Review: Very Scary "WOLF MAN" is Gleefully Gruesome

TRASH IN MY EYE No. 4 of 2025 (No. 2010) by Leroy Douresseaux

Wolf Man (2025)

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

MPA – R for bloody violent content, grisly images and some language

DIRECTOR:  Leigh Whannell

WRITERS:  Leigh Whannell and Corbett Tuck

PRODUCERS:  Jason Blue and Ryan Gosling

CINEMATOGRAPHER:  Stefan Duscio

EDITOR: Andy Canny

COMPOSER:  Benjamin Wallfisch

HORROR/THRILLER

Starring:  Julia Garner, Christopher Abbott, Matilda Firth, Sam Jaeger, Benedict Hardie, Zac Chandler, and Ben Prendergast

SUMMARY OF THE REVIEW:

Wolf Man is a scary, scary movie – a real scary movie that delivers the thrills, the chills, and some gruesome, gory moments.

It is one of the best werewolf movies in recent memory, without ever using the term “werewolf” in the movie, but it is the real deal in bark-at-the-moon, horror movie craziness.

Wolf Man is a 2025 American horror film from director Leigh Whannell.  The film follows a father, a mother, and their daughter in their struggle to fend off a murderous creature, even as the father begins to rapidly transform into something monstrous.

Wolf Man opens in 1995 in the remote mountains of Oregon.  A hiker has disappeared, and people in the isolated local community speculate that he may have fallen victim to a virus called “Hills Fever,” linked to the region's wildlife.  However, the Indigenous people of the area call this ailment, “the Face of the Wolf.”  During a deer hunt, survivalist Grady Lovell (Sam Jaeger), and his son, Blake (Zac Chandler), spot a mysterious creature lurking in the forest.  They have a terrifying encounter with it.

Thirty years later, Blake Lovell (Christopher Abbot) lives in the big city with his wife, Charlotte Lovell (Julia Garner), and their daughter, Ginger (Matilda Firth).  One day, Blake finally receives documents indicating that his long-missing father has been declared dead.  Blake convinces Charlotte that they should travel to Grady's remote home and take possession of his belongings.

The trip starts off well enough for Blake, Charlotte, and Ginger, but an accident leads them into an encounter with a fast-moving and mysterious creature (Ben Prendergast), which scratches Blake's arm.  The three are able to escape the attack and arrive at Grady's home, where they barricade themselves.  Although the creature lurks outside, the house, which had long been fortified by the paranoid Grady, offers some security.  However, the scratch on Blake's arm has turned bloody and infected, and now, he is changing... into something.

Once upon a time, Universal Pictures wanted to build a “shared universe” (like the Marvel Cinematic Universe) around the portion of its film library known under the brand name, “Universal Monsters,” by rebooting select films from that brand.  The shared universe was known named “Dark Universe,” and the film that launched it was the heavily-criticized, box office disappointment, The Mummy (2017), and I am talking about the one with Tom Cruise.

After that disappointment, Universal decided to move away from a shared universe concept, but kept the idea of rebooting its Universal Monsters films.  The new direction was launched with writer-director Leigh Whannell's 2020 hit horror film, The Invisible Man, a reboot of the 1933 film, The Invisible Man.  Now, Whannell is back in the Universal reboot game with Wolf Man, which is apparently a re-imagining of Universal Picture's 1941, classic horror film, The Wolf Man.

If you are wondering, dear readers, if Leigh Whannell's new Wolf Man is scary, it is scary as f*ck.  It is a true scary movie.  It is a scary-ass movie.  Now, I think that Whannell and his co-writer Corbett Tuck offer shallow characters and melodramatic interpersonal character tropes, but they fashion a wild, hairy-ass horror movie that is not ashamed of being a gruesome, gross, and gory werewolf movie that leaks bodily fluids all over the place.  By the way, the terms, “werewolf” and “wolf man,” are never used in this film as far as I can tell.

Whannell's collaborators are on their “A” game with this film.  Hair and make-up and visual effects slow grind Blake's grisly transformation and throw us a nasty curve ball on consumption.  It seems as if Benjamin Wallfisch is trying to use his film music to make me choke on my own fear, and the film editing is a constant fear machine.

The cast is quite good at selling us that all of this is real.  The characters might by shallow, but the actors go deep into their craft, deep enough to make me feel as if I was there waiting to be slashed and gored by a... “mysterious creature.”

I didn't see Whannell's The Invisible Man, but Wolf Man makes me want to see all his films.  Whannell may be best known for creating the 2004 film, Saw, with director James Wan, that launched a two-decade old franchise.  However, I'd like him to return to the macabre world he has created with this new film.  Wolf Man is not perfect, but it is a perfectly scary movie.  Some of you might need a barf bag or some “Depends” undergarments in order to make it through the grim terror that is Wolf Man.

7 of 10

A-

★★★½ out of 4 stars

Saturday, January 18, 2025

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Review: "PRINCE OF DARKNESS" Still Scares the Green Liquid Outta Me (Celebrating John Carpenter)

TRASH IN MY EYE No. 9 (of 2004) by Leroy Douresseaux

John Carpenter’s Prince of Darkness (1987)

Running time:  102 minutes (1 hour, 42 minutes)

MPAA – R

DIRECTOR:  John Carpenter

WRITER:  Martin Quatermass (John Carpenter)

PRODUCER:  Larry J. Franco

CINEMATOGRAPHER:  Gary B. Kippe

EDITOR:  Steve Mikovich

COMPOSERS:  John Carpenter and Alan Howarth

HORROR/SCI-FI

Starring:  Donald Pleasence, Jameson Parker, Victor Wong, Lisa Blount, Dennis Dun, Susan Blanchard, Anne Marie Howard, Ann Yen, Dirk Blocker, Jessie Lawrence Ferguson, Peter Jason, Robert Grasmere, Thom Bray, and Alice Cooper

Prince of Darkness is a 1987 American supernatural horror film from writer-director John Carpenter.  The film focuses on a Catholic priest, quantum physics university professor, and his graduate students as they investigate an ancient cylinder full of swirling liquid, which may be the embodiment of the “Prince of Darkness.”

Prince of Darkness introduces Father Loomis (Donald Pleasence), a high-ranking priest.  He has come across a long-hidden secret, one kept even from the Vatican.  A priestly order, “The Brotherhood of Sleep,” has possessed a canister that apparently contains the liquefied remains of the “Prince of Darkness.”  When the last of the order dies, Loomis seeks out a prestigious professor of physics, Prof. Howard Birack (Victor Wong), to help him understand the discoveries he’s made at the Brotherhood’s church.

Birack enlists the aid of a group of fellow scientists and students to study ancient texts and to learn the truth about the thing that may hold the “Prince of Darkness.”  However, whatever the liquid is, it is awakening, and it is beginning to possess some members of the investigation team, turning them into killer zombies.  Worse still, Father Loomis, Birack, and the students discover that the Prince of Darkness intends to bring his even more evil father back from the dark side to our world.

Prince of Darkness is one of my favorite John Carpenter films.  It is the second installment in what Carpenter calls his “Apocalypse Trilogy,” which began with his 1982 film, The Thing (1982), and concluded with his 1994 film, In the Mouth of Madness (1994).  Prince of Darkness is quite scary and suspenseful, and Carpenter’s screenplay is filled with many wonderful and eccentric ideas about the nature of time, existence, and religion.  Perhaps, the most frightening thing about the film is its atmosphere of the unknown.  A lot of the ideas and philosophy within the film are half-explained or unexplained, but there’s just enough to make you curious and feel that your safety and that of the film’s characters are on the line if someone doesn’t solve the riddles behind the dark conspiracy.  This is also one of the better examples of Carpenter’s ability to create a narrative flow that maintains a sense of dread or a sense of impending horror from start to finish.

