Showing posts with label Direct-to-Streaming. Show all posts
Showing posts with label Direct-to-Streaming. Show all posts

Wednesday, January 1, 2025

Review: "THE SIX TRIPLE EIGHT" Delivers Potent Drama and Powerful History

TRASH IN MY EYE No. 1 of 2025 (No. 2007) by Leroy Douresseaux

The Six Triple Eight (2024)
Running time:  127 minutes (2 hours, 7 minutes)
MPA – PG-13 for language including racial slurs, thematic material and some war violence
DIRECTOR:  Tyler Perry
WRITER:  Tyler Perry (based on the magazine article by Kevin Hymel)
PRODUCERS:  Tyler Perry, Angi Bones, Nicole Avant, Carlota Espinosa, Keri Selig, and Tony L. Strickland 
CINEMATOGRAPHER:  Michael Watson (D.o.P.)
EDITOR:  Maysie Hoy
COMPOSER:  Aaron Zigman

DRAMA/HISTORICAL/WAR

Starring:  Kerry Washington, Ebony Obsidian, Milauna Jackson, Kylie Jefferson, Shanice Shantay, Sarah Jeffery, Pepi Sonuga, Moriah Brown, Jeanté Godlock, Dean Norris, Sam Waterston, Susan Sarandon, Oprah Winfrey, Gregg Sulkin, Donna Biscoe, and Baadja-Lyne Odums

SUMMARY OF THE REVIEW:
The Six Triple Eight is one of the most beautiful and powerful films about World War II that has ever been made.

Its true story about a battalion of Black women soldiers who broke the logjam of mail that kept overseas American servicemen and their families back home from connecting will bring tears to your eyes

The Six Triple Eight is one of the year's best films, and Kerry Washington gives the heroic performance of her career.


The Six Triple Eight is a 2024 wartime drama and historical film from writer-director Tyler Perry.  The film is based on the article, “WAC Corporal Lena Derriecott and the 6888th Central Postal Battalion,” written by Kevin M. Hymel and published in the February 2019 issue of WWII History Magazine.  The article details the contributions of the 6888th Central Postal Directory Battalion, an all-Black and all-female battalion, in World War II.

The film is a Netflix Original,” and it began streaming on the service December 20, 2024, after a limited theatrical run that began December 6, 2024.  The Six Triple Eight the movie focuses on battalion of Black women soldiers who go overseas and take on the forces that are keeping American service personnel and their families back home from simply exchanging mail.

The Six Triple Eight introduces high school students and longtime friends, Lena Derriecott (Ebony Obsidian), a Black girl, and Abram David (Gregg Sulkin), a Jewish White boy.  They are reckoning with the difficulties of their budding romance in Bloomfield, Pennsylvania, a small town outside Philadelphia, in the year 1942.  David is enlisting in the U.S. military in order to serve in World War II, and he wants to be a pilot.  David wants Lena to wait for him to return from the war when he will propose marriage to her, and, in the meantime, he gives her a promise ring.

Meanwhile, in rural West Virginia, a mother waits everyday for news about her two sons who are serving overseas in the war.  She never gets any mail from her sons, and she later discovers that this is a problem all over the country.  It turns out that there is a terrible backlog of undelivered mail.  The mother approaches First Lady Eleanor Roosevelt (Susan Sarandon), and she approaches her husband, President Franklin Roosevelt (Sam Waterston), and philanthropist and civil rights activist, Mary McLeod Bethune (Oprah Winfrey), to solve the overseas military mail problem.

Meanwhile, Lena has received terrible news, and it spurs her to join the Women's Army Corps (WAC).  She travels to Georgia for basic training with the 6888th battalion – also known as “the Six Triple Eight” –  where she meets her battalion commander, the indomitable Captain Chasity Addams (Kerry Washington).  Despite being well trained, Capt. Adams and her battalion are never given any orders to serve from the War Department.  Then, thanks to the efforts of the Roosevelts and Miss Bethune, the 6888th becomes “The 6888th Central Postal Directory Battalion.”

Now, they must travel to Glasgow, Scotland where they have six months to sort through 17 million pieces of undelivered mail and packages.  The must fight, however, a war on all fronts, fighting segregation and racism at home and abroad.  Many White military commanders, officers, and soldiers do not believe they can sort through the backlog.  Plus, some of these crackas will do everything to stop the Six Triple Eight from being successful.

If you, dear readers, wanted to watch World War II films based on on true events, you can find over eight decades of Hollywood films, including everything from recent films like Saving Private Ryan (1998), Hacksaw Ridge (2016), and Dunkirk (2017) to golden oldies like Thirty Seconds Over Tokyo (1944) and Sands of Iwo Jima (1949).  However, the those films focus on White servicemen.

When it comes to the service of Black personnel during WWII, there is a virtual Hollywood wall of silence that has only rarely been broken by such films as the HBO television movie, The Tuskegee Airmen (1995); Spike Lee's Miracle at St. Anna (2008), and the George Lucas-financed Red Tails (2012).  Director Budd Boetticher's Red Ball Express (1952) is about a racially integrated platoon, but the film's leads are White males.

Tyler Perry, a filmmaker whose TV and film work, has been reviled by both Black and White critics and detractors, breaks the wall of silence that exists in front of the story of African-American WWII personnel.  He has done it with The Six Triple Eight, the first such film in over a decade.

The film is filled with star-making turns by a cast of young African-American actresses who could see this movie launch their careers. Ebony Obsidian as Lena Derriecott and Shanice Shantay as Johnnie Mae Burton are the most obvious, but though they shine, all the actors make the most of their roles in this film.  I must say Dean Norris kills it as the Southern racist cracka-ass General Holt.  However, Kerry Washington practically devours this film with her power-move turn as the wily, strong, survivor, Captain (later Major) Chasity Adams.  In some ways, Adams is the co-lead with Derriecott, but there other times when the following point is clear.  The real-life “Six Triple Eight” probably would have not survived without Adams, and The Six Triple Eight the film probably would not survive without Washington as Adams.

I like that Tyler Perry's direction captures the desperation of families on the home front and of the service personnel overseas who are not connecting because the mail isn't being delivered.  Perry does not need to summon his usual melodramatic tropes to convey this to his audience, nor does he.  Perry plainly states what his audience can clearly understand; the mail backlog is a desperate situation.

And what better way to portray how much the racist and segregated system was at work against the women of the 6888th than to detail how some thought it was more important to sabotage the women of this battalion than to actually let them do their jobs and get the mail through.  Perry could have fallen back time and time again on depictions of verbal and physical racist violence, yet he didn't.  The word, “nigger,” does not make many appearance in The Six Triple Eight.  Perry merely had to show that in war we are sometimes our own worst enemy, and he showed the white devils who were against the “Six Triple Eight” in all their infamy.

The Six Triple Eight is Tyler Perry's best drama since 2010's For Colored Girls.  Although there will likely be no Oscar nods for this film, The Six Triple Eight does not need them.  It is more important that a Black filmmaker gets a chance or takes the opportunity to pierce the wall of silence about the honorable and heroic service of Black men and Black women during World War II.  The Six Triple Eight is the soaring symphony that, at least for now, shatters that silence. 

10 of 10

Wednesday, January 1, 2025


You can read Kevin M. Hymel's original article about the 6888th, "WAC Corporal Lena Derriecott and the 6888th Central Postal Battalion," here.


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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Tuesday, December 24, 2024

Review: Tyler Perry's "DIVORCE IN THE BLACK" is Shamelessly Shameless

TRASH IN MY EYE No. 60 of 2024 (No. 2004) by Leroy Douresseaux

Divorce in the Black (2024)
Running time:  143 minutes (2 hours, 23 minutes)
MPA – R for language, some sexual content and violence
WRITER/DIRECTOR:  Tyler Perry
PRODUCERS:  Will Areu, Tyler Perry, Angi Bones, Diane Ashford, and Meagan Good
CINEMATOGRAPHER:  Michael Watson (D.o.P.)
EDITOR:  Storm Evans
COMPOSER:  Sheri Chung

DRAMA/THRILLER

Starring:  Meagan Good, Cory Hardrict, Joseph Lee Anderson, Taylor Polidore, Shannon Wallace, Richard Lawson, Debbi Morgan, Mark Elliot Brewer, Rakeem Laws, Berry Williams, Jr., Jeffrey Creightney, and Ursula O. Robinson

Divorce in the Black is a 2024 drama and thriller from writer-director Tyler Perry.  The film is an Amazon “Prime Original,” and it began streaming on the service July 11, 2024.  Divorce in the Black follows a young woman who is left heartbroken after her husband abandons their marriage.

