Review: "LA LA LAND" Shoulda, Woulda, Coulda Been Great

TRASH IN MY EYE No. 40 of 2022 (No. 1852) by Leroy Douresseaux

La La Land (2016)
Running time:  128 minutes (2 hours, 8 minutes)
MPAA – PG-13 for some language
WRITER/DIRECTOR:  Damien Chazelle
PRODUCERS:  Fred Berger, Gary Gilbert, Jordan Horowitz, and Marc Platt
CINEMATOGRAPHER:  Linus Sandgren (D.o.P.)
EDITOR:  Tom Cross
COMPOSER:  Justin Hurwitz
SONGS: Justin Hurwitz and Pasek & Paul; Justin Hurwitz, John Legend, Marius de Vries and Angelique Cinelu
Academy Award winner

MUSICAL/DRAMA

Starring:  Ryan Gosling, Emma Stone, Rosemarie DeWitt, J.K. Simmons, and John Legend

La La Land is a 2016 romantic film and musical drama written and directed by Damien Chazelle.  The film focuses on a struggling jazz pianist and an aspiring actress who fall in love while navigating their career paths in Los Angeles.

La La Land opens in Los Angeles, California.  While stuck in a typical L.A. traffic, aspiring actress, Mia Dolan (Emma Stone), has a moment of road rage directed at Sebastian “Seb” Wilder (Ryan Gosling), a struggling jazz pianist.  Mia has a hard day of work at her coffee shop job, and her subsequent audition goes awry.  Sebastian is fired from a gig at a restaurant after he slips in some jazz improvisation despite the owner's (J.K. Simmons) warning to only play traditional Christmas music.  Attracted to the Seb's music, Mia walks into the restaurant and witnesses the firing.  She tries to compliment his music, but Seb rudely walks past her.

Eventually, Fate brings them together at a party.  Soon, they are sharing their dreams and start becoming a couple.  Both have to reconcile their aspirations for the future, however, and as their career paths veer, can they stay a couple?

La La Land almost won the Academy Award for “Best Picture,” but didn't.  La La Land could have been a great film, but it really isn't.  The film's leads, Ryan Gosling and Emma Stone, are fine actors, and they are true movie stars.  [I don't see anything in Stone's performance here that is worthy of the “Best Actress” Oscar she won.]  The camera seems to love them, and they look great on the big screen – as the sayings go – but as hard as they try, their characters are limp.  Stone's Mia has potential, but remains surprisingly vapid, except for a few moments.  Sebastian is pretentious and insufferable, although he is intriguing.

The material that makes up this film's screenplay, written by Damien Chazelle, is a shallow interpretation of the musicals of “old Hollywood” (also known as the “Golden Age of Hollywood”).  Chazelle may be a fan of such old musicals, but his love cannot recreate the genuine spirit and aesthetic of them.  If you, dear readers, are familiar with classic Hollywood musicals, you will recognize that this film ties to be old-fashioned, but comes across as a pretender.

The film's score is quite good, and it has one great song “City of Stars” (which keeps playing in my head).  Most of the rest of the songs are technically proficient, but are exceedingly dull.  There is one more decent song (can't remember which one) and a catchy tune, “Catch a Fire,” co-written and performed by John Legend.

Still, La La Land has moments of brilliance.  Mia and Sebastian's meeting on a bench at Griffith Park is filled with movie magic, and the film's final moment recalls the semi-tragic mood of Casablanca.  The production values are terrific, including the Oscar-winning art direction and set decoration, and the Oscar-winning cinematography is some of the prettiest I have seen in the last decade.  Even the Oscar-nominated costume design is worthy of a win.

I can see why Barry Jenkins' Moonlight wowed enough voters to win the Oscar for “Best Picture” of 2016 over La La Land.  Moonlight is a fascinating character study, while La La Land is flashy cinematic bauble with caricatures.  It is technically proficient, but every good moment is met by a flat and dull moment.  La La Land is the film that could have been great, and should have been great, but ended up being just very good.

7 of 10
B+
★★★½ out of 4 stars


NOTES:
2017 Academy Awards, USA:  6 wins: “Best Performance by an Actress in a Leading Role” (Emma Stone), “Best Achievement in Directing” (Damien Chazelle), “Best Achievement in Cinematography” (Linus Sandgren), “Best Achievement in Music Written for Motion Pictures-Original Score” (Justin Hurwitz), “Best Achievement in Music Written for Motion Pictures-Original Song” (Justin Hurwitz-music and Benj Pasek-lyrics and Justin Paul-lyrics for the song, “City of Stars”), and “Best Achievement in Production Design” (David Wasco for production design and Sandy Reynolds-Wasco for set decoration); 8 nominations: “Best Motion Picture of the Year” (Fred Berger, Jordan Horowitz, and Marc Platt), “Best Performance by an Actor in a Leading Role” (Ryan Gosling), “Best Original Screenplay” (Damien Chazelle), “Best Achievement in Film Editing” (Tom Cross), “Best Achievement in Costume Design” (Mary Zophres), “Best Achievement in Sound Mixing” (Andy Nelson, Ai-Ling Lee, and Steven Morrow), “Best Achievement in Sound Editing” (Ai-Ling Lee and Mildred Iatrou), and “Best Achievement in Music Written for Motion Pictures-Original Song” (Justin Hurwitz-music and Benj Pasek-lyrics and Justin Paul-lyrics for the song, “Audition (The Fools Who Dream)”)

2017 BAFTA Awards:  5 wins: “Best Film” (Fred Berger, Jordan Horowitz, and Marc Platt), “Best Leading Actress” (Emma Stone), “Best Cinematography” (Linus Sandgren), “Original Music” (Justin Hurwitz), and “David Lean Award for Direction” (Damien Chazelle); 6 nominations: “Best Leading Actor” (Ryan Gosling), “Best Screenplay-Original” (Damien Chazelle), “Best Editing” (Tom Cross), “Best Production Design” (Sandy Reynolds-Wasco and David Wasco), “Best Costume Design” (Mary Zophres), and “Best Sound” (Mildred Iatrou, Ai-Ling Lee, Steven Morrow, and Andy Nelson)

2017 Golden Globes, USA:  7 wins: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Ryan Gosling), “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Emma Stone), “Best Director - Motion Picture” (Damien Chazelle), “Best Screenplay - Motion Picture” (Damien Chazelle), “Best Original Song-Motion Picture” (Justin Hurwitz, Benj Pasek, and Justin Paul for the song: “City of Stars”), and “Best Original Score - Motion Picture” (Justin Hurwitz)

Saturday, July 2, 2022


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Review: "John Wick: Chapter 3 – Parabellum" Will Help You Get Your Keanu On

TRASH IN MY EYE No. 56 of 2021 (No. 1794) by Leroy Douresseaux

John Wick: Chapter 3 – Parabellum (2019)
Running time:  131 minutes (2 hours, 11 minutes)
MPAA – R for pervasive strong violence, and some language
DIRECTOR:  Chad Stahelski
WRITERS:  Derek Kolstad, Shay Hatten and Chris Collins & Marc Abrams; from a story by Derek Kolstad (based on characters created by Derek Kostad)
PRODUCERS:  Basil Iwanyk and Erica Lee
CINEMATOGRAPHER:  Dan Lausten (D.o.P.)
EDITOR:  Evan Schiff
COMPOSERS:  Tyler Bates and Joel J. Richard

ACTION/THRILLER

Starring:  Keanu Reeves, Halle Berry, Ian McShane, Laurence Fishburne, Lance Reddick, Mark Dacascos, Asia Kate Dillon, Anjelica Huston, Said Taghmaoui, Jerome Flynn, and Randall Duk Kim

John Wick: Chapter 3 – Parabellum is a 2019 action and crime-thriller starring Keanu Reeves and directed by Chad Stahelski.  It is a direct sequel to 2017's John Wick: Chapter 2 and the third film in the John Wick film series.  Parabellum finds John Wick on the run with a price on his head and assassins everywhere looking to claim the reward for killing him.

As John Wick: Chapter 3 – Parabellum opens, John Wick (Keanu Reeves) makes his way through Manhattan.  John is on the run because he is just about to be labeled “excommunicado.”  His crime was the unauthorized killing of “High Table” (the ruling entity of the assassin's guild) crime lord, Santino D'Antonio, on the grounds of the New York Continental Hotel, a “consecrated” space where killings are not allowed.  At 6 PM Eastern Standard Time, when John is officially “excommunicado,” there will be a 14 million dollar bounty on him, and hit men and hit women everywhere are going to target him.

John turns to a few old acquaintances for help on his way out the city.  He travels to Morocco where he hopes to find the “Elder,” the boss (more or less) of the High Table, whom John believes will restore his status.  In Casablanca, John seeks help from Sofia (Halle Berry), a former friend and manager of the Moroccan Continental, but an old grudge might stand in the way of her helping him.  Meanwhile, the High Table has sent an “Adjudicator” (Asia Kate Dillon) to deal with everyone who has helped John, including the Continental's manager, Winston (Ian McShane), and the crime lord, “The Bowery King” (Laurence Fishburne).

