TRASH IN MY EYE Reviews: Thrillers

Showing posts with label Thrillers. Show all posts

Wednesday, December 4, 2024

Review: Netflix's "ATLAS" Has Too Many Ideas, Not Enough Booty

TRASH IN MY EYE No. 54 of 2024 (No. 1998) by Leroy Douresseaux

Atlas (2024)

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

MPA – PG-13 for strong sci-fi violence, action, bloody images and strong language

DIRECTOR: Brad Peyton

WRITERS: Leo Sardarian and Aron Eli Coleite

PRODUCERS: Greg Berlanti, Jeff Fierson, Elaine Goldsmith-Thomas, Joby Harold, Brad Peyton, Sarah Schechter, Tory Tunnell, Benny Medina, and Jennifer Lopez

CINEMATOGRAPHER: John Schwartzman (D.o.P.)

EDITOR: Bob Ducsay

COMPOSER: Andrew Lockington

SCI-FI/ACTION/THRILLER

Starring: Jennifer Lopez, Simu Liu, Sterling K. Brown, Abraham Popoola, Lana Parrilla, Mark Strong, Briella Guiza, Adia Smith-Eriksson, and Gregory James Cohan (voice)

SUMMARY OF THE REVIEW:

--Atlas is a Jennifer Lopez movie, but science fiction does not fit her

--The movie is average and filled with ridiculous ideas, but the action-violence of the last act is good enough to somewhat justify the time you spent watching this, dear readers

Atlas is a 2024 American action-thriller and science fiction film from director Brad Peyton. Atlas is a “Netflix Original” and debuted on the Netflix streaming service May 24, 2024. Atlas pits a counter-terrorism analyst against a rogue artificial intelligence (“A.I.” or “AI”) which believes that the only way to save the Earth and humanity is to destroy most of humanity.

Atlas opens on October 2, 2043. AI humanoid robots are at war with humanity, and they are led by the AI terrorist, Harlan (Simu Liu). By the end of the conflict, three million people are dead. This leads human military forces to create the International Coalition of Nations (ICN). After a string of ICN victories, Harlan and his AI robots are forced to flee into outer space.

Twenty-eight years later, renewed AI-led terrorist attacks force the ICN to begin searching for Harlan's whereabouts. The ICN has created a fleet of mecha known as “ARCs.” These are giant robotic suits of armor worn by humans who “sync” with the AI that operate the ARCs. The ICN seeks help from Atlas Maru Shepherd (Jennifer Lopez), a woman whose mother, Val Shepherd (Lana Parrilla), designed Harlan. Atlas has a deep distrust of all artificial intelligence. In a confrontation with Casca Vix (Andrew Popoola), one of Harlan's lieutenants, Atlas learns that Harlan has a base on GR-39, a planet in the Andromeda Galaxy.

The ICN sends a battalion of ARCs, the Fourth Rangers Battalion, which is led by the taciturn Colonel Elias Banks (Sterling K. Brown), on a mission to GR-39, aboard the space ship “ the Dhiib.” Atlas insists on accompanying the mission because she says no one knows Harlan better than her. The mission is to capture Harlan and to bring him back to Earth. However, what neither Atlas nor the ICN knows is just exactly what Harlan knows about the mission and about Atlas. Now, to save humanity, Atlas must rely on the thing that she hates most, an AI, one named “Smith” (Gregory James Cohan).

Leo Sardarian and Aron Eli Coleite's screenplay for Atlas is a hodge-podge of ideas that are similar to what audiences will find in such films as The Terminator (1984), A.I. Artificial Intelligence (2001), I, Robot (2004), and Pacific Rim (2013). If properly developed, these ideas could have made a fine film instead of the mediocre film, which Atlas is.

The problem with Atlas is Jennifer Lopez. Atlas is a science fiction film, and it is also a Jennifer Lopez vehicle, although she is woefully miscast here. Science fiction is not her genre, and she really doesn't seem to have an understanding of what a character like Atlas Maru Shepherd could be. That may be the fault of director Brad Peyton, who specializes in mediocre to average sci-fi/fantasy genre films like 2018's Rampage. Lopez plays Atlas as petulant and as way too narrow minded to be some kind of expert on science and technological matters. Truthfully, Atlas would be grieving and guilt-ridden, which I think would make her introspective. Lopez plays Atlas as a brat who really needs the guidance of others, even the AI she hates so much.

Atlas is saved by the action-violence of its last act, and by the appearance of Harlan, played by actor Simu Liu. Best known for playing the title character in Disney/Marvel's Shang-Chi and the Legend of the Ten Rings, here, Liu is deliciously cold-blooded and ruthless as Harlan, and I wish there were more of him in this film. But, alas, we get what we get. Atlas is average entertainment, and you, dear readers, can be entertained if you ignore its improbable scenario. If you are patient enough, Jennifer Lopez's fine, round posterior even makes a cameo, perfectly bound in a pair of tights. If Atlas has a “cherry on top,” it's that fine bee-hind.

5 of 10

C+

★★½ out of 4 stars

Wednesday, December 4, 2024

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Tuesday, November 12, 2024

Review: "DUNE: PART TWO: Rocks the Heavens

TRASH IN MY EYE No. 48 of 2024 (No. 1992) by Leroy Douresseaux

Dune: Part Two (2024)

Running time: 166 minutes (2 hours, 46 minutes)

MPA – PG-13 for sequences of strong violence, some suggestive material and brief strong language

DIRECTOR: Denis Villeneuve

WRITERS: Denis Villeneuve and Jon Spaihts (based on the novel by Frank Herbert)

PRODUCERS: Denis Villeneuve, Cale Boyter, Mary Parent, Patrick McCormick, and Tanya Lapointe

CINEMATOGRAPHER: Greg Fraser (D.o.P.)

EDITOR: Joe Walker

COMPOSER: Hans Zimmer

SCI-FI/DRAMA and ACTION/WAR/THRILLER

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Stellan Skarsgard, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Lea Seydoux, Charlotte Rampling, Babs Olusanmokun, and Alison Halstead

Dune: Part Two is a 2024 epic science fiction and drama film directed by Denis Villeneuve. It is the second part of the two-part adaptation of the 1965 novel, Dune, written by author Frank Herbert. The first part is entitled Dune (or Dune: Part One) and was released in 2021. Dune: Part Two focuses on a vengeful young nobleman who unites the desert people of the planet Arrakis behind his war against the noble house that betrayed and murdered his father.

Dune: Part Two opens in the wake of Baron Vladimir Harkonnen (Stellan Skarsgard) and House Harkonnen's destruction of Duke Leto Atreides and the House Atreides. Now, the Baron's nephew, Lord Rabban (Dave Bautista), has control over the desert planet, Arrakis, and over the production of the most valuable substance in the universe, which is known as “Spice.” A highly-addictive drug, Spice extends human vitality and life and is absolutely necessary for space travel. Spice is only found on Arrakis.

Meanwhile, Paul Atreides (Timothée Chalamet), the son of Leto, and his mother, Lady Jessica (Rebecca Ferguson), who is pregnant, have joined the “Sietch Tabr,” a band of Fremen, the natives of Arrakis. While some of the Fremen consider Paul and Jessica to be spies, the Sietch Tabr leader, Stilgar (Javier Bardem), believes that they are the prophesied mother and son from the “Outer World” who will bring prosperity to Arrakis.

Jessica belongs to the Bene Gesserit, a powerful sisterhood who wield advance mental and physical abilities. The Bene Gesserit have a prophecy concerning a “superbeing,” called the “Kwisatz Haderach,” and Paul may be this superbeing because of the machinations of his mother. Stilgar believes that Paul is the prophesied Fremen messiah, the “Lisan al-Gaig.” This belief spread once Paul takes the name Paul Muad'dib Usul.

