Movie Review: "Bloodshot" Surprises

TRASH IN MY EYE No. 23 (of 2020) by Leroy Douresseaux

Bloodshot (2020)

[This review was originally posted on Patreon.]

Running time:  109 minutes (1 hour, 49 minutes)
MPAA – PG-13 for intense sequences of violence, some suggestive material and language
DIRECTOR:  David S.F. Wilson
WRITERS: Jeff Wadlow and Eric Heisserer; from a story by Jeff Wadlow (based on the Valiant Comics character)
PRODUCERS:  Vin Diesel, Toby Jaffe, Neal H. Moritz, and Dinesh Shamdasani
CINEMATOGRAPHER:  Jacques Jouffret (D.o.P.)
EDITOR:  Jim May
COMPOSER:  Steve Jablonsky

SUPERHERO/FANTASY/SCI-FI/ACTION

Starring:  Vin Diesel, Guy Pearce, Eiza González, Sam Heughan, Lamorne Morris, Alex Hernandez, Toby Kebbell, Talulah Riley, Siddharth Dhananjay, and Jóhannes Haukur Jóhannesson

Bloodshot is a 2020 superhero and science fiction film directed by David S.F. Wilson.  The film features the Valiant Comics' character, Bloodshot, that was created by Kevin VanHook, Don Perlin, and Bob Layton.  Blooshot focuses on a slain Marine brought back to life as a super-powered weapon.

Bloodshot introduces U.S. Marine Ray Garrison (Vin Diesel).  After leading a successful rescue operation in Mombasa, Ray and his wife, Gina (Talulah Riley), travel to a beachside town on Italy's Amalfi Coast for a holiday.  However, a notorious terrorist, Martin Axe (Toby Kebbell), kidnaps Ray and Gina and demands that Ray reveal the source of the information the Marines used for the Mombasa hostage operation.  Then, things turn ugly.

Ray awakens in a lab at the headquarters of RST (Rising Spirit Tech), a company that specializes in developing cybernetic enhancements for disabled United States' military personnel.  The company's CEO, Dr. Emil Harting (Guy Pearce), tells Ray that he is the first successful candidate that they have resurrected using a special “nanite technology.”  As he embarks on his first kill-mission, Ray does not realize that very little of what he believes is true.

While watching Bloodshot, I realized that Vin Diesel has starred in a lot of science fiction and fantasy films.  They are an odd lot of high concepts and box office misfires – for the most part.  Bloodshot is one of those films that had its release truncated by the closure of most movie theaters in North America by the COVID-19 pandemic shutdown.  I am not sure if Bloodshot would have been much of a box office hit if it had had a full release...

...But it is a surprisingly enjoyable movie.  The truth is that this is something I would enjoy watching on DVD (which is how I saw the film via DVD Netflix), but, because it is based on a comic book, there is a good chance that I would have made a trip to the movie theater to see it.  Now, that I have seen it, I want to recommend it to fans of movies based on comic books and also to Vin Diesel fans.  Bloodshot is not a “Fast & Furious” film, but its action is... fast and furious... coincidentally.

Bloodshot's revenge-fantasy-within-a-revenge-tale plot delivers a lot of good action sequences.  This narrative's themes, built around the ideas of freedom, choice, control, and reality actually resonate.  While watching this movie, I often found myself asking questions like, “How free am I really?” and “How much freedom of choice is actually of my choosing?”  Bloodshot is like a story by the late author, Philip K. Dick, in which the lead character faces the truth that the reality in which he thinks he lives... is not real... or at least, it is not in his control.

Bloodshot is not a mindless action movie, and it is certainly a stronger take on the story of a military-type discovering that his body or part of it has been stolen than the 2019 Will Smith vehicle, Gemini Man.  However, Bloodshot would be a much stronger film if Vin Diesel were a better actor.  Diesel's acting range mostly runs from smooth guy to menacing guy to enraged guy.  This film's script certainly gives him plenty of scenes when Diesel has to be angry or at least to seethe.  Whenever Diesel's Ray Garrison has to be thoughtful, the film quickly moves on.

As for the supporting characters, the film's writing also doesn't offer anything more than familiar character types.  Still, actor Lamorne Morris manages to make his character, the coding rebel-genius, Wilfred Wigans, excellent comic relief.  Both actor and character are worth seeing again.

So I can honestly say that director David S.F. Wilson delivers a film that is more (at least, a little more) than it seems on the surface.  Bloodshot does not have any of those awful dry moments that make me want to fall asleep when watching an alleged action movie (which happens a lot... the aforementioned Gemini Man).  It is pretty much a fast-moving, highly-entertaining thrill machine.  Bloodshot has an excellent last act featuring a eye-spinning epic battle in and around an elevator shaft, and remember: the writing is smart enough to take its themes and ideas seriously.  In fact, Bloodshot is good enough to warrant a sequel – even if the box office... reality might keep that from happening.

