Review: "HAUNTED MANSION" is Surprisingly Charming and Delightfully Scary

TRASH IN MY EYE No. 35 of 2024 (No. 1979) by Leroy Douresseaux

Haunted Mansion (2023)

Running time:  123 minutes (2 hours, 3 minutes

MPA – PG-13 for some thematic action and scary action

DIRECTOR:  Justin Simien

WRITER:  Katie Dippold

PRODUCERS:  Jonathan Eirich and Dan Lin

CINEMATOGRAHER:  Jeffrey Waldron (D.o.P.)

EDITOR:  Phillip J. Bartell

COMPOSER:  Kris Bowers

COMEDY/FAMILY/FANTASY/HORROR

Starring:  LaKeith Stanfield, Rosario Dawson, Owen Wilson, Tiffany Haddish, Danny DeVito, Chase Dillon, J.R. Adduci, Charity Jordan, Hasan Minhaj, Daniel Levy, and Jared Leto (voice) with Winona Ryder

Haunted Mansion is a 2023 American supernatural horror-comedy and family film from director Justin Simien.  Released by Walt Disney Pictures, the film is loosely based on the Disney theme park attraction, “The Haunted Mansion,” which first opened at Disneyland in 1969.  Haunted Mansion the movie focuses on a single mom and a group of peculiar locals who attempt to exorcise her new home, an old mansion, of its troublesome ghosts.

Haunted Mansion opens in New Orleans, Louisiana.  Ben Matthias (LaKeith Stanfield) is an astrophysicist developing a camera to detect dark matter.  He marries Alyssa (Charity Jordan), a tour guide for the city's famously haunted places.  Tragedy strikes, and Ben gives up his career and continues to operate Alyssa's tour despite the face that he does not believe in ghosts and the supernatural.

Meanwhile, Gabbie (Rosario Dawson), a doctor from New York, and her young son, Travis (Chase Dillon), move to the formerly lavish, but now rundown mansion, Gracey Manor.  Her plan is to transform the abandoned place into a bed and breakfast, but she and Travis soon discover that the place is infested by so many ghosts that they can't count them all.

Father Kent (Owen Wilson), a local Catholic priest who claims to be an exorcist, is helping Gabbie with the hauntings.  He hires Ben to photograph Gracey Manor's ghosts because Ben has a “dark matter” camera that may be able to photograph ghosts.  Kent also calls in Harriet (Tiffany Haddish), a psychic with genuine abilities, and Bruce (Danny DeVito), a college historian and professor who has written a book on Gracey Manor, as additional help.

However, the ghosts of Gracey Manor immediately attach themselves to anyone who enters the mansion.  Those same ghosts are apparently afraid of an alpha ghost who is seeking one more ghost to add to his menagerie, an act that would give him ultimate power.  Can a singe mother, her son, a grieving tour guide with a ghost camera, an eccentric psychic, an odd priest, a cantankerous historian, and Madame Leota (Jamie Lee Curtis), the ghostly psychic trapped in a huge crystal ball, exercise the horrible evil that haunts Gracey Mansion?  Or will one of them have to make the ultimate sacrifice?

I have to admit that last summer, as I watched the advertisements for Haunted Mansion, I could never convince myself that it was a must-see film.  I did plan to see it... eventually because I had seen the previous take on the Disney ride, the Eddie Murphy-vehicle, The Haunted Mansion (2003).  Also, I have had my eye on Justin Simien, the director of Haunted Mansion, since I saw his 2014 film, Dear White People.  But I thought I could wait, and so I did.

Recently, I finally did see Haunted Mansion, and I am surprised by how much I like it.  It is sweet and charming, and it is one of those perfect scary family movies.  I love it.  July 28, 2024 was the one-year anniversary of Haunted Mansion original theatrical release, and the film was a huge box office disappointment.  The mistake was Disney releasing the film against 2023's box office behemoths, Barbie and Oppenheimer, which were still at the height of their box office powers in the last weekend of July 2023.

Haunted Mansion should have been a late September to early October 2023 theatrical release.  This film is perfect Halloween, from its kooky cast of characters to the literal 1001 ghosts with stories.  I think Tiffany Haddish gets the most eccentric mileage out of her character, the psychic Harriet.  Although, LaKeith Stanfield can be a bit stiff at times, the way he plays Ben Matthias brings some center and balance to the wackiness and supernatural craziness.

Jamie Lee Curtis shines in her small role as the ghostly psychic, Madame Leota, and Owen Wilson as Father Kent and Danny DeVito as Bruce are pitch perfect.  Rosario Dawson and Chase Dillon are perfectly “Disney normal” as the mother and son combo of Gabbie and Travis.

Writer Katie Dippold's screenplay, Justin Simien's direction, and the rest of the film's creative crew deliver a haunted house film that is as lavish in its production values as it is rich in chills and thrills.  The cast fills that haunted house with the consummate scary movie characters.  The Haunted Mansion 2003 was a bit of a box office disappointment, but it has gone on to become a Disney television Halloween favorite.  Given time, Haunted Mansion 2023 will also become a beloved Disney Halloween trick-or-treat. 

8 of 10

A

★★★★ out of 4 stars

Tuesday, August 13, 2024

The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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Review: "THE FRENCH DISPATCH" is Ultimate Wes Anderson

TRASH IN MY EYE No. 14 of 2022 (No. 1826) by Leroy Douresseaux

The French Dispatch of the Liberty, Kansas Evening Sun (2021)
Running time:  107 minutes (1 hour, 47 minutes)
MPA – R for graphic nudity, some sexual references and language
DIRECTOR:  Wes Anderson
WRITERS:  Wes Anderson; from a story by Wes Anderson, Roman Coppola, Jason Schwartzman, and Hugo Guinness
PRODUCERS:  Wes Anderson, Jeremy Dawson, and Steven Rales
CINEMATOGRAPHER:  Robert Yeoman (D.o.P.)
EDITOR:  Andrew Weisblum
COMPOSER:  Alexandre Desplat

COMEDY/DRAMA/ANTHOLOGY with elements of fantasy

Starring:  Jeffrey Wright, Benicio del Toro, Adrien Brody, Lea Seydoux, Tilda Swinton, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Liev Schreiber, Mathieu Amalric, Stephen Park, Willem Dafoe, Edward Norton, Winston Ait Hellal, and Owen Wilson and Anjelica Huston

The French Dispatch (full title: The French Dispatch of the Liberty, Kansas Evening Sun) is a 2021 comedy-drama and anthology film from writer-director Wes Anderson.  The film focuses on the French foreign bureau of a Kansas newspaper and the features magazine it produces.

The French Dispatch introduces Arthur Howitzer Jr. (Bill Murray).  When he was a college freshman, he convinces his father, the owner of the newspaper, the “Liberty, Kansas Evening Sun,” to fund his transatlantic trip.  Junior would in turn produce a series of travelogue columns, which would be published for local readers in the Evening Sun's magazine supplement “Sunday Picnic.”  Arthur, Jr. sets up shop in the (fictional) French town of Ennui-sur-Blasé.  Over the next decade, young Arthur assembles a team of the best expatriate journalists of the time.  In 1925, he transforms the Sunday Picnic into the weekly magazine, “The French Dispatch” (something like The New Yorker).

In 1975, fifty years after he left Kansas, Arthur Howitzer, Jr. dies suddenly of a heart attack.  Although it has half a million subscribers in 50 countries, as per his will, The French Dispatch will immediately cease publication following the release of a farewell issue that will feature Arthur's obituary and four articles by magazine's best writers:

In “The Cycling Reporter,” Herbsaint Sazerac (Owen Wilson) gives a sight-seeing tour.  It is “a day in Ennui over the course of 250 years” and demonstrates how much and yet how little has changed in Ennui over time.

In “The Concrete Masterpiece,” J.K.L. Berensen (Tilda Swinton) delivers a lecture at an art gallery.  She details the career of Moses Rosenthaler (Benicio del Toro), a mentally disturbed artist serving a sentence in the Ennui Prison-Asylum for murder and the two most important people in his lives.  The first is Simone (Lea Seydoux), a prison officer who becomes Moses' lover and his muse.  Moses paints a portrait of Simone, and that second important person, Julien Cadazio, an art dealer also serving a sentence for tax evasion, is immediately taken by the painting.  After buying the painting, Cadazio uses it to turn Moses into an international sensation.  However, Moses struggles with inspiration, and his relationship with Simone becomes complicated.

