Review: "SPIDER-MAN: Into the Spider-Verse" is One of the Greatest Superhero Films

TRASH IN MY EYE No. 2 (of 2019) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Spider-Man: Into the Spider-Verse (2018)
Running time:  117 minutes (1 hour, 57 minutes)
MPAA – PG for frenetic sequences of animated action violence, thematic elements, and mild language
DIRECTORS:  Bob Persichetti, Peter Ramsey, and Rodney Rothman
WRITERS:  Phil Lord and Rodney Rothman; from a story by Phil Lord (based upon the Spider-Man character created by Stan Lee and Steve Ditko and the Mile Morales character created by Brian Michael Bendis and Sara Pichelli)
PRODUCERS:  Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, and Christina Steinberg
EDITOR:  Robert Fisher Jr.
COMPOSER:  Daniel Pemberton
Academy Award winner

ANIMATION/SUPERHERO/ACTION/ADVENTURE/COMEDY

Starring:  (voices) Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Bryan Tyree Hill, Lily Tomlin, Luna Lauren Velez, Zoe Kravitz, John Mulaney, Kumiko Glenn, Nicolas Cage, Kathryn Hahn, Liev Schreiber, Chris Pine, Natalie Morales, and Stan Lee

Spider-Man: Into the Spider-Verse is a 2018 computer-animated superhero film from Sony Pictures.  It was developed by the filmmaking duo of Phil Lord and Christopher Miller, the writer-directors of the animated films, Cloudy with a Chance of Meatballs (2009) and The Lego Movie (2014), and the live-action films, 21 Jump Street (2012) and the sequel, 22 Jump Street (2014).

Spider-Man: Into the Spider-Verse focuses on the Marvel Comics' character, Miles Morales, an Afro-Latino teenager.  Miles takes on the Spider-Man identity when he gains spider-like powers after being bitten by a genetically-altered spider, similar to the way the original Spider-Man, Peter Parker, gained his special abilities and powers.  The film follows Miles as he becomes the Spider-Man of his reality and joins versions of Spider-Man (Spider-People) from other dimensions in order to stop a threat to all reality, the multiverse that is know as the “Spider-Verse.”

Spider-Man: Into the Spider-Verse introduces Miles Morales (Shameik Moore), a teenager who is a fan of Spider-Man.  As the story begins, Miles is dealing with the fact that he must attend an elite boarding school, Brooklyn Visions Academy.  Although he would prefer to remain in public school, Miles must accept the decision of his parents, his mother Rio Morales (Luna Lauren Velez), a nurse, and his father, Jefferson Davis (Bryan Tyree Hill), a police officer.

Miles also has a shady uncle, his father's brother, Aaron Davis (Mahershala Ali), whom Miles visits for advice a curious girl he meets at his new school.  Aaron encourages Miles' passion for graffiti and takes him to an abandoned subway station where he can paint and draw.  It is there that a genetically-altered spider bites Miles, causing him to develop powers similar to his hero, Spider-Man.  Miles meets his hero and learns that Spider-Man is trying to stop Wilson Fisk a.k.a. “The Kingpin” (Liev Schreiber) from using a device that will give him access to parallel universes.  Now, Miles must join Spider-Man types from across the Spider-Verse to stop The Kingpin's activities from destroying all of reality.

I could talk all day about how great Spider-Man: Into the Spider-Verse is, but I want to be more self-aware than The Kingpin is.  I will focus on two stand-out elements in this film.  First is Shameik Moore, who is great in his voice role, bringing to life a Miles Morales that is lovable and is as ground-breaking as he was in the comic books.  Moore's performance personifies the dominate theme of this film, that the novice hero grows into the role of being a mature hero, which is especially true in the case of Spider-Man.  Moore's performance also captures the one thing that has made Spider-Man popular worldwide, practically since he debut.  Because of the kind of superhero costume Spider-Man wears, anyone can be behind the mask, including an Afro-Latino teen and even a teen girl.  Moore and the filmmakers perfectly encapsulate the truth that Spider-Man is an every-man hero.

The second thing about this film I want to highlight is its fantastic animation, eye-popping visuals, and breath-taking graphic design.  The film combines the in-house computer animation of Sony Pictures Imageworks with traditional hand-drawn comic book techniques, much of it inspired by the work of Miles Morales's co-creator, artist Sara Pichelli (who created the character with writer Brian Michael Bendis) and artist Robbi Rodriguez, co-creator of Spider-Gwen/Spider-Woman.  Spider-Man: Into the Spider-Verse blends 3D computer animation with the 2D sensibilities of comic book graphics, graffiti, collage, mixed media, and street art to create the visual look for the film that is thoroughly modern, but also reflects the visuals and graphics of 1960s Marvel Comics titles, especially the quintessential Spider-comic, The Amazing Spider-Man.

Apparently, 2D artists took the renderings of 3D computer-animators and drew on top of those renderings various comic book drawing techniques, including line work, dots, and painting.  The combination of 2D and 3D makes much of the film look like a series of comic book panels, so there are times that Spider-Man: Into the Spider-Verse is like a comic book-in-motion.  It becomes a living, breathing comic book, pulsating with static-electric life.

Isn't it obvious that I love me some Spider-Man: Into the Spider-Verse?  It is the best Spider-Man film to date, and the second best comic book movie of the year, behind Black Panther.  I hope that adult audiences that generally avoid animated films don't avoid Spider-Man: Into the Spider-Verse.  It is much better than the vast majority of comic book and action films that they have seen over the last decade.  Spider-Man: Into the Spider-Verse is a triumph, and it could be a game-changer.

A+
9 out of 10

Sunday, December 16, 2018; Edited:  Monday, February 25, 2019

NOTES:
2019 Academy Awards, USA:  1 win: “Best Animated Feature Film” (Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord, and Christopher Miller)

2019 Golden Globes, USA:  1 win: “Best Motion Picture – Animated”

2019 BAFTA Awards:  1 win: “Best Animated Featured Film” (Bob Persichetti, Peter Ramsey, Rodney Rothman, and Phil Lord)


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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"Spider-Man: Into the Spider-Verse" Arrives on Blu-ray/DVD March 19th

"SPIDER-MAN: INTO THE SPIDER-VERSE" COMING TO DIGITAL ON FEBRUARY 26, 2019, HOME VIDEO ON MARCH 19

With Over 90 Minutes of Special Features Including a Never-Before-Seen SPIDER-HAM Short, Alternate Universe Mode and much more!

In Theaters Now and Swung Home onto Digital February 26, 2019, On 4K Ultra HD™ Combo Pack, Blu-ray™ Combo Pack and DVD on March 19, 2019

"The year’s best animated movie." ~ Brian Truitt, USA TODAY

Academy Award® Winner for Best Animated Feature Film
Golden Globe® Winner for Best Animated Feature Film
Critics' Choice® Winner for Best Animated Feature Film
Winner of Seven Annie® Awards Including Best Animated Feature

CULVER CITY, Calif. (February 18, 2019) – The Academy Award® Winner for "Best Animated Feature Film," SPIDER-MAN: INTO THE SPIDER-VERSE, swung onto Digital February 26, 2019 and on 4K Ultra HD Combo Pack, Blu-ray Combo Pack, and DVD on March 19, 2019 from Sony Pictures Home Entertainment and Sony Pictures Animation. From Phil Lord and Christopher Miller, the uniquely creative minds behind The Lego Movie and 21 Jump Street, the film offers a fresh vision of the Spider-Man universe with a groundbreaking visual style that’s the first of its kind.

