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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"Young Frankenstein" Returns to Theaters for One Night Only - October 5th, 2016

‘Fronkensteen’ or ‘Frankenstein’? Audiences Decide When ‘Young Frankenstein’ Jolts Back Into U.S. Cinemas for One Special Night With a Live Introduction by Legendary Mel Brooks

Presented by Fathom Events and Twentieth Century Fox, This 1974 Classic Spoof on Horror Films Hits the Big Screen October 5, 2016 Only

DENVER--(BUSINESS WIRE)--It’s alive! It’s alive! up on the big screen for one special night when 20th Century Fox and Fathom Events present the electrifying comedy classic “Young Frankenstein” in cinemas nationwide. Seeing this black-and-white masterpiece on the big screen with fellow audience members is a rarity in itself, but to make this screening a truly one-of-a-kind experience, writer and director Mel Brooks will introduce the classic live from the 20th Century Fox Lot—near the “Young Frankenstein” Mural on Stage 5, which was unveiled on the film’s 40th anniversary.

    .@FathomEvents News: It's alive! It's alive! #YoungFrankenstein is up on the big screen for one special night 10/5

Brooks will also pay tribute to his friend and the film’s star and co-writer, Gene Wilder, who passed away recently.

“Young Frankenstein” comes to movie theaters nationwide on Wednesday, October 5, 2016, at 8:00 p.m. ET / 7:00 p.m. CT / 6:00 p.m. MT / 5:00 p.m. PT. During the introduction, Brooks will give moviegoers a tour of the Fox studio lot, including Mel Brooks Blvd., the Young Frankenstein mural, and the location of the film’s original shoot.

Tickets for “Young Frankenstein” can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 400 select movie theaters through Fathom’s Digital Broadcast Network. For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

Young Frankenstein brings together Brooks’ inimitable style with a loaded cast of comedy legends, including Gene Wilder as Frederick Fronkensteen, Marty Feldman as shifty humpback Igor, Teri Garr as the hay-rolling lab assistant Inga, Madeleine Kahn as Dr. Frankenstein’s high-strung fiancée Elizabeth, Peter Boyle as the kind-hearted monster, an uncredited Gene Hackman as the blind man who befriends him, and Cloris Leachman as Frau Blücher.

Join the young neurosurgeon (Wilder), as he inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. Young Frankenstein believes that the work of his grandfather is useless, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind.

“Mel Brooks has sold out venues nationwide, including Radio City Music Hall, when he has introduced his movie classics. It is an incredible honor to be able to bring fans all over the country a live, personal introduction by Mel to one of his most famous and unforgettable films,” Fathom Events Vice President of Studio Relations Tom Lucas said. “It will be a night to remember.”

Following the massive success of Brooks’ Blazing Saddles, Twentieth Century Fox unleashed Young Frankenstein on audiences on December 15, 1974, and it went on to play for months, grossing more than $86 million – equivalent to nearly $400 million in today’s dollars. Nominated for two Academy Awards®, including its screenplay by Wilder and Brooks, Young Frankenstein has become one of the best-known – and most quoted – comedies of all time, ranking No. 13 on the American Film Institute’s list of 100 funniest films.

Continuing the celebration of this comedy classic, Black Dog & Leventhal, an imprint of Hachette Books, will be publishing Young Frankenstein: A Mel Brooks Book: The Making of the Film, an oversized, illustrated book featuring a complete, behind-the-scenes look at the making of Young Frankenstein, with a foreword by Judd Apatow. This new hardcover will be available wherever books are sold on October 18, 2016.


