Sony Pictures Classics Acquires "12 Mighty Orphans"

Sony Pictures Classics Adopts Ty Roberts’ 12 Mighty Orphans Starring Luke Wilson, Martin Sheen, Vinessa Shaw, and Robert Duvall

NEW YORK – Sony Pictures Classics announced that they have acquired worldwide rights in all media to 12 MIGHTY ORPHANS directed by Ty Roberts and starring Luke Wilson, Martin Sheen, Vinessa Shaw, Wayne Knight, Jake Austin Walker, Treat Williams, Ron White, Scott Haze, and Robert Duvall. This marks Sheen and Duvall’s first onscreen reunion since APOCALYPSE NOW. Adapted from Jim Dent’s bestselling book of the same name, the screenplay is written by Roberts, Lane Garrison and Kevin Meyer.

The film is produced by Houston Hill and Roberts of Santa Rita Film Co., along with Michael De Luca and Angelique De Luca of Michael De Luca Productions. Producer Brinton Bryan of Greenbelt Films helped arrange the financing, along with The Forest Road Company who provided additional funding. George M. Young, Jr., J. Todd Harris, Rhett Bennett and Greg McCabe executive produced.

12 MIGHTY ORPHANS tells the true story of the Mighty Mites, the football team of a Fort Worth orphanage who, during the Great Depression, went from playing without shoes—or even a football—to playing for the Texas state championships. The architect of their success was Rusty Russell, a legendary high school coach who shocked his colleagues by giving up his privileged position to teach and coach at the orphanage. Few knew Rusty's secret: that he himself was an orphan. Recognizing that his scrawny players couldn't beat the other teams with brawn, Rusty developed innovative strategies that would come to define modern football. Over the course of their winning season, these ultimate underdogs became an inspiration to their city, state, and entire nation.

“There is a reason underdog stories hold so much weight in the popular imagination, and we know the Mighty Mites’ true story of triumph over adversity—set in a time when much of the country was suffering—will lift the spirits of audiences worldwide. We are very excited to work with Ty on what promises to be an emotional and life-affirming film,” said Sony Pictures Classics.

“It is an honor to be working with Sony Classics to bring this inspirational true story to the big screen,” said Roberts. “The story of Rusty and his underdog Orphans helped pull the country out of the Great Depression, and I know that it will be just as uplifting for audiences today.

The deal was negotiated by CAA Global Finance on behalf Santa Rita Film Co.

ABOUT SONY PICTURES CLASSICS:
Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992—which distributes, produces, and acquires independent films from around the world. Barker and Bernard have released prestigious films that have won 39 Academy Awards® (35 of those at Sony Pictures Classics) and have garnered 175 Academy Award® nominations (149 at Sony Pictures Classics) including Best Picture nominations for CALL ME BY YOUR NAME, WHIPLASH, AMOUR, MIDNIGHT IN PARIS, AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.

ABOUT SANTA RITA FILM CO.:
Santa Rita Film Co., headed up by partners Ty Roberts, Houston Hill and Greg McCabe, is a newly launched Texas production company that focuses on developing character-driven features and series. SRFC is currently raising a development fund; next projects in the pipeline are Robert's adaptation of Joshua Hammer's THE FALCON THIEF, the story of the real life con man who became the world's most successful thief of rare birds, as well as ANGELS IN EAST TEXAS, the inspirational true story of how a student play transformed a Bible Belt community, from director John Krokidas (KILL YOUR DARLINGS).

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

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Filming Has Begun on "The Goldfinch," Based on Pulitzer Prize Winner

Filming is Underway on Warner Bros. Pictures and Amazon Studios’ Powerful Drama “The Goldfinch”

Ansel Elgort and Oscar winner Nicole Kidman lead an ensemble cast in the film based on the award-winning bestseller

BURBANK, Calif.--(BUSINESS WIRE)--Principal photography began on “The Goldfinch,” Warner Bros. Pictures and Amazon Studios’ highly anticipated film adaptation of Donna Tartt’s globally acclaimed best-selling novel, which won the 2014 Pulitzer Prize for Fiction and the Andrew Carnegie Medal for Excellence in Fiction.

The drama is being directed by BAFTA Award winner John Crowley (“Brooklyn”) and features a multigenerational cast led by Ansel Elgort (“Baby Driver”) as Theo Decker and Academy Award winner Nicole Kidman (“The Hours,” “Big Little Lies”) as Mrs. Barbour.

“The Goldfinch” is being produced by Nina Jacobson (“The Hunger Games” films, “American Crime Story”) and Brad Simpson (“World War Z,” “American Crime Story”) under their Color Force banner. Mari Jo Winkler-Ioffreda and Sue Kroll are serving as executive producers. The screenplay is by Oscar nominee Peter Straughan (“Tinker Tailor Soldier Spy”), based on the book by Donna Tartt, which spent 30 weeks on The New York Times Best Sellers list.

Theodore “Theo” Decker was 13 years old when his mother was killed in a bombing at the Metropolitan Museum of Art. The tragedy changes the course of his life, sending him on a stirring odyssey of grief and guilt, reinvention and redemption, and even love. Through it all, he holds on to one tangible piece of hope from that terrible day…a painting of a tiny bird chained to its perch. The Goldfinch.

The film also stars Oakes Fegley (“Pete’s Dragon”) as Young Theo, Aneurin Barnard (“Dunkirk”) as Boris, Finn Wolfhard (“Stranger Things,” “It”) as Young Boris, with Sarah Paulson (“The Post,” “American Crime Story”) as Xandra, Luke Wilson (“The Royal Tenenbaums”) as Larry, and Jeffrey Wright (“The Hunger Games” films) as Hobie.