SPIDER-MAN: INTO THE SPIDER-VERSE, a film that has grossed over $350 million in theaters worldwide to date, introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the iconic mask. "One of the most rewarding experiences in recent months has been to hear that children are telling their parents that they see themselves in Miles, or that they want to grow up to be like Spider-Gwen, anyone can be a hero. Thats why we made this film, and we hope that feeling of empowerment is something that both audiences young and old can take away," say Directors Bob Persichetti, Peter Ramsey, and Rodney Rothman.

The out-of-this-world voice cast includes Shameik Moore as Miles Morales alongside Jake Johnson ("New Girl") as Peter B. Parker, Hailee Steinfeld (Bumblebee) as Gwen Stacy/Spider-Gwen, Mahershala Ali (Green Book) as Miles’ Uncle Aaron, Brian Tyree Henry ("Atlanta") as Jefferson Davis, Lily Tomlin ("Grace and Frankie") as Aunt May, Luna Lauren Velez ("How To Get Away with Murder") as Rio Morales, Zoë Kravitz ("Big Little Lies") as Mary Jane, John Mulaney ("Big Mouth") as Spider-Ham, with Nicholas Cage (The Croods) as Spider-Man Noir, Kathryn Hahn (Hotel Transylvania 3: Summer Vacation) as Doc Ock and Liev Schreiber ("Ray Donovan") as the villain Kingpin.

SPIDER-MAN: INTO THE SPIDER-VERSE arrives filled with engaging bonus materials that are fun for the whole family and give fans even more of the unique comic book style action that they loved in theaters with over 90 minutes of bonus content. In his very own original short, Spider-Ham: Caught In a Ham, fan favorite Spider-Ham defeats his greatest foe, delivers sidesplitting puns, and get sucked into another dimension! It actually can get weirder! Don’t miss the thrilling Alternate Universe Mode where fans can view the film in an entirely new way to discover alternate scenes, plotlines, characters, and more with the filmmakers as their guide. Also included is The Spider-Verse Super-Fan Easter Egg Challenge, where fans are challenged to find every single Easter Egg hidden within the Spider-Verse (and there are a lot of them!). Explore the character design in the visually stunning film including specific looks at the now-iconic Spider-Ham character as well as the classic villains who inhabit the Spider-Verse. Additional special features include a celebration of the diversity in the film and the idea that anyone can wear the mask in a feature called We Are Spider-Man, a featurette called Spider-Verse: A New Dimension, where fans can hear from the artists and filmmakers who pushed the boundaries of the comic book artform to create a visual experience unlike anything done in animation before, a showcase of all the amazing fan favorite characters featured in the Spider-Verse and the actors who bring them to life, and a touching tribute to comic legends Stan Lee and Steve Ditko, who originally created the Spider-Man character. Other bonus materials include two lyric videos featuring "Sunflower" by Post Malone and Swae Lee and "Familia" by Nicki Minaj and Anuel AA (feat. Bantu).

SPIDER-MAN: INTO THE SPIDER-VERSE is directed by Bob Persichetti (The Little Prince), Peter Ramsey (Rise of the Guardians) and Rodney Rothman (22 Jump Street), and screenplay by Phil Lord and Rodney Rothman from a story by Lord. The film is produced by Avi Arad, Amy Pascal, Phil Lord, Chistopher Miller, and Chrstina Steinberg. The executive producers are the late Stan Lee, Brian Michael Bendis, and Will Allegra.

Bonus Materials Include:

    • We Are Spider-Man: Exploring and celebrating one of the key themes of the film, We Are Spider-Man takes a deep dive into the diversity of the characters and aspirational core that any person from any gender or cultural background can wear the mask.
    • Spider-Verse: A New Dimension: With a stunning visual style and state of the art animation designed to take the viewer into the pages of a comic, Spider-Man: Into The Spider-Verse is not only a love letter to comic books but a groundbreaking take on the super hero genre. Hear from the artists and filmmakers who pushed the boundaries of the artform as they discuss their journey.
    • The Ultimate Comics Cast: Enjoy this showcase of all of the fan favorite characters featured in the Spider-Verse and the spectacular cast who were chosen to bring them to life.
    • A Tribute to Stan Lee & Steve Ditko: Celebrate the amazing legacy and powerful spirit of the creators of Spider-Man.
    • The Spider-Verse Super-Fan Easter Egg Challenge: The Spider-Verse is loaded with Easter Eggs, from cameos to comics references. Fans are challenged to find them all!
    • Designing Cinematic Comics Characters: A breakdown of all aspects of the character design including costume, movement in animation, and distinct powers for each character.
    o Heroes & Hams: Meet the amazing Spider-people of the Spider-Verse.
    o Scorpions and Scoundrels: Explore the classic villains who wreak havoc on the Spider-Verse.
    • Alternate Universe Mode: In this all-new viewing experience, discover alternate scenes, plotlines, characters, and more with the filmmakers as your guide.
    • 2 Lyric Videos
    o "Sunflower" by Post Malone and Swae Lee
    o "Familia" by Nicki Minaj & Anuel AA (feat. Bantu)
    • All-New Original Short "Spider-Ham: Caught In a Ham" It’s another normal day for Peter Porker, a.k.a. the Spectacular Spider-Ham, fighting bad guys and loving hot dogs, until a mysterious portal starts messing with the very fabric of his cartoon reality.

4K Ultra HD Disc Includes:

    • Feature film presented with High Dynamic Range and Dolby Atmos sound
    • Also includes the film and special features on the included high-def Blu-ray

SPIDER-MAN: INTO THE SPIDER-VERSE has a run time of approximately 117 minutes and is rated PG for frenetic sequences of animated action violence, thematic elements, and mild language.


ABOUT SONY PICTURES ENTERTAINMENT
Sony Pictures Home Entertainment (SPHE) is a Sony Pictures Entertainment (SPE) company. SPE is a subsidiary of Sony Entertainment Inc., which 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 includes film labels Columbia Pictures, Screen Gems, TriStar Pictures, Sony Pictures Animation, and Sony Pictures Classics. For additional information, visit  http://www.sonypictures.com.

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First Full "Spider-Man: Into the Spider-Verse" Trailer Debuts

"SPIDER-MAN™: INTO THE SPIDER-VERSE" TRAILER LAUNCHES

Hailee Steinfeld, Mahershala Ali, Jake Johnson, Liev Schreiber, Brian Tyree Henry, Luna Lauren Velez  and Lily Tomlin Join the Cast

CULVER CITY, Calif. - Sony Pictures Animation today launched the first full trailer for Spider-Man™: Into the Spider-Verse and confirmed the vocal cast joining Shameik Moore as he takes on the role of Miles Morales.