About Fathom Events
Fathom Events is recognized as the leading domestic distributor of event cinema, and ranks as one of the largest overall distributors of content to movie theaters. Owned by AMC Entertainment Inc. (NYSE: AMC), Cinemark Holdings, Inc. (NYSE: CNK) and Regal Entertainment Group (NYSE: RGC) (known collectively as AC JV, LLC), Fathom Events offers a variety of one-of-a-kind entertainment events that include live, high-definition performances of the Metropolitan Opera, dance and theatre productions such as the Bolshoi Ballet and National Theatre Live’s Hamlet, sporting events like FS1 Presents USA v Mexico, concerts with Roger Waters and One Direction, the TCM Presents classic film series and faith-based events such as The Drop Box and Four Blood Moons. Fathom Events takes audiences behind the scenes and offers unique extras including audience Q&As, backstage footage and interviews with cast and crew, creating the ultimate VIP experience. Fathom Events’ live digital broadcast network (“DBN”) is the largest cinema broadcast network in North America, bringing live and pre-recorded events to 887 locations and 1,354 screens in 181 Designated Market Areas® (including all of the top 50). For more information, visit www.fathomevents.com.

About 20th Century Fox
One of the world’s largest producers and distributors of motion pictures, 20th Century Fox produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of 20th Century Fox Film: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Productions, and Twentieth Century Fox Animation.

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Negromancer News Bits and Bites for the Week of January 25th to 31st, 2015 - Updated #19

NEWS:

From DenofGeek:  The simple reason why there was no "Tangled 2."

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From YahooNews:  First Lady Michelle Obama defends American Sniper at launch of "6 Certified."

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From YahooBeauty:  Disney introduces first Latina Disney Princess.

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From Grantland:  A really fine article about retired actor, Oscar-winner Gene Hackman.

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From Vulture:  Liam Hemsworth reportedly has been offered the lead in the Independence Day follow-up.

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From People:  Alex Gibney, a great director of great documentary films, has a shocking new film about Scientology.

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From Vulture:  Guardians of the Galaxy star, Chris Pratt, is rumored to be the new Indiana Jones.

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From ThePlaylist:  The leads in Paul Feig's Ghostbusters reboot are Kristen Wiig, Melissa McCarthy, Kate McKinnon & Leslie Jones.  Or these are the four who are in contract talks to star in the film.

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From Alternet:  Seven things about Chris Kyle not in American Sniper.

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From YahooMovies:  The winner of the box office for the weekend of 1/23 to 1/25/2015 is American Sniper with an estimated take of $64.4 million.  The film is a repeat winner, and this is one of the best second weekends ever.

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From Variety:  Kaya Scodelario has been named as the female lead in "Pirates of the Caribbean 5."

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From YahooMovies:  Oscar winner Dianne Wiest is struggling to pay her rent.


COMICS BOOKS:

From NerdReactor:  Jason Momoa likes the idea of a brown-skinned Aquaman.

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From YahooGames:  An article about TV shows based on comic books.

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From Variety:  Melissa Benoist is CBS' Supergirl.

From Variety:  Mehcad Brooks is the love interest of CBS' Supergirl.

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From Newsarama:  10 things worth noticing in the Fantastic Four trailer.

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From YahooTV:  The first teaser for the Fantastic Four reboot, and I think it looks great.  Now, will the movie be good...

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From CinemaBlend:  How the costumes in the Fantastic Four reboot film might look.

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From IGN:  Fox wants to develop a live action X-Men television series.


TRAILERS:

From 20th Century Fox:  The first teaser trailer for this year's Fantastic Four reboot.


MISC.:

From YahooSports:  Serena Williams wins her 6th Australian open title.  It is also her 19th major title (Grand Slam tournament) win, which is second all-time behind Stefi Graf's 22 (in the Open era).

Review: Christopher Reeve Still Shines in "Superman II"

TRASH IN MY EYE No. 39 (of 2013) by Leroy Douresseaux

Superman II (1980)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG
DIRECTOR: Richard Lester
WRITERS: Mario Puzo, David Newman, Leslie Newman; from a story by Mario Puzo (based upon the characters and situations created by Jerry Siegel and Joe Shuster)
PRODUCER: Pierre Spengler
CINEMATOGRAPHERS: Geoffrey Unsworth and Bob Paynter
EDITOR: John Victor-Smith
COMPOSER: Ken Thorne

SUPERHERO/ACTION/DRAMA with elements of comedy and sci-fi

Starring: Christopher Reeve, Gene Hackman, Margot Kidder, Ned Beatty, Jackie Cooper, Terrence Stamp, Sarah Douglas, Jack O’Halloran, Valerie Perrine, Leueen Willoughby, Clifton James, E.G. Marshall, Marc McClure, and Susannah York

The subject of this movie review is Superman II, a 1980 superhero drama and action film from director Richard Lester. This movie is based on the DC Comics character, Superman, created by comic book writer Jerry Siegel and comic book artist Joe Shuster. Superman II is also a direct sequel to the 1978 film, Superman: The Movie.