A few weeks ago, a cable television listing reminded me that I had not seen  John Wick: Chapter 3 – Parabellum, so I turned to “DVD Netflix” for help.  In my reviews of the earlier John Wick films, I wrote that I had been a fan of Keanu Reeves since I first encountered him the 1980s in films like Dangerous Liaisons (1988) and River's Edge (1986), although I am not a fan of his popular 80s film, Bill & Ted's Excellent Adventure (1989).  I also wrote that I had never thought of Reeves as a great or even as a good actor; he is either way too stiff or too wooden as a performer.  Still I have enjoyed and even loved Reeves in films like the original Point Break (1991) and in The Matrix film trilogy.

Reeves' star had dimmed for several years, but the John Wick films' success and an appearance in Toy Story 4 saw people feeling that Keanu love again.  And we're supposed to get The Matrix: Resurrections in December 2021.  What can I say about John Wick: Chapter 3 – Parabellum?  The truth is that if you enjoy Keanu Reeves' films, you will enjoy Parabellum.

I can't fake it and say that this is about the love of cinema.  I love seeing Keanu in this film's violent fight scenes and bloody shootouts, with their gunshots to the head and blood spurting and ejaculating from bodies and heads.  Parabellum gives us the added joy of marital arts sword play, with Mark Dacascos as the character “Zero.”  He is Japanese assassin leading a team of ninja-like assassins, slashing and stabbing many other characters, but their ultimate goal is John Wick.

Keanu Reeves is one of my favorite movie stars, and John Wick is one his roles that I love the most.  Yes, Parabellum's main ambition is to present itself as revenge-thriller with a little wit, a little more style, and even more stylized ultra-violence.  And I like John Wick: Chapter 3 – Parabellum enough to give it a fairly high grade and to also eagerly await a fourth installment in this thrilling franchise.

7 of 10
B+

Thursday, September 16, 2021


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Review: "John Wick" Still Burns

TRASH IN MY EYE No. 10 (of 2017) by Leroy Douresseaux

John Wick (2014)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – R for strong and bloody violence throughout, language and brief drug use
DIRECTORS:  Chad Stahelski and David Leitch
WRITER:  Derek Kolstad
PRODUCERS:  Basil Iwanyk, David Leitch, Eva Longoria, and Michael Witherill
CINEMATOGRAPHER:  Jonathan Sela
EDITOR:  Elisabet Ronalds
COMPOSERS:  Tyler Bates and Joel J. Richard

ACTION/CRIME/THRILLER

Starring:  Keanu Reeves, Michael Nyqvist, Alfie Allen, Willem Dafoe, Dean Winters, Adrianne Palicki, Bridget Moynahan, John Leguizamo, Ian McShane, Bridget Regan, Clarke Peters, Randall Duk Kim, Kevin Nash, David Patrick Kelly, and Lance Reddick

John Wick is a 2014 action and crime-thriller starring Keanu Reeves.  It is directed by Chad Stahelski and David Leitch (although only Stahelski is credited on screen as director).  The film tells the story of an ex-hit man who comes out of retirement to kill the man who viciously wronged him.

Once upon a time, John Wick (Keanu Reeves) was a legendary hit man, a seemingly unstoppable killer.  He was the boogeyman who killed the boogeyman.  Not long after his wife, Helen (Bridget Moynahan), dies of a terminal illness, John receives a puppy that she had bought John to help him cope with her death.  He grows to love the puppy, which he names “Daisy.”

At a gas station, a young gangster named Iosef Tarasov (Alfie Allen) sees John and Daisy in John's vintage 1969 Ford Mustang Mach 1.  Later, Iosef and two of his henchman break into John's home, beats him unconscious, and kills Daisy, before stealing the Mach 1.  Now, John Wick the boogeyman is back, determined to kill Iosef.  The problem is that the young hood is the son of Viggo Tarasov (Michael Nyqvist), the head of the Russian crime syndicate in New York City, a syndicate that John Wick himself helped the elder Tarasov establish.

I have been a fan of Keanu Reeves since I first encountered him the 1980s in film like Dangerous Liaisons (1988) and River's Edge (1986), although I am not a fan of his popular 80s film, Bill & Ted's Excellent Adventure (1989).  I have never thought of Reeves as a great or even good actor; he is either way too stiff or too wooden as a performer.  Still, I enjoyed him in films like the original Point Break (1991) and in The Matrix films.  Reeves' star has dimmed in recent years, and he has said that he no longer gets offered the kind of projects an A-list white male actor would.

When I first saw a television commercial for John Wick, I knew that I would like the film.  However, I never got around to seeing it until early last year when I caught it on one of the premium cable movie channels.  I could not believe how good I thought it was (and I still can't).  Because of the release of the sequel (John Wick: Chapter 2), I decided to watch the first film again.

John Wick is simply a flashy, visually cool shoot-em-up movie with some good set pieces from the hit man movie wheelhouse.  This film, however, works because of Keanu Reeves.  I honestly believe that very few other actors could have made this movie memorable.  Without Keanu, John Wick would have probably ended being straight-to-DVD or VOD (video-on-demand).

If you like Keanu Reeves, you will want to see this, and you will probably want to see it a second time.  It's the magic of Keanu Reeves.  What more can I say?  That magic must have worked on a lot of movie fans because Jack Wick did get a sequel.

6 of 10
B

Sunday, March 12, 2017


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Review: "You're Next" is Shocking and Shockingly Good

TRASH IN MY EYE No. 4 (of 2015) by Leroy Douresseaux

You're Next (2011)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – R for strong bloody violence, language and some sexuality/nudity
EDITOR/DIRECTOR:  Adam Wingard    
WRITERS:  Simon Barrett
PRODUCERS:  Simon Barrett, Keith Calder, Kim Sherman, and Jessica Wu
CINEMATOGRAPHER:  Andrew D. Palermo (D.o.P.)
COMPOSERS:  Mads Heldtberg, Jasper Justice Lee, and Kyle McKinnon

HORROR/THRILLER/CRIME

Starring:  Sharni Vinson, Nicholas Tucci, Wendy Glenn, AJ Bowen, Joe Swanberg, Sarah Myers, Amy Seimetz, Ti West, Rob Moran, Barbara Crampton, L.C. Holt, Simon Barrett, and Lane Hughes

You're Next is a 2011 crime thriller and horror film from director Adam Wingard.  The film debuted at the Toronto International Film Festival in 2011, but did not receive a wide theatrical release until 2013.  You're Next focuses on a family reunion that comes under assault by a gang of masked intruders that attacks family members until someone starts fighting back.

You're Next takes place in a secluded wooded area that might be located in Missouri.  At a large, rustic estate on 5 Edelweiss Drive, Aubrey (Barbara Crampton) and Paul (Rob Moran) gather their four children (three sons and a daughter) for a wedding anniversary party.  Shy Erin (Sharni Vinson) accompanies her boyfriend, Crispian (AJ Bowen), to the reunion.  Also, present are Crispian's brothers, Drake (Joe Swanberg), with his wife, Kelly (Sarah Myers); and Felix (Nicholas Tucci) with his girlfriend, Zee (Wendy Glenn).  Also present is Crispian's sister, Aimee (Amy Seimetz), and her boyfriend, Tariq (Ti West).

That evening, everyone gathers around a large table for a meal.  During a family argument, mainly caused by Crispian and Drake, one of the guests is shockingly murdered.  Soon, the family (whose last name may be “Davison,” although it is not used in the film) is under attack by a unknown number of mysterious killers.  As family and friends die or are gravely wounded, we discover that one of the victims has a secret talent for fighting back and for surviving.

You're Next is like an action movie version of the 2008 film, The Strangers, but even better.  Cast and crew come together and deliver a fan-freaking-tastic film that looks bigger than its paltry budget of one million dollars.  There are thrillers that cost 50 to 100 times more than this “little” film that do not deliver the heart-stopping scares and riveting, hair-trigger drama that You're Next does.  I don't like You're Next.  I frickin' love You're Next.  Encore!  Encore!

I won't spoil it, but the actor that plays the character that fights back delivers a star-making performance.  Director Adam Wingard impresses with his editing work on this film more than he does with his directing, which is also quite good.  Wingard's work here suggests the Coen Bros., with a touch of David Fincher.  Some might describe Simon Barrett's screenplay as implausible, but my cynical worldview considers this Hitchcockian fable damn near a documentary.

If you want thrills, chills, and scares, do yourself a favor and see one of the best horror movies of the decade, You're Next.

