Review: "SALTBURN" is not Salty, nor Does it Burn

TRASH IN MY EYE No. 1 of 2024 (No. 1945) by Leroy Douresseaux

Saltburn (2023)

Running time: 131 minutes (2 hours, 11 minutes)

MPA – R for strong sexual content, graphic nudity, language throughout, some disturbing violent content, and drug use.

WRITER/DIRECTOR:  Emerald Fennell

PRODUCERS:  Emerald Fennell, Josey McNamara, and Margot Robbie

CINEMATOGRAPHER:  Linus Sandgren (D.o.P.)

EDITOR:  Victoria Boydell

COMPOSER:  Anthony Willis

DRAMA/COMEDY

Starring:  Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Archie Madekwe, Alison Oliver, Sadie Soverall, Paul Rhys, and Carey Mulligan

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REVIEW SUMMARY:

-- The new film from the writer-director of Emerald Fennell has an intriguing premise and is actually intriguing for about its first hour.

-- Their are few good performances, particularly by Jacob Elordi, Rosamund Pike, and Archie Madekwe. Sadly, the movie focuses on its least interesting character, Oliver Quick, played by one of the hottest dull actors around, Barry Keoghan.

-- Saltburn is mainly for adventurous movie fans. Viewers looking to be entertained may want to look for a movie that is less stiff.

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Saltburn is a 2023 psychological drama and black comedy from writer-director Emerald Fennell.  The film follows a new student at Oxford University who is drawn into the world of a charming and aristocratic classmate, which leads to a tragic summer at the classmate's family's sprawling estate.

Saltburn  introduces Oliver Quick (Barry Keoghan), a scholarship student at Oxford University.  Oliver struggles to fit in due to his inexperience with upper-class manners and deportment.  However, one of Oliver's fellow students does capture his imagination, Felix Catton (Jacob Elordi), an affluent and popular student.  It turns out that Felix is empathetic to Oliver and his stories of his parents' substance abuse and mental health issues.

After Oliver becomes distraught when he learns of his father's sudden death, Felix comforts him.  Later, Felix invites Oliver to spend the summer at his family's sprawling estate, Saltburn.  Oliver meets Felix's eccentric parents, his father, Sir James Catton (Richard E. Grant), and his mother, Lady Elspeth Catton (Rosamund Pike).  He also meets Felix's kooky and lewd sister, Venetia (Alison Oliver).  Also staying at the state is fellow Oxford student and Felix's first cousin, Farleigh Start (Archie Madekwe), who thinks very little of Oliver.  As the summer wears on, however, these unlikable people become too self-absorbed to recognize the danger so very near to them.

I was a huge fan of Saltburn writer-director Emerald Fennell's 2020, Promising Young Woman, for which Fennell won a “Best Original Screenplay” Oscar.  Promising Young Woman was a shocking, funny, vindictive, and righteous film, and which is much more than I can say about Saltburn, which looks like a sumptuous period drama.  On the other hand, for all its good looks, Saltburn is sterile as a black comedy.

I can deal with a film that focuses on unlikable people, which Saltburn does.  Still, I found Saltburn's lead actor, Barry Keoghan, and his character, Oliver Quick, dull and unimaginative.  I don't get Keoghan's critical acclaim.  He was pitiful and sad in The Banshees of Inisherin (2020), which earned him a “Best Supporting Actor” Oscar nomination.  However, sad, silent waif characters bore me, and Keoghan's Oliver Quick is duller than his Dominic Kearney was in Banshees.  Here, Keoghan's personality-free performance in this film does not convince me that Oliver is what the film's final act suggests he is.  Honestly, what Fennell offers here is nothing more than a riff on novelist Patricia Highsmith's literary character, "Tom Ripley," if Ripley were played as a character that was stuffed and mounted.  Also, I must admit to often mistaking Keoghan for another milky white boy actor, Ezra Miller (The Flash), who did the pale, waif thing really well until his... secrets came out.

I like Jacob Elordi as Felix Catton, a funny and charming character, and Elordi's boyish, white boy looks should give him at least a few years in Hollywood as a “hot thing.”  The film's best performance is given by Archie Madekwe, the Black British actor who creates Saltburn's most intriguing character.  As the “mixed-race” Farleigh Start, Madekwe is mysterious and sexy, and honestly, I wish Saltburn was about Farleigh's relationship with the Cattons and his life at Saltburn.  I should also admit that I'm always crazy about Rosamund Pike, so I was in love with Lady Elspeth.

Ultimately, I can only recommend Saltburn to adventurous movie fans who are always on the lookout for films from interesting filmmakers, which Emerald Fennell certainly is.  I simply wish that Saltburn burned a little more.

5 of 10

C+

★★½ out of 4 stars

You can stream the SALTBURN film here on AMAZON Prime Video.

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

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Review: First "CHICKEN RUN" Runs Wild at the End

TRASH IN MY EYE No. 54 of 2023 (No. 1943) by Leroy Douresseaux

Chicken Run (2000)

Running time:  84 minutes (1 hour, 24 minutes)

MPAA – G

DIRECTORS:  Peter Lord and Nick Park

WRITERS:  Karey Kirkpatrick; from a story by Peter Lord and Nick Park

PRODUCERS:  Peter Lord, Nick Park, and David Sproxton

CINEMATOGRAPHER: Dave Alex Riddett (D.o.P.)

EDITOR:  Mark Solomon

COMPOSERS:  Harry Gregson-Williams and John Powell

BAFTA nominee

ANIMATION/FANTASY/ADVENTURE/COMEDY

Starring:  (voices):  Julia Sawalha, Mel Gibson, Phil Daniels, Lynn Ferguson, Tony Haygarth, Jane Horrocks, Miranda Richardson, Timothy Spall, Imelda Staunton, and Benjamin Whitrow

Chicken Run is a 2000 stop-motion animated fantasy and comedy film directed by Peter Lord and Nick Park.  It is a British, French, and U.S. co-production produced by Pathe and Aardman Animations in partnership with DreamWorks Animation.  Chicken Run was Aardman's first feature-length animated film and, as of this writing, remains the highest-grossing stop-motion animated film in worldwide box office history.  Chicken Run is set at a British chicken farm where the chickens hope that an American chicken can help them escape the farm's vicious owners.

Chicken Run opens in post World War II England, specifically at an egg farm that is run like a prisoner-of-war camp.  The farm is owned and operated by the cruel Mrs. Malisha Tweedy (Miranda Richardson) and her submissive husband, Mr. Tweedy (Tony Haygarth), who eat and kill any chicken that is no longer able to lay eggs.  Inside the chicken yard, a rebellious chicken, Ginger (Julia Sawalha), is constantly engaged in escape attempts.  Her goal is to help all her fellow chickens escape the farm and find a new home in the land that lies behind a hill some distance from the Tweedy's farm. 

One night, Ginger witnesses a rooster glide over the coop's fences.  She learns that he is an American rooster, Rocky Rhodes (Mel Gibson), a.k.a. “Rocky the Flying Rooster” a.k.a. “Rocky the Rhode Island Red.”  Believing that Rocky can fly, Ginger begs him to help teach her and the other chickens how to fly so that they can escape the farm.  Rocky is not quite what he seems, however, and time is running out as Mrs. Tweedy has devised a new way to get more money out of the farm's large population of chickens.

I have been putting off seeing Chicken run for 23 years.  Then, I discovered that a sequel, Chicken Run: Dawn of the Nugget, was set to debut on Netflix December 15, 2023, so I decided to finally watch it.  I am a fan of the later feature-length animated films that Aardman Animations produced in partnership with DreamWorks Animation, Wallace & Gromit: The Curse of the Were-Rabbit (2005) and Flushed Away (2006).  I have also enjoyed a few of Aardman's animated short films, including A Grand Day Out with Wallace & Gromit (1989) and Wallace & Gromit in the Wrong Trousers (1993).