In “Revisions to a Manifesto,” Lucinda Krementz (Frances McDormand) reports on a student protest breaking out in the streets of Ennui, one that soon boils over into the “Chessboard Revolution.”  Krementz fails to maintain “journalistic neutrality” when she falls in love with Zeffirelli (Timothée Chalamet), a college boy who is the self-styled leader of the revolt.  She secretly helps him write his manifesto, but Juliette (Lyna Khoudri), a fellow revolutionary who has some feelings for Zeffirelli, is unimpressed with his manifesto – thus, creating a love triangle.

In “The Private Dining Room of the Police Commissioner,” Roebuck Wright (Jeffrey Wright) is the guest of a television talk show host (Liev Schreiber).  Wright recounts the story of his attending a private dinner with The Commissaire (Mathieu Amalric) of the Ennui police force.  The meal is prepared by the legendary police officer and chef, Lt. Nescaffier (Stephen Park).  Nescaffier is the creator of a kind of “haute cuisine” specifically designed to be eaten by police officers while they are working.  The dinner is disrupted when the Commissaire's inquisitive and bright son, Gigi (Winston Ait Hellal), is kidnapped and held for ransom by a large gang of criminals, led by a failed musician known as “The Chauffeur” (Edward Norton).

They mourn his death.  Now, the staff of The French Dispatch must put together a final issue with these four stories that Arthur Howitzer Jr. touched in some way?

The French Dispatch has been described as a film that is “a love letter to journalists set in an outpost of an American newspaper in a fictional twentieth century French city.”  The film presents four of the magazine's stories of the city.  Director Wes Anderson has apparently stated that this film is inspired by his love of the venerable weekly magazine, The New Yorker, and that some of the film's characters and events are based on real-life equivalents from that magazine.  During The French Dispatch's closing credits, there is a dedication to several writers and editors, many of whom wrote for The New Yorker.

To that end, The French Dispatch is a movie that celebrates magazine writers, illustrators, and editors and the stories they tell.  This film is a love letter to stories of local color and of locales written for magazines.  The film demands patience and attention on the part of the audience.  The French Dispatch is a hybrid.  It is an anthology of four main stories and of a few small chapters, although everything connects in the end.  The audience has to follow each of the main stories, paying attention from beginning to the end.  That is where the pay off comes.

In fact, each of the main stories seems like one thing in the beginning, but fully develops over the course of the narrative in something different.  At the end of each, I realized that the story was about wonderful characters living lives both ordinary and extraordinary.  In the extraordinary, Anderson gives us a reason to love what is so ordinary and human about them.

This is brilliant character writing on Anderson's part.  His gift is to make not only the lead and supporting characters fascinating, but he also makes even the characters who say little and the extras seem worth knowing – even when the narrative passes them by.  To that end, I think Roebuck Wright is the character that ties all the characters and stories together.  He is the narrator/writer of “The Private Dining Room of the Police Commissioner,” the final story.  Both his first meeting and final conversation with Bill Murray's Arthur coalesces the film's theme of expatriate writers, and he begins Arthur's obituary, which also brings together the film's shifts in time.  It would have been nice to see Wright receive a best supporting actor Oscar nomination for his work here, but The French Dispatch did not receive any Oscar nominations.

The film's production values:  art direction and production design, costumes, and cinematography all meet the wonderfully inventive and incredibly imaginative standards that audiences have come to expect from Wes Anderson's films.  The French Dispatch looks like no film I have ever seen.  Even Alexandre Desplat's score sounds like something entirely new in film music.  I described Anderson's 2014 film, The Grand Budapest Hotel, as Wes Anderson art for Wes Anderson's art sake.  The French Dispatch is Wes Anderson high art.

9 of 10
A+

Thursday, March 17, 2022


NOTES:
2022 BAFTA Awards:  3 nominations: “Best Costume Design” (Milena Canonero); “Original Score” (Alexandre Desplat), and “Best Production Design” (Adam Stockhausen and Rena DeAngelo)

2022 Black Reel Awards:  1 nomination: “Outstanding Supporting Actor” (Jeffrey Wright)

2021 Cannes Film Festival:  1 nomination: “Palme d'Or” (Wes Anderson)

2022 Golden Globes, USA:  1 nomination: “Best Original Score - Motion Picture” (Alexandre Desplat)


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Negromancer News Bits and Bites from September 1st to 11th, 2021 - Update #26

by Leroy Douresseaux a.k.a. "I Reads You"

You can support Leroy via Paypal or on Patreon:

ENTERTAINMENT AND CULTURE NEWS:

STAR TREK - YahooPeople:   George Takei reflects on the legacy of his "Star Trek" costar, Nichelle Nichols.

MOVIES - From Variety:   Universal will stream the upcoming "Halloween Kills" on Peacock the same day as its theatrical release, October 15th. The sequel will be available on "Peacock Premium."

DISNEY - From THR:   Owen Wilson is joining LaKeith Stanfield and Tiffany Haddish in Disney's new "Haunted Mansion" film.

TRAILERS - From THR:   Here is the first trailer for the fourth film in "The Matrix" series, "The Matrix: Resurrections," which is due Dec. 22, 2021, in theaters and on HBO Max.

STAR TREK - From Deadline:  A teaser trailer reveals what "Star Trek" (The Original Series) characters are appearing in Paramount+'s "Star Trek: Strange New Worlds," which is set in the days of Capt. Pike.

BOX OFFICE - From Deadline:   The Summer 2021 movie box office was not a disaster.

CELEBRITY - From YahooUSAToday:   Jessica Chastain replies to that viral moment when Oscar Isaac kissed her arm at Venice Film Festival.

BOX OFFICE - From BoxOfficePro:  The winner of the 9/3 to 9/5/21 weekend box office is Disney/Marvel Studios' "Shang-Chi and the Legend of the Ten Rings" with an estimated take of 71.4 million dollars.

From Negromancer:  Here is my review of "Shang-Chi and the Legend of the Ten Rings."

From Variety:   Marvel Studios' "Shang-Chi and the Legend of the Ten Rings" is on its way to a 83.5 million dollar Labor Day four-day holiday weekend.

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STAR TREK - From Deadline:   Launching Sept. 8th, the “Boldly Go” campaign is part of the celebration of the legacy of Star Trek creator Gene Roddenberry in what would have been his centennial year.

CELEBRITY - From Variety:  Oscar-winning actress and humanitarian, Angelina Jolie, said that "it hurt" whenever former husband, Brad Pitt, worked with disgraced studio mogul and convicted rapist, Harvey Weinstein.  Jolie alleges that Weinstein assaulted her when she was working on a film he produced, "Playing by Heart" (1998), when she was 21.

REVIEW - From Negromancer:  Here is my review of "Candyman." 

CELEBRITY - From YahooInsider:   Luke Zocchi, Chris Hemsworth's ("Thor") longtime personal trainer and friend, says protein shakes and creatine are a waste of time if you want to build muscle and burn fat.  Zocchi most recently trained Hemsworth for "Thor: Love & Thunder."

LGBTQ - From YahooBI:   In Afghanistan, The Taliban used social media to trick a gay man into meeting them. Then, they beat and raped him.

BOX OFFICE - From Deadline:  When "Candyman" debuted at #1 last weekend, Nia DaCosta became the first Black female director to debut a film in the No. 1 spot at the domestic box office.

STAR TREK - From Deadline:  Annie Wersching will join the Season 2 cast of Paramount+'s "Star Trek: Picard" as the "Borg Queen."

From YahooCBS:   This link will take you to an article where you can watch the wonderful and inspiring "main title sequence" (opening) of the upcoming animated series, "Star Trek: Prodigy."  It features rousing theme music from Oscar-winner Michael Giacchino. "Prodigy" was developed by Emmy-winning brothers, Kevin and Dan Hageman.

