Review: Excellent "The Dead Don't Die" Recalls George Romero "Dead" Movies

TRASH IN MY EYE No. 24 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Dead Don't Die (2019)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – R for zombie violence/gore, and for language
WRITER/DIRECTOR:  Jim Jarmusch
PRODUCERS:  Joshua Astrachan and Carter Logan
CINEMATOGRAPHER:  Frederick Elmes
EDITOR:  Affonso Gonçalves
COMPOSER:  Sqürl

HORROR/COMEDY

Starring:  Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny,Steve Buscemi, Danny Glover, Caleb Landry Jones, Selena Gomez, Austin Butler, Luka Sabbat, Rosie Perez, Iggy Pop, RZA, Carol Kane, Maya Delmont, Taliyah Whitaker,Jahi Winston, and Tom Waits

The Dead Don't Die is a 2019 zombie horror-comedy film from writer-director Jim Jarmusch.  The film features an ensemble cast and is set in the peaceful town of Centerville, which finds itself beset by a zombie horde after the recently dead start rising from their graves.

The Dead Don't Die opens in the town of Centerville, which has the motto, “A Real Nice Place,” emblazoned upon its welcome sign.  Strange things have been happening in the town, or so say Centerville Police Department Chief Cliff Robertson (Bill Murray) and Officer Ronald “Ronnie” Peterson (Adam Driver).  After answering a complaint one evening, these officers of the law notice that its 8 PM in the evening and it is still daylight.  Ronnie discovers that his watch and cell phone have stopped working.

There are news reports about pets behaving strangely, and Centerville's Farmer Miller (Steve Buscemi) has learned that his farm animals have disappeared.  According to a young inmate at a local juvenile facility, “polar fracking” has altered the Earth's rotation.  And the song, “The Dead Don't Die,” by country singer-songwriter, Sturgill Simpson, is always playing somewhere in town.  When night finally falls, the dead start to rise from their graves.  By the second evening, Centerville is experiencing a full-on zombie invasion, and, as Officer Ronnie already knows, all this will “end badly.”

I choose to interpret The Dead Don't Die as a remake and re-imagining of the classic 1968 horror movie, Night of the Living Dead, the forerunner of the modern zombie movie.  That film was co-written and directed by the late George A. Romero, the forefather of what is now known as the zombie apocalypse horror genre.  Obviously using Night of the Living Dead as a blueprint and using the cinematic language that Romero invented, writer-director Jim Jarmusch offers a deadpan ode to the seminal zombie movie.

In The Dead Don't Die, Jarmusch certainly has a better cast and better production resources than Romero had for Night of the Living Dead.  What Jarmusch maintains from the original film is its social commentary and satire and black humor, although Jarmusch gives his black comedy a spin of dry wit.  Jarmusch also breaks the fourth wall and throws in some out-of-this-world B-movie silliness, via the always brilliantly on-point Tilda Swinton as Centerville's newest resident, the Scottish mortician, Zelda Winston.  Swinton's short time on the screen alone is reason to see The Dead Don't Die.

Everyone in this delightfully diverse and eclectic ensemble cast makes the most of his or her onscreen time.  Some movie critics and reviewers have criticized The Dead Don't Die for being too dry and too deadpan.  Quite the contrary, I say.  I believe that this film's “dry” tone is a commentary on humanity's inescapable dark fate, the result of our childish desire for too many things that we really don't need.  Our hubris when it comes to the way we deal with the natural world and the natural order, and the insatiable greed that can never fill the hole in our metaphorical hearts could bring us a fate worse than death.  That is why I think that The Dead Don't Die is the smartest and purest zombie film since Romero's first three “Dead” films.

8 of 10
A

Saturday, October 31, 2020


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Negromancer News Bits and Bites from August 20th to 26th, 2017 - Update #33

Support Leroy on Patreon.

TELEVISION - From SlashFilm:  Lionsgate is among a group of entities developing a reboot of the 2008 film "Jumper."  Doug Liman, who directed the film, is also developing a "Jumper"-related series for Youtube Red.

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TELEVISION - TVLine:  The first three episode of "American Horror Story: Cult" have been screened for the press, revealing details about Lena Dunham and Emma Roberts' characters.

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MOVIES - From FlickeringMyth:  Vera Farmiga and J.K. Simmons are joining Hugh Jackman in his Gary Hart biopic, "The Front Runner."

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MOVIES - From TheWrap:  "It," the new film adaptation of Stephen King's epic novel, is looking like it may set a box office record for the month of September.

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COMICS-FILM - From Vulture:  James Cameron ain't buying all the self-congratulatory back slapping over the "Wonder Woman" film.

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MOVIES - From ThePlaylist:  A "Girls Trip" sequel may be in the works.

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COMICS-FILM - From THR:  Glenn Ficarra and John Requa, the producers of NBC's hit drama, "This is Us," will write and direct a film featuring DC Comics' characters, The Joker and Harley Quinn.