However, Chani (Zendaya), a young and rebellious Fremen warrior (“Fedaykin”), believes that the messianic prophecies are nothing more than a fabrication meant to manipulate the Fremen. However, as “the Battle for Arrakis” begins, Chani finds herself having strong feelings for Paul and follows him into battle against the Harkonnen, for better or worse.

Dune and Dune: Part Two combine to form the third screen adaptation of Frank Herbert's novel. The others were writer-director David Lynch's 1984 film, Dune, and writer-director John Harrison's 2000 television miniseries, also entitled “Dune.” Also, there is a French/U.S. documentary film, entitled Jodorowskys Dune, that chronicles director Alejandro Jodorowsky's doomed attempt to adapt the novel into film in the 1970s.

Because HBO is preparing to release its Dune television series, “Dune: Prophecy,” I decided to finally see Dune: Part Two. A horrible illness forced me to miss the film's theatrical release earlier this year. Having finally seen it, I wish I had watched it in a movie theater, although IMAX is not an option for me. Dune: Part Two should be seen on a screen in a movie theater. It is one of the most epic science fiction films that I have ever experienced. The production values, cinematography, film editing, production design, art direction and sets, hair and make-up, and costumes are separately some of the best seen in science fiction cinema thus far in the twenty-first century. Director Denis Villeneuve is more than well-served by these collaborators.

He is also well-served by his co-writers, as the screenplay captures the religious and spiritual dogma and messianic madness that drives much of Dune's narrative. As impressive as this film is from a storytelling point of view, the Fremen's faith is freaking scary and dominates the film. That's why I think Hans Zimmer's film score sounds like it belongs in a horror movie. Quite a bit of Zimmer's musical score is like the spiritual cousin of composer Henry Manfredini's “ch ch ch ah ah ah” sound effect for the 1980 film, Friday the 13th.

There are a number of great performances here. Austin Butler, who surprised in Baz Luhrmann's Elvis (2022), does killer work in Dune: Part Two as Baron Harkonnen's psychotic nephew, na-Baron Fedy-Rautha. Dune's make-up artists serve him well as Butler fashions a character that is as impish and devilish as he is relentlessly homicidal.

But the stars are really Timothée Chalamet and Zendaya. As Paul, Chalamet depicts both the manipulation and machinations of a rise to power and also the evolution and revelation of a religious cult leader. As Chani, Zendaya is the spiritual heart of this film. She is the center of calm and reason in the super-storm of madness that envelopes Arrakis. It is not hard to see why both actors are some of the most popular young stars in world cinema. For all Denis Villeneuve cinematic skills and tricks, a movie this grand needs that traditional tower of power, the movie star. Dune: Part Two has two shooting stars.

10 of 10

Tuesday, November 12, 2024

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Sunday, November 3, 2024

Review: M. Night Shyamalan's "TRAP" Delights in Being Devilish

TRASH IN MY EYE No. 46 of 2024 (No. 1990) by Leroy Douresseaux

Trap (2024)

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

MPA – PG-13 for some violent content and brief strong language

WRITER/DIRECTOR: M. Night Shyamalan

PRODUCERS: Marc Bienstock, Ashwin Rajan, and M. Night Shyamalan

CINEMATOGRAPHER: Sayombhu Mukdeeprom (D.o.P.)

EDITOR: Noemi Preiswerk

COMPOSER: Herdis Stefansdottir

THRILLER/HORROR

Starring: Josh Hartnett, Ariel Donoghue, Saleka Night Shyamalan, Alison Pill, Hayley Mills, Jonathan Langdon, Mark Bacolcol, Marnie McPhail, Scott Mescudi, Russell “Russ” Vitale, Lochlan Miller, Steve Boyle, David D'Lancy Wilson, and M. Night Shyamalan

Trap is a 2024 psychological thriller and horror film from writer-director M. Night Shyamalan. The film focuses on a father who takes his teen daughter to a special pop concert and then realizes that he and his child have entered a dark and sinister trap.

Trap opens in Philadelphia. There, we meet firefighter Cooper Abbott (Josh Hartnett) . He is taking his teenage daughter, Riley (Ariel Donoghue), to a special afternoon concert performance by pop star Lady Raven (Saleka Night Shyamalan). Once inside the concert venue, Cooper notices an unusually high police presence on all levels of the building. Doing his own investigating, Cooper soon discovers that he and his daughter are at the center of a dark and sinister event. Who is “the Butcher” and why does law enforcement insist that he is one of the 3000 men attending the concert?

Despite the disaster that was M. Night Shyamalan's 2023 thriller, Knock at the Cabin, I immediately wanted to see Trap as soon as I heard about it sometime last year. I was sure the friend I dragged along with me to see Knock at the Cabin back in early February 2023 would also join me for Trap. Unfortunately, Trap did play at either of the two local theaters, so I just watched it on the “Max” streaming service.

By now, many people know all about Trap's twists and turns, and it is a very twisty, very strange, very weird, and very crazy movie. Still, I'm not doing the spoiler thing, but you, dear readers, would need detailed spoilers to keep up with all of this film's twists and contortions. It's as if writer-director M. Night Shyamalan drew straws to decide the fate of Trap's various subplots and plot twists. The result is a thriller zesty with the unexpected.

Speak of Mr. M: he makes his usual appearance as an actor in his own films, but his daughter, Saleka Night Shyamalan, an actual pop singer and recording artist, has a big role in Trap as the pop star, “Lady Raven.” Saleka's second studio album, Lady Raven, acts as the soundtrack album for Trap. Nepotism aside, Saleka's songs add a haunting layer to Herdis Stefansdottir's film score for Trap, and, believe me, Saleka is quite game when it comes to acting.

The film's primary wackiness comes from Josh Hartnett's performance as Cooper Abbott. Hartnett mixes paranoia with subtly when he is not being hilariously over the top and disturbingly calm. I can't say that other actors would not have been better at playing Cooper than Hartnett, but at least, Hartnett has his own method of bat-shit craziness.

Trap is disarmingly entertaining. I actually always thought that it would be a good and enjoyable film, but I'm shocked that I like it as much as I do. I can't believe that I consider its many nonsensical story elements to be quite endearing and even alluring, at times. The scenes that take place at the concert are excellent, but the film doesn't lose its cockamamie mojo when it moves the action to other venues. I am giving Trap a high rating because I can't think of a reason not to do so. I'd be lying if I said that I didn't think that it is a hugely entertaining and attractively offbeat thriller film. I'm trapped in a closet... with Trap.

8 of 10

★★★★ out of 4 stars

Sunday, November 3, 2024

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Thursday, October 31, 2024

Review: "HALLOWEEN ENDS" Because It Ran Out of Gas

TRASH IN MY EYE No. 45 of 2024 (No. 1989) by Leroy Douresseaux

Halloween Ends (2022)

Running time: 111 minutes (1 hour, 51 minutes)

MPA – R for bloody horror violence and gore, language throughout and some sexual references

DIRECTOR: David Gordon Green

WRITERS: David Gordon Green & Danny McBride and Paul Brad Logan and Chris Bernier (based on the characters created by John Carpenter and Debra Hill)

PRODUCERS: Malek Akkad, Bill Block, and Jason Blum

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

EDITOR: Tim Alverson

COMPOSERS: Cody Carpenter, John Carpenter, and Daniel Davies

HORROR/THRILLER

Starring: Jamie Lee Curtis, Andi Matichak, James Jude Courtney, Rohan Campbell, Will Patton, Jesse C. Boyd, Michael Barbieri, Destiny Moné, Joey Harris, Marteen, Joanne Barron, Rick Moose, Michele Dawson, Keraun Harris,Kyle Richards, Michael O'Leary, Jaxon Goldenberg, Candice Rose,Jack William Marshall, and Omar Dorsey

Halloween Ends is a 2022 slasher-horror film from director David Gordon Green. It is the thirteenth installment in the Halloween film franchise. It is also the third film in a trilogy of sequels to the original 1978 Halloween, the first of that trilogy being 2018's Halloween. Halloween Ends finds Laurie Strode wondering if the troubled young man that her granddaughter is dating carries the evil she saw in her decades long nemesis, Michael Myers.