6 of 10
B

Monday, September 28, 2020


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Recent Release, "Bloodshot," Now Available on Digital

Columbia Pictures’ Bloodshot To Be Available For Digital Purchase Starting March 24

CULVER CITY, CA — Given unprecedented theater closures nationwide, Columbia Pictures has set the sale date of Bloodshot on EST (electronic sell through) for March 24, 2020. The Valiant comic-book property will be available for digital purchase for a suggested retail price of $19.99 in the U.S. with all leading digital retailers. International digital sale dates will be solidified in the days ahead with territory-specific COVID-19 impact considerations.

“Sony Pictures is firmly committed to theatrical exhibition and we support windowing,” said Tom Rothman, Chairman of Sony Pictures Entertainment’s Motion Picture Group. “This is a unique and exceedingly rare circumstance where theaters have been required to close nationwide for the greater good and Bloodshot is abruptly unavailable in any medium. Audiences will now have the chance to own Bloodshot right away and see it at home, where we are all spending more time. We are confident that -- like other businesses hit hard by the virus -- movie theaters will bounce back strongly, and we will be there to support them.”

Based on the bestselling comic book, Vin Diesel stars as Ray Garrison, a soldier recently killed in action and brought back to life as the superhero Bloodshot by the RST corporation. With an army of nanotechnology in his veins, he’s an unstoppable force –stronger than ever and able to heal instantly. But in controlling his body, the company has sway over his mind and memories, too. Now, Ray doesn’t know what’s real and what’s not – but he’s on a mission to find out.

Bloodshot is presented by Columbia Pictures in association with Bona Film Group Co., Ltd. and Annabell Pictures & The Hideaway Entertainment. Directed by David S. F. Wilson. Screenplay by Jeff Wadlow and Eric Heisserer. Story by Jeff Wadlow. Based on The Valiant Comic Book. Produced by Neal H. Moritz, Toby Jaffe, Dinesh Shamdasani and Vin Diesel. Executive Producers are Dan Mintz, Louis G. Friedman, YU Dong, Jeffrey Chan, Rita LeBlanc, Buddy Patrick and Matthew Vaughn. The film stars Vin Diesel, Eiza Gonzalez, Sam Heughan, Toby Kebbell and Guy Pearce.


About Sony Pictures Entertainment
Sony Pictures Entertainment (SPE) is a subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion picture production, acquisition, and distribution; television production, acquisition, and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. SPE’s Motion Picture Group production organizations include Columbia Pictures, Sony Pictures Animation, Screen Gems, TriStar Pictures, 3000 Pictures, Stage 6 Films, AFFIRM Films, and Sony Pictures Classics. For additional information, visit http://www.sonypictures.com/corp/divisions.html.

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Sony Pictures Obtains WWII Drama, "Lyrebird"

Sony Pictures Classics Acquires Dan Friedkin’s Lyrebird

NEW YORK – Sony Pictures Classics announced today that they have acquired all rights in all media in North America, Latin America, Eastern Europe, Scandinavia, the Middle East and Asia to Dan Friedkin’s LYREBIRD.  The film stars Vicky Krieps, Guy Pearce, Roland Moller and Claes Bang.  It premiered at the Telluride Film Festival and will screen this evening at the Toronto International Film Festival.

Claes Bang (The Square) stars as Joseph Piller in this captivating dramatic thriller set just after WWII - an all but forgotten true story - about a soldier investigating renowned Dutch artist Han van Meegeren, played by Guy Pearce (LA Confidential), who is accused of conspiring with the Nazis. Despite mounting evidence, Piller becomes increasingly convinced of Han's innocence and finds himself in the unlikely position of fighting to save the life of the colorful man with a mysterious past. The film also features Vicky Krieps (Phantom Thread).

Written by James McGee and Mark Fergus & Hawk Ostby, LYREBIRD marks Friedkin’s directorial debut.  Ryan Friedkin, Danny Friedkin, and Bradley Thomas are producing and Gino Falsetto, Peter Heslop and Ridley Scott are executive producing.

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Review: "Iron Man 3" About the Man in the Iron

TRASH IN MY EYE No. 31 (of 2013) by Leroy Douresseaux


Iron Man 3 (2013)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for sequences of intense sci-fi action and violence throughout, and brief suggestive content
DIRECTOR: Shane Black
WRITERS: Drew Pearce and Shane Black (based on the characters and stories created by Stan Lee, Don Heck, Larry Lieber, and Jack Kirby)
PRODUCER: Kevin Feige
CINEMATOGRAPHER: John Toll (director of photography)
EDITORS: Peter S. Elliot and Jeffrey Ford
COMPOSER: Brian Tyler

SUPERHERO/SCI-FI/ACTION

Starring: Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Ty Simpkins, Ben Kingsley, James Badge Dale, Stephanie Szostak, William Sadler, Miguel Ferrer, Jon Favreau, and Paul Bettany (voice)

Iron Man 3 is a 2013 superhero film co-written and directed by Shane Black and starring Robert Downey, Jr. in the title role. It is the third movie in the Iron Man film franchise and the seventh installment in the Marvel Cinematic Universe (which began with the first Iron Man movie in 2008). In Iron Man 3, Tony Stark/Iron Man is forced to rebuild his world after it is torn apart by a formidable terrorist.