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COMICS-FILM - From YahooMovies:  Jon Favreau teases a reunion of Robert Downey, Gwyneth Paltrow and himself in "Avengers 4."

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CELEBRITY - From YahooTV:  Tyler Perry says that he still takes care of his step-father although the man physically and verbally abused him as a child.

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COMICS-FILM - From TheWrap:  Director Matt Reeves says that his movie, "The Batman" (starring Ben Affleck as Batman) will not be part of the DC Extended Universe and it will be a stand alone film.

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MOVIES - From TheWrap:  Martin Lawrence does not think "Bad Boys 3" will happen.

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BLM - From GuardianUK:  The U.S. justice system uses the chokehold to oppress and humiliate black men.

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TELEVISION - From Variety:  Common will star in Starz "Black Samurai" series with RZA (Wu-Tang Clan) and Jerry Bruckheimer executive producing.

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MOVIES - From Variety:  Iranian filmmaker, Asghar Farhadi, has begun shooting his new film in Spain with Oscar winners Javier Bardem and Penelope Cruz headlining the film.

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MOVIES - From Deadline:  Warner Bros. and DC Entertainment are planning another Batman spinoff movie.  This one would focus on the origin of iconic Batman villian, The Joker, and would involve the creative talents of Todd Phillips and Martin Scorsese.

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MOVIES - From CinemaBlend:  Ed Skein of "Deadpool" is joining the "Hellboy" reboot film.

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TELEVISION - From TheWrap:  NBC has scrapped its plans for a reboot of "Xena: Warrior Princess."

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MOVIES - From YahooMovies:  Margot Robbie is unrecognizable as Queen Elizabeth I in the film, "Mary Queen of Scots."

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SPORTS - From BET:  A large number of NYPD officers rally in support of blackballed NFL quarterback, Colin Kaepernick.

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CULTURE - From RollingStone:  The history of White supremacy in America.

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MOVIES - From Deadline:  New details emerge on "Deadpool 2" crash that took the life of stunt woman Joi Harris.

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TELEVISION - From Deadline:  Lynn Whitfield joins Sanaa Lathan in Netflix's comedy, "Nappily Ever After."

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TELEVISION - From YahooTV:  A spoiler-filled recap of the Aug. 20th, 2017 "Game of Thones."

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 8/18 to 8/20/2017 weekend box office is "Hitman's Bodyguard" with an estimated take of $21.6 million.

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ANIMATION - From YahooTV:  Writer-director Adam Reid is trying to raise money to produce a pilot for a proposed animated TV series featuring President Barack Obama and Vice-President Joe Biden as time traveling heroes.

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MOVIES - From Variety:  Cover story:  Has Netflix's Ted Sarandos rescued or ruined Hollywood?

From Variety:  Marvel/Netflix's "The Defenders" could set binge-viewing / streaming records.

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MOVIES - From Variety:  New Line is looking to reboot the "Shaft" film franchise again.  Samuel L. Jackson is in negotiations to join the film with Jessie T. Usher ("Survivor's Remorse").  Jackson starred in the title role in Paramount Pictures' 2000 "Shaft" film.

CULTURE - From Politico:  How militias became the private police force for White supremacists.


OBITS:

From THR:  The comedian, radio talk show host, and comic actor, Jay Thomas, has died at the age of 69, Thurs., August 24, 2017.  Thomas won two Emmys playing "Jay Gold" on the 1980s-90s CBS sitcom, "Murphy Brown."  He was also known for his annual appearances on David Letterman's late-night talks shows.

From RollingStone:  Actor, filmmaker, comedian, and philanthropist, Jerry Lewis, has died at the age of 91, Sunday, August 20, 2017.  Before he embarked on a solo film career, he partnered with legendary singer and actor, Dean Martin.  Many knew Lewis for his annual "The Jerry Lewis MDA Labor Day Telethon," which raised money for the Muscular Dystrophy Association.

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From Variety:  Groundbreaking civil rights activist and comedian, Dick Gregory, has died at the age of 84, Saturday, August 19, 2017.  He counted among his friends Dr. Martin Luther King and Medgar Evars.  Gregory wrote several books, including "Nigger: An Autobiography."  His new book, "Defining Moments in Black History" is due in September.

From Variety:  Tributes to Dick Gregory, who died on Saturday, pour in from colleagues, fans, and admirers, including Whoopi Goldberg, George Wallace, Ava DuVernay, Gilbert Gottfried, Jesse Jackson, Rev. Al Sharpton, Lawrence O'Donnell, and more.

From Variety:  Dick Gregory recent guest column for Variety: "Fight Police Brutality with Your Wallet."
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From Variety:  The actor Sonny Landham died at the age of 76, Thursday, August 17, 2017.  Part Seminole and Cherokee, Landham was best known for playing the Native American tracker, Billy Sole, in the Arnold Schwarzenegger film, Predator (1987).  He also had roles in "The Warriors," "48 Hrs," and "Action Jackson."