9 of 10
A+

Friday, January 2, 2015


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Review: Woodley Carries "Divergent" to Victory (Shailene Film Fest)

TRASH IN MY EYE No. 53 (of 2014) by Leroy Douresseaux

Divergent (2014)
Running time:  139 minutes (2 hours, 19 minutes)
MPAA – PG-13 for intense violence and action, thematic elements and some sensuality
DIRECTOR:  Neil Burger
WRITERS:  Evan Daugherty and Vanessa Taylor (based on the novel by Veronica Roth)
PRODUCERS:  Lucy Fisher, Pouya Shahbazian, and Douglas Wick
CINEMATOGRAPHER:  Alwin H. Küchler (D.o.P.)
EDITORS:  Richard Francis-Bruce and Nancy Richardson
COMPOSER:  Junkie XL

SCI-FI/DRAMA/THRILLER

Starring:  Shailene Woodley, Theo James, Ashley Judd, Jai Courtney, Ray Stevenson, Zoe Kravitz, Miles Teller, Tony Goldwyn, Ansel Elgort, Maggie Q, Mekhi Phifer, Kate Winslet, Ben Lloyd-Hughes, Christian Madsen, Amy Newbold, and Ben Lamb

Divergent is a 2014 science fiction drama from director Neil Burger.  The film is based on the 2011 novel, Divergent, by author Veronica Roth.  Divergent the film is set in a world divided by factions and focuses on a teen girl who does not really fit in with any one faction.

Divergent is set in an indeterminate future and a dystopian Chicago that is a walled city.  There, society is divided into five factions:  Abnegation (the selfless), Amity (the peaceful), Candor (the honest), Dauntless (the brave), and Erudite (the intelligent).  There is also a sixth group, the “Factionless,” in which the members are homeless and shunned by everyone except Abnegation.

Beatrice Prior (Shailene Woodley) belongs to Abnegation with her mother, Natalie (Ashley Judd); father, Andrew (Tony Goldwyn); and brother, Caleb ( Ansel Elgort).  On her sixteenth birthday, Beatrice will take an aptitude test that is supposed to decide in which faction she would best fit.  She will also learn of a plot to destroy Divergents, people who think independently and do not really fit into any particular faction.  To which faction does Beatrice belong?  Or is she Divergent?

If honesty is the best policy (and often it is), then, I must be honest about my feelings concerning Divergent.  I love it – totally love it.  I enjoyed the hell out of this movie.  There, are two things about Divergent that stand out to me:  (1) the story's themes and messages and (2) Shailene Woodley's performance.

I think that Divergent the film is not literal dystopian science fiction so much as it is metaphorical and thematic.  It is not important that Chicago is a post-apocalyptic city full of survivors trying to both eek out a living and to maintain a social order that is supposed to... well, maintain social order.  In the film, Chicago is important as a setting where creeping individualism meets growing spots of selflessness.  Beatrice wants not only to be “herself,” but to also fit in where she wants.  Being an individual means being able to help people outside of one's caste, even if one's caste-mates frown upon that.  Divergent's story, as I see it, says that the individual and the society are not mutually exclusive.  In fact, the reign of one over the other means disaster for everyone.

As for Ms. Woodley's performance, she does what the best actors do with a character – bring them fully to life.  She makes Beatrice's wants and desires, conflicts and confusion, and her goals and struggles tangible, as if they belong to an actual living person.  When an actor can do this, she makes the audience buy into the character, as if the character were a real person.  I can see why people compare Woodley to fellow millennial actress, Jennifer Lawrence, but they are different from each other.  Lawrence's characters tend to be brash and bold, even when they are vulnerable.  Shailene Woodley is vulnerable and brash and brave in equal measures and at the same time.

Theo James, as the love-interest, Four, is good.  Perhaps, director Neil Burger makes him scowl more than he needs to do for this young male character who must be upfront and hidden.  James, however, has a screen quality that at least serves this film well.

In some ways, Divergent is predictable and follows the hero vs. the system journey so common in films adapted from Young Adult (YA) dystopian science fiction and fantasy books.  However, Divergent is not generic because of Woodley, by both her performance and her engaging screen presence.  She grabbed me and forced me to live in Beatrice's world.  I am glad that this film's box office success has yielded a sequel.

8 of 10
A

Friday, November 14, 2014


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Review: "The Legend of Hercules" is Tolerable

TRASH IN MY EYE No. 23 (of 2014) by Leroy Douresseaux

The Legend of Hercules (2014)
Running time:  99 minutes (1 hour, 39 minutes)
MPAA – PG-13 sequences of intense combat action and violence, and for some sensuality
DIRECTOR:  Renny Harlin
WRITERS:  Sean Hood and Daniel Giat
PRODUCERS:  Boaz Davidson, Renny Harlin, Danny Lerner, and Les Weldon
CINEMATOGRAPHER:  Sam McCurdy
EDITOR:  Vincent Tabaillon
COMPOSER:  Tuomas Kantelinen

FANTASY/ACTION

Starring:  Kellan Lutz, Gaia Weiss, Scott Adkins, Roxanne McKee, Liam Garrigan, Liam McIntyre, Rade Serbedzija, and Johnathon Schaech

The Legend of Hercules is a 2014 action-fantasy film from director Renny Harlin.  This movie is based on mythical Greek hero, Hercules.  It offers a new origin story of Hercules and finds him learning to embrace his destiny, as he fights a brutal king.  Although they do not receive credit on screen, director Renny Harlin and Giulio Steve apparently co-wrote the screenplay for The Legend of Hercules, along with credited writers, Sean Hood and Daniel Giat.

The Legend of Hercules opens in 1220 B.C. in the nation of Argos in Southern Greece.  King Amphitryon of Tiryns (Scott Adkins) leads his army in a bid to conquer Argos and to defeat its king, Galenus.  Queen Alcmene of Tiryns (Roxanne McKee), disgusted by her husband’s warmongering, begs the gods for guidance.  The goddess Hera sends a message that Alcmene will give birth to the son of the god, Zeus, and that this son will be the savior of her people.

Alcmene gives birth to a child that Amphitryon names Alcides, but that the Queen names Hercules.  Hercules (Kellan Lutz) grows into a strong young man, and he falls in love with Hebe (Gaia Weiss), daughter of the King of Crete.  That love turns Hercules into an exile.  Now, the half-human and half-god young hero must use his formidable power to fight his way back to Tiryns in order to save Hebe and his kingdom.

Hmm… What to say?  I did enjoy some of The Legend of Hercules, but the best word to describe it is “mediocre.”  It is one of those sword-and-sandal movies (like the 2004 film, Troy) that would work better as a sword-and-sorcery film (the Conan movies).  Like 2004’s Troy, The Legend of Hercules drains the myth of its magic (although not quite as much or as badly as Troy did), and the movie clearly suffers for it.

The acting is bad.  Kellan Lutz, best known for his role in the Twilight film franchise, is pretty bad here.  He looks like someone took one of those overly muscular G.I. Joe dolls and gave it action figure steroids.  I swear you can see the stretch marks on Lutz’s bulging muscles, as if his workouts have tortured his skin.  The poor acting exception is Liam McIntyre; as Hercules’ cohort, Captain Sotiris, McIntyre gives a performance that is good enough to make it stand out from the rest of cast, which seems to sleepwalk or shuffle through this film.  [Well, Scott Adkins eagerly throws himself into overacting as King Amphitryon.]

So if you want to watch action-fantasy with sword-fighting, battles, and Greek heroes, The Legend of Hercules will do.  At least, it is not puffed up with pomposity, superiority, and pride like Warner Bros. 300 film franchise.

4 of 10
C

Friday, May 09, 2014


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Review: "Escape Plan" Almost Old-Timey

TRASH IN MY EYE No. 13 (of 2014) by Leroy Douresseaux

Escape Plan (2013)
Running time:  115 minutes (1 hour, 55 minutes)
MPAA – R for violence and language throughout
DIRECTOR:  Mikael Håfström
WRITERS:  Miles Chapman and Jason Keller; from a story by Miles Chapman
PRODUCERS:  Robbie Brenner, Mark Canton, Remington Chase, Randall Emmett, and Kevin King-Templeton
CINEMATOGRAPHER:  Brendan Galvin (D.o.P.)
EDITOR:  Elliot Greenberg
COMPOSER:  Alex Heffes

ACTION

Starring:  Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel, Faran Tahir, Amy Ryan, Sam Neill, Vincent D’Onofrio, Vinnie Jones, Matt Gerald, Caitriona Balfe, Alec Rayme, and Curtis “50 Cent” Jackson

Escape Plan is a 2013 action movie from director Mikael Håfström.  The film stars Sylvester Stallone and Arnold Schwarzenegger in a tale about a structural-security engineer incarcerated in the world’s most secret and secure prison and the escape plan he concocts with a fellow inmate.

Escape Plan opens in Bendwater Federal Penitentiary and introduces Ray Breslin (Sylvester Stallone).  Breslin seems to be prisoner, but actually, he specializes in breaking out of maximum security prisons in order to test their reliability.  With his partner, Lester Clark (Vincent D’Onofrio), Breslin owns the Los Angeles-based, independent security company, B&C Security, where Breslin studies, researches, and writes about prisons.

