Pugh, Akosua Busia, Desreta Jackson, Adolph Caesar, Rae Dawn Chong, Dana Ivey, Leonard Jackson, Bennet Guillory, and Laurence Fishburne

The Color Purple is a 1985 drama and period film directed by Steven Spielberg.  The film is based on the Pulitzer Prize-winning 1982 novel, The Color Purple, by author Alice Walker.  The Color Purple the movie focuses on an African-American woman who suffers abuse from the men in her life, but finds strength in the women close to her.

The Color Purple opens in 1909, in rural Hartwell County, Georgia.  Celie Harris (Desreta Jackson) is a teenage African-American girl living with an abusive father who rapes her.  He has already fathered two children by Celie, both of which he sold shortly after Celie gave birth.  Celie's father eventually gives her to an older man named Albert Johnson (Danny Glover), who Celie calls “Mister.”

A widower with three children, Mister initially wants to marry Celie's younger sister, Nettie (Akosua Busia).  Now, Mister abuses Celie, while his children also mistreat her.  One day, Nettie arrives at Mister's door, thrown out after rejecting her father's advances.  Nettie eventually also has to fight off a rape attempt by Mister, who promptly throws her off his property.

In the years and decades that follow, an adult Celie (Whoopi Goldberg), grown meek from years of abuse, finds strength in two other women.  The first is Mister's daughter law, Sofia (Oprah Winfrey).  The second is a woman Mister once wanted to marry, jook joint singer, Shug Avery (Margaret Avery).  For Celie, however, there are still great secrets from her past that will eventually be revealed.

It had been nearly 37 years since I last watched The Color Purple.  I cried so much during the first time I saw it that I had not been able to watch it again until now.  Over the years, I planned to view it a number of times, especially during the twentieth (2005) and twenty-fifth (2010) anniversaries of its original release.  It is also one of my favorite directorial efforts by Steven Spielberg.  I forced myself to watch it again because of my “celebration” of the release of Spielberg's recent autobiographical film, The Fabelmans.

The film's themes of domestic violence, pedophilia, and sexism still resonate, and, for me, the themes of racism and sexism seem to have strengthen with time.  The screenplay does so much to emphasize these themes that it is as if it creates a world within the larger world where abuse and degradation are the natural order.  Over the years, I have encountered people, mostly black men, who say that the film makes black men look bad.  I say that the film makes an honest portrayal of the abuse that black women faced in the past – from both black and white men.  [Over time, I have spoken with African-American women who personally knew older African-American women whose experiences are of the exact kind of abuse faced by Celie, Nettie, Sofia and other women in the film.]

That aside, I consider The Color Purple to be one of Spielberg's most subtle efforts as a director.  Some contemporaneous commentary said that the film was overly sentimental, but I find that Spielberg allows the film's narrative and characters to grow naturally from the screenplay.  In collaboration with his longtime editor, the Oscar-winning Michael Kahn (nominated here), Spielberg creates the illusion that he is simply capturing the evolution of Celie's tale from its harsh beginnings to its golden-hued happy ending.  The Color Purple feels organic … although I don't think anyone would have described it as such when it was first released.

One of the most impressive things about The Color Purple is that two its best performances are by actresses who have little or no acting experience – Whoopi Golderg as Celie and Oprah Winfrey as Sofia.  Spielberg gets these performers to create characters that are unique in form and substance.  To me, characters like Celie and Sofia seem so genuine because they were utterly new to American cinema, and truthfully, there has been nothing like them since.

Truthfully, all the film's performances are unique and winning.  Margaret Avery amazingly makes her Shug Avery an oasis in the often relentless pain of this film.  Danny Glover is also brilliantly cruel as the awful Mister, and Willard Pugh is sweet and charming as his son and Sofia's husband, the hapless Harpo.

At the 58th Academy Awards, The Color Purple did not win in any of the 11 categories in which it was nominated.  In fact, Steven Spielberg did not even receive a “Best Director” Oscar nomination.  In the decades since its release, The Color Purple remains as relevant today as it was being a historical and monumental release in 1985 and 1986.  The films that bested it at the Oscars are largely forgotten compared to it.  Alice Walker's novel was also adapted into a 2005 Broadway musical, and the film adaptation of that musical is scheduled for release later this year (2023), as of this writing.

As a triumph in Spielberg's filmography, some may discount The Color Purple, considering the films Spielberg has made since then (such as Schindler's List).  Still, as a line in the film says (more or less), The Color Purple wants to be seen and loved … and it still is.

10 of 10

Thursday, February 16, 2023

NOTES:

1986 Academy Awards, USA:  11 nominations: “Best Picture” (Steven Spielberg, Kathleen Kennedy, Frank Marshall, and Quincy Jones), “Best Actress in a Leading Role” (Whoopi Goldberg), “Best Actress in a Supporting Role” (Margaret Avery), “Best Actress in a Supporting Role” (Oprah Winfrey), “Best Writing, Screenplay Based on Material from Another Medium” (Menno Meyjes), “Best Cinematography” (Allen Daviau), “Best Art Direction-Set Decoration” (J. Michael Riva, Bo Welch, and Linda DeScenna), “Best Costume Design” (Aggie Guerard Rodgers), “Best Music, Original Song” (Quincy Jones-music/lyrics, Rod Temperton-music/lyrics, and Lionel Richie-lyrics for the song “Miss Celie's Blues (Sister)”), “Best Music, Original Score” (Quincy Jones, Jeremy Lubbock, Rod Temperton, Caiphus Semenya, Andraé Crouch, Chris Boardman, Jorge Calandrelli, Joel Rosenbaum, Fred Steiner, Jack Hayes, Jerry Hey, and Randy Kerber), and “Best Makeup” (Ken Chase)

1987 BAFTA Awards:  1 nomination: “Best Screenplay – Adapted” (Menno Meyjes)

1986 Golden Globes, USA:  1 win: “Best Performance by an Actress in a Motion Picture – Drama” (Whoopi Goldberg); 4 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Steven Spielberg), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Oprah Winfrey), and “Best Original Score – Motion Picture” (Quincy Jones)

1986 Image Awards (NAACP):  2 wins: “Outstanding Motion Picture” and “Outstanding Lead Actress in a Motion Picture” (Whoopi Goldberg)

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

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Review: "SORRY TO BOTHER YOU" is Fresh and Audacious

TRASH IN MY EYE No. 7 of 2022 (No. 1819) by Leroy Douresseaux

Sorry to Bother You (2018)
Running time:  112 minutes (1 hour, 52 minutes)
MPAA – R for pervasive language, some strong sexual content, graphic nudity, and drug use
WRITER/DIRECTOR:  Boots Riley
PRODUCERS:  Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker, and Kelly Williams
CINEMATOGRAPHER:  Doug Emmett (D.o.P.)
EDITOR:  Terel Gibson
COMPOSERS:  Tune-Yards: Nate Brenner and Merrill Garbus (score); The Coup (soundtrack)

COMEDY/SCIENCE FICTION

Starring:  LaKeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Harwick, Terry Crews, Kate Berlant, Michael X. Sommers, Robert Longstreet, and Danny Glover, Armie Hammer, and Steven Yeun with Rosario Dawson, Forest Whitaker, David Cross, Lily James, and Patton Oswalt

Sorry to Bother You is a 2018 satirical, science fiction, and black comedy film written and directed by Boots Riley.  The film follows a young African-American telemarketer who discovers the key to professional success and personal wealth, which also propels him into a world of corporate conspiracy and greed.