Iron Man 3 finds billionaire inventor Tony Stark (Robert Downey, Jr.) suffering from anxiety after his experiences with The Avengers. He has built several new Iron Man suits, which causes friction with his girlfriend and current CEO of Stark Industries, Pepper Potts (Gwyneth Paltrow). Also, Tony’s friend, James “Rhodey” Rhodes (Don Cheadle), is now the U.S. government’s go-to-guy when it needs Iron Man-type help. Rhodes in his War Machine armor has also been re-branded as the Iron Patriot.

Tony has been working non-stop for months, but one thing that does catch his attention is the global tension caused by a mysterious terrorist known as The Mandarin (Ben Kingsley). After his friend, Happy Hogan (Jon Favreau), is gravely wounded in one of The Mandarin’s terrorist attacks, Tony vows revenge, but The Mandarin strikes first. Tony begins a journey of rebuilding and retribution, which is complicated by a cast of characters that includes friends and foes and even people whose allegiances are suspect.

Iron Man 3 is spectacular. Destruction is rendered in vivid colors and in awesome visual effects generated by computer software with the god-like ability to create new realities. But I was buying it the way I did for the first two Iron Man films. Don’t get me wrong, Iron Man 3 is good, and I enjoyed it – for the most part. For all its superhero action pageantry and its out of this world combat between demigods and demigod wannabes, I was only somewhat titillated.

There is one glaring thing that dampened my enthusiasm for Iron Man 3, and it is the entire Tony Stark anxiety, panic attack, quasi-PTSD, crisis of faith/conscience factor that is at the heart of Iron Man 3. To me, Tony’s angst comes across as contrived. I just wasn’t buying it. Didn’t we already litigate Tony Stark’s mental demons, relationship shortcomings, and personality glitches in Iron Man 2?

I did enjoy Gwyneth Paltrow as Pepper Potts, and the actress shows that if the filmmakers did more than just scratch the surface of this character, they’d have something super. In addition, Don Cheadle easily moves past being the replacement actor (as Terrence Howard played Rhodes in the first Iron Man), as he fully comes into his own as James Rhodes. Here, Cheadle is funny and engaging, and he clearly has the film personality to be an action-movie star – certainly in superhero movies. Also, Ty Simpkins is surprisingly good as the Harley, a non-annoying, forthright boy.

In terms of tone, attitude, and spirit, Iron Man 3 is different from its predecessors. In fact, it seems odd, and The Mandarin subplot keeps things weird – perhaps too much. So Iron Man 3… maybe I’ll like it more when I see it again, on DVD or television. It is a good movie, but I can only be generous enough to give it a grade of “B.”

6 of 10
B

Sunday, May 5, 2013

"Iron Man 3" Opens Early in IMAX

Marvel's Iron Man 3 Flies Into IMAX® Theatres Worldwide Starting April 25

LOS ANGELES, Jan. 22, 2013 /PRNewswire/ -- IMAX Corporation (NYSE:IMAX; TSX:IMX), and Marvel Entertainment, a division of The Walt Disney Company (NYSE: DIS), today announced that Marvel's Iron Man 3(TM), the latest installment of the film franchise that has grossed more than $1.2 billion at the global box office, will be digitally re-mastered into the immersive IMAX(®) 3D format and released to IMAX(®) theatres internationally starting April 25 and domestically on May 3.

Marvel's Iron Man 3 marks the fourth Marvel Entertainment film to be presented in IMAX theatres, following the releases of Iron Man 2 in 2010, Thor in 2011 and Marvel's The Avengers in 2012 - which all delivered record breaking performances in IMAX theatres.

"Marvel and IMAX are a perfect one-two punch and the Iron Man franchise has become a global phenomenon that resonates with fans around the world," said Greg Foster, Chairman and President of IMAX Filmed Entertainment. "We look forward to moviegoers experiencing this highly-anticipated next installment of Tony Stark's latest adventures in IMAX 3D."

"With Iron Man 3 building on the events of Marvel'sThe Avengers, audiences are in for yet another incredible moviegoing experience from Marvel Studios," said Dave Hollis, Executive Vice President of Motion Picture Distribution for The Walt Disney Studios. "We're thrilled to be able to offer that to fans in the larger-than-life action of IMAX 3D."

The IMAX 3D release of Marvel's Iron Man 3 will be digitally re-mastered into the image and sound quality of The IMAX Experience(®) with proprietary IMAX DMR(®) (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie. You can learn more about Marvel's Iron Man 3 by visiting Marvel's official site at http://marvel.com/ironman3.


About Iron Man 3
Marvel's Iron Man 3 pits brash-but-brilliant industrialist Tony Stark/Iron Man against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy's hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man?

Starring Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Stephanie Szostak, James Badge Dale with Jon Favreau and Ben Kingsley, Marvel's Iron Man 3 is directed by Shane Black from a screenplay by Drew Pearce & Shane Black and is based on Marvel's iconic super hero Iron Man, who first appeared in the pages of Tales of Suspense #39 in 1963 and had his solo comic book debut with The Invincible Iron Man # in May of 1968.