Divorce in the Black introduces 37-year-old Ava (Meagan Good).  She is the daughter of a preacher, Clarence (Richard Lawson) and a demur church-going woman, Gene (Debbi Morgan).  Ava married Dallas Bertrand (Cory Hardrict), one of five sons from a family of trifling Negroes who were raised (not reared) by their obnoxious mother, Linda (Ursula O. Robinson)

Ava and Dallas's marriage was troubled from the start and is troubled now.  The recent troubles begin with the funeral of Dallas' 39-year-old brother, Cody Bertrand, who had just been released from prison when someone he attempted to mug shot him to death.  Ava's preacher father, Clarence, officiates the funeral, and he believes that he cannot lie and act as if Cody had been a decent person.  Clarence's words about Cody lead the Bertrands to commit a horribly disgusting act in order to put an end to the funeral service.

Shortly after the funeral, Ava and Dallas return to their home in Atlanta.  Dallas is feeling resentful, mainly egged on by his remaining brothers and his mother.  He tells Ava that he wants a divorce and that he has already taken care of everything.  He says all she needs to do is sign the divorce papers.  Ava is heartbroken and grief-stricken by this terrible turn of events.  She returns to her parents home in rural Georgia.  Eventually, she finds solace and friendship by reuniting with an old friend, Benji (Joseph Lee Anderson), which could turn romantic.  Dallas, however, starts to feel cheated when he discovers that Ava and Benji are seeing each other, and he begins to grow increasingly violent.  Now, Ava will have to make the toughest decisions of her life.

I thought that Mea Culpa, a “Netflix Original” film released in February (2024), was likely Tyler Perry's craziest non-Madea film to date, being even wackier than his 2013 film, Temptations: Confessions of a Marriage Counselor.  Now, I'm declaring that Divorce in the Black, released mere months after Mea Culpa, is Perry's craziest film.  In many ways, Divorce in the Black is not a good film.  After its jaw-dropping opening act, the film's narrative has a hard time finding its footing.  It meanders, mostly focusing on Ava's grief over the sudden divorce announcement.

[Apparently, “divorce in the black” means a divorce in which you gain something or remain in the positive after the conclusion.  “Divorce in the red” means to lose something or end up in the negative after it is all over.]

Divorce in the Black redeems itself with an entertainingly outrageous and outrageously entertaining last act.  I wouldn't call Dallas' actions throughout the film over-the-top.  They're quite believable, and, in fact, I've known or heard of men like him.  What makes the ending of Divorce in the Black so satisfactory is Ava's change in attitude and Dallas' comeuppance.  I can't remember the last time I so enjoyed an African-American male character suffering something similar to Dallas' fate.  However, dear readers, you have to wade through a lot of mixed-bag storytelling and almost two hours of questionable runtime to get to the end's immense satisfaction.

I mainly watched Divorce in the Black because I wanted to do some Tyler Perry catch-up before I watched his latest “Netflix Original,” the historical drama, The Six Triple Eight.  So I judge Divorce in the Black as mainly being fit for fans engaged in watching most of, if not all, of Perry's filmography.

5 of 10
C+
★★½ out of 4 stars

Tuesday, December 24, 2024


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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Wednesday, December 4, 2024

Review: Netflix's "ATLAS" Has Too Many Ideas, Not Enough Booty

TRASH IN MY EYE No. 54 of 2024 (No. 1998) by Leroy Douresseaux

Atlas (2024)
Running time: 118 minutes (1 hour, 58 minutes)
MPA – PG-13 for strong sci-fi violence, action, bloody images and strong language
DIRECTOR:  Brad Peyton
WRITERS:  Leo Sardarian and Aron Eli Coleite
PRODUCERS:  Greg Berlanti, Jeff Fierson, Elaine Goldsmith-Thomas, Joby Harold, Brad Peyton, Sarah Schechter, Tory Tunnell, Benny Medina, and Jennifer Lopez
CINEMATOGRAPHER:  John Schwartzman (D.o.P.)
EDITOR:  Bob Ducsay
COMPOSER:  Andrew Lockington

SCI-FI/ACTION/THRILLER

Starring:  Jennifer Lopez, Simu Liu, Sterling K. Brown, Abraham Popoola, Lana Parrilla, Mark Strong, Briella Guiza, Adia Smith-Eriksson, and Gregory James Cohan (voice)

SUMMARY OF THE REVIEW:
--Atlas is a Jennifer Lopez movie, but science fiction does not fit her

--The movie is average and filled with ridiculous ideas, but the action-violence of the last act is good enough to somewhat justify the time you spent watching this, dear readers


Atlas is a 2024 American action-thriller and science fiction film from director Brad Peyton.  Atlas is a “Netflix Original” and debuted on the Netflix streaming service May 24, 2024.  Atlas pits a counter-terrorism analyst against a rogue artificial intelligence (“A.I.” or “AI”) which believes that the only way to save the Earth and humanity is to destroy most of humanity.

Atlas opens on October 2, 2043.  AI humanoid robots are at war with humanity, and they are led by the AI terrorist, Harlan (Simu Liu).  By the end of the conflict, three million people are dead.  This leads human military forces to create the International Coalition of Nations (ICN).  After a string of ICN victories, Harlan and his AI robots are forced to flee into outer space.

Twenty-eight years later, renewed AI-led terrorist attacks force the ICN to begin searching for Harlan's whereabouts.  The ICN has created a fleet of mecha known as “ARCs.”  These are giant robotic suits of armor worn by humans who “sync” with the AI that operate the ARCs.  The ICN seeks help from Atlas Maru Shepherd (Jennifer Lopez), a woman whose mother, Val Shepherd (Lana Parrilla), designed Harlan.  Atlas has a deep distrust of all artificial intelligence.  In a confrontation with Casca Vix (Andrew Popoola), one of Harlan's lieutenants, Atlas learns that Harlan has a base on GR-39, a planet in the Andromeda Galaxy.

The ICN sends a battalion of ARCs, the Fourth Rangers Battalion, which is led by the taciturn Colonel Elias Banks (Sterling K. Brown), on a mission to GR-39, aboard the space ship “ the Dhiib.”  Atlas insists on accompanying the mission because she says no one knows Harlan better than her.  The mission is to capture Harlan and to bring him back to Earth.  However, what neither Atlas nor the ICN knows is just exactly what Harlan knows about the mission and about Atlas.  Now, to save humanity, Atlas must rely on the thing that she hates most, an AI, one named “Smith” (Gregory James Cohan).

Leo Sardarian and Aron Eli Coleite's screenplay for Atlas is a hodge-podge of ideas that are similar to what audiences will find in such films as The Terminator (1984), A.I. Artificial Intelligence (2001), I, Robot (2004), and Pacific Rim (2013).  If properly developed, these ideas could have made a fine film instead of the mediocre film, which Atlas is.

The problem with Atlas is Jennifer Lopez.  Atlas is a science fiction film, and it is also a Jennifer Lopez vehicle, although she is woefully miscast here.  Science fiction is not her genre, and she really doesn't seem to have an understanding of what a character like Atlas Maru Shepherd could be.  That may be the fault of director Brad Peyton, who specializes in mediocre to average sci-fi/fantasy genre films like 2018's Rampage.  Lopez plays Atlas as petulant and as way too narrow minded to be some kind of expert on science and technological matters.  Truthfully, Atlas would be grieving and guilt-ridden, which I think would make her introspective.  Lopez plays Atlas as a brat who really needs the guidance of others, even the AI she hates so much.

Atlas is saved by the action-violence of its last act, and by the appearance of Harlan, played by actor Simu Liu.  Best known for playing the title character in Disney/Marvel's Shang-Chi and the Legend of the Ten Rings, here, Liu is deliciously cold-blooded and ruthless as Harlan, and I wish there were more of him in this film.  But, alas, we get what we get.  Atlas is average entertainment, and you, dear readers, can be entertained if you ignore its improbable scenario.  If you are patient enough, Jennifer Lopez's fine, round posterior even makes a cameo, perfectly bound in a pair of tights.  If Atlas has a “cherry on top,” it's that fine bee-hind.
 