There was some controversy surrounding Superman II upon its release. It was originally being film simultaneously with Superman: The Movie by director Richard Donner. Donner ended up being fired by the Alexander and Ilya Salkind, who controlled the Superman film franchise at the time. Some of the film Donner shot for Superman II was apparently re-shot and some of it reused. Donner’s replacement, Richard Lester, is credited as the director of Superman II. Screenwriter Tom Mankiewicz is credited as a “creative consultant” for his contributions to the screenplay for Superman II.

Putting that aside, is Superman II a good movie? When I first saw Superman II, I considered it to be a better movie than Superman: The Movie. I no longer think so, but more on that later.

Superman II opens by going back in time to Superman’s birth planet, Krypton, prior to its destruction. There, the criminals: General Zod (Terence Stamp) and his followers, Ursa (Sarah Douglas) and Non (Jack O'Halloran), are sentenced by Jor-El (Superman’s Kryptonian father) to banishment into the Phantom Zone for insurrection and other crimes. After traveling through the galaxy for many years, the Phantom Zone, represented as a spinning, picture frame-like segment of space, is shattered near Earth by the detonation of a hydrogen bomb.

Meanwhile, Daily Planet reporters, Lois Lane (Margot Kidder) and Clark Kent (Christopher Reeve), who is Superman, leave Metropolis for an undercover story. In Niagara Falls, Lois and Clark pretend to be a married couple, which brings them closer, physically and emotionally, than they usually are. Suddenly, Lois thinks she knows Superman’s secret identity. That leads Clark to make a monumental decision just when Earth most needs Superman.

I once told a friend that I preferred Superman II over Superman: The Movie and Star Trek II: The Wrath of Kahn over Star Trek: The Motion Picture. He responded that people liked the sequels because they were “kick-ass.” That is true, to an extent, but Star Trek II is better than the first Trek film.

At the time I first saw it, I did like the fight scenes in Superman II, but there were many other elements that caught my attention. When I saw Superman II in a theatre, there was a woman a few rows in front of me who yelled, “Superman had sex,” when the film cutaway to a scene with Lois and Clark in bed, apparently post-coitus. I think what I liked about Superman II was that it confronted me with things I thought of has wrong in relation to Superman, especially Superman having sex with Lois, which also intrigued me. However, as a film critic said at the time of the film’s initial release, Superman and Lois should not have actual physical sex, because their version of sex was Superman carrying Lois in his arms as they fly over Metropolis.

Beside the sex, I found General Zod and company to be good villains, and, in a sense, they were the beginning of a series of things that endangered all that was great and good about Superman for me. They attacked the civilians that Superman protected, were disrespectful of the President of the United States of America, and they invaded Superman’s Fortress of Solitude. All these conflicts, dilemmas, and obstacles made for an exciting movie.

Years later, I find Superman II’s occasional campy moments and scenes a bit annoying, although its mostly those featuring Lex Luthor (Gene Hackman). There is quite a bit to like about this movie, but the main reason to like this is the late Christopher Reeve. Here, he is eternally youthful. As Clark Kent, he is humble and even sly. As Superman, Reeve is both a champion and a man for seasons.

Now, I think Superman: The Movie is the better film and a blueprint for what a superhero movie can be. Still, Superman II is memorable.

