TRASH IN MY EYE Reviews: Oscar nominee

Showing posts with label Oscar nominee. Show all posts

Tuesday, April 22, 2025

Review: "STAR WARS: EPISODE II - ATTACK OF THE CLONES" is Stuffed with Spectacle

TRASH IN MY EYE No. 93 (of 2003) by Leroy Douresseaux

Star Wars: Episode II – Attack of the Clones (2002)

Running time: 142 minutes (2 hours, 22 minutes)

MPAA – PG for sustained sequences of sci-fi action/violence

DIRECTOR: George Lucas

WRITERS: Jonathan Hales and George Lucas; from a story by George Lucas

PRODUCER: Rick McCallum

CINEMATOGRAPHER: David Tattersall (D.o.P.)

EDITOR: Ben Burtt with George Lucas

COMPOSER: John Williams

Academy Award nominee

SCI-FI/FANTASY and ACTION/ADVENTURE/WAR

Starring: Ewan McGregor, Natalie Portman, Hayden Christensen, Christopher Lee, Samuel L. Jackson, Frank Oz (voice), Ian McDiarmid, Temuera Morrison, Jimmy Smits, Ahmed Best (voice), and Anthony Daniels & Kenny Baker

Star Wars: Episode II – Attack of the Clones is a 2002 American science fiction, war, action, and epic space opera film from director George Lucas. It is the fifth film in the “Star Wars” film franchise, which began with 1977's Star Wars. Attack of the Clones is chronologically the second film in the “Skywalker Saga,” and is a direct sequel to the first film in the saga, Star Wars: Episode I – The Phantom Menace. Attack of the Clones finds a Jedi Master investigating the mystery behind a secret clone army allegedly created at the behest of the Jedi, while his young Jedi apprentice engages in romance forbidden by the Jedi Order.

What a difference a year makes. When I first saw Star Wars: Episode II – Attack of the Clones in theaters last year, I hated it. Now a year later, I’ve watched it on home video, and the movie sure seems a lot better. Attack of the Clones is the second of three prequels to Star Wars, the 1977 film that had two sequels. The prequels, of which includes this film and Star Wars: Episode I – The Phantom Menace, are the backstory to Star Wars, what happened before the 1977 film that is now called Star Wars: Episode IV – A New Hope. For one thing, the plot of Episode II is much better than Episode I’s plot.

Star Wars: Episode II – Attack of the Clones begins something like 10 years after Menace. Anakin Skywalker (Hayden Christensen) is now the Padawan learner (apprentice) to his master Obi-Wan Kenobi (Ewan McGregor). The Jedi Council assigns master and student to guard Senator Padme Amidala (Natalie Portman), who has had two close attempts on her life.

While Anakin guards Amidala, Kenobi rushes across the galaxy to track the assassin who targeted her, a bounty hunter named Jango Fett (Temuera Morrison). Kenobi discovers a mysterious Clone Army supposedly ordered ten years earlier by representatives of the galactic Republic. That is just the outer strand of an ever-widening web of mystery and intrigue that began with an attempt on Amidala’s life. Meanwhile, Anakin and Amidala are dangerously falling in love against a backdrop of political turmoil.

There are two holdovers from The Phantom Menace that I had hoped would not make it to Clones, mediocre acting and wooden dialogue. Although the actors seem more comfortable and there is a tad bit more rhythm to the acting, the performances are still too stiff and formal and the dialogue is delivered in an awkward fashion as if everyone in the cast were rank-amateurs. Sometimes I get the feeling that director/creator George Lucas thinks he’s making some great sprawling British epic film in the vein of Sir David Lean, so all of his actors’ speeches must be affected. It just comes across as fake.

The action sequences and fight scenes are good, especially the Yoda (voice of Frank Oz) and Count Dooku (Christopher Lee) lightsaber duel, which has to be seen to be believed. I never knew Yoda had it in him. The special effects in The Phantom Menace were impressive, but no thanks to The Matrix, released the same year, the SFX in The Phantom Menace suddenly seemed dated, compared to the revolutionary work in The Matrix. The SFX are still good in Attack of the Clones, and there is so much of it; sometimes it’s hard to differentiate between what’s live action and what’s computer-generated. However, Star Wars SFX is no longer as awe-inspiring as it once was; now it comes across as looking like the effects in a really good video game.

The film does have the feel of a sprawling epic, but Lucas’s direction hops around too much. He seems uncomfortable dealing with emotion and love in his story lines. He doesn’t have to turn on the waterworks as if this was some Technicolor melodramatic weepy, but he should give the actors enough screen time to make the emotions palatable. Before any kind of mood can be established, Lucas is racing off to the next battle scene. He comfortable staging awesome battles filled war machines of the most fantastic and imaginative designs. However, his “character moments” feel as if he shoehorned them in, if only to remind his audience that this is supposed to be the love story of Anakin and Amidala that would later lead to such tragedy and heartbreak. Before any heat can generate, he drops the personal moments like soiled diapers and is off to the next videogame-style battle scene.

Still, Star Wars fans should like Star Wars: Episode II – Attack of the Clones (which Disney renamed Star Wars: Attack of the Clones) for the most part, and I imagine that it will hold up over time. I know Star Wars fans always have such high hopes. However, after the first two prequels, I think we should understand that the films are meant simply to enforce brand awareness and sell merchandise. Any pretense to cinematic art is just that – a pretense...

6 of 10

★★★ out of 4 stars

RE-edited with some rewriting: Monday, April 21, 2025

NOTES:

2003 Academy Awards, USA: 1 nomination: “Best Visual Effects” (Rob Coleman, Pablo Helman, John Knoll,and Ben Snow)

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Tuesday, January 14, 2025

Review: "STARMAN" Retains Its Charms (Celebrating John Carpenter)

TRASH IN MY EYE No. 88 (of 2006) by Leroy Douresseaux

John Carpenter’s Starman (1984)

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

MPAA – PG

DIRECTOR: John Carpenter

WRITERS: Bruce A. Evans and Raynold Gideon

PRODUCER: Larry J. Franco

CINEMATOGRAPHER: Donald M. Morgan (D.o.P.)

EDITOR: Marion Rothman

COMPOSER: Jack Nitzsche

Academy Award nominee

SCI-FI/DRAMA/ROMANCE

Starring: Jeff Bridges, Karen Allen, Charles Martin Smith, Richard Jaeckel, Robert Phalen, and Tony Edwards

Starman is a 1984 American science fiction drama and romantic film from director John Carpenter. The original screenplay was written by Bruce A. Evans and Raynold Gideon, with Dean Riesner committing re-writes for which he did not received a screen credit. Although the film was not a box office success, it inspired the short-lived “Starman” television series (ABC, 1986-87). Starman the movie focuses on a young Wisconsin widow; the alien who takes the form of her late husband; and their cross-country drive to help the alien make a rendezvous with the space ship that will take him home.

Starman begins with an alien being who finds his space probe shot down by the U.S. Air Force, causing the probe to crash land in Wisconsin. A pulsating, levitating blue orb, the alien enters the home of widow, Jenny Hayden (Karen Allen), where he jury-rigs or clones a body from the remains of Jenny’s late husband, Scott (Jeff Bridges). After much confusion and fear, Jenny helps the alien Scott travel to Arizona where he is to rendezvous with the mother ship in 3 days or die. Meanwhile, Mark Shermin (Charles Martin Smith), a SETI scientist who works for the government, and George Fox (Richard Jaeckel), a military officer, hotly pursue the peculiar pair of Scott and Jenny.

Jeff Bridges earned an Oscar nomination for his performance as an alien who crash lands on earth and assumes the form of young woman’s recently deceased husband. Starman is also in the fine tradition of road pictures that feature a mismatched couple learning about one another before discovering love. Bridges is superb as the awkward, not-quite-childlike alien visitor. He completely sells the idea that the alien is struggling to learn and to understand this world. Everything about him: the way he walks and stands, his speech pattern, the way he answers questions (or doesn’t), and the way he dresses is peculiar and calls attention to him. Having the alien Scott dress in red flannel shirt and wear a red cap makes him stand out in a film in which the photography emphasizes earth tones and the nights are murky.

Karen Allen is also good as the grieving widow; she reveals in her facial expressions the big lump of pain still in Jenny Hayden. Director John Carpenter does well to simply allow his leads to build their characters and nurture their screen chemistry so that by the end of the film, this otherworldly romance resonates.