The actors confine their performances to doing what’s necessary to serve a horror film, so there is some stiffness to the acting, as well as some occasionally unnecessary histrionics.  Still, they are integral in making this one of the better end-of-world movies.  Prince of Darkness also fits in well with that sub-genre in horror in which a small band of humans stand alone against forces bent on destroying or conquering the world – the last line of defense for a humanity that doesn’t know about the secret war to save it.  Prince of Darkness, in that sense, works and is a truly underrated and excellent film, especially for fans who love a good mixture of horror and science fiction.

8 of 10

A

★★★★ out of 4 stars

EDITED: Wednesday, January 15, 2025

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Review: "NOSFERATU" 2024: You'll Either Be Impressed or Roll Your Eyes

TRASH IN MY EYE No. 61 of 2024 (No. 2005) by Leroy Douresseaux

Nosferatu (2024)

Running time:  133 minutes (2 hours, 13 minutes)

MPA – R for bloody violent content, graphic nudity and some sexual content

DIRECTOR:  Robert Eggers

WRITER:  Robert Eggers (inspired by the film, Nosferatu, and the novel by Bram Stoker)

PRODUCERS:  Chris Columbus, Eleanor Columbus, Robert Eggers, John Graham, and Jeff Robinov

CINEMATOGRAPHER:  Jarin Blaschke (D.o.P.)

EDITOR: Louise Ford

COMPOSER:  Robin Carolan

HORROR/THRILLER

Starring:  Lily-Rose Depp, Nicholas Hoult, Bill Skarsgard, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, and Simon McBurney

SUMMARY OF THE REVIEW:

Nosferatu is entertaining – in places, but quite a bit of it is also over-the-top and overdone. Honestly, I'd be reluctant to recommend it to people who don't go to movie theaters too often because they could find better films upon which to spend their infrequent cinema visits

Nepo-baby thespian, Lily-Rose Depp, gives an excellent performance, emphasizing facial expressions and physical feats, but Bill Skarsgard as the Nosferatu, manages only to create a vampire that is as boring as he is scary and ugly

Also, if you remember Francis Ford Coppola's 1992 film, Bram Stoker's Dracula, you will find this film shockingly similar to it

Nosferatu is a 2024 American vampire horror film from writer-director Robert Eggers  It is a remake of the 1922 German silent film, Nosferatu.  Like that German film, the modern Nosferatu also takes inspiration from the 1897 novel Dracula, written by author Bram Stoker.  The new Nosferatu focuses on a young woman and the terrifying vampire that is infatuated with her.

Nosferatu introduces Ellen (Lily-Rose Depp).  Since she was a child, Ellen has had a connection to the spiritual and mystical realms.  When she was a girl, she called out to a spirit, and that caused her to have a vision of a disfigured and corpse-like creature attack her.  This in turns leads to Ellen having a violent seizure.

In 1838, Ellie is now an adult and is newly wed to a husband, the young estate agent, Thomas Hutter (Nicholas Hoult).  The couple is living in Wisborg, Germany where Thomas works for “Knock & Associates.”  His employer, Herr Knock (Simon McBurney), offers Thomas a generous commission, but to get it, Thomas must embark on a six-day journey to the small country of Transylvania.

There, Thomas will meet the mysterious Count Orlok (Bill Skarsgard), who wants to buy property in Wisborg, which he plans to make his new home.  However, there is a conspiracy behind this business venture between Knock and Orlok, and Ellen, who is once again besieged by dark, monster-filled dreams, is the prize.  Now, Professor Albin Eberhart Von Franz (Willem Defoe), a controversial scientist and expert on the occult and mysticism, may be the only one who can figure out what everyone else seems to ignore.  And that is the fact that Orlok is a monstrous vampire – a Nosferatu!

First, some history: director F.W. Murnau's 1922 German silent film, Nosferatu, was an unauthorized film adaptation of Bram Stoker's novel, Dracula (1897).  Stoker's heirs sued and the film was ordered destroyed, but several prints survived this purge.  So the modern Nosferatu is both a remake of the 1922 film and an adaptation of Stoker's novel.  I also find quite a bit of this new Nosferatu to be a literally and spiritually rehash of director Francis Ford Coppola's visionary, Oscar-winning film, Bram Stokers Dracula (1992).

Moving on:  Lily-Rose Depp delivers a stunning performance as Ellen, one that is both emotionally charged and also physically impressive, thanks to the scenes in which she portrays having blood-curdling seizures, apparently without the help of computer-generated imagery.  Depp makes by far the best out of director Robert Eggers' screenplay, which I find to be shallow and also imaginative only in the superficial way that directors borrow from other directors' films in a bid to seem clever before their sycophants and devotees.

That is exemplified by Bill Skarsgard's Count Orlok.  He is both frightening and tedious.  Skarsgard is buried under a mound of makeup and likely computer-rendering that makes him look like a homeless and destitute version of the infamous Russian mystic and political Svengali, Grigori Rasputin.  The new Count Orlok is a scary mountain of monster-man, but he has no personality,  And girl, he grunts his garbled dialogue real good.  Ultimately, Skarsgard turn as Count Orlok is no better than one of actor Robert Englund's latter turns as “Freddy Krueger” in one of the many sequels to A Nightmare on Elm Street (1984).

Eggers really does not give the rest of his characters great dramatic material.  Nicholas Hoult's Thomas Hutter is an embarrassing crybaby, and Aaron Taylor-Johnson's Friedrich Harding is a stubborn moron.  Willem Defoe's Von Franz is smart and stupid in alternating waves that suggest that suggests he was created by some AI algorithm.  Emma Corrin's Anna Harding (Friedrich's wife) seems very smart and capable, so the male writer's screenplay kills her off way too early.

Yeah, I have a lot of complaints about this new Nosferatu, mainly because it is one of those maddening films that has many brilliant elements that are beset by many tedious, hilarious, and ridiculous elements.  This is not “style over substance,” but it is style strangling the shit out of substance.  I heartily recommend Nosferatu to fans of vampire films and to adventurous movie lovers, but I would be reluctant to recommend it to people who are not as into movies as I am.  Something like Nosferatu would make them roll their eyes.

6 of 10

B

★★★ out of 4 stars

Friday, December 27, 2024

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

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Comcast Plans to Dump Most of Its Cable Television Networks into Spin-off Company

Comcast Announces Intention to Create Leading Independent Media Business Through Spin-off of Select Cable Television Networks

New company to provide world-class news, sports and entertainment with significant scale and resources

Media veterans Mark Lazarus and Anand Kini to lead the new company

Comcast will continue its strategic focus on driving its core growth businesses, including residential broadband, wireless, business services and NBCUniversal’s streaming, studios and theme parks

Tax-free transaction expected to be completed in approximately one year

PHILADELPHIA--(BUSINESS WIRE)--Comcast Corporation (NASDAQ: CMCSA) today announced its intent to create a new publicly traded company comprised of a strong portfolio of NBCUniversal’s cable television networks, including USA Network, CNBC, MSNBC, Oxygen, E!, SYFY and Golf Channel along with complementary digital assets including Fandango and Rotten Tomatoes, GolfNow and Sports Engine, through a tax-free spin-off. The well-capitalized independent company (“SpinCo”) will have significant scale as a pure-play set of assets anchored by leading news, sports and entertainment content.

SpinCo will be an industry-leading news, sports and entertainment cable television business with a focused strategic direction. SpinCo’s stable of marquee brands will provide a diverse and differentiated content offering that will reach approximately 70 million U.S. households.

“When you look at our assets, talented management team and balance sheet strength, we are able to set these businesses up for future growth,” said Brian L. Roberts, Chairman and CEO of Comcast. “With significant financial resources from day one, SpinCo will be ideally positioned for success and highly attractive to investors, content creators, distributors and potential partners.”