6 of 10
B

Thursday, June 06, 2013

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Review: "Superman: The Movie" and Christopher Reeve Are Still Great

TRASH IN MY EYE No. 148 (of 2006) by Leroy Douresseaux

Superman: The Movie (1978)
Running time: 143 minutes (2 hours, 23 minutes)
MPAA – PG
DIRECTOR: Richard Donner
WRITERS: Mario Puzo, David Newman, Leslie Newman, and Robert Benton; from a story by Mario Puzo (based upon the characters and situations created by Jerry Siegel and Joe Shuster)
PRODUCER: Pierre Spengler
CINEMATOGRAPHER: Geoffrey Unsworth
EDITORS: Stuart Baird and Michael Ellis
COMPOSER: John Williams
Academy Award winner

SUPERHERO/ACTION/DRAMA with elements of comedy and sci-fi

Starring: Marlon Brando, Gene Hackman, Christopher Reeve, Margot Kidder, Ned Beatty, Jackie Cooper, Glenn Ford, Phyllis Thaxter, Valerie Perrine, Jeff East, Marc McClure, and Susannah York

The subject of this movie review is Superman: The Movie, a 1978 superhero drama and action film from director Richard Donner. This movie is based on the DC Comics character, Superman, created by comic book writer Jerry Siegel and comic book artist Joe Shuster. Superman: The Movie is a very good film, but more important is this film’s influence on the superhero movies that followed it. Superman: The Movie took its subject matter seriously and played it straight, rather than campy, proving that superhero movies could be more than silly comedies looking for cheap laughs.

Superman: The Movie is the first of four films starring the late actor, Christopher Reeve, in the role of Superman and also his civilian identity, Clark Kent. Although he does not receive a screenwriting credit, Tom Mankiewicz wrote Superman: The Movie’s final draft script. The father-son team of Alexander and Ilya Salkind produced this movie along with Pierre Spengler. The movie depicts Superman’s origin, from his birth on a distant planet to his youth in a rural small town, Smallville. The movie also begins to chronicle his adult life as a big city newspaper reporter and as Superman.

Mild-mannered Clark Kent (Christopher Reeve) works as a reporter at The Daily Planet, one of the major newspapers in the city of Metropolis (a stand-in for New York City). He has a crush on fellow ace reporter, Lois Lane (Margot Kidder), but Lois has a crush on the flying, impossibly strong hero, Superman (Christopher Reeve). Superman, however, is the alter ego of Clark Kent, and Kent also has many other secrets. He’s from another world, the planet Krypton, and before Krypton exploded, his father, Jor-El (Marlon Brando) sent baby Clark, whose birth name is Kal-El, in a starship on a three-year journey to Earth. Shortly after the star ship carrying Kal-El crashes in a Kansas field, a middle-aged couple, Martha and Jonathan Kent (Phyllis Thaxter and Glenn Ford), takes Kal-El as their own and names him Clark Kent.

Not long after Superman reveals himself to the world, he runs up against the nefarious genius, Lex Luthor (Gene Hackman), who has launched a plan to destroy much of western California in a real estate scheme that will make him perhaps the richest man on earth, although it will kill millions of people. Superman has met his match. Not only must he save millions of lives, but he must also save his friends Lois and cub reporter, Jimmy Olsen (Marc McClure), and even Superman might not have enough time to do that.

Nearly 30 years after its first release, many critics and fans still consider director Richard Donner’s (The Omen) Oscar-nominated film, Superman: The Movie, to be the definitive big screen version of DC Comics’ venerable superhero. Christopher Reeve, a then unknown when cast to play Clark Kent/Superman, also remains for many the definitive screen Superman, be it TV or film (I personally prefer George Reeves of the 1950’s “Superman” TV series).

This version of Superman is an example of producer spending a large sums of money on a film and actually getting superior results. A talented director and crew of good writers took a cast that included a few great actors and movie stars, quality character actors, and some up and coming new talent and told an epic story that fills the viewer with the same kind of wonder of which the film itself is made. Everything works: Marlon Brando is a solemn, otherworldly, mystic-like figure that presides over the first half of the film like a grand marshal in an ambitious parade.

Gene Hackman is a smooth, scene-stealing, genius wise guy as Lex Luthor (and though I’m a big fan of Hackman, I’ve always had slight misgivings about Hackman as Luthor). Other cast members also resonate: Jackie Cooper is pitch-perfect tart as Planet boss, Perry White; Margot Kidder as Lois Lane is both tomboyish and girlish with a touch of feminism; and Marc McClure is spot-on as a Jimmy. Simply put, Reeve seems to embody both Clark and Superman. It’s as if he stepped out of a classic Superman comic book, and that’s enough to make it all work.