Marvel's Iron Man 3 is presented by Marvel Studios in association with Paramount Pictures and DMG Entertainment. Marvel Studios' President Kevin Feige is producing and Jon Favreau, Louis D'Esposito, Charles Newirth, Victoria Alonso, Stephen Broussard, Alan Fine, Stan Lee and Dan Mintz are executive producers. The film releases May 3, 2013, and is distributed by Walt Disney Studios Motion Pictures.

About Marvel Entertainment, LLC
Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world's most prominent character-based entertainment companies, built on a proven library of over 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information, visit http://www.marvel.com/.

About IMAX Corporation
IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you've never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX's network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing. As of Sept. 30, 2012, there were 689 IMAX theatres (556 commercial multiplex, 20 commercial destination and 113 institutional) in 52 countries.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®, The IMAX Experience® and IMAX Is Believing® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).

This press release contains forward looking statements that are based on IMAX management's assumptions and existing information and involve certain risks and uncertainties which could cause actual results to differ materially from future results expressed or implied by such forward looking statements. These risks and uncertainties are discussed in IMAX's most recent Annual Report on Form 10-K and most recent Quarterly Reports on Form 10-Q.

"Prometheus" is One of 2012's Best Films

TRASH IN MY EYE No. 83 (of 2012) by Leroy Douresseaux


Prometheus (2012)
Running time: 124 minutes (2 hours, 4 minutes)
MPAA – R for sci-fi violence including some intense images, and brief language
DIRECTOR: Ridley Scott
WRITERS: Jon Spaihts and Damon Lindelof (based on elements created by Dan O'Bannon and Ronald Shusett)
PRODUCERS: David Giler, Walter Hill, and Ridley Scott
COMPOSER: Marc Streitenfeld
CINEMATOGRAPHER: Dariusz Wolski (D.o.P.)
EDITOR: Pietro Scalia
COMPOSER: Marc Streitenfeld

SCI-FI/ACTION/MYSTERY

Starring: Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba, Guy Pearce, Logan Marshall-Green, Sean Harris, Rafe Spall, and Benedict Wong

Prometheus is a 2012 science fiction film from director Ridley Scott. The film is related to Ridley Scott’s 1979 film, Alien, and is not quite a prequel to the movie, at least according to Scott. I think that it is one of the year’s best films, thus far.

Prometheus is mainly set near the end of the 21st century. In 2089, archaeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover a star map, one similar to others they have found at archaeological digs of other ancient sites. They interpret these maps as an invitation from the beings that created humanity, which the two call the “Engineers.”

They convince Peter Weyland (Guy Pearce), the elderly and dying CEO of Weyland Corporation, to fund a space-going, scientific exploration vessel, Prometheus, so that they can follow the star map to a distant moon. Prometheus and her crew of 17 arrive at the moon, LV-223, where they find an artificial structure. What awaits them inside is a mystery that spans time and space and a terrifying battle to save the human race.

By the point in the film where Prometheus arrived at its destination, I was sure that Prometheus the movie was Ridley Scott’s attempt at making his own 2001: A Space Odyssey, the famous Stanley Kubrick science fiction film. This film has a sense of wonder, so much so that it seems to celebrate the human urge to explore and to discover. The screenplay, which is brimming with interesting ideas and intriguing notions, offers a counter-balance to Scott’s urge to explore. That is the idea that people do the things they do simply because they can, and that asking why may be irrelevant.

The film is beautiful. Its visual aesthetic design mixes the slick holographic cool of James Cameron’s Avatar with touches of H.R. Giger’s “biomechanoid” style which defined the film, Alien. There are also a number of good performances. As Meredith Vickers, Charlize Theron does menace in a way more bracing than in her Oscar-winning performance in Monster, and Idris Elba steals scenes as Janek, the captain of the Prometheus. However, Michael Fassbinder as the android, David, is fantastic. He is mesmerizing, intimidating, and even sexy.

Prometheus is thoughtful, always playing around with ideas or a thesis or two; even when the film turns on the action and the thrills, it’s still thinking. It does no damage to the original Alien film, but Scott and collaborators have the makings for a new, genuine science fiction franchise.

9 of 10
A+

Friday, November 09, 2012

Don Cheadle Turns "Traitor" into a Hot Thriller

TRASH IN MY EYE No. 19 (of 2012) by Leroy Douresseaux


Traitor (2008)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for intense violent sequences, thematic material and brief language
DIRECTOR: Jeffrey Nachmanoff
WRITERS: Jeffrey Nachmanoff; from a story by Steve Martin and Jeffrey Nachmanoff
PRODUCERS: Don Cheadle, David Hoberman, Todd Lieberman, and Jeffrey Silver
CINEMATOGRAPHER: J. Michael Muro (D.o.P.)
EDITOR: Billy Fox
COMPOSER: Mark Kilian

DRAMA/THRILLER

Starring: Don Cheadle, Guy Pearce, Saïd Taghmaoui, Neal McDonough, Alvy Khan, Archie Panjabi, Raad Rawi, Lorena Gale, and Jeff Daniels

Traitor is a 2008 drama and thriller starring Don Cheadle. Based on an idea by Steve Martin (yes, that Steve Martin), who is also an executive producer on this film, Traitor focuses on a U.S. citizen turned terrorist and the FBI agent who is tracking him.