Sorry to Bother You opens in an alternate version of present-day Oakland, California.  Cassius “Cash” Green (LaKeith Stanfield) is a young African-American man who struggles to be gainfully employed.  He and his girlfriend, Detroit (Tessa Thompson), an artist, live with Cash's uncle, Sergio Green (Terry Crews), specifically in Uncle's Sergio's garage.  Cash learns about a job opportunity at the place of employment of his friend, Salvadore a.k.a. “Sal” (Jermaine Fowler).

Sal works as a telemarketer for a company called “RegalView.”  Cash manages to get a job, and his bosses, Johnny (Michael K. Sommers) and Anderson (Robert Longstreet), emphasize that he must “stick to the script” (S.T.T.P) when making sales calls.  He struggles with the job until an older African-American co-worker, Langston (Danny Glover), tells Cash that he must adopt a “white voice” when making sales calls.  After a few misfires, Cash eventually creates his own “white voice” (spoken by actor David Cross), and it works!  Soon, Cash is so good at selling products to the people he calls that his bosses dub him a “Power Caller.”

Meanwhile, Cash's coworker, Squeeze (Steven Yeun), has formed a union, and now, he wants to recruit Cash, Detroit, and Sal as union activists.  However, Cash is finally making some big money for the first time in his life, and when he moves on up to the luxurious Power Caller suite, he does not want to give that up.  When he starts selling for RegalView's main corporate client, WorryFree, Cash is forced to decide between his friends and selling his soul as part of a terrible corporate conspiracy.

Sorry to Bother You is one of those hybrid comedy film that blends dark humor, satire, science fiction, and adventure in a way that comments on the contemporary times in which the film debuted.  Sorry to Bother You reminds me of films like director Terry Gilliam's Brazil (1985) and director Mike Judge's Idiocracy (2006).  Like those films, Sorry to Bother You eviscerates the power elites and the institutions that guide and even control society.

Like Judge's other satirical film, Office Space (1999), Sorry to Bother You perfectly captures the contemporary landscape of working America:  underpaid workers who are like drones; the difficulties of unionizing workplaces; using promotions to separate workers; pitting workers against each other; middle managers who act like overseers; and a narcissistic ownership class that doesn't know and doesn't want to know anything … that does not get them what they want.

In Sorry to Bother You, writer-director Boots Riley offers a bold vision of today with crazy, twisted apt metaphors that relate to now and to the near-future.  My one quibble with the film is that the characters are not quite one-dimensional, but they do lack true depth.  Steven Yeun adds some bump to his rabble rouser, Squeeze, as does Jermaine Fowler with his character, Sal.  However, it seems as if LaKeith Stanfield as Cash and Tessa Thompson as Detroit use their performances to bring their characters to heights to which the film's script does not aspire.  The film is almost over by the time these characters really start to command and shape the direction of the story, which Riley drives using a complex plot, an involved story line, and lots of amazing ideas.

It is a shame that upon its theatrical release audiences did not watch Sorry to Bother You the way they watched big-tent, event pictures.  At one point in the film, one of the characters in Sorry to Bother You says that when people discover a problem that they can't fix, they ignore it.  Sorry to Bother You doesn't offer easy answers, but it does ask that people get involved … and think.  Sorry to Bother You is as entertaining as most superhero movies, and without being preachy, it also asks the people to be heroes against villains and the injustice they perpetuate.  There are many home entertainment options for audiences to discover this wonderful and relevant movie.

8 of 10
A

Wednesday, February 16, 2022


NOTES:
2019 Black Reel Awards:  3 wins: “Outstanding Screenplay” (Boots Riley), “Outstanding Emerging Director” (Boots Riley), and “Outstanding First Screenplay” (Boots Riley); 4 nominations: “Outstanding Actor” (LaKeith Stanfield), “Outstanding Director” (Boots Riley), “Outstanding Ensemble,” and “Outstanding Costume Design” (Deirdra Elizabeth Govan)

2019 Image Awards (NAACP):  2 nominations: “Outstanding Independent Motion Picture” and “Outstanding Writing in a Motion Picture (Film)” (Boots Riley)

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

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Review: Excellent "The Dead Don't Die" Recalls George Romero "Dead" Movies

TRASH IN MY EYE No. 24 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Dead Don't Die (2019)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – R for zombie violence/gore, and for language
WRITER/DIRECTOR:  Jim Jarmusch
PRODUCERS:  Joshua Astrachan and Carter Logan
CINEMATOGRAPHER:  Frederick Elmes
EDITOR:  Affonso Gonçalves
COMPOSER:  Sqürl

HORROR/COMEDY

Starring:  Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny,Steve Buscemi, Danny Glover, Caleb Landry Jones, Selena Gomez, Austin Butler, Luka Sabbat, Rosie Perez, Iggy Pop, RZA, Carol Kane, Maya Delmont, Taliyah Whitaker,Jahi Winston, and Tom Waits

The Dead Don't Die is a 2019 zombie horror-comedy film from writer-director Jim Jarmusch.  The film features an ensemble cast and is set in the peaceful town of Centerville, which finds itself beset by a zombie horde after the recently dead start rising from their graves.

The Dead Don't Die opens in the town of Centerville, which has the motto, “A Real Nice Place,” emblazoned upon its welcome sign.  Strange things have been happening in the town, or so say Centerville Police Department Chief Cliff Robertson (Bill Murray) and Officer Ronald “Ronnie” Peterson (Adam Driver).  After answering a complaint one evening, these officers of the law notice that its 8 PM in the evening and it is still daylight.  Ronnie discovers that his watch and cell phone have stopped working.

There are news reports about pets behaving strangely, and Centerville's Farmer Miller (Steve Buscemi) has learned that his farm animals have disappeared.  According to a young inmate at a local juvenile facility, “polar fracking” has altered the Earth's rotation.  And the song, “The Dead Don't Die,” by country singer-songwriter, Sturgill Simpson, is always playing somewhere in town.  When night finally falls, the dead start to rise from their graves.  By the second evening, Centerville is experiencing a full-on zombie invasion, and, as Officer Ronnie already knows, all this will “end badly.”

I choose to interpret The Dead Don't Die as a remake and re-imagining of the classic 1968 horror movie, Night of the Living Dead, the forerunner of the modern zombie movie.  That film was co-written and directed by the late George A. Romero, the forefather of what is now known as the zombie apocalypse horror genre.  Obviously using Night of the Living Dead as a blueprint and using the cinematic language that Romero invented, writer-director Jim Jarmusch offers a deadpan ode to the seminal zombie movie.

In The Dead Don't Die, Jarmusch certainly has a better cast and better production resources than Romero had for Night of the Living Dead.  What Jarmusch maintains from the original film is its social commentary and satire and black humor, although Jarmusch gives his black comedy a spin of dry wit.  Jarmusch also breaks the fourth wall and throws in some out-of-this-world B-movie silliness, via the always brilliantly on-point Tilda Swinton as Centerville's newest resident, the Scottish mortician, Zelda Winston.  Swinton's short time on the screen alone is reason to see The Dead Don't Die.

Everyone in this delightfully diverse and eclectic ensemble cast makes the most of his or her onscreen time.  Some movie critics and reviewers have criticized The Dead Don't Die for being too dry and too deadpan.  Quite the contrary, I say.  I believe that this film's “dry” tone is a commentary on humanity's inescapable dark fate, the result of our childish desire for too many things that we really don't need.  Our hubris when it comes to the way we deal with the natural world and the natural order, and the insatiable greed that can never fill the hole in our metaphorical hearts could bring us a fate worse than death.  That is why I think that The Dead Don't Die is the smartest and purest zombie film since Romero's first three “Dead” films.

8 of 10
A

Saturday, October 31, 2020


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "The Last Black Man in San Francisco" is a Stunning Film

TRASH IN MY EYE No. 19 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Last Black Man in San Francisco (2019)

Running time:  121 minutes (2 hours, 1 minute)

MPAA – R for language, brief nudity and drug use

DIRECTOR:  Joe Talbot.