The planned spin-off will also strategically position NBCUniversal with its leading broadcast and streaming media properties, including NBC entertainment, sports, news and Bravo – which all power Peacock – along with Telemundo, the theme parks business and film and television studios.

“This transaction positions both SpinCo and NBCUniversal to play offense in a changing media landscape,” said Mike Cavanagh, President of Comcast. “Taken together, the entirety of NBCUniversal will be on a new growth trajectory, fueled by our world-class content, technology, IP, properties and talent – all working in concert with each other as an integrated media company.”

As a global media and technology company, Comcast will be well-positioned to continue to invest in its strategic core growth businesses across its Content & Experiences and Connectivity & Platforms businesses, including residential broadband, wireless, business services, streaming, studios and theme parks. The transaction is expected to be accretive to revenue growth at Comcast and approximately neutral to Comcast’s leverage position. The company does not anticipate any change to its credit profile or ratings as a result of this transaction.

SpinCo Leadership Team and Profile:

SpinCo will be led by an experienced and well-respected management team. Mark Lazarus, current Chairman of NBCUniversal Media Group, will serve as the company’s Chief Executive Officer, and Anand Kini, current Chief Financial Officer of NBCUniversal and EVP of Corporate Strategy at Comcast, as its Chief Financial Officer and Chief Operating Officer. Together they will lead the development of an independent strategy, while also establishing SpinCo as a potential partner and acquirer of other complementary media businesses.

“As a standalone company with these outstanding assets, we will be better positioned to serve our audiences and drive shareholder returns in this incredibly dynamic media environment across news, sports and entertainment,” said Mark Lazarus. “We see a real opportunity to invest and build additional scale and I'm excited about the growth opportunities this transition will unlock. Our financial strength will also provide capacity for an attractive capital return policy while allowing for investment in the growth of these businesses.”

Over the last twelve months ended September 30, 2024, SpinCo generated approximately $7 billion in revenue. SpinCo will have the same dual-class share structure as Comcast. As an independent company, SpinCo will be better positioned to achieve long-term growth and create value for stakeholders, benefitting from:

• Financial flexibility to pursue growth opportunities
• A dedicated management team with deep sector expertise that can tailor decisions and allocate capital based on the needs of the business
• Well capitalized balance sheet with strong credit metrics
• Capacity for attractive capital return policy to drive shareholder value
• Increased operational focus
• Dedicated board of directors
• While SpinCo will operate as an independent business, it will enter into a transition services agreement with NBCUniversal to allow SpinCo to operate seamlessly from day one.

Transaction Details:

Comcast is targeting to complete the spin-off in approximately one year, subject to the satisfaction of customary conditions, including obtaining final approval from the Comcast Board of Directors, satisfactory completion of SpinCo financing, receipt of tax opinions and receipt of any regulatory approvals. There can be no assurance that a separation transaction will occur, or, if one does occur, of its terms or timing.

Advisors:

Goldman Sachs & Co. LLC and Morgan Stanley & Co. LLC are serving as financial advisors to Comcast, and Davis Polk & Wardwell LLP is serving as legal counsel.

About Comcast Corporation:

Comcast Corporation (Nasdaq: CMCSA) is a global media and technology company. From the connectivity and platforms we provide, to the content and experiences we create, our businesses reach hundreds of millions of customers, viewers, and guests worldwide. We deliver world-class broadband, wireless, and video through Xfinity, Comcast Business, and Sky; produce, distribute, and stream leading entertainment, sports, and news through brands including NBC, Telemundo, Universal, Peacock, and Sky; and bring incredible theme parks and attractions to life through Universal Destinations & Experiences. Visit www.comcastcorporation.com for more information.

Caution Concerning Forward-Looking Statements:

This press release includes statements that may constitute forward-looking statements. In evaluating these statements, readers should consider various factors, including the risks and uncertainties we describe in the “Risk Factors” sections of our most recent Annual Report on Form 10-K, our most recent Quarterly Report on Form 10-Q and other reports filed with the Securities and Exchange Commission (SEC). Factors that could cause our actual results to differ materially from these forward-looking statements include changes in and/or risks associated with: the competitive environment; consumer behavior; the advertising market; consumer acceptance of our content; programming costs; key distribution and/or licensing agreements; use and protection of our intellectual property; our reliance on third-party hardware, software and operational support; keeping pace with technological developments; cyber attacks, security breaches or technology disruptions; weak economic conditions; acquisitions and strategic initiatives; operating businesses internationally; natural disasters, severe weather-related and other uncontrollable events; loss of key personnel; labor disputes; laws and regulations; adverse decisions in litigation or governmental investigations; and other risks described from time to time in reports and other documents we file with the SEC. Readers are cautioned not to place undue reliance on forward-looking statements, which speak only as of the date they are made, and involve risks and uncertainties that could cause actual events or our actual results to differ materially from those expressed in any such forward-looking statements. We undertake no obligation to update or revise publicly any forward-looking statements, whether because of new information, future events or otherwise. The amount and timing of any dividends and share repurchases are subject to business, economic and other relevant factors.

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Review: First "GLADIATOR" Film is Still Rockin' the Colosseum

TRASH IN MY EYE No. 50 of 2024 (No. 1994) by Leroy Douresseaux

Gladiator (2000)

Running time:  155 minutes (2 hours, 35 minutes)

MPAA – R for intense, graphic combat

DIRECTOR:  Ridley Scott

WRITERS:  David Franzoni, John Logan, and William Nicholson (from a story by David Franzoni)

PRODUCERS:  David Franzoni, Branko Lustig, and Douglas Wick

CINEMATOGRAPHER:  John Mathieson

EDITOR:  Pietro Scalia

COMPOSERS:  Hans Zimmer and Lisa Gerrard

Academy Award winner

DRAMA/HISTORICAL

Starring:  Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Richard Harris, Derek Jacobi, Djimon Hounsou, David Schofield, John Shrapnel, Tomas Arana, Ralf Moeller, Spencer Treat Clark, David Hemmings, and Tommy Flanagan

Gladiator is a 2000 historical epic film directed by Ridley Scott.  At the 73rd Academy Awards (March 2001), the film won the Oscar for Best Picture of the Year 2000.  Gladiator focuses on a Roman general who is reduced to slavery, becomes a gladiator, and takes on a corrupt Roman emperor in order to exact vengeance upon him. 

Gladiator opens in the year 180 AD in the region known as Germania.  Emperor Marcus Aurelius (Richard Harris) prepares to end his 17-year campaign against the barbarian tribes in their final stronghold in the region.  The Roman general, Maximus Decimus Meridius (Russell Crowe), a Spaniard, intends to return home after he leads the Roman army to victory against the barbarians.  After the battle, Emperor Aurelius tells Maximus that he does not wish to make his own son, Commodus (Joaquin Phoenix), the next emperor because he is unfit to rule.  Instead, the emperor wants Maximus, who is like a son to him, to succeed him and act as the regent who will restore the Roman Republic.

After secretly murdering his father, Aurelius, Commodus proclaims himself the new emperor.  After Maximus spurns his request for loyalty, Commodus has Maximus arrested and orders him executed.  Commodus also has the Spaniard's family murdered.  After foiling the attempt to execute him, Maximus, badly wounded, is unable to save his family.  Maximus is later found and sold into slavery and becomes the property of Proximo (Oliver Reed), a man who trains slaves to become gladiators whom he forces into fighting in gladiatorial events.

Meanwhile, in Rome, Commodus decides to stage 150 days of games, including gladiatorial events held at “The Colosseum.”  Seeking newfound wealth, Proximo enters his gladiators, which now include Maximus and Juba (Djimon Hounsou), an African Maximus has befriended.  Fate has brought Maximus to Commodus.  Now, the general who became a slave is now a gladiator who just might save Rome when he exacts his vengeance upon the new emperor for murdering his family.