In the end, I like Chicken Run, not as much as I like other Aardman works I've seen.  Chicken Run takes some inspiration from director John Sturges 1963 war and adventure film, The Great Escape.  Chicken Run is also described as an adventure film, but it is really a sedate comedy and drama that only occasionally plays with its edgier elements.  Honestly, I think the storytellers under-utilize the Tweedys who are delightfully menacing and are endlessly funny as a dysfunctional couple.  The film is filled with interesting characters, inventive production design, and a novel plot, but the filmmakers seem to keep holding back the narrative's energy for the big ending – more than they need to as far as I'm concerned.

Chicken Run does not really live up to its comic and adventure potential until the last 20 minutes of the story before the end credits start.  The film suddenly seems to wind up and then explode in a final act of flying contraptions, determined poultry, and maniacal farmers.  In fact, the finale is the first time in the film that Mel Gibson's Rocky does not seem like an extraneous character.  I will try to see the sequel on Netflix, but for the time being, finally seeing Chicken Run seems to be the only run I really need to make at the story.

7 of 10

B+

★★★½ out of 4 stars

Saturday, December 16, 2023

NOTES:

2001 BAFTA Awards:  2 nominations: “Alexander Korda Award for Best British Film” (Peter Lord, David Sproxton, and Nick Park) and “Best Achievement in Special Visual Effects” (Paddy Eason, Mark Nelmes, and Dave Alex Riddett)

2001 Golden Globes, USA:  1 nomination: “Best Motion Picture - Comedy or Musical”

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "THE MUMMY'S SHROUD" is a True Scary Movie

TRASH IN MY EYE No. 46 of 2023 (No. 1935) by Leroy Douresseaux

The Mummy's Shroud (1967)

COUNTRY OF ORIGIN: United Kingdom

Running time: 90 minutes (1 hour, 30 minutes)

DIRECTOR:  John Gilling

WRITERS:  John Gilling; from a story by Anthony Hinds

PRODUCER:  Anthony Nelson Keys

CINEMATOGRAPHER: Arthur Grant (D.o.P.)

EDITOR:  Chris Barnes

COMPOSER: Don Banks

HORROR

Starring:  André Morell, John Phillips, David Buck, Elizabeth Sellars, Maggie Kimberly, Michael Ripper, Tim Barrett, Richard Warner, Roger Delgado, Catherine Lacey, and Dickie Owen

The Mummy's Shroud is a 1967 British horror film that was directed by John Gilling and was released by famed British film production company, Hammer Film Productions.  The film focuses on the members of an archaeological expedition who become victims of a curse after they discover and enter the tomb of ancient Egyptian child prince.

The Mummy's Shroud opens in 1920.  A team of archaeologists led by scientist, Sir Basil Walden (André Morell), discovers the lost tomb of a boy who was to be pharaoh, Kah-To-Bey, in Ancient Egypt.  His father, the Pharaoh, was betrayed and murdered in a palace coup, but Kah-To-Bey was saved when his father's manservant, Prem (Dickie Owen), spirited him away deep into the desert.

Stanley Preston (John Phillips), the wealthy businessman who is funding the expedition, arrives to join Walden and his team.  The expedition enters the tomb of Kah-To-Bey, although they are warned against doing that by Hasmid (Roger Delgado), who claims to be the tomb's guardian.  After the expedition returns to Cairo with the contents of the tomb, strange things begin to happen, and people begin to die.  Now, Preston's son, Paul Preston (David Buck), and Claire (Maggie Kimberly), another member of the expedition, may be the only people who can discover who or what is behind a series of brutal slayings.  And it will require them to find and decipher the sacred burial shroud of Kah-To-Bey.

I have been a fan of movies about the curse of Egyptian tombs since I first saw Hammer Film Productions' The Curse of the Mummy's Tomb (1964), so I dove into my first viewing of The Mummy's Shroud, which the cable network, Turner Classic Movies (TCM), aired Monday morning, October 9, 2023.  Of course, I am a huge fan of actor Brendan Fraser's “The Mummy” trilogy.  The second film of that trilogy, 2001's The Mummy Returns, seems to borrow a few elements from The Mummy's Shroud.  Tom Cruise's 2017 film, The Mummy, also has a few elements similar to The Mummy's Shroud.

I really got a kick out of watching The Mummy's Shroud.  For one thing, it has a very handsome cast, and Maggie Kimberly as Claire and Elizabeth Sellars as Stanley Preston's wife, Barbara Preston, are gorgeous blondes.  They fascinated me, and I became more attracted to them with each screen appearance.  Both actresses also give good performances, as do the male actors.  The film's script gives the cast character types to play, but they are up to the task of injecting those types with personality.  No actor is really over-the-top, so much as they are engaged in their performance.

As for the film's horror elements, the mummy and the curse, well, they are quite gruesome.  I would describe The Mummy's Shroud as a genuine scary movie, and the murders don't feel like a body count so much as they seem like true revenge – the cost that the members of the expedition must pay for violating the curse of an Egyptian tomb.  I love Hammer Film Productions' horror movies, and I look forward to seeing them again.  I have seen The Curse of the Mummy's Tomb a few times, and I plan on shaking the dust off The Mummy's Shroud again.

7 of 10

B+

★★★½ out of 4 stars

Thursday, October 12, 2023

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Review: "GOTHIC" is a Mad, Mad, Mad, Mad Movie (Remembering Julian Sands)

TRASH IN MY EYE No. 33 of 2023 (No. 1922) by Leroy Douresseaux

Gothic (1986)

Running time: 87 minutes (1 hour, 27 minutes)

MPAA – R

DIRECTOR:  Ken Russell

WRITERS:  Stephen Volk

PRODUCERS:  Penny Corke

CINEMATOGRAPHER: Mike Southon (D.o.P.)

EDITOR:  Michael Bradsell

COMPOSER: Thomas Dolby

DRAMA/HORROR/HISTORICAL

Starring:  Gabriel Byrne, Julian Sands, Natasha Richardson, Myriam Cyr, and Timothy Spall

Gothic is a 1986 British psychological horror film and historical drama directed by Ken Russell.  The film focuses on a group of five people whose activities on the night of June 16, 1816 invite something dark into the mansion where they are staying.

Gothic is a fictional account of the events that happened at the Villa Diodati on night of June 16, 1816.  To understand Gothic, there is the need for some historical reference.

English novelist, Mary Wollstonecraft Godwin (1797-1851); her future husband, the radical English romantic poet, Percy Bysshe Shelley (1792-1822); and their son, William (1816-19); accompanied Mary's stepsister, Claire Clairmont (1798-1879), to spend the summer of 1816 with the English romantic poet, Lord Byron (1788-1824).  They arrived in mid-May 1816, and by then, Mary was calling herself, “Mrs. Shelley,” although she was not yet married to Percy.  Byron was renting a mansion, the Villa Diodati, located near Lake Geneva, Switzerland.  The Shelleys rented a place nearby.  Byron's young physician, John William Polidori (1795-1821), also joined the gathering.

This summer of 1816 became legendary in literature.  On the night of June 16, 1816, Byron, Mary, Percy, Clairmont, and Polidori entertained themselves with German ghost stories from the Fantasmagoriana, a French anthology of such stories published in 1812.  This amusement led Byron to propose that they each write a ghost story.  Because of poor weather, the group famously spent three days together creating stories to tell each other.  Coming out of that contest were two completed landmark works of Gothic horror fiction.

The first is Mary Wollstonecraft Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus, a landmark in Gothic fiction, Gothic horror, and science fiction.  The second is John Polidori's 1819 short story, “The Vampyre,” which is considered the first modern vampire story and also the beginning of the romantic vampire genre.  Polidori's short story is also based on Byron's contribution to the ghost story contest, a vampire horror story that he turned into prose, but which Byron did not complete.  It was first published in 1819 as “A Fragment,” but is now known as “Fragment of a Novel.”

The film Gothic opens in the summer of 1816.  Mary Godwin (Natasha Richardson); her future husband, Percy Shelley (Julian Sands); and her stepsister, Claire Clairmont (Myriam Cyr), arrive at Villa Diodati on the shores of Lake Geneva in Switzerland.  They have been invited to spend some time there during the summer by the poet, Lord Byron (Gabriel Byrne), who also introduces them to his physician and friend, Dr. John Polidori (Timothy Spall). 