Review: "Blade: Trinity" is An Average End to a Special Franchise (Happy B'day, Wesley Snipes)

TRASH IN MY EYE No. 240 (of 2004) by Leroy Douresseaux

Blade: Trinity (2004)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – R for strong pervasive violence and language, and some sexual content
DIRECTOR:  David S. Goyer
WRITER:  David S. Goyer (based upon characters by Marv Wolfman and Gene Colan)
PRODUCERS:  Wesley Snipes, Peter Frankfurt, Lynn Harris, and David S. Goyer
CINEMATOGRAPHER:  Gabriel Beristain
EDITORS:  Conrad Smart and Howard E. Smith
COMPOSERS:  Ramin Djawadi and The RZA

ACTION/HORROR/FANTASY

Starring:  Wesley Snipes, Kris Kristofferson, Ryan Reynolds, Jessica Biel, Parker Posey, Cascy Beddow, Dominic Purcell, Triple H (Paul Michael Levesque), Natasha Lyonne, Eric Bogosian, Vitaly Kravchenko, James Remar, and Patton Oswalt

The subject of this movie review is Blade: Trinity, a 2004 vampire horror and superhero action movie from writer-director David S. Goyer.  It is the third and final movie in the Blade film series produced by New Line Cinema.  Blade: Trinity finds Blade a wanted man by the FBI and forced to unite with a band of vampire hunters called the Nightstalkers in order to battle his most challenging opponent ever, Dracula.

Early in Blade: Trinity, a group of vampires by led nasty girl vamp princess, Danica Talos (Parker Posey), awakens the original vampire, Dracula (Dominic Purcell), who is buried deep within a pyramid in Iraq.  Apparently, the vampires are desperate to rid themselves of their mortal enemy, the vampire hunter, Blade (Wesley Snipes), aka the Daywalker, and hope Dracula, who goes by the name Drake, will defeat Blade.  Meanwhile, Danica and her crew have also set Blade up so that he mistakenly kills a human he thinks is a vampire.  The murder sets the corrupt police and media against him.  The FBI track Blade to his new lair and launch an attack.  During the strike, Blade’s mentor, father figure, and weapons creator, Abraham Whistler (Kris Kristofferson), is killed, and the FBI captures Blade.

Enter The Nightstalkers, a group of human vampire hunters, Blade never knew existed.  One of them is Abigail Whistler (Jessica Biel), Abraham Whistler’s out-of-wedlock daughter, and she is an ass-kicking, bow-hunting babe who doesn’t flinch from going toe to toe with bloodsuckers.  Add a third partner to Blade and Abigail, and you have a trinity.  The third player is the buff, wise-cracking Hannibal King (Ryan Reynolds), who was once turned into a vampire, and later cured by Abigail.  Together, the trio must hunt down Drake and his vampire cabal and stop them from implementing the vampire final solution against humanity.

Blade: Trinity is the least in terms of quality of the three Blade films, but it still manages to be a thrill (sometimes).  Writer/director David S. Goyer (who also wrote the screenplays for the previous Blade films) and cinematographer Gabriel Beristain (who also shot Blade II) were also determined to make this film look different from the previous two.  Blade: Trinity looks like an extended music video, but the photography has the crystal clear quality of digital video, so much so that the film looks like a television program shot in high definition.  Goyer also dropped a lot of the muddy and murky CGI that didn’t always work in Blade II.

It’s the performances that really hamper Blade: Trinity; in fact, it wouldn’t be too mean to say that the acting is atrocious.  Wesley Snipes always played Blade as stoic, with little to say except for a few lines delivered in a thuggish monotone.  However, Snipes is often too stiff, here.  He’s is too “in character,” and that keeps Blade from interacting with the other characters.  Granted Blade is a loner, but he goes overboard this time.  There are huge segments in this film in which he hardly utters more than a few grumbles.  Thankfully, towards the end of the film, he does come to life as a badass delivering the kind of lines that would fit right into a blaxtiploitation or Quentin Tarantino movie.

Ryan Reynolds really tries to liven up this film as Hannibal King, but rarely is anybody up to his challenge.  His lines are always funny, but often fall flat or are lost in the moroseness of the rest of the cast.  Jessica Biel is almost undead herself in this film, but she’s fine and pretty and moves well; that saves her performance (a little).  Parker Posey is miscast and is made up to look like an ugly, pasty-white trash, hag vampire.  Though she has a (very) few moments, she’s simply annoying.  If Dominic Purcell gets anything out of this film, it’s that he’s one of the worst and least intriguing Dracula’s in cinema history; that would include Dracula’s that have appeared in Scooby-Doo cartoons and other Hanna-Barbera animated programs.

The stiff (non) acting is what makes Blade: Trinity seem so listless and clunky for about half the film’s running time – that and the fact that the vampires spend most of the time brooding and hiding in their tacky skyscraper/palace.  Blade: Trinity is as much a hunt as it is a waiting game, but the waiting is the hardest part.  The film is pretty to look at, and the film score (co-written by The RZA of The Wu-Tang Clan who also co-wrote music for Tarantino’s Kill Bill films) and soundtrack are killer.  But for all the credit I give Goyer, the film’s plot is… dumb and stretched thin, and falls apart to almost nonexistence.  At times, the film is lethargic and meanders, playing a waiting game until the final act.  Though I love Blade, even I have to admit that unless you’re a fan of the series, you can catch this one when it’s on home video.