In anticipation of the upcoming, Gladiator II, I decided to watch the original film in its entirety for the first time since I first saw it in a movie theater with some friends back in May of 2000.  Since then, I have re-watched parts of Gladiator of during cable broadcasts more time than I can remember, but I felt that it was time to watch the entire thing again and commit a review.

Gladiator is a great film because it recalls what Hollywood has always done well, historical epics that are more epic than they are history.  The screenplay is a collection of familiar tropes (sword and sandals); stock characters (the crazy usurper; the put-upon woman; the wronged hero); and beloved settings (the Roman empire).  The script is really nothing to write home about.  The cast and crew and the director and his creative cohorts are the people who turn Gladiator into one of those truly great films that gave the twentieth century a grand Hollywood send-off.

Gladiator is probably director Ridley Scott's slickest and most polished Hollywood film.  The film's narrative heart beats strong because Scott gets the best out of his film editor, film music composers, production designer and set decorator, and cinematographer.  Everyone pulls together to make this film a visually sumptuous masterpiece, the kind that pounds audiences until they stop resisting and give into the bliss of a grand cinematic epic made in a true Hollywood style.

However, I think the actors are the true heart of Gladiator, delivering performances that make even the least famous of them seem like movie stars.  Richard Harris is philosophical and earnest as the doomed Emperor Marcus Aurelius, while Joaquin Phoenix turns what could have been a clownish role into an unpredictable, but alluring reptilian super man-beast, the usurper Emperor Commodus.  Oliver Reed, in his final role, made Proximo real and really lovable.  And it's sad that Djimon Hounsou as Maximus' steady, philosophic friend, Juba, got almost no love from the various movie award-giving organizations.

The king – or emperor, if you will – of Gladiator is Russell Crowe.  Maximus Decimus Meridius is one of Crowe's finest roles, even if it isn't one of his most subtle, graceful, and profound performances.  Crowe carries this movie, and Gladiator defeats its own warts because Crowe is its true and one and only Gladiator.  Crowe is the center and the beating heart of Gladiator, and the passage of a quarter-century has not changed that.  Gladiator remains a great work of Hollywood cinema because it has what the great works of Hollywood must have – a movie star that radiates enough light to blind us to the blemishes of film with ambitions to be great.  

9 of 10

A+

Wednesday, November 20, 2024

NOTES:

2001 Academy Awards, USA:  5 wins: “Best Picture” (Douglas Wick, David Franzoni, and Branko Lustig), “Best Actor in a Leading Role” (Russell Crowe), and “Best Costume Design” (Janty Yates), “Best Sound” (Scott Millan, Bob Beemer, Ken Weston, and John Nelson), and “Best Effects, Visual Effects” (John Nelson, Neil Corbould, Tim Burke, and Rob Harvey); 7 nominations: “Best Actor in a Supporting Role” (Joaquin Phoenix), “Best Director” (Ridley Scott), “Best Writing, Screenplay Written Directly for the Screen” (David Franzoni-screenplay and story, John Logan-screenplay, and William Nicholson-screenplay), “Best Cinematography” (John Mathieson), “Best Film Editing” (Pietro Scalia), “Best Music, Original Score” (Hans Zimmer), and “Best Art Direction-Set Decoration” (Arthur Max-art director and Crispian Sallis-set decorator)

2001 BAFTA Awards:  4 wins:  “Best Film” (Douglas Wick, David Franzoni, and Branko Lustig), “Best Cinematography” (John Mathieson), “Best Production Design” (Arthur Max), “Best Editing” (Pietro Scalia); 10 nominations:  “David Lean Award for Direction” (Ridley Scott), “Best Screenplay-Original” (David Franzoni, John Logan, and William Nicholson), “Best Performance by an Actor in a Leading Role” (Russell Crowe), “Best Performance by an Actor in a Supporting Role” (Joaquin Phoenix), “Best Performance by an Actor in a Supporting Role” (Oliver Reed-posthumously), “Anthony Asquith Award for Film Music” (Hans Zimmer and Lisa Gerrard), “Best Costume Design” (Janty Yates), “Best Sound” (Ken Weston, Scott Millan, Bob Beemer, and Per Hallberg), “Best Achievement in Special Visual Effects” (John Nelson, Tim Burke, Rob Harvey, and Neil Corbould), and “Best Make Up/Hair” (Paul Engelen and Graham Johnston)

2001 Golden Globes, USA:  2 wins: “Best Motion Picture-Drama” and “Best Original Score - Motion Picture” (Hans Zimmer and Lisa Gerrard); 3 nominations: “Best Director-Motion Picture” (Ridley Scott), “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe), and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Joaquin Phoenix)

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

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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

B

★★★ out of 4 stars

Wednesday, October 30, 2024

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

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Review: "HALLOWEEN III: Season of the Witch" is More Strange Than Good

TRASH IN MY EYE No. 155 (of 2003) by Leroy Douresseaux

Halloween III: Season of the Witch (1982)

Running time:  98 minutes (1 hour, 38 minutes)

MPAA – R

DIRECTOR:  Tommy Lee Wallace

WRITER:  Tommy Lee Wallace

PRODUCERS:  John Carpenter and Debra Hill

CINEMATOGRAPHER:  Dean Cundey (D.o.P.)

EDITOR:  Millie Moore

COMPOSERS:  John Carpenter and Alan Howarth

HORROR/SCI-FI/FANTASY

Starring:  Tom Atkins, Stacy Nelkin, Dan O’Herlihy, Michael Currie, Ralph Strait, Jadeen Barbor, and Brad Schacter

Halloween III: Season of the Witch is a 1982 American horror and science fiction-fantasy film from director Tommy Lee Wallace.  It is the third installment in the Halloween film series and the only one not to feature the franchise's star antagonist, Michael Myers.  British science fiction author, Nigel Kneale, and series co-creator, John Carpenter, joined director Tommy Lee Wallace in contributing to the writing of this film.  Season of the Witch focuses on a doctor who uncovers a plot use children and a particular brand of Halloween masks to resurrect an ancient ritual.

When her father is murdered in his hospital bed, Ellie Grimbridge (Stacy Nelkin) begins to suspect the involvement of a powerful novelty company with whom her father, Harry (Al Berry), had a relationship.  She convinces an over-stressed physician Dr. Daniel “Dan” Challis (Tom Atkins) to accompany her to the headquarters of the company, Silver Shamrock, where they meet the company’s creepy owner Conal Cochran (Dan O’Herlihy).

Silver Shamrock’s big sales push occurs at Halloween, and everywhere the two go, they encounter omnipresent television ads for the company’s three Halloween masks.  As Halloween gets closer, the world around Dan and Ellie becomes more perilous and stranger, and they delve deeper into Silver Shamrock’s evil plans for the holiday.

After wrapping up the story he began in the 1978 film, Halloween, in the sequel, Halloween II (1981), John Carpenter had different plans.  He intended Halloween III: Season of the Witch to be the first in an annual series of Halloween movies that each told a different Halloween related story.  Each film would, of course, have the “Halloween” brand name, but this film failed at the box office and killed that plan.  Directed by Tommy Lee Wallace, the film editor of the original Halloween and for Carpenter's 1980 film, The Fog, Season of the Witch is average horror film with the potential to be something really great.  It is gross-filled genre fare having equal doses of horror, mystery, and science fiction.

It is difficult to point out concretely just where it all went wrong.  The mystery element is great, while the science fiction element is far fetched and more fantasy than science.  The sci-fi/fantasy element fails because of a lack of proper execution and because the magical elements are flat and unconvincing.  The horrific aspects are strong, and the dénouement is bracing and unsettling.  Somewhere along the line, however, it all falls apart, and the movie can leave the viewer as unsatisfied as it will leave him curious about what happens in the story after the movie fades to black.