The film’s main ensemble cast also includes Ashleigh Cummings (“Miss Fisher’s Murder Mysteries”) as Pippa, Willa Fitzgerald (“Little Women”) as Kitsey Barbour, Aimee Laurence (“Chicago P.D.”) as Young Pippa, Denis O’Hare (“American Horror Story”) as Lucius Reeve, Peter Jacobson (“Colony”) as Mr. Silver, Luke Kleintank (“The Man in the High Castle”) as Platt Barbour, Joey Slotnick (“The Secret Life of Walter Mitty”) as Dave, Robert Joy (“CSI: NY”) as Welty, and newcomer Ryan Foust as Andy.

The behind-the-scenes creative team includes multiple Oscar-nominated director of photography Roger Deakins (“Blade Runner 2049,” “Sicario,” “Unbroken”), Oscar-nominated production designer K.K. Barrett (“Her”), costume designer Kasia Walicka Maimone (“Bridge of Spies,” upcoming “Ready Player One”), and editor Kelley Dixon (“Breaking Bad”).

Slated for release on October 11, 2019, the film is a presentation of Warner Bros. Pictures, in association with Amazon Studios, a Color Force Production, a John Crowley Film. It will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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Barry Levinson's "The Humbling" to Premiere at 2014 Austin Film Festival

Austin Film Festival’s Opening Night Selections to Include Richard LaGravenese Presenting The Last 5 Years and the US Premiere of The Humbling

Jon Stewart and Maziar Bahari to Present Rosewater as 2014 Closing Night Film

Edward Zwick to Receive “Extraordinary Contribution to Film” Award

AUSTIN, Texas--(BUSINESS WIRE)--Austin Film Festival (October 23-30), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television and new media, released their 2014 Opening Night and Closing Night selections, their Extraordinary Contribution to Film Award Recipient, and new programming announcements.

The Opening Night Film will feature the US Premiere of Barry Levinson’s The Humbling on Thursday, October 23rd, based on the Philip Roth novel, starring Al Pacino and Greta Gerwig.

Also kicking off AFF’s 21st anniversary, writer/director Richard LaGravenese will present the Jason Robert Brown musical adaptation of The Last 5 Years starring Anna Kendrick and Jeremy Jordan.

Jon Stewart and Maziar Bahari will present Stewart's directorial debut, Rosewater, as the Closing Night Selection on Thursday, October 30th.

Edward Zwick will accept the Extraordinary Contribution to Film Award at the 2014 Austin Film Festival Awards Luncheon, held at the Austin Club. Previous honorees have included Jonathan Demme, Ron Howard, Danny Boyle, Oliver Stone, Sydney Pollack, and John Lasseter.

Zwick’s directorial credits feature About Last Night, Courage Under Fire, The Siege, The Last Samurai, Blood Diamond, Defiance and Love & Other Drugs, and the Academy® Award winning films Glory and Legends of the Fall. Producing credits include I Am Sam, Traffic, and Shakespeare in Love. Zwick most recently directed and produced Pawn Sacrifice.

Luke Wilson joins the 2014 Retrospective series, presenting The Pope of Greenwich Village alongside his short film Satellite Beach, which he wrote, directed, and starred in.

Scott Haze will present The Sound and the Fury, James Franco’s adaptation of the William Faulkner novel.

Austin Film Festival’s annual staged script-reading will feature the comedy Flarsky, by Dan Sterling (writer The Office, Girls, The Interview) in a live event co-presented by The Black List on Sunday, October 26th.

The full Film and Conference schedule is live on the AFF website, www.austinfilmfestival.com.

ABOUT AUSTIN FILM FESTIVAL:
AFF is funded and supported in part by a grant from the Texas Commission on the Arts, City of Austin Economic Growth & Redevelopment Services Office/Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. Badges and passes are available for purchase online at www.austinfilmfestival.com or by calling 1-800-310-FEST.

AFF’s 2014 partnerships include Austin Film Society (in association with Rosewater), AGLIFF, OnStory, Texas Book Festival, Harry Ransom Center, Houston Cinema Arts Society, The New Movement, The Wittliff Collections, and many more.

Review: Reese Witherspoon is the Heart of "Legally Blonde" (Happy B'day, Reese Witherspoon)

TRASH IN MY EYE No. 115 (of 2003) by Leroy Douresseaux

Legally Blonde (2001)
Running time:  96 minutes (1 hour, 36 minutes)
MPAA – PG-13 for language and sexual references
DIRECTOR:  Robert Luketic
WRITERS:  Karen McCullah and Kirsten Smith (based upon the novel by Amanda Brown)
PRODUCERS:  Ric Kidney and Marc Platt
CINEMATOGRAPHER:  Anthony B. Richmond (D.o.P.)
EDITORS:  Anita Brandt Burgoyne and Garth Craven
COMPOSER:  Rolfe Kent
Golden Globe nominee

COMEDY with elements of romance

Starring:  Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber, Jennifer Coolidge, Holland Taylor, Ali Larter, Bruce Thomas, and Raquel Welch

The subject of this movie review is Legally Blonde, a 2001 comedy starring Reese Witherspoon.  The film is based on the 2001 novel, Legally Blonde, from author Amanda Brown.  The film focuses on a blonde sorority queen who follows her ex-boyfriend to law school after he dumps her and discovers that she has more legal savvy than she or anyone ever imagined.

Legally Blonde is trash.  Let’s get that straight, so we don’t fool ourselves.  Another fish out of water story with the stereotypical dumb blonde, sorority/fraternity cardboard cutouts, Ivy League elitists, lecherous bosses etc.  It does have one redeeming element – the incomparable and very talented Reese Witherspoon.