Superman’s technical aspects were also high quality. The visual effects are actually still good; they stand up to much of the high-priced, over-the-top computer effects done today. Using a harness and cranes to lift Christopher Reeve and give him the illusion of flying was and still is great stuff. As the film’s tagline says, “You’ll Believe a Man Can Fly.”

8 of 10
A

NOTES:
1979 Academy Awards, USA: 1 win: “Special Achievement Award for Visual Effects” (Les Bowie, Colin Chilvers, Denys N. Coop, Roy Field, Derek Meddings, and Zoran Perisic); 3 nominations: “Best Film Editing” (Stuart Baird), “Best Music, Original Score” (John Williams), and “Best Sound” (Gordon K. McCallum, Graham V. Hartstone, Nicolas Le Messurier, and Roy Charman)

1979 BAFTA Awards: 1 win: “Most Promising Newcomer to Leading Film Roles” (Christopher Reeve); 4 nominations: “Best Cinematography” (Geoffrey Unsworth), “Best Production Design/Art Direction” (John Barry), “Best Sound” (Chris Greenham, Gordon K. McCallum, Peter Pennell, Mike Hopkins, Pat Foster, Stan Fiferman, John Foster, Roy Charman, Norman Bolland, Brian Marshall, Charles Schmitz, Richard Raguse, and Chris Large), and “Best Supporting Actor” (Gene Hackman)

1979 Golden Globes, USA: 1 nomination: “Best Original Score - Motion Picture” (John Williams)

Friday, July 14, 2006

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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: "Get Shorty" Still Stands Tall (Happy B'day, John Travolta)

TRASH IN MY EYE No. 48 (of 2005) by Leroy Douresseaux

Get Shorty (1995)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – R for language and some violence
DIRECTOR: Barry Sonnenfeld
WRITER: Scott Frank (based upon the novel by Elmore Leonard)
PRODUCERS: Danny DeVito, Michael Shamberg, and Stacey Sher
CINEMATOGRAPHER: Donald Peterman
EDITOR: Jim Miller
Golden Globe winner

CRIME/COMEDY with elements of drama

Starring: John Travolta, Gene Hackman, Rene Russo, Danny DeVito, Dennis Farina, Delroy Lindo, James Gandolfini, Jon Gries, David Paymer, Renee Props, Martin Ferrero, Miguel Sandoval, and Jacob Vargas with (uncredited) Bette Midler, Harvey Keitel, and Penny Marshall

Get Shorty is a 1995 crime comedy starring John Travolta. The film is based upon the 1990 novel, Get Shorty, by Elmore Leonard.

Ten years later, Get Shorty, is still as slick and as cool as it was the day it debuted. Although it’s 2005 sequel, Be Cool, is filled with hilarious characters and situations, Get Shorty emphasized polished filmmaking, laid back acting, and subtle comedy to make it more of a humorous comedy than the riotous laugh fest its sequel is. Get Shorty fits right in with several other adult crime films from the mid to late 90’s because it doesn’t pretend to be for everyone, so it didn’t pander to juveniles and those with juvenile mindsets. With an emphasis on sharp writing, adult situations, engaging characters, snappy dialogue, and non-gratuitous violence, these films, which included The Negotiator, Jackie Brown, and Out of Sight, were a welcomed treat for adult viewers.

In Las Vegas to collect a debt for his boss, Ray “Bones” Barboni, Chili Palmer (John Travolta), a cool Miami loan shark/shylock, agrees to collect another bad debt, this one from trash movie producer Harry Zimm (Gene Hackman) in Los Angeles. Zimm gets lucky because Chili is a movie buff and pitches a movie idea to Zimm. They become partners and Chili easily slips into the life of a film producer. He schmoozes stars, gets reservations to all the best restaurants, and romances B-movie scream queen, Karen Flores (Rene Russo). Chili however isn’t the only mobster who wants in on the movie business. Harry Zimm owes another shady lender, Bo Catlett (Delroy Lindo), money, and Catlett wants to force his way in on a deal for a hot script Zimm has. Add Catlett to a mix of angry drug dealers, relentless DEA agents, vain movie star Martin Weir (Danny DeVito), double and triple crossing, and Ray Bones showing up in town looking for him, and Chili will need to use all his wiles to get his way.