TELEVISION - From Deadline:   Universal Studio Group has entered a new multi-year television overall deal with producer, director and Academy Award and Emmy award-winning writer, Jordan Peele, and Monkeypaw Productions, which is headed by President Win Rosenfeld.

MOVIES - From Deadline:  Paramount is pushing its big Tom Cruise tent-poles to 2022. "Top Gun: Maverick" moves to May 27, Memorial Day weekend 2022, and "Mission: Impossible 7" moves to Sept. 30, 2022.

MOVIES - From Gizmodo:   "How to Nominate Movies to the Library of Congress National Film Registry." Every year, the Library of Congress chooses 25 movies to single out for preservation as part of the National Film Registry.  But did you know that the Library of Congress take suggestions from the public each year? The deadline for public nominations is coming up, but you still have time to make your voice heard.

OBITS:

From Variety:   The television and film actor, Michael K. Williams, has died at the age of 54.  He was best known for portraying Omar Little in “The Wire” and Chalky White in “Boardwalk Empire.”  Williams was the recipient of five Primetime Emmy Award nominations, including one pending in the category of "Outstanding Supporting Actor in a Drama Series" for his performance in HBO's "Lovecraft Country."

 

From Deadline:   Michael K. Williams: a life in pictures - a photo gallery of the late actor's career.

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From THR:   Stand-up comic and actor, Art Metrano, has died at the age of 84, Wednesday, September 8, 2021.  Metrano was best known for the role of Lt/Capt. Ernie Mauser in the films "Police Academy 2: Their First Assignment" (1985) and "Police Academy 3: Back in Training" (1986).  Metrano also survived and partially recovered from breaking his neck in an accident at his home.

From ESPN:   Former NFL running back, Sam "Bam" Cunningham, has died at the age of 71, Tuesday, September 7, 2021.  An "All-American" player at USC, he won MVP honors at the 1973 Rose Bowl, where USC beat Ohio State 42 to 17 and became the first college football team to be voted the unanimous #1 team in both major polls (the AP and the UPI "Coaches' Poll," at that time).  He played his entire NFL career 1973-82 with the New England Patriots.  Cunningham's most famous game may be the September 12, 1970 game that pit USC against the Alabama Crimson Tide, which was an all-white team at the time.  Cunningham and USC's "all-black backfield" led the team to a 42-21 victory in Birmingham, Alabama.  Legend has it that Cunningham's performance led then Crimson Tide coach, "Bear" Bryant to integrate his team.

From Today:   Television personality and author, Willard Scott, has died at the age of 87, Saturday, September 4, 2021.  Scott was best known as the TV weatherman for NBC's "The Today Show," from 1980 to 1996.  Scott also created and originally portrayed, Ronald McDonald, in 1963 for the McDonald's franchise in Washington D.C.

From PittPostGaz:   Former NFL offensive tackle and sports broadcaster, Tunch Ilkin, has died at the age of 63, Saturday, September 4, 2021 from complications of ALS.  Ilkin was best known for his time with the Pittsburgh Steelers (1980-92), where he is also a member of the "Pittsburgh Steelers All-Time Team."  Ilkin was also a television and radio analyst for the Steelers from 1998 to 2020.

From ESPN:  Former NFL wide receiver, David Patten, has died at the age of 47, Thurs., September 2, 2021.  Patten was killed in a motorcycle crash.  Patten won three Super Bowl titles as a member of the New England Patriots from 2001 to 2004.

New "Zoolander 2" Trailer Set Record

“ZOOLANDER 2” IS THE MOST SUCCESSFUL COMEDY TRAILER LAUNCH OF ALL TIME

THE TRAILER RECEIVED 52.2 MILLION VIEWS IN ITS FIRST WEEK

HOLLYWOOD, CA – The new trailer for Paramount Pictures’ “ZOOLANDER 2” has broken the record to become the most successful comedy trailer launch of all time. The trailer, which debuted online on November 18, 2015 and offers fans a sneak peek at the highly anticipated sequel to 2001’s “ZOOLANDER,” reached 52.2 million views in its first week of release.

“ZOOLANDER 2” is directed by Ben Stiller and features an all star cast of Stiller, Owen Wilson, Will Ferrell, Penélope Cruz, Kristen Wiig, Fred Armisen, Milla Jovovich, Christine Taylor, Justin Theroux and Kyle Mooney. The film is written by Justin Theroux & Ben Stiller and Nick Stoller and John Hamburg. Ben Stiller, Stuart Cornfeld, Scott Rudin and Clayton Townsend are producing. Jeff Mann is executive producing.

“ZOOLANDER 2”opens nationwide on February 12, 2016.


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB, VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Television, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

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New "Zoolander 2" Poster - Stiller and Wilson

ZOOLANDER 2 is in theaters February 12, 2016

#Zoolander2

Facebook:
https://www.facebook.com/ZoolanderMovie/

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First "Zoolander 2" Teaser Arrives

ZOOLANDER 2
WATCH THE NEW TEASER: https://youtu.be/09nTwccQTUA

Zoolander 2 is in theaters February 12, 2016!

https://www.facebook.com/ZoolanderMovie

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Review: "The Grand Budapest Hotel" is Stylish and Quirky, of course

TRASH IN MY EYE No. 17 (of 2015) by Leroy Douresseaux

The Grand Budapest Hotel (2014)
Running time:  99 minutes (1 hour, 39 minutes)
MPAA – R for language, some sexual content and violence
DIRECTOR:  Wes Anderson
WRITERS:  Wes Anderson; from a story by Wes Anderson and Hugo Guinness (inspired by the writings of Stefan Zweig)
PRODUCERS:  Wes Anderson, Jeremy Dawson, Steven Rales, and Scott Rudin
CINEMATOGRAPHER:  Robert Yeoman (D.o.P.)
EDITOR:  Barney Pilling
COMPOSER:  Alexandre Desplat
Academy Award winner

ADVENTURE/COMEDY/DRAMA with elements of fantasy

Starring:  Ralph Fiennes, Tony Revolori, F. Murray Abraham, Adrien Brody, Willem Dafoe, Edward Norton, Saoirse Ronan, Jeff Goldblum, Mathieu Amalric, Harvey Keitel, Jude Law, Bill Murray, Jason Schwartzman, Lea Seydoux, Tilda Swinton, Tom Wilkinson, Bob Balaban, and Owen Wilson

The Grand Budapest Hotel is a 2014 comedy-drama and adventure film from writer-director Wes Anderson.  Anderson and Hugo Guinness, who wrote the film's story with Anderson, were inspired by the writings of Austrian, Stefan Sweig (1881-19420, a novelist, playwright, journalist and biographer.  The Grand Budapest Hotel focuses on the adventures of a legendary concierge at a famous hotel and the lobby boy who becomes his trusted sidekick.

The Grand Budapest Hotel opens in the present day, before moving back to 1985.  The film moves back again to the year 1968.  A man, known as “The Author” (Jude Law), travels to the Republic of Zubrowka (a fictional Central European state).  He stays at a remote mountainside hotel in the spa town of Nebelsbad.  The Author discovers that the Grand Budapest Hotel has fallen on hard times.  He meets the owner of the hotel, an elderly gentleman named Zero Moustafa (F. Murray Abraham).  Moustafa tells “The Author” how he came to own the Grand Budapest Hotel.

That takes the story back to the year 1932, during the hotel's glory days.  Monsieur Gustave H (Ralph Fiennes) is the Grand Budapest Hotel's devoted concierge.  He manages the hotel's large staff and sees to the needs of the hotel's wealthy clientele,  Gustave also often has sexual relationships with some of the hotel's elderly female clientele.  One of the aging women who flock to the hotel to enjoy M. Gustave's “exceptional service” is Madame Céline Villeneuve "Madame D" Desgoffe und Taxis a.k.a. “Madame D” (Tilda Swinton).

After Madame D dies, M. Gustave discovers that she has left him something in her will, a highly-sought after painting by Johannes van Hoytl (the younger), entitled, “Boy With Apple.”  M. Gustave also learns that Madame D was murdered and that he is not only the chief suspect, but that he is also caught up in a dispute over a vast family fortune.  M. Gustave is in trouble, but luckily he has hired a most capable and talented new lobby boy, Zero (Tony Revolori).  M Gustave's most trusted friend and protege, Zero, may be the only one who can help a legendary concierge save himself.