Halloween Ends opens in Haddonfield, Illinois on Halloween night, 2019. Twenty-one-year-old Corey Cunningham (Rohan Campbell) is babysitting a bratty 11-year-old boy. The night ends tragically, and Corey becomes a pariah in Haddonfield.

Three years later, it is 2022. Haddonfield is still reeling from the aftermath of the killing spree launched by the notorious Michael Myers (James Jude Courtney) in 2018 (as seen in 2018's Halloween and 2021's Halloween Kills). Michael has vanished, and his main victim, Laurie Strode (Jamie Lee Curtis), is writing a memoir and living with her granddaughter, Allyson Nelson (Andi Matichak). Corey is working at his stepfather, Roger's (Rick Moose) salvage yard.

A bullying incident brings Corey into contact with Laurie, so Corey meets Allyson, who is immediately taken with him. It seems as if the pariah Corey and the traumatized Allyson have found the perfect mate in each another. However, Corey has a strange and unexpected encounter that might lead to the creation of a new serial killer.

One could argue that Halloween 4: The Return of Michael Myers (1988) is a soft reboot of the first two films in the franchise – Halloween (1978) and Halloween II (1981). Halloween H20: 20 Years Later (1998) was a reboot of the franchise in that it ignored franchise entries four through six. Rob Zombie's 2007 film, Halloween, was an ever harder reboot. Halloween 2018 was not so much a reboot as it was a true sequel to the original story. Halloween Kills (2021) was basically an attempt to insert a course correction of Halloween II that would sit between the original Halloween and 2018 Halloween, while kicking 1981's Halloween II partially to the curb.

Halloween Ends is spiritually related to Rob Zombie's 2007 film, at least a little. Zombie's film asks the question what creates a monster like Michael Myers. Halloween Ends depicts how a town's toxic legacy and history and its shitty townsfolk can come together to create the kind of monster and inhuman killer that will stalk the town's streets and kill the townsfolk.

Halloween Ends flirts with brilliance, but director David Gordon Green and his co-writers turn the second half of the film into a tedious display of ultra-violence. The film has a lot to say about scapegoating, pariahs, grief, trauma, post-traumatic stress, victim-blaming, and mercilessness, to name a few. In the end, however, Halloween Ends has to be a Halloween movie and bodies need to be dismembered, smashed, crushed, shot, and violently penetrated.

I really enjoyed this movie for a time; then, I was ready for it to... end. The performances are good, but no one performance really stands out to me, although (sexy) Will Patton as Deputy Frank Hawkins certainly tries, as he usually does in all his film and television performances. Whatever future this franchise has, it is time to move on to something really new. Halloween Ends is a good, but not great way to end the murder spree that began with the original film.

6 of 10

★★★ out of 4 stars

Wednesday, October 30, 2024

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Tuesday, October 1, 2024

Review: "TOMIE" is Weird as Sh*t - Happy Halloween

TRASH IN MY EYE No. 153 (of 2004) by Leroy Douresseaux

Tomie (1998)

COUNTRY OF ORIGIN: Japan

Running time: 95 minutes

Not rated

DIRECTOR: Ataru Oikawa

WRITER: Ataru Oikawa (based upon the manga by Junji Ito)

PRODUCERS: Yasuhiko Azuma, Youichiro Onishi, and Shun Shimizu

CINEMATOGRAPHERS Akira Sakoh and Kazuhiro Suzuki

EDITOR: Ryûji Miyajima

COMPOSERS: Hiroshi Futami and Toshihiro Kimura

HORROR/THRILLER

Starring: Miho Kanno, Mami Nakamura, Yoriko Douguchi, Tomorowo Taguchi, Kouta Kusano, and Kenji Mizuhashi

Tomie is a 1998 Japanese horror film from director Ataru Oikawa. It is the first entry in the Tomie film series, which totals eleven films as of 2011. It is also based on the manga (Japanese comics), Tomie, which was published from 1987 to 2000 and was created by Junji Ito. Tomie the movie focuses on a traumatized young woman who is haunted by the name, “Tomie.”

Tsukiko Izumisawa (Mami Nakamura) is seeing a psychiatrist, Dr. Hosono (Yoriko Douguchi), about her problem sleeping at night. She also has repressed memories of some trauma in her past. Detective Harada (Tomorowo Taguchi) believes it has something to do with the murder of her friend, Tomie (Miho). Trouble is that going back a century’s worth of records, Harada finds Tomie as the name of several victims of horribly violent crimes. Is this Tomie the same one involved with Tsukiko? And what about that guy with a severed human head in a plastic grocery bag?

Tomie was the first in a series of popular Japanese horror movies starring the mysterious Tomie and her machinations, and the film is based upon the Junji Ito comic (manga) of the same title. Tomie isn’t as intense as that most popular Japanese horror film, Ringu, but it’s fairly suspenseful in its own right. Actually, Tomie is more a suspense film than a horror or a thriller. Director/screenwriter Ataru Oikawa drenches his film in shadows and the atmosphere bleeds creepiness and weirdness. It’s an atmosphere that can have the viewer always hanging on for what’s going to happen next. What makes the film as effective as it ever gets is Oikawa’s use of a real world setting. He shot the film as it if were just a pedestrian TV drama. That banality coupled with the pulp madness that surrounds the Tomie character and the eventual revelation of what she is makes the film turn out to be something much better than it seemed a third of the way through its running time.

Tomie is not for every body, but Tomie is perfect for the horror flick fan on the prowl for something real different. The film also has a frankly bizarre musical score.

6 of 10

★★★ out of 4 stars

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Thursday, September 5, 2024

Review "TERMINATOR: JUDGMENT DAY" is Still Landmark and Bloated

TRASH IN MY EYE No. 41 of 2024 (No. 1985) by Leroy Douresseaux

Terminator 2: Judgment Day (1991)

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

MPAA – R

DIRECTOR: James Cameron

WRITERS: James Cameron and William Wisher

PRODUCER: James Cameron

CINEMATOGRAPHER: Adam Greenberg (D.o.P.)

EDITORS: Mark Goldblatt, Conrad Buff, and Richard A. Harris

COMPOSER: Brad Fiedel

Academy Award winner

SCI-FI/FANTASY/ACTION/THRILLER

Starring: Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, Robert Patrick, Earl Boen, Joe Morton, S. Epatha Merkerson, Castulo Guerra, Danny Cooksey, Jenette Goldstein, Xander Berkeley, De Vaughn Nixon, and Michael Edwards

Terminator 2: Judgment Day is a 1991 American science fiction film and action-drama from director James Cameron. Also known as “T2” and “T2: Judgment Day,”, it is a direct sequel to the film, The Terminator (1984), and is also the second entry in the Terminator film franchise. Judgment Day focuses on a cyborg that travels from the twenty-first century to protect a boy from a more advanced and powerful cyborg.

Terminator 2: Judgment Day opens in the year 2029. Earth has been ravaged by the war between the artificial intelligence, Skynet, and the human resistance. This war started on August 29, 1997, also known as “Judgment Day,” when Skynet launched the United States' entire nuclear arsenal, which started a global war. Afterwards, humanity emerged to find a devastated world, one filled with the machines – called “Terminators” – that were programmed to kill humans. Resistance leader, John Connor (Michael Edwards), has lead humanity to the brink of defeating Skynet and its human-killing machines.

Using time machine technology, Skynet sends an advanced prototype Terminator – a T-1000 – back in time to the year 1997 in order to kill 12-year-old John Connor (Edward Furlong). The T-1000 (Robert Patrick) is made of a “mimetic poly-alloy,” a liquid metal that allows the Terminator to shape-shift. To protect his younger self, the 2029 John Connor reprograms a model 101 Terminator and sends it back to 1997 to protect young John. The 101 looks just like the T-800 that traveled from the future to kill John's mother, Sarah Connor (Linda Hamilton), back in the year 1984.