5 of 10
B-

Update:  Wednesday, July 31, 2013

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Review: "Derailed" Seems Unnecessarily Dark (Happy B'day, RZA)

TRASH IN MY EYE No. 98 (of 2006) by Leroy Douresseaux

Derailed (2005)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – R for strong disturbing violence, language, and some sexuality
DIRECTOR: Mikael Håfström
WRITER: Stuart Beattie (based upon the book by James Siegel)
PRODUCER: Lorezno di Bonaventura
CINEMATOGRAPHER: Peter Biziou
EDITOR: Peter Boyle
COMPOSER: Edward Shearmur

CRIME/DRAMA/THRILLER

Starring: Clive Owen, Jennifer Aniston, Vincent Cassel, Melissa George, Addison Timlin, RZA, Tom Conti, Giancarlo Esposito, Denis O’Hare, and Xzibit

The subject of this movie review is Derailed, a 2005 British-American thriller and crime drama. The film is based on the 2003 novel, Derailed, from author James Siegel. Derailed the movie focuses on a married business executive and his mistress who are being blackmailed by a violent criminal.

Successful advertising executive Charles Schine (Clive Owen) misses his commuter train one day, which lead to a chance encounter with Lucinda Harris (Jennifer Aniston), a seductive financial advisor, on a later train. Charles is having trouble at home. He and his wife, Deanna (Melissa George), are a bit at odds, and their daughter, Amy’s (Addison Timlin), Type-1 diabetes puts a tremendous strain on their finances and marriage. Thus, Charles is responsive to Lucinda’s magnetic attraction, and before long cocktails and lunches turn into an impromptu romp at a seedy hotel.

However, a brutal criminal, Philippe LaRoche (Vincent Cassel), breaks into their hotel room and derails their fun, and the illicit liaison becomes a nightmare world more violent and dangerous than Charles could ever have imagined. Unable to confide in his wife and friends or speak to the police, Charles must battle the violence, deception, blackmail, and crime as the life he once knew becomes something unimaginable.

Derailed starts off so slowly and dully that I thought the movie would never recover, but the film’s second half is a kick in the gut. It’s an old-fashioned hard-boiled, noir-ish, romantic, crime thriller, in the vein of Against All Odds. The film isn’t as well written or directed as such A-list romance and crime movies as Fatal Attraction or Basic Instinct, nor will Jennifer Anniston’s performance be as well remembered (if its remembered at all) as the actresses in the aforementioned films.

Owen and Aniston have zero screen chemistry. Owen is a decent actor, but doesn’t quite seem to fit inside the skin of this role; he’s better as a “heavy” or dark type. He doesn’t at all come across as a vulnerable businessman type (an ad exec of all things), but he does fit the part for the second half of the film. Aniston is a small screen actress. It’s clear to me (at least) that she is one of the luckiest actresses alive. She’s not an incredible beauty, and she is a one-note actress – at best – and thus getting parts way beyond her skill. In fact, Aniston don’t have strong dramatic chops, and as it stands she can’t carry a lead role in a drama. This screen pairing nearly kills Derailed.

However, Vincent Cassel as the supernaturally deceptive and wicked LaRoche is fantastic. Now, he is an actor, and he gives this film a superb lift, turning a disastrous movie about an unlikely affair into an edgy crime thriller that keeps surprising the viewer with its nastiness. Rappers RZA (the Wu-Tang Clan) and Xzibit also add some spicy malevolence and grittiness that seems right off mean streets of big city America. If not for Cassel, RZA, and Xzibit, Derailed would have died on the vine simply by the hands of its director, writer, and stars.

5 of 10
B-

Wednesday, May 10, 2006

Updated: Friday, July 05, 2013

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Review: "Scary Movie 3" Quite Bad, but Funny

TRASH IN MY EYE No. 158 (of 2003)


Scary Movie 3 (2003)
Running time: 84 minutes (1 hour, 24 minutes)
MPAA – PG-13 for pervasive crude and sexual humor, language, comic violence and drug references
DIRECTOR: David Zucker
WRITERS: Craig Mazin and Pat Proft (based upon characters created by Shawn Wayans, Marlon Wayans, Buddy Johnson, Phil Beauman, Jason Friedberg, and Aaron Seltzer)
PRODUCER: Robert K. Weiss
CINEMATOGRAPHER: Mark Irwin (D.o.P.)
EDITOR: Malcolm Campbell and Jon Poll
COMPOSER: James L. Venable

COMEDY with elements of fantasy, horror, and sci-fi

Starring: Anna Faris, Simon Rex, Regina Hall, Anthony Anderson, Pamela Anderson, Jenny McCarthy, Marny Eng, Charlie Sheen, Jeremy Piven, Camryn Manheim, Queen Latifah, Eddie Griffin, Leslie Nielsen, D.L. Hughley, Ja Rule, George Carlin, Master P, Macy Gray, Redman, Method Man, Raekwon, RZA, Fat Joe, and Simon Cowell

The subject of this movie review is Scary Movie 3, a 2003 comedy film and parody of science fiction and horror films. It is the first film in the Scary Movie franchise not to feature members of the Wayans family.