I said that Ethan and Joel Coen's 2010 film, True Grit (a remake of the classic John Wayne western), was a movie in which the brothers got to work out and to employ their visual tics, cinematic style, and storytelling techniques on a Western.  It was a good film, but it was truly “a Coen Bros. movie.”

In a similar fashion, The Grand Budapest Hotel is Wes Anderson employing everything that is eccentric, quirky, and unique to his films going back at least a decade.  Embodied in this movie, the Wes Anderson style is wonderful and invigorating and a joy to watch.  Truly, The Grand Budapest Hotel has a striking and an eye-catching visual style.  Anderson's mix of ornate visual environments and eccentric characters with deeply held emotions makes his movies hard to ignore, if you give them half the chance.

Those characters can be a problem, though.  For this film, Anderson easily offers 20 characters worth knowing, but other than M. Gustave and Zero, Anderson uses the others as quirky backdrops or as caricatures upon which he can hang his plot.  Thus, The Grand Budapest Hotel is beautiful, but depth of character is lacking.  The adventure of M. Gustave and Zero plays as if it were something straight out of a beloved children's book.  Much has been made of Ralph Fienne's performance in this film, and it is indeed a good one.  It must be noted that Tony Revolori as Zero is also quite good.  Still, the adventure of the two leads would be better with more interplay from the other characters than the film offers.  Adrien Brody's Dmitri Desgoffe und Taxis is wasted, and Willem Dafoe's J.G. Jopling is not so much a menacing villain as he is a bad guy straight out of Jay Ward Productions.

However, while this movie does not fail to burrow into the imagination, it does not really plant its roots in the viewers' hearts.  It is gorgeous on the surface, but Anderson seems to avoid the deeply emotional ideas he introduces, making The Grand Budapest Hotel an exceptional film, but keeping it from being truly great.  It is Wes Anderson art for Wes Anderson's art sake.

8 of 10
A

Friday, April 10, 2015


NOTES:
2015 Academy Awards, USA:  4 wins: “Best Achievement in Costume Design” (Milena Canonero), “Best Achievement in Makeup and Hairstyling” (Frances Hannon and Mark Coulier), “Best Achievement in Music Written for Motion Pictures, Original Score” (Alexandre Desplat) and “Best Achievement in Production Design” (Adam Stockhausen-production design and Anna Pinnock-set decoration); 5 nominations: “Best Motion Picture of the Year” (Wes Anderson, Scott Rudin, Steven M. Rales, and Jeremy Dawson), “Best Achievement in Directing” (Wes Anderson), “Best Achievement in Cinematography” (Robert D. Yeoman), and “Best Achievement in Film Editing” (Barney Pilling), and “Best Writing, Original Screenplay” (Wes Anderson-screenplay/story and Hugo Guinness-story)

2015 BAFTA Awards:  5 wins: “Best Original Music” (Alexandre Desplat), “Best Costume Design” (Milena Canonero), “Best Production Design” (Adam Stockhausen and Anna Pinnock), “Best Original Screenplay” (Wes Anderson), and “Best Make Up & Hair” (Frances Hannon and Mark Coulier); 6 nominations: “Best Film” (Wes Anderson, Scott Rudin, Steven M. Rales, and Jeremy Dawson), “Best Leading Actor” (Ralph Fiennes), “Best Cinematography” (Robert D. Yeoman), “Best Editing” (Barney Pilling), “Best Sound” (Wayne Lemmer, Christopher Scarabosio, Pawel Wdowczak), and “David Lean Award for Direction” (Wes Anderson)

2015 Golden Globes, USA:  1 win: “Best Motion Picture - Comedy or Musical;” 3 nominations: “Best Director - Motion Picture” (Wes Anderson), “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Ralph Fiennes), and “Best Screenplay - Motion Picture” (Wes Anderson)

The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

"Zoolander 2" Due February 2016

Zoolander 2 Announced at Paris Fashion Week

ZOOLANDER 2: In theaters February 12, 2016

Derek and Hansel are back where they belong: on the runway. Watch them take Paris Fashion Week by storm at today’s Valentino show.

Watch the walk now: http://youtu.be/JLjyvzMCQaY

#Zoolander2

Review: "Starsky and Hutch" is Average Entertainment (Happy B'day, Snoop Dogg)

TRASH IN MY EYE No. 27 (of 2004) by Leroy Douresseaux

Starsky & Hutch (2004)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – PR-13 for drug content, sexual situations, partial nudity, language and some violence
DIRECTOR:  Todd Phillips
WRITERS:  John O’Brien, Scot Armstrong and Todd Phillips, from a story Steve Long and John O’Brien (based upon characters created by William Blinn)
PRODUCERS:  William Blinn, Stuart Cornfeld, Akiva Goldsman, Tony Ludwig, and Alan Riche
CINEMATOGRAPHER:  Barry Peterson (D.o.P.)
EDITOR:  Leslie Jones
COMPOSER:  Theodore Shapiro

COMEDY/CRIME with some elements of action

Starring:  Ben Stiller, Owen Wilson, Snoop Dogg, Fred Williamson, Vince Vaughn, Juliette Lewis, Jason Bateman, Amy Smart, Carmen Electra, George Cheung, Chris Penn, Patton Oswalt, Jenard Burks, The Bishop Don Magic Juan, and Paul Michael Glaser and David Soul

The subject of this movie review is Starsky & Hutch, a 2004 crime comedy from director Todd Phillips.  The film is based on the 1970s television series, Starsky & Hutch, a police drama-thriller that was created by William Blinn and was originally broadcast on the ABC television network from 1975 to 1979.  The film is a kind of prequel to the original television series.  Starsky & Hutch the movie follows two streetwise cops who fight crime in their red-and-white Ford Torino.

With my refined tastes, I should technically be repulsed by film remakes of 70’s television programs, but repulsed or otherwise, I’ll generally see them.  Still, I’d planned on seeing the controversial Mel Gibson Jesus movie, but it was sold out, and there was the poster for Starsky & Hutch staring me in the face.  Though I had to settle on something I hadn’t planned on seeing at the time, it didn’t really affect my enjoyment of Starsky and Hutch.  It’s a fairly funny film, but you wouldn’t have missed a cinematic event that must be seen on the big screen if you’d waited for home video or TV.

Set in a sort of anachronistic version of the 1970’s, S&H is the story of two streetwise detectives who form an unlikely partnership.  David Starsky (Ben Stiller) is an anal by-the-books guy, who actually does nothing but screw up, despite his attention to rules.  Ken “Hutch” Hutchinson (Owen Wilson) is a genial kind of guy, always hanging loose, but he is also the kind of cop who breaks the law when it suits him.  Hutch robs bookies for their loot, and he uses illegal drugs.  The mismatched pair gets on the nerves of their boss, Captain Dobey (Fred Williamson), relies on tips from an omniscient street informer, Huggy Bear (Snoop Dogg), and busts crime in Starksy’s 1974 red-and-white, souped-up Ford Torino.  Their first big case together involves a respectable businessman, Reese Feldman (Vince Vaughn), who may be a big time cocaine dealer.  However, Starsky and Hutch’s bumbling and lack of hard evidence dog their case every step of the way.

Starsky & Hutch has some extremely hilarious moments, not as many as, say, Scary Movie 3.  S&H is structured like SM3 in that S&H’s plot, story, and script are basically an elaborate, but dumb, blueprint to layout jokes.  S&H’s script is, however, nothing like the disaster of that was SM3’s script.  S&H also reminds me of another of director Todd Phillip’s hits, Old School (2003): lots of funny scenes, but ultimately a lame, by-the-book, Hollywood yuck fest that plays it way too safe.

This is also one of the times that Ben Stiller’s shtick, that of the angry, quick-tempered nerd, works for the film.  Owen Wilson is a great screen presence; the camera loves him, and the role of the amiable Hutch easily fits Owen’s usually warm and generous film persona.

