TRASH IN MY EYE Reviews: Joe Pantoliano

Showing posts with label Joe Pantoliano. Show all posts

Friday, June 14, 2024

Review: "BAD BOYS: RIDE OR DIE" is the Best Buddy Cop Action-Comedy in Decades

TRASH IN MY EYE No. 25 of 2024 (No. 1969) by Leroy Douresseaux

Bad Boys: Ride or Die (2024)

Running time: 115 minutes (1 hour, 55 minutes)

MPA – R for strong violence, language throughout and some sexual references

DIRECTORS: Adil El Arbi and Bilall Fallah

WRITERS: Chris Bremner and Will Beall (based on characters created by George Gallo)

PRODUCERS: Doug Belgrad, Jerry Bruckheimer, Chad Oman, and Will Smith

CINEMATOGRAPHER: Robrecht Heyvaert (D.o.P.)

EDITORS: Dan Lebental and Asaf Eisenberg

COMPOSER: Lorne Balfe

ACTION/CRIME/COMEDY

Starring: Will Smith, Martin Lawrence, Vanessa Hudgens, Paola Núñez, Alexander Ludwig, Jacob Scipio, Eric Dane, Ioan Gruffudd, Melanie Liburd, Rhea Seehorn, Tiffany Haddish, John Salley, Quinn Hemphill, Dennis Mcdonald, Tasha Smith and Joe Pantoliano

SUMMARY OF THE REVIEW:

Bad Boys: Ride or Die is the best entry in the series to date

The comic timing and humor of Martin Lawrence as Marcus Burnett is unleashed in his best work of comedy in ages. Lawrence gives this movie so much energy, and he kept the audience where I saw this film laughing almost the entire time.

Will Smith as Mike Lowrey is a solid action-movie hero. Smith, who is also quite funny in this film, makes sure that Bad Boys is truly an explosive, violent action flick.

I unequivocally recommend this film to fans of the “Bad Boys” series and to fans of both Smith and Lawrence.

Bad Boys: Ride or Die is a 2024 American action, crime, and buddy cop film directed by Adil El Arbi and Bilall Fallah, better known as “Adil & Bilall.” It is the fourth entry in the Bad Boys film series, which began with 1995's Bad Boys, and it is a sequel to Bad Boys for Life (2020). In Bad Boys: Ride or Die, Detectives Lowrey and Burnett, the “Bad Boys,” have to take on their own department and a group of professional killers in order to clear their late captain's name.

Bad Boys: Ride or Die opens four years after the event depicted in Bad Boys for Life, Detective Mike Lowrey (Will Smith) marries his physical therapist, Christine (Melanie Liburd). However, at the reception, Detective Marcus Burnett (Martin Lawrence) suffers a serious medical emergency, but worse is to come.

The FBI claims it has discovered a paper trail which proves that the late Captain Conrad Howard (Joe Pantoliano) was tied to drug cartels. Determined to stop the posthumous tarnishing of Capt. Howard, Mike and Marcus discover that Mike's imprisoned son, Armando Aretas (Jacob Scipio), has information that might help their case. Eventually, Mike, Marcus, and Armando must join forces with new Miami PD Captain Rita Secada (Paola Núñez) and the remains of her “AMMO” (Advance Miami Metro Operations) unit – Kelly (Vanessa Hudgens) and Dorn (Alexander Ludwig). In order to clear Capt. Howard's name, however, Mike and Marcus' crew will have to take on a vicious killer, James McGrath (Eric Dane), and his secret mole inside the Miami PD.

I'd seen Bad Boys (1995) and Bad Boys II (2003), so I had to see Bad Boys for Life in preparation for Bad Boys: Ride or Die. It is a good idea to see the 2020 film because quite a bit of its plot and many of its character carry over into the new film. Being somewhat familiar with the Bad Boys film franchise will make the already enjoyable Bad Boys: Ride or Die even more enjoyable.

I think the thing that makes Bad Boys: Ride or Die such a joy to watch is that the team of Will Smith and Martin Lawrence seems to be re-energized. In Bad Boys for Life, Lawrence looked a bit bloated and slow, but here in Ride or Die, he has recovered his comedy mojo. Now, we get a Martin Lawrence that is like the Marty-Mar who was at the height of his powers in the 1990s. He kept me and the audience with which I saw Ride or Die last night in stitches. Lawrence was a constant barrage of comedy one-liners and comic riffs, and none of them seemed contrived. I'm happy for him because Lawrence has not been this good in well over a decade.