Born in Sudan and a naturalized Arabic-speaking, U.S. citizen, Samir Horn (Don Cheadle) is working as an arms dealer when he is arrested in Yemen and thrown in a Yemeni prison. There, he meets Omar (Saïd Taghmaoui), who is part of the Al-Nathir terrorist network. Omar befriends Samir, and after they escape from prison, Omar gets Samir to join the Islamic Brotherhood.

Meanwhile, FBI Special Agent Roy Clayton (Guy Pearce) has been hunting Samir, who is also former U.S. Special Operations Forces, through numerous countries. After he learns that Samir has returned to America, Clayton must discover the secrets behind this complicated man before the mysterious Risala Shukra Al-hiba event begins. Samir is a traitor, but exactly who or what is he betraying.

While it examines the beliefs and motivations behind terrorism, Traitor operates like a spy thriller similar to the 2010 Angelina Jolie film, Salt. Traitor is also a kind of dual procedural thriller, as it depicts how an FBI international terrorism investigation works and how terrorists plan (recruiting, financing, infiltrating, etc.). This is a film that seems to really know its subject matter. Of course, this is a bare-bones version of the inner workings of a terrorist organization, but the audience will get the idea that this movie isn’t something thrown together like an exploitation film.

Traitor has lots of twists and turns, and not only does it have one major reveal, but it also has a few big ones in the last half-hour, alone. Don Cheadle, who gives another high-quality performance, holds the story together, so this fast-moving narrative has dramatic heft. Sometimes, Traitor made me feel uncomfortable because it seems so plausible, and credit that to Cheadle’s performance. Traitor is his movie, and he makes it a good one. It also doesn’t hurt that the radiant Archie Panjabi appears in this film in a nice supporting role.

7 of 10
A-

NOTES:
2009 Black Reel Awards: 3 nominations: “Best Actor” (Don Cheadle), “Best Breakthrough Performance” (Saïd Taghmaoui), and “Best Film” (Jeffrey Silver, Kay Liberman, Steve Martin, Todd Lieberman, David Hoberman, Ashok Amritraj, Steve Gaub, Don Cheadle, and Arlene Gibbs)

2009 Image Awards: 1 nomination: “Outstanding Actor in a Motion Picture” (Don Cheadle)

Sunday, March 11, 2012

"Don't Be Afraid of the Dark" More Fantasy Than Horror

TRASH IN MY EYE No. 1 (of 2012) by Leroy Douresseaux


Don’t Be Afraid of the Dark (2011)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – R for violence and terror
DIRECTOR: Troy Nixey
WRITERS: Guillermo del Toro and Matthew Robbins (based on the 1973 teleplay by Nigel McKeand)
PRODUCERS: Mark Johnson and Guillermo del Toro
CINEMATOGRAPHER: Oliver Stapleton
EDITOR: Jill Bilcock
COMPOSERS: Marco Beltrami and Buck Sanders

FANTASY/HORROR/THRILLER

Starring: Katie Holmes, Guy Pearce, Bailee Madison, Julia Blake, and Jack Thompson

Don’t Be Afraid of the Dark is a 2011 dark fantasy film, and it is also a remake of a 1973 ABC made-for-television horror movie of the same name. Co-written and co-produced by Guillermo del Toro, the new Don’t Be Afraid of the Dark is sort of a cross between a horror film and a scary movie for kids. It is certainly an atmospheric film, but it is never truly scary as it could be.

Although she wishes she didn’t have to do so, 8-year-old Sally Hirst (Bailee Madison) arrives in Rhode Island to live with her father, Alex Hirst (Guy Pearce), and his girlfriend, Kim (Katie Holmes). Alex and Kim are living in Blackwood Manor, the former home of the late renowned painter, Lord Blackwood. The couple is also restoring the manor in order to put it back on the market for sale.

Not long after moving in, Sally begins to hear strange, small voices in the walls of the manor. She even discovers that the mansion has a long-hidden basement where Lord Blackwood once worked. There, Sally opens an old fireplace and unleashes creatures that want to claim her as one of their own.

Don’t Be Afraid of the Dark features a theme familiar to horror films – how often victims go unheard or ignored. With that in mind, Sally Hirst is ostensibly the lead character, and she should be both protagonist and hero. However, the screenplay doesn’t mind telling a story of a small child being menaced, but the writers seem to blanch at the idea of that same small child fighting back.

Don’t Be Afraid of the Dark also juxtaposes fantasy and horror, and ultimately comes across as a really scary fairy tale. Because so much about the creatures, the film’s adversaries, remains in the dark, however, the movie isn’t as scary as it could be. In the bid to remain mysterious and secretive, the film, instead, views like a slice from a larger and far more interesting story. It doesn’t help that the creatures often look like bad CGI creations, which makes some of the sequences in which they attack seem more comical than scary. I could not help but feel disappointed in them; it is a vague disappointment, but still a feeling of discontent.