7 of 10

B+

★★★½ out of 4 stars

Saturday, April 22, 2006

EDITED: Tuesday, January 14, 2025

NOTES:

1985 Academy Awards: 1 nomination: “Best Actor in a Leading Role” (Jeff Bridges)

1985 Golden Globes: 2 nominations: “Best Actor in a Motion Picture-Drama (Jeff Bridges) and “Best Original Score-Motion Picture” (Jack Nitzsche)

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Tuesday, November 26, 2024

Review: "MOANA" Sails on a Sea of Delights

TRASH IN MY EYE No. 53 of 2024 (No. 1997) by Leroy Douresseaux

Moana (2016)

Running time: 107 minutes (1 hour, 47 minutes)

MPAA – PG for peril, some scary images and brief thematic elements

DIRECTORS: Ron Clements and John Musker with Don Hall and Chris Williams (co-directors)

WRITERS: Jared Bush; from a story by Ron Clements, John Musker, Don Hall, Chris Williams, Pamela Ribon, and Aaron Kandell and Jordan Kandell

PRODUCER: Osnat Shurer

CINEMATOGRAPHERS: Alessandro Jacomini, Daniel Rice, and Nathan Warner

EDITOR: Jeff Draheim

ORIGINAL SONGS: Opetaia Foa'il, Mark Mancina, and Lin-Manuel Miranda

COMPOSER: Mark Mancina

Academy Award nominee

ANIMATION/FANTASY/FAMILY/DRAMA

Starring: (voices) Auli'i Cravalho, Dwayne Johnson, Rachel House, Temuera Morrison, Jemaine Clement, Nicole Scherzinger, Alan Tudyk, and Troy Polamalu

Moana is a 2016 American computer-animated, fantasy-adventure, and musical film directed by Ron Clements and John Musker. It was produced by Walt Disney Animation Studios – the 56th full-length animated feature film produced by that studio, and it was released by Walt Disney Pictures. Moana follows a girl who heeds the Ocean's call that she find a lost demigod and force him to help her end the terrible curse that he incurred in the distant past.

Moana introduces Moana (Auli'i Cravalho), a girl who lives in ancient Polynesian on the island of Motunui. She is also the daughter of Motunui's Chief Tui (Temuera Morrison). The inhabitants of the island worship Te Fiti, the mother island. Long ago, Te Fiti brought life to the ocean using a stone called “the heart of Te Fiti” as the source of her power. Then, along came Maui (Dwayne Johnson). He was a demigod of the wind and sea, a warrior, a trickster, and a shape-shifter who used a huge magical fish hook to wield his shape-shifting powers. Maui stole the heart and caused Te Fiti to disintegrate, but he immediately attacked by the volcanic demon “ Te Kā.” Maui lost both the heart and his magic fish hook to the depths of the sea.

A thousand years later, blight strikes Motunui and begins to kill the vegetation and shrink the number of fish available for the islanders to catch. The Ocean gives Moana the heart of Te Fiti and chooses her to find Maui and force him to restore what he took from Te Fiti. Only then, will Motunui and other islands be saved from the destroying blight, which is apparently a curse from Te Kā. In order to do that, Moana must do something she always wanted to do, but was also afraid to do. She must cross the barrier reef that surrounds Motunui and sale far into an ocean full of danger. That danger includes the kind of waves that can destroy the small boat upon which Moana sets sail.

I always struggle with writing reviews of modern Disney computer-animated feature films. The animation is always superb. The character design consistently is imaginative and inventive, and the character animation – regardless of whether the characters are human, animals, creatures of fantasy, or machines – is flawless. The production design, art direction, set decoration, and graphic design are so good that just about every Disney movie gets its own art book – deservedly so. That said, the tattoos on Maui's body steal the show; it's like they are their own film reel of hype men and Greek choruses.

Moana offers Disney's time-tested formula, telling the story of a girl who goes on a journey of discovery about what she expects of herself after living a life of doing what others expect of her. It has popped up recently in such films as Frozen (2013) and Zootopia (2016). Of late, Disney has offered girls who are not white or European as the stars of such stories, as seen here in Moana and also in Encanto (2021), a film released several years after Moana. The visual elements of this film might say non-white girl, but the voice actors bring a universal appeal to their voice performances that emphasizes the Moana's broad themes of bravery and redemption and also of the struggle between tradition (represented by Moana's father, Tui) and progress (represented by Moana herself).

By the way, Moana's original songs, written by Opetaia Foa'il, Mark Mancina, and Lin-Manuel Miranda, and the film score by Mancina are some of the best Disney music produced this century. It is hard to pick a favorite song from this film, but I like Mancina and Miranda's “Shiny” as much as like Miranda's “How Far I'll Go,” which is essentially the film's theme.

I avoided Moana when it was first released to theaters in 2016, and I finally decided to see it because Moana 2 is due this month (November 2024). I would have loved to have seen it on the big screen. Although I think the film drags a little in its last act, I really enjoyed its story and its bouncy songs and soaring score. Moana is one of Disney's great recent adventure films – live-action or animation – and I think fans of animated feature films – Disney or otherwise – are denying themselves an exceptional work if they don't see it.

8 of 10

★★★★ out of 4 stars

Tuesday, November 26, 2027

NOTES:

2017 Academy Awards, USA: 2 nominations: “Best Animated Feature Film of the Year” (Ron Clements, John Musker, and Osnat Shurer) and “Best Achievement in Music Written for Motion Pictures-Original Song” (Lin-Manuel Miranda for the song, “How Far I'll Go”)

2017 BAFTA Awards: 1 nomination: “Best Animated Feature Film” (Ron Clements and John Musker)

2017 Golden Globe Awards: 2 nominations: “Best Original Song-Motion Picture” (Lin-Manuel Miranda for the song, “How Far I'll Go”) and “Best Motion Picture - Animated”

2017 NAACP Image Awards: 1 nomination: “Outstanding Character Voice-Over Performance-Television or Film” (Dwayne Johnson)

2017 Black Reel Awards: 1 nomination: “Outstanding Voice Performance” (Dwayne Johnson)

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Friday, November 15, 2024

Review: "Y TU MAMA TAMBIEN" is a Serious and Sexy Standout

TRASH IN MY EYE No. 49 of 2024 (No. 1993) by Leroy Douresseaux

Y tu mamá también (2001)

COUNTRY OF ORIGIN: Mexico; Language: Spanish

Running time: 106 minutes (1 hour, 46 minutes)

MPAA – initially not rated

DIRECTOR: Alfonso Cuarón

WRITERS: Alfonso Cuarón and Carlos Cuarón

PRODUCERS: Alfonso Cuarón and Jorge Vergara

CINEMATOGRAPHER: Emmanuel Lubezki (D.o.P.)

EDITORS: Alfonso Cuarón and Alex Rodríguez

Academy Award nominee

DRAMA

Starring: Maribel Verdú, Diego Luna, Gael García Bernal, Ana López Mercado, Nathan Grinberg, Verónica Langer, María Aura, Silverio Palacios, Mayra Serbulo, and Daniel Giménez Cacho (narrator)

Y tu mamá también is a 2001 Mexican coming-of-age comedy-drama and road film from director Alfonso Cuarón. The title is Spanish for “And Your Mother Too.” Y tu mama también follows two teenage boys and an older woman as they embark on a road trip with Mexico's late 1990s political upheaval as a backdrop.

Before Harry Potter and the Prisoner of Azkaban (2004) and Children of Men (2006) brought him mainstream acclaim, Mexican film director Alfonso Cuarón burst onto the international film scene with Y tu mama también. It became one of the most talked about movies of 2002.

Y tu mamá también introduces rich teenage friends, Tenoch Iturbide (Diego Luna) and Julio Zapata (Gael García Bernal). Abandoned by their girlfriends for the summer, they are on the prowl for new sexual experiences. At a wedding, they meet the alluring Luisa Cortes (Maribel Verdú), the Spanish wife of one of Tenoch's relatives. Both boys are smitten with her and try to impress her by weaving tales of Boca del Cielo – Heaven’s Mouth, a beautiful, secret beach.

Of course, there is no such place, but the boys are trying to get Luisa to join them on a road trip to the fictitious locale. Although she at first declines the sweet offer, Luisa changes her mind when she receives two pieces of bad news practically simultaneously. Once on the journey, however, the trio finds that their little escapade is riddled with conflict and sometimes interrupted by moments of seduction.