Breslin and Clark’s latest client is CIA Agent Jessica Mayer (Caitriona Balfe).  Mayer offers Breslin double his free to break out of the International Detainee Unit, a top-secret prison where the world’s most dangerous criminals and terrorists are held, in order to see if it is really escape-proof.  Breslin takes the identity of a Spanish terrorist named “Anthony Portos,” and prepares to be taken into custody.

The plan goes awry, and Breslin awakens in a glass cell located in a complex full of glass cells.  Warden Willard Hobbes (Jim Caviezel) seems delighted to have “Portos” in his prison.  Fellow inmate, Emil Rottmayer (Arnold Schwarzenegger), seems too eager to get to know him.  Now, Breslin must use all his skills to escape, but this prison seems designed to foil his every move.

If you have to see an action movie, Escape Plan will do.  The first half of the film is a nearly unwatchable bore, but the second half of the film is entertaining.  The plot is stretched past the point of credulity in order for the resolution to make sense.

Escape Plan is a pale imitation of Sylvester Stallone and Arnold Schwarzenegger’s 1980s mindless flicks.  From the mid-1980s to the early 1990s, Escape Plan would have been considered a cutting edge techno-thriller; now it’s a shame to see two such venerable stars in such a movie.  Actually, it would make sense for this to be a modern Steven Seagal or even a Jean-Claude Van Damme straight-to-DVD movie.  I must note that Schwarzenegger still looks good, but Stallone’s face is a post-op, plastic surgery wreck.

On the other hand, these two old action movie dogs can still deliver some of what we expect of them.  Escape Plan gives plenty of Stallone brawling, and, in the movie’s last act, we get Schwarzenegger in a classic pose as he fires an automatic weapon, in a way that references him in The Terminator franchise.  I did not ask much of this movie, and thanks to a clunky, listless first half, I almost did get what little I expected.  I will say this:  Escape Plan actually could have been better, so I would like to see Stallone and Schwarzenegger team-up again.

4 of 10
C

Thursday, March 20, 2014


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Review: "Red 2" Not Quite as Fresh as "Red"

TRASH IN MY EYE No. 84 (of 2013) by Leroy Douresseaux

Red 2 (2013)
Running time:  116 minutes (1 hour, 56 minutes)
MPAA – PG-13 for pervasive action and violence including frenetic gunplay, and for some language and drug material
DIRECTOR:  Dean Parisot
WRITERS:  Jon Hoeber and Erich Hoeber (based on characters created by Warren Ellis and Cully Hamner)
PRODUCERS:  Lorenzo di Bonaventura and Mark Vahradian
CINEMATOGRAPHER:  Enrique Chediak (D.o.P.)
EDITOR:  Don Zimmerman
COMPOSER:  Alan Silvestri

ACTION/COMEDY with elements of drama and romance

Starring:  Bruce Willis, Mary-Louise Parker, John Malkovich, Helen Mirren, Anthony Hopkins, Byung-hun Lee, Catherine Zeta-Jones, Neal McDonough, David Thewlis, Tim Pigott-Smith, and Brian Cox

Red 2 is a 2013 action comedy from director Dean Parisot.  The film is a sequel to the 2010 film, Red.  Red 2 is inspired by Red, the comic book miniseries by Warren Ellis and Cully Hammer that was the basis for the first film.  Red 2 stars Bruce Willis as a retired CIA agent who joins his unique friends to find a long-missing nuclear weapon.

As Red 2 begins, retired CIA operative, Frank Moses (Bruce Willis), is enjoying domestic bliss with his girlfriend, Sarah Ross (Mary-Louise Parker).  His old friend and former operative, Marvin Boggs (John Malkovich), warns Frank that people are still after them.  In fact, a group of government agents approach Frank, claiming that they must interrogate him because he is R.E.D. (retired, extremely dangerous).

After Jack Horton (Neal McDonough), another government agent, tries to kill him, Marvin tells Frank that they are being tracked because of their knowledge of an old secret operation called, “Project Nightshade.”  Reluctantly, Frank reunites his unlikely team of elite operatives to solve the mystery of Nightshade, but he discovers that Sarah insists on being part of the team and she also wants her own gun.

Red 2 is fun to watch, but it lacks the sparkle that Red had as something new and different.  Red 2 is best when it focuses on the trio of Frank, Sarah, and Marvin.  Victoria Winslow (Helen Mirren) returns, but the character seems tacked on, at least until the last act when she really becomes useful.  The new characters are a mixed bag.  They have their good moments, but most of the time they come across as nothing more than as an excuse to cast movie stars in flashy small roles.  No-name actors could have done as good if not better than Anthony Hopkins and Catherine Zeta-Jones did in vacuous supporting roles.  I bet creating the character, Han Cho Bai, and casting Byung-hun Lee was nothing more than an attempt by this film’s producers to pander to the audience in the expanding East Asian market for American films.

Another thing that hampers this new film is all that globe-trotting the character do.  Red offered a jaunt across the landscape of American secret agent men and women.  Red 2 bops around Europe like a clumsy comic take on a Jason Bourne movie.

That said, I got a kick out of every scene that focused on the team of Frank, Sarah, and Marvin.  I give Red 2 a grade of “B” because of this threesome.  A “Red 3” would do well to focus on what I call the “Red trio.”

6 of 10
B

Tuesday, December 31, 2013


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Review: "Snitch" Tattles on America's Drug War

TRASH IN MY EYE No. 47 (of 2013) by Leroy Douresseaux


Snitch (2013)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – PG-13 for drug content and sequences of violence
DIRECTOR: Ric Roman Waugh
WRITERS: Justin Haythe and Ric Roman Waugh
PRODUCERS: Tobin Armbrust, Alexander Yves Brunner, Guy East, David Fanning, Dany Garcia, Matt Jackson, Dwayne Johnson, Jonathan King, and Nigel Sinclair
CINEMATOGRAPHER: Dana Gonzales (D.o.P.)
EDITOR: Jonathan Chibnall
COMPOSER: Antonio Pinto

DRAMA/CRIME with elements of a thriller

Starring: Dwayne Johnson, Barry Pepper, Jon Bernthal, Susan Sarandon, Michael K. Williams, Rafi Gavron, Melina Kanakaredes, Nadine Velazquez, Benjamin Bratt, Lela Loren, JD Pardo, David Harbour, and Harold Perrineau

Snitch is a 2013 crime drama from director Ric Roman Waugh. The film is inspired by Snitch, an episode of the PBS documentary series, “Frontline” (Season 17, 1999). Snitch the movie stars Dwayne Johnson as a father who goes undercover as a drug dealer in order to free his son who was arrested in a drug sting.

Snitch focuses on John Matthews (Dwayne Johnson), who owns a construction company. He receives a phone call from his ex-wife, Sylvie Collins (Melina Kanakaredes), that their son, Jason Collins (Rafi Gavron), has been arrested and charged with distribution of narcotics. The local U.S. Attorney, Joanne Keeghan (Susan Sarandon), tells John and Sylvie that Jason is facing a federal mandatory minimum sentence of 10 years in jail.

In a bid to get Jason’s sentence reduced, John plans to inform on a drug dealer. He asks one of his new employees, Daniel James (Jon Bernthal), who served time in prison for drug distribution, to help him make a connection with a drug dealer. Reluctantly, but in need of the money John offers, Daniel introduces John to Malik (Michael K. Williams), a very dangerous, high-ranking local drug dealer. John’s simple plan turns very complicated when he draws the attention of a drug cartel kingpin, Juan Carlos Pintera a.k.a. “El Topo.”

Because Participant Media is one of the studios behind Snitch, the film has a social and political message, that being the futility of the United States’ “war on drugs.” There is also the need to make an action movie of Snitch, or at least have some action in the form of gunfights and car chases. Thus, Snitch ends up being somewhat muddled; it is part drama, but struggles to also be a message movie and an action film. The film has a slightly awkward pace and a jittery feel, as if the story just needed to start running – to who knows where.

With that said, Snitch is an enjoyable movie. The action is good, and the way the messaging is presented is certainly attention-grabbing. Director and co-writer Ric Roman Waugh makes sure his audience feels his film’s overwhelming theme of injustice. Waugh certainly plays up the notion of “policemen and thieves” as causing confusion and commotion for the people caught in the middle of their dangerous games.

Dwayne Johnson gives a performance that is so intense that he often comes across as stiff – sincere but stiff. Still, you know… he’s a movie star, mesmerizing and alluring, so I overlook the blemishes. Barry Pepper gives one of his best performances ever as Agent Cooper (of the DEA, although this is never made clear in the movie). Benjamin Bratt is like lightning in a bottle when he first appears in what is a small, but pivotal role. As far as I’m concerned, we don’t see Bratt enough.

Although it could have been much better, Snitch is a quality film that is worth seeing. Just because it does present a powerful and compelling portrait of America’s futile drug war makes it worthwhile. Plus, the DVD has a funny and satirical faux-advertisement about going to prison for selling drugs.