On June 16th, the group is forced to stay inside the mansion as a storm rages outside.  Mary, Percy, Claire, Byron, and Dr. Polidori amuse themselves by engaging in a game of hide-and-seek, and later read from Phantasmagoria, a book of German ghost stories Byron purchased.  Reading these stories inspires the five of them to hold a séance while gathered around a human skull, during which Claire has an apparent seizure.  Later, each member of the group begins to have strange and horrifying experiences, dreams, and hallucinations.  Percy believes the group collectively gave birth to something during the séance.  That something is a creature that not only manifests their worst fears, but also their worst behaviors.  And that creature could destroy them all.

The English actor Julian Sands went hiking in the San Gabriel Mountains northeast of Los Angeles in January of this year, 2023.  He was reported missing afterwards, and his remains were later found in the area he was visiting.  He is best remembered for his breakout role in the 1985 British film, A Room with a View, which was released in the U.S. in 1986.  Although I did see that film, the first film in which I saw Sands was Gothic.  It was also the first film I ever watched at the LSU Student Union Colonnade Theater, a movie theater on the campus of Louisiana State University.  [From what information I've gathered on the Internet, the theater no longer exists.]

The identification of Sands remains and the subsequent memorials of his life got me to thinking about Gothic, which I had not scene in its entirety since that first time I saw it.  I remember not being too crazy about it, but I have been feeling the need to acknowledge Sands' passing, as I was and still am a fan of his.

Also, I have seen a few of Gothic director Ken Russell's films, including the notorious The Devils (1971), which I also saw at the Colonnade.  However, the only one of his films that I have previously reviewed for the Negromancer blog is The Music Lovers, his 1971 biographical film about the 19th-century Russian composer, Pyotr Ilyich Tchaikovsky.  So re-watching Gothic is also a chance to acknowledge Ken Russell (1927-2011).

While Gabriel Byrne as Lord Byron and Sands as Percy Shelley get top billing in Gothic, the film's main focus of this ensemble is Mary Godwin/Shelley, played by the late actress, Natasha Richardson (1963-2009).  Gothic is indeed a psychological horror film because writer Stephen Volk's screenplay forces the character to confront their deepest fears and their most troubling desires.  Volk also lays bare the characters' relationships, especially the dynamics between Byron and Clair, Byron and Polidori, and Percy and Mary.  Volk seems to use Mary to center this, including her own tribulations

Mary has recently delivered a premature baby girl who died, a loss which haunted her (also based on real events).  The death of the child is a recurring motif in this film, usually via the sound of small child crying or in the images of vague, doll-like baby corpses.  Russell, who was known for being typically over-the-top, uses the raging storm, the characters' ingestion of hallucinogens, and their worst nightmares to create a grand vision of a house haunted by its occupants' craziness, selfishness, and psychological issues.  Russell and Volk put Mary Shelley either front-and-center or at least near the most bizarre confrontations (real and imagine) and hallucinations.

Gothic is more about impressions than reality, and to that end, the cast gives good performances.  Sands and Cyr are a little overdone at times, but it's clear this screenplay considers them the most troubled.  As the film progresses, I appreciate Gabriel Byrne's performance as Lord Byron.  I've been watching Byrne for decades over a career full of performances in which one is not like any other, but here, I really believe he is Lord Byron.  Natasha Richardson gives Mary Shelley such depth of character that I wish this film was longer so that Richardson could give us more of Mary.

Gothic has excellent production values.  The costumes are perfectly fitted to the character's personalities.  The lighting and sound bring the raging storm and the raging emotions and madness to life.  The art direction and set decoration offer sets that are straight out of a fairy tale dream, although it is mostly for a story that is nightmarish and melodramatic.  The hair and make-up sell the madness and troubles of these characters and is a perfect match the surrealistic mood.

And just as soon as it began, Gothic's long nightmare is over, and the light of day returns, but with a foreboding.  In real life, the three main male characters would all be dead within eight years of this summer known for being a pivotal time in the history of Gothic fiction.  When I first saw this film, I only kind of understood the importance of what it was fictionalizing.  Since then, I have become more fascinated with that place and moment in the summer of 1816, and I have become more enamored with this dreamlike film.  In a nod to nostalgia, the recent passing of Julian Sands has raised Gothic in my estimation.  It's time for me to buy a physical copy so that I can watch it any time I want without bothering with streaming.

6 of 10

B

★★★ out of 4 stars

Saturday, July 22, 2023

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: Entertaining "TRIANGLE OF SADNESS" is Not as Clever or as Sharp As it Thinks It Is

TRASH IN MY EYE No. 21 of 2023 (No. 1910) by Leroy Douresseaux

Triangle of Sadness (2022)

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

MPA – R for language and some sexual content

WRITER/DIRECTOR:  Rubin Östlund

PRODUCERS:  Philippe Bober and Erik Hemmendorff

CINEMATOGRAPHER:  Fredrik Wenzel (D.o.P.)

EDITORS:  Mikel Cee Karlsson and Rubin Östlund

Academy Award nominee

DRAMA

Starring:  Harris Dickinson, Charlbi Dean, Vicki Berlin, Dolly De Leon, Zlatko Buric, Sunnyi Melles, Iris Berben, Amanda Walker, Oliver Ford Davies, Ralph Schicha, Henrik Dorsin, Jean-Christophe Folly, Alicia Eriksson, and Woody Harrelson

Triangle of Sadness is a 2022 satirical film and black comedy from writer-director Ruben Östlund.  It is the Swedish Östlund's first English-language film, and it is an international co-production between four nations:  Sweden, France, Germany, and the United Kingdom.  The film follows a celebrity couple, who are both fashion models, as they join a doomed luxury cruse for the super-rich.

Triangle of Sadness introduces Carl (Harris Dickinson) and Yaya (Charlbi Dean).  Yaya is a successful fashion model, and Carl is male model, who is not as successful as Yaya.  Yaya expects Carl to pay for their meals, although she makes more money than him, and her ambition is to be a trophy wife.  Yaya is an “influencer,” and she is in a relationship with Carl for the social media engagement it earns them.

Carl and Yaya are invited on a luxury cruise aboard a super-yacht in exchange for its social media promotion.  Among the wealthy guests are the Russian oligarch, Dimitry (Zlatko Buric), and his wife, Vera (Sunnyi Melles), and Jarmo (Henrik Dorsin), a lonely tech millionaire who flirts with Yaya.  Paula (Vicki Berlin), the tightly wound head of the ship's staff, demands that the staff obey the guests' every request, even the absurd ones.  The ship's Captain (Woody Harrelson) will not leave his room and seems to be drunk all the time.  The captain's neglect of his duties, Paula's insistence on placating the super-wealthy guests, and the guests crazy demands culminate in a single disastrous evening.

Eventually, a small group of the yacht's guests, including Carl and Yaya, find themselves on what seems to be a deserted island.  Now, the balance of power has shifted from the wealthy and powerful to a rather skillful cleaning woman, Abigail (Dolly De Leon).  Will the guests adjust to this new status, and how well will they adjust?

There are some fun, outrageous, and outrageously funny material, moments, and scenes in Triangle of Sadness.  The film critiques and mocks the obscenely wealthy, but I think that its strongest points are made when it takes swipes at how some people get rich and famous.  Some are wealthy because they sell things that are destructive to humanity (things used in war), and some are rich and famous … for being rich and famous.  Some people's wealth does not make their lives better, such as the lonely Jarmo.  Some, like the Russian, Dimitry, merely happened to be in the right place at the right time with the right stuff to sell.

For all his film's political commentary and moral lessons, writer-director Ruben Östlund seems to be a tad too mannered.  It's as if he doesn't know that while his film is edgy, he seems to be dulling the sharp edges that would really go after his social and political targets.  Is Östlund saying that the super-rich and famous are obscene and that they need to be brought down to the level of ordinary people in order to regain their humanity?  By the end of the film, it seems that way.