Y tu mama también is an original take on the road movie. Occasionally harsh (lots of painful revelations and venomous quarrels between the two boys) and often funny (the good-matured ribbing and frank conversations among the trio), the film is filled with witty banter. The poignancy is found in the fact that this coming of age journey that both strengthens and builds bonds also means that things are coming to an end. The sense of death, finality, and dissolution infuses this film giving even the sun-drenched Mexican locale a melancholy air.

Y tu mama también is also politically astute, with Cuarón and his co-writer Carlos Cuarón nimbly and skillfully dropping in commentary about political corruption and fraud rampant throughout the corruption (via the narrator). Cuarón also presents the rampant and widespread poverty among Mexican citizens offering it as a veritable visual feast. Everywhere the boys go, there is abundant evidence of the impoverished lives of so many people.

Perhaps, Cunard's best choice as director is allow his film to feel so natural, especially in the acting of the three main actors: Maribel Verdú, Diego Luna, and Gael García Bernal who give smooth, flowing performances. Cuarón doesn’t portray anything as being stages, and he presents this film as if we were peaking through a window that gives us an intimate view of these three lives in transition. Cuarón doesn’t just put us there; he makes us feel. That makes Y tu mama también such a wonderfully entertaining film that reaches out to touch the viewer on a personal level.

8 of 10

★★★★ out of 4 stars

Friday, November 15, 2024

NOTES:

2003 Academy Awards: 1 nomination: “Best Writing, Original Screenplay” (Alfonso Cuarón and Carlos Cuarón)

2003 BAFTA Awards: 2 nominations: “Best Film not in the English Language” (Alfonso Cuarón and Jorge Vergara) and “Best Screenplay – Original” (Alfonso Cuarón and Carlos Cuarón)

2002 Golden Globes: 1 nomination: “Best Foreign Language Film” (Mexico)

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Sunday, July 21, 2024

Review: "LOGAN" is Mournful, Violent, and Hopeful

TRASH IN MY EYE No. 32 of 2024 (No. 1976) by Leroy Douresseaux

Logan (2017)

Running time: 137 minutes (2 hours, 17 minutes)

MPAA – PG-13 for strong brutal violence and language throughout, and for brief nudity

DIRECTOR: James Mangold

WRITERS: James Mangold & Scott Frank and Michael Green; from a story by James Mangold (based on the characters and stories appearing in Marvel Comics)

PRODUCERS: Simon Kinberg, Hutch Parker, and Lauren Shuler Donner

CINEMATOGRAHER: John Mathieson (D.o.P.)

EDITORS: Michael McCusker and Dirk Westervelt

COMPOSER: Marco Beltrami

Academy Award nominee

SUPERHERO/ACTION/DRAMA

Starring: Hugh Jackman, Patrick Stewart, Dafne Keen, Boyd Holbrook, Stephen Merchant, Elizabeth Rodriguez, Richard E. Grant, Eriq La Salle, Elise Neal, Quincy Fouse, Jason Genao, and Bryant Tardy

Logan is a 2017 American drama, action film and superhero movie from director James Mangold. Starring Hugh Jackman in the title role, it is the tenth film in 20th Century Fox's X-Men movie franchise and is also the third entry in the Wolverine film series. Logan is based on the Marvel Comics character, Logan/Wolverine, that was created by writer Len Wein and artists John Romita and Herb Trimpe and first fully appeared in the comic book, The Incredible Hulk #181 (cover dated: November 1974). Logan the movie focuses on a legendary mutant trying to save a mutant child from the evil people determined to capture her.

Logan opens in the year 2029. Mutants are nearly extinct, and no new mutants have been born in 24 years. The aging and ailing Logan (Hugh Jackman) works as a limousine driver in El Paso, Texas. Once upon a time, he was known as “Wolverine,” and he was a member of the legendary band of mutants, the “X-Men.” Now, he and the elderly founder of the X-Men, Charles Xavier (Patrick Stewart), live in hiding. Xavier suffers from a degenerative brain condition, and he sometimes has telepathic seizures that render anyone in the vicinity virtually helpless. A mutant known as “Caliban” (Stephen Merchant) helps Logan care for Charles.

Logan has plans for escape, but a complication arrives in the form of a small girl named Laura (Dafne Keen), also known as test subject “X23.” She is a mutant and her abilities are remarkably similar to those of Wolverine's. However, she is being hunted by Donald Pierce (Boyd Holbrook) and his band of killers, the “Reavers.” They are in service of the research institute, Alkali Transigen, and the scientists there want her back no matter what it costs in terms of lives. Will Logan become the hero Wolverine, again, and help Laura get to a place called “Eden?” Or will he run away from his fate, again?

Having seen the first two Wolverine films, X-Men Origins: Wolverine (2009) and The Wolverine (2013), I did not go to the theater to see Logan when it was originally released in 2017. [In my defense, I was knee deep in catastrophic family drama at the time.] With the impending release of the upcoming Marvel Studios film, Deadpool & Wolverine, I decided it was time.

My was I missing an excellent film. Logan is by far the best of the Wolverine films, and at the time of its release, it was the best X-Men since 2011's X-Men: First Class. Truthfully, Logan would end up being the last really good X-Men film produced by 20th Century Fox.

Logan, which was rated “R” by the MPAA, is one of the most violent superhero films that I've ever seen. Logan, Laura, and a surprise character called “X24” disembowel, dismember, behead, eviscerate, stab, and chop up what seems like a small town's worth of deserving men of various stripes. Although I can sometimes be a prude about what I see as gratuitous violence in cinema, I love the brutal violence of Logan. In fact, all the action scenes in Logan are brilliant, from the standoffs to the fights and car chases.

However, director James Mangold, a filmmaker with a hugely diverse filmography, makes Logan turn on dramatic storytelling and performances. It is obvious that Hugh Jackman as Logan and Patrick Stewart as Charles Xavier would give fine performances. Still, actor and comedian, Stephen Merchant, is simply wonderful in the important supporting role of Caliban, bringing pathos and depth to a role that could have ended up being an extraneous freak character.

Boyd Holbrook also brings range and a variety of moods to Donald Pierce, another character that could have been a generic mercenary type. Dafne Keen matches the rage and range of Jackman as Logan. Laura could have been lost in the hurricane that is Logan/Wolverine's story in this film, but Keen makes Laura a force of her own. Also, I would be remiss if I didn't mention that Eriq La Salle makes the most of his short time on screen as Will Munson.

Logan is a mournful film. It really is not a sequel to the earlier Wolverine films so much as it is the completion of Logan/Wolverine's tragic, but heroic story arc that buttressed the earlier films. Logan is both an ending and a beginning, and I wish that the care and effort put into this film had been put into some of the other X-Men films.

8 of 10

★★★★ out of 4 stars

Sunday, July 21, 2024

NOTES:

2018 Academy Awards, USA: 1 nomination: “Best Adapted Screenplay” (Scott Frank, James Mangold, and Michael Green)

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Thursday, July 4, 2024

Review: Original "BEVERLY HILLS COP" is Still Crazy and Cool

TRASH IN MY EYE No. 28 of 2024 (No. 1972) by Leroy Douresseaux

Beverly Hills Cop (1984)

Running time: 105 minutes (1 hour, 45 minutes)

MPAA – R

DIRECTOR: Martin Brest

WRITERS: Daniel Petrie, Jr.; from a story by Daniel Petrie, Jr. and Danilo Bach

PRODUCERS: Jerry Bruckheimer and Don Simpson

CINEMATOGRAPHER: Bruce Surtees (ASC)

EDITORS: Arthur Coburn and Billy Weber

COMPOSER: Harold Faltermeyer

Academy Award nominee

COMEDY/ACTION/CRIME

Starring: Eddie Murphy, Judge Reinhold, John Ashton, Lisa Eilbacher, Ronny Cox, Steven Berkoff, Jonathan Banks, James Russo, Stephen Elliot, Gilbert R. Hill, Art Kimbro, Joel Bailey, Bronson Pinchot, Paul Reiser, Michael Champion, and Damon Wayans

Beverly Hills Cop is a 1984 American buddy-cop film and action-comedy directed by Martin Brest and starring Eddie Murphy. This year (2024) makes the 40th anniversary of Beverly Hills Cop original theatrical release (specifically December 1984). The film was the first entry in what would become the Beverly Hills Cop film franchise. Beverly Hills Cop focuses on a cocky young Detroit cop who pursues a murder investigation in Beverly Hills where he must deal with a very different culture and a very different police department.