Will Smith's notorious slap has apparently not delivered a knock out to his talents as a film actor and movie star. I can't speak for the rest of y'all, dear readers, by I ain't canceling Will over that. Smith is most solid as an action movie hero in the Bad Boys franchise, and he is at his best here. Smith is quite funny himself, but as a gun-totting, pop-capping deliverer of justice and vengeance, Smith is as good as any other movie star. In Bad Boys: Ride or Die, Will Smith is as sturdy and as robust as Bruce Willis was in Die Hard and in its best sequels. As of right now, Smith is the king of action cinema.

Now, I won't act as if Bad Boys: Ride or Die is without problems. The plot strains credulity; honestly, it us obvious that Capt. Howard is being framed, but in order for the narrative to work, the audience has to act as if such a scenario as this would happen. Still, the directorial team of Adil & Bilall have made magic with their two entries in the Bad Boy series, and have delivered a new film that should thrill audiences throughout the summer movie season. Bad Boys: Ride or Die even has a cameo by the series' original director, Michael Bay.

8 of 10

★★★★ out of 4 stars

Friday, June 14, 2024

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Saturday, June 1, 2024

Review: "BAD BOYS FOR LIFE" Takes a Bit to Come to Life

TRASH IN MY EYE No. 24 of 2024 (No. 1968) by Leroy Douresseaux

Bad Boys for Life (2020)

Running time: 124 minutes (2 hours, 4 minutes)

MPA – R for strong bloody violence, language throughout, sexual references and brief drug use

DIRECTORS: Adil El Arbi and Bilall Fallah

WRITERS: Chris Bremner, Peter Craig & Joe Carnahan; from a story by Peter Craig & Joe Carnahan (based on characters created by George Gallo)

PRODUCERS: Doug Belgrad, Jerry Bruckheimer, and Will Smith

CINEMATOGRAPHER: Robrecht Heyvaert (D.o.P.)

EDITORS: Dan Lebental and Peter McNulty

COMPOSER: Lorne Balfe

ACTION/CRIME/COMEDY

Starring: Will Smith, Martin Lawrence, Vanessa Hudgens, Paola Núñez, Alexander Ludwig, Charles Melton, Kate del Castillo, Nicky Jam, Joe Pantoliano, Jacob Scipio, and Theresa Randle

Bad Boys for Life is a 2020 American action, crime, and buddy cop film directed by Adil El Arbi and Bilall Fallah, better known as “Adil & Bilall.” It is the third entry in the Bad Boys film series, which began with 1995's Bad Boys, and it is a sequel to Bad Boys II (2003). In Bad Boys for Life, Detectives Lowrey and Burnett, the “Bad Boys,” face off against a mysterious killer whose campaign of revenge is centered on Lowrey.

Bad Boys for Life opens in Mexico at the Santa Maria Ixcotel Prison. There, Isabel Aretas (Kate del Castillo) escapes with the help of her son, Armando (Jacob Scipio). Isabel is the son of the late cartel kingpin, Benito Aretas, and she wants revenge against the men who helped take down her husband twenty-four years ago. Armando, a highly-skilled criminal, savvy fighter, and vicious killer, is the instrument of her revenge.

One of those men is Detective Lt. Michael “Mike” Lowrey (Will Smith), and Armando comes close to killing him. Mike is a hard man to keep down, and he wants payback. His boss, Captain Conrad Howard (Joe Pantoliano), wants Mike to let a new, tech-driven police unit, called “AMMO” (Advance Miami Metro Operations), hunt the shooter. Mike doesn't like that, especially as his former girlfriend, Lieutenant Rita Secada (Paolo Nunez), is head of AMMO. Even worse, Mike's longtime partner, Det. Lt. Marcus Burnett (Martin Lawrence), has retired and wants to stay that way. But when things get worse, will the Bad Boys be forced to unite for one last ride?

I still laugh at the fact that the film that became 1995's Bad Boys was originally written for actor-comedians, Dana Carvey and Jon Lovitz. Bad Boys would go on to become a signature entry in the filmographies of both eventual Oscar-winning actor, Will Smith (King Richard), and Martin Lawrence, who would go on to star in such films as Big Momma's House (2000) and Wild Hogs (2007). The duo eventually reunited for 2003's Bad Boys II. Because the fourth entry in the Bad Boys series, Bad Boys: Ride or Die (2024), is about to be released, I decided to go back and watch and review the one film in the franchise that I had not seen in its entirety, Bad Boys for Life (2020).

A close friend told me that he thought Bad Boys for Life was bad. I did find the first hour to be rather poorly developed. After all, Lowrey and Burnett seem pretty slow in figuring out that the shootings of Lowrey and others are obviously related. All these veteran cops and young, smart, new-school law enforcement are working on this case, and they are as clueless as can be.