Still, I’d watch it again.  There’s something in it, warts and all, that intrigues me, and I wish the filmmakers had taken the time to get whatever it is right.

4 of 10

C

★★ out of 4 stars

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

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Review: "DESPICABLE ME 2" Will Make Kids Happy, Happy, Happy...

TRASH IN MY EYE No. 27 of 2024 (No. 1971) by Leroy Douresseaux

Despicable Me 2 (2013)

Running time:  98 minutes (1 hour, 38 minutes)

MPAA – PG for rude humor and mild action

DIRECTORS:  Pierre Coffin and Chris Renaud

WRITERS:  Ken Daurio and Cinco Paul

PRODUCERS:  Janet Healy and Chris Meledandri

EDITOR:  Gregory Perler

COMPOSERS:  Heitor Pereira (score) and Pharrell Williams (songs)

Academy Award nominee

ANIMATION/FANTASY and ACTION/COMEDY/FAMILY

Starring:  (voice) Steve Carell, Kristen Wiig, Miranda Cosgrove, Dana Gaier, Elsie Fisher Russell Brand, Benjamin Bratt, Moises Arias, Ken Jeong, Steve Coogan, Pierre Coffin, and Chris Renaud

Despicable Me 2 is a 2013 computer-animated action-fantasy and comedy film directed by Pierre Coffin and Chris Renaud.  The film is produced by Illumination Entertainment and distributed by Universal Pictures. It is a direct sequel to the 2010 film, Despicable Me.  Despicable Me 2 finds bad guy-tuned-dad guy, Gru, recruited by a secret organization to discover who stole a deadly chemical.

Despicable Me 2 finds Gru (Steve Carell), formerly the world’s number one super-villain, settled into his role as the adopted father of the three orphan girls:  Margo (Miranda Cosgrove), Edith (Dana Gaier), and Agnes (Elsie Fisher).  All is not well at home, however.  Gru is trying to get his “jams and jellies” business to succeed, while one of his female neighbors tries to set him up on a blind date.  Also, Gru's longtime gadget man, Dr. Nefario (Russell Brand), quits so that he can take a job that will allow him to be a bad guy again.

But Gru's old life comes calling when the Anti-Villain League (AVL) demands that he help them discover who stole the dangerous transmutation serum, “PX-41.”  They appoint AVL agent, Lucy Wilde (Kristen Wiig), as his partner.  The two set up in a fake business, a bakery named “Bake My Day,” in Paradise Mall, a shopping mall near Gru's home.  As for the thief of the serum, Gru has a suspect in mind, a former super-villain who supposedly died in a volcano, but AVL doesn't believe him.  Meanwhile, someone is stealing some of Gru's little helpers, the Minions.

I really liked the original Despicable Me, but when Despicable Me 2 arrived back in 2013, I decided not to see it because... well, because the first was enough.  I'd gotten all the cuteness of  Margo, Edith, and Agnes that I needed, and I had gotten the best of Gru's character arc and transformation from villain to father.

However, I was shocked to find that I really liked the first full-length trailer for the upcoming Despicable 4 (2024).  So I decided to watch Despicable Me 2 for the first time, and I was right the first time.  The first film was really enough for me.  The girls are still cute, but there is less of them so that there can be more screen time for Gru's burgeoning relationship with Lucy Wilde.  I'm only kinda interested in that.  Gru's character arc in this film isn't as engaging as it was in the first film.  Clearly, the Minions needed more screen time than they got here, although they do play a pivotal part in the villain's wacky plot.  In fact, two years after the release of this film, the Minions got their own movie, 2015's Minions.

Despicable Me 2 isn't bad, but the film's storytellers play it safe rather than advance the elements that made the first film a surprise hit.  It earned two Oscar nominations, one for Pharrell Williams' song, “Happy,” which was practically ubiquitous from July 2013 to well into 2014.  I'm just not sure how invested I can be in this franchise, although the fourth film has sort of captured my interest.  It is really in the last twenty minutes of the film before the end credits that Despicable Me 2 really comes to life.  That's okay for me, but I'm sure family audiences will find it more than okay.

6 of 10

B

★★★ out of 4 stars

Tuesday, July 2, 2024

NOTES:

2014 Academy Awards, USA:  2 nominations: “Best Animated Feature Film of the Year” (Chris Renaud, Pierre Coffin, Christopher Meledandri) and “Best Achievement in Music Written for Motion Pictures, Original Song” (Pharrell Williams-music and lyrics for the song, “Happy”)

2013 BAFTA Children's Awards:  1 win: “BAFTA Kids Vote – Feature Film”

2014 BAFTA Awards:  1 nomination: “Best Animated Film” (Chris Renaud and Pierre Coffin)

2013 Golden Globes, USA:  1 nomination: “Best Animated Feature Film”

2014 Black Reel Awards:  1 nomination: “Outstanding Song” (Pharrell Williams-Performer & Writer for the song “Happy”)

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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Negromancer News Bits and Bites from May 26th to 31st, 2024 - UPDATE #11

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

You can support Leroy via Paypal or on Patreon:

Amazon wants me to inform/remind you that any affiliate links found on this page are PAID ADS, but I technically only get paid (eventually) if you click on affiliate links like this, MOVIES PAGE, and BUY something(s).

ENTERTAINMENT AND CULTURE NEWS:

POLITICS - From YahooNews:  In case you were wondering, even after being convicted of 34 felony counts in New York yesterday (5/30), Donald Trump can still run for President of the United States and he can still vote for himself in Florida.

From NBCNews:  Outside the courthouse where Donald Trump is on trial, legendary Oscar-winning actor, Robert De Niro, clashed with Trump supporters.

MOVIES - From Deadline:   Mike Flanagan will write, direct, and produce a radical new take on "The Exocist" for Blumhouse.  Flanagan has previously directed such films as "Oculus" (2013) and "Doctor Sleep."

NETFLIX - From THR:  Emmy-winner, Kerry Washington, has joined director Rian Johnson's third "Knives Out" film, "Wake Up Dead Man: A Knives Out Mystery."  The film is due in 2025.

SPORTS/BLM - From ESPN:  Major League Baseball (MLB) has incorporated the statistics from the Negro Leagues, the professional baseball leagues that were made up of African-American baseball players.  The first Black players league formed in 1887 and the last such league, Negro American League, disbanded after the 1962 season, although some consider its 1951 season to be the last major league seasons.  The records that were incorporated into the MLB record books apparently cover six different Negro Leagues over a period from 1920 to 1948.

BOX OFFICE - From BoxOfficePro:  The winner of the three-day Memorial Day weekend (5/24 to 5/26/2024) box office is Warner Bros.' "Furiosa: A Mad Max Saga" with an estimated take of 25.6 million dollars.

CANNES - From Deadline:  Director Sean Baker's New York-set romantic comedy-drama, "Anora," has won the top prize, the Palme d'Or, at the 77th Cannes Film Festival.  It is the first American film to do so since director Terrence Malick's The Tree of Life (2011).

MOVIES - From Deadline:  Universal Pictures has announced a new original event film created and directed by Steven Spielberg set for May 15, 2026. Universal always had the weekend reserved for an event title.

OBITS:

From ESPN:  Television sportscaster and former American professional basketball player, Bill Walton, has died at the age of 71, Monday, May 27, 2024.  Walton won two titles as a member of the UCLA Bruins (1971-72, 1972-73).  He played for three NBA franchises: the Portland Trailblazers, where he won a title in 1976-77; the San Diego/Los Angeles Clippers; and the Boston Celtics, where he won a title in 1985-86.  He became a member of the Basketball Hall of Fame in 1993.  Since 1990, he'd been a television sportscaster, winning an Emmy Award in 2001.