Jake Johnson is joining the cast as Miles' reluctant mentor, Peter Parker, with Liev Schreiber playing the larger-than-life crime lord Kingpin, Hailee Steinfeld playing the spunky, free-spirited Spider-Gwen, Oscar® winner Mahershala Ali as Miles' influential uncle Aaron, Brian Tyree Henry playing Miles' father Jefferson, Luna Lauren Velez as Miles' mother Rio, and Lily Tomlin as Aunt May.

Commenting on the announcement, producers Phil Lord and Christopher Miller said, "We are lucky to have such an amazing cast of funny, genuine creative souls to populate the Spider-verse. They have generous minds and great big hearts. And they have very talented throats.  Which is where their delightful voices come from."

Lord and Miller continued: "We can't wait for the world to see Miles Morales on the big screen. He's such a fun and exciting new character, and telling his story through a revolutionary visual style makes for a totally fresh cinematic experience that, if we may say so, is freaking amazing."

Phil Lord and Christopher Miller, the creative minds behind The Lego Movie and 21 Jump Street, bring their unique talents to a fresh vision of a different Spider-Man Universe, with a groundbreaking visual style that's the first of its kind.  Spider-Man™: Into the Spider-Verse introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask.  Directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, the screenplay is by Phil Lord.  The film is produced, in association with Marvel, by Avi Arad, Amy Pascal, Phil Lord, Christopher Miller, and Christina Steinberg.

©2018 Columbia Pictures Industries, Inc. All Rights Reserved. MARVEL and all related character names: © & ™ 2018 MARVEL

Genre: Animated
December 14, 2018

Directed by: Bob Persichetti, Peter Ramsey, Rodney Rothman

Screenplay by: Phil Lord

Produced by: Avi Arad, Amy Pascal, Phil Lord, Christopher Miller, Christina Steinberg

Cast: Shameik Moore, Hailee Steinfeld, Mahershala Ali, Jake Johnson, Liev Schreiber, Brian Tyree Henry, Luna Lauren Velez, Lily Tomlin

SOCIAL MEDIA:
Facebook: https://www.facebook.com/SpiderVerseMovie
Twitter: https://mobile.twitter.com/SpiderVerse
Instagram: https://www.instagram.com/spiderversemovie/
#SpiderVerse

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Review: "Spotlight" Deserved All the Praise it Received and More

TRASH IN MY EYE No. 11 (of 2017) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Spotlight (2015)
Running time:  128 minutes (2 hours, 8 minutes)
MPAA – R for some language including sexual references
DIRECTOR:  Tom McCarthy
WRITERS:  Josh Singer and Tom McCarthy
PRODUCERS:  Blye Pagon Faust, Steve Golin, Nicole Rocklin, and Michael Sugar
CINEMATOGRAPHER:  Masanobu Takayanagi
EDITOR:  Tom McArdle
COMPOSER:  Howard Shore
Academy Award winner including “Best Picture”

DRAMA with elements of a biopic

Starring:  Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Brian d'Arcy James, Stanley Tucci, and Billy Crudup

Spotlight is a 2015 drama from director and co-writer Tom McCarthy (The Visitor).  Part biographical, Spotlight is based on a true story and is a dramatic retelling of The Boston Globe's efforts to uncover child sex accuse in the Boston area that was perpetrated by Roman Catholic priests.  At the 88th Academy Awards (Sunday, February 28, 2016), Spotlight won the Oscar as the “Best Picture of 2015.”

Spotlight focuses on the editors, reporters, and employees at the venerable newspaper, The Boston Globe, which has a small group of journalists known as the “Spotlight” team.  Spotlight is the oldest continuously operating newspaper investigative unit in the United States.  The Spotlight team works on investigative newspaper articles that take months to research and write before they are published.

In 2001, The Boston Globe hires a new editor, Marty Baron (Liev Schreiber).  Baron meets with Walter “Robby” Robinson (Michael Keaton), the editor of the Spotlight team. Baron had read a Globe column about a lawyer, Mitchell Garabedian (Stanley Tucci), who works with adults who were victims of childhood sexual abuse by Roman Catholic priests and also the parents and their children who are currently being abused.  Garabedian says that the Archbishop of Boston, Cardinal Bernard Law (Len Cariou), knew that the priest, Father John Geoghan, sexually abused children and did nothing to stop the abuse.

Robinson gathers his Spotlight team:  Michael Rezendes (Mike Ruffalo), Sacha Pfeiffer (Rachel McAdams), and Matt Carroll (Brian d'Arcy James) and begins the investigation.  However, they discover a scandal of child molestation and  a cover-up within the local Catholic Archdiocese that is massive, widespread, and older than they could ever imagine.  In order to uncover this conspiracy, the Globe and Spotlight will have to shake the cultural, political, social and spiritual foundations of a city and a church that is determined to keep its darkest secrets hidden.

Spotlight is one of the best films that I have seen over the first 16 years of this 21st century.  I do remember early in my “career” as a “serious” movie watcher reading the writings of people who took American films seriously, and they often talked about “important movies.”  Such films focused on topical or historical matters of importance to America; or were based on true stories that once resonated with Americans or still did to some extent; or they were about racism, bigotry, prejudice, and discrimination based on skin color, sexual orientation, gender, religion, ethnicity, etc.; or they were about terrible events in history, such as wars or genocide (in particularly, the Holocaust).

Then, there seemed (to me at least) to be a backlash against “serious movies.”  Audiences supposedly hated movies with messages or movies in which the filmmakers used the characters as mouthpieces for their believes and agendas.  To me, the result was fewer films like Silkwood, The Killing Fields, and Platoon and more escapist fare like Back to the Future, Armageddon, and Pirates of the Caribbean and like films which have dominated movie theaters for the better part of four decades.

Well, the important movie is back and the result is Spotlight, a film that not only concerns something of great importance, but is also greatly entertaining.  By now, dear reader, you have heard that Spotlight is supremely directed, excellently written, superbly acted, and just an all-around great freakin' film, and that is all true.  I could not stop watching Spotlight.  I think director Tom McCarthy's biggest achievement in this film is to give this story a hypnotic power that holds the viewer in vice-like grip until the credits role and the end of the film.

However, I think Spotlight's true power and achievement are in its indictment of us.  How does great evil “get away with it” in the end?  The fault is not only on the institution which commits and covers up crime, in this case the Roman Catholic Church in general and the Archdiocese of Boston specifically.  The fault is also with basically an entire society, in this case Boston, as the social, political, and economic order down even to the personal level either looks the other way or mitigates the fact that horrible crimes are being committed against that society's most vulnerable members, the children.