Scary Movie 3 has loads and loads of belly laughs, but it is shockingly lame, dull, and an all out boring film, which gets worse as its nearly incomprehensible story lethargically crawls to the end. This installment of the franchise mainly targets The Ring and Signs for a good skewering or is that screwing? The Matrix and 8 Mile also fall in for a manhandling; the former parody is mildly funny while the latter is surprisingly sprightly and hilarious. The film, however, is one long gag reel superimposed over a deplorably bad movie.

The story this time, as it may be, has Cindy (Anna Faris) and her lame heartthrob George (Simon Rex) investigating crop circles and a killer ghost from a haunted videocassette. Somehow, it’s all tied together, and Cindy also has to help President Harris (Leslie Nielsen) stop an alien invasion.

If this doesn’t sound like much, it’s because Scary Movie 3 isn’t very much. The presence of so many stars in small roles and cameos is very nice, and some, like Anthony Anderson, Pamela Anderson, and Jenny McCarthy, actually make the film worth seeing. The cast, like the raunchy humor and endless sight gags, don’t exactly save the movie, but they can make you laugh, and in the end, those laughs might be the only reason to justify seeing this lame duck. David Zucker, part of the team responsible for Airplane and Naked Gun, lavishes Scary Movie 3 with his trademark gag-a-minute style, and it works to an extent.

I must really emphasize that this film can cause some hard and deep laughing, but I was also very shocked at how often tasteless and tactless the film was. Jokes that involve violating a corpse at a wake and pedophilia on the part of Catholic priest cross the line. It’s not so much that this kind of humor seems desperate; it’s that the filmmakers seem so willfully shameless and tasteless. Some things are not funny. They are sacred or taboo for reasons that are important to a society. It’s not that such things cannot be discussed; it’s how they are discussed. To use them as jokes is the sign of a weak, unimaginative mind – a selfish and immature person determined and desperate to get what he wants at any cost.

That said – I laughed a lot, and I cringed behind my arms almost as much. Scary Movie 3 won’t ever be listed among the great comedies. At best, it’s a temporary and exasperating thrill that is forgotten as soon as the film fades to black.

3 of 10
C-

Review: "Kill Bill: Volume 1" is Still a Killer

TRASH IN MY EYE No. 152 (of 2003) by Leroy Douresseaux

Kill Bill: Volume 1 (2003)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for strong bloody violence, language and some sexual content
WRITER/DIRECTOR: Quentin Tarantino
PRODUCER: Lawrence Bender
CINEMATOGRAPHER: Robert Richardson (D.o.P.)
EDITOR: Sally Menke
COMPOSER: The RZA
BAFTA Awards nominee

ACTION/CRIME/MARTIAL ARTS/THRILLER

Starring: Uma Thurman, David Carradine, Lucy Liu, Daryl Hannah, Vivica A. Fox, Michael Madsen, Michael Parks, James Parks, Sonny Chiba, Chiaki Kuriyama, Julie Dreyfus, and Chia Hui Liu

The subject of this movie review is Kill Bill: Volume 1, a 2003 martial arts and action film from writer/director Quentin Tarantino. It is the first of two films that were released within several months of each other. The film follows a character called “The Bride,” who is seeking revenge against her former colleagues.

If there was much doubt that Quentin Tarantino could still make not just good movies, but great movies, Kill Bill: Volume 1 should dispel that doubt, unless the doubters are just being contrary. That Kill Bill is one of the most violent, if not the most violent, American films ever made is very certain. Only time will tell if Kill Bill Vol. 1 is the best American action movie ever made, but it is the best and most thrilling film since James Cameron abruptly reshaped thrills and intensity of movies with Aliens.

In the film, The Bride (Uma Thurman) awakes from a coma in which she’d been in for four years. It has been four years since her fellow assassins of the Deadly Viper Assassination Squad killed her husband and wedding party at a small church in Texas. Her boss, Bill (David Carradine), however, did the honor of shooting The Bride, showing no mercy even though she was late in her obvious pregnancy. Bill’s biggest mistake was that he didn’t kill her, and now The Bride is out to Kill Bill. Before Bill, she has scores to settle with two of her colleagues, Copperhead (Vivica A. Fox) and Cottonmouth, now known as O-Ren Ishi (Lucy Liu), and a Yakuza crime boss in Tokyo.