In Get Shorty, the cast members use their star power and screen personas to add zest to these characters that were born in the mind of Elmore Leonard, a novelist who creates memorable characters for his numerous novels. Director Barry Sonnenfeld gives the film an easy mood, and allows his cast to give performances that crackle. John Travolta embodies that don’t-give-a-shit attitude of confident thug. Gene Hackman is funny, sly, and adds subtle touches that make Harry Zimm zing.

In the final analysis, the film does come across as too glossy. It rushes to a tacked-on happy ending, and the characters beg to be better known or more developed. It’s because the cast make these stock characters as flavorful as they are in Leonard’s novels (although in smaller servings) that Get Shorty is still such fun to watch.

8 of 10
A

NOTES:
1996 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture - Comedy/Musical” (John Travolta); 2 nominations: “Best Motion Picture - Comedy/Musical” and “Best Screenplay - Motion Picture” (Scott Frank)

April 3, 2005

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Review: "Runaway Jury" is Unrealistic, But Entertaining (Happy B'day, Gene Hackman)

TRASH IN MY EYE No. 32 (of 2005) by Leroy Douresseaux

Runaway Jury (2003)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG-13 for violence, language, and thematic elements
DIRECTOR: Gary Fleder
WRITERS: Brian Koppelman and David Levien, Rick Cleveland, and Matthew Chapman (based upon the novel by John Grisham)
PRODUCER: Christopher Mankiewicz, and Gary Fleder
CINEMATOGRAPHER: Robert Elswit, A.S.C.
EDITOR: William Steinkamp, A.C.E. and Jeff Williams

DRAMA/THRILLER

Starring: John Cusack, Gene Hackman, Dustin Hoffman, Rachel Weisz, Bruce Davison, Bruce McGill, Jeremy Piven, Nick Searcy, Joanna Going, Stanley Anderson, Cliff Curtis, Jennifer Beals, and Bill Nunn with Orlando Jones and (uncredited) Dylan McDermott

Runaway Jury is a 2003 legal drama/thriller from director Gary Fleder. The film is based on the 1996 novel, The Runaway Jury, by author John Grisham.

Set in New Orleans, Runaway Jury is the story of a mysterious man named Nicholas Easter (John Cusack), who talks his way onto the jury of a landmark civil case against a gun manufacturer and attempts to influence the verdict by manipulating the other jurors. Meanwhile, on the outside, Easter’s girlfriend, Marlee (Rachel Weisz) runs a game to swindle the two lawyers involved in the case into paying her 10 million dollars if they want the verdict friendly to their clients.

Wendell Rohr (Dustin Hoffman) is a torts lawyer who represents the plaintiff, Celeste Wood (Joanna Going), the widow of Jacob Wood (Dylan McDermott), who was killed in a shooting rampage at brokerage firm. She believes the gun manufacturer knew that the killer bought the gun from a store that was careless and ignored gun laws. Rankin Fitch (Gene Hackman) is a jury consultant for the defense. Fitch is almost superhuman in the way he is able to discover the pasts of jurors, examine their beliefs and mindsets, and find out who can be bought, bribed, or blackmailed. His war with Nick Easter and Marlee drives the trial to the brink of ruin for a breathtaking finale.

Runaway Jury is the latest film adapted from a bestseller by John Grisham, author of books such as The Firm and A Time to Kill, both of which were adapted into films. The novel’s original premise was about a civil action against big tobacco, but the gun industry, also a target of big lawsuits, may have seemed like an easier sell to moviegoers, as guns are a lightening rod and divider of the American public. However, the film really doesn’t turn on a change of litigants. The best thing this film has going for it is the trio of John Cusack, Gene Hackman, and Rachel Weisz because they put the drama and thrills in this film. Dustin Hoffman is good, but he seems like the odd man out. His one good chance to chew up the scenery with Hackman is decidedly one-sided with Hackman eating his lunch. Anyone seeing this movie will clearly understand what power Hackman radiates. His star power and acting ability is worlds better than most other actors. An actor in a film with him has got to bring serious game, or Hackman will sweep him away. I so loved Hackman’s performance here that I wanted to have a baby for him.