Can Sarah, John, and the model 101 Terminator come together to stop the T-1000, especially after they become fugitives from the law? Or is this new Terminator simply to advanced and wily to be stopped?

As I write this review, it is Tuesday, September 3, 2024. In Terminator mythopoeia (not “mythology” and not “lore”), August 29th is “Judgment Day” and fans of the franchise make note of it. This year, “Judgment Day” carries a little more relevance because of the arrival of the new Netflix animated series, “Terminator Zero.” I am planning on watching Episode 1 soon, but I felt that I needed to watch T2 again. It is the only Terminator film that I have not previously reviewed, and I had not watched it in its entirety in about thirty years, if my memory serves me well.

The Terminator, T2, and the 2003 film, Terminator 3: Rise of the Machines, form a trilogy of sorts. In many ways, each film seems like its own thing, with the second and third films officially being sequels. However, these sequels feel like a hybrid of sequel, remake, and re-imagining. They contradict the original in some ways and both try to grapple with or correct the franchise's time-traveling shenanigans.

T2 is now acknowledged as being among the greatest science fiction, action, and sequel films in movie history. It is certainly a landmark film in terms of special visual effects and in the use of CGI (computer-generated imagery). The transformation and metamorphosis of actor Robert Patrick into the liquid metal, shape-shifting Terminator still wows, impresses, scares, and stuns me over thirty-three years after originally seeing the film. Some of T2's action scenes and sequences, especially the 18-wheeler tractor unit plunge off the overpass and the motorcycle crash into the helicopter still stop my breath. The film's director, James Cameron, made one of the most awesome (if not the most awesome) action films of the 1980s in The Terminator with what amounts to a micro-budget for an action and science fiction movie. With a one-hundred million dollars at his disposal of T2, Cameron and his crew and creative cohorts unleashed the most spectacular action scenes that had been seen in American film to that point.

On the other hand, back when I first saw T2 in 1991, I found it to be bloated. It is easily twenty minutes too long. As a character drama trio, Arnold Schwarzenegger as the Terminator, Linda Hamilton as Sarah Connor, and Edward Furlong as John Connor seem more melodramatic than genuinely dramatic. Much of the family unit feels contrived. Schwarzenegger and Furlong have moments that seem poignant, but there are other moments that are made weaker but Furlong's acting inexperience. That Hamilton had reshaped the soft body she had in the original film into a sinewy, muscular, warrior woman for T2 was and still is impressive. Her performance in this film, however, is loud, even when it should be quieter and more subtle.

I once said that T2 was a two-and-half out of four stars film. I don't know if it is nostalgia, but I like the film more now. Some of it is still landmark and superb, and much of it is very well executed. Still, I think Terminator 2: Judgment Day needed to be tamed, both in terms of it runtime and in the scope of the story. In 1991, it was a hugely discussed and anticipated film. Terminator 2: Judgment Day holds a special place in the filmography of its director, James Cameron. If it were a better film, it would be at the top, where Avatar is now.

6 of 10

★★★ out of 4 stars

Thursday, September 5, 2024

NOTES:

1992 Academy Awards, USA: 4 wins: “Best Sound” (Tom Johnson,Gary Rydstrom, Gary Summers, and Lee Orloff), “Best Effects, Sound Effects Editing” (Gary Rydstrom and Gloria S. Borders), “Best Effects, Visual Effects” (Dennis Muren, Stan Winston, Gene Warren Jr., and Robert Skotak), and “Best Makeup” (Stan Winston and Jeff Dawn); 2 nominations: “Best Cinematography” (Adam Greenberg) and “Best Film Editing” (Conrad Buff IV, Mark Goldblatt, and Richard A. Harris)

1992 BAFTA Awards; 2 wins: “Best Sound” (Lee Orloff, Tom Johnson. Gary Rydstrom, and Gary Summers) and “Best Special Visual Effects” (Stan Winston, Dennis Muren, Gene Warren Jr., and Robert Skotak); 1 nomination: “Best Production Design” (Joseph C. Nemec III)

2023 National Film Preservation Board, USA: “National Film Registry”

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Sunday, September 1, 2024

Review: Netflix's "THE UNION" is Weak Spy Thriller Tea

TRASH IN MY EYE No. 40 of 2024 (No. 1984) by Leroy Douresseaux

The Union (2024)

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

MPA – PG-13 for sequences of strong violence, suggestive material and some strong language

DIRECTOR: Julian Farino

WRITERS: Joe Barton and David Guggenheim; from a story by David Guggenheim

PRODUCERS: Stephen Levinson, Mark Wahlberg, and Jeff G. Waxman

CINEMATOGRAPHER: Alan Stewart (D.o.P.)

EDITOR: Pia Di Ciaula

COMPOSER: Rupert Gregson-Williams

ACTION/COMEDY/ROMANCE and SPY/THRILLER

Starring: Mark Wahlberg, Halle Berry, J.K. Simmons, Mike Colter, Alice Lee, Jessica De Gouw, Adewale Akinnuoye-Agbaje, Jackie Earle Haley, Lucy Cork, Stephen Campbell Moore

SUMMARY OF THE REVIEW:

If you are a fan of Mark Wahlberg and/or Halle Berry, you may want to watch this film

Although it does have some good moments and some good production values, “The Union,” comes across as a big-budget made-for-television spy movie or maybe even a straight-to-DVD spy movie

As a romantic comedy, Wahlberg and Berry have good screen chemistry, but the violence in “The Union” makes it hard to be a romantic-comedy

The film ultimately comes across as an average hodge-podge of genres that is only worth your time when you have time to waste

The Union is a 2024 American spy-thriller and action-romantic-comedy from director Julian Farino. Starring Mark Wahlberg and Halle Berry, the film is a “Netflix Original,” and began streaming on Netflix August 16, 2024. The Union focuses on a down-to earth construction worker who is thrust into the world of spies and secret agents by his high school sweetheart, who is a secret agent.

The Union introduces, “the Union,” a covert agency whose agents work behind the scenes as everyday blue collar workers such as road crews, construction workers, garbage collectors, and water and wastewater treatment operators, to name a few. The film opens in the Grand Hotel Castelletto in Trieste, Italy, where the Union prepares to bring in CIA turncoat, Derek Mitchell. However, the mission is botched, and only veteran agent, Roxanne Hall (Halle Berry), survives, but she has a plan.

Roxanne returns to her hometown of Paterson, New Jersey, where she recruits her high school sweetheart, Michael “Mike” McKenna (Mark Wahlberg), a construction worker, into the Union. Despite the protestations of her boss, Tom Brennan (J.K. Simmons), Roxanne convinces Mike to join the Union. Before long, Roxanne and Mike are on a mission, but once again, things go awry. Now, the former lovers have to straighten out this mess and recover some sensitive government intelligence that, if sold on the black market, will endanger the lives of every American spy and secret agent.

Comic book writer, artist, and publisher, Jimmy Palmiotti (DC Comics' Harley Quinn and Radical Publisher's Time Bomb), suggested via Twitter that the 2010 Tom Cruise-Cameron Diaz film, Knight and Day, offers something similar to The Union, but is much better at it. I've been putting off seeing Knight and Day for 14 years, and after trudging through The Union, I think it's time I did the damn thing and saw it.

I like Mark Wahlberg, and Halle Berry is one of my favorite Hollywood people of all time. I really wanted to watch The Union because of them, and I found their screen chemistry sometimes sweet and charming. However, I found The Union to be a slog that took me over a week to watch, as I mostly viewed it in bits and pieces. Sometimes, I had to do something, and other times, I stopped simply because I was bored.

However, the film is not a total loss. It is at times, pleasingly pleasant, although had I watched it in an actual movie theater, I would have not found it pleasant at all. Still, there is about a third of a good action movie here. The Union is for serious fans of Mark Wahlberg and Halle Berry. That's all I can say. That's all I should say, lest I say worse, and this review comes back to haunt me.