WRITER:  Joe Talbot and Rob Richert; from a story by Joe Talbot and Jimmy Fails

PRODUCERS:  Dede Gardner, Jeremy Kleiner, Khaliah Neal, Christina Oh, and Joe Talbot

CINEMATOGRAPHER:  Adam Newport-Berra

EDITOR:  David Marks

COMPOSER:  Emile Mosseri

DRAMA

Starring:  Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, Mike Epps, Finn Wittrock, Danny Glover, Willie Hen, Jamal Trulove, Antoine “Mile” Redus, Jordan Gomes, Maxamilliene Ewalt, Michael O'Brien, and Daewon Song

The Last Black Man in San Francisco is a 2019 American drama film and is the debut film of director Joe Talbot.  Oscar-winner Barry Jenkins (Moonlight) contributed to the film's Kickstarter crowdfunding campaign, and two-time Oscar-winner Brad Pitt (Once Upon a Time in Hollywood) is one of the film's executive producers.  The Last Black Man in San Francisco centers on a young Black man's efforts to reclaim his childhood home, which is now an expensive Victorian house in a gentrified neighborhood.

The Last Black Man in San Francisco introduces Jimmie Fails IV (Jimmie Fails).  He is a young man living in Bayview-Hunters Point, San Francisco, and he spends his time wandering around town with his best friend Montgomery “Mont” Allen (Jonathan Majors).  Jimmie lives with Mont and Mont's grandfather, “Grandpa Allen” (Danny Glover), in the old man's house.

One day, Jimmie takes Mont to San Francisco's Fillmore District, which is where Jimmie grew up.  He shows Mont a Victorian house that Jimmie claims his grandfather, James Fails II, built in 1946.  An older white couple are the house's current occupants, and Jimmie laments that the couple does not take care of the house.  Jimmie surreptitiously attempts to maintain the house by doing minor repairs and upgrade work (like painting).  When the couple can no longer keep the house, it is put up for sale by Manifest Realtors.

Jimmie and Mont visit Clayton Newsom (Finn Wittrock), the real estate agent charged with selling the house, and learn that because of an “estate situation” the house could remain unsold for years.  Jimmie decides to move into the house, becoming a squatter on an empty property that he sees as his birthright.  But is everything that Jimmie knows about the house, the whole and true story?

I would have a hard time explaining The Last Black Man in San Francisco in detail.  On one hand, the film certainly has themes related to gentrification, but on that other hand, the film speaks to the dangers of holding onto things too long.  The story's ultimate point seems to be that people should be more than just one thing to everyone and that each of us must break free of the boxes in which we have put ourselves or in which others have put us.  The Last Black Man in San Francisco is a hugely thoughtful and layered film, surprisingly so from a first time director like Joe Talbot.

The Last Black Man in San Francisco also has outstanding production values.  I usually think of great cinematography as coming from epic films about the past – war movies and historical and costume dramas.  The photography of Adam Newport-Berra is some of the best cinematography that I have ever seen in a film with a contemporary setting.  Combined with the sets and locals, the cinematography makes The Last Black Man in San Francisco one of the most beautiful films in recent years.  The soundtrack, a mix of songs about San Francisco and Emile Mosseri's lovely score, actually enhances the beauty of this film.

Jimmie Fails, playing a character named after him, and Jonathan Majors as Montgomery are breakout stars in this film, and it is a pity that Majors did not get Academy Award notice for his idiosyncratic character and layered performance.  Lack of mainstream award wins, however, does not change the fact that The Last Black Man in San Francisco is a unique and terrifically grand film.  It is a love letter to the city of San Francisco that shows its love not by depicting the entire city and its hot tech sector.  It loves San Francisco by depicting the heart of the city – the forgotten people and places that gave the city its flavor and atmosphere... which made it a target for gentrification.

A+
9 of 10

Sunday, August 16, 2020


NOTES:
2020 Black Reel Awards:  1 win: “Outstanding Independent Feature” (Joe Talbot, Dede Gardner, Jeremy Kleiner, Christina Oh, and Khaliah Neal); 7 nominations: “Outstanding Actor, Motion Picture” (Jimmie Fails), “Outstanding Supporting Actor, Motion Picture” (Jonathan Majors), “Outstanding Score” (Emile Mosseri), “Outstanding Breakthrough Performance, Male” (Jimmie Fails), “Outstanding Breakthrough Performance, Male” (Jonathan Majors), “Outstanding Cinematography” (Adam Newport-Berra), and “Outstanding Ensemble: (Julia Kim)


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

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BET Celebrates Michelle Obama and Rashida & Quincy Jones in December

BET Celebrates Black Excellence with Two Uplifting Specials Premiering in December

“A THOUSAND WORDS WITH MICHELLE OBAMA” Premieres on Wednesday, December 5 AT 9PM ET

“Q85: A MUSICAL CELEBRATION FOR QUINCY JONES” Premieres on Sunday, December 9 AT 8PM ET

NEW YORK--(BUSINESS WIRE)--BET Networks is set to premiere two powerful specials in December, embracing the holiday spirit that uplifts and celebrates black excellence. “A THOUSAND WORDS WITH MICHELLE OBAMA” premieres on Wednesday, December 5,2018 at 9PM ET and “Q85: A MUSICAL CELEBRATION FOR QUINCY JONES” will air on Sunday, December 9, 2018 at 8PM ET.

“A THOUSAND WORDS WITH MICHELLE OBAMA” is an empowering new one-hour special featuring former First Lady Michelle Obama in candid conversation with former Senior Advisor to President Barack Obama Valerie Jarrett at the Leading Women Defined symposium at the St. Regis hotel in Miami, FL. The women discuss a range of topics as Michelle Obama shares words of uplift, stories of sisterhood, the importance of self-care and her marked growth through her husband’s eight years in office.

Tune in to the captivating conversation with the Former First Lady as she shares anecdotes and salient advice from her worldwide bestselling autobiography, Becoming. “A THOUSAND WORDS WITH MICHELLE OBAMA” premieres Wednesday, December 5 at 9 PM ET/PT on BET.

WATCH & SHARE: Please see exclusive clips from the highly anticipated special below. Additional assets and photos are available at: BET Press Room.

Michelle Obama on confidence and identity, “I always laugh when people ask, ‘how did you figure out how to be the First Lady?’”: https://youtu.be/YsrQciMbUsQ

…On sisterhood, “When I meet good women, hold on to them and don’t compete with them”: https://youtu.be/zYrg_ov0mOs

…On “sharing your shine”: https://youtu.be/JYyP_HsVkLc

…On self-care, “You’re worthy of a quality of life…why do you think you deserve to live a grind…to only leave yourself the crumbs of your day?”: https://youtu.be/pxY4RLeybY4

For photos and exclusive assets from BET Presents: “Q85: A Musical Celebration for Quincy Jones,” please visit BET Press Room.

For any broadcast requests for the above content via downloadable link, please contact Melissa.Nyarko@bet.net.

“Q85: A MUSICAL CELEBRATION FOR QUINCY JONES” is a star-studded evening that celebrates the life and legacy of the icon. Stevie Wonder, Gladys Knight, Brian McKnight, John Legend, Gloria Estefan, Emily Estefan, Fantasia, Charlie Wilson, Jennifer Hudson, Ne-Yo, Meghan Trainor, Patti Austin, Yolanda Adams, Ledisi, Cynthia Erivo, and Gregory Porter all hit the stage to pay tribute to Mr. Jones performing his classic works in this nostalgic musical special. Additionally, Oprah Winfrey, Will Smith, Danny Glover, Usher Raymond, Dave Chappelle, LL Cool J, Rashida Jones, Ludacris, and Aloe Blacc share their personal stories of how Quincy has impacted them throughout the years.