However, in the film's second hour, directors Adil & Bilall make the most of their creative cohorts, especially their stunt coordinators, lighting department, and film editors in order to deliver a film that is fast-paced and slickly violent. The filmmakers also bring out all of the colors and life in both the Miami and Mexican locations Adil & Bilall do their best to summon the spirit of Michael Bay, the director of the first two films. I wonder what he thought of the new directors' homage to his style. I must say that Adil & Bilall eschew Bay's over-the-top theatrics for a slick visual, action style that is more focused on the characters than on sweeping shots and a deafening score and soundtrack.

In some ways, Bad Boys for Life is this series' best entry. Yes, Martin Lawrence looks a little pudgy in the face, but his comic timing and humor eventual rev up. Will Smith still looks lithesome and on the edge. While it starts clunky, Bad Boys for Life doesn't show its age, but it does show that – surprisingly – there is still life in these cinematic bad boys.

7 of 10

B+

★★★½ out of 4 stars

Saturday, June 1, 2024

NOTES:

2021 Image Awards (NAACP): 1 win: “Outstanding Motion Picture” and 1 nomination: “Outstanding Actor in a Motion Picture” (Will Smith)

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Review: "BAD BOYS II": What'cha Gonna Do 'Cept Watch This

TRASH IN MY EYE No. 114 (of 2003) by Leroy Douresseaux

Bad Boys II (2003)

Running time: 147 minutes (2 hours, 27 minutes)

MPAA – R for strong violence and action, pervasive language, sexuality and drug content

DIRECTOR: Michael Bay

WRITERS: Ron Shelton and Jerry Stahl; from a story by Cormac Wibberley & Marianne Wibberley and Ron Shelton (based upon the characters created by George Gallo)

PRODUCER: Jerry Bruckheimer

CINEMATOGRAPHER: Amir Mokri (D.o.P.)

EDITORS: Roger Barton, Mark Goldblatt, and Thomas A. Muldoon

COMPOSER: Trevor Rabin

ACTION/COMEDY/THRILLER/CRIME

Starring: Martin Lawrence, Will Smith, Gabrielle Union, Joe Pantoliano, Theresa Randle, Jordi Molla, Gary Nickens, Jason Manuel Olazabal, John Salley, Henry Rollins, and Dan Marino

Bad Boys II is a 2003 American buddy-cop film and action-comedy from director Michael Bay. It is a sequel to the 1995 film, Bad Boys, and is also the second film in the Bad Boys film series. In Bad Boys II, loose-cannon Detectives Burnett and Lowrey investigate the flow of illegal drugs into Miami and end up on the middle of a battle for control of the ecstasy trade.

In a crowded field of auteurs, director Michael Bay (The Rock, Armageddon) strives to become the director god of action movies; indeed, he may already be there. He returns for the sequel to Bad Boys, the film that put him on the map as a big time director of insane gunfights, fiery explosions, and slow motion ballets of unabashed violence. And since we must not worship any god before the god, this Zeus of adrenaline films unleashes a film of wall-to-wall mayhem that overwhelms the audience to paranoiac exhaustion just to show us what he can do.

Bay is fortunate (if a god can ever be called fortunate) to have two talents who are very good at what they do, Martin Lawrence and Will Smith. It’s ironic that these roles weren’t originally written for them, but the two actor/comedians have made the bad boys, Marcus Burnett (Lawrence) and Mike Lowrey (Smith) of Bad Boys II, their own because Burnett and Lowrey could not exist without them.

The plot is a confused half-assed muddle involving stereotypical Russian, Cuban, Jamaican, and redneck drug dealers battling it out in Miami for control of the ecstasy trade. If that wasn’t addled enough, Marcus’s sister, Sydney (the beautiful and sexy Gabrielle Union), is an undercover DEA agent caught in the middle of some mismanaged surveillance operation of a Russian and Cuban money-laundering scheme.

Smith and Lawrence are absolutely wonderful as the bad boys. They have to be because they’re on a very short list of actors whom Michael Bay cannot overwhelm with his thunderous conflagrations of balls-to-the-walls violence. Smith is pure bravado, sweating confidence with cartoonish machismo. His physical bearing and rapid-fire delivery of his dialogue create a seamless presence in the film that leads you to believe that Smith is always Lowery, even when you know that a stunt guy has to step in every now and then. He’s no bossy director’s action marionette or pretty boy A-list actor frontin’ like he’s all that. Smith is all that.

When he has good material, Martin Lawrence is a riot act of physical and facial humor. He’s a comedian, born to make us laugh despite his own personal demons. Lately, he’s sold himself for movies that treat him like a minstrel, when he’s at his best skewering the mainstream. In Bad Boy II, he reveals himself to be the best graduate of the Richard Pryor school of facial contortions, which Lawrence uses to grand effect to make us believe that the film’s juggernaut of violence actually scares him.