I still like that Don’t Be Afraid of the Dark has imagination, and the art direction and sets are museum-worthy. The photography by Oliver Stapleton is perfect for fantasy and horror and also resembles the work Guillermo del Toro’s frequent collaborator, cinematographer Guillermo Navarro. To be honest, I’d take Don’t Be Afraid of the Dark’s imperfection over other films’ perfection.

6 of 10
B

Saturday, January 07, 2012

Julie Taymor and Coen Bros. Films Debut on Blu-ray

THE TEMPEST: This modern retelling of William Shakespeare’s final masterpiece is an exciting, mystical and magical fantasy with Academy Award®-winner Helen Mirren (Best Actress, The Queen, 2006) leading a star-studded cast including Russell Brand (Get Him To The Greek) and Alfred Molina (The Sorcerer’s Apprentice). Exiled to a magical island, the sorceress Prospera (Mirren) conjures up a storm that shipwrecks her enemies, and then unleashes her powers for revenge. Directed by Julie Taymor (Frida) — and complete with exclusive bonus features — The Tempest, with its innovative twist, is a supernatural dramedy filled with Shakespearean villains, lovers and fools that will leave you spellbound. The Tempest will be released as a 1-Disc Blu-ray for the suggested Retail Price: $39.99 U.S.

GREY’S ANATOMY: THE COMPLETE SEVENTH SEASON: Includes all 22 episodes in the popular medical drama‘s seventh season which features an exclusive extended version of the one-of-a-kind 'Music Event' episode, plus “The Making of the Music Event” created especially for the DVD. This DVD gives fans exactly what they‘ve loved for seven seasons – watching the compelling ensemble deal with life-or-death consequences, while they find comfort, friendship and, at times, love in one another. Through it all everyone involved discovers that neither medicine nor relationships can be defined in black and white -- real life only comes in shades of “grey”. Grey’s Anatomy: The Complete Seventh Season will be releasing as a 5-Disc DVD set for the suggested retail price of $45.99 U.S./$54.99 Canada.

PRIVATE PRACTICE: THE COMPLETE FOURTH SEASON: From the creators of Grey’s Anatomy, comes the fourth season of ABC‘s sexy medical drama, Private Practice. Re-experience daily life for Dr. Addison Montgomery and her family of colleagues at the Oceanside Wellness Group as they rely on one another to deal with every complex romance, medical case and moral dilemma that comes their way. Offering fans the chance to own every season episode on DVD, including the critically-acclaimed, award-winning episode "Did You Hear What Happened To Charlotte King?," the release also includes exciting never before seen bonus features! Private Practice: The Complete Fourth Season will be releasing as a 3-Disc DVD set for the suggested retail price of $29.99 U.S./$35.99 Canada.

O BROTHER WHERE ARE THOU? BLU-RAY: George Clooney (The Perfect Storm) and John Turturro (Cars 2) embark on the adventure of a lifetime in this hilarious, offbeat road picture. And now, for the first time, this quirky gem shines more brightly than ever in Blu-ray High Definition!

Fed up with crushing rocks on a prison farm in Mississippi, the dapper, silver-tongued Ulysses Everett McGill (Clooney) busts loose…except that he’s still shackled to two misfits from his chain gang: bad tempered Pete (Turturro) and sweet, dimwitted Delmar (Tim Blake Nelsen) With nothing to lose and buried loot to regain, the three embark on a riotous odyssey filled with chases, close calls, near misses and betrayal. Experience every unpredictable moment as it plays out in the crystal-clear sound and breathtaking picture quality of Blu-ray. Populated with strange characters, including a blind prophet, sexy sirens and a one-eyed Bible salesman (John Goodman), O Brother, Where Art Thou will leave you laughing at every outrageous and surprising twist and turn! O Brother Where Art Thou? will be releasing as a 1-Disc Blu-ray for the suggested retail price of $26.50 US / $31.50 Canada.

COUNT OF MONTE CRISTO BLU-RAY: Jim Caviezel (Deja Vu) and Guy Pearce (Bedtime Stories) give sizzling performances in The Count Of Monte Cristo. And now, for the first time, the world’s greatest tale of betrayal, adventure and revenge is more riveting than ever in Blu-ray High Definition!

When the dashing and guileless Edmond Dantes (Caviezel) is betrayed by his best friend (Pearce) and wrongly imprisoned, he becomes consumed by thoughts of vengeance. After a miraculous escape, he transforms himself into the mysterious and wealthy Count of Monte Cristo, insinuates himself into the French nobility, and puts his cunning plan of reprisal in action. Experience the resounding clash of swords and the deadly glint off every razor-sharp blade. With the pristine sound and magnificent picture quality of Blu-ray, this swashbuckling thriller will have you perched on the edge of your seat until the very last drop of sweet revenge is exacted. The Count of Monte Cristo will be releasing as a 1-Disc Blu-ray for the suggested retail price of $26.50 U. S./ $31.50 Canada.