ABOUT BET NETWORKS:
BET Networks, a subsidiary of Viacom Inc. (NASDAQ: VIA, VIA.B), is the nation's leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. The primary BET channel reaches more than 90 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom and sub-Saharan Africa. BET is the dominant African-American consumer brand with a diverse group of business extensions: BET.com, a leading Internet destination for Black entertainment, music, culture, and news; BET HER, a 24-hour entertainment network targeting the African-American Woman; BET Music Networks - BET Jams, BET Soul and BET Gospel; BET Home Entertainment; BET Live, BET’s growing festival business; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET around the globe.

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Negromancer News Bits and Bites from August 12th to 18th, 2018 - Update #21

Support Leroy on Patreon:

STAR WARS - From YahooEntertainment:  The first trailer for the new animated "Star Wars" TV series, "Star Wars Resistance," arrives.

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MOVIES - From Variety:  Did you that there is a Broadway musical adaptation of Tim Burton's 1998 film, "Beetlejuice?"  The show, which begins shows in October, has cast it leads.

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CELEBRITY - From Variety:  What’s Next for Jordan Peele and His House of Horrors

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SPORTS - From YahooSports:  Report: Kobe Bryant turns $6 million sports drink investment into $200 million

----------
POLITICS - From Politico:  Stephen Miller Is an Immigration Hypocrite. I Know Because I’m His Uncle.

----------
MOVIES - From ThePlaylist:  Neill Blomkamp wants original "Robocop" star, Peter Weller, to appear in his "Robocop" reboot/sequel.

----------
STREAMING - From Variety:  CBS All Access' "Star Trek" has cast is "Spock."  He is actor Ethan Peck, grandson of legendary actor, Gregory Peck (well, at least I remember him - Ed.).  Peck will appear as the beloved Vulcan in Season 2 of the series.

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MOVIES - From ThePlaylist:  Director Wes Anderson's next film will be set in post-WWII France, according to a French publication.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 8/10 to 8/12/2018 weekend box office is "The Meg" with an box office total of $45.4 million.

----------
MOVIE - From Variety:  Oscar-winner Benicio del Toro joins Oscar-winning director Oliver Stone's film, "White Lies."

----------
LGBTQ - From YahooEntertainment:  Disney's pick to play its first openly gay character, in the film, "Jungle Cruise" with Dwayne Johnson and Emily Blunt, actor Jack Whitehall (who is not a gay man), has caused some controversy.

----------
BOX OFFICE - From THR:  "The Meg" leads the 8/10 to 8/12/2018 weekend box office with an estimated $44.5 million in domestic box office.

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MOVIES - From YesMagazine:  In this interview with Zenobia Jeffries, Danny Glover talks about the new film, "Sorry to Bother You," in which he appears, and the myth of the "postracial" United States of America.

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TECH - From TheRinger:  Was Oscar-winning screenwriter and Emmy-winning television producer, Aaron Sorkin, right in his critiques of the Internet?  [Mostly, he was. - Ed.]

----------
SPORTS - From YahooFinance:  LeBron James is building a new blueprint for athletes in business

From YahooHuffPost:  NBA superstar, Steph Curry, of the world champion Golden State Warriors, helped raise more than $21,000 for the family of Nia Wilson, the young African-American woman who was killed by racist-terrorist in Oakland.

ARETHA FRANKLIN:

From NYTimes:  Aretha Franklin, Indomitable ‘Queen of Soul,’ Dies at 76

From NYTimes:  Aretha Franklin Had Power. Did We Truly Respect It?

From YahooNews:  Presidents pay respect to Aretha Franklin.

From YouTube:  See Aretha Franklin sing at President Obama's 2009 inauguration.

From TheVillageVoice:  "Farewell to the Revolutionary, Influential, and Dazzling ‘Queen of Soul’ Aretha Franklin" by Michael Musto

OBITS:

From CNN:  Grammy winning singer, songwriter, and recording artist, Aretha Franklin, has died at the age of 76, Thursday, August 16, 2018.  Fans knew her worldwide as the "Queen of Soul."

From People:  Jazz singer and actress, Morgana King, died at the age of 87, back on March 22, 2018.  News of her passing is just breaking this week.  King played Marlon Brando's wife in "The Godfather."  Although she did not attain mainstream success, King pursued jazz as a passion and recorded 20 albums and was admired by greats including Billie Holiday and Frank Sinatra, among others.

Negromancer News Bits and Bites from March 11th to 17th, 2018 - Update #11

Support Leroy on Patreon:

CELEBRITY - From TheDailyBeast:  A gun-note, NRA toadie, and bitch hates rock legend Neil Young.

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COMICS-FILM - From Deadline:  Apparently, it is a done deal.  Ava DuVernay will direct "New Gods" for Warner Bros./DC Entertainment.

From BleedingCool:  Ava DuVernay in talks to direct a film based on DC Comics' "New Gods" comic books, which were created by the late, great Jack Kirby.

----------
MUSIC - From RollingStone:  #FreeMeekMill - Rolling Stone has an interview with troubled, jailed rapper.

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COMICS-FILM - From TheWrap:  Spike Lee is eyeing "Nightwatch," part of Sony Picture's "Spider-Man" film universe as a directing gig.  Nightwatch is an African-American character and first appeared in 1993.

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COMICS-FILM - From SlashFilm:  Once upon a time, Oscar-winning actor Nicolas Cage almost played the role of Superman.  Now, Cage will provide the voice of Superman in the animated "Teen Titans Go!" movie, "Teen Titans GO! to the Movies."  Rapper Lil Yachty will provide the voice of Green Lantern.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 3/9 to 3/11/2018 weekend box office is "Black Panther" with an estimated take of $41.1 million - the film's fourth straight weekend at #1 and the first film in the Marvel Cinematic Universe to do so.

From Variety:  "Black Panther" wins the weekend at the box office in China with a take of $66 million.

From Deadline:  "The Death of Stalin" has the best specialty theater (art house theaters) debut of 2018.

----------
OSCARS - From THR:  Kareem Abdul-Jabbar says activism failed at last Sunday's 90th Academy awards ceremony.

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POLITICS - From teleSUR:  Actor-activist Danny Glover and Noam Chomsky condemn recent U.S. and Canadian sanctions against Venezuela.

From NYT:  Actress-activist Angelina Jolie and Senator John McCain unite for a "New York Times" editorial saying that the U.S. should lead in saving Rohingya Muslims in Myanmar (formerly Burma).

OBITS:

From ESPN:  Businessman and professional sports franchise owner, Tom Benson, died at the age of 90, Thursday, March 15, 2018.  Benson owned the NFL's New Orleans Saints pro football team and the NBA's New Orleans Pelicans professional basketball team.  Benson was owner of the Saints when the team won Super Bowl XLIV.

From TheWrap:  British author, cosmologist, and physicist Stephen Hawking has died at the age of 76, Wednesday, March 14, 2018.  A global cultural icon, Hawking was a science communicator who connected with laypersons.  His life was dramatized in the Oscar-winning film, "The Theory of Everything."

From CNN:  Rapper Craig Mack has died at the age of 46, Monday, March 12, 2018.  His 1994 hit, "Flava in Ya Ear" is considered one of the defining rap songs of the 1990s and was the first release and first breakout hit for Sean "Puffy" Combs' Bad Boys Records.  Mack earned a Grammy nomination for "Best Rap Solo Performance" at the 37th Grammy Awards (1995).