I generally enjoyed this film’s deep tongue in the tongue-in-cheek mode.  Starsky and Hutch is not to be taken seriously, nor does the film try to make you do so.  The quasi-70’s setting is a hoot, at least early on, but the film’s period atmosphere eventually dissolves into mere background noise.  There should have been much more Snoop Dogg because he surprisingly has good screen presence.  Also, Will Ferrell’s (who doesn’t get a screen credit) riotous turn as Big Earl, a man in the county lockup with serious man crush issues, is certainly a reason to see this film, at home or in a theatre.

5 of 10
B-

NOTES:
2005 Razzie Awards:  2 nominations: “Worst Actor” (Ben Stiller) and “Worst Supporting Actress” (Carmen Electra)

Updated:  Sunday, October 20, 2013

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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: Woody Allen's "Midnight in Paris" is Magical and One of the Year's Best Films

TRASH IN MY EYE No. 106 (of 2011) by Leroy Douresseaux

Midnight in Paris (2011)
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – R for some sexual references and smoking
WRITER/DIRECTOR: Woody Allen
PRODUCERS: Letty Aronson, Jaume Roures, and Stephen Tenenbaum
CINEMATOGRAPHERS: Darius Khondji with Johanne Debas
EDITOR: Alisa Lepselter

ROMANCE/COMEDY/DRAMA/FANTASY

Starring: Owen Wilson, Rachel McAdams, Marion Cotillard, Kurt Fuller, Mimi Kennedy, Michael Sheen, Nina Arianda, Carla Bruni, Corey Stoll, Alison Pill, Tom Hiddleston, Yves Heck, Kathy Bates, Marcial Di Fonzo Bo, Adrien Brody, Sonia Rolland, Adrien de Van, and Léa Seydoux

Midnight in Paris is a 2011 romantic comedy/drama and fantasy film written and directed by Woody Allen. The film focuses on a struggling novelist who has magical experiences in Paris which begin each night at midnight. Midnight in Paris is the first high-quality Woody Allen film since Match Point (2005), and it is his best film since the early to mid 1990s, certainly the best since Bullets Over Broadway (2004).

Gil Pender (Owen Wilson) is a successful Hollywood screenwriter, but he hates the kind of movies with which he is usually involved. He travels to Paris with his fiancée, Inez (Rachel McAdams), and her wealthy, conservative parents, John (Kurt Fuller) and Helen (Mimi Kennedy), for a vacation. Gil is struggling to finish his first novel, and he believes a permanent move to Paris would be a good thing. Inez, who wants to live in Malibu, sees this desire as a foolish romantic notion, and this disagreement is but one of many of the couple’s divergent goals.

One night, a drunken Gil wanders the streets of Paris. At the stroke of midnight, an antique car pulls up and the passengers, who are dressed in 1920s clothing, beckon Gil to join them. Gil soon finds himself in a bar enjoying a performance by Josephine Baker (Sonia Rolland), watching Cole Porter (Yves Heck) sing and play the piano, having a meeting of the minds with Ernest Hemingway (Corey Stoll), and chatting up Zelda (Allison Pill) and F. Scott Fitzgerald (Tom Hiddleston). Gil realizes that he has been transported back to Paris of the 1920s, an era he idolizes. He visits the home of Gertrude Stein (Kathy Bates), where he meets Pablo Picasso (Marcial Di Fonzo Bo) and Picasso’s mistress, a young woman named Adriana (Marion Cotillard). Gil and Adriana are quickly attracted to each other, but their strange romance also reveals their unhappiness with their current personal situations.

In a broad sense, Midnight in Paris specifically deals with nostalgia as a theme, especially people’s nostalgia for a time that existed before they were born – a golden age. For instance, Gil yearns for the 1920s, which occurred decades before he was born. Allen’s script allows Gil to revel in his ability to go back into the past, which is perhaps the only way for Gil to come to grips both with reality and with his idealization of a time in which he didn’t live. Allen resolves this in a way both sensible and satisfying.

On a personal and character drama level, Midnight in Paris plays with themes of denial and cognitive dissonance. The characters have desires and find ways to sabotage or sully their desires when they find them difficult to obtain or perhaps too costly. Both in his script writing and directing, Allen subtly tells us that only those who are honest with themselves about what they want can be happy.

Beyond that, I have to say that Midnight in Paris is just an utterly magical film. There are fantasy films that only feel like Hollywood action movie product and lack a sense of enchantment. Then, there are others that, when you watch them, you can feel the magic emanating and oozing from the screen. That’s how Midnight in Paris is, and Darius Khondji’s shimmering, golden-hued, ember-infused cinematography is a big reason why Midnight in Paris looks like one big enchanted holiday. This movie moves, sounds, looks, and feels like a romantic film.

I am a big fan of Woody Allen and have been for nearly 30 years. I love his films that take place in the past, like Radio Days (1987), which is set in a period when my parents would have been small children or toddlers. I also like his films that are infused with magic, like Alice (1990). For me, Midnight in Paris is the best of both those worlds. A lot of people may dismiss Allen, but they would have to be honest after seeing this film. Few feel-good movies feel better than Midnight in Paris.

9 of 10
A+

Sunday, December 25, 2011

Review: "Wedding Crashers" Marries Raunch and Romance

TRASH IN MY EYE No. 115 (of 2005) by Leroy Douresseaux


Wedding Crashers (2005)
Running time: 119 minutes (1 hour, 59 minutes)
MPAA – R for sexual content and language
DIRECTOR: David Dobkin
WRITERS: Steve Faber and Bob Fisher
PRODUCERS: Peter Abrams, Robert L. Levy, and Andrew Panay
CINEMATOGRAPHER: Julio Macat
EDITOR: Mark Livolsi

COMEDY with elements of romance

Starring: Owen Wilson, Vince Vaughn, Rachel McAdams, Christopher Walken, Bradley Cooper, Isla Fisher, Jane Seymour, Ron Canada, Jenny Alden, Ellen Albertini Dow, and Will Ferrell with James Carville and John McCain

Flowing with raunchy and rich language, Wedding Crashers is hilarious counter programming in a Summer 2005 movie season filled with superhero, sci-fi, and horror special effects-flick madness. Vince Vaughn, who once upon a time Hollywood seemed to be grooming to play the leading man, has turned out to be a mad comic actor; he alternates his slacker-wiseguy between being sometimes overbearing and sometimes playing the big, old teddy bear, and we get a little of both here. Owen Wilson’s cool, slow burning, man of bliss doesn’t wear thin, even in bad movies, and Wedding Crashers is by no means bad. The reason is simple: Wilson and Vaughn fit together like a classic comedy duo, playing the best insincerity since Bill Murray and Chevy Chase charmed their way through adversaries, hapless partners, and beautiful gals back in the 70’s and 80’s.

John Beckwith (Owen Wilson) and Jeremy Klein (Vince Vaughn) are divorce mediators who spend a few weekends out of the year crashing weddings. At these weddings, they’re always on the lookout for Ms. Right, but only to bed her for the night before disappearing back to their straight lives. John convinces Jeremy to take on their biggest crash, the social event of the year, the wedding of the daughter of the U.S. Secretary of the Treasury, William Cleary (Christopher Walken), where they’ll pretend to be somewhat distant relatives of the family, the Ryan brothers, venture capitalists. There, John falls in love at first sight with Cleary’s already-engaged daughter, Claire (Rachel McAdams). The duo gets roped into spending a weekend at the Cleary family’s palatial waterfront estate, but soon find themselves over their heads. Jeremy has caught the eye of Claire’s loopy, sex-crazed sister, Gloria (Isla Fisher), and Owen has to compete with Claire’s rich, jerk fiancé, Sack (Bradley Cooper), who is determined to discover the “Ryan boys” real identities.

Wedding Crashers is both witty and fearless when it comes to taking on the idea of marriage. It’s not exactly cynical, but it’s far from treating marriage and family with reverence. Still, like Old School did a little more than two years ago, Wedding Crashers goes all mushy in the third act as Jeremy gets serious for the first time about a real and deep relationship and John pouts over true love lost. Wedding Crasher’s turn towards the profound doesn’t ring hollow like Old School’s did. The film seems to suggest in a natural and unforced fashion that the boys can’t keep up the ultra-immature routine for the rest of their lives; they must eventually become mature men. They’re too old to act so adolescent and unripe and so callously towards people for their own gratification – certainly not at an occasion where families come together for an event that (usually) unites two families and promises to enlarge them both and continue their lines into the future.