Tarantino reportedly shot so much footage for Kill Bill that he and the studio Miramax Films ultimately decided to divide the film into two parts. One of Tarantino’s signature techniques is to juxtapose time in his scripts, dividing his films into self-contained chapters that are complete little short stories on their own. Each chapter fits in quite well with the larger film story and embellishes it so very well.

Kill Bill isn’t so much about the story as it is about the technique of making film. Tarantino basically asks his audience to go along with this long homage to Asian cinema, in particular martial arts epics and crime films. He mixes film genres with varied visual styles of films, and in that his cinematographer Robert Richardson (an Academy Award winner for Oliver Stone’s JFK) ably assists. At times, Kill Bill is totally about what the film stock looks like – the colors, the lack of color, grittiness, glossiness, etc.

This is a film geek’s film – the kind of genre film a big fan of a particular genre would like to make as well as see, and Tarantino makes it so well. Kill Bill is a grand time. For fans of martial arts films who loved the elaborate fight scenes in movies like The Matrix and Crouching Tiger, Hidden Dragon, the master fight choreographer who worked on both films, Yuen Wo-Ping, worked with Tarantino on the heart-stopping and eye-popping fights in Kill Bill.

Tarantino gets the most out of all his crew. The RZA (of hip hop act Wu-Tang Clan fame) composes a brilliant, genre-crossing, ear-bending score that recalls the sounds and tunes of classic gangster, Western, martial arts, and crime cinema classics. Shout outs also go to the art and costume departments.

Kill Bill is without a doubt great cinema about cinema, and it’s excellent entertainment. By no means perfect, it does dry up on occasion and even seems a bit long. There were also too many bits obviously thrown in to accommodate the next chapter. Still, the fault lines don’t matter because Kill Bill is so damn fine. Action movie lovers and lovers of great filmmaking cannot miss this because Kill Bill Volume 1 is that proverbial good movie about which people are always complaining Hollywood doesn’t make anymore.

9 of 10
A+

NOTES:
2004 BAFTA Awards: 5 nominations: “Anthony Asquith Award for Film Music”(RZA); “Best Achievement in Special Visual Effects” (Tommy Tom, Kia Kwan, Tam Wai, Kit Leung, Hin Leung, and Jaco Wong), “Best Editing” (Sally Menke), “Best Performance by an Actress in a Leading Role” (Uma Thurman), and “Best Sound” (Michael Minkler, Myron Nettinga, Wylie Stateman, and Mark Ulano)

2004 Black Reel Awards: 1 nominee: “Best Supporting Actress” (Vivica A. Fox)

2004 Golden Globes, USA: 1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Uma Thurman)

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"Be Cool" Never Heats Up

TRASH IN MY EYE No. 33 (of 2005) by Leroy Douresseaux


Be Cool (2005)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for violence, sensuality, and language including sexual references
DIRECTOR: F. Gary Gray
WRITER: Peter Steinfeld (from the novel by Elmore Leonard)
PRODUCERS: Danny DeVito, David Nicksay, Michael Shamberg, and Stacey Sher
CINEMATOGRAPHER: Jeffrey L. Kimball
EDITOR: Sheldon Kahn

CRIME/COMEDY

Starring: John Travolta, Uma Thurman, Vince Vaughn, Cedric the Entertainer, André (3000) Benjamin, Steven Tyler, Christina Milian, Harvey Keitel, Dwayne “The Rock” Johnson, Paul Adelstein, Danny DeVito, Robert Pastorelli, James Woods, and Debi Mazar with Joe Perry and Aerosmith, The Black Eye Peas with Sergio Mendes, The RZA, Kobe Bryant, and Seth Green

Be Cool is a 2005 crime comedy and is also a sequel to the 1995 film, Get Shorty. It is adapted from the 1999 novel of the same name by Elmore Leonard.

Ten years after Get Shorty, the sequel, Be Cool, shows up at theatres. Both films are based upon novels by Elmore Leonard, whose books have long been a source of film materials for Hollywood. Be Cool is not as witty and as sharp as Get Shorty, but it certainly tries to be the same blunt comic crime caper that the latter was. It has the characters, the cast, and some truly sidesplitting comedy, but ultimately, a faulty script and clunky directing mar a film that was so close to being a really fine crime comedy.

Chili Palmer (John Travolta), the Miami-based shylock who came to Hollywood and charmed and bullied his way into filmmaking, is now tired of the movie business. He’s interested in music, and when Tommy Athens (James Woods), a friend who owns a record label, is murdered by Russian mobsters before Chili’s eyes, that homicide opens the door for him. Chili meets Linda Moon (Christina Milian), a struggling singer stuck with a wannabe Negro named Raji (Vince Vaughn) for a manager. Chili, in his usual way, relieves Raji of Linda’s contract with him, and becomes her new manager.