It seems that much, if not all, of Boston found a way to avoid punishing, to say nothing of stopping, a group of men (priests and bishops) who basically had the faith, respect, and worship of everyone from raping and sexually abusing children.  The Spotlight is not on why it happened, but is (1) on the people who let it happen, let it keep happening, and let it go unpunished and (2) on the people who decide that it is time to stop the abuse, the abusers, and their apologists and sympathizers.

10 of 10

Tuesday, December 6, 2016


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint or syndication rights and fees.


NOTES:
2016 Academy Awards, USA:  2 wins:  “Best Motion Picture of the Year” (Michael Sugar, Steve Golin, Nicole Rocklin, and Blye Pagon Faust) and “Best Writing, Original Screenplay” (Josh Singer and Tom McCarthy); 4 nominations: “Best Performance by an Actor in a Supporting Role” (Mark Ruffalo), “Best Performance by an Actress in a Supporting Role” (Rachel McAdams), “Best Achievement in Directing” (Tom McCarthy), and “Best Achievement in Film Editing” (Tom McArdle)

2016 Golden Globes, USA:  3 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Tom McCarthy), and “Best Screenplay - Motion Picture” (Tom McCarthy and Josh Singer)

2016 BAFTA Awards:  1 win: “Best Original Screenplay” (Tom McCarthy and Josh Singer); 2 nominations: “Best Supporting Actor” (Mark Ruffalo) and “Best Film” (Steve Golin, Blye Pagon Faust, Nicole Rocklin, and Michael Sugar)

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Detroit Film Critics Name "Spotlight" Best Film of 2015

The Detroit Film Critics Society was founded in Spring 2007 and currently consists of a group of 20 Michigan film critics (as December 2013) who write or broadcast in the Detroit area as well as other major cities within a 150-mile radius of the city including Ann Arbor, Grand Rapids, Kalamazoo, Lansing, and Flint, Michigan.

The winners of the 2015 Detroit Film Critics Society Awards were Monday, December 14, 2015.

2015 Detroit Film Critics Society Awards winners:

BEST FILM
Spotlight

BEST DIRECTOR
George Miller, Mad Max: Fury Road

BEST ACTOR
Michael Caine, Youth

BEST ACTRESS
Saroise Ronan, Brooklyn

BEST SUPPORTING ACTOR
Liev Schreiber, Spotlight

BEST SUPPORTING ACTRESS
Alicia Vikander, The Danish Girl

BEST ENSEMBLE
Spotlight

BREAKTHROUGH
Alicia Vikander, Ex Machina, The Danish Girl (actress)

BEST SCREENPLAY
Josh Singer, Tom McCarthy, Spotlight

BEST DOCUMENTARY
Amy

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Gotham Awards Names "Spotlight" as the "Best Feature" of 2015

Honoring independent films, the Gotham Awards are the first major awards of the film awards season.  The Gotham Awards are presented by the Independent Filmmaker Project (IFP), an organization which helps independent filmmakers by connected artists with resources at all stages of film development and distribution.

This year, the 2015 Gotham Awards kicks off the 2015-16 season.  The Gotham Awards ceremony was held on Monday, November 30, 2015 at Cipriani Wall Street.

The 2015 IFP Gotham Independent Film Award winners:

Best Feature
Spotlight
Tom McCarthy, director; Michael Sugar, Steve Golin, Nicole Rocklin, Blye Pagan Faust, producers (Open Road Films)

Best Documentary
The Look of Silence
Joshua Oppenheimer, director; Signe Byrge Sørensen, producer (Drafthouse Films)

Bingham Ray Breakthrough Director Award
Jonas Carpignano for Mediterranea (Sundance Selects)

Best Screenplay
Spotlight, Tom McCarthy and Josh Singer (Open Road Films)

Best Actor*
Paul Dano in Love & Mercy (Roadside Attractions, Lionsgate, and River Road Entertainment)

Best Actress*
Bel Powley in The Diary of a Teenage Girl (Sony Pictures Classics)

Breakthrough Actor
Mya Taylor in Tangerine (Magnolia Pictures)


* The 2015 Best Actor/Best Actress nominating panel also voted to award a special “Gotham Jury Award” jointly to Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Stanley Tucci, and Brian d’Arcy James for their ensemble work in Spotlight. (Open Road Films).

Spotlight on Women Directors ‘Live the Dream’ Grant
For the sixth consecutive year, IFP is proud present the euphoria Calvin Klein Spotlight on Women Directors ‘Live the Dream’ grant, a $25,000 cash award for an alumna of IFP’s Independent Filmmaker Labs or IFP’s Screen Forward Lab. In 2015, Screen Forward Lab directors have been included in this opportunity for the first time. This grant aims to further the careers of emerging women directors by supporting the completion, distribution and audience engagement strategies of their first feature film or episodic series. The nominees are:

Chanelle Aponte Pearson, director, 195 Lewis - WINNER


Gotham Independent Film Audience Award
IFP members will determine the 7th Annual Gotham Independent Film Audience Award with nominees comprised of the 14 nominated films in the Best Feature, Best Documentary, and Bingham Ray Breakthrough Director Award categories. All IFP current, active members at the Individual Level and above will be eligible to vote.  Voting will take place online from November 18th at 12:01 AM EST and conclude on November 25th at 5:00 PM EST. In addition, IFP will be scheduling screenings of the nominated films for IFP members in the theater at the Made in NY Media Center by IFP in Brooklyn. These screenings will take place from November 4-11. The winner of the Audience Award will be announced at the Gotham Awards Ceremony on November 30, 2015.

Tangerine
Sean Baker, director; Darren Dean, Shih-Ching Tsou, Marcus Cox & Karrie Cox, producers (Magnolia Pictures) - WINNER

Gotham Appreciation Award
A Gothams Appreciation Award is given to Ellen Cotter for her contribution to theatrical distribution, including leadership of the Angelika Film Centers.

Breakthrough Series – Longform
:
A continuing or limited series with episodes running 30 minutes or longer.



Mr. Robot, Sam Esmail, creator (USA Network)
 (WINNER)
Breakthrough Series – Shortform:
A continuing or limited-series new digital media programming comprising five or more episodes with the majority under 20 minutes.  



Shugs and Fats, Nadia Manzoor and Radhika Vaz, creators (ShugsandFats.TV) (WINNER)


Gotham Tributes
The Gotham Independent Film Awards, selected by distinguished juries and presented in New York City, the home of independent film, are the first honors of the film awards season. This public showcase honors the filmmaking community, expands the audience for independent films, and supports the work that IFP does behind the scenes throughout the year to bring such films to fruition.

The "Film Tribute Awards" went to Steve Golin; Todd Haynes; Helen Mirren; and Robert Redford

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Columbia Pictures Begins Production on Film Adaptation of "The 5th Wave"

PRODUCTION BEGINS ON "THE 5TH WAVE"

First Novel in Franchise Series by Rick Yancey Stars Chloë Grace Moretz For Director J Blakeson
Moviegoers Follow the Action on Twitter, Facebook and Instagram @5thWaveMovie

Principal photography has commenced on the highly anticipated motion picture The 5th Wave, Columbia Pictures’ adaptation of the bestselling young adult novel. The action-adventure film is directed by J Blakeson, with a screenplay by Susannah Grant, based on the book by Rick Yancey. The producers are Tobey Maguire, Graham King, Lynn Harris, and Matthew Plouffe. Denis O’Sullivan and Richard Middleton are the executive producers.