Even the overwhelming performances of Smith and Lawrence are almost no match for the overwhelming violence of Bad Boys II, but the actors are game. They do an admirable job keeping up with the exploding body parts, flying corpses, decapitated corpses, defiled corpses, gunshot wounds, gratuitous ass shots, the bare breasts of a naked corpse, flying cars, disintegrating cars, exploding cars, car wrecks, car crashes, and flesh wounds to the buttocks. There was a point early in the film when I was sure that Michael Bay was a fabulous artist of the absurd, cinema his canvas, and wanton violence his raw materials. The action was great and invigorating, the violence was cathartic and deliriously funny, and I wanted to revel in the excess. Lawrence and Smith were so on that I screamed with the kind of laughter I reserve for classic Richard Pryor, Mel Brooks, Marx Brothers, Lenny Bruce, and Burns and Allen.

After awhile, I realized that this was as much popcorn cinema as it was art. I still believe that Bay is on to something. One day, we will see him a great filmmaker who pushed the envelope with his inventiveness and imagination, but in Bad Boys II, he went too far too soon. It’s more popcorn than an even an audience ravenously hungry for Circus Maximus bedlam can stomach. With this film, Bay made the mistake that Martin Scorsese did with Gangs of New York: end the picture early enough and he has a cinematic classic, a truly great film. Overstay his welcome, and the director spoils his film.

As mean-spirited as this film gets, I’d still recommend this to die hard action fans and fans of Smith and Lawrence. I’d only recommend that they just have a bib ready for when you spit up from overeating this cinematic pandemonium.

6 of 10

★★★ out of 4 stars

Edited: Monday, July 1, 2024

NOTES:

2004 Image Awards (NAACP): 3 nominations: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Will Smith), and “Outstanding Supporting Actress in a Motion Picture” (Gabrielle Union)

2004 Black Reel Awards: 1 nomination: “Film: Best Soundtrack”

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Review: "BAD BOYS" Has Had a Surprisingly Long Life

TRASH IN MY EYE No. 113 (of 2003) by Leroy Douresseaux

Bad Boys (1995)

Running time: 119 minutes (1 hour, 59 minutes)

MPAA – R for intense violent action and pervasive strong language

DIRECTOR: Michael Bay

WRITERS: Michael Barrie, Jim Mulholland, and Doug Richardson; from a story by George Gallo

PRODUCERS: Jerry Bruckheimer and Don Simpson

CINEMATOGRAPHER: Howard Atherton

EDITOR: Christian Wagner

COMPOSER: Mark Mancina

ACTION/COMEDY/THRILLER/CRIME

Starring: Martin Lawrence, Will Smith, Tea Leoni, Joe Pantoliano, Tcheky Karyo, Theresa Randle, Marg Helgenberger, Nestor Serrano, Julio Oscar Mechoso, Saverio Guerra, Michael Imperioli, and Karen Alexander

As usual, a cog in the Hollywood system had written an action/comedy for Jon Lovitz and Dana Carvey, two funny white men. Perhaps, the white studio bosses never thought of persons of colors playing the parts and playing them not only well, but also better than the actors of the default skin color. By happy accident, two tremendously talented comic actors, who also happened to be men of color inherited the parts, and, thus was born Bad Boys. Lord knows, we can never again think of Lovitz and Carvey, two milky-white Americans, as proper for these roles, not that there’s anything wrong with one’s skin color being that white.

Bad Boys is a 1995 American buddy-cop film and action-comedy directed by Michael Bay. Bad Boys focuses on two savvy, Black detectives who try to protect a witness to murder while also investigating the theft of heroin from their police precinct’s evidence room.

Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith) are two hip detectives; at least they seem cooler than their Miami PD colleagues, but they can take the heat that comes with their job. As the film begins, they’ve already made a major heroin bust, but a gang of well-equipped thieves breaks into the precinct’s evidence room and steals the dope. Obviously, the raid is an inside job, so the precinct takes the blame. Burnett and Lowrey’s Captain Howard (Joe Pantoliano) feels the heat and returns it to the boys, putting the onus on them to find the dope. Making matters more complicated, they get saddled with protecting Julie Mott (Tea Leoni) a murder witness somehow connected to the smack thieves.

According to stories from the set of Bad Boys, director Michael Bay, Lawrence, and Smith hated the script, so they ad-libbed a lot of the dialogue. This was Bay’s first feature film, but he’d made a name for himself directing music videos for Tina Turner and “Wilson Phillips” (among others) and commercials for Nike and Budweiser (among others). Bay brings all the visual flair and clichés you could expect from music videos: quick-cut editing, dark alleyways full of steam, sexy chicks, and hot cars. He mixed in car chases, tremendous explosions, cartoonish violence, and gunfights with hundreds of rounds of ammunition. Smith and Lawrence brought the comedy and the hip sensibility to play the characters so over the top that you’d think they were heroes right out of a comic book. It works to an extent. Bad Boys is a very funny, exciting, and visually agile action movie.