5 of 10
C+
★★½ out of 4 stars

Wednesday, December 4, 2024

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


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Saturday, November 23, 2024

Review: Netflix's "HOT FROSTY" is a Warm Cup of Christmas Cheer

TRASH IN MY EYE No. 51 of 2024 (No. 1995) by Leroy Douresseaux

Hot Frosty (2024) – TV Movie
Running time: 90 minutes
Rated: TV-PG
DIRECTOR:  Jerry Ciccoritti
WRITER:  Russell Hainline
PRODUCERS:  Michael Barbuto, Shane Boucher, and Joel S. Rice; Aren Prupas and Jonas Prupas – executive producers
CINEMATOGRAPHER:  Eric Cayla
EDITOR:  Julia Blau
COMPOSER:  Ari Posner

ROMANCE/COMEDY/CHRISTMAS

Starring:  Lacey Chabert, Dustin Milligan, Lauren Holly, Chrishell Strause, Dan Lett, Katy Mixon Greer, Sherry Miller, Bobby Daniels, Shiloh Obasi, Sophia Webster, Allan Royal, Jennie Esnard, Joe Lo Truglio, and Craig Robinson

SUMMARY OF THE REVIEW:
--Hot Frosty personifies both the silly scenarios and frothy goodness of Christmas television movies, which should please fans of holiday movies

--Hot Frosty is an ode to the joy of life and to enjoying life – at Christmas time and beyond


Hot Frosty is a 2024 American romantic-comedy and Christmas television film from director Jerry Ciccoritti.  The film is a “Netflix Original” and began streaming on the service Wednesday, November 13, 2024.  The film focuses on a widow who magically brings a snowman to life as a real man who promptly brings light back into her life.

Hot Frosty introduces Kathy Barrett (Lacey Chabert), who owns and operates Kathy's Kafe in the downtown section of the small town of Hope Springs.  The cafe is mainly the focus of her life, and her home life, including her house, is slowly falling apart.  Kathy is a widow and she mourns her late husband, Paul, a handyman who kept the house repaired and her heart whole.

It is Christmas time, and Kathy isn't feeling the holiday spirit or cheer.  However, some of her friends want to change things.  Mel (Sherry Miller) and her husband, Theo (Dan Lett), own and operate a clothing shop, “Reclaimed Rags.”  This year, they give Kathy a red scarf, one that is “destined” to help her to seek happiness after her bereavement.

Hope Springs is also in the middle of its “Annual Snow Sculpture Competition.”  On her way home one night, Kathy walks by the entries in the snow sculpture competition.  One of them is of a seemingly naked, muscular young man.  Not feeling the magic of Mel and Theo's red scarf, Kathy drapes it over the sculpture.  Later that night, that snow sculpture (called “the Snowman”) comes to life.  Calling himself, “Jack” (Dustin Milligan), the suddenly alive snowman finds his way to Kathy.  Doubtful at first, she believes that Jack is indeed the snowman upon which she draped the scarf.  Before long, his innocence and boundless joy are breaking down the barriers Kathy put up to protect herself.  But she soon realizes a painful truth:  Jack is doomed to melt.

Lacey Chabert is a former child actress with a long career in film and an even longer career in television, which includes voice-over work.  I keep forgetting that she appeared in the original Mean Girls (2004).  Now, audiences know Lacey for her near constant presence on the American cable television network, the “Hallmark Channel” and on its sister network, “Hallmark Movies & Mysteries.”  In addition to series work, Chabert has appeared in over thirty television films for the network, as of this writing.  One of those TV films, Time for Us to Come Home for Christmas (2020), is one of my all-time favorite Christmas movies.

So about Hot Frosty:  Netflix is in the middle of releasing several Christmas-themed films.  I don't know if they have done this in previous years, but some of the 2024 releases intrigue me.  Hot Frosty immediately caught my attention.

Honestly, I have to admit that I think that Hot Frosty's screenplay, written by Russell Hainline, could be adapted, with a few changes, as a gay-themed romance.  Magically bringing an ice sculpture of a muscular man to life and falling in love with him seems like it could be a gay fantasy, gay fan fiction,a gay daydream... or wet dream.

Obviously, Hot Frosty's scenario is preposterous, but this is a Christmas movie.  That genre has a lot of leeway so that such films can simply be feel-good and spread Christmas cheer or at least lay down a foundation for that.  I have to give director Jerry Ciccoritti credit in assuring that Hot Frosty does have some substance.  Basically, the film is the story about two characters.  First, there is Jack, an object brought to life by magic, and he really wants to live and to enjoy that life.  The tension and conflict in the story comes from the human lead, Kathy, who is just going through the motions of life everyday and who seems disinterested in life.  Jack has to show Kathy that she can find love and happiness, again... if she really wants that.

The joy in Hot Frosty is not in its lack of realism or even in its overwhelming nonsensical nature.  The joy is in watching Jack discover the joys of life and in turn, showing Kathy that she can enjoy life after loss – in spite of her determination not to enjoy life.  I say, “Pshaw!.” the cynicism.  Hot Frosty is not a great movie, but it is great entertainment.  Dear readers, I can't imagine a Christmas season in which Hot Frosty won't feel like a welcomed warm chocolaty drink.
 
7 of 10
B+
★★★½ out of 4 stars

Saturday, November 23, 2024


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

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Sunday, October 6, 2024

Review: Max's "'SALEM'S LOT" 2024 is Scary a Lot

TRASH IN MY EYE No. 44 of 2024 (No. 1988) by Leroy Douresseaux

'Salem's Lot (2024)
Running time: 113 minutes (1 hour, 53 minutes)
MPA – R for bloody violence and language
DIRECTOR:  Gary Dauberman
WRITER:  Gary Dauberman (based on the novel by Stephen King)
PRODUCERS:  Michael Clear, Roy Lee, James Wan, and Mark Wolper
CINEMATOGRAPHER:  Michael Burgess (D.o.P.)
EDITOR:  Luke Ciarrocchi
COMPOSERS:  Nathan Barr and Lisbeth Scott

HORROR

Starring:  Lewis Pullman, Makenzie Leigh, Jordan Preston Carter, Alfre Woodard, Bill Camp, John Benjamin Hickey, Nicholas Crovetti, Spencer Great Clark, Pilou Asbaek, and Alexander Ward

SUMMARY OF THE REVIEW:
-- Although it lacks big names stars, “'Salem's Lot” 2024 has big scares, as writer-director Gary Dauberman spins a number of some blood-curdling and bone-chilling scenes that are beautifully shot by cinematographer Michael Burgess

-- The movie does lack the character depth of early television versions, it is fairly faithful in some ways to its source material, Stephen King's 1975 novel of the same name

-- I highly recommend the new “'Salem's Lot” to fans of vampire horror films


'Salem's Lot is a 2024 American vampire horror film from writer-director Gary Dauberman.  The film is based on the 1975 novel, 'Salem's Lot, from author Stephen King.  'Salem's Lot the movie focuses on an author who returns to his childhood home in search of inspiration for his next novel and discovers that the town is being taken over by vampires.

'Salem's Lot introduces author Ben Mears (Lewis Pullman).  He has returned to his childhood home of Jerusalem's Lot, also known as “'Salem's Lot” or “The Lot,” seeking inspiration for his next novel.  He meets and begins a relationship with Susan Norton (Makenzie Leigh), a young woman studying to get her real estate license.  Their relationship sets tongues a-wagging in the small town.

Also new to the town is the antiques business, “Barlow and Straker Fine Furnishings.”  So far, only Richard Straker (Pilou Asbaek) has arrived, but Straker promises that his partner, Kurt Barlow (Alexander Ward), will soon arrive.  The problem is that Barlow is a vampire, and before long, he is preying on the Lot, and this town of 1710 starts to find that its living population is shrinking.  Now, a teacher, Matthew Burke (Bill Camp); a boy who is a horror fan, Mark Petrie (Jordan Preston Carter); a local physician, Dr. Cody (Alfre Woodard); and a broken down alcoholic priest, Father Callahan (John Benjamin Hickey), join Ben and Susan to form a rag tag team of heroes determined to stop Barlow.  As their circle grows smaller, however, can they really take on a town full of vampires?

'Salems's Lot” was author Stephen King's second published novel (following his publishing debut, 1974's Carrie), and it is apparently his favorite of his works.  The popular novel was first adapted as a two-part television miniseries that was originally broadcast by CBS in November 1979 (although I remember its length and release date differently).  It was again adapted as a two-part television miniseries, broadcast by the TNT cable network in June 2004.  I enjoyed both versions, but prefer the 1979 which turned out to be a influence on such vampire films as Fright Night (1985) and The Lost Boys (1987).