Slated for domestic release on January 29, 2016, The 5th Wave stars Chloë Grace Moretz as Cassie, Nick Robinson as Ben Parish aka "Zombie," Ron Livingston as Dad/Oliver, Maggie Siff as Mom/Lisa, Alex Roe as Evan Walker, Maika Monroe as Ringer, Zackary Arthur as Sam, and Liev Schreiber as Vosch.

In The 5th Wave, set in the present day, four waves of increasingly deadly attacks have left most of Earth decimated. Against a backdrop of fear and distrust, 16-year-old Cassie is on the run, desperately trying to save her younger brother. As she prepares for the inevitable and lethal 5th wave, Cassie meets a young man who may become her final hope.

Throughout photography, fans will have unrivaled access to the production, including a wealth of behind-the-scenes photos, interaction with cast and crew, and on-set updates via social media. "One of the ways Rick Yancey made The 5th Wave so special is that it feels like it’s happening right now – and the characters react as teenagers today would react,”"said Dwight Caines, president, Theatrical Marketing for Sony Pictures. "To stay faithful to that, we are making sure fans are on the inside from Day One."

Moviegoers can stay up-to-date on all things 5th Wave by following the movie and interacting on Twitter, Facebook, and Instagram @5thWaveMovie.

Blakeson’s production team includes Enrique Chediak as the Director of Photography, Jon Billington as the Production Designer, Paul Rubell as the Editor, and Sharen Davis as the Costume Designer.

The 5th Wave is a phenomenon in young adult literature, with 21 weeks on The New York Times Best Sellers list, nearly 300,000 hardcover units sold, and 80,000 e-books sold. The novel, which has also had tremendous crossover appeal with adults, was honored with the 2014 Red House Children’s Book Award in the UK. The second book in Yancey’s planned trilogy, The Infinite Sea, was published last month.

Hannah Minghella and Andrea Giannetti will oversee the project for the studio.


About Sony Pictures Entertainment
Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., 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. For additional information, go to http://www.sonypictures.com.

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Review: "The Manchurian Candidate" Remake a Missed Oppurtunity

TRASH IN MY EYE No. 166 (of 2004) by Leroy Douresseaux

The Manchurian Candidate (2004)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – R for violence and some language
DIRECTOR:  Jonathan Demme
WRITERS:  Daniel Pyne and Dean Georgaris (based upon the film screenplay by George Axelrod and based upon a novel by Richard Condon)
PRODUCERS:  Tina Sinatra, Scott Rudin, Jonathan Demme, and Ilona Herzberg
CINEMATOGRAPHER: Tak Fujimoto, ASC
EDITORS:  Carol Littleton, A.C.E. and Craig McKay, A.C.E.
COMPOSER:  Rachel Portman
BAFTA Award nominee

DRAMA/THRILLER with elements of mystery and science fiction

Starring:  Denzel Washington, Meryl Streep, Liev Schreiber, Jon Voight, Kimberly Elise, Jeffrey Wright, Ted Levine, Anthony Mackie, Bruno Ganz, Simon McBurney, Al Franken, and Miguel Ferrer

The subject of this movie review is The Manchurian Candidate, a 2004 thriller and drama film from director Jonathan Demme.  The film is an adaptation of the 1959 novel, The Manchurian Candidate, from author Richard Condon.  It is also a re-imagining of director John Frankenheimer’s 1962 film adaptation of the book.  In the 2004 film, a war veteran begins to believe that during the Gulf War, soldiers in his U.S. Army unit were kidnapped and brainwashed for sinister purposes.

If you’re going to remake a great movie, you should try to make the new movie also be a great film, or at the very least try to make it a…very good film.  The Manchurian Candidate, Jonathan Demme's (The Silence of the Lambs) update of the Frank Sinatra classic of the same title, which was directed by John Frankenheimer, is neither great nor very good.  It’s the worst thing one could get from the esteemed filmmakers involved in the project, all of whom have glowing resumes.  The new The Manchurian Candidate is a flat out average film that’s barely worth an exciting trip to the video store.

In the original 1962 film, the Manchurian Candidate was a sleeper agent/assassin trained by the Red Chinese.  In the new film, the sleeper agent is Raymond Prentiss Shaw (Liev Schreiber).  Raymond Shaw is the subject of a mind control project by Manchurian Global, a huge conglomerate with its hands in everything from providing services to the military to funding political campaigns and owning politicians.  With the help of their political cronies and Raymond’s mother, Senator Eleanor Prentiss Shaw (Meryl Streep), Raymond, a young Congressman from New York, is made the Vice-Presidential nominee on the opposition (likely the Democrats, but not directly named) party’s ticket in the upcoming presidential race.

Raymond had once been Sergeant Raymond Shaw back in 1991 during Operation Desert Shield just before it became Operation Desert Storm.  He answered to U.S. Army Major Bennett Marco (Denzel Washington).  Washington, Shaw, and the rest of their platoon were ambushed in Iraq, but all they remember about the incident is that Shaw single-handedly saved the lives of the entire platoon (except for two men who were killed during the attack) after Major Marco had been knocked unconscious.

However, Ben Marco runs into another platoon buddy, Corporal Al Melvin (Jeffrey Wright), after a Boy Scout assembly where Marco recounts Shaw’s heroism.  Melvin is disheveled, and he tells Marco a fantastic tale of strange dreams he’s been having about their platoon being kidnapped and experimented on after they were ambushed.  Melvin’s story contradicts the official version of what happened in Kuwait, the one that made Shaw a Congressional Medal of Honor recipient.  Although, Marco is uncomfortable with Melvin’s tale, he knows there is a ring of truth to it because he also has never been comfortable with the official version of the ambush and their rescue.  He thinks someone was inside his head after his platoon was ambushed, and he wonders if the same thing happened to Shaw.  Marco must find out, and he’s running out because the nation just may be voting for a man whose mind is controlled by sinister forces.

It’s supposedly not always fair to compare the new version of something to the old, but it happens anyway.  Nearly everything that made the classic black and white The Manchurian Candidate an unusually creepy and unique suspense thriller is present in the 2004 version, but the filmmakers have taken the characters, plot, and settings (Korea becomes the Persian Gulf in the new film) and made a flat thriller, in which the thrills only occasionally register.  The surprises are mild, and while the changes made for the new film seem like novel ideas, the filmmakers don’t get much heat from them.

I blame everybody.  Denzel Washington’s performance is either phoned in or overwrought, but it’s his worst in a long time.  Meryl Streep tries to get traction from her evil character, but it’s a performance wasted on an all-too-phony character; besides, Ms. Streep just can’t replace Angela Landsbury’s mega evil mom from the original.  I place the most blame on director Jonathan Demme.  Back in the 1980’s, his novel spin on pedestrian film stories and his quirky characters were stunningly refreshing.  He hit the big time with the hugely entertaining and very well done The Silence of the Lambs, but since then, he has become a big time Hollywood player making mediocre films.  He continues that trend with The Manchurian Candidate.