Parts of Runaway Jury certainly test the bounds of belief and reality, but this is a great legal drama even if stuff happens in this film that no judge would allow to go on in his courtroom. And I say that knowing that most judges ain’t worth crap and are as crooked as a devil in gambling parlor. Runaway Jury is wonderful entertainment, and if you turn your reasoning down a little, it’ll keep you on the edge of your seat.

7 of 10
B+

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Review: "Young Frankenstein" is Eternally Funny

TRASH IN MY EYE No. 51 (of 2005) by Leroy Douresseaux

Young Frankenstein (1974) – Black & White
Running time: 105 minutes (1 hour, 45 minutes)
DIRECTOR: Mel Brooks
WRITERS: Gene Wilder and Brooks – screen story and screenplay (based upon the novel Frankenstein by Mary Shelley)
PRODUCER: Michael Gruskoff
CINEMATOGRAPHER: Gerald Hirschfeld
EDITOR: John C. Howard
Academy Award nominee

COMEDY/HORROR with elements of drama, sci-fi, and romance

Starring: Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, Terri Garr, Kenneth Mars, and Gene Hackman

Mel Brooks’ Young Frankenstein is a tribute to Mary Shelley’s classic novel, Frankenstein, by way of parody. The film pokes fun at the various film versions of the novel, in particular the Universal Pictures versions. Parody’s work best when the parody looks a lot like the material at which it’s poking fun; that is why Young Frankenstein and Brooks’ other famous send-up, Blazing Saddles, work so well. Saddles looks, sounds, and walks like a western, and Young Frankenstein is a beautiful, black and white dream that looks as if it were born right next to the Universal’s Frankenstein films. In fact, this film was shot on the same set with the same props and lab equipment as the original 1931 film, Frankenstein.

After years of trying to live down the family’s reputation, Frederick von Frankenstein (Gene Wilder) is summoned by a will to his late grandfather, Victor von Frankenstein’s, castle in Transylvania. He is joined at the castle by Inga, (Terri Garr), who tells Young Frankenstein that she is his assistant, and by Igor (Marty Feldman), whose grandfather worked for Frederick’s grandfather. Frederick eventually discovers his grandfather’s step-by-step manual explaining how to reanimate dead tissue. He repeats granddad’s experiments and creates The Monster (Peter Boyle). However, despite his imposing size and frightful face, The Monster only wants to be loved, but the local villagers aren’t buying it. The Monster repeatedly tries to escape the fright and ignorance that wants to destroy him, but Frederick wants to bring him home and teach him to live amongst people.

1974 was a good year for Brooks because it also saw the release of his classic send up of westerns, Blazing Saddles. Young Frankenstein is still considered by many to be his best film (I take the other side saying Saddles is his best), and the film remains a gorgeous black and white ode not only to Frankenstein movies, but also to the beauty of black and white films and how the splendor of their superb costume designs and lavish and ornate sets were still evident even without the benefit of color photography.

The cast is also superb, and no one single person needs to be singled out because everyone is at the top of his or her game. However, the late Marty Feldman wasn’t shy about playing up the fact that he was acting in a comedy. Paying special attention to him every time he’s on screen is worth the patience when paid off in comic gems. The film also has a lot of good jokes and clever gags, and the timing is impeccable – apparently due to a lot of editing. That’s probably the best thing about this film; watching it gives the sensation that everything works, makes sense, and that the humor is true. Young Frankenstein is one of the great film comedies, and is not to be missed.

8 of 10
A

NOTES:
1975 Academy Awards: 2 nominations: “Best Sound” and “Best Writing, Screenplay Adapted from Other Material”


1975 Golden Globes: 2 nominations: “Best Motion Picture Actress – Musical/Comedy” (Cloris Leachman) and “Best Supporting Actress – Motion Picture” (Madeline Kahn).


2003: the National Film Preservation Board, USA added the movie to the National Film Registry.

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