From Deadline:  American songwriter, Richard M. Sherman, has died at the age of 95, Saturday, May 25, 2024.  Richard and his the late brother, Robert B. Sherman (1925-2012), were known as the "Sherman Brothers" and were also known for the work in musical films.  They produced more motion picture song scores than any other team.  Apparently all their music was produced for the Walt Disney Company, and Richard and Robert won two Oscars for the music the produced for Mary Poppins (1964).  Richard and Robert were named "Disney Legends" in 1990.

From Variety:  Film and television writer, producer, director, and personality, Morgan Spurlock, has died at the age of 53, Thursday, May 23, 2024.  Spurlock was best known for the 2003 documentary film, Super Size Me, which earned him an Academy Award nomination.  His career was mostly derailed after he admitted to sexual misconduct in 2017.

From Deadline:  American television entrepreneur and visionary, Patrick Gottsch, has died at the age of 70, Saturday, May 18, 2024.  In the early 1980s, he started his own home satellite installation company and also began working for a livestock auction company in the early 1990s.  Gottsch put his experiences together and launched "Rural Free Delivery Television" (RFD-TV), a 34-hour rural television network, on the DISH Network in December 2000.  Gottsch had first tried to launch RFD-TV in the late 1980s and in the 1990s, but could not get funding.  In 2017, he also launched "The Cowboy Channel," which like RFD-TV, operates under Gottsch's company, Rural Media Group.

Review: "THE BROTHERHOOD OF THE WOLF" is Crazy (Literally), Sexy, Cool

TRASH IN MY EYE No. 6 (of 2002) by Leroy Douresseaux

Pacte des loups, Le (2001)

COUNTRY OF ORIGIN:  France; Language: French, German, Italian

The Brotherhood of the Wolf (2002) – USA title

Running time:  142 minutes (2 hours, and 22 minutes)

MPAA – R for strong violence, gore, and sexuality/nudity

DIRECTOR:  Christophe Gans

WRITERS:  Stephane Cabel and Christophe Gans

PRODUCERS:  Richard Grandpierre and Samuel Hadida

CINEMATOGRAPHER:  Dan Laustsen

EDITORS:  Xavier Loutreuil, Sébastien Prangère, and David Wu

COMPOSER:  Joseph LoDuca

DRAMA/HISTORICAL AND HORROR/MYSTERY/THRILLER with elements of adventure

Starring:  Samuel Le Bihan, Vincent Cassel, Emilie Dequenne, Monica Bellucci, Jérémie Rénier, Mark Dacascos, Jean Yanne, Jean-Francois Stévenin, and Jacques Perrin

Le Pacte des loups is a 2001 French period film, action and horror movie directed by Christophe Gans.  The film was released in the United States in early 2002 by Universal Pictures under the title, The Brotherhood of the Wolf (the title by which I will refer to this film in this review).  The film's plot is loosely based on the legend of the “beast of Gévaudan” and a real-life series of killings that took place in France in the 18th century.  The Brotherhood of the Wolf focuses on a French knight and his Native American companion who are sent to investigate the mysterious slaughter of hundreds of people by an unknown creature in the county of Gévaudan.

At the beginning of The Brotherhood of the Wolf, Old Thomas d'Apcher (Jacques Perrin) recounts a fantastic fable/story of his youth.  It is France of 1765, and the King sends two envoys to the Gevaudan province (which no longer exists) to investigate a series of brutal murders of which the locals believe is committed by a mysterious beast.  The envoys are the Chevalier Gregoire de Fronsac (Samuel Le Bihan), a naturalist, and his companion, Mani (Mark Dacascos), a Mohawk Iroquois shaman of New France (Canada).  They arrive in Gevandan to find the provincials bigoted and superstitious, even in the midst of the death all around them.

Among the colorful cast of characters include a mysterious and powerful priest, Henri Sardis (Jean-Francois Stevenin), and a sly and dangerous one-armed hunter, Jean Francois de Morangias (Vincent Cassel).  The young Thomas d’Apcher (Jeremie Renier) becomes a hunting companion of Fronsac and Mani.  Two strong female characters compete for the attentions of the virile and intelligent Fronsac: Marianne de Morangias (Emilie Dequenne), Jean Francois’s beautiful younger sister, and the nubile and hypnotic courtesan Sylvia (Monica Bellucci).  As Fronsac and Mani pierce the veil of mystery and terror that covers the province, intrigue and deceit surround them, and the beast continues to kill.

Directed by Christophe Gans, The Brotherhood of the Wolf bends genres as easily as the film’s beast tears through its victims.  Horror, thriller, western, martial arts, and mystery, the film is filled with suspense, terror, romance, eroticism, and political intrigue.  It is at times intoxicating and mind bending and at other times, languid and thoughtful.  It is difficult to categorize, but the movie is largely fantasy and action, but different from most of the movies that both genres recall.

Fronsac is a man of reason who sees a human conspiracy behind the killings that is darker and more insidious than any beast of Hell.  Still, this man of science also understands the mystic worldview and belief system of his friend and blood brother, Mani.  Fronsac is enlightenment’s soldier against the backward and ignorant peasants and nobles of Gevaudan.  The provincials fear the ways of a city like Paris, and Sardis and Jean Francois resent the capital’s intrusion into their world.  They disdain the confidence and intelligence of the King’s envoys.  The beast is a physical manifestation of the provincials superstitions, isolationism, hatred, and evil that feeds upon the populace, and the creature resists the authority of the government.

The movie’s creature is a computer-generated image (CGI); at its best is fearsome.  At its worst, the creature, especially during some daylight scenes, is hokey.  However, Gans wisely holds revealing the beast in scenes that go by so quickly that we rarely get a good look at it.  Sometimes, just the unseen beast’s roars, growls, and footsteps are enough to set the heart racing.

Le Bihan as Fronsac is strong and strongly confident.  He is the romantic lead upon which the audience hitches its wagon.  When he and Mani arrive early in the movie, after the film’s opening murder, they appear in a driving rainstorm, masked minutemen with the presence of demigods.  Mani’s assault upon the villagers recalls fight scenes from The Matrix, but his are down to earth and more physical, more visceral; the threat of danger to him from the attackers is much greater.  Decascos is mostly very good on the screen as Mani, though a few bits of his screen time are a little flat.  When Gans unleashes him late in the movie, Decascos is a beautiful force a nature, a small storm in human guise tearing through his antagonists.

Vincent Cassel’s Jean Francois is the serpentine equal to Fronsac.  He dominates all of his screen time, except for his scenes with Fronsac, in which both must share the screen.  The movie nearly bursts from having to contain both their magnetic presences.  They alone are worth the price of admission, but the rest of the cast, both veterans and newcomers, make the most of their roles.

Although a little long, The Brotherhood of the Wolf is wonderful; a dark horse, it is one of the best films of the year 2001.  Gans and his screenwriting partner, Stephane Cabel, created a script that melds raw action with social intrigue, and the result is quite an accomplishment.  The Brotherhood of the Wolf is plainly good entertainment.  Not quite high art, it is eye candy that is very smart and very fun.

8 of 10

A

★★★★ out of 4 stars

Edited:  Wednesday, October 4, 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: "American Graffiti" is Still Crusin' to Rock 'n' Roll 50 Years On

TRASH IN MY EYE No. 45 of 2023 (No. 1934) by Leroy Douresseaux

American Graffiti (1973)

Running time:  110 minutes (1 hour, 50 minutes)

MPAA – PG

DIRECTOR:  George Lucas

WRITERS:  George Lucas and Gloria Katz & Willard Huyck

PRODUCERS:  Francis Ford Coppola and Gary Kurtz

CINEMATOGRAPHERS:  Jan D'Alquen (D.o.P.) and Ron Eveslage (D.o.P.)