Ms. Witherspoon is Elle Wood, a blonde sorority queen, fully prepared to receive an engagement ring from her boyfriend Warner (Matthew Davis), when he suddenly dumps her, pleading that he needs someone smarter than her – someone who would better fit his law career and political ambitions.  Elle decides to follow Warner to Harvard Law School in order to win him back.  Of course, Harvard admits her so that we can even have a movie, although, in reality, they would have ignored her.  But one can understand that Reese/Elle’s charm and bubbly personality not mention her knockout body, would win over even the most conservative and pickiest college admissions officers.

Ms. Witherspoon is a talented actress, and, not only is she likeable, she is outright engaging and has an aura of pure friendliness.  Her movies are a win-win situation for the audience.  Legally Blonde is unadulterated B-movie material that she elevates to uproarious comedy.  Being funny isn’t enough.  The audience has to like her, and she has to sell them on her personality because the movie is all about her.  She does the job winningly.  Notice how I can’t stop gushing.

What else is there to say?  Sometimes, the star is the movie, and the star is so good that she can make a diamond out of a handful of coal dust.  Even when the movie stumbles, Ms. Witherspoon is still a delight to watch.

6 of 10
B

NOTES:
2002 Golden Globe (USA):  2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Reese Witherspoon)

Updated:  Saturday, March 22, 2014


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Legally Blonde 2" is Officially Bad

TRASH IN MY EYE No. 116 (of 2003) by Leroy Douresseaux

Legally Blonde 2: Red, White & Blonde (2003)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG-13 for some sex-related humor
DIRECTOR:  Charles Herman-Wurmfeld
WRITERS:  Kate Kondell; from a story by Eve Ahlert, Dennis Drake, and Kate Kondell (based upon characters created by Amanda Brown)
PRODUCERS:  David Nicksay and Marc Platt
CINEMATOGRAPHER:  Elliot Davis (D.o.P.)
EDITOR:  Peter Teschner
COMPOSER:  Rolfe Kent

COMEDY

Starring:  Reese Witherspoon, Sally Field, Regina King, Jennifer Coolidge, Bruce McGill, Dana Ivey, Bob Newhart, Luke Wilson, J Barton, and Alanna Ubach

The subject of this movie review is Legally Blonde 2: Red, White & Blonde, a 2003 comedy starring Reese Witherspoon.  The film is a sequel to the 2001 film, Legally Blonde, which also starred Witherspoon.  In the sequel, Elle Woods heads to Washington D.C. in order to join a congresswoman’s staff and to try and get a bill that bans animal testing passed into law.

If the summer of 2003 tells Hollywood film studios anything it is that sequels don’t always succeed commercially or artistically.  Of course, studio bosses have known that for a while, but to them making sequels seems like a safe bet.  A sequel is a known property with brand awareness, and with the ridiculous cost of making and marketing a movie rising to absurd heights monthly, they go for the safe bet.

Legally Blonde 2: Red, White & Blonde will more than likely make a profit for MGM, even with the kind of tricky accounting the film studios usually invoke to claim that their films are flops so they don’t have to honor profit sharing agreements with actors and producers.  Artistically, it’s not even worth talking about, as an examination of subject matter, theme, and characters is an utter waste of time.

As for it’s entertainment value (you know, the simple judgment of whether you like it), Legally Blonde 2 has none.  I’m quite sure that somewhere there are people who really like this, and I did laugh a sort of painful, dry, desperate-to-find-something-to-justify-the-cost-of-my-ticket laugh a few times.  However, I left the theatre ashamed, praying that no one would ask me what movie I’d just left.  I don’t know what would have been worse, having some nappy-headed homeboy call me a faggot for seeing it or having one of the theatre’s employees laugh at me behind my back because they knew.  Lord, they knew how bad it was.  And they never told me.

There’s a plot, or something like a plot, but right now I only feeling like telling you that this film is just plain awful.  Elle Woods (Reese Witherspoon) goes to Washington D.C. to work for her friend Rep. Victoria Rudd (Sally Field) so that Elle can fight for a law that outlaws cosmetic companies from testing their products on animals.  Apparently, it’s okay for Reese and her studio compatriots to test poisonous cinema products on us.  Regina King plays the most pathetic traitorous Negro since Billy Dee played Lando in The Empire Strikes Back, but at least she was better than the rest of the supporting cast, whom the film reduced to playing naked paper dolls.  Sally Field, her face shockingly showing such age and wear, looked as if she wanted to cry every time she had to be in front of the camera.  I feel you, sista girl.

1 of 10
D-

Updated:  Saturday, March 22, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Idiocracy" is Brilliant and Prophetic (Happy B'day, Mike Judge)

TRASH IN MY EYE No. 16 (of 2007) by Leroy Douresseaux

Idiocracy (2006)
Running time:  84 minutes (1 hour, 24 minutes)
MPAA – R for language and sex-related humor
DIRECTOR:  Mike Judge
WRITERS:  Mike Judge and Etan Cohen; from a story by Mike Judge
PRODUCERS:  Mike Judge and Elysa Koplovitz
CINEMATOGRAPHER:  Tim Suhrstedt
EDITOR:  David Rennie
COMPOSER:  Theodore Shapiro

COMEDY/SCI-FI

Starring:  Luke Wilson, Maya Rudolph, Dax Shepard, Terry Alan Crews, Anthony Campos, David Herman, and Brad “Scarface” Jordan

The subject of this movie review is Idiocracy, a 2006 science fiction and satirical comedy film from writer-director, Mike Judge (Office Space).  The film focuses on an “average American” who awakens from a hibernation project five centuries in the future, where he discovers a society that is so incredibly dumbed-down that he is easily the most intelligent person alive.