Negromancer News Bits and Bites from February 11th to 17th - Update #17

Support Leroy on Patreon:

#PARKLANDSHOOTING - From RSN/NPR:  17 People Died in the Parkland Shooting. Here Are Their Names

From TheDailyBeast:  White Supremacists Claim Nikolas Cruz Trained With Them; Students Say He Wore Trump Hat in School

From Yahoo: Neil deGrasse Tyson Drops Science on ‘Thoughts and Prayers’ Crowd After Florida School Shooting

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AWARDS - From Deadline:  Humanitas Prize 2018 winners include "Mudbound," "The Post," and "Lady Bird."

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BDS - From RSN: Actors Rosario Dawson and Danny Glover, novelist Alice Walker, and activist Angela Davis Among 27 U.S. Figures Calling for Release of Jailed Palestinian Teen Ahed Tamimi

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OSCARS - From THR: Viola Davis, Margot Robbie, and Mahershala Ali among first presents at Oscars 2018.

----------
STREAMING - From Variety:  "Jeffrey Tambor officially leaves Amazon's "Transparent" in the wake of misconduct allegations against him.

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DISNEY - From BleedingCool:  "The Lion King" live-action reboot could have a new song by Elton John and Beyonce.

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TELEVISION - From TVLine:  "It's possible," Jerry Seinfeld says a revival of his beloved former NBC series, "Seinfeld."

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MOVIES - From THR:  Fox changes release dates for some of its upcoming films, including its "Murder on the Orient Express."

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CRIME - From RSN:  Does Your State Allow Police to Have Sex With People They Arrest?

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CULTURE - From LATimes:  Do some Disneyland super-fans act like gangsters.  A lawsuit says so.

----------
ANIMATION - From BleedingCool:  Super Mario Bros. creator Shigeru Miyamoto explains why he went with Illumination to make the recently announced "Super Mario Bros." animated film.

----------
COMICS-FILM - From Deadline:  Fox has put director Tim Miller and writer Brian Michael Bendis together for an X-Men film project.  Miller directed the first "Deadpool" movie, and Bendis is a longtime and popular comic book writer, best known (so far) for his work at Marvel Comics.  Bendis recently began an exclusive arrangement with DC Comics.

----------
STREAMING - From ShadowandAct:  Oscar-nominee Mary J. Blige joins Netflix's "The Umbrella Academy."

----------
BOX OFFICE - From BoxOfficeMojo:   The winner of the 2/9 to 2/11/2018 weekend box office is "Fifty Shades Freed" with an estimated take of $38.8 million.

----------
MOVIES - From Forbes:  Dwayne "The Rock" Johnson is a $20 million per picture action star.

----------
FESTIVALS - From Junkee:  Coming out of Sundance 2018, the new horror movie, "Heriditary," is being called "the scariest movie ever."

OBIT:

From TheGuardian:  The Icelandic musician, producer, and film composer, Johann Johannsson, died at the age of 48, Friday, February 9, 2018.  Johannsson earned Academy Award nominations for his film scores on the movies, "The Theory of Everything" and "Sicario."  He won the Golden Globe Award for "The Theory of Everything."

Review: "The House I Live In" Remains a Timely Documentary

TRASH IN MY EYE No. 42 (of 2015) by Leroy Douresseaux

[A version of this review first appeared on Patreon.]

The House I Live In (2012)
Running time:  108 minutes (1 hour, 48 minutes)
Not rated by the MPAA
DIRECTOR:  Eugene Jarecki
WRITERS:  Eugene Jarecki with Christopher St. John (additional writing)
PRODUCERS:  Sam Cullman and Christopher St. John
CINEMATOGRAPHER:  Sam Cullman (D.o.P.) and Derek Hallquist (D.o.P.)
EDITOR:  Paul Frost
COMPOSER:  Robert Miller

DOCUMENTARY – Race, Economics, Politics, Society

Starring:  Eugene Jarecki, Nannie Jeter, David Simon, Michelle Alexander, Charles Bowden, The Honorable Mark W. Bennett, Mike Carpenter, Charles Ogletree, Carl Hart, Shanequa Bennett, Kevin Ott, Anthony Johnson, Maurice Haltiwanger, and Richard Miller

The House I Live In is a 2012 documentary from director Eugene Jarecki.  The film chronicles the War on Drugs in the United States.  Danny Glover, John Legend, Brad Pitt, and Russell Simmons are among the film's executive producers.

Eugene Jarecki's examination of the War on Drugs spring from a deeply personal place.  He takes notice of how drugs have affected Nannie Jeter and her family.  Ms. Jeter was the housekeeper in the Jarecki home, and she was the caretaker of the Jarecki children, especially of Eugene.

From there, The House I Live In shines a harsh light on “War on Drugs” in the United States and both its immediate and long-term impact on American society, especially at the bottom rungs of society where the working class, poor, and destitute reside.  Jarecki's film tells the stories of dealers, of police officers and other law-enforcement officials, of prison inmates, and of other people affected by this decades-old crusade against the sale and use of illegal narcotics.  Through these stories, the film reveals the profound human rights implications of America's “War on Drugs.”

Some documentary films are packed with information via interviews, archival information, omniscient voice overs (usually provided by the director or by a celebrity, usually an actor).  Some films have to be packed with information, simply because their subject matter is complex or because the subject is an event or program that has been occurring over several decades.

The House I Live In tackles subject matter that is both complicated and that is long ongoing.  When President Richard Nixon began what we know as the “War on Drugs” in 1971, people probably thought of it as simply “the war of drugs,” no capital letters.  At some point, however, the war of drugs became the “War on Drugs,” with capital letters.  This “war” was all-encompassing, becoming the biggest fight against crime in the U.S.  According to Jarecki, the country has spent over one trillion dollars on the War on Drugs, with something like 45 million people have been convicted of drug-related crimes.

More than anything, families and communities have been affected, and by affected, I mean damaged, ruined, and even destroyed.  That is where The House I Live In turns darker and becomes a little more complicated and controversial.  I don't want to spoil the film for those who have not seen it (and please, do see it), but this documentary flat out states that the beginnings of the “War on Drugs” goes back farther than many people realize and that the early battlefronts usually involved various minority and outsider groups.  What people did not realize in the past was that eventually this war would ensnare those who never thought their little tribes would be the focus of a state-sanctioned, destructive crusade.

As with many such documentaries, Jarecki includes interviews with numerous people who study or are involved directly or indirectly in the War on Drugs.  I suggest that viewers pay special attention to Michelle Alexander, a civil rights litigator and the author of the non-fiction book, The New Jim Crow.  She is one of most important voices in matters of civil rights and of American history concerning the lives and the oppression of slaves and their African-American descendants.

Once again, Eugene Jarecki has delved into the dark side of official America, the powers-that-be, as he did in his documentary film, Why We Fight.  The House I Live In is one of those documentaries that should be considered an educational film, a must-see for all middle and high school students across the country.  It wouldn't hurt for the general public to see this film; in fact, it might help the country.  The House I Live In is an engrossing, engaging documentary film that refuses to let you turn away, and most importantly, it is truly an “important film.”

9 of 10
A+

Tuesday, August 25, 2015


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

Paramount Pictures Lines Up Licensees for Summer 2015's "Monster Trucks"

Paramount Animation Revs up “MONSTER TRUCKS” with Spin Master Toy Deal

Summer 2015 New Movie Franchise Gaining Traction with Licensees at Expo in Las Vegas

HOLLYWOOD--(BUSINESS WIRE)--Paramount Licensing is headed down the road of a major consumer products launch for next summer’s “MONSTER TRUCKS” movie, based on Paramount’s original idea, with today’s announcement of a master toy license deal with toy innovators Spin Master.

“The partnership to develop toys around Monster Trucks is a match made in toy heaven!”