Besides Wilson and Vaughn, most of the rest of the cast is D.O.A. Bradley Cooper does a good turn as the “villain,” and his character begs the audience to know him more, but he’s ultimately tossed aside for the happy ending. Ron Canada as the butler, Randolph, and Ellen Albertini Dow as the harshly frank Grandma Mary are also shortchanged, which ultimately shortchanges the audience. There is a sorry streak in this film’s script that keeps the other madcap characters muzzled because the film must in due course affirm American family’s values. There’s nothing wrong with that, but it is OK for our entertainment and art to tear at our institutions as often as they enforce them.

Not that Wedding Crashers doesn’t remain a bit unhinged even to the end – Will Ferrell’s cameo appearance in the last act allows the film to retain a nice big chunk of its pitiless nature. That makes this flick more than just a guilty pleasure, it is knock down, sidesplitting, riotous, totally freaking funny movie.

7 of 10
B+

Review: "Cars 2" is Pixar's First Clunker

TRASH IN MY EYE No. 53 (of 2011) by Leroy Douresseaux

Cars 2 (2011)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – G
DIRECTOR: John Lasseter with Brad Lewis
WRITERS: Ben Queen; from a story by John Lasseter, Brad Lewis, and Dan Fogelman
PRODUCER: Denise Ream
COMPOSER: Michael Giacchino

ANIMATION/ACTION/COMEDY/FAMILY/SPORTS

Starring: (voices) Owen Wilson, Larry the Cable Guy, Michael Caine, Emily Mortimer, Eddie Izzard, John Turturro, Joe Mantegna, Thomas Kretschmann, Vanessa Redgrave, Bruce Campbell, Jeff Garlin, Jason Isaacs, Cheech Marin, Bonnie Hunt, Tony Shalhoub, Guido Quaroni, Jenifer Lewis, John Ratzenberger, Katherine Helmond, Franco Nero, Brent Musburger, and Darrell Waltrip

Pixar Animation Studios finally did it. They made a bad movie… a really bad movie. They made a loud, empty, action movie. It is full of sound and fury – signifying nothing more than new characters that can be turned into merchandise for the kids who are the only ones that will love this ridiculous movie.

Of course, I’m talking about Cars 2, the computer-animated film and sequel to the 2006, Oscar-nominated Cars. Cars 2, set in a world where talking cars and vehicles are the people, is a globe-trotting tale of car races, spies, and international intrigue. It’s like Cody Banks meets Ricky Bobby.

Cars 2 opens with everybody’s favorite rusty tow truck, Mater (Larry the Cable Guy), eagerly awaiting the return of his buddy, the champion race car, Lightning McQueen (Owen Wilson), to the sleepy burg of Radiator Springs. Soon after he returns, McQueen finds himself entered in the World Grand Prix, a race sponsored by former oil tycoon, Miles Axlerod (Eddie Izzard), and used to promote Axlerod’s new renewable fuel, Allinol. With Mater in tow, McQueen heads to Tokyo for the first leg of the World Grand Prix. Soon after they arrive, it becomes obvious to McQueen that Mater is having trouble behaving himself.

McQueen is busy with the first race, trying to beat his rival, FI racer, Francesco Bernoulli (John Turturro). Meanwhile, Mater falls into a bit of international intrigue when two British spycars, Finn McMissle (Michael Caine) and Holley Shiftwell (Emily Mortimer), mistake Mater for a spy. An evil scientist, Professor Zündapp (Thomas Kretschmann), has developed a device that can destroy race cars. If the plan to foil Zündapp relies on Mate, can the tow truck really save the day? Can he even save his friendship with McQueen?

The original Cars was a technological and artistic leap, particularly in how it animated the race cars that acted like humans and also the racing sequences. Cars 2 actually improves on that. It is as visually appealing as any other Pixar feature, but this movie isn’t any good. Cars 2 is a shiny, pretty, candy-painted car that is an unappealing lemon under the hood. This movie has the elements of a comic caper and spy spoof, but it isn’t funny and it spoofs the audience. Cars 2 is a series of action scenes stuck together to form a Frankenstein-like kids action comedy with a goofy plot, but no real story and little in the way of character. Cars 2 is tire-bursting action with a story as rundown as Mater looks.

Speaking of Mater: Cars 2 is his film the way Cars is McQueen’s film, and that is Cars 2’s saving grace. Larry the Cable Guy, the standup comedian who is the voice of Mater, can be a funny guy, even as a comic actor. His rapid-fire verbosity and one-liners provide most of this movie’s few laughs.

And that’s sad. Cars 2 is so mediocre that it is hard to believe that it is a Pixar production. I dozed off four times during this movie, and I was desperate for it to end so that I could speed away from this awful movie.

3 of 10
C-

Sunday, June 26, 2011

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Review: Superb "Cars" Hydroplanes on Nostalgia

TRASH IN MY EYE No. 127 (of 2006) by Leroy Douresseaux

Cars (2006)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – G
DIRECTOR: John Lasseter
WRITERS: Dan Fogelman, Philip Loren, and Kiel Murray; additional screenplay material: Robert L. Baird and Dan Gerson; from a story by John Lasseter, Jorgen Klubien, and Joe Ranft
PRODUCER: Darla K. Anderson
EDITOR: Ken Schretzmann
Academy Award nominee

ANIMATION/COMEDY/FAMILY/SPORTS with elements of action, drama, and romance

Starring: (voices) Owen Wilson, Paul Newman, Bonnie Hunt, Larry the Cable Guy, Cheech Marin, Tony Shalhoub, Guido Quaroni, Jenifer Lewis, Paul Dooley, Michael Wallis, George Carlin, Katherine Helmond, John Ratzenberger, Michael Keaton, Richard Petty, Jeremy Piven, Bob Costas, Darrell Waltrip, and Lynda Petty

If that’s possible considering what they’ve already done, Disney/Pixar’s latest computer animated feature film, Cars, is a technical improvement over their previous work. It’s easy to see why so many consider Pixar Animation Studios the gold standard in computer animation. The pity is that the only thing holding this technically and artistically exceptional and pleasurable animated film from greatness is a less than compelling story grounded in dewy-eyed nostalgia.

Lightning McQueen (Owen Wilson) is a hotshot rookie race car trying to win the Piston Cup Championship (similar to NASCAR). On his way to a championship race in California, Lighting makes an unexpected detour down the famous Route 66 and finds himself in the sleepy burg of Radiator Springs, where he meets the town’s eccentric automotive denizens. Self-absorbed and snobby of what he considers lesser cars, Lightning has to repair the town’s only road after he damages it.

The time he spends “prisoner” in Radiator Springs allows him to get to know the other cars, including Doc Hudson (Paul Newman), a 1951 Hudson Hornet with a mysterious past, Mater (Larry the Cable Guy), a rusty tow truck who becomes Lightning’s trusty friend, and Sally (Bonnie Hunt), a snazzy Porsche who at first is Lightning’s rival, but later becomes the friend who helps him see the simple beauty of Radiator Springs. And maybe he’ll learn that there are things more important than championships and fame.

I think many viewers will be shocked to find that the racing sequences, especially the Piston Championship Cup race that opens the film, capture the feel of watching NASCAR-style racing. It has all the ferocity, intensity, organized chaos, the spectacular crashes and wild spins off the course, the rumbling and shaking, etc. However, most of Cars’ narrative takes place in Radiator City. By architecture and design, this small town is like stepping back into the postwar era that roughly covers from about 1945 to 1965. Cars tries to recapture this small town era of neon-lit drive-in diners and spanking new motels just off a highway like Route 66. The Western landscapes and the golden backdrops of desert landscapes, dusty roads, pastoral skies, and marvelous rock formations transport the viewer back to some kind of midwestern idyll. This is the kind of “old America” that Hollywood likes – small towns where things moved slowly and everyone knew everyone.