Idiocracy was essentially produced and abandoned.  20th Century Fox released the film to an estimated 130 theatres – much less than 600 theatres, the number that is usually considered the minimum for a film to be in wide release.  Fox also did little in the way of promotion, and did not screen the movie for film critics.

To test its top secret Human Hibernation Project, U.S. Army officials chose the most average American male they can find, an Army private named Joe Bauers (Luke Wilson).  The most average woman they find is Rita (Maya Rudolph), a prostitute.  Joe and Rita are only supposed to stay in hibernation for one year, but they are forgotten and reawaken 500 years later.  They find civilization so incredibly dumbed-down that they are the smartest people on earth.  The President of the United States of Uhh-merica, Dwayne Elizondo Camacho (Terry Alan Crews), a former professional wrestler, wants Joe to solve the country’s problems (chiefly crop failures), or Camacho will have him rehabilitated – meaning killed.

Idiocracy is director Mike Judge’s long-awaited follow up to his cult hit, Office Space.  Judge is also the creator of the popular animated television series “Beavis and Butt-head” (for MTV) and, co-creator with Greg Daniels of  “King of the Hill” (for FOX).  In this comic sci-fi flick, Judge and his co-screenwriter Etan Cohen transport the audience to a satirical future populated by dumb humans who do nothing but watch TV and who are too dumb to irrigate their crops with water (using instead a sports drink).

Watching this movie, it would not be hard to get the idea that Judge and his creative staff are being unnecessarily cynical, especially when one of the film’s tenets is that dumb people (rednecks, trailer trash, hood rats, etc.) breed too much, while smart people don’t have enough babies.  An underemployed man who lives in poverty and has many children with two or more baby mamas isn’t necessarily dumb, nor are his offspring destined to be big dummies.  To fixate on this, however, would be to take an anal view of the film.  Besides, like much satire, Judge’s Idiocracy is preaching to the choir.

Combine genetic devolution with a populace enslaved to crass media that sells rampant commercialism and entertainment that emphasizes hypersexuality, and you might have a primary ingredient for a dystopian future, even if it isn’t as comically inept as the one presented here.  Judge is trying to make a point about an America where so many people are stubbornly uncurious about their world, the people who live in it, and how their actions affect anyone beyond themselves and maybe the small circle of people around them.  Yet those same people slavishly fixate on the habits and lifestyles of celebrities and assorted public figures.  Judge smartly makes his point with outrageous humor, and truthfully, the film isn’t elitist, it’s just relentlessly and unapologetically funny about making fun of and satirizing its targets.

Luke Wilson is great as a sort of nobody everyman.  He’s the kind of average Joe who tends his little patch of green earth while the rest of the world is engaged in a rat race.  In Wilson’s quiet but well-played role as someone who just doesn’t want to make waves, Judge has the perfect character by which to offer as a contrast to a world of people who are nothing but spoiled dumb children.  They want to be fed, entertained, and pleasured, but they don’t care to clean up after themselves and are too lazy to earn their treats.  Before I make Idiocracy sound like a school lesson, it’s easily one of the year’s funniest flicks.  Referencing Mad Max, 1984, Planet of the Apes, Soylent Green, and other classic cautionary speculative, science fiction, this is the gold standard in satirical comedies.

9 of 10
A+

Sunday, January 21, 2007

Updated:  Thursday, October 17, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Charlie’s Angels: Full Throttle" Sputters

TRASH IN MY EYE No. 100 (of 2003) by Leroy Douresseaux


Charlie’s Angels: Full Throttle (2003)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for action violence, sensuality and language/innuendo
DIRECTOR: McG
WRITERS: John August and Cormac Wibberley and Marianne Wibberley, from a story by John August (from the television program created by Ivan Goff and Ben Roberts)
PRODUCERS: Drew Barrymore, Leonard Goldberg, and Nancy Juvonen
CINEMATOGRAPHER: Russell Carpenter (D.o.P.)
EDITOR: Wayne Wahrman
COMPOSER: Edward Shearmur
Razzie Award winner

ACTION/ADVENTURE/COMEDY/MYSTERY

Starring: Cameron Diaz, Drew Barrymore, Lucy Lui, Demi Moore, Bernie Mac, Justin Theroux, Robert Patrick, Luke Wilson, Matt LeBlanc, Crispin Glover, John Cleese, Shia LaBeouf, Ashley Olsen, Mary-Kate Olsen, Pink, Jaclyn Smith, Bruce Willis (no screen credit), and John Forsythe (voice)

The subject of this movie review is Charlie’s Angels: Full Throttle, a 2003 action comedy from director McG. This movie is a direct sequel to the 2000 film, Charlie’s Angels. Both films are based on the television series, “Charlie’s Angels,” which was originally broadcast on ABC from 1976 to 1981. As in the first film, Full Throttle stars Cameron Diaz, Drew Barrymore, and Lucy Liu as three women employed by a private investigation agency and working for the voice known as “Charlie.”

Charlie’s Angels, the 2000 film remake of the 70-80’s TV show of the same name, was a hoot, a delightful and highly entertaining action/comedy with the guile of a cool Frank Miller comic book. Charlie’s Angels: Full Throttle, the 2003 sequel, is an overblown, way over-the-top Hollywood production that’s way too full of crap, and miraculously, it still manages to be somewhat entertaining.