I would recommend Triangle of Sadness (which takes its title from a modeling term used in the film) to fans of foreign movies.  Most movie fans can get a similar message, more or less, from the classic Eddie Murphy-Dan Aykroyd film, Trading Places (1983).  I like Triangle of Sadness because it is a genuinely good film, but it feels like Ruben Östlund left the hardness of its allegories and metaphors on the cutting room floor.

7 of 10

A-

★★★½ out of 4 stars

Wednesday, May 17, 2023

NOTES:

2023 Academy Awards, USA:  3 nominations: “Best Motion Picture of the Year” (Erik Hemmendorff and Philippe Bober), “Best Original Screenplay” (Ruben Östlund), and “Best Achievement in Directing” (Ruben Östlund)

2023 BAFTA Awards:  3 nominations: “Best Supporting Actress” (Dolly De Leon), “Best Casting” (Pauline Hansson), and “Best Screenplay-Original” (Ruben Östlund)

2023 Golden Globes, USA:  2 nominations: “Best Motion Picture - Musical or Comedy” and “Best Performance by an Actress in a Supporting Role in Any Motion Picture” (Dolly De Leon) 

2022 Cannes Film Festival:  2 wins: “Palme d'Or” (Ruben Östlund) and “CST Artist-Technician Prize” (Andreas Franck, Bent Holm, Jacob Ilgner, and Jonas Rudels)

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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Review: "THE BANSHEES OF INISHERIN" is Entertaining and Artsy, Until It Becomes Tiresome

TRASH IN MY EYE No. 5 of 2023 (No. 1894) by Leroy Douresseaux

The Banshees of Inisherin (2022)

Running time:  114 minutes (1 hour, 54 minutes)

MPA – R for language throughout, some violent content and brief graphic nudity

WRITER/DIRECTOR:  Martin McDonagh

PRODUCERS:  Graham Broadbent, Pete Czernin, and Martin McDonagh

CINEMATOGRAPHER:  Ben Davis (D.o.P.)

EDITORS:  Mikkel E.G. Nielsen

COMPOSER:  Carter Burwell

DRAMA/COMEDY

Starring:  Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, Gary Lydon, Pat Shortt, Sheila Flitton, Bríd Ní Neachtain, Aaron Monaghan, and David Pearce

The Banshees of Inisherin is a 2022 black comedy and drama from writer-director Martin McDonagh.  The film focuses on two longtime friends who come to an impasse when one abruptly ends their friendship, with alarming consequences for both of them.

The Banshees of Inisherin opens in 1923 on the fictional Irish isle of “Inisherin,” near the end of the Irish Civil War (1922-23).  Small dairy milk producer, Pádraic Súilleabháin (Colin Farrell), and folk musician, Colm Doherty (Brendan Gleeson), are friends … until just this moment.  Colm abruptly begins ignoring his longtime friend and drinking buddy, Pádraic.  “I just don't like you no more,” Colm tells him.

Colm eventually clarifies, saying that he finds Pádraic to be too “dull” and does not want to waste any more time on him.  Colm says that he would instead like to spend the remainder of his life composing music.  Pádraic is crushed by the loss of Colm's friendship, and even his sister, Siobhán Súilleabháin (Kerry Condon), can't life his spirits.  When Pádraic continues to make attempts to speak to him, Colm gives him a shocking ultimatum – one that could lead to tragic consequences.

A friend of my sister's once said of films like The Banshees of Inisherin, “What's the point?”  What kind of film is The Banshees of Inisherin?  It is a prestige drama, the kind to which some people refer as “Oscar bait.”  The Banshees of Inisherin did recently (as of this writing) receive nine nominations at the 2023 / 95th Academy Awards.  It is well-written by writer-director Martin McDonagh, and there are several nice characters.

But what's the point?  I had had enough of Padraic and Colm's “war” before the film was over.  I would say that I was done with them with about 40 minutes left.  At first, I was willing to go along, and I was intrigued by the mysteries and complexities of this friendship gone wrong.  Then, I found them tiresome, in spite of the good performances by Colin Farrell and Brendan Gleeson, especially the former.  Their feud is contrived, and I get that storytelling is basically a contrivance.  It's just not supposed to come across as so obviously contrived as this film's friendship turned sour.

The film has two outstanding supporting performances:  Kerry Condon as Padraic's sister, Siobhan, and Barry Keoghan as a sweet, but simple young man, Dominic.  I wanted to see more of those two actors and get to know their characters better.

One critic unfavorably compared The Banshees of Inisherin to early films of brothers, Joel and Ethan Coen.  That is correct, right down to the fact that Carter Burwell has composed film scores for both the Coens and for Martin McDonagh.  However, The Banshees of Inisherin lacks the wit, style, and purpose of any of the Coens' films.  The Banshees of Inisherin is a very well made film about sadness and despair, seemingly for art's sake.  I would never call it a bad film because it is a prestige drama that has indeed become prestigious.  I like the prestige of The Banshees of Inisherin, but I'm just not willing to call it one of 2022's best films.

7 of 10

B+

★★★½ out of 4 stars

Thursday, January 26, 2023

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Review: Gory "HELLBOUND: Hellraiser II" is More Weird Fantasy Than Horror

TRASH IN MY EYE No. 58 of 2022 (No. 1870) by Leroy Douresseaux

Hellbound: Hellraiser II (1988)
Running time:  97 minutes (1 hour, 37 minutes)
Rated – R
DIRECTOR:  Tony Randel
WRITERS:  Peter Atkins; from a story by Clive Barker
PRODUCER:  Christopher Figg
CINEMATOGRAPHER:  Robin Vidgeon (D.o.P.)
EDITOR:  Richard Marden
COMPOSER:  Christopher Young

HORROR/FANTASY

Starring:  Clare Higgins, Ashley Laurence, Doug Bradley, Kenneth Cranham, Imogen Boorman, William Hope, Barbie Wilde, Nicholas Vince, Simon Bamford, Sean Chapman, and Oliver Smith

Hellbound: Hellraiser II is a 1988 British supernatural horror and dark fantasy film directed by Tony Randel.  The film is a direct sequel to the 1987 film, Hellraiser.  Like the first film, Hellbound is based on characters and concepts taken from the 1986 novella, “The Hellbound Heart,” which was written by Clive Barker, one of the people behind this film.  Hellbound is also the second film in the Hellraiser film franchise.  Hellbound finds the survivor of the first film, Kirsty, in a psychiatric hospital and dealing with a doctor who is obsessed with the sadomasochistic beings known as the “Cenobites” and the occult world from which they originate.

Hellbound: Hellraiser II opens shortly after the events of the first film.  Kirsty Cotton (Ashley Laurence) has been admitted into the Channard Institute, a psychiatric hospital.  She is still dealing with the terrible events surrounding the death of her father, Larry Cotton.  When she is interviewed by Dr. Phillip Channard (Kenneth Cranham) and his assistant, Dr. Kyle MacRae (William Hope), she gives her account of the events at her father's home (as seen in the first film).  Kirsty is shocked to discover that the bloody mattress upon which her murderous and wicked stepmother, Julia Cotton (Clare Higgins), died is in police custody, and she begs Channard and MacRae to destroy it.

What Kirsty doesn't realize is that Dr. Channard is secretly obsessed with the puzzle boxes that bring forth the Cenobites and with their occult, demonic underworld.  Taking possession of the mattress, Channard discovers that Julia is still inside it, waiting for the blood of fresh victims that will revive her.  Channard's plot involves another patient at his institute, a girl named Tiffany (Imogen Boorman).  Seemingly mute, Tiffany demonstrates an aptitude for puzzles, and Channard wants her to solve one of the three puzzle boxes that have come into his possession.

Now, Kirsty must enter the labyrinth-like world of the Cenobites because she believes that is where she can save her father.  However, both she and Tiffany will have to survive the Cenobites, Julia and Channard's schemes, and “Leviathan the Lord of the Labyrinth.”

The original Hellraiser was indeed a supernatural horror film.  Hellbound: Hellraiser II is more dark fantasy than horror.  In fact, it reminds me of a number of weird and unusual 1980s sci-fi and/or fantasy films that took readers on strange journeys, from 1981's Heavy Metal and 1983's Krull to 1985's Legend and 1986's Labyrinth.