If anything, it’ll be remembered for its African-American leads, unusual for an cop buddy movie/action flick. Beyond that, Bay introduced his over the top visual style that he would bring all his heart-pounding, action vehicles: slow motion camera buzzing around a posing action stud, panoramic shots of the sky, narrow escapes from devastating fire balls, etc. Bad Boys is pleasant and fun, nothing important, but it stands out in the white bread world of Hollywood action romps. Certainly, Lawrence and Smith are more believable as renegade cops than say, Josh Hartnett or Ben Affleck.

6 of 10

★★★ out of 4 stars

Edited: Friday, June 28, 2024

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Sunday, June 25, 2023

Review: Steven Spielberg's "EMPIRE OF THE SUN"

TRASH IN MY EYE No. 27 of 2023 (No. 1916) by Leroy Douresseaux

Empire of the Sun (1987)

Running time: 153 minutes (2 hours, 33 minutes)

MPAA – PG

DIRECTOR: Steven Spielberg

WRITER: Tom Stoppard (based on the novel by J.G. Ballard)

PRODUCERS: Steven Spielberg, Frank Marshall, and Kathleen Kennedy

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

EDITOR: Michael Kahn

COMPOSER: John Williams

Academy Award nominee

DRAMA

Starring: Christian Bale, John Malkovich, Miranda Richardson, Nigel Havers, Joe Pantoliano, Leslie Phillips, Masato Ibu, Emily Richard, Rupert Frazer, Peter Gale, Takataro Kataoka, and Ben Stiller

Empire of the Sun is a 1987 wartime drama and historical film directed by Steven Spielberg. The film is based on the 1984 semi-autobiographical novel, Empire of the Sun, from author J.G. Ballard (1930-2009). Empire of the Sun the film focuses on a young English boy who is separated from his parents and then, struggles to survive the Japanese occupation of China during World War II

Empire of the Sun opens in 1941 in the “International Settlement,” an enclave of British and American citizens in Shanghai, China. James “Jamie” Graham is the only child of an British upper middle class couple, John Graham (Rupert Frazer) and Mary Graham (Emily Richard). Jamie enjoys a privileged life in the International Settlement, but he keeps an eye on the activities of the Japanese who have encroached on Shanghai. After their attack on Pearl Harbor, the Japanese begin their occupation of the settlement. During the family's bid to escape, Jamie is separated from his parents.

Eventually, Jamie is taken prisoner and moved into an internment camp. He survives by befriending the American expatriate and hustler, Basie (John Malkovich), and also the kindly Englishman, Dr. Rawlins (Nigel Havers). Now, called “Jim” by everyone, he establishes a successful trading network that keeps him with food and necessities. As World War II drags on, however, Jim realizes that he no longer remembers what his parents look like.

Last year, I began watching and, in some cases, re-watching early Steven Spielberg films, such as Duel, Jaws, and 1941, in anticipation of Spielberg's autobiographical film, The Fabelmans, which was released in 2022. The film has long since completed its theatrical run, but there remained Spielberg films I wanted to see. I had been putting off watching Empire of the Sun for 36 years, and my best resource to see it, DVDNetflix, is closing soon. So why not see Empire of the Sun now?

What can I say? Empire of the Sun is not one of Spielberg's better films. It does not really have a narrative center, and the plot is unfixed. The film plays like a series of anecdotes – many, many, many anecdotes – played over a film that runs nearly two and a half hours long. Some of the scenes have great emotional impact, such as Jim's reunion with his parents and even that last shot of the suitcase in the water. Still, overall, the film lacks dramatic heft and emotion. It's too cold and is disjointed. Instead of feeling like a narrative that flows from beginning to end, Empire of the Sun feels like individual pages from a children's picture book.

If Empire of the Sun is a coming-of-age story and a boys' adventure tale, then, the film needs a great boy. That is what actor Christian Bale is for this film. All of 13-years-old when filming began, Bale carries Empire of the Sun with the tenacity and acting chops of an actor more than twice his age. Bale embodies the emotional depth and dramatic depth that this film lacks as a whole. None of the other actors' performances approach his, not because they are bad, but because neither Spielberg nor Tom Stoppard's script gives them the space and material.

Spielberg makes this film seem as if its true purpose is to be about a boy and his wartime adventures. Thus, none of the Japanese elements really feel as if they have the force of an empire behind them. Still, the focus on Jim Graham works because Christian Bale is the child emperor of Empire of the Sun.