Beverly Hills Cop opens in Detroit, Michigan. There, we meet Axel Foley (Eddie Murphy), a plainclothes police detective. As the story begins, his unauthorized sting operation goes sour resulting in a disastrous high-speed chase. Axel's reckless behavior earns him the ire of his superior, Inspector Todd (Gilbert R. Hill), who threatens to fire him unless he changes his ways.

Axel returns to his apartment to find his childhood friend, Michael “Mikey” Tandino (James Russo). After doing a stint in prison, Mikey got a job as a security guard in Beverly Hills, California via a childhood friend of both Axel and Mikey's, Jenny Summers (Lisa Eilbacher). However, Mikey has gotten into something dangerous, and it costs him his life.

In spite of threats from Inspector Todd, Axel travels to Beverly Hills and visits Jenny at her place of employment, the “Hollis Benton Art Gallery.” There, he discovers that the gallery's owner, Victor Maitland (Steven Berkoff), is involved in something very shady, and that he also likely had Mickey killed. Meanwhile, Axel runs afoul Lt. Bogomil (Ronny Cox) at the local precinct of the Beverly Hills PD. Bogomil has two of his detectives, Billy Rosewood (Judge Reinhold) and Sergeant John Taggart, trail Axel. Can the street-smart Axel convince Rosewood and Taggart to help him discover exactly what Victor Maitland is doing? Or will Axel end up sharing the same tragic fate as Mikey?

It has been well over 30 years since I had watched Beverly Hills Cop in its entirety. As far as I can remember, I definitely saw it in a movie theater sometime in December 1984, likely with some or all of my sisters. I may have watched it once or twice more before the 1980s came to an end. In anticipation of the just released sequel, Beverly Hills Cop: Axel F (a “Netflix Original”), I decided to watch the first film again. Just for starters, the film's soundtrack is still perky, although a bit quaint. Harold Faltermeyer's score, especially the instrumental title tune/theme, “Axel F,” still seems pitch perfect for this movie, as if nearly four decades had not passed.

I wondered if I would like it as much as I did the first time I saw it, and I absolutely loved it back then. This film made Eddie Murphy, for a few years, the biggest star in Hollywood. Watching Beverly Hills Cop now, I feel as if I have fallen in love with it again. Beverly Hills Cop was originally meant to be a star vehicle for Sylvester Stallone and be a straight action film. Instead, it became an Eddie Murphy star vehicle, and a comic action film that has numerous funny moments, most of them executed by Eddie Murphy. Here, you can see what made Murphy a transcendent star; he has true movie star qualities and loads of charisma. Still, Judge Reinhold and John Ashton have their chances to be funny as Rosewood and Taggart, respectively. Of course, Bronson Pinchot as the museum employee, Serge, steals every scene in which he appears. He would go on to use this role to launch himself into television stardom.

As funny as Beverly Hills Cop is, it retains some of the edge that was probably in the early versions of its screenplay. The beginning of the film shamelessly displays the inner city ruins of Detroit. There are also multiple violent deaths, beginning with Mikey's, but I find that the excellent car chase scenes and gun battles are a bit of pop movie fun that balance out the poverty, deprivation, and violent firearm deaths that pepper this film.

Director Martin Brest, who made a career out of turning plain genre films into something just a bit more special, eagerly keeps his camera on his star. Brest records every last bit of Murphy's talent, star power, and comedy modus operandi on the way to making Beverly Hills Cop a cop movie like nothing audiences had seen before or have seen since. In spite of its sequels, Beverly Hills Cop remains one of a kind, and is surprisingly (at least to me) still crazy as heck and funny as hell.

8 of 10

★★★★ out of 4 stars

Thursday, July 4, 2024

NOTES:

1985 Academy Awards, USA: 1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (Daniel Petrie Jr.-screenplay/story and Danilo Bach-story)

1985 Golden Globes, USA: 2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Eddie Murphy)

1986 BAFTA Awards: 1 nomination: “Best Score” (Harold Faltermeyer)

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Tuesday, July 2, 2024

Review: "DESPICABLE ME 2" Will Make Kids Happy, Happy, Happy...

TRASH IN MY EYE No. 27 of 2024 (No. 1971) by Leroy Douresseaux

Despicable Me 2 (2013)

Running time: 98 minutes (1 hour, 38 minutes)

MPAA – PG for rude humor and mild action

DIRECTORS: Pierre Coffin and Chris Renaud

WRITERS: Ken Daurio and Cinco Paul

PRODUCERS: Janet Healy and Chris Meledandri

EDITOR: Gregory Perler

COMPOSERS: Heitor Pereira (score) and Pharrell Williams (songs)

Academy Award nominee

ANIMATION/FANTASY and ACTION/COMEDY/FAMILY

Starring: (voice) Steve Carell, Kristen Wiig, Miranda Cosgrove, Dana Gaier, Elsie Fisher Russell Brand, Benjamin Bratt, Moises Arias, Ken Jeong, Steve Coogan, Pierre Coffin, and Chris Renaud

Despicable Me 2 is a 2013 computer-animated action-fantasy and comedy film directed by Pierre Coffin and Chris Renaud. The film is produced by Illumination Entertainment and distributed by Universal Pictures. It is a direct sequel to the 2010 film, Despicable Me. Despicable Me 2 finds bad guy-tuned-dad guy, Gru, recruited by a secret organization to discover who stole a deadly chemical.

Despicable Me 2 finds Gru (Steve Carell), formerly the world’s number one super-villain, settled into his role as the adopted father of the three orphan girls: Margo (Miranda Cosgrove), Edith (Dana Gaier), and Agnes (Elsie Fisher). All is not well at home, however. Gru is trying to get his “jams and jellies” business to succeed, while one of his female neighbors tries to set him up on a blind date. Also, Gru's longtime gadget man, Dr. Nefario (Russell Brand), quits so that he can take a job that will allow him to be a bad guy again.

But Gru's old life comes calling when the Anti-Villain League (AVL) demands that he help them discover who stole the dangerous transmutation serum, “PX-41.” They appoint AVL agent, Lucy Wilde (Kristen Wiig), as his partner. The two set up in a fake business, a bakery named “Bake My Day,” in Paradise Mall, a shopping mall near Gru's home. As for the thief of the serum, Gru has a suspect in mind, a former super-villain who supposedly died in a volcano, but AVL doesn't believe him. Meanwhile, someone is stealing some of Gru's little helpers, the Minions.

I really liked the original Despicable Me, but when Despicable Me 2 arrived back in 2013, I decided not to see it because... well, because the first was enough. I'd gotten all the cuteness of Margo, Edith, and Agnes that I needed, and I had gotten the best of Gru's character arc and transformation from villain to father.

However, I was shocked to find that I really liked the first full-length trailer for the upcoming Despicable 4 (2024). So I decided to watch Despicable Me 2 for the first time, and I was right the first time. The first film was really enough for me. The girls are still cute, but there is less of them so that there can be more screen time for Gru's burgeoning relationship with Lucy Wilde. I'm only kinda interested in that. Gru's character arc in this film isn't as engaging as it was in the first film. Clearly, the Minions needed more screen time than they got here, although they do play a pivotal part in the villain's wacky plot. In fact, two years after the release of this film, the Minions got their own movie, 2015's Minions.

Despicable Me 2 isn't bad, but the film's storytellers play it safe rather than advance the elements that made the first film a surprise hit. It earned two Oscar nominations, one for Pharrell Williams' song, “Happy,” which was practically ubiquitous from July 2013 to well into 2014. I'm just not sure how invested I can be in this franchise, although the fourth film has sort of captured my interest. It is really in the last twenty minutes of the film before the end credits that Despicable Me 2 really comes to life. That's okay for me, but I'm sure family audiences will find it more than okay.

6 of 10

★★★ out of 4 stars

Tuesday, July 2, 2024

NOTES:

2014 Academy Awards, USA: 2 nominations: “Best Animated Feature Film of the Year” (Chris Renaud, Pierre Coffin, Christopher Meledandri) and “Best Achievement in Music Written for Motion Pictures, Original Song” (Pharrell Williams-music and lyrics for the song, “Happy”)

2013 BAFTA Children's Awards: 1 win: “BAFTA Kids Vote – Feature Film”

2014 BAFTA Awards: 1 nomination: “Best Animated Film” (Chris Renaud and Pierre Coffin)

2013 Golden Globes, USA: 1 nomination: “Best Animated Feature Film”

2014 Black Reel Awards: 1 nomination: “Outstanding Song” (Pharrell Williams-Performer & Writer for the song “Happy”)

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Thursday, May 9, 2024

Review: "WAR FOR THE PLANET OF THE APES" Gets Personal

TRASH IN MY EYE No. 22 of 2024 (No. 1966) by Leroy Douresseaux

War for the Planet of the Apes (2017)

Running time: 140 minutes (2 hours, 20 minutes)

MPAA – PG-13 for sequences of sci-fi violence and action, thematic elements, and some disturbing images

DIRECTOR: Matt Reeves

WRITERS: Matt Reeves and Mark Bomback (based upon characters created by Rick Jaffa and Amanda Silver)

PRODUCERS: Peter Chernin, Dylan Clark, Rick Jaffa, and Amanda Silver

CINEMATOGRAPHER: Michael Seresin (D.o.P.)