This marks the first licensee partnership publicly announced in support of the high-octane family film “MONSTER TRUCKS,” from Paramount Animation, set for release on May 29, 2015. The live action film, utilizing state of the art CGI animation, is based on an original concept. Produced by Mary Parent, directed by Chris Wedge, with a screenplay by Matthew Robinson and Glenn Berger & Jonathan Aibel and Derek Connolly, the movie stars Lucas Till, Jane Levy, Barry Pepper, Amy Ryan, Rob Lowe, Danny Glover, Holt McCallany and Thomas Lennon, and is currently in production in Vancouver, B.C.

To roll the movie into the toy aisle of retailers, Paramount has partnered with leading toy manufacturer, Spin Master Ltd., to serve as the global master toy licensee for the franchise. Spin Master, having recently won multiple Toy of the Year Awards from the Toy Industry Association, will develop an extensive line up of vehicle-based products that will launch alongside the film.

“Spin Master is known for their innovation,” said LeeAnne Stables, President of Consumer Products and head of Paramount’s Marketing Partnerships. “They are the ideal partner to bring the incredible abilities of our Monster Trucks to life with fun, must-have toys consumers have never seen before. This line will be a major presence at retail and a cornerstone of our licensing program across all major categories.”

“We are thrilled to be working with Paramount on such an exciting, adrenaline-packed movie which has great toyetic appeal,” said Craig Sims, Vice President of Global Licensing and Business Development for Spin Master. “The partnership to develop toys around Monster Trucks is a match made in toy heaven!” added Krista DiBerardino, Chief Marketing Officer for Spin Master.

Paramount will be providing current and potential partners a closer look at the new franchise at Licensing Expo. Interested parties can stop by booth #S141.

About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB) (NASDAQ:VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Spin Master Ltd.
A multi-category children's entertainment company, Spin Master has been designing, developing, manufacturing and marketing consumer products for children around the world since 1994 and is recognized as a global growth leader within the toy industry. Spin Master is best known for such popular brands as boy's action phenomena and 2009-2010 Boy's Toy of the Year winner Bakugan Battle Brawlers™, and award-winning brands Air Hogs®, Aquadoodle™, Spin Master Games™ including the popular Hedbanz™, Tech Deck™, Zoobles™ and SpyGear™. The company has also marked an entry into children's media with the launch of Spin Master Entertainment, a subsidiary focusing on the design, development and production of television and other media properties. Spin Master employs over 900 people with offices in Toronto, Los Angeles, London, Paris, Hong Kong, Mexico City, Munich, and Milan. For additional information please visit: www.spinmaster.com.

Review: "Barnyard" Surprises (Happy B'day, Kevin James)

TRASH IN MY EYE No. 199 (of 2006) by Leroy Douresseaux

Barnyard (2006)
Running time:  84 minutes (1 hour, 24 minutes)
MPAA – PG for some mild peril and rude humor
WRITER/DIRECTOR:  Steve Oedekerk
PRODUCERS:  Pam Marsden, Steve Oedekerk, and Paul Marshal
EDITORS:  Billy Weber and Paul Calder
COMPOSER:  John Debney

ANIMATION/FANTASY/COMEDY/FAMILY

Starring:  (voices) Kevin James, Courteney Cox, Sam Elliot, Danny Glover, Wanda Sykes, Andie MacDowell, David Koechner, Jeff Garcia, Cam Clarke, Rob Paulsen, Tino Insana, Laraine Newman, John DiMaggio, and Fred Tatasciore

The subject of this movie review is Barnyard, a 2006 computer-animated comedy and family film from writer-director Steve Oedekerk and Paramount Pictures.  The film is also known as Barnyard: The Original Party Animals, and yielded a spin-off animated television series, Back to the Barnyard, in 2007.  Barnyard, which features a group of anthropomorphic animals, focuses on a carefree cow that resists the call that he be the animal in charge of a barnyard.

In a barnyard of walking and talking animals, Otis the Cow (Kevin James) is the party animal.  Otis and his friends: Pip (Jeff Garcia) the mouse, Freddy (Cam Clarke) the ferret, Peck (Rob Paulsen) the rooster, and Pig (Tino Insana) the pig are world-class pranksters out for a laugh.  Otis’ father, Ben (Sam Elliot), however, wants his son to be like him – the cow who makes sure the barnyard runs on all cylinders and the cow who protects the barnyard’s denizens from their common enemy, a pack of coyotes led by the malevolent and conniving Dag (David Koechner).

Otis, who is in a state of perpetual arrested development, is not interested, but when Ben is no longer able to lead and protect, the responsibility falls on Otis.  It’s not an easy fit, and he struggles with the tension between a sense of duty and an urge to run away.  There is, however, a pretty girl cow, Daisy (Courtney Cox) and the crafty Miles the Mule (Danny Glover) who just may give Otis the impetus to take the mantle of leadership.  He’ll need the encouragement because Dag is plotting to make a major attack on the barnyard.

With its August 4 release date, Paramount Pictures/Nickelodeon Movies’ computer animated feature, Barnyard: The Original Party Animals was the eighth computer animated feature film to debut in U.S. theatres.  Barnyard is a story about taking responsibility and honoring obligations – a staple of computer animated family fare, but other than that, Barnyard looks different from the rest of its cartoon brethren.

As far as plot and character, Barnyard is mediocre and mildly entertaining.  The animation, however, is quite good.  The characters have a rubbery texture, so they look more like cartoon characters than computer rendered characters.  The story’s setting and environments personify 3-D animation.  Watching this film, it becomes evident that it is indeed taking place in a world of space and depth rather than in the traditional “flat” world of hand drawn animation.  It’s not that any of this looks real; it just doesn’t look flat, so the action looks like actual action.  When characters move, it looks like the figures are really moving.

Barnyard is a pretty and colorful animated feature, which makes up for the average narrative and voice acting.  Only Sam Elliot as Ben, Danny Glover as Miles, and Wanda Sykes as Bessie the Cow give voice performances that come across with any richness.  This is a typical children’s animated feature, filled as it is with funny animal supporting characters that spout line after line of silliness.  Barnyard’s simple story and childish and raucous humor explains why it has long legs at the box office.  It’s actually a family movie that the family can enjoy together.  Barnyard: The Original Party Animals is unashamedly for children.  Still, there are enough risqué gags, bathroom humor, and innuendo to keep teenagers interested and adults chuckling.

5 of 10
B-

Monday, September 18, 2006

Updated:  Saturday, April 26, 2014

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

Review: Everything About "The Royal Tenenbaums" is Wonderful (Happy B'day, Wes Anderson)

TRASH IN MY EYE No. 15 (of 2002) by Leroy Douresseaux


The Royal Tenenbaums (2001)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for some language, sexuality/nudity and drug content
DIRECTOR: Wes Anderson
WRITERS: Owen Wilson and Wes Anderson
PRODUCERS: Wes Anderson, Barry Mendel, and Scott Rudin
CINEMATOGRAPHER: Robert Yeoman (D.o.P.)
EDITOR: Dylan Tichenor
COMPOSER: Mark Mothersbaugh
Academy Award nominee

COMEDY/DRAMA

Starring: Gene Hackman, Anjelica Huston, Gwyneth Paltrow, Ben Stiller, Luke Wilson, Owen Wilson, Danny Glover, Bill Murray, Alec Baldwin, Seymour Cassel, Kumar Pallana, Grant Rosenmeyer, and Jonah Meyerson

The subject of this movie review is The Royal Tenenbaums, the 2001 Oscar-nominated comedy and drama from director, Wes Anderson. The film follows siblings whose early success was mitigated by their eccentric father’s behavior. I love this film and…

Apparently, Rushmore was not a fluke.