6 of 10

★★★ out of 4 stars

Sunday, June 25, 2023

NOTES:

1988 Academy Awards, USA: 6 nominations: “Best Cinematography” (Allen Daviau), “Best Art Direction-Set Decoration” (Norman Reynolds and Harry Cordwell), “Best Costume Design” (Bob Ringwood), “Best Sound” (Robert Knudson, Don Digirolamo, John Boyd, and Tony Dawe), “Best Film Editing” (Michael Kahn), and “Best Music, Original Score” (John Williams)

1989 BAFTA Awards: 3 wins: “Best Cinematography” (Allen Daviau), “Best Score” (John Williams), and “Best Sound” (Charles L. Campbell, Louis L. Edemann, Robert Knudson, and Tony Dawe); 3 nominations: “Best Screenplay-Adapted” (Tom Stoppard), “Best Costume Design” (Bob Ringwood), and “Best Production Design” (Norman Reynolds)

1988 Golden Globes, USA 2 nominations: “Best Motion Picture – Drama” and “Best Original Score-Motion Picture” (John Williams)

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Friday, September 2, 2011

Review: "The Matrix" Has Staying Power (Happy B'day, Keanu Reeves)

TRASH IN MY EYE No. 19 (of 2001) by Leroy Douresseaux

The Matrix (1999)
Running time: 136 minutes (2 hour, 16 minutes)
MPAA – R for sci-fi violence and brief language
DIRECTORS: The Wachowski Brothers
WRITERS: Andy Wachowski and Larry Wachowski
PRODUCER: Joel Silver
CINEMATOGRAPHER: Bill Pope (D.o.P.)
EDITOR: Zach Staenberg
COMPOSER: Don Davis
Academy Award winner

SCI-FI/FANTASY/ACTION with elements of a thriller

Starring: Keanu Reeves, Laurence Fishburne, Carrie-Ann Moss, Hugo Weaving, Joe Pantoliano, Marcus Chong, Gloria Foster, Julian Arahanga, Matt Doran, Belinda McClory, and Anthony Ray Parker

The Matrix is a 1999 science fiction action film. Directed by the brothers Andy Wachowski and Larry Wachowski (who is now Lana), The Matrix was the first of three films and launched a franchise that includes video games, animation (The Animatrix), and a series of comic and webcomics that were eventually collected in two trade paperbacks. The film would go on to be influential and win four Oscars.

A computer programmer and hacker named Thomas A. Anderson (Keanu Reeves) is in a kind of funk; the world does not seem quite right to him, but he cannot put his finger on what bothers him. He encounters a mysterious band of rebels led by the Morpheus (Laurence Fishburne) who tells Anderson that Anderson is really Neo and that he is the Chosen One who will lead humanity out of the bondage in which machines keep them. Morpheus is abetted by Trinity (Carrie-Ann Moss), who believes completely in Neo as the savior.

The year isn’t 1999; it is 200 years later, says Morpheus. The world in which Neo lives is not real; it is instead an elaborate façade called the Matrix created by a malevolent Artificial Intelligence. The real world is a bombed shell of its former self. The ruling cyber intelligence has stored humans in stasis pods and uses humans for the fuel with which it operates itself. The Matrix, a kind of computer simulation of reality into which humanity is plugged, keeps humanity placated while the A.I., to power itself, leeches the energy human bodies naturally generate. Humans think they are living their lives when they are really all asleep and jacked into an electronic version of reality.

Morpheus believes that Neo is the one who will destroy the Matrix. Morpheus and his warriors live in the real world. They can send their consciousness into the Matrix to recruit converts to their cause. Their nemeses are Agents, A.I. who infiltrate and police the Matrix for rebellious humans. Led by the vicious Agent Smith (Hugo Weaving), the Agents pursue Neo and his newfound colleagues.

Written and directed by the Wachowski Brothers, The Matrix is glorious eye candy. Others have described the special effects as mind bending, and some audiences may have perceived them that way. The movie is visually dazzling, exciting, and invigorating; it’s a thrill ride in which you sit back and let yourself be entertained. While the Wachowki’s currently lack the skills to stage shots as well as Hitchcock or Kubrick would, they do know how to compose effective visuals. From a city with a sense of wrongness to the abandoned subway system where Morpheus and his rebels fight beautifully designed and wicked looking machinery, the film’s images deliver a coherent message.

Part Terminator and part The Invisibles (a comic book published by DC comics and created by Grant Morrison), the movie pretends at being ideologically and intellectually deep. However, man versus machine isn’t so much an issue in the movie as it is an impetus for violent action scenes. The brothers were smart in that they allowed Neo’s warrior friends to have the job of explaining the situation behind the Matrix.