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

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

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

DRAMA/HISTORICAL

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

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

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

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

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

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

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

8 of 10
A

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

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

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

Thursday, April 28, 2011

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Review: Aussie "Animal Kingdom" is Awesome

TRASH IN MY EYE No. 24 (of 2011) by Leroy Douresseaux

Animal Kingdom (2010)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for violence, drug content and pervasive language
WRITER/DIRECTOR: David Michôd
PRODUCER: Liz Watts
CINEMATOGRAPHER: Adam Arkapaw
EDITOR: Luke Doolan
COMPOSER: Antony Partos
Academy Award nominee

DRAMA/CRIME/THRILLER

Starring: James Frecheville, Jacki Weaver, Ben Mendelsohn, Joel Edgerton, Guy Pearce, Luke Ford, Sullivan Stapleton, and Laura Wheelwright

Often, I am reluctant to just come right out and say, “Go see this movie!” When it comes to the Australian crime drama, Animal Kingdom, the debut film from writer/director David Michôd, I cannot hesitate to say, “See this movie!” and “It’s on DVD for your home viewing comfort.”

Animal Kingdom follows Joshua Daniel “J” Cody (James Frecheville). After his mother, Julia Cody, dies of a heroine overdose, J goes to live with his maternal grandmother, Janine “Smurf” Cody (Jacki Weaver), the matriarch of a Melbourne-based crime family. Eldest son, Andrew “Pope” Cody (Ben Mendelsohn) and family friend, Barry “Baz” Brown (Joel Edgerton) are armed robbers. Craig Cody (Sullivan Stapleton) is a mid-level drug dealer, and barely legal Darren Cody (Luke Ford) is an up and coming apprentice to the crime family.

The family is under surveillance by Melbourne’s notorious Armed Robbery Squad. After the Squad strikes first, the Cody brothers strike back. Suddenly, J is the prize in a cat and mouse game between Janine and her sons and the police, personified by a senior detective named Nathan Leckie (Guy Pearce). Now, J has to make a decision that will determine where he belongs – with his relatives or somewhere else.

With all the critical acclaim that Animal Kingdom has received, it would be redundant to go over the film’s highlights in detail. Animal Kingdom is very well acted, and Jacki Weaver certainly deserved the Oscar nomination she received for best supporting actress. Ben Mendelsohn also deserved an Oscar nomination (which he didn’t get) for his stunning turn as Pope, one of the year’s best performances. Luke Ford is quite good in a quiet way as the reluctant and hapless Darren. James Frecheville is a bit stiff as J, but has some moments in the film where he shines.

I must reserve time to heap praise on writer/director David Michôd. I don’t know him well enough to call him a liar, but this cannot be his debut film. Really? This is really good, and it’s his first?

Anyway, not only is Animal Kingdom well written and exceptionally well directed, it is also different from the standard crime family flick. Michôd composes this film with J as the center, but after introducing J, Michôd brings him to the Cody household and then, moves him into the background. There, J becomes the eyes and ears through which Michôd both introduces to and immerses us in the world of the Cody crime family. By the time J returns to the forefront (when he is asked to participate in the act that launches this film’s central conflict), the narrative is ready to focus on him again.

The way Michôd uses J and directs the actor playing him, James Frecheville, gives an odd, otherworldly feel to this film, which is good. Instead of being bloody and gritty, Animal Kingdom is a matter of fact examination of the police and the thieves, presenting both sides as predators always on the lookout for prey they can uses to their advantage. This different way of presenting a crime film, the exceptional character writing, riveting plot, and excellent performances make Animal Kingdom one of 2010’s best movies.

9 of 10
A+

NOTES:
2011 Academy Awards: 1 nomination: “Best Performance by an Actress in a Supporting Role” (Jacki Weaver)

2011 Golden Globes: 1 nomination: “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Jacki Weaver)

Saturday, March 19, 2011

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17th Screen Actors Guild Award Winners Movie Categories - Complete List

Screen Actors Guild presented its Actor® statuette for the outstanding motion picture and primetime television performances of 2010 at the “17th Annual Screen Actors Guild Awards” in ceremonies held Sunday, Jan. 30, at the Los Angeles Shrine Exposition Center.

Morgan Freeman also presented Ernest Borgnine with Screen Actors Guild’s highest honor, the 47th Annual Life Achievement Award. Just before Freeman presented the award, Tim Conway introduced a filmed tribute to Borgnine.

17th Annual Screen Actors Guild Awards Winners Movie Categories:

THEATRICAL MOTION PICTURES

Outstanding Performance by a Male Actor in a Leading Role
COLIN FIRTH / King George VI - "THE KING’S SPEECH" (The Weinstein Company)

Outstanding Performance by a Female Actor in a Leading Role
NATALIE PORTMAN / Nina Sayers – “BLACK SWAN” (Fox Searchlight Pictures)

Outstanding Performance by a Male Actor in a Supporting Role
CHRISTIAN BALE / Dicky Eklund – “THE FIGHTER” (Paramount Pictures and Relativity Media)

Outstanding Performance by a Female Actor in a Supporting Role
MELISSA LEO / Alice Ward – “THE FIGHTER” (Paramount Pictures and Relativity Media)