It’s pointless to even attempt to describe the plot, as it’s muddled nonsense. The real plot involves the indelicate manner in which the filmmakers place Charlie’s Angels in positions and situations that create mondo opportunities for shots of tits and ass. Natalie Cook (Cameron Diaz), Dylan Sanders (Drew Barrymore), and Alex Munday (Lucy Lui) return as Charlie Townsend’s (voice of John Forsythe) high tech-trained, super-powered, manga-like cuties. This time the grrrrls have to retrieve two encrypted rings, which when combined give up the locations of people in the FBI witness relocation program, and wouldn’t the bad guys love to have that info.

McG, the director of the first film, returns to helm this gigantic, flatulent cartoon that is Full Throttle. The script is lame, but all McG has to do is make the pictures look good, and, as a music video director, he knows how to do that. Imagine The Matrix on drain cleaner, Japanese cartoons (anime) on fast forward, soft porn on the rag, and comic books conceived by horny, high school upper classmen and dull-witted sorority boys and you have the Charlie’s Angel's sequel. Don’t get me wrong; there are lots of laughs. It’s difficult to tell if the filmmakers were trying to be clever or if they were cynical enough to believe that audiences really would take it ‘tween the cheeks. The end result is this dumb as a low-rent retard movie.

Charlie's Angels: Full Throttle parodies action movie clichés…badly, and also throws in a stiff riff from Martin Scorcese’s Cape Fear. It’s just too over the top and too much of a crack-addled cartoon. I did like the way the filmmakers tried to created the vibe of a family extended around the Angels; that actually gave me warm feelings. Still, I was half enthralled and half bored out of my mind. For all the fun I had, there were as many moments when I wondered why the experience of seeing this felt so wasteful. This is simply too much candy, and frankly, unless you really crave an empty movie experience, you can wait for the tape. Someone might tell you that this is a sly, wink-wink, nudge-nudge movie and you have to take it for what it is. If he tries to spin trash as something smart, he is a way-too-easy ho for the big, movie making machine in la-dee-da land.

4 of 10
C

NOTES:
2004 Razzie Awards: 2 wins: “Worst Remake or Sequel” and “Worst Supporting Actress” (Demi Moore); 5 nominations: “Worst Actress” (Drew Barrymore, also for Duplex-2003), “Worst Actress” (Cameron Diaz), “Worst Excuse for an Actual Movie” (All Concept/No Content!), “Worst Picture” (Columbia), and “Worst Screenplay” (John August-also story, Cormac Wibberley, and Marianne Wibberley)

Updated: Thursday, June 27, 2013

Review: "Charlie’s Angels" Pure Pop Pleasure

TRASH IN MY EYE No. 99 (of 2003) by Leroy Douresseaux


Charlie’s Angels (2000)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13 for action violence, innuendo and some sensuality/nudity
DIRECTOR: McG
WRITERS: Ryan Rowe, Ed Solomon, and John August (from the television series by Ivan Goff and Ben Roberts)
PRODUCERS: Drew Barrymore, Leonard Goldberg, and Nancy Juvonen
CINEMATOGRAPHER: Russell Carpenter (D.o.P.)
EDITORS: Peter Teschner and Wayne Wahrman
COMPOSER: Edward Shearmur

ACTION/COMEDY

Starring: Cameron Diaz, Drew Barrymore, Lucy Liu, Bill Murray, Sam Rockwell, Kelly Lynch, Tim Curry, Crispin Glover, Luke Wilson, Matt LeBlanc, Tom Green, LL Cool J, and John Forsythe (voice)

The subject of this movie review is Charlie’s Angels, a 2000 action comedy from director McG (the stage name of Joseph McGinty Nichol). The film is an adaptation of the television series, “Charlie’s Angels,” which was originally broadcast on ABC from 1976 to 1981. The film stars Cameron Diaz, Drew Barrymore, and Lucy Liu as three women employed by a private investigation agency and working for the voice known as “Charlie.”

When I first saw Charlie’s Angels, the big-screen adaptation of the late 70’s television series of the same name, I was sure that it was the best action/comedy that I’d seen in years, if ever. Having seen it again in anticipation of the 2003 sequel, I’m sure that it is one of the best action movies I’ve ever seen and one of the best action/comedies ever made. Although the film’s tongue is firmly planted in the Angel’s cheeks and the film is geared towards men, it’s so very entertaining that everyone should get the joke.

The mysterious Charles “Charlie” Townsend (voice of John Forsythe) has three very special little ladies in his employ: Natalie Cook (Cameron Diaz), Dylan Sanders (Drew Barrymore), and Alex Munday (Lucy Liu). Under the supervision of John Bosley (Bill Murray), Charlie’s Angels use martial arts, high tech skills, and sex appeal in their investigation work for clients who can afford Charlie’s agency. This time the client is kidnap victim Eric Knox (Sam Rockwell) who runs a giant software company. The girls not only have to rescue him, but also have to retrieve Knox’s revolutionary voice-ID software. However, the girls run into more than they were told to expect, including a sleazy billionaire (Tim Curry) and his mysterious, tall, thin, ass-kickin’ bodyguard (Crispin Glover).

Directed by music video maestro McG (videos for Korn and Sugar Ray, among others), Charlie's Angels is a high-octane, comic book-styled, action movie parody and farce. None of it should be taken seriously, least of all its conspiracy-within-a-conspiracy script. This is played for fun, recalling the best action movie scenes and clichés: car chases, exploding buildings, pumping soundtrack, quick-cut editing, and Matrix-style “wire-fu” martial arts. Maybe the funniest thing about this film is that this time women do the butt stomping. Usually in action movies, the girls are just the hang-ons of the male stars, following them around and screaming at the appropriate moments during gun fights, fist fights, car chases, aircraft falling out the sky, explosions, etc. This time the girls are in control. This time their sex appeal rules the story instead of just being sex used to decorate the violence. The ladies kick the butts and leave the men panting.