Early Internet rumor mongering about The Manchurian Candidate described this film as a hot political potato that took sharp swipes at President Hand Puppet and his administration, swipes that would draw blood like Michael Moore’s Fahrenheit 9/11 did, but no such luck.  You wouldn’t miss much if you waited for this to appear on TV – basic cable TV.

4 of 10
C

NOTE:
2005 Golden Globes, USA:  1 nomination: “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Meryl Streep)

2005 BAFTA Awards:  1 nomination: “Best Performance by an Actress in a Supporting Role” (Meryl Streep)

2005 Black Reel Awards:  2 nominations:  “Best Supporting Actor” (Jeffrey Wright) and “Best Supporting Actress” (Kimberly Elise)

Updated:  Sunday, November 10, 2013


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Review: "The Omen" Remake is Very 666

TRASH IN MY EYE No. 126 (of 2006) by Leroy Douresseaux

The Omen (2006)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for disturbing violent content, graphic images, and some language
DIRECTOR: John Moore
WRITER: David Seltzer
PRODUCERS: Glenn Williamson and John Moore
CINEMATOGRAPHER: Jonathan Sela
EDITOR: Dan Zimmerman
COMPOSER: Marco Beltrami

HORROR/DRAMA/THRILLER

Starring: Julia Stiles, Liev Schreiber, Mia Farrow, David Thewlis, Pete Postlethwaite, Giovanni Lombardo, Reggie Austin, Tonya Graves, and Seamus Davey-Fitzpatrick

The subject of this movie review is The Omen, a 2006 horror thriller. This film, which is also known as The Omen: 666, is a remake of the 1976 horror film, The Omen. This remake is written by David Seltzer who also wrote the screenplay for the 1976 film.

Venerated movie critic Roger Ebert (the only writer to win a Pulitzer Prize for writing film criticism) says that the new movie, The Omen, a remake of the 1976 film of the same name, is faithful to that original. It’s been well over 25 years since I’ve seen the 1976 flick, so I can’t say with certainty. However, David Seltzer, who wrote the first film, has also written the remake, and I remember enough to say that at least this new flick creeped me out just as the original did.

Robert Thorn (Liev Schreiber) is a young American diplomat in Rome, awaiting the birth of his first child by his wife, Katherine (Julia Stiles). He arrives at the hospital, where the presiding priest, one Father Spiletto (Giovanni Lombardo), informs Robert that Katherine had an extremely difficult delivery, during which their infant son died. The priest also tells him that Katherine doesn’t know that their child died. He reports to Robert that another woman delivered the same time Katherine went into labor, and while that mother died during delivery, her son survived. Father Spiletto implores Robert to take this other infant as his own son, but not tell Katherine that this isn’t her infant. God won’t mind this little deception, the priest tells Robert.

Five years later, the Thorns’ son, the mystery infant they named Damien (Seamus Davey-Fitzpatrick), is a brooding, peculiar child who seems to be, from the point of view of his mother, the nexus of strange events. Katherine feels detached from the child, and she insists that Robert hire a nanny to help her with the boy. Into their lives arrives Mrs. Blaylock (Mia Farrow), who seems as strange as Damien. They mostly ignore the weirdness in their lives, especially Robert, but when Father Brennan (Pete Postlethwaite), a frantic priest with a haunted air and haunted look about him, continually gives Robert dire warnings about Damien, the newly minted U.S. Ambassador starts to have his own misgivings. With the help of a photographer, Keith Jennings (David Thewlis), Robert is about to discover his son’s true origins and a secret so dire that the fate of mankind may hang in the balance.

The Omen is an adult psychological thriller, a supernatural suspense story in the tradition of Rosemary’s Baby, The Exorcist, and of course the 1976 version of The Omen. Recent films of that type include such box office stumbles as End of Days, Lost Souls, and The Ninth Gate. Director John Moore takes the few changes the new movie makes to the original flick and uses them to create a creepy film with a narrative haunted by the proverbial ominous future. Known for directing commercials before helming such films as Behind Enemy Lines (2001) and Flight of the Phoenix (2004), Moore blends composer Marco Beltrami’s eerie score with his own visual gumbo of ghostly locales and engaging, but troubled characters. Moore and his crew turn their filming locations in Italy, Ireland, Croatia, and the Czech Republic into places where the supernatural is quite natural: an isolated monastery reachable only by traveling across a midst covered lake; an ancient underground Hebrew village; the forlorn mansion in which the Thorns live, and a weird Etruscan graveyard, etc.

Moore also gets superb performances from his cast, each one giving his character that something extra that makes him or her much more appealing than the standard horror movie victim. Schreiber adds of touch of Laurence Olivier circa Rebecca to Robert Thorn, while Julia Stiles is riveting and spot-on as Katherine, a mother so terrified of her child that it leads to dreams filled with terrible apparitions. Mia Farrow is the ultimate witch-hag evil nanny – all wide-eyed with intense devotion to her evil charge and a stone cold face surrounded by thick mane of hair. As for Seamus Davey-Fitzpatrick as Damien, it’s scary that a child actor can play the bad seed so well. Seamus’s Damien is a soul spoiled - just pure rotten, like bad meat surrounded by an evil presence. Pete Postlethwaite and David Thewlis also strike the perfect notes in their respective supporting character parts.

I would compare The Omen to the 2005 film, The Skeleton Key. Both are entertaining supernatural thrillers aimed at an older crowd, each one at times a little illogical and having holes in both concept and execution. Good, but not great, The Omen delivers not less, but a little more than it promises.

6 of 10
B

Wednesday, June 7, 2006

NOTES:
2007 Razzie Awards: 1 nomination: “Worst Supporting Actor” (David Thewlis, also for Basic Instinct 2)

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Review: Wes Craven Makes "Scream 3" Worth the Repetition

TRASH IN MY EYE No. 52 (of 2004) by Leroy Douresseaux

Scream 3 (2000)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – R for strong horror violence and language
DIRECTOR: Wes Craven
WRITER: Ehren Kruger (based upon characters created by Kevin Williamson)
PRODUCERS: Cathy Konrad, Marianne Maddalena, and Kevin Williamson
CINEMATOGRAPHER: Peter Deming
EDITOR: Patrick Lussier
COMPOSER: Marco Beltrami

HORROR/MYSTERY/THRILLER

Starring: David Arquette, Neve Campbell, Courteney Cox, Patrick Dempsey, Parker Posey, Scott Foley, Deon Richmond, Emily Mortimer, Lance Henriksen, Jenny McCarthy, Matt Keeslar, Patrick Warburton, Liev Schreiber, Kelly Rutherford, and Jamie Kennedy

When a series of murders are tied to Stab 3, a movie about the tragic events in her life, the most famous survivor of the Woodsboro massacre, Sidney Prescott (Neve Campbell), leaves her secluded residence in Northern California to visit Stab 3’s Hollywood film set. Of course, the remaining survivors of Woodsboro and of the other Woodsboro-related murders – hot tabloid TV reporter, Gail Weathers (Courteney Cox), and Woodsboro deputy, Dwight “Dewey” Riley (David Arquette), are also on the scene. But they all soon learn that in the third film of a trilogy, all the rules are thrown out the window. The killer could be anyone, and even heroes can die.