EDITORS: William Hoy and Stan Salfas

COMPOSER: Michael Giacchino

Academy Award nominee

SCI-FI/DRAMA/MILITARY

Starring: Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval, Terry Notary, Ty Olsson, Michael Adamthwaite, Toby Kebbell, Judy Greer, Devyn Dalton, Max Lloyd-Jones, and Amiah Miller

War for the Planet of the Apes is a 2017 American science fiction film and military drama directed by Matt Reeves. It is a direct sequel to Dawn of the Planet of the Apes (2014) and is also the third installment in the Planet of the Apes reboot film series.

It is the ninth entry in the overall Planet of the Apes film series, which began as an adaptation of the 1963 French science fiction novel, La planète des singes, by Pierre Boulle. In War for the Planet of the Apes, Caesar goes on a quest for revenge as a mentally unstable military leader escalates the war between apes and humans.

Fifteen years earlier, the birth of “The Simian Flu” pandemic (as seen in 2011's Rise of the Planet of the Apes) proved deadly to humans. The flu reduced the worldwide human population, and only 1 in 500 humans (.20 percent) are genetically immune to it. Human civilization has been destroyed after societal collapse. Five years earlier, the apes of the Muir Woods National Monument colony, led by the chimpanzee, Caesar (Andy Serkis), clashed with the humans living in the ruins of San Francisco (as seen in Dawn of the Planet of the Apes). The humans contacted the last remaining U.S. Army unit.

As War for the Planet of the Apes opens, “The Colonel” (Woody Harrelson), a ruthless leader of a paramilitary faction, has been hunting Caesar, whom he calls “Kong,” and his ape colony in the two years following the battle in the ruins of San Francisco. The colony is betrayed by turncoat apes that the humans call “donkeys,” and tragedy strikes close to Caesar. He sets his colony on a journey to reach a recently discovered oasis, while he begins his mythic quest for revenge.

Caesar's lieutenants: Luca (Michael Adamthwaite), Maurice (Karin Konoval), and Rocket (Terry Notary) insist on accompanying him. Along the way, they meet a mute human girl (Amiah Miller) and a lonely chimpanzee who can speak and calls himself “Bad Ape” (Steve Zahn). Will Caesar's quest, however, endanger all his people instead of saving them? And is he dangerously ignorant of the true nature of the conflicts within the remaining groups of humans?

I have been a fan of the Planet of the Apes film ever since I saw the original film, Planet of the Apes (1968), back in the day when CBS broadcast it on a regular basis. Its sequel, Beneath the Planet of the Apes (1970), thrilled and chilled me. I also enjoyed Tim Burton's 2001 Planet of the Apes, a remake and re-imagining of the original film

In preparation for the new film in the franchise, Kingdom of the Planet of the Apes (2024), I decided to review the two films in the reboot franchise that I had not seen, Dawn of the Planet of the Apes and War for the Planet of the Apes. I have previously seen and reviewed Rise of the Planet of the Apes (2011).

I found Dawn of the Planet of the Apes to be a really entertaining film, with its director Matt Reeves spearheading a pulpy, post-apocalyptic drama that thrives on inter-tribal conflict. However, I didn't find Dawn's drama to be quite as substantive as its predecessor, mainly because this film focuses so much on the apes that the film glosses over the human characters that have the most potential.

In War for the Planet of the Apes, it is much the same, but this film is the pinnacle of the first three films in ape acting via motion-capture and voice performances. Here, Reeves wrings much more emotion from the characters, story, and settings. Andy Serkis hits the heights as Caesar, his best performance of the first three films. There are also numerous other fine supporting ape performances. Through these characters, Reeves presents a film in which the emotion is raw and real and drives the drama to be more powerful than even this film's best action scenes.

On the other hand, there is only one exceptional human character, that would be the mute orphan girl, and Amiah Miller gives an exceptional physical performance as the child. Using facial expressions and hand movements, she gives the girl such personality that the audience will come to buy her as a legitimate member of Caesar's tribe rather than as a random human. Woody Harrelson has played so many kooky characters, and The Colonel is not one of the better ones. It is as if Harrelson has done the crazy dude thing so much that he didn't know where to take that kind of character for this film.

War for the Planet of the Apes improves on the plots, characters, elements and ideas introduced in Dawn of the Planet of the Apes. It is a fine end to what we might call “the Caesar trilogy.” Dear readers, you can't go forward in the Planet of the Apes franchise without seeing War for the Planet of the Apes.

8 of 10

★★★★ out of 4 stars

Thursday, May 9, 2024

NOTES:

2018 Academy Awards: 1 nomination: “Best Achievement in Visual Effects” (Joe Letteri, Dan Lemmon, Daniel Barrett, and Joel Whist)

2015 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (Joe Letteri, Dan Lemmon, Erik Winquist, and Joel Whist)

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Sunday, May 5, 2024

Review: "DAWN OF THE PLANET OF THE APES" Goes Ape Sh*t

TRASH IN MY EYE No. 21 of 2024 (No. 1965) by Leroy Douresseaux

Dawn of the Planet of the Apes (2014)

Running time: 130 minutes (2 hours, 10 minutes)

MPAA – PG-13 for intense sequences of sci-fi violence and action, and brief strong language

DIRECTOR: Matt Reeves

WRITERS: Mark Bomback and Rick Jaffa & Amanda Silver (based upon characters created by Rick Jaffa and Amanda Silver)

PRODUCERS: Peter Chernin, Dylan Clark, Rick Jaffa, and Amanda Silver

CINEMATOGRAPHER: Michael Seresin (D.o.P.)

EDITORS: William Hoy and Stan Salfas

COMPOSER: Michael Giacchino

Academy Award nominee

SCI-FI/ACTION/DRAMA/THRILLER

Starring: Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Kodi Smit-McPhee, Kirk Acevedo, Toby Kebbell, Nick Thurston, Karin Konoval, and Judy Greer

Dawn of the Planet of the Apes is a 2014 American science fiction-thriller, action, and drama film directed by Matt Reeves. It is a direct sequel to Rise of the Planet of the Apes (2011) and is also the second installment in the Planet of the Apes reboot film series.

It is the eighth entry in the overall Planet of the Apes film series, which began as an adaptation of the 1963 French science fiction novel, La planète des singes, by Pierre Boulle. In Dawn of the Planet of the Apes, apes and humans are thrown together for the first time in years, and a fragile peace is threatened by mistrust and betrayal.

Dawn of the Planet of the Apes opens ten years after the birth of “The Simian Flu” pandemic (as seen in Rise of the Planet of the Apes). Deadly to humans, the flu has reduced the worldwide human population, and only 1 in 500 humans (.20 percent) are genetically immune to it. Human civilization has been destroyed after societal collapse.

There was a large group of apes that were all bestowed with genetically enhanced intelligence by the virus. They established a colony in the Muir Woods National Monument near San Francisco. Their leader is the chimpanzee, Caesar (Andy Serkis), who protects the colony with his lieutenants. Among them is the sinister and treacherous bonobo, Koba (Toby Kebbell).

One day, for the first time in years, apes and humans meet. A group of humans, led by Malcolm (Jason Clarke), unknowingly enters the apes' territory in search of a hydroelectric dam that could restore power to a rag tag human community living in the ruins of San Francisco. As level-headed as Malcolm is, there are hotheads among the humans, like their leader Dreyfus (Gary Oldman), an ex-police officer. Among the apes, Koba is the hothead, but a fragile peace develops between the two tribes. However, mistrust and betrayal threaten to plunge both humans and apes in a terrible war for control of the San Francisco area and ultimately, for dominance over the Earth.

I was skeptical of Rise of the Planet of the Apes when it was first release, but I thoroughly enjoyed it when I first saw it. I could not believe how exceptionally well made it was. As we all prepare for the impending release of the franchise's latest film, 2024's Kingdom of the Planets of the Apes, I am going back to watch and review, Dawn of the Planet of the Apes and War for the Planet of the Apes (2017).