5 of 10

C+

★★½ out of 4 stars

Sunday, September 1, 2024

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Saturday, August 24, 2024

Review: "BLINK TWICE" is Incredible; 2024's Best Film, Thus Far...

TRASH IN MY EYE No. 39 of 2024 (No. 1983) by Leroy Douresseaux

Blink Twice (2024)

Running time: 103 minutes (1 hour, 43 minutes)

MPA – R for strong violent content, sexual assault, drug use and language throughout, and some sexual references.

DIRECTORS: Zöe Kravitz

WRITERS: Zöe Kravitz and E.T. Feigenbaum

PRODUCERS: Zöe Kravitz, Bruce Cohen, Garret Levitz, Tiffany Persons, and Channing Tatum

CINEMATOGRAPHER: Adam Newport-Berra (D.o.P.)

EDITOR: Kathryn J. Schubert

COMPOSER: Chanda Dancy

MYSTERY/THRILLER

Starring: Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Liz Caribel, Levon Hawke, Trew Mullen, Geena Davis, and Kyle MacLachlan

SUMMARY OF THE REVIEW:

Blink Twice is a both an incredible psychological thriller and mesmerizing mystery thriller and is sort of a spiritual sibling of Jordan Peele's “Get Out”

Naomi Ackie and Channing Tatum gives stellar performances that really sell this film's frequent weirdness

This is a stunning directorial debut on the part of Zöe Kravitz, and thus far, it is the best film released in 2024

Blink Twice is a 2024 psychological thriller and mystery film from director Zöe Kravitz. The film focuses on a cocktail waitress who accepts a tech billionaire's offer to vacation on his private island, after which, she begins to question her reality of the situation.

Blink Twice introduces Frida (Naomi Ackie), a cocktail waitress. She is working an exclusive event with her roommate and best friend and roommate, Jess (Alia Shawkat). The event's V.I.P. is billionaire tech mogul, Slater King (Channing Tatum), who recently stepped down as CEO of King Tech amid a public apology for some bad behavior on his part in the past. Frida and Slater quickly strike up a friendship, and he invites her and Jess to join him and his friends to holiday at his private island.

Arriving at the island, Slater's assistant, Stacy (Geena Davis), confiscates the everyone's phone. Also on the island for some fun are Slater's friends and business partners: Vic (Christian Slater), Cody (Simon Rex), Tom (Haley Joel Osment), and Lucas (Levon Hawke). In addition to Frida and Jess, there are three female guests: Sarah (Adria Arjona), Camilla (Liz Caribel), and Heather (Trew Mullen). The women are treated to lavish rooms, gift bags with perfume, gourmet meals, and a luxurious, carefree holiday experience.

But something is wrong. Frida has a hard time keeping track of time, and she begins to question her perception of reality. Also, there is a strange maid who is saying something to her that she can't quite make out. When one of the women disappears, Frida is forced to confront this luxurious holiday, the kind she always wanted... as troubling as this dream vacay has turned out to be.

After director Steven Soderbergh made his feature film debut with sex, lies, and videotape (1989), some may have wondered if his rousing success with it (winning the Palme d'Or at Cannes 1989 and earning a “Best Original Screenplay” nomination) was “beginner's luck” or perhaps, a fluke. For several years, the film did seem like a fluke, but by the time Soderbergh won a “Best Director” Oscar 12 years later, one could say that sex, lies, and videotape was not a fluke, but was a calling card.

I'd like to believe that Blink Twice will also be a calling card for its young first-time director Zoe Kravitz. Right now, it is the best new film to debut in 2024, and I wouldn't be surprised if I am calling it the “Best Picture of the Year 2024” deep into the 2024-25 movie awards season. Blink Twice is an astounding debut, a mystery thriller and psychological terror that recalls Alfred Hitchcock and David Lynch. And no, I would not be embarrassed to reference Lynch's legendary Blue Velvet (1986), of which I am not a big fan, when discussing Blink Twice. I am also calling Blink Twice a spiritual sibling of Jordan Peele's Get Out (2017) and a distant relative of Alex Garland's Men (2022). Blink Twice even has a element similar to one found in the underrated horror thriller, You're Next (2011).

Kathryn J. Schubert's film editing for Blink Twice is superb, and I think that should be mentioned. Of course, I think Schubert has superb material with which to work. Kravitz has an eye for storytelling which finds pleasure in accepting that altered states of reality are a norm for many of us, especially when we obtain something we always wanted in a way that seems to be too good to be true. Dressing her film in Biblical themes, “Me Too” politics, gender dynamics, and sexual gamesmanship, Kravitz takes the screenplay she wrote with E.T. Feigenbaum and grapples with the modern battle of the sexes.

Behind the pulpy entertainment and popcorn horror thrills of this psychological thriller is a movie that does a deep dive into the modern psyche. Kravitz isn't afraid to examine the social hierarchies and assumed and presumed privileges. It is refreshing that Kravitz so boldly answers any questions her film asks with a resounding, “Because he can.”

Actress Naomi Ackie is the perfect choice to be this film's lead. Her face, with its wide mouth and big expressive eyes, is an artist's canvas. Whatever her director needs in terms of emotion and action, Ackie can deliver. Also, I must say that Channing Tatum shocks me in Blink Twice. I never thought that he was really a good actor. However, he gives Slater King so many layers that there are moments when I feel sympathy for him. Tatum makes King innocent, childish, childlike, and monstrous, and he can do all of that in the span of a minute.

Wow. I'm still stunned. I've wanted to see Blink Twice since it was first announced last year under the title, “Pussy Island,” but I never thought I'd get this nearly perfect film, a film so good that its flaws seem like artistic choices rather than mistakes. I heartily recommend this to movie fans looking for great films in a time when the various movie factories seem determined to only deliver entertainment that dare not make a statement lest “middle America” take offense. Blink Twice is both – tremendous cinematic art and delightfully good entertainment.

10 of 10

Saturday, August 24, 2024

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Friday, August 16, 2024

Review: "ALIEN: ROMULUS" is Proud to Be an "Alien" Film

TRASH IN MY EYE No. 37 of 2024 (No. 1981) by Leroy Douresseaux

Alien: Romulus (2024)

Running time: 119 minutes (1 hour, 59 minutes)

MPA – R for bloody violent content and language

DIRECTOR: Fede Alvarez

WRITERS: Fede Alvarez and Rodo Sayagues (based on characters created by by Dan O'Bannon and Ronald Shusett)

PRODUCERS: Walter Hill, Ridley Scott, and Michael Pruss

CINEMATOGRAPHER: Galo Olivares (D.o.P.)

EDITOR: Jake Roberts

COMPOSER: Benjamin Wallfisch

SCI-FI/HORROR/THRILLER/ACTION

Starring: Cailee Spaeny, David Jonsson, Archie Reaux, Isabela Merced, Spike Fearn, Aileen Wu, and Robert Bobrocyzki

SUMMARY OF THE REVIEW:

Alien: Romulus is a solid science fiction movie that wholeheartedly embraces the horror movie roots of the Alien film franchise

Director Fede Alvarez and his creative cohorts deliberately make Romulus look and feel like a film from the early days of the Alien franchise, as the film is set between Alien (1979) and Aliens (1986)

Alien: Romulus is a bit over the top, especially at the end, but David Jonsson's performance as “Andy” keeps everything on point in this film that is for longtime fans and will certainly create new Alien fans

Alien: Romulus is a 2024 American science fiction, horror, and action film from director Fede Alvarez. It is the seventh entry in the Alien film series (and the ninth overall when including the Alien vs. Predator films). Alien: Romulus focuses on a group of young space colonists who come face to face with a terrifying life form while scavenging aboard a derelict space station.