6 of 10
B

Wednesday, July 03, 2013

Review: "Sinister" is Indeed Sinister

TRASH IN MY EYE No. 16 (of 2013) by Leroy Douresseaux


Sinister (2012)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for disturbing violent images and some terror
DIRECTOR: Scott Derrickson
WRITERS: Scott Derrickson and C. Robert Cargill
PRODUCERS: Jason Blum and Brian Kavanaugh-Jones
CINEMATOGRAPHER: Christopher Norr (D.o.P.)
EDITOR: Frédéric Thoraval
COMPOSER: Christopher Young

HORROR/MYSTERY/THRILLER

Starring: Ethan Hawke, Juliet Rylance, Fred Dalton Thompson, James Ransone, Michael Hall D’Addario, Clare Foley, and Nick King with Vincent D’Onofrio (no screen credit)

Sinister is a 2012 supernatural horror film and mystery thriller from director Scott Derrickson. Starring Ethan Hawke, the film focuses on a true-crime writer who finds a cache of 8mm "snuff" films in his new home and then begins an investigation of what seems like the work of a serial killer.

Ellison Oswalt (Ethan Hawke) is a washed up true-crime novelist whose last hit was a decade ago, a controversial book called Kentucky Blood. He is desperate to find a murder case that he can turn into another hit true-crime novel. Ellison moves his family into a Pennsylvania house where the previous family was found murdered. Four of the family members were hanging from a tree, while a fifth member, a daughter, was missing.

Oddly, Ellison does not tell his wife, Tracy (Juliet Rylance), about the house’s terrible history, and the family never really settles into their new home. Their son, Trevor (Michael Hall D’Addario), starts having the worst night terrors he’s ever had, and their daughter, Ashley (Clare Foley), is painting bizarre pictures on the walls.

Ellison finds a box containing some reels of Super 8 film and a projector. This discovery leads him to begin researching a serial killer whose career dates back to the 1960s. As Ellison tries to solve this mystery, a sinister force threatens him and his family.

Watching Sinister, I was reminded of how important sound effects and music are to horror films, thrillers, and other scary movies. There are indeed some creepy visuals and ideas in Sinister, but sound is what makes this movie really work the scares. Creaking noises in the house, footsteps in the night, gusts of wind, and everything that seems determined to go bump in the night, especially when someone is alone. The excellent sound effects in this movie had me watching the film in what was almost like a fetal position. And the music: it won’t make you shake your ass, but it’ll have you quaking in your boots.

I don’t want to spoil too much for potential viewers, but I must complain about the villain. He was less supernatural disturbing and more low-rent death metal scary. Sinister’s ending is a bit of a letdown, compared to the sheer frightener that the rest of this flick is.

Ethan Hawke carries this movie because the story is largely centered on Ellison Oswalt (a moniker that apparently blends the names of writer Harlan Ellison and actor/comedian Patton Oswalt). It’s a good performance with depth. Horror movie require that the viewer suspend disbelief, but this film explains why someone would do stupid things when faced with the supernatural. Ellison Oswalt is obsessed with writing a book, and his obsession makes his already self-centered nature even worse, to the point that he makes nothing but bad decisions. Hawke’s performance conveys this.

I did also like James Ransone as the sadly under-utilized character, Detective So-and-So. Once again, I want to do something I generally avoid. I want to heartily recommend Sinister. Even with its ending, it’s one of the best horror movies of the year 2012.

7 of 10
A-

Sunday, March 03, 2013

2013 "Scripter Award" Nominations Announced

USC Libraries Name Finalists for 25th-Annual Scripter Award

Tie results in six sets of writers and screenwriters earning nominations

LOS ANGELES--(BUSINESS WIRE)--The USC Libraries have named the authors and screenwriters of Argo, Beasts of the Southern Wild, Life of Pi, Lincoln, Perks of Being a Wallflower and Silver Linings Playbook as finalists for the 25th-annual USC Libraries Scripter Award. A tie resulted in six sets of finalists for the 2013 honor, rather than the typical five.

The finalists are, in alphabetical order by film title:

•Joshuah Bearman, author of the article “The Great Escape,” Antonio J. Mendez, author of The Master of Disguise, and screenwriter Chris Terrio, for Argo

•For Beasts of the Southern Wild, dramatist Lucy Alibar, who wrote the play Juicy and Delicious, and screenwriter Benh Zeitlin, who co-wrote the screenplay with Alibar

•Novelist Yann Martel and screenwriter David Magee for Life of Pi

•Doris Kearns Goodwin, author of Team of Rivals: The Political Genius of Abraham Lincoln, and screenwriter Tony Kushner for Lincoln

•Stephen Chbosky, author of the novel Perks of Being a Wallflower, as well as the screenplay based upon the book

•For Silver Linings Playbook, author Matthew Quick and screenwriter David O. Russell

The Scripter Award honors the screenwriter or screenwriters of the year’s most accomplished cinematic adaptation as well as the author of the written work upon which the screenplay is based. The Friends of the USC Libraries established Scripter in 1988, presenting the inaugural awards to author Helene Hanff and screenwriter Hugh Whitemore for 84 Charing Cross Road. This year marks the award’s 25th anniversary.

Other previous Scripter winners include the screenwriters and authors of The Descendants, The Social Network, Schindler’s List and L.A. Confidential.

Co-chaired by Golden Globe-winning screenwriter Naomi Foner and USC professor and vice president of the Writers Guild of America, West, Howard Rodman, the 2013 Scripter selection committee selected the six finalists from a field of 82 eligible adaptations.

Serving on the selection committee, among many others, are film critics Leonard Maltin and Kenneth Turan; authors Michael Chabon, Kaui Hart Hemmings and Jonathan Lethem; screenwriters Geoffrey Fletcher, Gale Ann Hurd and Lawrence Kasdan; and USC deans Elizabeth Daley of the School of Cinematic Arts, Madeline Puzo of the School of Dramatic Arts and Catherine Quinlan of the USC Libraries.

The studios distributing the finalist films and the publishers of the original stories are:

•Argo—Warner Bros., Wired for Bearman’s article, and Penguin for Mendez’s book

•Beasts of the Southern Wild—Fox Searchlight and Diversion Books, publisher of the play Juicy and Delicious, upon which Beasts of the Southern Wild is based

•Life of Pi—20th Century Fox and Mariner Books

•Lincoln—DreamWorks and Mariner Books

•Perks of Being a Wallflower—Summit Entertainment and MTV Books

•Silver Linings Playbook—Weinstein Company and Sara Crichton Books

The USC Libraries will announce the winning authors and screenwriters at a black-tie ceremony on Saturday, Feb. 9, 2013 in the historic Edward L. Doheny Jr. Memorial Library on the University Park campus of the University of Southern California. Academy Award winners Helen Mirren and Taylor Hackford are serving as honorary dinner chairs.

Brokeback Mountain screenwriters Larry McMurtry and Diana Ossana will attend the ceremony to receive the previously announced Literary Achievement Award.

Current silent auction donors and other sponsors include Bennett Farms, the Cosmopolitan of Las Vegas, Hawaii Five-0 and Eye Productions, Hungry Cat Santa Monica, L.A. Saddlery, the Los Angeles Clippers, the Namale Resort & Spa in Fiji, Paperblanks, PGA Tour, Picca Peruvian Cantina, the NFL, Pizzeria Mozza, Pleasant Holidays, the Sundance Institute, Terranea Resort, Tony Robbins, Montage Beverly Hills, the Wine of the Month Club, the USC Roski School of Fine Arts, the USC Thornton School of Music and the Friends of the USC Libraries board of directors.

For more information about Scripter—including ticket availability, additional sponsorship opportunities, and an up-to-date list of sponsors—please email scripter@usc.edu or visit scripter.usc.edu.

Review: "Twilight: Breaking Dawn - Part 2" is a Wonderful Finale

TRASH IN MY EYE No. 89 (of 2012) by Leroy Douresseaux

The Twilight Saga: Breaking Dawn – Part 2 (2012)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – PG-13 for sequences of violence including disturbing images, some sensuality and partial nudity
DIRECTOR: Bill Condon
WRITER: Melissa Rosenberg (based upon the novel by Stephenie Meyer)
PRODUCERS: Wyck Godfrey, Karen Rosenfelt, and Stephenie Meyer
CINEMATOGRAPHER: Guillermo Navarro
EDITOR: Virginia Katz
COMPOSER: Carter Burwell

FANTASY/DRAMA/ROMANCE

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Peter Facinelli, Elizabeth Reaser Ashley Greene, Jackson Rathbone, Nikki Reed, Kellan Lutz, Mackenzie Foy, Julia Jones, Chaske Spencer, Alex Rice, Cameron Bright, and Maggie Grace, with Michael Sheen and Dakota Fanning

The Twilight Saga: Breaking Dawn – Part 2 is the fifth film in The Twilight Saga film franchise. Like the previous films: Twilight, The Twilight Saga: New Moon, The Twilight Saga: Eclipse, and Breaking Dawn – Part 1, Breaking Dawn – Part 2 is based upon the wildly popular Twilight book series by author, Stephenie Meyer. Each of the first three films is based upon one of the first three books in the series; however, the fourth book, Breaking Dawn, has been adapted into two movies.