Outstanding Performance by a Cast in a Motion Picture (Primary cast members each get Actor trophy)
THE KING’S SPEECH (The Weinstein Company)

ANTHONY ANDREWS / Stanley Baldwin
HELENA BONHAM CARTER / Queen Elizabeth
JENNIFER EHLE / Myrtle Logue
COLIN FIRTH / King George VI
MICHAEL GAMBON / King George V
DEREK JACOBI / Archbishop Cosmo Lang
GUY PEARCE / King Edward VIII
GEOFFREY RUSH / Lionel Logue
TIMOTHY SPALL / Winston Churchill

SAG HONORS FOR STUNT ENSEMBLES

Outstanding Performance by a Stunt Ensemble in a Motion Picture
INCEPTION (Warner Bros. Pictures)

LIFE ACHIEVEMENT AWARD

Screen Actors Guild Awards 47th Annual Life Achievement Award
Ernest Borgnine

Review: Before "Inception," Chris Nolan Did Trippy with "Memento"

TRASH IN MY EYE No. 13 (of 2002) by Leroy Douresseaux

Memento (2000)
OPENING DATE: March 16, 2001
Running time: 113 minutes
MPAA – R for violence, language, and some drug content
DIRECTOR: Christopher Nolan
WRITER: Christopher Nolan (based upon a short story “Memento Mori” by Jonathan Nolan)
PRODUCERS: Jennifer Todd and Suzanne Todd
CINEMATOGRAPHER: Wally Pfister
EDITOR: Dody Dorn
Academy Award nominee

DRAMA/THRILLER/MYSTERY

Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, Stephen Tobolowsky, Mark Boone Junior, Jorja Fox, and Harriet Samson Harris

Leonard “Lenny” Shelby (Guy Pearce, L.A. Confidential) was an insurance investigator. While intervening in the murder of his wife Catherine (Jorja Fox), Lenny receives a blow to his head. The resulting brain damage causes Lenny to suffer from Anterograde Amnesia, a condition in which Lenny cannot create new memories. Everyday he wakes up knowing who he is, but not remembering anything that happened since the injury. From that day on, he awakes every day, his mind a virtual blank slate. He compensates by taking pictures with a Polaroid camera, tattooing information on all over his body, and annotating pictures and pages of notes as a way to remember important information from previous days.

His current associates are a cheeky friend, Teddy (Joe Pantoliano, The Matrix) and a friendly bar waitress, Natalie (Carrie-Anne Moss, The Matrix). They’re either assistance or hindrance as Lenny searches for the man who killed his wife, a search he remembers began the night of his wife’s murder and his injury.

Memento is a combination mystery, thriller, crime drama, and like most of them, the answer comes at the end of the film. However, a twist that can confuse viewers, the movie begins with what is the conclusion of the story. The movie works backwards in time with each succeeding scene taking place earlier in the story than its predecessor. By the time the movie ends, the answer to the puzzle is actually the beginning of the story. If this sounds confusing, it isn’t. Memento is one of the most engaging mystery thrillers in quite a while.

Writer/director Christopher Nolan plays with time the way that Quentin Tarantino does, and he dresses his film in hardboiled film noir in the tradition of Los Angeles crime dramas. Memento’s execution is a mental exercise of the kind found in European cinema. Once you learn that the story works in reverse, you are drawn in and you can’t quit the film until its end. As you watch the story, you see a result of an action, so you must continue to watch to see what caused the action. To the bitter end, or beginning as it is, you want to know how Lenny’s suffering, how his search began, and each scene you watch only makes it more imperative that you see what happened get closer to the beginning of Lenny’s odyssey.

The performances by Pearce, Pantoliano, and Ms. Moss are excellent. Pearce makes an excellent everyman hero, and Pantoliano is the perfect sly trickster. However, Ms. Moss’s character turns are a revelation of her latent talent. Known for playing sexy heroines in sci-fi movies, to see her play a low-end bar hop is shocking.

The most brilliant work comes from Nolan, his brother Jonathan (whose original short story, upon which this movie is based, was published after the film’s release), and film editor, Dody Dorn (the special edition of Terminator 2: Judgment Day). These three creators, in particular Dody and Christopher Nolan, compose a beautiful piece of work that easily could have fallen apart upon its central conceit. They turn a gimmick on its ear. You’re impatient to learn what’s going on, and the film is so beautifully put together that you can never abandon it, lest you never learn the how it all began.

Like the tattoos that cover Lenny’s body, Memento will leave its own mark on your film viewing memory. Words in praise of Memento don’t do it just. Its impact is purely in what you see. Some film lovers see sound as a corruption of the pure visual magic of film, and Memento’s stock in trade is images and memories. The experience of seeing this film is itself a cherished memento.

9 of 10
A+

NOTES:
2002 Academy Awards: 2 nominations: “Best Editing” (Dody Dorn) and “Best Writing, Screenplay Written Directly for the Screen” (Christopher Nolan and Jonathan Nolan-story)

2002 Golden Globes: 1 nominations: “Best Screenplay - Motion Picture” (Christopher Nolan)

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