Scream 3 is supposedly the closing chapter of the Scream franchise, and it’s a pretty good send off. Ehren Kruger’s script is certainly in the heart and vein of Scream creator Kevin Williamson’s scripts for the first two films. Kruger ably captures the self-referential, meta-lite atmosphere of the earlier films, and Kruger’s is less a satire or homage to horror flicks and more itself a good horror movie.

The cast is good, and the actors really understand their parts. The players who are supposed to be campy murder victims play their parts with relish, while the leads are intense and skillful. But the true hero of Scream 3, as he was for the first two, is horrormeister Wes Craven, who may be the most successful director of horror films in the history of movie making. He’s also skillful and adept at making even the rough spots in this move work, because he helms slasher flicks with the verve of an auteur making art films.

Scream 3 is not great, but it’s scary and funny and hard to stop watching. It’s clever and witty, both in its smart moments and in its lesser scenes. Though it seems to fall apart in some scenes of its last act, the film is worth viewing for its many genuinely creepy moments that keep you on the edge of your seat.

6 of 10
B

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Review: "Scream 2" Doesn't Sustain Strong Start

TRASH IN MY EYE No. 51 (of 2004) by Leroy Douresseaux

Scream 2 (1997)
Running time: 120 minutes (2 hours)
MPAA – R for language and strong bloody violence
DIRECTOR: Wes Craven
WRITER: Kevin Williamson (based upon characters Kevin Williamson created)
PRODUCERS: Cathy Konrad and Marianne Maddalena
CINEMATOGRAPHER: Peter Deming (D.o.P.)
EDITOR: Patrick Lussier
COMPOSER: Marco Beltrami

HORROR/MYSTERY/THRILLER

Starring: Neve Campbell, David Arquette, Courteney Cox, Sarah Michelle Gellar, Jamie Kennedy, Laurie Metcalf, Elise Neal, Jerry O’Connell, Timothy Olyphant, Jada Pinkett, Liev Schreiber, Lewis Arquette, Duane Martin, Rebecca Gayheart, Portia de Rossi, Omar Epps, Heather Graham, (voice) Roger L. Jackson, Tori Spelling, and Luke Wilson

Two years after the shocking events in Scream, Sidney Prescott (Neve Campbell) and Randy Meeks (Jaime Kennedy), the only surviving teens of the Woodsboro massacre, are attending college. Sidney is trying to get on with her life until a copycat killer begins acting out a real-life sequel, and some of Sidney’s college classmates meet a grisly fate at the hands of a knife-wielding killer. Ambitious reporter Gale Weathers (Courteney Cox) and Woodsboro deputy Dewey (David Arquette) are also back as the new killing spree leaves no one safe and no one above suspicion of being the Woodsboro copycat murderer.

Scream 2 is, for the most part, quiet entertaining. It does not, however, have half the wild and crazy energy of the first, and part of that may be because the original film was full of nutty high school kids running amok and having a good time, although there was a murderer in their midst. There are plenty of party crazy college students in the sequel, but we don’t see much of them because the film really zeroes in on Sidney’s character. Wacky kid characters made the first film fun, not female problems. Beyond Sidney’s small circle of associates, no other characters, not even bit players, come in to add something surprising to the mix.

Scream 2 is worth watching, at least for the first hour. After that there are some good moments, but the film begins to fall apart.

5 of 10
B-

NOTES:
1998 Razzie Awards: 1 nomination: “Worst New Star” (Tori Spelling)

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Review: "Scream" Still a Scream

TRASH IN MY EYE No. 50 (of 2004) by Leroy Douresseaux

Scream (1996)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for strong graphic horror violence and gore, and for language
DIRECTOR: Wes Craven
WRITER: Kevin Williamson
PRODUCERS: Cathy Konrad and Cary Woods
CINEMATOGRAPHER: Mark Irwin (D.o.P.)
EDITOR: Patrick Lussier
COMPOSER: Marco Beltrami

HORROR/MYSTERY/THRILLER

Starring: Neve Campbell, David Arquette, Courtney Cox, Skeet Ulrich, Rose McGowan, Matthew Lillard, Jamie Kennedy, W. Earl Brown, Drew Barrymore, Joseph Whipp, Lawrence Hecht, Roger Jackson (voice), Liev Schreiber, and Henry Winkler

In the GenX/post-GenX thriller Scream, a psychopathic killer stalks a group of teens just like psychos stalk victims in slasher movie. His primary focus is teenage virgin Sidney Prescott (Neve Campbell), and the killings begin near the one-year anniversary of her mother’s death. A tabloid reporter, Gale Weathers (Courtney Cox), who covered sensational murder trial of the alleged killer of Sidney’s mom, is determined to uncover the truth because she believes the wrong man was convicted of killing Mrs. Prescott and that the real killer is still at large. Of course, the mystery surrounding the killer culminates during a raucous teen party held at the obligatory isolated farmhouse. Finding out who survives is as fun as learning who the killer is.

Much has been made of how Scream references the many horror films that preceded it, especially 1980’s slasher flicks, but Scream is simply a great horror film and as much a mystery thriller as it is a scary movie. Maybe that’s because the film is a horror movie for the sake of being a horror movie. Any social commentary the film makes is ancillary, and anything it says about other movies is just the nature of the beast. Just about any horror movie will reflect the others that came before it.

While casting young stars from TV shows popular with teens and twenty-somethings in the mid-90’s was a savvy move on the part of the filmmakers (most 80’s slasher movies cast young unknowns), the two elements of that make Scream great are screenwriter Kevin Williamson and director Wes Craven. Williamson’s script is tight, smart, funny, deft, self-referential, and most of all, creates a solid structure of suspense. The characters are mostly throwaways, but Williamson makes us care about them because the situations he puts them in are so precarious, we’d be cruel not to root for them to escape. For all the artful window dressings, Williamson’s script simply tells a scary story.

Wes Craven is one of the greatest horror film directors of all time having helmed A Nightmare of Elm Street and The Last House on the Left. Scream simply cements his position as a master director of the suspense genre. He turns Williamson’s words into palatable fear. He knows when to make the film outright scary, and when slowly increase the level of suspense and fright. Craven knows when to be funny and silly, and he knows when to deliver the deathblow, but most of all when to leave it all hanging on a thin string.

Scream is a film no slasher fan should go without seeing, and certainly it’s a work not to be missed by admirers and students of horror cinema.