Alien: Romulus introduces Rain Carradine (Cailee Spaeny), an orphaned young woman. She lives and works on the mining colony of “Jackson's Star.” She lives with a surrogate brother, Andy (David Jonsson), a malfunctioning android or “synthetic human” who was reprogrammed by Rain's late father to be her companion. After her work contract is unexpectedly extended, she realizes that her employers, the mega-corporation, Weyland-Yutani, realizes that she will be trapped on Jackson's Star at least another five years.

However, her ex-boyfriend, Tyler (Archie Reaux), has a plan. He has discovered that a derelict space station has drifted into orbit around Jackson's Star. Tyler believes that the station has cryonic stasis chambers (for suspended animation), which they could salvage. The cryogenic units would allow them to make the nine-year journey to the next nearest human colony, a remote planet named “Yvaga.”

Andy is essential for the mention because he can communicate with the space station's computer systems. Rain and Andy join Tyler and his crew: his sister, Kay (Isabela Merced); their cousin, Bjorn (Spike Fearn); and a pilot, Navarro (Aileen Wu). After boarding “the Corbelan,” a mining hauler, they head for the space station. What none of them realize is that waiting aboard the space station is a decades-old secret conspiracy and the most terrifying life form in the universe.

After watching Alien: Romulus last night, I realize it is shamelessly proud to be an Alien film, and that it gleefully embraces the good, the bad, and the ugly that is the franchise's wacky narrative. Although it is a standalone film, Romulus is set between the events depicted in Alien (1979) and its sequel, Aliens (1986), and directly references story elements from both films. Romulus also references story and elements from the franchise's prequel film, Prometheus (2012), and at least one of the original Alien sequels, Alien: Resurrection (1997).

I did not like Romulus director's Fede Alvarez's Hollywood calling card, Evil Dead, a 2013 “re-imagining” of Sam Raimi's beloved cult classic, The Evil Dead (1981). Alvarez's Evil Dead had none of the imagination of the original, and it was as if Alvarez was using his film to purge the Evil Dead franchise of its flavor. Here, Alvarez and his co-writer, Rodo Sayagues, immerse this new Alien film in the trappings of the franchise, and the result is a very good science fiction film that celebrates the horror that science, the future, and technology can unleash upon mankind. And Romulus is a gory, bloody, body-ripping scary movie.

What keeps Alien: Romulus from being great is that Alvarez offers too much of everything – too much peril and too, too many cliffhangers. At times, Romulus feels like sound and fury signifying overload. As he did in Evil Dead, Alvarez offers a group of characters who are nothing more than intended victims, and that goes even for the “final girl,” Rain.

However, the script does invest nuance and character in Andy, brilliant played by David Jonsson, a British actor. Jonsson steals Romulus by dabbling in multiple layers, making Andy frightening, sympathetic, and mesmerizing. Jonsson's turn as Andy reminds me of British actor Chukwudi Iwuji's turn as the “High Evolutionary” in Disney/Marvel's Guardians of the Galaxy Vol. 3 (2023). Jonsson vastly elevates the character drama in Romulus, as the other actors do their best work with him, especially Cailee Spaeny as the ostensible lead, Rain.

Alien: Romulus is a welcome return of the Alien franchise's roots, as it firmly sets itself in the tone, style, and aesthetic of the franchise's earlier films. I heartily recommend Alien: Romulus to fans of the franchise and also to those who want to be fans.

7 of 10

A-

★★★½ out of 4 stars

Friday, August 16, 2024

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Wednesday, August 14, 2024

Review: 45 Years On, "ALIEN" is Still a Great Film

TRASH IN MY EYE No. 36 of 2024 (No. 1980) by Leroy Douresseaux

Alien (1979)

Running time: 117 minutes (1 hour, 57 minutes)

MPAA – R

DIRECTOR: Ridley Scott

WRITERS: Dan O'Bannon; from a story by Dan O'Bannon and Ronald Shusett

PRODUCERS: Gordon Carroll, David Giler, and Walter Hill

CINEMATOGRAPHER: Derek Vanlint (director of photography)

EDITORS: Terry Rawlings and Peter Weatherley

COMPOSER: Jerry Goldsmith

Academy Award winner

SCI-FI/HORROR/THRILLER

Starring: Sigourney Weaver, Tom Skerritt, John Hurt, Veronica Cartwright, Harry Dean Stanton, Ian Holm, Yaphet Kotto, Bolaji Badejo, and Helen Horton (voice)

Alien is a 1979 American science fiction and horror film directed by Ridley Scott. It is the first movie in the Alien film series, which has entered its fifth decade and is comprised of prequels and a set of crossover films. Alien is also a multimedia franchise that includes comic books, novels, video games, and an upcoming television series. Alien focuses on the crew of a commercial spacecraft that encounters a deadly alien lifeform after landing on a mysterious moon.

Alien opens on the commercial towing vehicle, the Nostromo, which is returning to Earth. Its cargo is twenty tons of mineral ore that is being refined. It has a crew of seven in stasis (suspended animation): Captain Dallas (Tom Skerritt), Executive Officer Kane (John Hurt), 3rd Officer Ripley (Sigourney Weaver), Navigator Lambert (Veronica Cartwright), Science Officer Ash (Ian Holm), and engineers, Parker (Yaphet Kotto) and Brett (Harry Dean Stanton).

The ship's computer, Mother (voice of Helen Horton), detects a mysterious transmission of unknown origin from a nearby moon and awakens the crew. The company that owns the Nostromo has a policy that the crew must investigate any transmission that indicates intelligent origin. After landing on the moon, Dallas, Kane, and Lambert head out to investigate the landscape, and they discover a derelict alien spaceship. What they find onboard that ship leads to a deadly encounter with an alien lifeform. The problem is that the crew does not know how dangerous the lifeform is, and not everyone on the ship is working towards the same goal.

20th Century Studios (formerly 20th Century Fox) is set to release Alien: Romulus (2024), the latest entry in the Alien film franchise. It is set between Alien and its sequel, Aliens (1986). I have already reviewed Aliens, so I decided to watch Alien for the first time in over three decades and to review it for you, dear readers.

There are generally three reasons that I fondly remember Alien. First, the Alien creature (now known as a “xenomorph”) was created and designed by the late Swiss artist, H. R. Giger (1940-2014). Alien was how I discovered Giger, and I became a huge fan of his. I sometimes paid premium prices for his art books, including those that focused on his work on Alien and his prior work that influenced the film.

The second reason is the film's director Ridley Scott. I am a fan of Scott's work, especially his 1982 science fiction classic, Blade Runner, and his Alien prequel, Prometheus (2012).

The third reason that I fondly remember Alien is that it is one of the first films that introduced me to the Oscar-nominated actress Sigourney Weaver. Her most famous films appeared in the 1980s and 1990s, including such personal favorites as Ghostbusters (1984) and Galaxy Quest (1999).

That aside, the film is rather good, although I think that Ridley Scott takes many of his cues for the film's pace, tone, and execution from Stanley Kubrick's space epic, 2001: A Space Odyssey (1968). That is not necessarily a bad thing. Unlike some of the Alien sequels, Alien is a science fiction film that is also a classic horror film. It builds its scares not on action and violence, but rather on building a sense of mystery, creating an atmosphere of fear and desperation, and throwing a blanket of suspense over the entire thing. Of course, the chest-bursting scene is still chilling and mesmerizing.

Alien remains a great film because it demands that we be patient and enjoy our steadily mounting feelings dread and terror. The film is not perfect, but because it acts as if its audience is smart enough to enjoy a film without fast-paced action scenes and frenzied blood and gore, it is almost perfect. Alien is as good today as it was when it first debuted in theaters forty-five years ago (specifically May 1979). I am happy that Alien remains a thrilling film full of imaginative and inventive production design, SFX, and make-up and creature effects. Not showing any wrinkles, Alien has aged well.