That’s where the fault in Cars lies. It’s a nostalgia piece; it’s more longing than it is a narrative – a story with a universal message, which Pixar’s previous films have had. For instance, in Finding Nemo, an overprotective father fights unceasingly to save the only thing left of his family, a handicapped son, and learns that he will gradually have to let go as his son grows into his own person. In Cars, Lighting McQueen is just a dumb kid – arrogant, smug, lacking in humility; that is true, but he’s ultimately a dumb harmless kid. What’s compelling about that? The central idea behind Cars is that Lightning must embrace the simple life of a small town as a balance against his celebrity status. Balance is a good message, and that’s cute and all, but ultimately, the storytellers, Pixar, are being nostalgic for a time most of them are probably too young to remember. They’re yearning for a lifestyle that never existed in the ideal fashion it’s usually presented as in pop culture – this romanticized version of mid-century American history.

They try to sell us this wonderful world (that still exists in TV Land) using a variety of ethnic stereotypes blended into a politically-correct collection of townsfolk that couldn’t have lived together in a real small town like Radiator Springs: Italians with heavy accents, a hippie, a taciturn former military officer, a sassy black woman named Flo who sounds like Aretha Franklin (but is voiced by Jenifer Lewis), a flashy Latino, an affable redneck rogue, etc. It’s a multicultural cast of village idiots. Still, Cars actually makes for a very entertaining tale of rustic charm versus the fast life of celebrity. I could certainly feel the old-timey charm tugging at my heart. Only Pixar through the magic of their eye-catching achievements in animation could make such preening nostalgia charming and enjoyable eye candy. Cars has spectacular animation painted in so many vivid colors that it dazzles the eyes just the way a Pixar flick should.

8 of 10
A

Saturday, June 10, 2006

NOTES:
2007 Academy Awards: 2 nominations: “Best Achievement in Music Written for Motion Pictures, Original Song” (Randy Newman for the song "Our Town") and “Best Animated Feature Film of the Year” (John Lasseter)

2007 BAFTA Awards: 1 nomination: “Best Animated Feature Film” (John Lasseter)

2007 Golden Globes: 1 win: “Best Animated Film”

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Meet the Fockers Just Wants to Make You Laugh... Nothing More

TRASH IN MY EYE No. 111 (of No. 2005) by Leroy Douresseaux

Meet the Fockers (2004)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – PG-13 for crude and sexual humor, language, and a brief drug reference
DIRECTOR: Jay Roach
WRITERS: Jim Herzfeld and John Hamburg, from a story by Marc Hyman and Jim Herzfeld (based upon characters created by Greg Glienna and Mary Ruth Clarke)
PRODUCERS: Robert De Niro, Jay Roach, and Jane Rosenthal
CINEMATOGRAPHER: John Schwartzman
EDITOR: Alan Baumgarten, Lee Haxall, and Jon Poll

COMEDY

Starring: Robert De Niro, Ben Stiller, Dustin Hoffman, Barbra Streisand, Blythe Danner, Teri Polo, Owen Wilson, Spencer Pickren, Bradley Pickren, Alana Ubach, Ray Santiago, Tim Blake Nelson, Shelly Berman, and Cedric Yarbrough

In 2000’s Meet the Parents, “Greg” Gaylord Focker (Ben Stiller) meets his girlfriend Pam Byrne’s (Teri Polo) parents, Jack (Robert De Niro) and Dina Byrnes (Blythe Danner), but Jack Byrnes is the suspicious father that is every date’s worst nightmare. Much hilarity ensued as Greg tried to earn Jack, a retired CIA officer’s, trust. Four years later, here comes the sequel, Meet the Fockers (the MPAA allegedly demanded that the studio find a family with Focker as a real last name before they allowed the name to be in the film’s title.), and this time Greg and Pam are planning marriage. Jack has more or less grown to accept Greg, mainly because most of his attention is currently on his grandson, Little Jack (Spencer and Bradley Pickren), whom the Byrne’s are sitting while his parents are away.

So it’s time for the Byrnes to meet the Fockers, Greg’s parents, Bernie (Dustin Hoffman) and Roz (Barbra Streisand). Greg and Pam join her parents for the long road trip to Miami where the Bernie and Roz live, and while the trip goes well, the initial meeting between the two sets of parents goes a little awry. That’s just a taste of troublesome things to come, especially after Jack learns that Greg has a few bombshell secrets that Greg’s trying to hide in order to stay in Jack’s vaunted “circle of trust.”

Meet the Fockers is exceedingly funny, although also deeply shallow. The film’s vulgar and crude comedy matches such teen and twenty-something favorites as There’s Something About Mary and American Pie for raunchiness. Meet the Fockers was a giant hit over the 2004 Christmas holidays and well into 2005 because it is ostensibly a family comedy with a lot of belly laughs and plenty of outrageous humor – some of it capable of chasing prudes out of the theatre. Still, the screenwriters and the cast, who are so game to play this script to the hilt, are to be commended for making great humor out of incidents, misunderstandings, misfires, miscalculations, etc. that would bring real families to the brink of a war of the relatives.

Ben Stiller, coolly playing the straight man, keeps this movie sane. Robert De Niro is too intense and actually makes his character hateful, except for the opening and closing scenes. Dustin Hoffman alternates between being annoying and funny. Barbra Streisand is a comedy dynamo, and shows a side of her talent that hasn’t been seen much the last 20 years or so – that of the delightful comedienne. Overall, Meet the Fockers gives much laughter for its value, whether you see it at home or in a theatre. In fact, this is a must-see for people who just want to watch a movie that will make them laugh.

6 of 10
B

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Review: "Fantastic Mr. Fox" Actually Not Fantastic

TRASH IN MY EYE No. 35 (of 2010) by Leroy Douresseaux


Fantastic Mr. Fox (2009)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – PG for action, smoking and slang humor
DIRECTOR: Wes Anderson
WRITERS: Wes Anderson & Noah Baumbach (based upon the novel by Roald Dahl)
PRODUCERS: Allison Abbate, Wes Anderson , Jeremy Dawson, and Scott Rudin
CINEMATOGRAPHER: Tristan Oliver
EDITOR: Andrew Weisblum (supervising editor)
COMPOSER: Alexandre Desplat
Academy Award nominee

ANIMATION/FANTASY/ADVENTURE/COMEDY/CRIME

Starring: (voices) George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Wally Wolodarsky, Eric Anderson, Michael Gambon, Willem Dafoe, Owen Wilson, Robin Hurlstone, Hugo Guinness Brian Cox, and Adrien Brody

Fantastic Mr. Fox is a 2009 stop-motion animation film from director Wes Anderson (The Royal Tenenbaums). The film is based on a children’s book of the same title by author Roald Dahl first published in 1970. It is the story of a human-like fox who outwits his human neighbors and steals their livestock and food right from under their noses.

Mr. Fox (George Clooney) is a thief. To feed his family, he steals livestock from three wealthy local farmers, and during one such mission, he is joined by his wife, Mrs. Felicity Fox (Meryl Streep). However, the couple is ensnared in a cage, but escape after Felicity reveals that she is pregnant. Years later, the couple is living an idyllic home life with their sullen son, Ash (Jason Schwartzman), and Mr. Fox’s visiting young nephew, the soft-spoken and talented Kristopherson Silverfox (Eric Chase Anderson).

After 12 years of domesticity, Mr. Fox feels his wild animal instincts coming to the fore, and this bucolic existence starts to bore him. With the help of his pal, an unassuming opossum named Kylie (Wallace Wolodarsky), Mr. Fox soon slips back into his old ways as a sneaky and highly successful thief stealing chickens, turkeys, and apple cider from the wealthy farmers, Franklin Bean (Michael Gambon), Walter Boggis (Robin Hurlstone), and Nathan Bunce (Hugo Guinness). Doing this endangers not only his beloved family, but also the whole animal community, when Bean leads a vicious, total war campaign to capture Mr. Fox. Trapped underground and without enough food to go around, will the animals band together or will they turn Mr. Fox over to the farmers?