I watched the new 'Salem's Lot film to the end of its credits, and the copyright date is listed as the year 2022.  Yes, this new 'Salem's Lot has had at least two years of changing theatrical release dates.  Outside of a film festival premiere, 'Salem's Lot the movie finally found a home on the streaming service Max (formerly HBO Max).  Is 'Salem's Lot good enough to have received a full theatrical release?  The answer is yes, but good movies aren't always box office hits.  Besides Warner Bros., the movie studio behind 'Salem's Lot, very likely had no idea that the recent sequel, Beetlejuice Beetlejuice, would be such a blockbuster hit.  It is a crap-shoot, and, in the case of 'Salem's Lot, is now a moot point.

'Salem's Lot's main problem may be that it has no big name actors starring in it, although the lead, Lewis Pullman as Ben Mears, had a supporting role in the 2022 mega-hit, Top Gun: Maverick.  Pullman plays Ben Mears as cool-headed and steady-handed, which is an interesting take.  And the rest of the cast of 'Salem's Lot is equally good.  Alfre Woodard is always a top notch performer whose unique film presence and acting personality always gives a movie some “oomph.”  Jordan Preston Carter is a surprising and scene-stealing little hero as Mark Petrie.  John Benjamin Hickey and Bill Camp give strong character performances in their respective roles.

Still, I must reiterate that 'Salem's Lot 2024 is a really entertaining and thoroughly scary vampire horror movie.  Sure, it lacks the emotional and character drama depth of the early adaptations of King's novel.  I also take issue with the fact that even after the heroes learn what they need to fight vampires, they are often caught without them or trapped with too few of them.

However, Michael Burgess' lovely cinematography and Nathan Barr and Lisbeth Scott's eerie film music power-up writer-director Gary Dauberman's most bone-chilling moments and blood-curdling scenes.  I don't want to fill this review with spoilers, but what would a 'Salem's Lot” TV or film be without a vampire boy at the window?...

Who knows how 'Salem's Lot would have performed in a crowded Halloween season theatrical release schedule?  Still, both summer movie nights and October fright fests have a new visitor, a horror movie hungry to get to you, dear readers.  And as always, 'Salem's Lot is thirsty for your blood.
 
7 of 10
B+
★★★½ out of 4 stars

Sunday, October 5, 2024


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

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Sunday, September 22, 2024

Review: Netflix's "UGLIES" is Ernest, Lightweight Entertainment

TRASH IN MY EYE No. 43 of 2024 (No. 1987) by Leroy Douresseaux

Uglies (2024)
Running time: 100 minutes (1 hour, 40 minutes)
MPA – PG-13 for some violence and action, and brief strong language
DIRECTOR:  McG
WRITERS:  Jacob Forman, Vanessa Taylor, and Whit Anderson (based on the novel by Scott Westerfeld)
PRODUCERS:  John David, Jordan Davis, McG, Robyn Meisinger, Dan Spilo, and Mary Viola
CINEMATOGRAPHER:  Xiaolong Liu
EDITORS:  Martin Bernfeld and Brad Besser
COMPOSER:  Edward Shearmur

SCI-FI/DRAMA/ACTION

Starring:  Joey King, Brianne Tju, Keith Powers, Chase Stokes, Laverne Cox, Charmin Lee, Jay DeVon Johnson, Jan Luis Castellanos, Zamani Wilder, Joseph Echavarria, Gabriella Garcia, Ash Maeda, Jordan Sherley, Sarah Vattano, and Ashton Essex Bright

SUMMARY OF THE REVIEW:
Uglies is an entertaining and good, but not great science fiction film, but unlike The Hunger Games films, Uglies leans more towards teen viewers than it does towards a general adult audience

The film has high production values, which really show in the scenes that take place in “The City”

Although it leans towards younger viewers, Uglies makes points about conformity and individuality as fiercely as grown-up science fiction films

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Uglies is a 2024 American science fiction-drama film from director McG.  The film is based on the 2005 novel, Uglies, by Scott Westerfeld.  Uglies is a Netflix Original and debuted on the Netflix streaming service September 13, 2024.  Uglies the movie is set in a futuristic society in which everyone is considered “ugly” until the receive the compulsory operation that makes them “pretty,” and it focuses on a teen girl who begins to have doubts about the surgery.

Uglies opens in a world that once saw civilization fall apart.  In the future, humanity exhausts the planet of all its natural resources.  The result is chaos, war, and destruction.  Eventually, science creates a new energy source and also develops a surgery that makes everyone “pretty.”  This  new society believes that if everyone is perfect and thinks alike, then, there won't be any conflict.  Everyone gets the surgery which transforms them into one of the “Pretties” at the age of 16.

When the story begins, Tally Youngblood (Joey King) is three months away from her 16th birthday and her surgery.  She lives in a dorm with all the other kids who have not had the surgery and who are known as “Uglies.”  However, her friend, Peris (Chase Stokes), is about to have the surgery that will make him pretty.  Tally and Peris promise to keep in touch after he moves to “the City” where all the “Pretties” live, but things don't work out as they planned.

Tally befriends fellow “ugly,” Shay (Brianne Tju), and Shay has a secret.  There is a place outside the City called “The Smoke.”  It is a land of freedom and nature, and the people there have not had the surgery.  The community is lead by the mysterious David (Keith Powers).  Tally is intrigued, but she is caught in the middle.  One part of her wants to be independent and different, but another part of her wants to have the surgery, become pretty, and look like everyone else.  The decision Tally makes will change the lives of people both in the City and in the Smoke.

I have not read the novel, Uglies, or its sequels.  However, I became familiar with the series through a pair of paperback original graphic novels based on the books, Uglies: Shay's Story and Uglies: Cutters, both released in 2012.

I don't see Uglies the movie as being similar to other films based on young adult (YA) dystopian science fiction novels, such as The Hunger Games (2012) and Divergent (2014).  Uglies has me thinking about another dystopian science fiction film adapted from a novel.  That would be the 1976 film, Logan's Run, based on the 1967 novel, Logan's Run, which was written by William F. Nolan and George Clayton Johnson.  I recently watch Logan's Run on the Turner Classic Movies (TCM) cable network, and I thought of it as I watched Uglies.  Both stories deal with characters forced to decide whether it is better to live in a safe, clean, and conformist, though macabre dystopian society or in the great wide and wild open.

Beyond similarities to the aforementioned films, Uglies deals with themes of change, both emotional and physical.  Yes, Uglies can seem superficial at times.  The film's special visual effects turn the City into a shining and gleaming Oz of non-stop parties under a sky lit up pyrotechnic fireworks.  Behind the prettiness, however, is Joey King as Tally doing her best to convey the internal struggles inside the girl.  King delivers a strong performance that sells the world of Uglies the film because it would crumble without a strong dramatic lead, which King is here.  King makes Tally's conflicts seem genuine, and I often found myself confused by her motivations and actions because they felt like the result of an internal struggle.  As slight as the film feels, King makes Tally feel like a real young woman struggling with a decision that will change her in ways she may not like, but a change she believes she has to accept.

The Uglies novel is the first in a series, so Uglies the movie could have a sequel.  While it is good, but not great, Uglies is still a dystopian sci-fi film that the family can enjoy together.
 
6 of 10
B
★★★ out of 4 stars

Sunday, September 22, 2024


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Sunday, September 1, 2024

Review: Netflix's "THE UNION" is Weak Spy Thriller Tea

TRASH IN MY EYE No. 40 of 2024 (No. 1984) by Leroy Douresseaux

The Union (2024)
Running time: 107 minutes (1 hour, 47 minutes)
MPA – PG-13 for sequences of strong violence, suggestive material and some strong language
DIRECTOR:  Julian Farino
WRITERS:  Joe Barton and David Guggenheim; from a story by David Guggenheim
PRODUCERS:  Stephen Levinson, Mark Wahlberg, and Jeff G. Waxman
CINEMATOGRAPHER:  Alan Stewart (D.o.P.)
EDITOR:  Pia Di Ciaula
COMPOSER:  Rupert Gregson-Williams

ACTION/COMEDY/ROMANCE and SPY/THRILLER

Starring:  Mark Wahlberg, Halle Berry, J.K. Simmons, Mike Colter, Alice Lee, Jessica De Gouw, Adewale Akinnuoye-Agbaje, Jackie Earle Haley, Lucy Cork, Stephen Campbell Moore

SUMMARY OF THE REVIEW:
If you are a fan of Mark Wahlberg and/or Halle Berry, you may want to watch this film

Although it does have some good moments and some good production values, “The Union,” comes across as a big-budget made-for-television spy movie or maybe even a straight-to-DVD spy movie

As a romantic comedy, Wahlberg and Berry have good screen chemistry, but the violence in “The Union” makes it hard to be a romantic-comedy

The film ultimately comes across as an average hodge-podge of genres that is only worth your time when you have time to waste


The Union is a 2024 American spy-thriller and action-romantic-comedy from director Julian Farino.  Starring Mark Wahlberg and Halle Berry, the film is a “Netflix Original,” and began streaming on Netflix August 16, 2024.  The Union focuses on a down-to earth construction worker who is thrust into the world of spies and secret agents by his high school sweetheart, who is a secret agent.