9 of 10

A+

Wednesday, August 14, 2024

NOTES:

1980 Academy Awards, USA: 1 win: “Best Effects, Visual Effects” (H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder, and Dennis Ayling) and 1 nomination: “Best Art Direction-Set Decoration” (Michael Seymour, Leslie Dilley, Roger Christian, and Ian Whittaker)

1980 BAFTA Awards: 2 wins: “Best Production Design” (Michael Seymour) and “Best Sound Track” (Derrick Leather, Jim Shields, and Bill Rowe); 5 nominations: “Best Costume Design” (John Mollo and Terry Rawlings), “Best Editing” (Terry Rawlings), “Most Promising Newcomer to Leading Film Role” (Sigourney Weaver), “Best Supporting Actor” (John Hurt), and “Anthony Asquith Award for Film Music” (Jerry Goldsmith)

Golden Globes, USA: 1 nomination: “Best Original Score - Motion Picture” (Jerry Goldsmith)

2002 National Film Preservation Board, USA: “National Film Registry”

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Monday, July 15, 2024

Review: "THEY CLONED TYRONE" Digs in the Past to Raise Hell Today

TRASH IN MY EYE No. 30 of 2024 (No. 1974) by Leroy Douresseaux

They Cloned Tyrone (2023)

Running time: 119 minutes (1 hour, 59 minutes)

MPA – R for pervasive language, violence, some sexual material and drug use

DIRECTOR: Juel Taylor

WRITERS: Tony Rettenmaier and Juel Taylor

PRODUCERS: Jamie Foxx, Charles D. King, Stephen “Dr.” Love, Tony Rettenmaier, Juel Taylor, and Datari Turner

CINEMATOGRAPHER: Ken Seng (D.o.P.)

EDITOR: Saira Haider

COMPOSERS: Pierre Charles and Desmond Murray

SCI-FI/COMEDY/DRAMA and MYSTERY/THRILLER

Starring: John Boyega, Teyonah Parris, David Alan Grier, J. Alphonse Nicholson, Tamberla Perry, Eric B. Robinson Jr., Trayce Malachi, Leon Lamar, Joshua Mikel, and Keifer Sutherland and Jamie Foxx

They Cloned Tyrone is a 2023 American science fiction comedy-drama and mystery-thriller from director Juel Taylor. After receiving a limited theatrical release, the film began streaming on Netflix on July 21, 2023 as a “Netflix Original.” The film focuses on a drug dealer, a pimp, and sex worker, who must uncover a bizarre mystery that seems to originate from an underground facility beneath their predominantly Black neighborhood.

They Cloned Tyrone focuses on Fontaine (John Boyega), a drug dealer living and slanging in the predominantly African-American, poverty-stricken, and crime ridden suburban neighborhood called “the Glen.” One night, Fontaine arrives at the hotel hideaway of the pimp, Slick Charles (Jamie Foxx), to get money owed to him. Slick freaks out when he sees Fontaine, who apparently had visited him the previous night just before being gunned down by Isaac (Eric B. Robinson Jr.), a rival drug dealer.

Fontaine does not remember the previous night's events, so Slick takes him to one of his ho's, Yo-Yo (Teyonah Parris), in order to confirm his claims of Fontaine's death. Yo-Yo does just that, but later, a series of eerie events thrusts the three onto the trail of a nefarious government conspiracy. But can a drug dealer, a pimp, and a ho really solve a mind-bending mystery that threatens not only their own neighborhood, but Black neighborhoods everywhere?

They Cloned Tyrone got lost in the glare of two of 2023's mega-box office hits, the movies Barbie and Oppenheimer. This month – specifically July 14th – is the one year anniversary of its limited theatrical release. I had been putting off seeing They Cloned Tyrone, so I thought now was a good time to do so.

In They Cloned Tyrone, co-writer-director Juel Taylor and co-writer Tony Rettenmaier make many references to American popular storytelling via the characters dialogue. However, the film's plot and narrative reference numerous previous Black speculative and genre films. They Cloned Tyrone's conspiracy around consumer products recalls the blaxploitation homage and spoof films, Undercover Brother (2002) and Black Dynamite (2009). Director Jordan Peele's Get Out (2017) and Us (2019) are spectral presences in They Cloned Tyrone's narrative, and I also see a passing resemblance to elements from Boots Riley's Sorry to Bother You (2018). The essences of two landmark 1971 films, A Clockwork Orange and Sweet Sweetback’s Baad Asssss Song, as well as that of the 1988 cult classic, They Live, are in pungent evidence here.

Still, They Cloned Tyrone is an original. It is a gleeful comedy and satire of America. It also manages to be a bolder and more imaginative science fiction film than the pew-pew-pew, space opera epics that pass for modern sci-fi cinematic storytelling. Taylor and Rettenmaier are correct. The Founding Father's of the United States of America came up with some high ideals, but then, died and left us with the messy reality of a fractured disunited state of affairs. These two writers are among the few to plainly state via metaphor and allegory that for too long, Black people have carried the weight of fixing that mess and trying to make the experiment called America an actual thing.

The film has great production values all around, from cinematography and editing to art direction, costume design, and score. You might, dear readers, miss that because They Cloned Tyrone is such an engaging, crazy, lovable story driven by powerhouse performances. John Boyega, Jamie Foxx, and Teyonah Parris give killer performances, and if they were nepo babies, at least one of them (likely Foxx) would have received Oscar nominations for his or her performance here. Parris clearly has leading lady chops, which she wields in this film to make herself a co-lead rather than a supporting player. Foxx balances pathos and absurdity in making Slick Charles a wonderfully engaging and exceedingly likable character.

But John Boyega: let's be honest. His career in America has not exploded like that of his Star Wars sequel trilogy co-star, Adam Driver... and we know why. Boyega is every bit as good as everything that passes for the young Hollywood's A-list. Boyega disappears inside Fontaine and makes him not so much a tragic figure or even criminal for that matter. Fontaine's is the hero's journey even if he is not fair of hair and skin. Boyega has moments here that are most poignant and dramatic and that only an actor both talented and skilled can pull off.

Boyega makes They Cloned Tyrone more than satire, blaxploitation, horror, science fiction, and absurdist comedy. Boyega gives the film dramatic heft and weight. They Cloned Tyrone is memorable and is also one of 2023's very best films because John Boyega is one of a kind.

10 of 10

Monday, July 15, 2024

NOTES:

2024 NAACP Image Awards: 9 nominations: “Outstanding Ensemble Cast in a Motion Picture,” “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (John Boyega), “Outstanding Breakthrough Creative-Motion Picture” (Juel Taylor), “Cinematography in a Motion Picture” (Ken Seng), “Outstanding Supporting Actor in a Motion Picture” (Jamie Foxx), “Outstanding Directing in a Motion Picture” (Juel Taylor), “Outstanding Writing in a Motion Picture” (Juel Taylor and Tony Rettenmaier), and “Outstanding Stunt Ensemble-Television or Film”

2024 Black Reel Awards: 8 nominations: “Outstanding Lead Performance” (John Boyega), “Outstanding Supporting Performance” (Jamie Foxx), “Outstanding Screenplay” (Tony Rettenmaier and Juel Taylor), “Outstanding Ensemble” (Kim Coleman), “Outstanding Emerging Director” (Juel Taylor), “Outstanding Score” (Desmond Murray and Pierre Charles), “Outstanding Costume Design” (Francine Jamison-Tanchuck), and “Outstanding Editing” (Saira Haider)

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Sunday, July 14, 2024

Review: "SWEET SWEETBACK'S BAAD ASSSSS SONG" is Still Beatin' Some White Ass

TRASH IN MY EYE No. 184 (of 2004) by Leroy Douresseaux

Sweet Sweetback’s Baad Asssss Song (1971)

Running time: 97 minutes (1 hour, 37 minutes)

Rating: MPAA – X; re-rated R in 1974

EDITOR/WRITER/DIRECTOR: Melvin Van Peebles

PRODUCERS: Jerry Gross and Melvin Van Peebles

CINEMATOGRAPHER: Bob Maxwell

COMPOSERS: Earth Wind & Fire and Melvin Van Peebles

CRIME/DRAMA/ACTION/THRILLER

Starring: Melvin Van Peebles, Simon Chuckster, Hubert Scales, John Dullaghan, Johnny Amos, Mario Van Peebles, Megan Peebles, and Max Van Peebles

Sweet Sweetback's Baadasssss Song is a 1971 action-thriller, drama, and crime film from writer-director Melvin Van Peebles. It is considered a seminal black exploitation film or “blaxploitation” film, being one of the first that kind. The film focuses on a Black man who goes on the run after brutally beating two police officers, with help from other marginalized people and outsiders.