Chili makes his next connection with Tommy’s widow, Edie Athens (Uma Thurman), who after some convincing is ready to take on Chili and Linda. However, there is the issue of Linda contract with Raji, and Raji’s partner, Nick Carr (Harvey Keitel) who isn’t crazy about letting go off a potential star. Edie also has another big problem: Tommy owed $300,000 to Sin LaSalle (Cedric Entertainer), a very successful, but violently inclined record producer. Raji, Nick, and Sin all see Chili as their problem; as they angle towards him, he’ll try to make Linda a star, woo Edie, and get his way, always dealing with violence and pressure by his motto, be cool.

There are probably a lot more belly laughs in Be Cool than Get Shorty, and that makes it worth seeing. The cast is littered with star turns and novel and hilarious supporting performances, especially Vaughn as Raji and The Rock as his gay, wannabe actor bodyguard, Elliot Wilhelm. Christina Milian holds her own; she works in this movie because her confidence makes her come across as a fine singer and actress, even if there might be stronger singing voices and better young actresses than her.

Travolta reportedly suggested Uma Thurman as his leading lady for Be Cool because they could recapture their screen chemistry from Pulp Fiction, which restarted Travolta’s career and boosted Ms. Thurman’s, but they don’t. Yes, a rapport and friendliness exist between them, but they are sluggish here. Travolta is Chili Palmer, but he’s on automatic here, older and heavier. Even Thurman looks strained, only managing about half the time to have the perkiness, determination, and raw magnetism that show themselves in her collaborations with Quentin Tarantino.

The lion’s share of the blame from this go to writer Paul Steinfeld and director F. Gary Gray. They never seem to be able to integrate the music business element into this plot (after all it’s about Chili getting in the music business), and the film’s musical numbers (except the Aerosmith/Christina Milian performance) and music videos ring hollow. This is a gangster film with laughs, lots of them, but these hilarious and likeable characters don’t seem to be in music because the music industry isn’t in this film the way the movie business was clearly and strongly a part of Get Shorty. Still, Travolta, Ms. Thurman, and a supporting cast of wacky players make this a crime comedy worth seeing, even if you can’t make it to the theatre.

5 of 10
B-

Review: "Due Date" is Good Product

TRASH IN MY EYE No. 28 (of 2011) by Leroy Douresseaux

Due Date (2010)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R language, drug use and sexual content
DIRECTOR: Todd Phillips
WRITERS: Alan R. Cohen, Alan Freedland, Adam Sztykiel, and Todd Phillips; from a story by Alan R. Cohen and Alan Freedland
PRODUCERS: Daniel Goldberg and Todd Phillips
CINEMATOGRAPHER: Lawrence Sher
EDITOR: Debra Neil-Fisher
COMPOSER: Christophe Beck

COMEDY

Starring: Robert Downey, Jr., Zach Galifianakis, Michelle Monaghan, Jamie Foxx, Juliette Lewis, Danny McBride, and RZA

Due Date is a comedy and road movie from Todd Phillips, the director of The Hangover. It is the story of a high-strung father-to-be forced to hitch a ride with an oddball wannabe actor if he wants to make it to the birth of his first child on time. While it isn’t nearly as funny or as outrageous as The Hangover, Due Date is entertaining and offers some pretty hysterical moments of its own.

Architect Peter Highman (Robert Downey Jr.) is on his way home from Atlanta to Los Angeles when he has an unpleasant encounter with another flyer, aspiring actor Ethan Tremblay (Zach Galifianakis), who is also going to L.A. Peter and Ethan’s meeting ends up with Peter being placed on the No Fly List. Desperate to get home for the impending birth of his child, Peter is forced to accept Ethan’s offer to hitch a ride with him and his dog, Sonny, cross-country. Thus begins a road trip to hell – the most agonizing, frustrating, terrifying, and physically painful journey of Peter’s life.

Due Date reminded me of another comedy road movie featuring a mismatched pair, Plains, Trains, and Automobiles (1987), the surprisingly poignant film starring Steve Martin and the late John Candy and directed by the late John Hughes. Due Date does have oddly touching moments, but the film really doesn’t deliver on the talents of the people involved, especially Downey, Galifianakis, and director Todd Phillips. It is a mixed bag. Sometimes, it is an action movie; other times, it is a raunchy comedy, and a few times, the film throws out some emotional moments. Due Date is funny, but for the most part, it just feels like big time Hollywood product. It entertains, delivering with the same reliability of an unspectacular Big Mac. Due Date is just average.

5 of 10
B-

Wednesday, March 30, 2011

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Review: "American Gangster" is Gangsta, Though it Falls Short of Greatness

TRASH IN MY EYE No. 28 (of 2008) by Leroy Douresseaux

American Gangster (2007)
Running time: 157 minutes (2 hours, 37 minutes)
MPAA – R for violence, pervasive drug content and language, nudity, and sexuality
DIRECTOR: Ridley Scott
WRITER: Steven Zallian (based upon the article “The Return of Superfly” by Mark Jacobson)
PRODUCERS: Brian Grazer and Ridley Scott
CINEMATOGRAPHER: Harris Savides (D.o.P.)
EDITOR: Pietro Scalia
2007 Academy Award nominee