The Twilight Saga: Breaking Dawn – Part 2 continues the love story a young human woman, Bella Swan (Kristen Stewart), and her vampire boyfriend, Edward Cullen (Robert Pattinson), who were married in the previous film. The story begins as Bella opens her eyes to find her senses sharpened. The transformation is complete; she is now a vampire. Still, all is not perfect.

Bella is shocked to learn that her recently born infant daughter has imprinted on her friend and former love interest, Native American werewolf, Jacob Black (Taylor Lautner). Bella must also find a way to explain her new situation to her worried father, Police Chief Charlie Swan (Billy Burke). Meanwhile, Bella and Edward’s daughter does not stay an orphan for long. Renesmee Cullen (Mackenzie Foy) is undergoing a tremendous growth spurt, which leads to a bigger problem. When a false allegation puts their family in front of the Volturi to likely face a death sentence, the Cullens gather other vampire clans and old allies in order to protect Renesmee.

I enjoyed Breaking Dawn – Part 1, but I found the film to be mostly joyless, even dour and morbid. Breaking Dawn – Part 2 is quite the opposite. It is joyful and celebratory. Like Renesmee, Breaking Dawn – Part 2 is fresh and new and curious about the world. It almost seems like a brand new thing, unconnected to the other films, although it is.

I think this is the result of having a director like Bill Condon, who is not just good with character drama. He is also a standout, and he did not get enough credit for what he did with Dreamgirls, getting so much more out of the material than it offered. Here, in his second Twilight movie, he gives all the supernatural characters mortality, not just Edward and Bella (who have seemed forever on the edge of demise in this series). Mortality for the immortals means that not only do their actions have real consequences, but also that those consequences can mean the end of them. When everyone has “skin in the game,” conflict is rich and complicated.

However, the sense of death does not dampen this movie’s themes of hope and happiness. Who knows how many days lie ahead for each character? There may be many days (or not), but they will be happy days, with family and friends. There will also be dark days, as in any human’s life. In fact, The Twilight Saga: Breaking Dawn – Part 2 is about loving family, close friends, and new friends and allies made.

For Twilight as a whole, the franchise gets something that escapes even the best franchises, a superior ending. Compared to The Dark Knight Rises, the end of Christopher Nolan’s so-called “The Dark Knight trilogy,” Breaking Dawn – Part 2 is Oscar-worthy.

8 of 10
A

Sunday, November 25, 2012

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Review: 2011 Version of "The Three Musketeers" is Silly, But Enjoyable Sci-Fi

TRASH IN MY EYE No. 26 (of 2012) by Leroy Douresseaux

The Three Musketeers (2011)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for sequences of adventure action violence
DIRECTOR: Paul W.S. Anderson
WRITER: Alex Litvak and Andrew Davies (based upon the novel by Alexandre Dumas père)
PRODUCERS: Paul W.S. Anderson, Jeremy Bolt, and Robert Kulzer
CINEMATOGRAPHER: Glen MacPherson
EDITOR: Alexander Berner
COMPOSER: Paul Haslinger

HISTORICAL/ACTION with elements of adventure, comedy and drama

Starring: Matthew Macfadyen, Milla Jovovich, Orlando Bloom, Christoph Waltz, Logan Lerman, Luke Evans, Ray Stevenson, Mads Mikkelson, Freddie Fox, Juno Temple, Gabriella Wilde, Carsten Norgaard, and James Corden

The subject of this review is The Three Musketeers, a 3D action/adventure film from director Paul W.S. Anderson, perhaps best known for his work on the Resident Evil film franchise. Like all the other Musketeer films, this 2011 version is based upon Alexandre Dumas père’s 1844 novel, The Three Musketeers, but this new movie re-imagines and reworks the story by adding in science fiction and fantasy elements.

The 2011 film is much like the 1993 Walt Disney version (with Charlie Sheen and Kiefer Sutherland). Both are rollicking action films that are light and fluffy fare, although neither film is well-acted. Like the 1993 movie, the 2011 movie is fast, loose, and fun.

The Three Musketeers 2011 opens in Venice, Italy at the beginning of the 17th Century. The Three Musketeers: Athos (Matthew Macfadyen), Porthos (Ray Stevenson), and Aramis (Luke Evans), and Athos’ longtime lover, Milady de Winter (Milla Jovovich), go treasure hunting. However, the Duke of Buckingham (Orlando Bloom) arrives to spoil the fun. One year later, the disgraced Musketeers are in a funk when they meet the spunky young d’Artagnan (Logan Lerman) who arrives in Paris with dreams of becoming one of the Musketeers, the King of France’s personal guards.

Soon, d’Artagnan is part of the Musketeers rivalry with Count Richelieu (Christoph Waltz), the chief advisor to King Louis XIII of France (Freddie Fox). In fact, Richelieu has hatched a plot against Queen Anne (Juno Temple), part of a larger plot against France. Queen Anne’s lady-in-waiting, Constance Bonacieux (Gabriella Wilde), implores d’Artagnan to help the young Queen, and soon the Three Musketeers plus one are fighting over land, over sea, and in the sky to save France.

The script for this version of The Three Musketeers has some good ideas, but Paul W.S. Anderson’s direction often fails the film. Quite a bit of the movie has an awkward feel, and some elements, from the actors to the technical aspects, move like big, clumsy animals. Anderson clearly wants to make a film that is sly, clever, and sarcastic, but sometimes it comes across as ill at ease and flat.

The acting is also awkward, as if the performers are either having trouble speaking the dialogue or are trying to be intentionally too clever or too glib. That also sometimes falls flat. However, there is a swashbuckling fun that is inherent in the Musketeers films that lifts any Musketeers film above its faults. So I am not bewildered that I enjoyed The Three Musketeers 2011, and that I even wish for a sequel, which is not likely to happen.

5 of 10
B-

Friday, March 30, 2012

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"The Twilight Saga: Breaking Dawn - Part 1" Actually Dark and Moody

TRASH IN MY EYE No. 99 (of 2011) by Leroy Douresseaux


The Twilight Saga: Breaking Dawn – Part 1 (2011)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – PG-13 for disturbing images, violence, sexuality/partial nudity and some thematic
DIRECTOR: Bill Condon
WRITER: Melissa Rosenberg (based upon the novel by Stephenie Meyer)
PRODUCERS: Wyck Godfrey, Karen Rosenfelt, and Stephenie Meyer
CINEMATOGRAPHER: Guillermo Navarro
EDITORS: Virginia Katz
COMPOSER: Carter Burwell

FANTASY/DRAMA/ROMANCE

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Ashley Greene, Jackson Rathbone, Nikki Reed, Kellan Lutz, Peter Facinelli, Elizabeth Reaser, Julia Jones, Chaske Spencer, Gil Birmingham, Boo Boo Stewart, and Michael Sheen

The Twilight Saga: Breaking Dawn – Part 1 is the fourth film in the Twilight Saga film franchise. Like the previous films: Twilight, The Twilight Saga: New Moon, and The Twilight Saga: Eclipse, Breaking Dawn – Part 1 is based upon the wildly popular Twilight book series by Stephenie Meyer. Each of the first three films is based upon one of the first three books in the series; however, the fourth book, Breaking Dawn, is being adapted into two movies.

Breaking Dawn – Part 1 continues the love story a young human woman, Bella Swan (Kristen Stewart), and her vampire boyfriend, Edward Cullen (Robert Pattinson), as the two join hands in marriage. Not everyone is happy about the nuptials, especially Bella’s friend, the Native American werewolf, Jacob Black (Taylor Lautner). Jacob vehemently objects to Edward’s honeymoon plans for the couple, as he believes what Edward plans could kill Bella. The couple honeymoon on the private island of Isle Esme in Brazil, but Bella makes a shocking discovery that puts a strain on her relationship with Edward. That discovery also threatens the Cullens’ treaty with Jacob’s tribe and Bella’s very life.

Although I enjoyed it, I don’t have as much to say about The Twilight Saga: Breaking Dawn – Part 1 as I had about the previous movies. Most of this film is joyless, but it isn’t slow. The story deals with the darker side of romance and family; even the wedding is filled with omens and portents. This is a jarring difference from the rest of the series, which depicted young love growing stronger and more confident. I would be lying if I did not admit that I wanted more of that. There were times in this movie that I was begging for the unhappiness to hurry up and end.

For those hungry for more vampire vs. werewolf action, that dominates the second half of the Breaking Dawn – Part 1. This physical, tribal, racial conflict offers an energetic anecdote to the gloomy Gus that is most of this film. Also of note: I don’t know if it was because of the theatre in which I saw Breaking Dawn – Part 1, but there were times in the film that the musical score was so loud that I could not hear the dialogue.