Hellbound has good production values – not as good as Hellraiser, however.  Christopher Young, who scored the first film, provides the musical score for Hellbound, but this time, the music is a bit noisier than in the first film.  The costumes are still good, but mostly repeats the aesthetic of Hellraiser.  The make-up seems more tacky, and in some cases, needlessly gory and excessively bloody.

The story is odd, but has some interesting elements.  Unfortunately, the film does not have much of a plot, and there really isn't a beginning, middle, and end.  It is as if Hellbound is a slice of something larger.  Hellbound is more about shocking visuals and gruesome images than it is about plot.  Other than introducing the Cenobites' labyrinth-like dimension and its lord, Leviathan, the film tells us nothing in the way of details about it or its inhabitants.

The characters are intriguing, but the writer and director treat them like nothing more than bodies to be abused, tortured, and killed.  Still, I find myself fascinated by Ashley Laurence's Kirsty and newcomer Imogen Boorman's Tiffany.  In this film, I decided that Clare Higgins' Julia was more fascinating than she was in the original, although she was good in that, also.

Hellbound dimmed my enthusiasm for this franchise, and I had little patience for the next film in the series, Hellraiser III: Hell on Earth (1992).  Hellraiser wanted to tear your soul apart.  Hellbound: Hellraiser II only wants to cut your body to pieces … before the boredom sets in.

4 of 10
C
★★ out of 4 stars

Tuesday, September 27, 2022


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Review: Original "HELLRAISER" Will Still Tear Your Soul Apart

TRASH IN MY EYE No. 57 of 2022 (No. 1869) by Leroy Douresseaux

Hellraiser (1987)
Running time:  93 minutes (1 hour, 33 minutes)
Rated – R
WRITER/DIRECTOR:  Clive Barker
PRODUCER:  Christopher Figg
CINEMATOGRAPHER:  Robin Vidgeon (D.o.P.)
EDITOR:  Richard Marden
COMPOSER:  Christopher Young

HORROR/FANTASY

Starring:  Clare Higgins, Ashley Laurence, Andrew Robinson, Sean Chapman, Robert Hines, Doug Bradley, Nicholas Vince, Simon Bamford, Grace Kirby, Frank Baker, and Oliver Smith

Hellraiser is a 1987 British supernatural horror film written and directed by Clive Barker.  The film is an adaptation of Barker's 1986 novella, “The Hellbound Heart,” which was first published in the third volume in Dark Harvest's Night Visions anthology series.  This movie also launched the Hellraiser film series, which is currently comprised of eleven films, including an upcoming reboot film, entitled Hellraiser, to be streamed on Hulu.  The first Hellraiser movie focuses on a daughter, a father, his second wife, and his brother (who was his wife's lover), and a group of sadomasochistic beings known as the “Cenobites.”

Hellraiser introduces Frank Cotton (Sean Chapman), who searches the world for the greatest pleasures.  His travels take him to Morocco where he buys a strange puzzle box.  In the empty attic of his late parents' home, Frank solves the puzzle and opens the box.  From the box, hooked chains emerge and begin to tear Frank apart because he has fallen into the clutches of a group of extra-dimensional, sadomasochistic beings called the Cenobites.  Demons to some and angels to others, they offer the greatest pleasure … but also the greatest pain.

Some time afterward, Frank's brother, Larry Cotton (Andrew Robinson), moves into the house in a bid to rebuild his strained relationship with his second wife, Julia (Clare Higgins).  Larry's adult daughter, Kirsty (Ashley Laurence), decides to get a place of her own.  Larry is also unaware that shortly before they were married, Julia had a torrid affair with Frank.

While moving furniture into the house, Larry has an accident that leaves blood dripped onto the attic floor.  Beneath that floor are the desiccated remains of Frank, and Larry's blood begins to revive the tissue.  Soon, Frank has returned as a skinless corpse that is soon found by Julia.  In order to revive Frank, Julia begins luring men into the attic.  Julia and Frank's activities have not gone unnoticed and the puzzle box is still around.  And so are the Cenobites.

I first saw Hellraiser when it played at a local theater; my memory says 1988.  For me it was an unforgettable cinematic experience.  I saw it several times over the following years, but I have not watched it in well over two decades.  Seeing it again, I was surprised at how much of it I actually remembered correctly, which is not always the case when I haven't seen a movie in time that can be measured in decades.

Christopher Young's score is as great as I remembered it to be.  Bold and shamelessly intrusive, it is one of the best musical scores for a horror film that I have ever heard.  The make-up and costumes, especially the former, are still amazing and still seem imaginative, although much of it has been copied and replicated countless times since the original release of Hellraiser.  It is a shame that the committee that oversees the “best make-up” category of the Academy Awards isn't a bit more adventurous and imaginative in their choices.  Hellraiser deserved an Oscar nod for its make-up effects.

I like the performances.  When I see American actor Andrew Robinson on some television series, he usually looks as if he just killed someone, but here, he is convincing as Larry Cotton, loving father and determined spouse.  Claire Higgins looks as if she has a stick up her ass, but it serves her imperious ice queen character, Julia, quite well.  Sean Chapman is half-and-half as Frank, but Oliver Smith who plays the “monster version” of Frank, is excellent.  The best actor in this film, however, is Ashley Laurence, who comes across as genuine in the role of loving daughter and “final girl.”  I think the Hellraiser film franchise became low rent over time because she did not stick around past the second film in the series, Hellbound: Hellraiser II.

For me, Hellraiser works.  By the time I first saw it, I had read several of Clive Barker's short fiction via the American release of his Books of Blood short story collections.  I was familiar with his brand of horror and dark horror, which was deeply imaginative in terms of plot, setting, and characters and also in its depictions of violence.  Clive Barker is different, and so is his film, Hellraiser.  It is a viewing and storytelling experience like no other.  And almost four decades later, Hellraiser can still tear your soul apart, dear readers.

8 of 10
A
★★★★ out of 4 stars

Thursday, September 22, 2022


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Review: Alex Garland's "MEN" on Men

TRASH IN MY EYE No. 48 of 2022 (No. 1860) by Leroy Douresseaux

Men (2022)
COUNTRY OF ORIGIN:  United Kingdom
Running time:  100 minutes (1 hour, 40 minutes)
MPA – R for disturbing and violent content, graphic nudity, grisly images and language
WRITER/DIRECTOR:  Alex Garland    
PRODUCERS:  Andrew Macdonald and Allon Reich
CINEMATOGRAPHER:  Rob Hardy
EDITOR:  Jake Roberts
COMPOSERS:  Geoff Barrow and Ben Salisbury

HORROR

Starring:  Jessie Buckley, Rory Kinnear, Gayle Rankin, Sarah Twomey, and Paapa Essiedu

Men is a 2022 British horror film from writer-director Alex Garland.  The film focuses on a recently widowed young woman on a solo holiday to the English countryside who finds herself tormented by a group of strange men.

Men introduces a young woman named Harper (Jessie Buckley).  Following the shocking and unexpected death of her husband, James Marlowe (Paapa Essiedu), London-based Harper decides to take a holiday alone in the small village of Cotson, located in the English countryside.  She will be spending her two weeks staying in a pricey rental, Cotson Manor.

Not long after Harper arrives at the spacious manor house, things start getting strange.  She is welcomed by the manor's owner, an odd sort of fellow named Geoffrey (Rory Kinnear).  Later, while taking a walk, Harper has a bizarre encounter with a strange man who seems to be naked.  As things start to turn more bizarre, Harper realizes that all the men in the village look alike...

I can see why Alex Garland's film, Men, is so controversial and even considered incendiary.  Basically, Garland's film is a horror movie about toxic masculinity, and the main point of toxicity is that men want to control how women react to men, maleness, and masculinity.  Here, men think that women should downplay some acts of violence and aggression, and that women exaggerate even the most violent and threatening behavior of males.  Harper's husband, James, is emotionally abuse and manipulative, and even his threats against himself are attempts to control Harper, in addition to being an act of violence against her.