The Union introduces, “the Union,” a covert agency whose agents work behind the scenes as everyday blue collar workers such as road crews, construction workers, garbage collectors, and water and wastewater treatment operators, to name a few.  The film opens in the Grand Hotel Castelletto in Trieste, Italy, where the Union prepares to bring in CIA turncoat, Derek Mitchell.  However, the mission is botched, and only veteran agent, Roxanne Hall (Halle Berry), survives, but she has a plan.

Roxanne returns to her hometown of Paterson, New Jersey, where she recruits her high school sweetheart, Michael “Mike” McKenna (Mark Wahlberg), a construction worker, into the Union.  Despite the protestations of her boss, Tom Brennan (J.K. Simmons), Roxanne convinces Mike to join the Union.  Before long, Roxanne and Mike are on a mission, but once again, things go awry.  Now, the former lovers have to straighten out this mess and recover some sensitive government intelligence that, if sold on the black market, will endanger the lives of every American spy and secret agent.

Comic book writer, artist, and publisher, Jimmy Palmiotti (DC Comics' Harley Quinn and Radical Publisher's Time Bomb), suggested via Twitter that the 2010 Tom Cruise-Cameron Diaz film, Knight and Day, offers something similar to The Union, but is much better at it.  I've been putting off seeing Knight and Day for 14 years, and after trudging through The Union, I think it's time I did the damn thing and saw it.

I like Mark Wahlberg, and Halle Berry is one of my favorite Hollywood people of all time.  I really wanted to watch The Union because of them, and I found their screen chemistry sometimes sweet and charming.  However, I found The Union to be a slog that took me over a week to watch, as I mostly viewed it in bits and pieces.  Sometimes, I had to do something, and other times, I stopped simply because I was bored.

However, the film is not a total loss.  It is at times, pleasingly pleasant, although had I watched it in an actual movie theater, I would have not found it pleasant at all.  Still, there is about a third of a good action movie here.  The Union is for serious fans of Mark Wahlberg and Halle Berry.  That's all I can say.  That's all I should say, lest I say worse, and this review comes back to haunt me.

5 of 10
C+
★★½ out of 4 stars

Sunday, September 1, 2024


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Monday, July 15, 2024

Review: "THEY CLONED TYRONE" Digs in the Past to Raise Hell Today

TRASH IN MY EYE No. 30 of 2024 (No. 1974) by Leroy Douresseaux

They Cloned Tyrone (2023)
Running time: 119 minutes (1 hour, 59 minutes)
MPA – R for pervasive language, violence, some sexual material and drug use
DIRECTOR:  Juel Taylor
WRITERS:  Tony Rettenmaier and Juel Taylor
PRODUCERS:  Jamie Foxx, Charles D. King, Stephen “Dr.” Love, Tony Rettenmaier, Juel Taylor, and Datari Turner
CINEMATOGRAPHER:  Ken Seng (D.o.P.)
EDITOR:  Saira Haider
COMPOSERS:  Pierre Charles and Desmond Murray

SCI-FI/COMEDY/DRAMA and MYSTERY/THRILLER

Starring:  John Boyega, Teyonah Parris, David Alan Grier, J. Alphonse Nicholson, Tamberla Perry, Eric B. Robinson Jr., Trayce Malachi, Leon Lamar, Joshua Mikel, and Keifer Sutherland and Jamie Foxx

They Cloned Tyrone is a 2023 American science fiction comedy-drama and mystery-thriller from director Juel Taylor.  After receiving a limited theatrical release, the film began streaming on Netflix on July 21, 2023 as a “Netflix Original.”  The film focuses on a drug dealer, a pimp, and sex worker, who must uncover a bizarre mystery that seems to originate from an underground facility beneath their predominantly Black neighborhood.

They Cloned Tyrone focuses on Fontaine (John Boyega), a drug dealer living and slanging in the predominantly African-American, poverty-stricken, and crime ridden suburban neighborhood called “the Glen.”  One night, Fontaine arrives at the hotel hideaway of the pimp, Slick Charles (Jamie Foxx), to get money owed to him.  Slick freaks out when he sees Fontaine, who apparently had visited him the previous night just before being gunned down by Isaac (Eric B. Robinson Jr.), a rival drug dealer.

Fontaine does not remember the previous night's events, so Slick takes him to one of his ho's, Yo-Yo (Teyonah Parris), in order to confirm his claims of Fontaine's death.  Yo-Yo does just that, but later, a series of eerie events thrusts the three onto the trail of a nefarious government conspiracy.  But can a drug dealer, a pimp, and a ho really solve a mind-bending mystery that threatens not only their own neighborhood, but Black neighborhoods everywhere?

They Cloned Tyrone got lost in the glare of two of 2023's mega-box office hits, the movies Barbie and Oppenheimer.  This month – specifically July 14th – is the one year anniversary of its limited theatrical release.  I had been putting off seeing They Cloned Tyrone, so I thought now was a good time to do so.

In They Cloned Tyrone, co-writer-director Juel Taylor and co-writer Tony Rettenmaier make many references to American popular storytelling via the characters dialogue.  However, the film's plot and narrative reference numerous previous Black speculative and genre films.  They Cloned Tyrone's conspiracy around consumer products recalls the blaxploitation homage and spoof films, Undercover Brother (2002) and Black Dynamite (2009).  Director Jordan Peele's Get Out (2017) and Us (2019) are spectral presences in They Cloned Tyrone's narrative, and I also see a passing resemblance to elements from Boots Riley's Sorry to Bother You (2018).  The essences of two landmark 1971 films, A Clockwork Orange and Sweet Sweetback’s Baad Asssss Song, as well as that of the 1988 cult classic, They Live, are in pungent evidence here.

Still, They Cloned Tyrone is an original.  It is a gleeful comedy and satire of America.  It also manages to be a bolder and more imaginative science fiction film than the pew-pew-pew, space opera epics that pass for modern sci-fi cinematic storytelling.  Taylor and Rettenmaier are correct.  The Founding Father's of the United States of America came up with some high ideals, but then, died and left us with the messy reality of a fractured disunited state of affairs.  These two writers are among the few to plainly state via metaphor and allegory that for too long, Black people have carried the weight of fixing that mess and trying to make the experiment called America an actual thing.

The film has great production values all around, from cinematography and editing to art direction, costume design, and score.  You might, dear readers, miss that because They Cloned Tyrone is such an engaging, crazy, lovable story driven by powerhouse performances.  John Boyega, Jamie Foxx, and Teyonah Parris give killer performances, and if they were nepo babies, at least one of them (likely Foxx) would have received Oscar nominations for his or her performance here.  Parris clearly has leading lady chops, which she wields in this film to make herself a co-lead rather than a supporting player.  Foxx balances pathos and absurdity in making Slick Charles a wonderfully engaging and exceedingly likable character.

But John Boyega:  let's be honest.  His career in America has not exploded like that of his Star Wars sequel trilogy co-star, Adam Driver... and we know why.  Boyega is every bit as good as everything that passes for the young Hollywood's A-list.  Boyega disappears inside Fontaine and makes him not so much a tragic figure or even criminal for that matter.  Fontaine's is the hero's journey even if he is not fair of hair and skin.  Boyega has moments here that are most poignant and dramatic and that only an actor both talented and skilled can pull off.

Boyega makes They Cloned Tyrone more than satire, blaxploitation, horror, science fiction, and absurdist comedy.  Boyega gives the film dramatic heft and weight.  They Cloned Tyrone is memorable and is also one of 2023's very best films because John Boyega is one of a kind.