The acting is very good. Fishburne has deep resonant tones, and he speaks clearly and confidently as explains things to Reeve’s somewhat slow Neo. Reeves, from the Kevin Costner school of wooden acting and halting speech mannerisms, would have lost the audience had he tried to make explanations. However, the camera loves the cool, West Coast looker, so Neo’s ascension from dull hacker to savior is something the audience can buy. Moss’s Trinity is a stand by you man woman and makes an able sidekick/love interest for Neo, and it is she who carries the load in the relationship. She delivers all the passion and provides all the strength while Neo finds his place as the One.

The most impressive, influential, and groundbreaking films usually sweep the technical Academy Awards for the year in which they are released, which The Matrix did while American Beauty won the high-end trophies. However, like Star Wars, Who Framed Roger Rabbit?, The Terminator, and Jurassic Park, The Matrix will stand the test of time as a technical landmark in cinematic history. Besides that, it’s a very good film. What it lacks in subtlety and intellect, it more than makes up for in visual bravado, suspense, and drama. Like the directors of the best films, the Wachowski’s let the images do the talking.

8 of 10
A

NOTES:
2000 Academy Awards: 4 wins: “Best Effects, Sound Effects Editing” (Dane A. Davis), “Best Effects, Visual Effects” (John Gaeta, Janek Sirrs, Steve Courtley, and Jon Thum), “Best Film Editing” (Zach Staenberg), and “Best Sound” (John T. Reitz, Gregg Rudloff, David E. Campbell, and David Lee)

2000 BAFTA Awards: 2 wins: “Best Achievement in Special Visual Effects” (John Gaeta, Steve Courtley, Janek Sirrs, and Jon Thum) and “Best Sound” (David Lee, John T. Reitz, Gregg Rudloff, David E. Campbell, and Dane A. Davis); 3 nominations: “Best Cinematography” (Bill Pope), “Best Editing” (Zach Staenberg), and “Best Production Design” (Owen Paterson)

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Wednesday, June 22, 2011

Review: "Health Inspector" Still the Best Larry the Cable Guy Movie

TRASH IN MY EYE No. 69 (of 2006) by Leroy Douresseaux

Larry the Cable Guy: Health Inspector (2006)
Running time: 89 minutes (1 hour 29 minutes)
MPAA – PG-13 for crude and sexual content, and for language
DIRECTOR: Trent Cooper
WRITERS: Jonathan Bernstein and James Greer
PRODUCERS: Alan C. Blomquist and J.P. Williams
CINEMATOGRAPHER: Kim Marks
EDITOR: Gregg Featherman

COMEDY

Starring: Larry the Cable Guy, Iris Bahr, Bruce Bruce, Megyn Price, Tom Wilson, Joanna Cassidy, David Koechner, Tony Hale, Lisa Lampanelli, and Joe Pantoliano with Kid Rock and Jerry Mathers

Larry (Larry the Cable Guy) is big city health inspector who is happy with his usual beat of greasy spoon diners, low-rent ethnic restaurants, and food stands where his good-old boy charm and down home attitude solves health problems better than a writing a citation. His easygoing job suddenly takes a turn for the worse when his boss, Bart Tatlock (Thomas F. Wilson) who hates him saddles Larry with a rookie partner, Amy Butlin (Iris Bahr), and a new beat.

Larry suddenly has to investigate a mysterious outbreak of food poisoning at the city’s swankiest restaurants that leaves patrons vomiting up their meals or heading for the toilets. Poor Larry only gets so far in his investigation as to infuriate chic restaurateurs and baffle his partner, Amy, but he still finds time to woo a waitress, Jane Whitley (Megyn Price), into a budding romance. However, when his failure to uncover the origin of the mystery illness endangers his job and reputation, Larry goes undercover to solve the crime in the most hilarious ways.

Many viewers know standup comedian Larry the Cable Guy (whose government name is Dan Whitney) from Jeff Foxworthy’s Blue Collar Comedy Tour, or have seen him on the Comedy Central, seen his hit DVD, and/or have heard one or more of his three hit comedy albums. Now, Larry, like numerous characters from “Saturday Night Live,” has a movie, Larry the Cable Guy: Health Inspector.

The film is vulgar, occasionally vile, and relentlessly and shamelessly cheap and tasteless. It opens with a shot of the crack of Larry’s butt and of him peeing in the shower, yet Larry the Cable Guy: Health Inspector is also one of the funniest movies I’ve seen in months. It’s not a romantic comedy. It’s a coarse raunchy comedy starring a comedian who has made a point of being as politically incorrect as possible. If you like Larry the Cable Guy, you’ll like this. If you don’t like Larry’s act, you will utterly hate this… unless you’re willing to give him a chance, and I think it’s worth the reward to give good old Larry a chance.