It’s all done so stylishly, and it’s all good and so cool. The vapid material gets inspired performances from the cast, but the actors really make this fun to watch. Bill Murray is tired though. His Bosley is just him doing his shtick, but it is so uninspired that he should have been embarrassed to see himself in the finished product. He was wrong, wrong, wrong, wrong, and wrong again.

But don’t let that keep you from watching this funny, exciting, and very wild action cartoon. Come on. Pull the stick out. Sit back and be entertained by this delicious serving of popcorn movie.

7 or 10
B+

NOTES:
2001 Black Reel Awards: 1 nomination: “Best Song” (Jean Claude Olivier-Writer, Samuel Barnes-Writer, Cory Rooney-Writer, Beyoncé Knowles-Writer, and Destiny’s Child-Performers for the song “Independent Women Part 1”)

Updated: Thursday, June 27, 2013

Review: Everything About "The Royal Tenenbaums" is Wonderful (Happy B'day, Wes Anderson)

TRASH IN MY EYE No. 15 (of 2002) by Leroy Douresseaux


The Royal Tenenbaums (2001)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for some language, sexuality/nudity and drug content
DIRECTOR: Wes Anderson
WRITERS: Owen Wilson and Wes Anderson
PRODUCERS: Wes Anderson, Barry Mendel, and Scott Rudin
CINEMATOGRAPHER: Robert Yeoman (D.o.P.)
EDITOR: Dylan Tichenor
COMPOSER: Mark Mothersbaugh
Academy Award nominee

COMEDY/DRAMA

Starring: Gene Hackman, Anjelica Huston, Gwyneth Paltrow, Ben Stiller, Luke Wilson, Owen Wilson, Danny Glover, Bill Murray, Alec Baldwin, Seymour Cassel, Kumar Pallana, Grant Rosenmeyer, and Jonah Meyerson

The subject of this movie review is The Royal Tenenbaums, the 2001 Oscar-nominated comedy and drama from director, Wes Anderson. The film follows siblings whose early success was mitigated by their eccentric father’s behavior. I love this film and…

Apparently, Rushmore was not a fluke.

When Royal O’Reilly Tenenbaum (Gene Hackman) announces that he is dying, his family slowly, painfully reunites. His wife Etheline “Ethel” Tenenbaum (Anjelica Huston) removed her philandering husband from the home over a decade prior to the beginning of the movie. Their three children are business whiz Chas (Ben Stiller), playwright Margot Helen (Gwyneth Paltrow), who is actually adopted, and Richie “Baumer” (Luke Wilson), who grew up to become a professional tennis champion. Family friend and unofficial fourth Tenenbaum child is Elijah “Eli” Cash (Owen Wilson), a novelist and a drug addict, who is also in love with Margot.

Royal would like to get in good with his family, again, but he left so many open wounds when Ethel exiled him. The Tenenbaum children were celebrated prodigies who have fallen on bad times. Chas, a single father of two boys and who lost his wife the previous year in a plane crash, despises his father. Margot is a playwright in limbo, and Richie’s suffered a meltdown during his last championship tennis match. Royal is also disturbed by his wife’s engagement to her accountant Henry Sherman (Danny Glover), and he wants desperately to connect with Chas’s sons, his grandsons. What unfolds is a touching, but unusual family drama/comedy.

Directed by Wes Anderson of the aforementioned Rushmore, The Royal Tenenbaums is a film with a conventional story, the family drama, filled with the usual comedy, familial intrigue, and requisite feuds. What makes this film so different from other family dramas is Anderson’s conviction and determination not to be like other filmmakers or not to deliver something that is nothing more than film industry product. His vision is unique, and his storytelling technique demands not only one’s attention but that one also engage the film.

Anderson is a visual stylist, but in a quite manner. His cinematographer, Robert D. Yeoman has worked on Anderson’s other films and contributes a peculiar color palette that resembles Technicolor, but is merged with clean, earth tones. Tenenbaums has a dreamlike quality with a slight breath of realism. It’s eye candy, but doesn’t distract from the story; in fact, it keeps one attentive to what the camera reveals. Unlike many directors who are visually sharp by way of quick cuts and editing, Anderson doesn’t mind allowing his camera to linger on and to follow his characters.

The script by Anderson and Tenenbaum co-star Owen Wilson is filled with idiosyncrasies, but is, nevertheless, a story about a family and the damage family members do to one another. We’ve seen it before, but unlike American Beauty, Tenenbaums really manages to tell a familiar story in a unique and special way.

The performances are subtle and nuanced even as the characters appear to be over the top. We know that Gene Hackman is good, but he has a knack for giving range to familiar character types. His performances nearly always hint at characters that have lived long lives before their respective movies begin. Royal is like a book, and Hackman makes the mental exercise that it takes to figure out Royal worth it.

Gwyneth Paltrow continues to reveal the scope of her abilities. She is a classic film pretty face, but with the acting chops of serious thespian. Owen Wilson is his usual wacky self; he manages to be self-confident and endearing even when playing a not too bright character. However, the surprise here is his brother Luke Wilson. Even through dark glasses, he makes his eyes the windows to the soul of his troubled character. He is the film’s mystery man, and he is the sum of his family’s troubles. Wilson doesn’t miss a beat while carrying this burden.

The Royal Tenenbaums is filled with wonderful acting, directing, story telling. Too make such an offbeat clan and their associates so lovable, charming, and fun to follow is no minor feat. Anderson takes the ordinary and makes it extraordinary. Truly, he does it like few before him. Bravo!