Anyway, The Twilight Saga: Eclipse, Breaking Dawn – Part 1 is, thus far, the least of the series, but it is not at all a bad movie. It tells a good story, but it does come across as weird (even weirder than vampire stories normally are) and wonky.

6 of 10
B

Sunday, November 27, 2011

Review: "Fair Game" Got Game... Sorta

TRASH IN MY EYE No. 31 (of 2011) by Leroy Douresseaux

Fair Game (2010)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – PG-13 for some language
DIRECTOR: Doug Liman
WRITERS: Jez Butterworth and John-Henry Butterworth (based on the books The Politics of Truth by Joseph Wilson and Fair Game by Valerie Plame)
PRODUCERS: William Pohlad, Janet Zucker, Jerry Zucker, Jez Butterworth, Akiva Goldsman, and Doug Liman
CINEMATOGRAPHERS: Doug Liman (D.o.P.) and Robert Baumgartner
EDITOR: Christopher Tellefsen

DRAMA with elements of a thriller

Starring: Naomi Watts, Sean Penn, Ashley Gerasimovich, Quinn Broggy, David Andrews, Adam LeFevre, Bruce McGill, Ty Burrell, and Sam Shepard

Valerie Plame Wilson and her husband Ambassador Joseph C. Wilson are real people. About four months after the beginning of the Iraq War, Wilson wrote an op-ed piece for The New York Times entitled, “What I Didn’t Find in Africa,” which disputed claims President George W. Bush made during the run up to the invasion of Iraq.

In retaliation, operatives within the Bush administration leaked sensitive information to Bush-friendly press toadies. This sensitive information was the disclosure of Valerie Plame’s identity as a United States CIA Operations Officer. This revelation and the subsequent scandal the revelation caused came to be known as “Plamegate” or “the Valerie Plame Affair.” Eventually, the Wilsons would detail their ordeal and experiences in two books, Valerie Plame’s Fair Game: My Life as a Spy, My Betrayal by the White House and Joseph Wilson’s The Politics of Truth: Inside the Lies that Led to War and Betrayed My Wife's CIA Identity: A Diplomat's Memoir.

The 2010 film, Fair Game, directed by Doug Liman (The Bourne Identity), is a fictional account of the “Plame affair.” The film’s screenplay is based on both Wilson and Plame’s books.

As the movie begins, Valerie Plame (Naomi Watts) travels around the world for the CIA, pursing nuclear nonproliferation – stopping the spread of nuclear weapons and the material and technology used to make them. Soon, her work gets caught up in the White House’s need to prove that President of Iraq Sadam Hussein is pursuing the creation of WMDs (weapons of mass destruction). After the United States leads an invasion of Iraq, Plame’s husband, Ambassador Joseph Wilson (Sean Penn), writes an op-ed column for the New York Times, in which he accuses the administration of President George W. Bush of misleading the public to justify invading Iraq. In retaliation, figures inside the administration leak Plame’s status as an agency operative for the CIA. Now, not only is Plame’s career in jeopardy, but also the safety of her family and her marriage to Wilson.

Fair Game seems to want to be either a human drama or a political suspense thriller or both. It is muddled, sometimes being a character drama inside a political thriller and other times being a thriller inside drama. It also has elements of a war movie and of a political melodrama. The narrative struggles to balance a desire to be a fact-based biopic (because this film is about real people and is based on very recent events) and the need to be a taut political thriller, because of box office considerations. Fair Game ends up being all over the place.

This movie is not bad. Actually, some of it is good (Naomi Watts), and some of it is average (Sean Penn’s performance) to a little above average (the last half hour of the movie). Fair Game is not standout material, and if the “Plame affair” is going to be a movie, then that movie needs to be standout – in my (not really) humble opinion. Fair Game is ordinary rather than prominent, but it has its moments.

5 of 10
B-

Sunday, April 10, 2011

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"Red" is Riotous, Entertaining and Damn-good

TRASH IN MY EYE No. 100 (of 2010) by Leroy Douresseaux

Red (2010)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for intense sequences of action violence and brief strong language
DIRECTOR: Robert Schwentke
WRITERS: Jon Hoeber and Erich Hoeber (based upon the graphic novel by Warren Ellis and Cully Hamner)
PRODUCERS: Lorenzo di Bonaventura and Mark Vahradian
CINEMATOGRAPHER: Florian Ballhaus
EDITOR: Thom Noble

ACTION/COMEDY with elements of drama and romance

Starring: Bruce Willis, Morgan Freeman, Mary-Louise Parker, John Malkovich, Helen Mirren, Karl Urban, Brian Cox, Richard Dreyfuss, Rebecca Pidgeon, Julian McMahon, Jacqueline Fleming, James Remar, and Ernest Borgnine

Bruce Willis is one of the world’s biggest movie stars of the last quarter century. Perhaps, that status makes people forget that not only is Willis a great action movie star, but he is also a fine actor, also comfortable with character drama and comedy. At least, I think so. In his recent, Fall-released action comedy, Red (based upon the comic book miniseries of the same name by Warren Ellis and Cully Hammer), Willis shows all his sides – subtle drama, deadpan humor, and action flick stud.

Red focuses on Frank Moses (Bruce Willis), a former black-ops CIA agent living a quite, idyllic life of retirement in the suburbs. When he feels lonely, he chats with Sarah Ross (Mary-Louise Parker), a customer service agent at the office that sends out Frank’s pension checks. When an assassin squad comes gunning for him, however, Frank is forced to go on the run, with Sarah in tow. Frank is RED – retired, extremely dangerous, and someone powerful wants him dead. Frank needs answers.

To survive, Frank tracks down members of his old black-ops squad. There is his old mentor, Joe Matheson (Morgan Freeman), living in a retirement home in New Orleans, someone who can give Frank information. Marvin Boggs (John Malkovich) is a paranoid conspiracy theorist, who can give him more information. Victoria (Helen Mirren), a wetwork agent (assassin), can give comfort and aid. Then, there is William Cooper (Karl Urban), who is the CIA agent assigned to hunt and kill Frank. Cooper is kind of like a younger version of Frank, and he won’t let anything stop him.

Red is one of those films that can be described as “a non-stop thrill ride,” which it is for the most part. The car chases, shootouts, fights, and other action scenes are quite good, and often funny, not because they are parody, but because the action always manages to embody the absurdity of this story.

The characters are okay, but the actors are the ones that make them better. Performers like Morgan Freeman, Helen Mirren, and John Malkovich are so good that they can both give life to flat characters and play up the comic aspects of a scene or situation with ease. They make the often-extremely violent Red seem witty and effervescent. Yes, even Bruce Willis has done this kind of character (the killer) in other movies (like The Whole Nine Yards), but here, he is cool like a movie star should be. This is the kind of movie that needs a movie star lead, and Willis provides that.

Red is not perfect. Sometimes, it doesn’t know if it wants to be extremely dangerous or extremely funny, but action comedies like this: more snarky than smart and filled with comic violence that actually looks like real action movie violence, don’t come around often enough. Red is probably the best action comedy of the year.

7 of 10
B+

Monday, December 06, 2010

Summit's "Man on a Ledge" Begins Principal Photography with Sam Worthington

Press release:

MAN ON A LEDGE Begins Principal Photography

Directed by Asger Leth and Starring Sam Worthington, Elizabeth Banks, Anthony Mackie, Jamie Bell, Ed Harris, and Edward Burns for Summit Entertainment

NEW YORK, Oct. 30 /PRNewswire/ -- Principal photography has begun in New York City on the Summit Entertainment feature Man On A Ledge.

An ex-cop and now wanted fugitive (Sam Worthington) stands on the ledge of a high-rise building while a hard-living New York Police Department hostage negotiator (Elizabeth Banks) tries to talk him down. The longer they are on the ledge, the more she realizes that he might have an ulterior objective.

Sam Worthington (Avatar) and Elizabeth Banks (The Next Three Days) star among an ensemble cast including Anthony Mackie (The Hurt Locker), who portrays Worthington's best friend and ally and Jamie Bell (Billy Elliot) who is Worthington's younger brother and ardent supporter. Also along for the ride is four-time Oscar® nominee, Ed Harris (Pollock) who plays a powerful businessman, while Edward Burns (27 Dresses) is a rival negotiator who tries to swoop in when he believes Banks has a conflict of interest. Newcomer Genesis Rodriguez (Casa di me Padre) plays Bell's girlfriend who along with Bell, tries to prove Worthington's innocence.

Producer Lorenzo di Bonaventura stated, "MAN ON A LEDGE is an incredible suspense thriller with a powerhouse cast. I look forward to producing this project and once again working with Summit Entertainment with which we just released the action comedy RED."

Man on a Ledge is directed by Asger Leth (Ghosts of Cite Soleil), from an original screenplay written by Pablo F. Fenjves ("The Affair") and Erich Hoeber & Jon Hoeber, and is being produced by Lorenzo di Bonaventura and Mark Vahradian (Transformers & Transformers: Revenge of the Fallen). Executive Producers are David Ready (Red) and Jake Myers (Red).