When Royal O’Reilly Tenenbaum (Gene Hackman) announces that he is dying, his family slowly, painfully reunites. His wife Etheline “Ethel” Tenenbaum (Anjelica Huston) removed her philandering husband from the home over a decade prior to the beginning of the movie. Their three children are business whiz Chas (Ben Stiller), playwright Margot Helen (Gwyneth Paltrow), who is actually adopted, and Richie “Baumer” (Luke Wilson), who grew up to become a professional tennis champion. Family friend and unofficial fourth Tenenbaum child is Elijah “Eli” Cash (Owen Wilson), a novelist and a drug addict, who is also in love with Margot.

Royal would like to get in good with his family, again, but he left so many open wounds when Ethel exiled him. The Tenenbaum children were celebrated prodigies who have fallen on bad times. Chas, a single father of two boys and who lost his wife the previous year in a plane crash, despises his father. Margot is a playwright in limbo, and Richie’s suffered a meltdown during his last championship tennis match. Royal is also disturbed by his wife’s engagement to her accountant Henry Sherman (Danny Glover), and he wants desperately to connect with Chas’s sons, his grandsons. What unfolds is a touching, but unusual family drama/comedy.

Directed by Wes Anderson of the aforementioned Rushmore, The Royal Tenenbaums is a film with a conventional story, the family drama, filled with the usual comedy, familial intrigue, and requisite feuds. What makes this film so different from other family dramas is Anderson’s conviction and determination not to be like other filmmakers or not to deliver something that is nothing more than film industry product. His vision is unique, and his storytelling technique demands not only one’s attention but that one also engage the film.

Anderson is a visual stylist, but in a quite manner. His cinematographer, Robert D. Yeoman has worked on Anderson’s other films and contributes a peculiar color palette that resembles Technicolor, but is merged with clean, earth tones. Tenenbaums has a dreamlike quality with a slight breath of realism. It’s eye candy, but doesn’t distract from the story; in fact, it keeps one attentive to what the camera reveals. Unlike many directors who are visually sharp by way of quick cuts and editing, Anderson doesn’t mind allowing his camera to linger on and to follow his characters.

The script by Anderson and Tenenbaum co-star Owen Wilson is filled with idiosyncrasies, but is, nevertheless, a story about a family and the damage family members do to one another. We’ve seen it before, but unlike American Beauty, Tenenbaums really manages to tell a familiar story in a unique and special way.

The performances are subtle and nuanced even as the characters appear to be over the top. We know that Gene Hackman is good, but he has a knack for giving range to familiar character types. His performances nearly always hint at characters that have lived long lives before their respective movies begin. Royal is like a book, and Hackman makes the mental exercise that it takes to figure out Royal worth it.

Gwyneth Paltrow continues to reveal the scope of her abilities. She is a classic film pretty face, but with the acting chops of serious thespian. Owen Wilson is his usual wacky self; he manages to be self-confident and endearing even when playing a not too bright character. However, the surprise here is his brother Luke Wilson. Even through dark glasses, he makes his eyes the windows to the soul of his troubled character. He is the film’s mystery man, and he is the sum of his family’s troubles. Wilson doesn’t miss a beat while carrying this burden.

The Royal Tenenbaums is filled with wonderful acting, directing, story telling. Too make such an offbeat clan and their associates so lovable, charming, and fun to follow is no minor feat. Anderson takes the ordinary and makes it extraordinary. Truly, he does it like few before him. Bravo!

We get all this and a wonderful voiceover narration by Alec Baldwin.

9 of 10
A+

NOTES:
2002 Academy Awards: 1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (Wes Anderson and Owen Wilson)

2002 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Wes Anderson and Owen Wilson)

2002 Golden Globes, USA: 1 win: “Performance by an Actor in a Motion Picture - Comedy or Musical” (Gene Hackman)

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Review: Mark Wahlberg Has Magnum Force in "Shooter"

TRASH IN MY EYE No. 124 (of 2007) by Leroy Douresseaux

Shooter (2007)
Running time: 126 minutes (2 hours, six minutes)
MPAA – R for strong graphic violence and some language
DIRECTOR: Antoine Fuqua
WRITER: Jonathan Lemkin (based upon the novel Point of Impact by Stephen Hunter)
PRODUCERS: Lorenzo di Bonaventura and Ric Kidney
CINEMATOGRAPHER: Peter Menzies, Jr. ASC
EDITOR: Eric Sears, A.C.E.

ACTION/DRAMA/THRILLER

Starring: Mark Wahlberg, Michael Peña, Danny Glover, Kate Maria, Elias Koteas, Rhona Mitra, Rade Sherbedgia, Lane Garrison, and Ned Beatty

Academy Award-nominated actor Mark Wahlberg (The Departed) joins Antoine Fuqua, the director of Training Day and Tears of the Sun, for the film, Shooter, a razor sharp action/thriller about an honorable man framed as an assassin.

After a mission in Ethiopia goes badly, Marine Corps scout sniper, Bob Lee Swagger (Mark Wahlberg), walks away from the Corps for what he sees as a devastating betrayal. He moves to a remote mountain cabin and leaves the world behind, except for his loyal dog. One day, Colonel Isaac Johnson (Danny Glover) comes calling and tells Swagger that his country desperately needs him to help Col. Johnson foil an assassination attempt on the President of the United States. Johnson tries to convince Swagger that only his lethal skills and expertise in long-range ballistics can help stop the assassin.

Johnson appeals to Swagger’s sense of patriotism, and he decides to do this "one last time" thing. After this new mission goes badly and the mystery assassin gets off a shot, Swagger becomes a hunted man, and he has to uncover a dark conspiracy in the heart of the American government in order to clear his name. Swagger will have to discover who the real hit men are, but he’ll have to hit them before they hit him.

A mixture of the Matt Damon “Jason Bourne” films (The Bourne Identity) and the Harrison Ford-led “Jack Ryan” films, in particularly, Clear and Present Danger, Shooter is a slick, fast-paced film that draws the viewer in at the very beginning and holds him or her in a vice like grip until the picture fades to black. Shooter isn’t as smart as the recent The Bourne Ultimatum, nor is it really an insider/conspiracy movie like Clear and Present Danger. Shooter is the good old boy, ass-kickin’ version of those films – smart, tough, but most of all street savvy.

The performances are good, and Wahlberg, a former Top 40 rapper and pretty boy underwear model, has turned out to be a strong actor who is authentic in very masculine roles. In other words, he’s plays the don’t-mess-with-him badass very well. Some of the credit for Shooter’s success must also go to Antoine Fuqua. He does movies featuring men with guns and films featuring combat and the military very well. One can say he’s almost an artist with these types of movies, and Shooter is his most polished effort yet, and a damn enjoyable movie about men who are super good at shooting super guns.

8 of 10
A

----------------------------------

Review: Original "Saw" was a Nice New Thing

TRASH IN MY EYE No. 105 (of 2006) by Leroy Douresseaux

Saw (2004)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for grisly violence and language (originally NC-17)
DIRECTOR: James Wan
WRITERS: Leigh Whannell, from a story by Leigh Whannell and James Wan
PRODUCERS: Mark Burg, Gregg Hoffman, and Oren Koules
CINEMATOGRAPHER: David A. Armstrong
EDITOR: Kevin Greutert

HORROR/MYSTERY/THRILLER

Starring: Cary Elwes, Leigh Whannell, Danny Glover, Ken Leung, Monica Potter, Makenzie Vega, Michael Emerson, Shawnee Smith, and Tobin Bell

Would you die to live? Would you kill to live? Those questions are at the center of the horror film, Saw.