Dawn of the Planet of the Apes is a really entertaining film. Director Matt Reeves has spearheaded a pulpy, post-apocalyptic drama that thrives on inter-tribal conflict. However, I don't think Dawn's drama is quite as substantive as its predecessor, mainly because this film focuses so much on the apes that, except for Malcolm, the film glosses over the human characters that have the most potential.

Dawn of the Planet of the Apes is a true Planet of the Apes film. The apes are more important, and the humans exist mainly to cause conflict among the apes. Rise of the Planet of the Apes's drama was more grounded in reality, and its subplots mattered beyond being fuel to light the flames of conflict. Dawn of the Planet of the Apes is very well made and is fun to watch. Still, I feel like I'm waiting for a bigger and more important film.

7 of 10

B+

★★★½ out of 4 stars

Sunday, May 5, 2024

NOTES:

2015 Academy Awards: 1 nomination: “Best Achievement in Visual Effects” (Joe Letteri, Dan Lemmon, Daniel Barrett, and Erik Winquist)

2015 BAFTA Awards: 1 nomination: “Best Special Visual Effects” (Joe Letteri, Dan Lemmon, Erik Winquist, and Daniel Barrett)

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Sunday, March 17, 2024

Review: "KONG: SKULL ISLAND" is a Monster Movie Paradise

TRASH IN MY EYE No. 14 of 2024 (No. 1958) by Leroy Douresseaux

Kong: Skull Island (2017)

Running time: 118 minutes (1 hour, 58 minutes)

MPAA – PG-13 for intense sequences of sci-fi violence and action, and for brief strong language

DIRECTOR: Jordan Vogt-Roberts

WRITERS: Max Borenstein, Dan Gilroy, and Derek Connolly; from a story by John Gatins

PRODUCERS: Jon Jashni, Mary Parent, Thomas Tull, and Alex Garcia

CINEMATOGRAPHER: Larry Fong (D.o.P.)

EDITOR: Richard Pearson

COMPOSER: Henry Jackman

Academy Award nominee

ADVENTURE/HISTORICAL/HORROR and MILITARY/SCI-FI

Starring: Tom Hiddleston, Samuel L. Jackson, Brie Larson, John C. Reilly, John Goodman, Corey Hawkins, John Ortiz, Tian Jing, Toby Kebbell, Jason Mitchell, Shea Whigham, Thomas Mann, Eugene Cordero, Marc Evan Jackson, Terry Notary, and Richard Jenkins

Kong: Skull Island is a 2017 monster movie, sci-fi military, and period, adventure film directed by Jordan Vogt-Roberts. It is a reboot of the King Kong film franchise and is also the second film in the “MonsterVerse” film series following 2014's Godzilla. Set at the end of the Vietnam war, Kong: Skull Island focuses on a group of military personnel and civilian scientists who must fight to escape an uncharted island full of giant monsters that includes the island's king, the mighty Kong.

Kong: Skull Island introduces Bill Randa (John Goodman), the head of the U.S. government organization, “Monarch.” It is 1973, and the U.S. is ending its mission in Vietnam. Randa fears his time is running out to launch a mission to a recently discovered island that has long been shrouded in mystery and legend, “Skull Island.”

He convinces a U.S. senator to fund an expedition to the island, and subsequently recruits a U.S. Army unit commanded by Lieutenant Colonel Packard (Samuel L. Jackson) to accompany him. Also on the mission are recent Monarch recruits, geologist Houston Brooks (Corey Hawkins) and biologist San Lin (Tian Jing). Randa also hires James Conrad (Tom Hiddleston), a former British Special Air Service Captain, as a hunter-tracker for this expedition. Mason Weaver (Brie Larson), an “anti-war” photographer, forces her way onto the expedition.

The expedition begins with thirteen U.S. army helicopters penetrating the fearsome storms that surround Skull Island. Randa and Brooks told Packard that they wanted to map the island by dropping seismic explosives, and shortly after arriving on the island, Packard's men begin dropping the explosives, which does help to map the island. The explosions also draw the attention of a giant ape, which promptly attacks the helicopters. Soon, the expedition is divided into two groups of survivors. One is led by Packard who wants revenge against the giant ape, and the other by Conrad who wants to reach a rendezvous point where they will be rescued. The giant ape, however, is “Kong,” king of Skull Island, and he isn't the only deadly, giant monster on the island.

The “MonsterVerse” is an American multimedia franchise that includes movies; a streaming live-action television series (Apple TV+) and a streaming animated series (Netflix); books and comic books; and video games. It is a shared fictional universe that includes the character, “Godzilla” and other characters owned and created by the Japanese entertainment company, Toho Co., Ltd. The MonsterVerse is a reboot of Toho's Godzilla franchise. It is also a reboot of the King Kong film franchise, which is based on the character, “King Kong,” that was created by actor and filmmaker, Merian C. Cooper (1893-1973).

The fifth film in the MonsterVerse series, Godzilla x Kong: The New Empire, is due to be released sometime in March, so I have decided to watch and review the previous four films: 2014's Godzilla, 2017's Kong: Skull Island (which is the subject of this review), Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2021). I have previously seen Godzilla and Kong: Skull Island, but only recently made attempts to review them.

Kong: Skull Island is proudly both a monster movie and a King Kong movie. Like Peter Jackson's 2005 film, King Kong (Universal Pictures), Kong: Skull Island digs into its “lost world” pulp fiction and pre-Code horror movie roots. Kong is as King Kong as any other cinematic version of the character, and the result is an exhilarating film that is fun to watch even after repeated viewings. Most books about writing fiction and screenplays will emphasize that the characters should drive the narrative, but Kong: Skull Island's narrative is driven by its plot, by its other-worldly setting, and especially by its monstrous gods and god-like monsters.

There are quite a few interesting characters in the film. Samuel L. Jackson makes the most of his Lt. Col. Packard, who is driven crazy by his insane mission to kill Kong as a salve for his bitterness about the end of the American misadventure in Vietnam. John C. Reilly once again displays his tremendous character actor chops as the lost-in-time, U.S. Army Air Force Lt. Hank Marlow. Tom Hiddleston is a good heroic lead as James Conrad in a film in which the human hero is not the film's most important character. Brie Larson also shows off her acting skills by chopping out some space for his character, Mason Weaver.

However, the characters are just pawns in the film's plot, which involves surviving Skull Island's various monsters and advancing to the rendezvous point. The setting of Kong: Skull Island is a lost world Eden that is part tropical paradise and part jungle horror, an environment in which the most beautiful place is the most dangerous. The amazing things to see on this island are its deadly denizens, which includes gargantuan spiders, man-snatching carnivorous birds, and seemingly unstoppable lizards that are literally nothing more than perfectly designed death machines. I would be remiss if I didn't mention the practically mute human natives of Skull Island with their dazzling array of face and body painting and eclectic costumes.

At the center of Kong: Skull Island is the film's most important character and element, Kong, himself. He is a thing of beauty, the best special effect in a movie favored with enough impressive CGI to have earned itself an Oscar nomination for “Best Achievement in Visual Effects.” Kong's introduction into the story, a breathtaking display of fight choreography pitting him against a squadron of military helicopters, is as good as the best fight scenes audiences will find in the top superhero movies. Whatever glitches in the overall narrative and character development Kong: Skull Island has, Kong's introduction glosses over. Kong is made king again in Kong: Skull Island, and that is why it is a damn shame that there is not a Kong: Skull Island 2.

[This film has an extra scene at the end of the credits.]

A-

7 of 10

★★★½ out of 4 stars

Sunday, March 17, 2024

NOTES:

2018 Academy Awards, USA: 1 nomination: “Best Achievement in Visual Effects” (Stephen Rosenbaum, Jeff White, Scott Benza, and Michael Meinardus)

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Sunday, February 11, 2024

Review: Pixar's "TURNING RED" is Universal and Unique

TRASH IN MY EYE No. 8 of 2024 (No. 1952) by Leroy Douresseaux

Turning Red (2022)

Running time: 100 minutes (1 hour, 40 minutes)

MPA – PG for thematic material, suggestive content and language

DIRECTOR: Domee Shi

WRITERS: Domee Shi and Julie Cho; from a story by Domee Shi, Julie Cho, and Sarah Streicher

PRODUCER: Lindsey Collins

CINEMATOGRAPHERS: Mahyar Abousaeedi and Jonathan Pytko

EDITORS: Nicholas C. Smith with Steve Bloom

COMPOSER: Ludwig Goransson

SONGS: Billie Eilish and Finneas O'Connell

Academy Award nominee

ANIMATION/FANTASY/COMEDY/DRAMA

Starring: (voices) Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, Tristan Allerick Chen, Jordan Fisher, Finneas O'Connell, and James Hong

Turning Red is a 2022 animated fantasy and comedy-drama film directed by Domee Shi and produced by Pixar Animation Studios. It is Pixar's 25th full-length animated feature film, and it is the first to be solely directed by a woman. Turning Red focuses on a teen girl who is dealing with her demanding mother and the changes of adolescence when she suddenly discovers that becoming really excited causes her to turn into a giant red panda.