In Men, Garland does not offer answers or, at least, many of them.  He uses surrealism and tropes from the horror sub-genre known as “folk horror” (isolated English village, pagan symbolism, atmosphere music, etc.) to create a scary movie that practically yells, “Fact!  Toxic masculinity is bad, and men are controlling and manipulative just as much as they say that women are.”  And that makes Men a flashpoint work of art and entertainment in a flashpoint time, so it automatically has groups of people that will not like it or be very critical of it – even before seeing the film.

The performances are good, but not great.  It is not that the actors aren't capable; it is just that the movie does not give them many verbal showcases.  Thus, Jessie Buckley spends a lot of time looking scared, but when she can speak as Harper, the film has more dramatic impact.  Also, as Geoffrey and others, Rory Kinnear gets to look like a chameleon without getting to play a chameleon.

The politics of men and women aside, Men is yet another film that reveals Alex Garlands ability to take conventional ideas for stories and twist them into unconventional film narratives.  His films offer his audience a visceral and unforgettable experience.  In this case, Garland presents Men as a kind of magical realism; the surreal and real live side by side and are sometimes as one.  Garland is a visual stylist as a film director and a maverick as a screenwriter.  With his contentious film, Men, Garland's reach sometimes exceeds his grasp, but the movie is simply more evidence that he can take his audience in the most unexpected directions.

8 of 10
A
★★★★ out of 4 stars

Thursday, August 19, 2022


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Review: 1978 Version of "DEATH ON THE NILE" Still Has Some Charms

TRASH IN MY EYE No. 29 of 2022 (No. 1841) by Leroy Douresseaux

Death on the Nile (1978)
Running time:  140 minutes (2 hours, 20 minutes)
MPAA – PG
DIRECTOR: John Guillermin
WRITER: Anthony Shaffer
PRODUCERS:  John Brabourne and Richard Goodwin
CINEMATOGRAPHER:  Jack Cardiff (D.o.P.)
EDITOR:  Malcolm Cooke
COMPOSER:  Nino Rota
Academy Award winner

MYSTERY

Starring:  Peter Ustinov, Mia Farrow, Simon MacCorkindale, Jane Birkin, Lois Chiles, Bette Davis, Jon Finch, Olivia Hussey, I.S. Johar, George Kennedy, Angela Lansbury, David Niven, Maggie Smith, Jack Warden, Harry Andrews, and Sam Wanamaker

Death on the Nile is a 1978 British mystery film directed by John Guillermin.  It is based on the 1937 novel, Death on the Nile, written by Agatha Christie (1890-1976).  Death on the Nile the movie finds Hercule Poirot investigating the murder of a newlywed heiress, committed during a luxurious cruise.

Death on the Nile finds famous detective Hercule Poirot (Peter Ustinov) embarking on a luxurious cruise on the Nile River in Egypt.  Poirot is delighted to discover that his friend, Colonel Race (David Niven), will also be aboard the Nile paddle steamer, the “S.S. Karnak.”

Also aboard are the newlyweds:  wealthy heiress, Linnet Ridgeway (Lois Chiles), and her husband, Simon Doyle (Simon MacCorkindale).  While in Egypt on their honeymoon, they are being stalked and hounded by Simon's former fiancé, Jacqueline “Jackie” de Bellefort (Mia Farrow), who was also Linnet's close friend.

When Linnet is found shot to death aboard the Karnak, Jackie is the most obvious culprit, but there are others on board who have reason to want Linnet dead.  There is Linnet's maid, Louise Bourget (Jane Birkin), who was bitter due to her mistress' refusal to grant her a promised dowry.  Linnet's shady American attorney and estate trustee, Andrew Pennington (George Kennedy), whom she called “Uncle Andrew,” was stealing from her.  Elderly American socialite, Mrs. van Schuyler (Bette Davis), is a kleptomaniac who wanted to steal Linnet's pearl necklace.  Miss Bowers (Maggie Smith), van Schuyler's nurse, blamed Linnet's father for financially ruining her own father.

Linnet was suing Salome Otterbourne (Angela Lansbury), a brassy romance novelist, for libel regarding a similarity between Linnet and one of the characters in Otterbourne's novel, “Passion Under the Persimmon Tree.”  Meanwhile, Mrs. Otterbourne's daughter, Rosalie (Olivia Hussey), was anxious to protect her mother from financial ruin.  Linnet was also threatening to expose Dr. Ludwig Bessner (Jack Warden), a Swiss psychiatrist faced with exposure because his unorthodox treatments affected one of Linnet's friends.  Finally, Jim Ferguson (Jon Finch) is an outspoken Communist, and he resented Linnet's wealth.

Can Poirot uncover the identity of the killer before the Karnak reaches the end of its journey?  He better hurry because the bodies are starting to pile up.

If I had heard of this 1978 take on Death on the Nile, I did not remember it.  I decided to watch it when I learned that director Kenneth Branagh was directing a new film version of Agatha Christie's novel, which was released to theaters earlier this year (2022).  Branagh also directed a 2017 film version of Christie's world famous novel, Murder on the Orient Express.

I enjoyed the 1978 Death on the Nile, but not as much as I enjoyed the 1974 Murder on the Orient Express, which starred Albert Finney as Hercule Poirot.  When Finney decided not to return for Death on the Nile, actor Peter Ustinov was cast to play Poirot.  Finney's Poirot had a humorous side, but he was deadly serious about his profession and did not suffer fools.  Ustinov's Poirot is playful, but conceited, and even a bit randy.

Death on the Nile is a sedate film, its narrative lazily moving through this plot to match the languid pace with which the S.S. Karnak sails the Nile.  The performances are nice, but a number of luminaries who appear in this film, including Bette Davis, Angela Lansbury, and Maggie Smith, are merely passing through this film and resting on their laurels..  However, Mia Farrow proves just how good and perfect she is at playing crazy, unbalanced, and unstable characters.

Death on the Nile 1978 is a nice whodunit film and cozy mystery movie, and I would probably watch it again.  At times, it seems to be a surprisingly average and somewhat uninspired film, but, on the other hand, it has its charms.

5 out of 10
B-
★★½ out of 4 stars

Tuesday, May 10, 2022


NOTES:
1979 Academy Awards, USA:  1 win: “Best Costume Design” (Anthony Powell)

1979 BAFTA Awards:  1 win: “Best Costume Design” (Anthony Powell); 3 nominations: “Best Actor” (Peter Ustinov), “Best Supporting Actress” (Angela Lansbury), and “Best Supporting Actress” (Maggie Smith)

1979 Golden Globes, USA:  1 nomination: “Best Foreign Film” (England)


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Review: Vincent Price Does Killer Shakespeare in "THEATRE OF BLOOD"

TRASH IN MY EYE No. 10 of 2022 (No. 1822) by Leroy Douresseaux

Theatre of Blood (1973)
Running time:  104 minutes (1 hour, 44 minutes)
DIRECTOR:  Douglas Hickox
WRITERS: Anthony Greville-Bell (based on an idea by Stanley Mann and John Kohn)
PRODUCERS:  John Kohn and Stanley Mann
CINEMATOGRAPHER:  Wolfgang Suschitzky (D.o.P.)
EDITOR:  Malcolm Cooke
COMPOSER:  Michael J. Lewis

THRILLER/HORROR with elements of comedy

Starring:  Vincent Price, Diana Rigg, Ian Hendry, Harry Andrews, Robert Coote, Michael Hordern. Robert Morley, Coral Browne, Jack Hawkins, Arthur Lowe, Dennis Price, Milo O'Shea, and Eric Sykes

Theatre of Blood is a 1973 British horror-thriller and dark comedy from director Douglas Hickox.  The film stars Vincent Price as a scorned Shakespearean actor who takes revenge on his critics using the plays of William Shakespeare as reference for his diabolical methods of murder.

Theatre of Blood opens with a murder.  “Theatre Critics Guild” member, George Maxwell (Michael Hordern), is repeatedly stabbed by a mob of homeless people turned murderers.  Maxwell and his fellow guild members recently humiliated Shakespearean actor, Edward Kendal Sheridan Lionheart (Vincent Price).  He was thought to have committed suicide by jumping from the balcony of the guild's headquarters.  Instead, Lionheart was rescued by the very vagrants and homeless people that hehas  recruited to his cause – revenge against the critics who failed to acclaim his genius.