CRIME/DRAMA

Starring: Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Josh Brolin, Lymari Nadal, Ted Levine, Roger Guenveur Smith, John Hawkes, RZA, Ruby Dee, Ruben Santiago-Hudson, Carla Gugino, Cuba Gooding, Jr., Armand Assante, Idris Elba, Common, Warner Miller, Albert Jones, J. Kyle Manzay, T.I., and Clarence Williams III

In the late 80’s, a critic (I don’t remember whom) said, in reference to Joel and Ethan Coen’s Miller’s Crossing, that every American director who wanted to achieve greatness had to make at least one epic crime film (like The Godfather or Mean Streets). Ridley Scott was born in Great Britain, but the majority of his work has been for American movie studios. It seems only right that, in the tradition of great crime movies by such uniquely American filmmakers as Francis Ford Coppola and Martin Scorcese, Scott tackle a great American crime story. Scott’s Oscar-nominated 2007 film, American Gangster, chronicles the rise of Frank Lucas, the real-life Harlem drug kingpin who left segregated North Carolina and eventually started a heroin ring in the late 1960’s that netted him over a quarter of a billion dollars in assets by the time he was brought down.

After the death of his mentor, Elsworth “Bumpy” Johnson (Clarence Williams III), Frank Lucas (Denzel Washington) slowly, but gradually takes his place, building an international heroin ring that begins in Asia’s Golden Triangle. With the help of his cousin, a military officer named Nate (Roger Guenveur Smith), Lucas smuggles the heroin through the military back to the east coast of the U.S. Under the name, “Blue Magic,” Lucas sells a product that is twice as pure as other heroin on the street, but at half the price.

Meanwhile, Detective Richie Roberts (Russell Crowe), a New Jersey police detective, is finding that his unwillingness to steal money and drugs like many of his crooked colleagues has made him an outcast. His fortunes change when he’s pegged to start his own special investigative unit that will focus not on small time dealers, but on the major players, which puts Frank Lucas squarely in his sights. However, Roberts’ shadowy hunt might land him more than just another crime boss.

American Gangster is an engrossing story that is smoothly and efficiently told, considering that its epic scope seems too large for a single film that runs under three hours. [American Gangster’s DVD release has a longer version of the film.] As well told as this film is, it seems to be missing a lot, thus, making it seem like a shadow version of classic 70’s crime dramas that are also set in the gritty, crime-ridden metropolis that was New York City then. This is certainly a juicy period piece, in which everything: the clothes, cars, sets, and furnishings feel like the 1970’s. Even the members of the cast seem caught in a malaise of poverty, crime, and corruption, as if they were caught in a 70’s time warp.

Still, although the mood is right, the heart of this movie is the duel between Washington’s Lucas and Crowe’s Roberts, and much of that is relegated to the film’s last half hour. Ridley Scott and his screenwriter, Oscar winner Steve Zallian (Schindler’s List), certainly create an engaging story chronicling both Lucas’ rise and Roberts’ reinvention of himself and resurrection of his career. Washington plays Lucas as if he were a cool big cat, a predator stalking the room – seen and unseen. He’s the smartest guy in the room and the most dangerous man among many bad men, because Lucas knows when to use violence and how much. Like many of Washington’s performances, it is a blast to behold and so good because he gives so many layers to Lucas – many of which we only glimpse. Crowe reveals Roberts to be a man of honor and integrity in his professional life, but woefully pathetic in his personal life. In that way, Crowe keeps Roberts as interesting as the alluring bad guy, Lucas. That we know Roberts is so pathetic as a family man balances the Boy Scout cop side of him – which by itself is not entirely interesting.

This film is ultimately missing the meat of the confrontation and larger relationship between these two men. American Gangster, Scott’s film, is mostly about Lucas building his empire, and that story is attractive. However, a complete story about a great gangster recounts both his rise in the criminal underworld and his fall at the hands of a determined lawman (or men). American Gangster is a fine film, but it shorts us on the epic battle between criminal and detective and thus, shorts itself of greatness.

7 of 10
B+

NOTES:
2008 Academy Awards: 2 nominations: “Best Achievement in Art Direction” (Arthur Max-art director and Beth A. Rubino-set decorator) and “Best Performance by an Actress in a Supporting Role” (Ruby Dee)

2008 BAFTA Awards: 5 nominations: “Best Cinematography” (Harris Savides), “Best Editing” (Pietro Scalia), “Best Film” (Brian Grazer and Ridley Scott), “Best Music” (Marc Streitenfeld), “Best Screenplay – Original” (Steven Zaillian)

2008 Golden Globes: 3 nominations: “Best Director - Motion Picture” (Ridley Scott), “Best Motion Picture – Drama,” and “Best Performance by an Actor in a Motion Picture – Drama” (Denzel Washington)

Sunday, June 01, 2008

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Russell Crowe and The RZA, Again

Both Russell Crowe and The RZA were in American Gangster.  They reunite in Crowe's just-came-out-flick, The Next Three Days.  The duo give a joint interview to BV on Movies.