Turning Red opens in Toronto, Ontario, Canada in 2002. It introduces a Chinese-Canadian girl, 13-year-old Meilin “Mei” Lee (Rosalie Chiang). She lives with her parents, mother Ming (Sandra Oh) and father Jin (Orion Lee). Mei is a dutiful daughter to her mother who calls her “Mei-Mei,” and she helps take care of the family's temple, “the Lee Family Temple,” one of the the oldest temples in Toronto. The temple honors the Lee family ancestors instead of gods, and it is dedicated to Mei's maternal ancestor Sun Yee.

Mei is also dedicated to a trio of girl friends: Miriam (Ava Morse), Priya (Maitreyi Ramakrishnan), and Abby (Hyein Park), and all three of them are dedicated fans of the boy band, “4*Town.” Life is busy, but it's about to get complicated. The morning after a night of humiliation, Mei wakes up to discover that she has been transformed into a giant red panda. This is a condition that happens when Mei is overly excited, but it can be cured. But what does Mei really want?

In the early days of the Disney+ streaming service and in the COVID-19 pandemic, the Walt Disney Company released three Pixar feature films as direct-to-streaming releases: Soul (2020), Luca (2021), and Turning Red, declining wide theatrical releases for the films. These were and still are three of Pixar's greatest films, but they are finally getting belated theatrical releases in early 2024. [Soul in January 2024; Turning Red in February 2024; and Luca in March 2024.]

Turning Red is an incredible coming-of-age story, and like Pixar's Oscar-winning Brave (2012), it is a story of transformations and of mother-daughter relationships and all the love and support and trials and tribulations that come with it. Its beautiful, terracotta-like colors amplify the film's sense of magic and magical realism. The variety of faces, body types, skin colors, hair styles, and clothes and costumes are a testament of how culturally expansive Pixar's films set in the human world are. Everything about Turning Red invites the entire world of moviegoers to come along on this timeless, universal tale of a child coming into her own and learning to love herself as she is becoming and to love her parents for what they were, are, and can be.

Domee Shi and her co-writers, Julie Cho and Sarah Streicher, have created a character, a world, and a scenario of which I believe I can be a part. I am an old-ass Black man, a million miles away from a 13-year-old Canadian girl of Chinese descent, but Turning Red makes me understand that what the girl experiences are in some ways similar to what I've experienced. In a way, I am jealous of Turning Red and of Meilin Lee because I could never embrace the messy strangeness in me to the extent that she does. I definitely did not want my freak flag fluttering in the wind too much.

There is so much to like in this film. As usual, the animation is up to Pixar's astronomical standards, and Ludwig Goransson's score infuses itself into the film so much that it seems as if the animation is performing a concert. Speaking of music, I'm embarrassed to admit that I like 4*Town, the band, and its three songs performed in the movie, which are written by the sister-brother team of Billie Eilish and Finneas O'Connell. And I couldn't love the movie if I wasn't crazy about actress Rosalie Chiang's multi-layered and energetic voice performance as Mei. Chiang makes Mei feel like a real girl, genuine child in the throes of change and transformation.

Some have said that Turning Red's setting and its lead character, Mei, make the film not timeless and universal like Pixar's other films. They can go screw themselves. Turning Red is universal like other Pixar films and also unlike other Pixar films. Turning Red is Pixar high art and Disney magic, and it is a truly great film that I plan on watching again and again.

10 of 10

Sunday, February 11, 2024

NOTES:

2023 Academy Awards, USA: 1 nomination: “Best Animated Feature Film” (Domee Shi and Lindsey Collins)

2023 BAFTA Film Awards: 1 nominee: “Best Animated Feature Film” (Domee Shi and Lindsey Collins)

2023 Golden Globes, USA: 1 nominee: “Best Motion Picture – Animated”

2023 Image Awards (NAACP): 1 nominee: “Outstanding Animated Motion Picture”

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Thursday, September 28, 2023

Review: "American Graffiti" is Still Crusin' to Rock 'n' Roll 50 Years On

TRASH IN MY EYE No. 45 of 2023 (No. 1934) by Leroy Douresseaux

American Graffiti (1973)

Running time: 110 minutes (1 hour, 50 minutes)

MPAA – PG

DIRECTOR: George Lucas

WRITERS: George Lucas and Gloria Katz & Willard Huyck

PRODUCERS: Francis Ford Coppola and Gary Kurtz

CINEMATOGRAPHERS: Jan D'Alquen (D.o.P.) and Ron Eveslage (D.o.P.)

EDITORS: Verna Fields and Marcia Lucas

Academy Award nominee

DRAMA/HISTORICAL/MUSIC

Starring: Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Wolfman Jack, Bo Hopkins, Manuel Padilla Jr., Beau Gentry, and Harrison Ford

American Graffiti is a 1973 coming-of-age, music-driven, comedy and drama film directed by George Lucas. Lucas, who co-wrote the screenplay with the husband and wife team of Willard Huyck and Gloria Katz, based the story on his experiences in the cruising, and street-racing, and rock 'n' roll cultures of his youth. American Graffiti focuses on a group of teenagers and their adventures over the course of one summer night in 1962.

American Graffiti opens in the Summer 1962. The location is California's central valley, apparently in and around the city of Modesto. There, through a series of vignettes, we watch as a group of teenagers enjoy the last evening of their summer vacation.

For recent high school graduates and friends, Curtis “Curt” Henderson (Richard Dreyfuss) and Steve Bolander (Ronny Howard), this is their last night in town before they board a plane the next day and go “back east” for college. Steve doesn't believe that he can achieve the goals his wants by staying home, even if leaving means parting from his girlfriend, Curt's sister, Laurie (Cindy Williams). However, Curt, who has recently received scholarship money from a local business group, isn't sure that he wants to leave. Besides, tonight, he wants to chase the mystery woman who has caught his eye, a blonde driving a white Ford Thunderbird.

Curt and Steve's two friends are also having a big night. The first is John Milner (Paul Le Mat), the central valley drag-racing king. He has just learned that someone wants to challenge him for his crown, a confident ladies' man named Bob Falfa (Harrison Ford). Meanwhile, the second character is the unpopular, but well-meaning Terry “The Toad” Fields (Charlie Martin Smith), who has just come into possession of Steve's car. He is supposed to protect it until Steve returns from “back east” for Christmas. Tonight, however, Terry hopes the car will help him land a date. Meanwhile, in the background, the popular disc jockey, Wolfman Jack (himself), plays an array of rock 'n' roll hits.

As “DVD Netflix” prepares to shutdown, I've been racing to catch up on certain films that I have never seen or have not seen in a long time. I recently decided to sample some films in which 2023 is the fiftieth anniversary of their original theatrical releases. That includes such films as Walt Disney's Robin Hood, (hopefully)Woody Allen's Sleeper, and the Bruce Lee classic, Enter the Dragon.

As a kid, I was aware of American Graffiti long before I ever saw it. I was and still am a huge fan of American Graffiti director, George Lucas's most famous film, Star Wars (1977). So, as a kid, I read every article I could find about Star Wars, and they often mentioned his two earlier feature-length films, THX-1138 (1971) and American Graffiti. [I also vaguely remember the release of the sequel, More American Graffiti.]

I also knew that a few film and television stars that I liked had starred or appeared in American Graffiti, specifically Richard Dreyfuss, Ron Howard, and Harrison Ford. Besides that fact that American Graffiti was a George Lucas movie, Ford was the other reason I most wanted to see the film.

I finally first saw American Graffiti on television, and though my memory is hazy on the facts, I'm sure I saw it at least a few years after the release of the sequel. I remember liking it, enough that I planned on watching it again. Decades later, this recent viewing is the first time that I've seen the film since that first viewing.