8 of 10
A

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Review: Angelina Jolie's "Salt" is Good For You

TRASH IN MY EYE No. 11 (of 2011) by Leroy Douresseaux

Salt (2010)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for intense sequences of violence and action
DIRECTOR: Phillip Noyce
WRITER: Kurt Wimmer
PRODUCERS: Lorenzo di Bonaventura and Sunil Perkash
CINEMATOGRAPHER: Robert Elswit
EDITOR: Stuart Baird, John Gilroy, and Steven Kemper
COMPOSER: James Newton Howard
Academy Award nominee

ACTION/THRILLER

Starring: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor, Daniel Olbrychski, August Diehl, Hunt Block, Andre Braugher, and Olek Krupa

Written by Kurt Wimmer, the writer/director of the film Equilibrium, Salt was originally about a male character named “Edwin A. Salt,” and Tom Cruise initially wanted to play the character. A little more than half a decade later, the character became a woman, now played by Angelina Jolie. The resultant film is, in the hands of the supremely skilled director, Philip Noyce, one of 2010’s best movies.

Salt focuses on Evelyn Salt (Angelina Jolie), a CIA agent recently released from a North Korean prison. Salt’s plans to celebrate her wedding anniversary with her husband, arachnologist Michael Krause (August Diehl), is interrupted by a sudden turn of events at the CIA. Vassily Orlov (Daniel Olbrychski), a Russian defector, arrives with shocking secrets. During Salt’s interrogation of him, Orlov reveals details about “Day X,” a Russian plot to destroy the United States by using highly-trained, English-speaking, Russian sleeper agents. And Orlov claims that Salt is one of those sleeper agents.

Suddenly, a rogue CIA agent, Salt is on the run, and she uses every tactic, accent, and disguise she knows to elude her pursuers, clear her name, and find her now-missing husband. Her CIA supervisor, Ted Winter (Liev Schreiber), believes that she may not be an enemy, but U.S. counter-intelligence agent, Peabody (Chiwetel Ejiofor), absolutely believes that Salt is an enemy. To save herself, however, Salt may end up doing the very things Orlov said she would.

Salt has two stellar supporting actors in the talented Liev Schreiber and Chiwetel Ejiofor, who both deliver their usual good work in this film. Outside of Asian cinema, no one is capable of delivering terrific work in both dramatic films and action movies the way Angelina Jolie does. Jolie makes Evelyn Salt the kind of secret agent/spy who is every bit the man James Bond or Jason Bourne is.

Salt is a magnificent CIA/spy film, however, because of the work of director Phillip Noyce (Dead Calm, Clear and Present Danger). The Australian director is a master of the thriller: action thriller, historical thriller, political thriller, social thriller, suspense thriller, and thriller thriller. From the beginning of Salt, it was as if Noyce threw a rope around me and dragged me along for a ride, and what a great ride Salt was. Its action is so visceral and its narrative so visually powerful that you might choose to ignore the set pieces that seem way, way farfetched. I can find very little about which to complain or criticize.

At times, Salt is like a comic book superhero story, and it occasionally seems as much a fantasy as it is a CIA thriller. Noyce took his more-than-capable dramatic action star, Angelina Jolie, and spun what will hopefully be the beginning of a beautiful new spy thriller franchise.

8 of 10
A

NOTE:
2011 Academy Awards: 1 nomination: “Best Achievement in Sound Mixing” (Jeffrey J. Haboush, William Sarokin, Scott Millan, and Greg P. Russell)

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X-Men Origins: Wolverine a Solid Superhero Flick

TRASH IN MY EYE No. 12 (of 2010) by Leroy Douresseaux


X-Men Origins: Wolverine (2009)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG-13 for intense sequences of action and violence, and some partial nudity
DIRECTOR: Gavin Hood
WRITERS: David Benioff and Skip Woods
PRODUCERS: Hugh Jackman, John Palermo, Lauren Shuler Donner, and Ralph Winter
CINEMATOGRAHER: Donald A. McAlpine (D.o.P.)
EDITOR: Nicolas De Toth and Megan Gill

SUPERHERO

Starring: Hugh Jackman, Liev Schreiber, Danny Huston, will.i.am, Lynn Collins, Kevin Durand, Dominic Monaghan, Taylor Kitsch, Daniel Henney, and Ryan Reynolds

The fourth film in the X-Men franchise is X-Men Origins: Wolverine, a film that delves into the history of Wolverine, the Canadian-born mutant with the super healing factor and those awesome metal (adamantium) claws. As he did in the X-Men trilogy, Hugh Jackman portrays Logan a.k.a. Wolverine.

Telling the story of Wolverine’s violent and romantic past, X-Men Origins: Wolverine opens in 1845 in the wilds of Canada. A boy named James experiences the activation of his mutant powers and ends up on the run with his older half-brother. James (Hugh Jackman) and his brother, Victor Creed (Live Schreiber), spend the next century as soldiers in the American army, fighting in the Civil War, both World Wars, and the Vietnam War.

Eventually imprisoned, the brothers enter the custody of Major William Stryker (Danny Huston), who offers them a membership in Team X. This is a military black operations unit comprised of mutants, including the mercenary Wade Wilson (Ryan Reynolds) and a teleporter named John Wraith (will.i.am). James eventually leaves Team X and moves back to Canada, where he assumes the identity, Logan. He and his girlfriend, Kayla Silverfox (Lynn Collins), live in peace until Stryker and Victor, separately, find them. Two things happen. Logan is suddenly plunged into a diabolical conspiracy to create the ultimate mutant weapon, and Wolverine is born.

In terms of quality, X-Men Origins: Wolverine is almost, but not quite as good as the original X-Men film (2000), and it is better than X-Men: The Last Stand. X-Men Origins: Wolverine’s character drama – relationships, personal history, conflicts – is not as good as in the first X-Men film, and some of it, such as the origin story at the beginning of this movie, is awkward and poorly done. Some of it, like Wolverine’s brief time with an elderly couple is very good and should have had more screen time or at least replaced some of this film’s other “quiet,” character moments.

The actions scenes are… well, let me just come out and say that I thought they were kick ass. They are by no means perfect, and some of the CGI is a little too obvious. However, the action scenes and fights were so good that they made everything about this film which seemed mediocre leave my mind. The action made me ready for a sequel.

One thing that did surprise me about this film was the acting. It’s good across the board – from the top line stars (Jackman, Schreiber) to the smaller players (Dominic Monaghan as Chris Bradley). Jackman is a good actor, and his performances going back to the original X-Men film are what turned a wildly popular comic book character named Wolverine into a bankable action movie character.

It seems as if it is easy to forget how good an actor Liev Schreiber is, but he reminds us with his Victor Creed. In Schreiber’s hands, Creed is deliciously evil, a rare superb performance as a villain in a superhero movie, and Schreiber will make you miss him every time Creed leaves the story.

X-Men Origins: Wolverine takes the generic explosions, motorcycle stunts, and screaming blood feuds of the action movie and makes them cool and compelling the way a summer popcorn movie should make them. It may have its problems, but what X-Men Origins: Wolverine does, it does well enough to earn our attention.

6 of 10
B

Friday, March 12, 2010