We get all this and a wonderful voiceover narration by Alec Baldwin.

9 of 10
A+

NOTES:
2002 Academy Awards: 1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (Wes Anderson and Owen Wilson)

2002 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Wes Anderson and Owen Wilson)

2002 Golden Globes, USA: 1 win: “Performance by an Actor in a Motion Picture - Comedy or Musical” (Gene Hackman)

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Review: "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: Crazy "Old School" Ultimately Plays it Safe

TRASH IN MY EYE No. 119 (of 2003) by Leroy Douresseaux

Old School (2003)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – R for some strong sexual content, nudity and language
DIRECTOR: Todd Phillips
WRITERS: Scot Armstrong and Todd Phillips, from a story by Court Crandall and Scot Armstrong and Todd Phillips
PRODUCERS: Daniel Goldberg, Joe Medjuck, and Todd Phillips
CINEMATOGRAPHER: Mark Irwin (D.o.P.)
EDITOR: Michael Jablow

COMEDY

Starring: Luke Wilson, Will Ferrell, Vince Vaughn, Ellen Pompeo, Juliette Lewis, Leah Remini, Craig Kilborn, Jeremy Piven, Seann William Scott, Matt Walsh, and Artie Lange

When Mitch Martin (Luke Wilson) discovers that his girlfriend (Juliette Lewis) participates in group sex, it shatters his life. Under the guise of helping Mitch, his friends Bernard “Beanie” Campbell (Vince Vaughn) and Frank Ricard (Will Ferrell) hatch an idea to start their own fraternity so that they can relive the wild lives they lost when they got married. Of course, Martin reluctantly allows them to use his new house (conveniently located near a college campus) to stage their hijinks. It might be a bad idea for a number of reasons (and a good idea for a movie), not the least of which is that Mitch has his eyes on Nicole (Ellen Pompeo). Mitch had a high school crush on Nicole; she’s attracted to him, but finds their sorority boy activities immature.

Old School is very funny, and I laughed in spite of how dumb this movie is. It would have been even funnier if the movie hadn’t sold out in the end. The kind of guys that go to see a movie like this want the full raunchiness, but this movie plays it safe. By the end of the film, the horny thirty-somethings all return (for the most part) to their domestic tranquility without a notch on their belts to show for their wild times. I know that a lot of (stupid) people feel that movies should validate the American bourgeois’ value system, but this is a frickin’ comedy, and a lowbrow comedy at that, so all bets are off. Let there be no sacred cows; let the husbands screw around on their wives. This isn’t supposed to be smart and life affirming. If it were supposed to be intelligent, Old School wouldn’t have as a character one of the most tired stereotypes of film comedies set on college campuses, the evil dean of students (Jeremy Piven).

The scene I most anticipated was the one in which Vince Vaughn’s Beanie Campbell, who so wants to have sex with a co-ed, in spite of his alleged devotion to his wife and two young boys, would finally get a young lass alone with him in his room. What does Beanie do when he gets time with a co-ed? He chickens out, although the girl is quite willing. Still, a film like this is supposed to provide the yucks and lots of vicarious thrills. Beanie should have screwed her brains out. In fact, after that scene, the Beanie character loses all the intensity he had early in the film. Even Luke Wilson’s Mitch commits to a “serious relationship” by film’s end (in a very pat and neatly wrapped dénouement).

I recommend Old School for its many moments of awesome hilarity, but I pity the filmmakers for their lack of balls. This could and should have been so much funnier, so much more rebellious, and so much more subversive.

5 of 10
B-

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Meet the Barnes in "Death at a Funeral"

TRASH IN MY EYE No. 66 (of 2010) by Leroy Douresseaux


Death at a Funeral (2010)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – R for language, drug content and some sexual humor
DIRECTOR: Neil LaBute
WRITER: Dean Craig
PRODUCERS: William Horberg, Sidney Kimmel, Laurence Malkin, Chris Rock, and Share Stallings
CINEMATOGRAPHER: Rogier Stoffers
EDITOR: Tracey Wadmore-Smith
COMPOSER: Christophe Beck

COMEDY

Starring: Chris Rock, Martin Lawrence, Keith David, Loretta Devine, Peter Dinklage, Ron Glass, Danny Glover, Regina Hall, Kevin Hart, James Marsden, Tracy Morgan, Zoe Saldana, Columbus Short, and Luke Wilson

The recent Chris Rock-Martin Lawrence film, Death at a Funeral, is a remake of a 2007 British film of the same name. This black comedy (or dark comedy) observes a family as its members come together to mourn a beloved husband and father, even as shocking revelations and festering resentments arise.

The elder son, Aaron Barnes (Chris Rock), is managing the funeral of his recently deceased father. Aaron is also preparing to move on with his life, which includes moving him and his wife, Michelle (Regina King), out of his parents’ house, especially because his mother, Cynthia Barnes (Loretta Devine), keeps reminding them that they haven’t given her any grandchildren. Aaron is hoping that his younger brother, Ryan (Martin Lawrence), a successful author, will help him cover the funeral expenses, but the late-arriving Ryan claims temporary financial hardship.

Meanwhile, relatives are arriving, bringing their baggage and family feuds with them. Oh, and a stranger named Frank (Peter Dinklage), who claims to have been a close friend of the deceased, has come bearing secrets.

So much of Death at a Funeral is in very bad taste, but that is also why the film is so funny. With its missing and abused corpses, fecal humor, nudity, and unabashed raunchiness, Death at a Funeral is only a stylized and slightly-exaggerated depiction of how problematical family get-togethers, even funerals, can be. Director Neil LaBute also does a mostly good job keeping things hopping by unveiling one outrage after another, so that the audience can never really catch its breath before the next indignity comes along.