Two men, Dr. Lawrence Gordon (Cary Elwes) and Adam (Leigh Whannell), awake in dilapidated bathroom and face those very questions. The serial killer known as the Jigsaw killer abducted them. They’re chained to the wall across the room from each other with only notes and tape recordings leaving them instructions on how to survive. Gordon learns through his clues that he will have to kill Adam if he wants not only to save himself, but also his wife, Alison (Monica Potter), and daughter, Diana (Makenzie Vega), whom the Jigsaw killer has abducted and whom Jigsaw will slay if Gordon doesn’t kill Adam before the deadline. Meanwhile, a policeman, Detective David Tapp (Danny Glover), obsessed with discovering the identity of the Jigsaw killer, is watching Gordon’s home.

Some professional film critics compared the 2004 Halloween horror hit, Saw, to a grisly film version of the popular reality series, “Fear Factor.” The film is on occasion shockingly grisly, but Saw is something rare in American filmmaking – the horror film as a mystery thriller. For all its gore, Saw is mystery that like great whodunits asks many questions around one central question. If the audience is fixated on Lawrence Gordon and Adam’s predicament, it must also contend with who, what, when, why, and how.

Quite a bit of Saw is also told in flashback, and that’s a double-edge sword. The flashbacks and take the edge out of a very edgy movie, but at the same time, these flashbacks answer so many questions while intriguing the audience by raising more. Simply put: the acting, directing, writing, and production (the film was shoot and cut in 18 days) are well done in service of this film. It’s all smartly geared to created a horror movie that engages the mind, sends chills down the spine, makes us turn away, and stunningly reminds us what people will do to survive.

7 of 10
B+

Thursday, May 18, 2006

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Review: "Dreamgirls" a Delightful Spin on Music History (Happy B'day, Beyonce)

TRASH IN MY EYE No. 77 (of 2007) by Leroy Douresseaux

Dreamgirls (2006)
Running time: 131 minutes (2 hours, 11 minutes)
MPAA – PG-13 for language, some sexuality, and drug content
DIRECTOR: Bill Condon
WRITER: Bill Condon (based upon the original Broadway Production Book and Lyrics by Tom Eyen)
PRODUCER: Laurence Mark
CINEMATOGRAPHER: Tobias Schliessler
EDITOR: Virginia Katz, A.C.E.
Academy Award winner

MUSICAL/DRAMA

Starring: Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Danny Glover, Anika Noni Rose, Keith Robinson, Jennifer Hudson, Sharon Leal, and Hinton Battle

Writer/director Bill Condon wrote the screenplay that brought the famous musical Chicago to the screen in 2002, and the film went onto to win six Academy Awards including "Best Picture" in 2003. Condon, who won an Oscar for writing his 1998 film Gods and Monsters, takes on the movie musical again with Dreamgirls, a film adaptation of the beloved 1981 Tony Award-winning musical of the same name. Condon uses music (featuring the score of Henry Krieger, who also scored the original musical) and song to drive this film into a memorable musical experience that recreates a particular period in American music.

In 1960's Detroit, an African-American singing trio, the Dreamettes - Deena Jones (Beyoncé Knowles), Lorrell Robinson (Anika Noni Rose), and lead singer Effie White (Jennifer Hudson), are trying to make it to the big time. They arrive at a big talent show in their cheap wigs and homemade dresses. The Dreamettes perform songs written by Effie's brother, C.C. (Keith Robinson), who also choreographs their dancing.

They get their big break when they meet Curtis Taylor, Jr. (Jaime Foxx), an ambitious car salesman determined to make his mark on the music industry. He wants to form his own record label and get its music heard on mainstream radio stations - meaning white-owned - in a time when the Civil Rights movement is still struggling to get a foothold and when black recording artists are mostly marginalized. He sees the Dreamettes as the right angle to make that move to the mainstream. They've got the right talent and could be the right product to sell - if Curtis can shape it all the way he sees fit.

Curtis talks the girls into allowing him to become their manager, and he gets them a gig singing backup for James "Thunder" Early (Eddie Murphy), a pioneer of the new Detroit sound that blends soul music and rock 'n' roll. Early, however, is stuck singing on the "Chitlin' Circuit," which, at the time, meant mostly black-owned clubs. Curtis promises Early to move him into the mainstream, replacing Early's original manager, Marty Madison (Danny Glover), but that's not the only changes Curtis plans on making. He changes the Dreamettes name to the Dreams, and moves to replace Effie as the lead singer. As a new musical age dawns and Curtis' new sound takes hold, some people are fading away and others are finding that their dreams have come true, but at a high price.

Dreamgirls is indeed a movie musical, pretty much in the fine tradition of Hollywood musicals, except that its major characters are all black. It's an absolutely lovely film. In terms of the film's creative staff (art direction, costumes, cinematography, etc.), Dreamgirls is as good as any in recent memories, and the Dreams' costumes seem right out of a musical dream. Tobias Schliessler's cinematography creates a crystal clear heavenly aura of color that mixes the hyper-reality of the music world with the harsh reality of failure and betrayal.

The acting is quite good, but the singing is what makes these performances so memorable. As an actress, Jennifer Hudson isn't yet as skilled as some she beat out for the Oscar she earned for this film, but film performances aren't always built just on dialogue and physical movement. What put her over the top were those extraordinary pipes. Watching this film, it's easy to see why she amazed people with both her powerful, booming voice and her ability to interpret songs. Coming from a novice actress, she impressed enough awards voters to win all the big prizes.

In fact, so much of this movie's narrative and characterization is done through song. Jaime Foxx and Beyoncé Knowles who are professional singers sound better than they ever have. Eddie Murphy who has recorded albums using a voice that imitated other singers, but was on its own not distinctive, sounds better than I thought it was possible. Anika Noni Rose, as Lorrell, is a classically trained actress, Broadway veteran, and Tony Award winner, and she sounds great in a part that puts her character in the shadow of Knowles and Hudson's.

Condon deserves so much of the credit for bringing actors singing and singers acting together to create an ensemble cast that brings this colorful fantasy to life. Dreamgirls is a musical, but it is also a musical revue and music-filled overview of a time when African-American music was trying to break into the mainstream. In that, Dreamgirls is an intimate look at the lives of black artists, entertainers, musicians, singers, composers, and businessmen. The songs may unite the audience, but the experience of the African-American struggle to be accepted in the wider society and culture may seem foreign to so many. Still, Condon's colorful song-filled, dreamy myth making of real musical history will delight many for a long time to come.

10 of10

NOTES:
2007 Academy Awards: 2 wins: "Best performance by an actress in a supporting role" (Jennifer Hudson) and "Best achievement in sound mixing" (Michael Minkler, Bob Beemer, and Willie D. Burton); 6 nominations: "Best performance by an actor in a supporting role" (Eddie Murphy), "Best achievement in art direction" (John Myhre-art direction and Nancy Haigh-set decorator), "Best achievement in costume design" (Sharen Davis), and 3 nominations for "Best achievement in music written for motion pictures, original song" ("Listen" Henry Krieger and Scott Cutler-music and Anne Preven-lyrics; "Love You I Do" Henry Krieger-music and Siedah Garrett-lyrics; and "Patience" Henry Krieger-music and Willie Reale-lyrics)

2007 BAFTA Awards: 1 win: “Best Actress in a Supporting Role” (Jennifer Hudson); 1 nomination: “Anthony Asquith Award for Film Music” (Henry Krieger)

2007 Golden Globes: 3 wins: “Best Motion Picture - Musical or Comedy, “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Eddie Murphy), and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Jennifer Hudson); 2 nominations: “Best Original Song - Motion Picture” (Beyoncé Knowles, Henry Krieger, Anne Preven, and Scott Cutler for the song "Listen"), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Beyoncé Knowles)