Health Inspector’s plot is convoluted, but the script is the perfect comic vehicle for a film that has to focus on a stage comic’s particular act. It has enough of the trappings of the crime genre to be a whodunit the way Scooby-Doo cartoons are detective stories. And since Larry the Cable Guy isn’t trying to become Larry the romantic comedy guy, a light crime story gives him room to clown and be himself. The entire mystery that this movie presents moves only as Larry’s act moves it, and that’s okay. Larry is a funny guy.

I’m not going to pretend that Larry the Cable Guy: Health Inspector is high quality filmmaking, but this is certainly a textbook example of giving the audience what it expects – lots and lots of raucous Larry. Flatulence, toilet humor, redneck jokes, country humor, gay jokes, ethnic stereotypes that will make you cringe, gross out humor, juvenile escapades: Larry does it all with a good-natured wink and a nudge. I’d love a sequel.

6 of 10
B

Saturday, April 8, 2006

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Tuesday, August 3, 2010

"Review: The Lightning Thief" a Bad Start for Percy Jackson Films

TRASH IN MY EYE No. 60 (of 2010) by Leroy Douresseaux

Percy Jackson & the Olympians: The Lightning Thief (2010)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – PG for action violence and peril, some scary images and suggestive material, and mild language
DIRECTOR: Chris Columbus
WRITER: Craig Titley (based upon the novel by Rick Riordan)
PRODUCERS: Michael Barnathan, Chris Columbus, Mark Morgan, Guy Oseary, Mark Radcliffe, and Karen Rosenfelt
CINEMATOGRAPHER: Stephen Goldblatt
EDITOR: Peter Honess
COMPOSER: Christophe Beck

FANTASY/ACTION/ADVENTURE

Starring: Logan Lerman, Brandon T. Jackson, Alexandra Daddario, Jake Abel, Sean Bean, Pierce Brosnan, Steve Coogan, Rosario Dawson, Catherine Keener, Kevin McKidd, Joe Pantoliano, and Uma Thurman

Percy Jackson is a fictional character and the star of the book series, Percy Jackson & the Olympians from author Rick Riordan. Percy is a demigod, the child of a god and a human. Perseus “Percy” Jackson’s father is Poseidon, the Greek god of the sea, and his mother is Sally Jackson, a mortal. The movie Percy Jackson & and the Olympians: The Lightning Thief is based on the first novel in the series, The Lightning Thief (2005)

Seventeen-year-old Percy Jackson (Logan Lerman) lives with his mother Sally Jackson (Catherine Keener) and his obnoxious, smelly stepfather, Gabe Ugliano (Joe Pantoliano), but he is clueless about who he really is. That’s about to change, because a war is brewing among the gods of Olympus. The master bolt, the lightning bolt that Zeus (Sean Bean) uses to create other lightning, has been stolen. Zeus believes the lightning thief is the son of his brother, Poseidon (Kevin McKidd), none other than Percy Jackson.

Meanwhile, Percy has the truth about his origins forced upon him. He is a demigod and even his best friend, Grover Underwood (Brandon T. Jackson), is a satyr and his protector. Percy immediately leaves his old life behind to attend Camp Half-Blood, a training camp for demigods. There, he meets other children of the gods, including the furious fighter, Annabeth Chase (Alexandra Daddario), the daughter of the goddess Athena. When Hades (Steve Coogan), the brother of Zeus and Poseidon, kidnaps Sally in order to force Percy to give him the bolt, Percy, Gabe, and Annabeth begin a quest to Underworld to rescue Percy’s mother. But they must also find the lightning thief before a war of the gods destroys the world.

Obviously, Percy Jackson stands in the shadowy of that other star of children’s fantasy literature, Harry Potter. Although Percy Jackson & the Olympians: The Lightning Thief is directed by Chris Columbus, the man who directed the first two Harry Potter films and produced the third, this is no Harry Potter movie.

Percy Jackson & the Olympians: The Lightning Thief just doesn’t match the quality of a Harry Potter movie, and it doesn’t even offer a great villain like Potter’s enemy, You-Know-Who. Even if I didn’t compare this Percy Jackson movie to a Harry Potter movie, Percy would still be judged as a mediocre film. The action scenes are quite entertaining, but when the film isn’t offering action, for instance, when the story focuses on character drama, it is a disaster.

The acting is acceptable, but unspectacular, and Brandon T. Jackson as the satyr Grover certainly tries to bring some levity to this stiff special effects-heavy fantasy – with, at best, mixed results. A cool sequence with Uma Thurman, however, is this movie’s best moment and is worth seeing even if you avoid the rest of the movie. Percy Jackson & the Olympians: The Lightning Thief isn’t bad. It’s just another passable fantasy film aimed at children and their parents.

5 of 10
C+

Tuesday, August 03, 2010

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Saturday, July 10, 2010

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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