Now, Lionheart has targeted the eight remaining members of the Theatre Critics Guild, designing their deaths using murder scenes from the plays of William Shakespeare.  The police are trying to discover the identity of the killers, and even after they do, they still can't seem to stop him.  Only one of his targets, critic Peregrine Devlin (Ian Hendry), seems smart enough to foil Lionheart.  However, Devlin has no idea just how obsessed and focused Lionheart is.

Vincent Price (1911–1993) was an American actor and a legendary movie star, in addition to being an author and art historian.  Price was and still is best known for his performances in horror films, although his career spanned other genres.  Price appeared in more than 100 films, but he also performed on television, the stage, and on radio.

I am currently reading the wonderful comic book miniseries, Elvira Meets Vincent Price, which is written by David Avallone, drawn by Juan Samu, and published by Dynamite Entertainment.  The series will end shortly, and because I have enjoyed reading it so much, I decided to watch and review a Vincent Price movie.  The first Vincent Price movie that I can remember seeing was Theatre of Blood (known as Theater of Blood in the United States).  As I haven't seen it since that first time, I decided to watch it again.

I remember really liking this movie the first time I saw it, and I enjoyed it watching it again.  Theatre of Blood is both a horror-thriller and a dark comedy, something I did not get watching it as a youngster.  Truthfully, however, Theatre of Blood is a monster movie – a Vincent Price monster movie.

At first, I found myself enjoying Edward Lionheart's revenge and the games of death he plays with his enemies, the critics who would not give him the honor he believes he is due.  Then, I noticed that Lionheart's murderous crusade drags in an ever growing number of innocents and collateral damage.  At that point, I was forced to realize that the beguiling Lionheart is a deranged maniac and probably has been one for a long time.

After I accepted that Lionheart was neither hero nor anti-hero, but was instead a lunatic, I began to enjoy Price's not-quite-over the top performance, with its alternating layers of madness, subtlety, elegance, and maniacal glee.  By the time, I finished Theatre of Blood, I realized a few things.  One is that I need a regular dose of Vincent Price cinema in my life.  Another is that I will absolutely recommend this movie to you, dear readers.

8 of 10
A

Wednesday, March 2, 2022


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Review: Albert Finney and a Star-Studded Cast Power 1974 "Murder on the Orient Express"

TRASH IN MY EYE No. 5 of 2022 (No. 1817) by Leroy Douresseaux

Murder on the Orient Express (1974)
Running time:  128 minutes (2 hours, 8 minutes)
MPAA – PG
DIRECTOR: Sidney Lumet
WRITER: Paul Dehn
PRODUCERS:  John Brabourne and Richard Goodwin
CINEMATOGRAPHER:  Geoffrey Unsworth
EDITOR:  Anne V. Coates
COMPOSER:  Richard Rodney Bennett
Academy Award winner

MYSTERY

Starring:  Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, Martin Balsam, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely, George Coulouris, and Denis Quilley

Murder on the Orient Express is a 1974 British mystery film directed by Sidney Lumet.  It is based on the 1934 novel, Murder on the Orient Express, written by Agatha Christie (1890-1976).  Murder on the Orient Express focuses on a revered detective who tries to solve a murder on a snow bound train, while dealing with a multitude of suspects.

Murder on the Orient Express finds acclaimed detective, Hercule Poirot (Albert Finney), ready to board the transcontinental luxury train, “the Orient Express,” in December 1935.  Having solved a case for a British Army garrison in Jordan, he is due to travel to London on the Orient Express from Istanbul.  There, he encounters his old friend, Signor Bianchi (Martin Balsam), a director of the company which owns the line.

There are other notable passengers traveling in the same coach as Poirot and Bianchi.  There is the assertive and talkative American widow, Harriet Belinda Hubbard (Lauren Bacall).  The quiet English governess, Mary Debenham (Vanessa Redgrave), and Colonel John Arbuthnott (Sean Connery) of the British Indian Army have apparently struck up a relationship.  Swedish missionary, Greta Ohlsson (Ingrid Bergman), is on a trip to raise charity funds so that she can continue to take care of “little brown babies.”  American businessman Samuel Ratchett (Richard Widmark), is on a business trip with with his secretary/translator, Hector McQueen (Anthony Perkins), and his English valet, Edward Beddoes (John Gielgud).

There is an Italian-American car salesman, Antonio Foscarelli (Denis Quilley).  Elderly Russian Princess Natalia Dragomiroff (Wendy Hiller) travels with her stout German maid, Hildegarde Schmidt (Rachel Roberts).  Hungarian Count Rudolf Andrenyi (Michael York) and his wife, Elena (Jacqueline Bisset), are always together.  American theatrical agent, Cyrus Hardman (Colin Blakely), is always in the background.  The train's French conductor, Pierre Michel (Jean-Pierre Cassel), attends to the passengers' numerous needs.

On the second morning of the journey, Samuel Ratchett is found dead.  Signor Bianchi asks the esteemed Monsieur Poirot if he can discover the identity of the murder before the train arrives in Brod, where the Yugoslavian police will take over the investigation.  With the assistance of Bianchi and the Greek physician, Dr. Constantine (George Coulouris), Poirot discovers that the victim was stabbed 12 times.  Now, he must investigate 13 suspects.  Who has committed this murder?  Who is lying?  Where is the truth?  And what is the real story behind the mysterious American who is the victim?  Poirot must discover the answers before the murderer strikes again aboard a train that becomes snowbound.

Agatha Christie died about 14 months after the release of Murder on the Orient Express.  Apparently, this film and Witness for the Prosecution were the only movie adaptations of her books that she liked.  She was also apparently pleased with Albert Finney's performance as Hercule Poirot.

The primary treat of Murder on the Orient Express is its star-studded cast, led by Albert Finney, who earned a “Best Actor” Oscar nomination for his performance.  Ingrid Bergman won the “Best Supporting Actress” Oscar for her role as Greta Ohlsson, a performance that is so immersed in technical detail that it seems more fitting for some high-minded, serious dramatic film.  In general, the women here give strong performances in character roles.  Wendy Hiller is a delight as Princess Natalia Dragomiroff, and Lauren Bacall chews up the scenery as the assertive and talkative Mrs. Hubbard.

The cast of this film is comprised of the some of the biggest movie stars of the middle twentieth century.  Some were not known for playing character roles, but in Murder on the Orient Express, they flexed their character acting chops.  The result of these star performances is a hugely entertaining whodunit with a shocking murder and plenty of terrific intrigue.

I thoroughly enjoyed this film, and although I was initially put off by Albert Finney as Poirot, I soon found myself unable to stop watching him.  Yes, 1974 Murder on the Orient Express shows its age, but fans of whodunits, of Agatha Christie, of murder mystery films will want to see this film.

7 out of 10
A-

Wednesday, February 9, 2022


NOTES:
1975 Academy Awards, USA:  1 win:  “Best Actress in a Supporting Role” (Ingrid Bergman); 5 nominations: “Best Actor in a Leading Role” (Albert Finney), “Best Writing, Screenplay Adapted From Other Material” (Paul Dehn), “Best Cinematography” (Geoffrey Unsworth), “Best Costume Design” (Tony Walton), and “Best Music, Original Dramatic Score” (Richard Rodney Bennett)

1975 BAFTA Awards:  3 wins:  “Anthony Asquith Award for Film Music” (Richard Rodney Bennett), “Best Supporting Actor” (John Gielgud), and “Best Supporting Actress” (Ingrid Bergman); 7 nominations:  “Best Actor” (Albert Finney), “Best Art Direction” (Tony Walton), “Best Cinematography” (Geoffrey Unsworth – also for “Zardoz”), “Best Costume Design” (Tony Walton), “Best Direction” (Sidney Lumet – also for “Serpico”), “Best Film,” and “Best Film Editing” (Anne V. Coates)


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Review: "NEVER RARELY SOMETIMES ALWAYS" is Timely, Could Be Timeless

TRASH IN MY EYE No. 52 of 2021 (No. 1790) by Leroy Douresseaux

Never Rarely Sometimes Always (2020)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – PG-13 for disturbing/mature thematic content, language, some sexual references and teen drinking
WRITER-DIRECTOR:  Eliza Hittman
PRODUCERS:  Adele Romanski and Sara Murphy
CINEMATOGRAPHER:  Hélène Louvart
EDITOR:  Scott Cummings
COMPOSER:  Julia Holter

DRAMA

Starring:  Sidney Flanigan, Talia Ryder, and Théodore Pellerin

[The Texas six-week abortion ban, SB8, went into effect today, as I write this (Wed., September 1, 2021), and that makes Eliza Hittman's acclaimed film, “Never Rarely Sometimes Always,” timely 20 months after its debut at the 2020 Sundance Film Festival.]