10 of 10

Monday, July 15, 2024


NOTES:
2024 NAACP Image Awards:  9 nominations: “Outstanding Ensemble Cast in a Motion Picture,” “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (John Boyega), “Outstanding Breakthrough Creative-Motion Picture” (Juel Taylor), “Cinematography in a Motion Picture” (Ken Seng), “Outstanding Supporting Actor in a Motion Picture” (Jamie Foxx), “Outstanding Directing in a Motion Picture” (Juel Taylor), “Outstanding Writing in a Motion Picture” (Juel Taylor and Tony Rettenmaier), and “Outstanding Stunt Ensemble-Television or Film”

2024 Black Reel Awards:  8 nominations: “Outstanding Lead Performance” (John Boyega), “Outstanding Supporting Performance” (Jamie Foxx), “Outstanding Screenplay” (Tony Rettenmaier and Juel Taylor), “Outstanding Ensemble” (Kim Coleman), “Outstanding Emerging Director” (Juel Taylor), “Outstanding Score” (Desmond Murray and Pierre Charles), “Outstanding Costume Design” (Francine Jamison-Tanchuck), and “Outstanding Editing” (Saira Haider)


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Monday, July 8, 2024

Review: Netflix's "BEVERLY HILLS COP: AXEL F" is a Delightful Surprise

TRASH IN MY EYE No. 29 of 2024 (No. 1973) by Leroy Douresseaux

Beverly Hills Cop: Axel F (2024)
Running time:  118 minutes (1 hour, 58 minutes)
MPA – R for language throughout, violence and brief drug use
DIRECTOR: Mark Molloy
WRITERS:  Will Beall and Tom Gormican & Kevin Etten; from a story by Will Beall (based on characters created by Daniel Petrie, Jr. and Danilo Bach)
PRODUCERS:  Jerry Bruckheimer, Eddie Murphy, and Chad Oman
CINEMATOGRAPHER:  Eduard Grau (D.o.P.)
EDITOR:  Dan Lebental
COMPOSER:  Lorne Balfe

COMEDY/ACTION/CRIME

Starring:  Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Paul Reiser, Bronson Pinchot, Damien Diaz, Kyle S. More, Luiz Guzman, and Kevin Bacon

SUMMARY OF THE REVIEW:
--Beverly Hills Cop: Axel F is probably the closest in spirit and tone to the 1984 original film.  It is one of Eddie Murphy's better recent efforts.

--The members of the original cast that manage a return in this new film work quite well and don't seem to be hear for nostalgic purposes.

--The new characters are quite good and are worthy of returning

--Beverly Hills Cop: Axel F is surprisingly really good and certainly worth a original fan's time and viewers new to franchise may end up wanting to go back and discover the original after this film.


Beverly Hills Cop: Axel F is a 2024 American buddy-cop film and action-comedy directed by Mark Molloy and starring Eddie Murphy.  It is the fourth entry in the Beverly Hills Cop film franchise, and it began streaming July 3, 2024 on Netflix as a “Netflix Original.”  Axel F finds Axel Foley returning to Beverly Hills after his estranged daughter's life is threatened.

Beverly Hills Cop: Axel F opens in Detroit, Michigan.  After more than four decades on the job, Detective Axel Foley (Eddie Murphy) of the Detroit Police Department is still wrecking cars and tearing up the city via his maniacal car chases in his bid to capture criminals.  He has managed to remain on the job under the supervision of his friend, Deputy Chief Jeffrey Friedman (Paul Reiser).  Axel's latest antics, however, leads to Jeffrey's retirement.

As Axel contemplates this situation, he gets a call from his old friend, Billy Rosewood (Judge Reinhold), former Beverly Hills Police Department detective turned private investigator.  Axel has a daughter, Jane Saunders (Taylour Paige), from whom he is estranged.  She has taken on the case of a young drug dealer, Samuel Enriquez (Damien Diaz), who has been accused of murdering an undercover cop.  Billy informs Axel that Jane is in grave danger

Axel flies to Beverly Hills, but he quickly discovers that Jane doesn't want to have anything to do with him.  He also learns that the young policeman, Detective Bobby Abbott (Joseph Gordon-Levitt), investigating the Enriquez case, also has a complicated relationship with Jane.  Although Axel's other old BHPD buddy, former detective and now, Chief John Taggart (John Ashton), is happy to see him, Taggart is reluctant to take on the Enriquez case.  He seems to have deferred most of it to Captain Cade Grant (Kevin Bacon), a well-dressed cop who acts mighty suspiciously.  It will take a mix of old pals and new friends to help Axel Foley unravel a dangerous conspiracy, but will Axel do more harm than good?

This year (2024) is the 40th anniversary of the original theatrical release of Beverly Hills Cop (1984), which I recently watched for the first time in over thirty years.  Beverly Hills Cop: Axel F succeeds where the other sequels came up short, but it successfully replicates the best moments from the original film.  There are four spectacular car chases that hold the viewer's attention and don't at all seem contrived or desperate to capture the spirit of what came before it.  Plus, the “Axel F” theme (composed by Harold Faltermeyer) dominates the film's soundtrack in so many different ways that I could not help but think of the original film, which usually makes me feel good.

Director Mark Molloy gets the best out of the supporting cast, even the old guys, who look really old forty years after their debut in the original film.  Still, the script gives the classic characters much to do so that they don't seem extraneous.  Kevin Bacon is Kevin Bacon, and that usually means something quite good, as it does here.  The new characters – Joseph Gordon-Levitt's Bobby Abbott and Taylour Paige's Jane Saunders – are good enough to carry a fifth film – if that becomes a necessity.

Of course, Beverly Hills Cop: Axel F is about Axel Foley, and that means Eddie Murphy, who doesn't need a director to tell him how to be him.  Still, I think Mark Molly helps.  Eddie was Eddie in the Coming to America (1988) sequel, 2021's Coming 2 America (which originally streamed on Amazon Prime Video), and that time, Eddie being Eddie yielded tepid comedic results.  So I'm giving credit to the director and the screenwriters, Will Beall, Tom Gormican, and Kevin Etten, for making Axel F something more than just another nostalgic sequel.

Beverly Hills Cop: Axel F is surprisingly entertaining and delightful.  It is way better than I thought it would be, and I must say that I won't wait thirty years to watch it again.  I have never attempted to watch Beverly Hills Cop III (1984), of which I've heard bad things, but Beverly Hills Cop: Axel F makes this third shot at a sequel a charm.

B+
7 of 10
★★★½ out of 4 stars

Sunday, July 7, 2024


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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Thursday, April 18, 2024

Review: "MEA CULPA" May Be Tyler Perry's Craziest Movie... Yet

TRASH IN MY EYE No. 19 of 2024 (No. 1963) by Leroy Douresseaux

Mea Culpa (2024)
Running time:  120 minutes (2 hours)
MPA – R for strong sexual content, graphic nudity, language, some violence and drug use
WRITER/DIRECTOR:  Tyler Perry
PRODUCERS:  Will Areu, Tyler Perry, Angi Bones, and Kelly Rowland
CINEMATOGRAPHER:  Cody Burmester (D.o.P.)
EDITOR:  Larry Sexton
COMPOSERS:  Amanda Delores and Patricia Jones

DRAMA/THRILLER

Starring:  Kelly Rowland, Trevante Rhodes, Nick Sagar, Sean Sagar, RonReaco Lee, Shannon Thornton, Kerry O'Malley, Arianna Barron, Connor Weil, Maria Gabriela Gonzalez, Paul Ryden, Ava Hill, and Angela Robinson

SUMMARY OF THE REVIEW:
--Tyler Perry's Mea Culpa could be titled Tyler Perry's I Want to Screw My Client

--The first half of the film is a slow-burn (slightly dull) romantic thriller; the second half is an explosion of WTF moments

--Despite poorly developed and under-utilized characters and middling dialogue, Mea Culpa is a typical shameless Tyler Perry guilty pleasure – that I found somewhat pleasurable.


Mea Culpa is a 2024 drama and legal thriller from writer-director Tyler Perry.  The film is a “Netflix Original,” Perry's fourth for the streamer (as of this writing), and it began streaming on Netflix February 23, 2024.  Mea Culpa follows an ambitious criminal defense attorney who takes on the case of an artist accused of murder, which only further complicates her own dysfunctional marriage.

Mea Culpa introduces Chicago-based defense attorney, Mea Harper (Kelly Rowland).  She and her husband,  Kal Harper (Sean Sagar), are having marital difficulties, made worse by Kal's overbearing and interfering white mother, Azalia (Kerry O'Malley).  Forced to financially support the two of them because of Kal's professional and personal problems, Mea decides to take on the defense of an accused murderer.  Acclaimed portrait painter, Zyair Malloy (Trevante Rhodes), has been charged with the murder of his girlfriend, Hydie (Maria Gabriela Gonzalez).  Her body is missing, but there is enough blood evidence in Zyair's loft, where he lives and paints, to get him charged with murder.