After saving a black protester (likely a Black Panther) by brutally beating the two cops who were brutalizing the protester, Sweetback (Melvin Van Peebles), an apolitical sex performer goes on the run from the white pigs and other white law enforcement types. He heads for Mexico with help from the black community and disaffected Hell’s Angels, and he also meets many unique characters on the way to freedom.

Melvin Van Peebles’ Sweet Sweetback Baad Asssss Song is considered by many people to be the film that ushered in the blaxploitation film wave. With its emphasis on fighting “the man” (the white power structure, in particular corrupt city officials and policemen) and graphic and gratuitous sex, the film is the prototypical blaxploitation film. However, there is likely no other film like this one in its portrayal of police corruption and the of the racist attitudes that prevail among white law enforcement officials.

Structurally, the film has a bare and simple plot, and the script is absent of story and character development. In a many ways, the film itself is more impressionistic than literal, while the theme is literally against white oppression and (evil) white cops. Van Peebles in collaboration with Earth, Wind, and Fire, the R&B group who would go on to have huge crossover success on the pop charts provide a constant musical backdrop for the film. So sometimes, this movie seems like an overly long music video. In spite of its narrative shortcomings, Sweet Sweetback’s Baad Asssss Song is bold stroke in using film to not only communicate messages and ideas, but to also be used as a means of protest. The film is the work of an artist/firebrand; one must open up to feelings, experiences, emotions, and thoughts that are alien in order to get to the art, and when you get it, Sweetback will be like nothing else.

7 of 10

B+

★★★½ out of 4 stars

EDITED: Sunday, July 14, 2024

NOTES:

2020 National Film Preservation Board, USA: National Film Registry

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Saturday, June 1, 2024

Review: "BAD BOYS II": What'cha Gonna Do 'Cept Watch This

TRASH IN MY EYE No. 114 (of 2003) by Leroy Douresseaux

Bad Boys II (2003)

Running time: 147 minutes (2 hours, 27 minutes)

MPAA – R for strong violence and action, pervasive language, sexuality and drug content

DIRECTOR: Michael Bay

WRITERS: Ron Shelton and Jerry Stahl; from a story by Cormac Wibberley & Marianne Wibberley and Ron Shelton (based upon the characters created by George Gallo)

PRODUCER: Jerry Bruckheimer

CINEMATOGRAPHER: Amir Mokri (D.o.P.)

EDITORS: Roger Barton, Mark Goldblatt, and Thomas A. Muldoon

COMPOSER: Trevor Rabin

ACTION/COMEDY/THRILLER/CRIME

Starring: Martin Lawrence, Will Smith, Gabrielle Union, Joe Pantoliano, Theresa Randle, Jordi Molla, Gary Nickens, Jason Manuel Olazabal, John Salley, Henry Rollins, and Dan Marino

Bad Boys II is a 2003 American buddy-cop film and action-comedy from director Michael Bay. It is a sequel to the 1995 film, Bad Boys, and is also the second film in the Bad Boys film series. In Bad Boys II, loose-cannon Detectives Burnett and Lowrey investigate the flow of illegal drugs into Miami and end up on the middle of a battle for control of the ecstasy trade.

In a crowded field of auteurs, director Michael Bay (The Rock, Armageddon) strives to become the director god of action movies; indeed, he may already be there. He returns for the sequel to Bad Boys, the film that put him on the map as a big time director of insane gunfights, fiery explosions, and slow motion ballets of unabashed violence. And since we must not worship any god before the god, this Zeus of adrenaline films unleashes a film of wall-to-wall mayhem that overwhelms the audience to paranoiac exhaustion just to show us what he can do.

Bay is fortunate (if a god can ever be called fortunate) to have two talents who are very good at what they do, Martin Lawrence and Will Smith. It’s ironic that these roles weren’t originally written for them, but the two actor/comedians have made the bad boys, Marcus Burnett (Lawrence) and Mike Lowrey (Smith) of Bad Boys II, their own because Burnett and Lowrey could not exist without them.

The plot is a confused half-assed muddle involving stereotypical Russian, Cuban, Jamaican, and redneck drug dealers battling it out in Miami for control of the ecstasy trade. If that wasn’t addled enough, Marcus’s sister, Sydney (the beautiful and sexy Gabrielle Union), is an undercover DEA agent caught in the middle of some mismanaged surveillance operation of a Russian and Cuban money-laundering scheme.

Smith and Lawrence are absolutely wonderful as the bad boys. They have to be because they’re on a very short list of actors whom Michael Bay cannot overwhelm with his thunderous conflagrations of balls-to-the-walls violence. Smith is pure bravado, sweating confidence with cartoonish machismo. His physical bearing and rapid-fire delivery of his dialogue create a seamless presence in the film that leads you to believe that Smith is always Lowery, even when you know that a stunt guy has to step in every now and then. He’s no bossy director’s action marionette or pretty boy A-list actor frontin’ like he’s all that. Smith is all that.

When he has good material, Martin Lawrence is a riot act of physical and facial humor. He’s a comedian, born to make us laugh despite his own personal demons. Lately, he’s sold himself for movies that treat him like a minstrel, when he’s at his best skewering the mainstream. In Bad Boy II, he reveals himself to be the best graduate of the Richard Pryor school of facial contortions, which Lawrence uses to grand effect to make us believe that the film’s juggernaut of violence actually scares him.

Even the overwhelming performances of Smith and Lawrence are almost no match for the overwhelming violence of Bad Boys II, but the actors are game. They do an admirable job keeping up with the exploding body parts, flying corpses, decapitated corpses, defiled corpses, gunshot wounds, gratuitous ass shots, the bare breasts of a naked corpse, flying cars, disintegrating cars, exploding cars, car wrecks, car crashes, and flesh wounds to the buttocks. There was a point early in the film when I was sure that Michael Bay was a fabulous artist of the absurd, cinema his canvas, and wanton violence his raw materials. The action was great and invigorating, the violence was cathartic and deliriously funny, and I wanted to revel in the excess. Lawrence and Smith were so on that I screamed with the kind of laughter I reserve for classic Richard Pryor, Mel Brooks, Marx Brothers, Lenny Bruce, and Burns and Allen.

After awhile, I realized that this was as much popcorn cinema as it was art. I still believe that Bay is on to something. One day, we will see him a great filmmaker who pushed the envelope with his inventiveness and imagination, but in Bad Boys II, he went too far too soon. It’s more popcorn than an even an audience ravenously hungry for Circus Maximus bedlam can stomach. With this film, Bay made the mistake that Martin Scorsese did with Gangs of New York: end the picture early enough and he has a cinematic classic, a truly great film. Overstay his welcome, and the director spoils his film.

As mean-spirited as this film gets, I’d still recommend this to die hard action fans and fans of Smith and Lawrence. I’d only recommend that they just have a bib ready for when you spit up from overeating this cinematic pandemonium.

6 of 10

★★★ out of 4 stars

Edited: Monday, July 1, 2024

NOTES:

2004 Image Awards (NAACP): 3 nominations: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Will Smith), and “Outstanding Supporting Actress in a Motion Picture” (Gabrielle Union)

2004 Black Reel Awards: 1 nomination: “Film: Best Soundtrack”

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