The main problem with this movie is that I don’t think the headliners for this film, Chris Rock and Martin Lawrence, are really suited for large ensembles. They’ve certainly been part of smaller, star-driven ensembles (Lawrence in Wild Hogs and Rock in the recent Grown Ups), but both are at their best when the entire movie is built around them. Here, they have to share too much screen time.

My quibble isn’t the fault of the writing because screenwriter Dean Craig (who wrote the original film) has done a superb job creating so many engaging, three-dimensional characters. It is simply that they all deserve more screen time than they get. Most of them are such fun that their short time on screen comes across as a shortcoming on the part of the entire movie. Still, this movie is funny, and maybe also useful to the viewers. The next time you need an antidote to a painful family social event, Death at a Funeral is a reminder that there is laughter even in the most trouble-filled family gatherings.

6 of 10
B

Saturday, August 14, 2010

Info on Paramount Pictures' "Middle Men"

Paramount Pictures and Mallick Media present
An Oxymoron Entertainment Production in association with Blue Star Entertainment
A George Gallo Film
Produced by Christopher Mallick, William Sherak, Jason Shuman, Michael J. Weiss
Written by George Gallo & Andy Weiss Directed by George Gallo

Cast: Luke Wilson, Giovanni Ribisi, Gabriel Macht, Jacinda Barrett, Laura Ramsey, Terry Crews, Rade Sherbedgia, with Kevin Pollak and James Caan

Synopsis: In 1995, everyone had a VCR, music was sold in record stores, and the world-wide-web was a new found discovery. Businessman Jack Harris (Luke Wilson) had the perfect life – a beautiful family and a successful career fixing problem companies. And then he met Wayne Beering (Giovanni Ribisi) and Buck Dolby (Gabriel Macht), two genius but troubled men, who had invented the way adult entertainment is sold over the internet. When Jack agrees to help steer their business, he soon finds himself caught between a 23 year-old porn star and the FBI all the while becoming one of the wealthiest entrepreneurs of his time. Inspired by a true story that proves business is a lot like sex… getting in is easy, pulling out is hard.

Release: August 6, 2010

This film has been rated R for strong sexual content, nudity, language, drug use and violence.

Review: "Anchorman" is Odd and Funny

TRASH IN MY EYE No. 121 (of 2004) by Leroy Douresseaux 

 

Anchorman: The Legend of Ron Burgundy (2004)

Running time: 94 minutes (1 hour, 34 minutes)

MPAA – PG-13 for sexual humor, language and comic violence DIRECTOR: Adam McKay WRITERS: Will Ferrell and Adam McKay PRODUCER: Judd Apatow CINEMATOGRAPHER: Thomas Ackerman (D.o.P.) EDITOR: Brent White

 

COMEDY 

 

Starring: Will Ferrell, Christina Applegate, Paul Rudd, Steven Carell, David Koechner, Fred Willard, Chris Parnell, Kathryn Hahn, Luke Wilson, Bill Kurtis, Monique McIntyre, and Danny Trejo with uncredited screen appearances by Jack Black, Missi Pyle, Tim Robbins, Stephen Root, Ben Stiller, and Vince Vaughn

 

Will the actor/comedian Will Ferrell make a nice, long run of being a comedic leading man? He has a few hits behind him, and even if he ever falters as the star, he’s funny enough to lift quite a few movies to that next level by playing funny and crucial supporting roles.

 

In Anchorman: The Legend of Ron Burgundy, a film in which he co-wrote, Ferrell is Ron Burgundy. In 1970’s San Diego, he rules the city as the most popular anchorman of the most popular local TV news broadcast. He’s a legend, mostly in his own mind, and he’s God’s gift to women – if only they knew that he isn’t much of a journalist and his news skills rely heavily on a TelePrompTer.

 

Burgundy is also the captain of his station’s news team, a fellow cast of cads that includes a lecherous beat reporter named Brian Fantana (Paul Rudd), Brick Tamland (Steve Carell), a mentally challenged weatherman, and Champ Kind (David Koechner), a chauvinist, dude cowboy sports reporter. All is well in their world of ladies and parties until Veronica Corningstone (Christina Applegate), an ambitious female with her eye on being a network anchorwoman, arrives to rock their world. For Ron, it’s love at first sight, but all goes bad when Veronica becomes his partner both personally and professionally.

 

Anchorman is quite silly and filled with lots of belly laughs, but it also has a surprising number of satirical and sardonic moments. The humor recalls the mocking antics of Mel Brooks 70’s classics like Blazing Saddles, but the humor here is often deadpan and blunt. It’s also self-mockingly serious and also flat out hilarious. Too bad, the story is soft and the script is mostly a blueprint for jokes, gags, and general silliness.

 

Will Ferrell is his usual funny self, but the Burgundy character is a bit odd and off-putting. It’s not one of Ferrell’s more endearing characters, but he has a knack of making the most annoying characters very funny, even when they’re under your skin. The supporting cast is quite nice. Fred Willard embodies 70’s kitsch, and the three actors that make up Burgundy’s crew are fantastic, especially Carell and Koechner who play their parts with a frightening, scene stealing relish. Ms. Applegate’s performance is a bit odd; she plays Veronica in a never where between cardboard character dumb blonde and sly vixen, but with the gumption to make her character surprise us at every turn.

 

Anchorman will likely stand out as one of the year’s funniest comedies, but in the long run, it may be remembered as an oddity, perhaps a forgotten oddity. But I’m hoping it hangs around, even with some kind of cult status.

 

7 of 10 

B+ 

 

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