Fantastic Mr. Fox is what happens when quirky drowns whimsical. Instead of a fanciful animal fable, what Wes Anderson gives us with this stop-motion animated film is weird and peculiar. It is sometimes entertaining, even delightful, but still weird and peculiar. The script by Anderson and Noah Baumbach tries to impart wisdom, but much of it is lost in the idiosyncratic visual vibe of this film.

There are some good voice performances, especially Wallace Wolodarsky as Kylie. Because their performances, Jason Schwartzman as Ash and Eric Chase Anderson as Kristopherson end up being the best pairing in the film – the most interesting team.

Fantastic Mr. Fox is a sometimes fun ride, although much of it seems awkward. The strange textures of the animation are a mixed bag. Fantastic Mr. Fox looks like a Tim Burton stop-motion animation picture done with tattered puppets and shabby sets. Ultimately, I find myself sitting on the fence about this film because it entertains and perplexes in equal measure.

5 of 10
B-

NOTES:
2010 Academy Awards: 2 nominations: “Best Achievement in Music Written for Motion Pictures, Original Score” (Alexandre Desplat) and “Best Animated Feature Film of the Year” (Wes Anderson)

2010 BAFTA Awards: 2 nominations: “Best Animated Film” (Wes Anderson) and “Best Music” (Alexandre Desplat)

2010 Golden Globes: 1 nomination: “Best Animated Feature Film”

Thursday, May 20, 2010

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Review: "Night at the Museum" Proves that Mediocre Can Still Be Good

TRASH IN MY EYE No. 256 (of 2006) by Leroy Douresseaux

Night at the Museum (2006)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – PG for mild action, language, and brief rude humor
DIRECTOR: Shawn Levy
WRITERS: Robert Ben Garant & Thomas Lennon; from their screen story based upon the novel by Milan Trenc
PRODUCERS: Chris Columbus, Shawn Levy, and Michael Barnathan
CINEMATOGRAPHER: Guillermo Navarro
EDITOR: Don Zimmerman

FANTASY/COMEDY

Starring: Ben Stiller, Carla Gugino, Dick Van Dyke, Mickey Rooney, Bill Cobbs, Jake Cherry, Ricky Gervais, Robin Williams, Kim Raver, Steve Coogan, Mizuo Peck, Rami Malek, Charlie Murphy, Paul Rudd, Patrick Gallagher, and Owen Wilson

Larry Daley (Ben Stiller) is a good-hearted dreamer who thinks he’s destined for something big, but his lack of a steady job means he’s always being evicted from his apartment. He’s also a divorced father with a 10-year old son, Nick (Jake Cherry). His ex-wife, Erica (Kim Raver), delivers an ultimatum: Nick can’t stay with Larry until Larry has a stable living situation. Nick certainly has that with Erica, an attorney, and her new husband, Don (Paul Rudd), a bond trader, and Nick admires Don, which bothers Larry a little.

Larry eventually gets a job as a night watchman at the Museum of Natural History, where an extraordinary thing happens when the sun goes down. At night, all the exhibits come to life. Mayans, Roman Gladiators, and cowboys emerge from their dioramas to battle one another. African mammals, cavemen, and even Attila the Hun (Patrick Gallagher) roam the halls of the museum at night. The one exhibit Larry can turn to for advice is a wax statue of President Teddy Roosevelt (Robin Williams), that comes alive on his black stallion and helps Larry get the denizens of the museum under control.

The magical happenings at the museum come with one stipulation – nothing must enter or leave the museum at night. Still, something does go wrong. Larry has to stop a nefarious plot in order to save the museum and its inhabitants and maybe prove himself in his son’s eyes.

Night at the Museum is one of those films that work best during the feel good Christmas holidays. Warm and fuzzy, this family flick is chock full of magic and a sense of wonder. It also looks and acts like the mid-90’s CGI creature rampage movie, Jumanji, and some of the CGI and special effects look dated. The writers over-emphasize Larry’s quest to be a good dad, and some of the humor is forced. The writers make the women in the movie stock characters, and they’re little more than accessories to make male characters feel better about themselves.

Director Shawn Levy does give the film the same kind of frothy fun he did with the 2003 holiday hit, Cheaper by the Dozen. Night fairly hums with mystery and enchantment, thanks in no small part to Levy’s creative team. Cinematographer Guillermo Navarro, whose specialty is fantasy and supernatural films (From Dusk Till Dawn) and even family films (Stuart Little and Spy Kids) creates a look for the movie that is a sweet mix of charmed sepia and gooey warmth. Costume designer Renée April does work worthy of Oscar notice with a variety of costumes that span the history of human clothing, and Alan Silvestri’s score hits all the right notes in creating an atmosphere of action, adventure, magic, and mystery.

Ben Stiller tends to play characters that are edgy, smart-mouthed and sometimes annoying, but his Larry Daley is a good guy. He’s more genial than jerk, and Stiller has a nice way of making Daley’s smarty attitude always bubble under the surface without ever coming up. Jake Cherry makes a lovable son, and Robin Williams is subdued.

In spite of its faults and missteps, Night at the Museum is just that kind of movie that can turn an adult who isn’t too jaded into a kid wide-eyed at the wonder and magic of what is essentially an entertaining and amusing children’s movie.

5 of 10

B-

Sunday, December 24, 2006

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You, Me and Dupree a Triple Threat of Bad

TRASH IN MY EYE No. 24 (of 2007) by Leroy Douresseaux

You, Me and Dupree (2006)
Running time: 110 minutes
MPAA – PG-13 for sexual content, brief nudity, crude humor, language, and a drug reference
DIRECTOR: Anthony & Joe Russo
WRITER: Michael Le Sieur
PRODUCERS: Owen Wilson, Scott Stuber, and Mary Parent
CINEMATOGRAPHER: Charles Minsky, ASC
EDITORS: Peter B. Ellis and Debra Neil-Fisher A.C.E.

COMEDY

Starring: Owen Wilson, Kate Hudson, Matt Dillon, Seth Rogen, and Michael Douglas

Carl Petersen (Matt Dillon) and Molly Thompson (Kate Hudson) are just married, and they already get stuck with a houseguest. Carl’s longtime friend, Randy Dupree (Owen Wilson), best known to everyone as simply “Dupree,” has lost both his job and home, and Carl offers to let Dupree stay with them for a little while, much to Molly’s chagrin. However, the newlyweds start to believe that Dupree, a free-spirited bachelor, has permanently attached himself to their couch., and the longer he’s living there, the more Carl begins to suspect that Dupree may be making a move on Molly. It doesn’t help that Molly’s father, Carl’s boss, Mr. Thompson (Michael Douglas), is also giving Carl grief.

The brotherly directing team of Anthony & Joe Russo directed several episodes of the critically-acclaimed, but low-rated FOX television series, Arrested Development. They even won an Emmy Award for directed the series’ pilot episode, but Arrested Development was an offbeat series with the appropriate script writing. The Russos’ recent film, You, Me and Dupree, is the first script by new writer Michael Le Sieur to be produced as a feature film.

Ostensibly a romantic comedy about a young couple besieged by a houseguest/pest, it lacks the appropriate writing that would make it funny. The script pretends to be one thing, and then, goes off on many tangents, so the Russo Bros. apparently couldn’t do much to make You, Me and Dupree work either as a comedy or a romance. There are some humorous moments throughout the film, but the romance is dead on arrival. Overall, You, Me and Dupree is just a clumsy effort at being a slapstick, romantic comedy built around the concept of “three is a crowd.”

Even the cast, which is fairly talented, can’t extract much from this, nor do they put forth much effort at doing so. Owen Wilson’s laid-back dude character is mostly listless, and Dupree’s clumsy attempts at beach bum philosophy is… well, clumsy. Matt Dillon and Kate Hudson have no screen chemistry and their pretend romance is… well, too lethargic to call pretend. No sparks start flying when they get together. Dillon phones in his typical vulnerable, tough guy façade, and Hudson barely registers; in fact, any actress struggling to make it could have delivered the same performance as this highly paid Hollywood star for a fraction of the salary.

Also, any movie that has a Hollywood legend like Michael Douglas could at least put the man to better use than having him deliver a desert-dry performance as the jealous father-in-law.

3 of 10
C-

Wednesday, January 31, 2007