I still like it a lot. I'm still a fan of Ford, Howard, and Dreyfuss, and along the way, I became a fan of some of its other young stars, including Charles Martin Smith, Cindy Williams, and the recently-deceased Bo Hopkins (1938-2022). The truth is that I'm crazy about the Hollywood icon, Harrison Ford, and, as for as I'm concerned, any movie with Ron Howard and Charles Martin Smith as actors is cinematic porn. [Both Howard and Smith are also film directors.]

Watching the film this time, I was initially annoyed by Lucas' method of telling this story in a series of vignettes that constantly moved from one character to the next. The film essentially has four plots that revolve around one of four characters, Curt, Steve, John, or Terry. It took me nearly half the film to realize that the vignettes allow Lucas to depict and to reveal each one of these four young men's goals, conflicts, and fears. This depiction of their inner selves makes them more interesting to me. Not only did I root for them, but I also wanted to know more about them. I wanted to know what was going to happen to them, both in the immediate and far future.

American Graffiti apparently helped launch a wave of nostalgia for and interest in the culture and times of the 1950s and early 1960s or at least an idealized, trouble free, white-washed version of it. The film apparently renewed the ABC network's interest in what would become one of its most popular sitcoms, “Happy Days” (1974-84). That long-running and popular television series also presented an idealized, trouble free, white-washed version of the 1950s and early 1960s.

Thus, as much as I enjoyed this viewing of American Graffiti, and as much as I'm interested in its characters, I done with it. I'm not done with its lovely soundtrack – played in the background so that both the characters and audiences can hear these early classics of rock 'n' roll. These musical recordings make this special night in the summer of 1962 really special. Still, American Graffiti is an ode to George Lucas' memories. It is a cinematic dream he fashioned from the varied experiences of his privileged youth. I don't really relate to it the way I do other films that are also far from my experiences – such as The Best Years of Our Lives (1946) or Licorice Pizza (2021).

I wouldn't call American Graffiti a great film, so much as I'd call it a unique and important American film. Why is it important? Well, American Graffiti is a prime example of the fantasies that the Hollywood dream factory can make of real moments in time. It's George Lucas' story – his story – presented as a fairy tale about one unforgettable night that will never be repeated.

8 of 10

★★★★ out of 4 stars

Thursday, September 28, 2023

You can buy the American Graffiti film and soundtrack at AMAZON.

NOTES:

1974 Academy Awards, USA: 5 nominations: “Best Picture” (Francis Ford Coppola and Gary Kurtz), “Best Actress in a Supporting Role” (Candy Clark), “Best Director” (George Lucas), “Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced” (George Lucas Gloria Katz, and Willard Huyck), and “Best Film Editing” (Verna Fields and Marcia Lucas)

1975 BAFTA Awards: 1 nomination: “Best Supporting Actress” (Cindy Williams)

1974 Golden Globes, USA: 2 wins: “Best Motion Picture - Comedy or Musical” or “Most Promising Newcomer – Male” (Paul Le Mat); 2 nominations: “Best Actor in a Motion Picture - Comedy or Musical” (Richard Dreyfuss) and “Best Director - Motion Picture” (George Lucas)

1995 National Film Preservation Board, USA: “National Film Registry”

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Wednesday, September 20, 2023

Review: Walt Disney's "ROBIN HOOD" is the Non-Classic Disney Classic

TRASH IN MY EYE No. 44 of 2023 (No. 1933) by Leroy Douresseaux

Robin Hood (1973) – animation

Running time: 83 minutes (1 hour, 23 minutes)

MPAA – G

PRODUCER/DIRECTOR: Wolfgang Reitherman

WRITERS: Larry Clemons; based on story and character concepts by Ken Anderson

EDITORS: Tom Acosta and Jim Melton

COMPOSER: George Bruns

Academy Award nominee

ANIMATION/FANTASY/FAMILY

Starring: (voices) Brian Bedford, Phil Harris, Roger Miller, Peter Ustinov, Terry-Thomas, Monica Evans, Andy Devine, Carole Shelley, Pat Buttram, George Lindsey, and Ken Curtis

Robin Hood is a 1973 animated musical-comedy and fantasy-adventure film produced and directed by Wolfgang Reitherman. It is also the twenty-first feature-length animated film from Walt Disney Productions, part of a line also known as the “Disney Classics.” The film is based on the English folklore character, Robin Hood, and the stories that have grown around the character. Disney's 1953 Robin Hood film depicts the legendary outlaw and the cast of characters around his legend as anthropomorphic animals (animals that talk and act like humans)

Robin Hood opens with the story's narrator, Alan-a-Dale – The Rooster (Roger Miller), saying that there are many stories of Robin Hood, but that the one he is about to tell takes place in the world of animals. He introduces Robin Hood – A Fox (Brian Bedford) and Little John – A Brown Bear (Phil Harris). They are outlaws and live in Sherwood Forest. They rob from the rich in order to give gold coins to the overtaxed citizens of the town of Nottingham.

The Sheriff of Nottingham – A Wolf (Pat Buttram) tries to catch the two, but he fails every time. The sheriff's failure to capture the outlaws irritates Prince John – A Lion (Peter Ustinov). John is the “Prince Regent” of England while his older brother, King Richard – A Lion (Peter Ustinov), is out of the country fighting in the Third Crusade. Prince John and his advisor, Sir Hiss – A Snake (Terry-Thomas), plot to end the nuisance of Robin Hood. Prince John also demands that the Sheriff tax the poor townsfolk of Nottingham excessively, driving many to abject poverty.

Meanwhile, Robin's attention is not entirely focused on robbing the rich. He wishes to reunite with his love interest, Maid Marian – A Vixen (Monica Evans), who is also the niece of King Richard. And Prince John's latest plot to catch Robin Hood may just reunite Robin and Marian. Can their love survive an increasingly enraged Prince John?

As “DVD Netflix” prepares to shutdown, I've been racing to catch up on certain films that I have never seen or have not seen in a long time. I recently decided to sample some films in which 2023 is the fiftieth anniversary of their original theatrical releases. That includes such films as Woody Allen's Sleeper, George Lucas' American Graffiti, and the Bruce Lee classic, Enter the Dragon.

Walt Disney's Robin Hood is one of those films celebrating a 50th anniversary, and it is one of the Disney animated classics that I had never seen prior to now. I am a fan of Robin Hood films, especially the 1991 Kevin Costner vehicle, Robin Hood: Prince of Thieves. I also like Ridley Scott's 2010 film, Robin Hood, starring Russell Crowe in the title role. I found some enjoyment in Tom and Jerry: Robin Hood and His Merry Mouse, a 2012 direct-to-DVD film. [Robin Hood makes a small appearance in director Richard Thorpe's “Best Picture” Oscar nominee, Ivanhoe (1952), which I have seen a few times on Turner Classic Movies.]

Disney's Robin Hood is an odd film. First, it isn't an origin story, and takes place, apparently, well into Robin's career as an outlaw. While Alan-o-Dale mentions “the Merry Men,” Robin's legendary band of outlaws, Little John is the only one that appears in this film. Friar Tuck – A Badger (Andy Devine) does appear, but he seems to be purely the priest of Nottingham – more a beneficiary of Robin's outlaw activities than a participant. For me, this makes the film seem under-developed, as if it we are getting half of the intended story.

Apparently, using the the American “Deep South” as a setting for this film was considered, but ultimately the chosen locale was Robin Hood's traditional English setting. However, Roger Miller, who provides the talking and singing voice of Alan-o-Dale, is best known for his honky-tonk inflected country music and novelty songs, so much of Miller's performance here seems out of place. Miller's Alan-o-Dale has the flavors of America's rural South, which somewhat clashes with the English setting. Still, I tend to like Miller's narrating and singing in Robin Hood, although this film's best song is the Oscar-nominated “Love,” written by George Bruns and Floyd Huddleston.

To begin, Robin Hood feels muddled, and it really does not find its narrative flow until about 37 minutes into the film. At that point, the characters really emerge as they take their places within the story. The action turns lively, and the animation and animation effects start to stand out. The voice performances overall are good, but not great – nothing that I would call memorable in the context of the great performances in other Disney animated classics. Walt Disney's Robin Hood does not exactly miss the mark, but it does not hit the bullseye, either.

6 of 10

★★★ out of 4 stars

Wednesday, September 20, 2023

NOTES:

1974 Academy Awards, USA: 1 nomination: “Best Music, Original Song” (George Bruns-music and Floyd Huddleston-lyrics for the song “Love”)

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