Paul Cameron (Man on Fire) is the Director of Photography and the Production Designer is Alec Hammond (Red). Kevin Stitt (X-Men) is the Editor and Susan Lyall (Red) serves as Costume Designer.


About Summit Entertainment LLC
Summit Entertainment is a worldwide theatrical motion picture development, financing, production and distribution studio. The studio handles all aspects of marketing and distribution for both its own internally developed motion pictures as well as acquired pictures. Summit Entertainment, LLC also represents international sales for both its own slate and third party product. Summit Entertainment, LLC releases 10 to 12 films on average annually.

Review: "Eclipse" is Best "Twilight" Film... So Far

TRASH IN MY EYE No. 50 (of 2010) by Leroy Douresseaux

The Twilight Saga: Eclipse (2010)
Running time: 124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for intense sequences of action and violence, and some sensuality
DIRECTOR: David Slade
WRITER: Melissa Rosenberg (based upon the novel by Stephenie Meyer)
PRODUCERS: Wyck Godfrey and Karen Rosenfelt
CINEMATOGRAPHER: Javier Aguirresarobe
EDITORS: Art Jones and Nancy Richardson
COMPOSER: Howard Shore

FANTASY/DRAMA/ROMANCE with elements of action, horror, and thriller

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Ashley Greene, Jackson Rathbone, Nikki Reed, Kellan Lutz, Peter Facinelli, Elizabeth Reaser, Bryce Dallas Howard, Xavier Samuel, Julia Jones, Chaske Spencer, Gil Birmingham, Boo Boo Stewart, and Dakota Fanning

The Twilight Saga: Eclipse, the third film in the Twilight film franchise, arrives with a bang. Like the previous films (Twilight and The Twilight Saga: New Moon), Eclipse is based upon a wildly popular and bestselling novel by Stephenie Meyer and continues the love story of high school student, Bella Swan, and her vampire boyfriend, Edward Cullen. Now, their romance is complicated by a love triangle that comes in the form Native American werewolf, Jacob Black.

As Eclipse begins, Seattle, WA is in an uproar over a string of mysterious killings, which the citizens believe is the work of one or more serial killers. However, the murders are part of diabolical plan hatched by Victoria (Bryce Dallas Howard), a malicious vampire set on destroying Bella Swan. With the help of her pet, Riley Biers (Xavier Samuel), Victoria is building an army of vampire newborns – that are unruly, hungry, and messy in their feeding habits.

In Forks, WA, Edward (Robert Pattinson) continues to broach the topic of marriage with Bella (Kristen Stewart), while she continues to demand that he turn her into a vampire. Bella also tries to repair her friendship with Jacob (Taylor Lautner), but Jacob wants more than friendship, which causes friction between Edward and Jacob who are already natural enemies as a vampire and a werewolf, respectively. As Victoria and her army heads to Forks, the vampire clan, the Cullens, and the werewolves of the La Push are forced to consider a truce in order to confront a common enemy. Meanwhile, Bella faces with the most important decisions of her young life.

The first proclamations regarding Eclipse that I came across said that this was the best Twilight film… thus far. Like the earlier films, this new one does what the series does best – brooding, oh-so-serious, teen melodrama. Bella and Edward’s love has reached an idealized fevered pitch with her willing to go all the way and he ever more determined to protect her. It seems as if Victoria is indeed dangerous to Bella, but not so much as Bella is to herself.

This time Eclipse also offers the audience action that is just as hot as the romance. The battle between Victoria’s wild pack and the Cullen-La Push coalition offer a more elegant version of the Underworld franchise’s vampire/werewolf battles, but are no less invigorating. The battle is so well shot and edited that the audience will lose itself in the reverie of fighting.

Much credit should go to Eclipse director David Slade (Hard Candy, 30 Days of Night), because it isn’t a coincidence that in this film, more than in the first two, the emotions are more potent and much more authentic. There is a scene in the film in which Bella’s father, Forks Police Chief Charlie Swan (Billy Burke), insists on discussing “being safe” and teen pregnancy with his daughter. The conversation is so awkward, but at the same time, it is good-natured with a sense of familiarity that would be expected between parent and child.

That entire sequence with Bella, Edward, and Jacob on a mountain and in a tent is a thing of power and passion, which is what David Slade brings to this movie. If The Twilight Saga: Eclipse is the best of the bunch, it is because of Slade, along with screenwriter Melissa Rosenberg. They took teen angst, horror, supernatural romance, love triangles, and vampires vs. werewolves and squeezed the best out of them and distilled it all into a damn good movie.

8 of 10
A

Sunday, July 04, 2010

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Review: "The Twilight Saga: New Moon" is Down with Love

TRASH IN MY EYE No. 12 (of 2009) by Leroy Douresseaux

The Twilight Saga: New Moon (2009)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for some violence and action
DIRECTOR: Chris Weitz
WRITER: Melissa Rosenberg (based upon Stephenie Meyer)
PRODUCERS: Wyck Godfrey and Mark Morgan
CINEMATOGRAHER: Javier Aquirrearobe
EDITOR: Peter Lambert

DRAMA/FANTASY/ROMANCE with elements of action and horror

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Ashley Greene, Jackson Rathbone, Peter Facinelli, Elizabeth Reaser, Kellan Lutz, Nikki Reed, Sam Uley, Michael Sheen, Dakota Fanning, Anna Kendrick, Michael Welch, Rachelle Lefevre, Justin Chon, Christian Serratos, and Edi Gathegi

In the 2008 smash hit film, Twilight, movie audiences saw romance bloom between high school student Bella Swan and her vampire boyfriend, Edward Cullen. Now, in the follow-up, The Twilight Saga: New Moon, Bella and Edward’s star-crossed romance crashes to earth.

New Moon opens on Bella’s (Kristen Stewart) 18th birthday, a day about which she is not particularly crazy. That evening, Edward’s (Robert Pattinson) family, also vampires, throws a birthday party for Bella, which starts nicely, but takes a shocking turn. Following Bella’s ill-fated birthday party, the Cullens abandon the town of Forks, Washington, in an effort to protect Bella from the dangers inherent in their world. The most shocking blow: Edward breaks up with Bella.

Heartbroken and depressed, Bella sleepwalks through the first half of her senior year of high school, totally shutting out her other friends. When her father, Forks Police Chief Charlie Swan (Billy Burke) demands that his daughter make a change, Bella goes on a date night with a girlfriend. It is on that night that Bella discovers that Edward’s image comes to her whenever she puts herself in jeopardy. Determined to see this vision more often, Bella begins to concoct ways that will put her life at greater and greater risk.

Bella seeks out childhood friend, Jacob Black (Taylor Lautner), a member of the local Quileute Native American Indian tribe. A gifted mechanic, Jacob refurbishes an old motorbike that Bella will secretly use to put herself in danger. Something else surprising happens when Bella finds herself drawn to Jacob, a formerly scrawny boy. He is literally growing taller and more muscular (with killer washboard abs) every day and right before Bella’s very eyes. Jacob, however, also has a shocking supernatural secret of his own, which causes a rift to grow between him and Bella. Then, Edward’s sister, Alice (Ashley Greene), returns, seeking Bella’s help in saving Edward’s life, and the rift grows wider.

Like Twilight, New Moon is based upon a novel by Stephenie Meyer (The Host). Obviously, in the translation from novel to film, plot elements and scenes from the book are left out or changed in the film. However, screenwriter Melissa Rosenberg (who also adapted Twilight) retains the central themes, as well as the spirit, of the source material. The novel asks probing questions, such as: after the euphoria of new love, what is real about this relationship? What do Bella and Edward want of each other? What are their motivations, and how much are they willing to fight for their relationship? Just how deep and strong are Bella’s feelings for Jacob? The screenplay keeps those questions at the forefront of the narrative.

And speaking of fight, director Chris Weitz, an established Hollywood filmmaker (About a Boy, The Golden Compass), doesn’t fight the love story at the core of this franchise. New Moon may be filled with thrilling chases and riveting hunts in the forests around Forks. It may carry viewers breathlessly across the world, only to drop them in the mysterious world beneath a rustic Italian town. Weitz still manages to emphasize the ache and yearning of a young love blazing so brightly that it threatens to burn itself out.

The reported increase in the production budget for New Moon (as compared to Twilight), is evident in the flashy visual special effects. The werewolves are in a word – awesome. The spectacular cinematography is pitch-perfect in capturing the right mood and look for every setting in the film: from the forests surround Forks to the murky nights of Port Angeles. An improvement in the art direction also makes even the Swans’ humble home seem cosmopolitan.

New Moon is not perfect. Under Weitz’s direction and Peter Lambert’s editing, the film often moves too fast, sometimes hopping around like someone high on stimulants. Still, this film works. In the intimate moments when the actors, especially Stewart, Pattinson, and Lautner, convince us that they know these characters and that they are going to make the story real for us, New Moon seems less like a fantasy and more like a real love story.

7 of 10
B+

Monday, November 30, 2009

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