The problem is that Mea's brother-in-law and Kal's older brother, Raymond “Ray” Harper (Nick Sagar), is the assistant district attorney who is prosecuting Zyair's murder case.  Also complicating matters is that Zyair does not respect boundaries and wants to f**k Mea.  Eventually, Mea will have to admit “mea culpa,” but that might not save her from the myriad conspiracies that surround Zyair Malloy and this case.

Mea culpa is a Latin phrase that means “my fault” or “my mistake,” and it is also an acknowledgment of having done wrong, a wrong that could have been avoided.  It's my fault that I love Tyler Perry's work so much because otherwise, I would not have watched Mea Culpa.  Make no mistake, however; loving Tyler Perry films, no matter how crazy they are, is not a wrong.  Mea Culpa may be Perry's craziest non-Madea film to date, being even wackier than Temptations: Confessions of a Marriage Counselor (2013).

Mea Culpa is quite enjoyable, especially the second hour of the film.  Critics tend to fault Perry's screenwriting, but the plot for Mea Culpa isn't any more nonsensical than a host of legal and erotic thrillers from the past five decades.  I'm thinking of Body Heat (1981), Presumed Innocent (1990), and Primal Fear (1996), to name a few.  If Mea Culpa had been released around a quarter-century ago, it would have been considered a clone of the classic erotic thriller, Basic Instinct (1992).

Where Perry's writing shows weakness is the dialogue and character development.  If the actors in this film seem average or mediocre to you, dear readers, I would bet it is because they are trying to build convincing characters while mouthing stiff, unimaginative dialogue.  The film's actual plot and action is not anywhere near as bland as the dialogue.  In fact, when this film finally explodes in the second half, even bad dialogue can't keep Mea Culpa's cheesy, shameless melodrama and violence from being its trashiest and most glorious self.  The shame of it is that there are some very interesting characters who are not fully realized and who would have made much the action in this film seem plausible, at the very least.  Perhaps, Mea Culpa should have been a miniseries instead of a film.

I must say that Mea Culpa may be Tyler Perry's most beautifully photographed film; kudos to director of photography, Cody Burmester.  The cinematography captures Kelly Rowland's unappreciated beauty, and when she gets nude, the camera celebrates her fineness.  Yes, Trevante Rhodes as Zyair Malloy is also fine, and the camera suggests that his big muscular body also comes with... an impressive endowment.  Yeah, the sex scene between Mea and Zyair is kinda funny, but they look so good pumping and bumping and grinding.

With Mea Culpa, Tyler Perry does unleash “strong sexual content, graphic nudity, language, some violence and drug use” as the “R” rating declares.  However, Perry's first almost NC-17 makes me love his work even more, and it makes me hope for future movies like Mea Culpa or even better.  I'll say “mea culpa” if I'm wrong and be happy about it.

6 of 10
B
★★★ out of 4 stars

Thursday, April 18, 2024


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Tuesday, February 20, 2024

Review: DreamWorks' "ORION AND THE DARK" Takes on Childhood Fears

TRASH IN MY EYE No. 12 of 2024 (No. 1956) by Leroy Douresseaux

Orion and the Dark (2024)
Running time:  93 minutes (1 hour, 33 minutes)
MPA – not rated
DIRECTOR:  Sean Charmatz
WRITERS:  Charlie Kaufman (based on the book by Emma Yarlett)
PRODUCER:  Peter McCown
EDITOR:  Kevin Sukho Lee
COMPOSERS:  Kevin Lax and Robert Lydecker

ANIMATION/FANTASY/ADVENTURE and COMEDY/DRAMA

Starring:  (voices): Jacob Tremblay, Paul Walter Hauser, Colin Hanks, Mia Akemi Brown, Ike Barinholtz, Nat Faxon, Golda Rosheuvel, Natasia Demetriou, Aparna Nancherla, Carla Gugino, Matt Dellapina, Nick Kishiyama, Shino Nakamichi, Werner Herzog, and Angela Bassett

SUMMARY OF THE REVIEW:

Orion and the Dark is a unique animated film that is about a child learning to accept fear as a part of life without letting it control him.

Orion and the Dark has an eclectic cast full of surprising characters, but Orion and Dark are this film's winning pair.

Orion and the Dark is a good family film, especially for parents and for children who are of middle grade age and younger.  I find it to be too deep in its feelies, but it will tug on the heartstrings of its intended audience.

Orion and the Dark is a 2024 animated fantasy-adventure and comedy-drama film directed by Sean Charmatz and produced by DreamWorks Animation.  The film is animated by French production company, Mikros Animation, and is also a “Netflix Original” that began streaming on Netflix February 2, 2024.

Orion and the Dark is based on the 2015 children's book, Orion and the Dark, from author Emma Yarlett.  Orion and the Dark the movie focuses on a boy whose active imagination causes him to be scared of everything and on the entity that takes him on an incredible journey.

Orion and the Dark introduces 11-year-old Orion Mendelson (Jacob Tremblay).  He is a severely anxious child with a long list of irrational fears.  He is a schoolboy with a fear of speaking in front of class, being bullied, ending up in a toilet, and a fear of speaking to Sally (Shino Nakamichi), the girl of his dreams, of course.  Outside of school, he also has a bunch of fears, including the fear of getting eaten by a shark, but at home its is worse.

Orion is afraid of the night, especially of the dark and of all the dark places in his bedroom.  Orion's father (Matt Dellapina) and mother (Carla Gugino) have a difficult time getting him to bed.  One night a giant, smiling creature slithers into his room.  He introduces himself as “Dark,” the embodiment of Orion's worst fear, the dark.  Tired of hearing Orion's constant complaints about him (the dark), Dark takes the 11-year-old on an adventure to help him overcome his fears and to appreciate the benefits of nighttime and of the dark.  But there are plenty of dangers along the way, including Dark's rival, “Light” (Ike Barinholtz), and Orion's own deep-seated fears.

Orion and the Dark is a beautifully animated film with simple, but evocative character and concept design.  It took me awhile to remember that Orion and the Dark reminds me of the 2014 DreamWorks Animation film, Mr. Peabody & Sherman.  Both films share a visual aesthetic, possibly because artist and designer, Timothy Lamb, served as the production designer on the two films.  Both films also convey their fantastical settings and surreal environments via eye-appealing art and design that have a children's picture book quality.  

I do have one gripe about Orion and the Dark.  The film does have a heart – a center – which is that both Orion and Dark have to learn something about themselves and to overcome self-doubt.  The film, however, also has sentiment, and it is, at times, exceedingly sentimental, which can be both heartwarming and saccharine.  Orion and the Dark is sometimes too much in its emotions and feelies, so much so that by the end, I thought the film was trying to give me an insulin attack.  Orion and the Dark pounds on its parent-child themes and dynamics with schmaltzy consistency.

I want to avoid spoilers.  Still, I will say that Orion and the Dark does have a time-travel subplot courtesy of screenwriter, Charlie Kaufman (Eternal Sunshine of a Spotless Mind), who is known for creating elaborate, twisty, meta screenplays.  Orion and the Dark has several interesting supporting characters, especially Dark's fellow “Night Entities,” so many so that I could see it becoming an animated television series.  Orion and the Dark is unique and quite well made, and many may find its heartwarming insistence just what we need in these dark times.

7 of 10
B+
★★★½ out of 4 stars

Tuesday, February 20, 2024


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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Friday, February 9, 2024

Review: "A MADEA HOMECOMING" Doesn't Come Out Quite Right

TRASH IN MY EYE No. 6 of 2024 (No. 1950) by Leroy Douresseaux

A Madea Homecoming (2022)
Running time:  105 minutes (1 hour, 45 minutes)
MPA – PG-13 for crude sexual content, language, and drug references throughout
WRITER/DIRECTOR:  Tyler Perry
PRODUCERS:  Will Areu and Mark E. Swinton
CINEMATOGRAPHER:  Taylor Randall (D.o.P.)
EDITOR:  Larry Sexton
COMPOSER:  Philip White

COMEDY/DRAMA

Starring:  Tyler Perry, Cassi Davis, David Mann, Tamela J. Mann, Gabrielle Dennis, Brendan O'Carroll, Jennifer Gibney, Brandon Black, Isha Blaaker, Candace Maxwell, Geneva Maccarone, and Amani Atkinson

A Madea Homecoming is a 2022 African-American comedy-drama from writer-director Tyler Perry.  It is the 12th film in the Madea film series.  The film is a Netflix original and was released to the streaming service on February 25, 2022.  In A Madea Homecoming, family drama erupts and secrets are revealed during the celebration of Madea's great-grandson's college graduation.