EDITORS:  Verna Fields and Marcia Lucas

Academy Award nominee

DRAMA/HISTORICAL/MUSIC

Starring:  Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Wolfman Jack, Bo Hopkins, Manuel Padilla Jr., Beau Gentry, and Harrison Ford

American Graffiti is a 1973 coming-of-age, music-driven, comedy and drama film directed by George Lucas.  Lucas, who co-wrote the screenplay with the husband and wife team of Willard Huyck and Gloria Katz, based the story on his experiences in the cruising, and street-racing, and rock 'n' roll cultures of his youth.  American Graffiti focuses on a group of teenagers and their adventures over the course of one summer night in 1962.

American Graffiti opens in the Summer 1962.  The location is California's central valley, apparently in and around the city of Modesto.  There, through a series of vignettes, we watch as a group of teenagers enjoy the last evening of their summer vacation.

For recent high school graduates and friends, Curtis “Curt” Henderson (Richard Dreyfuss) and Steve Bolander (Ronny Howard), this is their last night in town before they board a plane the next day and go “back east” for college.  Steve doesn't believe that he can achieve the goals his wants by staying home, even if leaving means parting from his girlfriend, Curt's sister, Laurie (Cindy Williams).  However, Curt, who has recently received scholarship money from a local business group, isn't sure that he wants to leave.  Besides, tonight, he wants to chase the mystery woman who has caught his eye, a blonde driving a white Ford Thunderbird.

Curt and Steve's two friends are also having a big night.  The first is John Milner (Paul Le Mat), the central valley drag-racing king.  He has just learned that someone wants to challenge him for his crown, a confident ladies' man named Bob Falfa (Harrison Ford).  Meanwhile, the second character is the unpopular, but well-meaning Terry “The Toad” Fields (Charlie Martin Smith), who has just come into possession of Steve's car.  He is supposed to protect it until Steve returns from “back east” for Christmas.  Tonight, however, Terry hopes the car will help him land a date.  Meanwhile, in the background, the popular disc jockey, Wolfman Jack (himself), plays an array of rock 'n' roll hits.

As “DVD Netflix” prepares to shutdown, I've been racing to catch up on certain films that I have never seen or have not seen in a long time.  I recently decided to sample some films in which 2023 is the fiftieth anniversary of their original theatrical releases.  That includes such films as Walt Disney's Robin Hood, (hopefully)Woody Allen's Sleeper, and the Bruce Lee classic, Enter the Dragon.

As a kid, I was aware of American Graffiti long before I ever saw it.  I was and still am a huge fan of American Graffiti director, George Lucas's most famous film, Star Wars (1977).  So, as a kid, I read every article I could find about Star Wars, and they often mentioned his two earlier feature-length films, THX-1138 (1971) and American Graffiti.  [I also vaguely remember the release of the sequel, More American Graffiti.]

I also knew that a few film and television stars that I liked had starred or appeared in American Graffiti, specifically Richard Dreyfuss, Ron Howard, and Harrison Ford.  Besides that fact that American Graffiti was a George Lucas movie, Ford was the other reason I most wanted to see the film.

I finally first saw American Graffiti on television, and though my memory is hazy on the facts, I'm sure I saw it at least a few years after the release of the sequel.  I remember liking it, enough that I planned on watching it again.  Decades later, this recent viewing is the first time that I've seen the film since that first viewing.

I still like it a lot.  I'm still a fan of Ford, Howard, and Dreyfuss, and along the way, I became a fan of some of its other young stars, including Charles Martin Smith, Cindy Williams, and the recently-deceased Bo Hopkins (1938-2022).  The truth is that I'm crazy about the Hollywood icon, Harrison Ford, and, as for as I'm concerned, any movie with Ron Howard and Charles Martin Smith as actors is cinematic porn.  [Both Howard and Smith are also film directors.]

Watching the film this time, I was initially annoyed by Lucas' method of telling this story in a series of vignettes that constantly moved from one character to the next.  The film essentially has four plots that revolve around one of four characters, Curt, Steve, John, or Terry.  It took me nearly half the film to realize that the vignettes allow Lucas to depict and to reveal each one of these four young men's goals, conflicts, and fears.  This depiction of their inner selves makes them more interesting to me.  Not only did I root for them, but I also wanted to know more about them.  I wanted to know what was going to happen to them, both in the immediate and far future.

American Graffiti apparently helped launch a wave of nostalgia for and interest in the culture and times of the 1950s and early 1960s or at least an idealized, trouble free, white-washed version of it.  The film apparently renewed the ABC network's interest in what would become one of its most popular sitcoms, “Happy Days” (1974-84).  That long-running and popular television series also presented an idealized, trouble free, white-washed version of the 1950s and early 1960s.

Thus, as much as I enjoyed this viewing of American Graffiti, and as much as I'm interested in its characters, I done with it.  I'm not done with its lovely soundtrack – played in the background so that both the characters and audiences can hear these early classics of rock 'n' roll.  These musical recordings make this special night in the summer of 1962 really special.  Still, American Graffiti is an ode to George Lucas' memories.  It is a cinematic dream he fashioned from the varied experiences of his privileged youth.  I don't really relate to it the way I do other films that are also far from my experiences – such as The Best Years of Our Lives (1946) or Licorice Pizza (2021).

I wouldn't call American Graffiti a great film, so much as I'd call it a unique and important American film.  Why is it important?  Well, American Graffiti is a prime example of the fantasies that the Hollywood dream factory can make of real moments in time.  It's George Lucas' story – his story – presented as a fairy tale about one unforgettable night that will never be repeated.

8 of 10

A

★★★★ out of 4 stars

Thursday, September 28, 2023

You can buy the American Graffiti film and soundtrack at AMAZON.

NOTES:

1974 Academy Awards, USA:  5 nominations: “Best Picture” (Francis Ford Coppola and Gary Kurtz), “Best Actress in a Supporting Role” (Candy Clark), “Best Director” (George Lucas), “Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced” (George Lucas Gloria Katz, and Willard Huyck), and “Best Film Editing” (Verna Fields and Marcia Lucas)

1975 BAFTA Awards:  1 nomination: “Best Supporting Actress” (Cindy Williams)

1974 Golden Globes, USA:  2 wins:  “Best Motion Picture - Comedy or Musical” or “Most Promising Newcomer – Male” (Paul Le Mat); 2 nominations: “Best Actor in a Motion Picture - Comedy or Musical” (Richard Dreyfuss) and “Best Director - Motion Picture” (George Lucas)

1995 National Film Preservation Board, USA:  “National Film Registry”

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

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Review: "FAST X" is Too Fast, Too Furious For One Movie

TRASH IN MY EYE No. 22 of 2023 (No. 1911) by Leroy Douresseaux

Fast X (2023)

Running time: 141 minutes (2 hours, 21 minutes)

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

DIRECTOR: Louis Leterrier

WRITERS: Justin Lin and Dan Mazeau; from a story by Justin Lin & Dan Mazeau and Zach Dean (based on the characters created by Gary Scott Thompson)

PRODUCERS: Vin Diesel, Neal H. Moritz, Justin Lin, Jeffrey Kirschenbaum, and Samantha Vincent

CINEMATOGRAPHER: Stephen F. Windon (D.o.P.)

EDITORS: Dylan Highsmith and Kelly Matsumoto

COMPOSER: Brian Tyler

ACTION/CRIME/DRAMA

Starring:  Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Sung Kang, Leo Abelo Perry, Jason Statham, Jordana Brewster, Charlize Theron, Jon Cena, Brie Larson, Scot Eastwood, Alan Ritchson, Daniela Melchior, Pete Davidson, Joaquim de Almeida, Rita Moreno, Dwayne Johnson, Gal Gadot, and Helen Mirren

Fast X is a 2023 action movie that is directed by Louis Leterrier and is produced by Universal Pictures.  It is the tenth installment in the Fast & Furious movie franchise (now also called the “Fast Saga”).  A direct sequel to 2021's F9, Fast X finds Dom Toretto and his family targeted by the vengeful son of a drug kingpin they defeated over a decade ago.