Never Rarely Sometimes Always is a 2020 British-American drama from writer-director Eliza Hittman.  The film focuses on a rural Pennsylvania teenager who, seeking an abortion, embarks on a fraught journey to New York City in order to get one.  Oscar-winning filmmaker, Barry Jenkins (Moonlight), is one of the film's executive producers.

Never Rarely Sometimes Always introduces 17-year-old Autumn Callahan (Sidney Flanigan), who lives with her family in rural Ellensboro, Pennsylvania.  Autumn suspects that she is pregnant and goes to the Ellensboro Women's Clinic.  There, she takes a test that confirms that she is pregnant – 10 weeks pregnant according to a woman who works at the clinic.

After learning that she is unable to get an abortion in Pennsylvania without parental consent, Autumn confides in her cousin, Skylar (Talia Ryder), that she is pregnant.  Autumn and Skylar buy two bus tickets and travel to New York City where Autumn can have an abortion with parental consent.   The journey, however, is fraught with complications, including the fact that the girls have little cash and have no place to stay in the city.  And getting an abortion is not as easy, nor will it be as quick, as Autumn thought.

Roe v. Wade (1973) is a landmark United States Supreme Court decision.  The Court ruled that the Constitution of the United States protects a pregnant woman's liberty to choose to have an abortion without excessive government restriction, and, in the process, struck down many U.S. federal and state abortion laws.  However, beginning with Webster v. Reproductive Health Services (1989), the Supreme Court essentially began allowing states to impose restrictions and regulations on a woman's right to have an abortion.  In the ensuing four decades, some of the restrictions placed by states can rightly be called “excessive,” to one extent or another.

That is the context in which Never Rarely Sometimes Always exists.  Autumn and Skylar embark on a fraught journey from small town Pennsylvania to New York City, knowing no one, not having a place to stay, and lacking adequate money so that Autumn can have an abortion.  And Autumn must face having this serious medical procedure as a minor, unsure of what support that she would get from her mother and (apparent) stepfather.

What hangs over this powerful drama is that Autumn is exposing herself and Skylar to danger because the state in which she lives, Pennsylvania, can place multiple restrictions on what is supposed to be a Constitutionally guaranteed right.  In theory, Autumn should have relatively easy access to safe medical care in her home state, yet what she does have in her home town is access to medical care, in which the facility's agenda takes priority over her health and well being and her choices.

In Never Rarely Sometimes Always, writer-director Eliza Hittman is advocating for abortion rights and access, yet she does all her preaching in a film that essentially has two parts.  The first is the story of a teenage girl facing a crisis, and the second part is a kind of dark New York adventure in which the young heroes must, by hook or crook, stay safe in order to enjoy a triumph – even if they cannot really celebrate such a triumph – Autumn getting her abortion.

Never Rarely Sometimes Always takes its title from the multiple choice answers that Autumn can give to a series of questions about her sex life asked by an abortion counselor.  It is in that moment, when Autumn struggles to answer, that Hittman depicts the reality that there is complexity behind a woman or girl's decision to seek an abortion.  It isn't simply about having an “abortion-on-demand.”

Suddenly, Never Rarely Sometimes Always is not so much an argument between anti-choice and pro-choice, nor is it simply about the states and their varying degrees of access to a safe and legal abortion.  Never Rarely Sometimes Always is, at that moment, a story about a teenage girl who faces alone the trouble she did not create by herself.

9 of 10
A+

Wednesday, September 1, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "The Girl With All the Gifts" is a Gift to Movie Audiences

 

TRASH IN MY EYE No. 22 (of 2020) by Leroy Douresseaux

 

[This review was originally posted on Patreon.]

The Girl with All the Gifts (2016)

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

MPAA – R for disturbing violence/bloody images, and for language

DIRECTOR:  Colm McCarthy

WRITER:  Mike Carey (based on his novel)

PRODUCER:  Camille Gatin and Angus Lamont

CINEMATOGRAPHER:  Simon Dennis   

EDITOR:  Matthew Cannings

COMPOSER:  Cristobal Tapia de Veer

SCI-FI/HORROR/DRAMA

Starring:  Sennia Nanua, Gemma Arterton, Paddy Considine, Fisayo Akinade, Anthony Welsh, Anamaria Marinca, Dominique Tipper, and Glenn Close

The Girl with All the Gifts is a 2016 British post-apocalyptic science fiction horror film from director Colm McCarthy.  Screenwriter Mike Carey adapted this film's screenplay from his 2014 novel, The Girl with All the Gifts.  The Girl with All the Gifts the movie is set in a dystopian future and follows the struggles of a scientist, a teacher, and two soldiers, and a special young girl who embark on a journey of survival.

The Girl with All the Gifts is set in the United Kingdom in a near future scenario.  Humanity has been ravaged by a mysterious disease that is caused by a parasitic fungus.  It is transmitted by bodily fluids, such as when an infected person bites an uninfected person.  The infected humans have turned into fast-moving, mindless zombies called “Hungries.”  Mankind's only hope is a small group of hybrid children, born with the fungus wrapped around their brains, making them part-human and part-Hungry.  These children crave living, human flesh, but they retain the ability to think and to learn.

On an army base, the scientist, Dr. Caroline Caldwell (Glenn Close), has been using a group of hybrid children in an attempt to develop a vaccine that would protect humans from becoming infected Hungries.  One of the children is a very special and exceptional girl named Melanie (Sennia Nanua), who has drawn the particular attention of Helen Justineau (Gemma Arterton), a young woman who is responsible for educating and for studying the children.

The hybrid children on the army base are essentially as held prisoners, guarded by a group of soldiers lead by Sergeant Eddie Parks (Paddy Considine).  When the base falls, Melanie, Justineau, Dr. Caldwell, Parks, and another soldier, Private Kieran Gallagher (Fisayo Akinade), head for London in the hope of finding help, but are they all in denial about the new order of things in a world of Hungries?

I have no trouble recommending The Girl with All the Gifts, a fantastic and truly unique film.  It is equally post-apocalyptic science fiction, zombie apocalypse horror, and road movie drama.  I could have watched another two hours of this stunning movie.  The Girl with All the Gifts is like a new take on the three films based on late author Richard Matheson's 1954 seminal post-apocalyptic novel, I Am Legend.  Those films are The Last Man on Earth (1964), The Omega Man (1971), and I Am Legend (2007), to one extent or another.

What makes this film exceptional is both the performance by and the appearance of Sennia Nanua as the film's lead character, Melanie.  She gives a honest and vibrant performance as Melanie, a child referred to as “it,” but who grows from a child seeking attention and being... hungry to a child learning to a becoming the group's guide and protector and finally to evolving into a kind of “Eve.”  Also, it is simply great to see a young actress of color as the lead in a science fiction film, especially in a movie that is led primarily by female characters.

The performances in the film are mostly poignant and quiet.  Do I have to tell you that Glenn Close gives a muscular turn as Dr. Caldwell?  Should I have to tell you that?  Well, I will tell you again that The Girl With All the Gifts is one of this decade's best genre films and that I highly recommend and might even demand that you see it.

9 of 10
A+

Friday, October 16, 2020


NOTES:
BAFTA Awards 2017:  1 nomination: “Outstanding Debut by a British Writer, Director or Producer” (Mike Carey and Camille Gatin)

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

--------------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).