A Madea Homecoming opens in Atlanta, GeorgiaMabel “Madea” Simmons (Tyler Perry) is preparing for the arrival of her extended family.  Uncle Joe (Tyler Perry) is criticizing people, and Mr. Brown (David Mann) is about to set himself afire while preparing the barbecue pit.  It is a special time for Madea's daughter, Cora Simmons (Tamela J. Mann), because of the impending arrival of her daughters, Laura (Gabrielle Dennis) and Ellie (Candace Maxwell).  Laura's son, Timothy “Tim” Marshall (Brandon Black), is graduating from college.  He is traveling to Madea's house with his best friend and fellow graduate, Davi O'Malley (Isha Blaaker), for a large family dinner before graduation day.

But there are some surprises arriving, also.  Tim has a secret to tell his family.  Laura has a secret.  Laura's divorce attorney, Sylvia (Geneva Maccarone), has a secret.  Richard (Amani Atkinson), Laura's ex and Tim's father, has a secret to tell, although Madea doesn't want him at her house.  Davi has a secret.  Davi's great-aunt, Agnes Brown (Brendan O'Carroll), and Agnes' daughter and David's cousin, Cathy Brown (Jennifer Gibney), have a secret.  They're coming to Madea's, but they weren't invited.  And it isn't a secret that Betty Ann Murphy a.k.a. “Aunt Bam” (Cassi Davis) is usually high, and everyone else may have to get high to make it through the family drama that is about to erupt.

2019's A Madea Family Funeral was supposed to be the final film in the Madea film series, but I ain't complaining.  A Madea Homecoming is similar to A Madea Family Funeral in that it features a large cast of new extended family members that many of us didn't know that Madea had.  Unfortunately, the 2019 film is better put together than A Madea Homecoming.

First, it should be noted that A Madea Homecoming is a crossover with British-Irish sitcom, “Mrs. Brown's Boys,” which is headlined by the character, “Agnes Brown,” played by Irish actor, Brendan O'Carroll.  Agnes Brown has been called the “Irish Madea,” but because this is my first encounter with O'Carroll and his character, I can't say otherwise.  Truthfully, neither the Agnes nor Cathy characters really add that much to A Madea Homecoming, but they are a pleasant addition, at least.

A Madea Homecoming has many, many very funny moments, but the film seems too long and too much of a rehash of scandals that have appeared in earlier films in the series.  The main plot and subplot feel more flat and dry than lively and funny.  The most consistently funny part of this movie is Madea Beyoncé parody that runs over the end credits, and Madea in a blonde Beyoncé wig singing off-key with the “Marcella Band” is delightful.

When I reviewed A Madea Family Funeral in 2021, I said that if it were indeed the final Madea film, I could say that the series went out on a relatively high note.  Madea returns on an off-key note with A Madea Homecoming, and it isn't the final Madea film.  Coming sometime in the future is Madea's Destination Wedding.

5 of 10
C+
★★½ out of 4 stars

Friday, February 9, 2024


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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Tuesday, February 6, 2024

Review: Prime Video's "THE UNDERDOGGS" is Vulgar, Funny and Holds The Titty

TRASH IN MY EYE No. 5 of 2024 (No. 1949) by Leroy Douresseaux

The Underdoggs (2024)
Running time:  96 minutes (1 hour, 36 minutes)
MPA – R for pervasive language, sexual references, drug use, and some underage drinking
DIRECTOR: Charles Stone III
WRITERS:  Danny Segal and Isaac Schamis
PRODUCERS:  Kenya Barris, Mychelle Deschamps, Jonathan Glickman, Constance Schwartz-Morini, and Calvin Broadus (Snoop Dogg)
CINEMATOGRAPHER:  Mitchell Amundsen (D.o.P.)
EDITOR:  Paul Millspaugh
COMPOSER:  Joseph Shirley

COMEDY/SPORT

Starring:  Snoop Dogg, Tika Sumpter, Mike Epps, Elias Ferguson, Jonigan Booth, Caleb Cm Dixon, Adan James Carrillo, Alexander Michael Gordon, Kylah Davila, Andrew Schulz, Thom Scott II, Kal Penn, Kandi Burruss, Tony Gonzalez, Terry Bradshaw, and George Lopez

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SUMMARY OF THE REVIEW:

--Snopp Dogg is excellent is this truly funny sports comedy.

--This film has a lot of profanity and bad behavior, and their reference to sex acts and sex organs is plentiful.  It's family comedy that is not appropriate for viewing, unless the family is a bit daring.

--The Underdogg's scatological tale of a washed up, arrogant coach and a group of kids who know mostly disappointment does not come across as corny or phony.  The Underdoggs keeps it real, perhaps, too real sometimes.

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The Underdoggs is a 2024 sports comedy film from director Charles Stone III.  The film is an Amazon “Prime Original” that began streaming on “Prime Video” January 26, 2024.  The Underdoggs follows a washed-up former professional football player who decides to coach a peewee football team as way to regain his fame only to learn some important live lessons.

The Underdoggs opens at the “California High School State Championship 1997.”  Jaycen "Two J's" Jennings (Elias Ferguson) is the star wide receiver at Long Beach Polytechnic High School, and by catching the “Hail Mary” pass thrown his way, he wins the state championship for his school.  Jaycen goes on to be a star professional football player, but his ego eventually gets him tossed from the professional ranks.

Now, Jaycen Jennings (Snopp Dogg) is a washed-up ex-professional football star – an arrogant washed up former football star, and the days of being “Two J's” are behind him.  Still, he is desperately trying to hang onto fame, hopefully by landing a plum gig hosting his own Fox Sports TV show.  However, Jaycen hits rock bottom when he is sentenced to community service after an accident.

Eventually, he finds his way to the Los Angeles County Community Outreach Program, where he decides to coach a peewee football squad, a group of poor kids known as “the Green Team.”  Jaycen, however, sees this as a chance to get what he wants, but will he be forced to really give these kids what they need – a coach that cares?

I am shocked by how much I really like The Underdoggs.  Of course, the screenplay by Danny Segal and Isaac Schamis (from a pitch by Snoop Dogg and fellow producer, Constance Schwartz-Morini) revisits familiar territory.  The tale of a fallen coach, mentor, or role model and his team of poor kids, outcasts, and assorted misfits has played out in such films as The Bad News Bears (1976) and Role Models (2008).  The Mighty Ducks (1992), which is referenced in The Underdoggs, is apparently a similar film, but I have never seen it (nor have I ever wanted to).

I have been a long-time fan of Snopp Dogg, and perhaps because of serendipity, he is perfect as an actor is this story of underdogs.  I like that the film allows Jaycen to stay true to himself while also evolving, but the children also keep it real while learning to take pride in themselves and in their efforts.  In this way, The Underdoggs is a perfect, lesson-heavy, family film, but...

The Underdoggs is rated “R” by the MPA for “pervasive language, sexual references, drug use, and some underage drinking,” and alla' that shit is actually in the film, sometimes in large quantities.  There is even a funny “disclaimer” at the beginning of The Underdoggs that basically says that today's children use the same profane words spoken in the film.  Perhaps, the filmmakers' argument is this is indeed a thoroughly modern family-friendly film.  I think the “F-bomb” is said in The Underdoggs seemingly more than one hundred times.  So its appropriateness will vary from family to family, respective of decorum and personal tastes.  I have to admit that I was uncomfortable with the amount of profanity and bad behavior in this film, but...

I still laughed a lot.  The Underdoggs is uproariously funny.  I think Mike Epps as Kareem, Jaycen's friend who becomes his assistant coach, and Tika Sumpter as Cherise Porter, who was Jaycen's high school girlfriend, make the best of characters that are not that well written.  Epps is always a scene-stealer in everything from comedy to action to horror, and he grabs all he can here.  Sumpter makes Cherise an effective moral check on Jaycen's selfishness.

In the end, I feel totally comfortable recommending The Underdoggs to adult and older teen viewers.  It is one of the funniest films of the new year, so far.  I think some young viewers will be crazy about The Underdoggs, whether their parents approve or not.

A-
7 of 10
★★★½ out of 4 stars

Tuesday, February 6, 2024


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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