Fast X begins in 2011 in Rio de Janeiro and recounts events, some of which were depicted in Fast Five (2011).  That time, professional criminals, Dominic “Dom” Toretto (Vin Diesel) and Brian O'Connor, led their crew/family in a heist against drug lord, Hernan Reyes (Joaquim de Almeida).  It is revealed that Reyes' son, Dante Reyes (Jason Momoa), failed in his bid to stop the heist.

In present day Los Angeles, Dom is living a quiet life with his wife, Letitia “Letty” Ortiz (Michelle Rodriguez), and his son, Brian “Little B” Marcos (Leo Abelo Perry).  Dom holds a family reunion that gathers the current incarnation of his crew-family:  Roman Pearce (Tyrese Gibson), Tej Parker (Chris “Ludacris” Bridges), Han Lue (Sung Kang), and Ramsey (Nathalie Emmanuel), as well as Dom's grandmother, Abuelita Torreto (Rita Moreno).

Roman, Tej, Han, and Ramsey are about to embark on a mission in Rome, Italy – with Roman leading – for Little Nobody (Scott Eastwood), the current head of “the Agency.”  However, what Dom and his family will discover is an elaborate trap laid for them by Dante Reyes, returned after over a decade and looking to avenge himself and his late father, Hernan.  Dante promise to kill Dom, but not before he makes him suffer by targeting his family and everyone connected to them or who helped them.  Now, a ragtag friends, enemies, and frenemies must gather together to stop Dante, who is always one step ahead of Dom and his family.  And Dante is enjoying every minute of the chaos and violence he causes.

When the first film, The Fast and the Furious, arrived in movie theaters in June of 2001, I ignored it, although I recognized the film's two stars, Vin Diesel and Paul Walker (1973-2013).  However, a few years later, I wanted to see 2 Fast 2 Furious (2003) because it was directed by the late John Singleton (1968-2019) and because I was a fan of actor Tyrese and rapper/actor Chris “Ludacris” Bridges.  Three years later, I was in a local theater to see The Fast and the Furious: Tokyo Drift (2006), but I called it quits after that, refusing to see Fast & Furious (2009).  I eventually did see it because I wanted to see the fifth film in the series.

That would be 2011's Fast Five.  I found it hugely entertaining, and it was the film that made me a consistent fan of the “Fast & Furious” film series.  I think that Fast Five was the first film in the series in which the action was more fantasy or fantastic than realistic.  Beginning with Dom and company's adventures in Rio, the series became some hybrid of science fiction-action, quasi-superhero fantasy, and James Bond-type super spy adventure.  After Fast Five, the series was never the same.

I won't say that Fast X epitomizes that any more than the previous four films:  Fast & Furious 6 (2013), Furious 7 (2015), The Fate of the Furious (2017), and F9 (2021).  There may be more crashes and collisions of automobiles, military vehicles, aircraft, etc, but it is all familiar, solidly entertaining, but familiar.  Fast X does seem to have the highest body count of any of the films, which I did find off-putting.  The characters shoot to kill and injury as if they are players in a video game and not characters in a narrative film.

Jason Momoa and Charlize Theron really give stand out performances in the film.  Momoa's Dante Reyes seems to be the first series villain that can really destroy Dominic Toretto, and Theron's Cipher is simply, majorly cool.

Fast X is also surprisingly funny, with more wit and humor than I think the series has delivered since 2 Fast 2 Furious.  The action is non-stop, but it is also apparently too big for a single film, as you will discover when you watch it, dear readers.  Fast X isn't a great work of cinema, but it is a superb entry in this crazy series.

[Fast X has one mid-credit scene.]

7 of 10

B+

★★★½ out of 4 stars

Friday, May 19, 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: "PUSS IN BOOTS: The Last Wish" is a Delightful Surprise

TRASH IN MY EYE No. 17 of 2023 (No. 1906) by Leroy Douresseaux

Puss in Boots: The Last Wish (2022)

Running time:  102 minutes (1 hour, 42 minutes)

MPA – PG for action/violence, rude humor/language, and some scary moments

DIRECTOR:  Joel Crawford with Januel Mercado

WRITERS:  Paul Fisher and Tommy Swerdlow; from a story by Tom Wheeler and Tommy Swerdlow

PRODUCER:  Mark Swift

EDITOR:  James Ryan

COMPOSER:  Heitor Pereira

Academy Award nominee

ANIMATION/FANTASY/ADVENTURE/COMEDY

Starring:  (voices) Antonio Banderas, Salma Hayek, Harvey Guillén, Florence Pugh, Olivia Coleman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da'Vine Joy Randolph, Kevin McCann, Anthony Mendez, and Bernardo De Paula

Puss in Boots: The Last Wish is a 2022 computer-animated fantasy-adventure film directed by Joel Crawford and produced by DreamWorks Animation.  The film is a sequel to Puss in Boots (2011) and is also the sixth installment in the Shrek film franchise.  The Last Wish focuses on Puss in Boots' epic journey to gain the wish that will restore the eight of his nine lives that he has lost.

Puss in Boots: The Last Wish opens in the town of Del Mar.  There, the renowned hero and outlaw, Puss in Boots (Antionio Banderas), hosts a party and later, saves the town from a giant.  After being injured during his battle with a giant, Puss sees a local doctor (Anthony Mendez) who informs him that he has used eight of his nine lives.  [I'm assuming that you, dear readers, are familiar with the superstitious belief that cats have nine lives].  The doctor urges Puss to retire from adventuring before he loses his ninth and final life.

Puss refuses to retire, but then, he has an unfortunate encounter with a menacing, bounty-hunting.  Known as Wolf (Wagner Moura), he is garbed in a black robe and hood and wields twin sickles, and he is so fearsome that Puss has to flee.  While on the run, Puss learns of the magical “Wishing Star,” which can grant a single wish to someone bearing the map to its location.  Puss begins his journey to the Star's location, the “Dark Forest.”  Joining him on his journey is Kitty Softpaws (Salma Hayek), the savvy Tuxedo cat he apparently betrayed, and also a small dog that Puss and Kitty call “Perrito” (Harvey Guillén).  But they aren't the only ones looking for the Wishing Star.

I was happy to hear about Puss in Boots: The Last Wish.  When I first saw the original, Puss in Boots, I was surprised that I enjoyed it as much as I did.

Puss in Boots: The Last Wish is like its fellow DreamWorks Animation 2022 stablemate, The Bad Guys.  Both films take inspiration for their production design from Sony Pictures Animation's 2018, Oscar-winning film, Spider-Man: Into the Spider-Verse, which mixes both a 3D and a 2D aesthetic in its design.  I think The Last Wish looks closer to Into the Spider-Verse than The Bad Guys does, but neither film electrifies the screen the way the Spider-Man film did.  

Like its predecessor, The Last Wish has a lead character who is part Zorro and part Valentino.  Puss in Boots is a charming rogue, the kind of character that can drive a swashbuckling adventure film to success.  However, The Last Wish requires a character to not only undergo a character arc, but also to evolve.  To that end, Antonio Banderas gives a performance with more humor and pathos than most actors give in live-action roles.  By the time The Last Wish ends, Banderas has me wishing real hard for a third film in this series.

As Kitty Softpaws, Salma Hayek makes the most of her moments.  The character doesn't get the space to roam dramatically that Puss does, but Hayek makes Kitty seem like a character that could carry her own movie.  Actor Harvey Guillén keeps Perrito the dog perfectly cute for this film, because he is just the kind of character that can quickly go from lovable to annoying.

The rest of the characters in Puss in Boots: The Last Wish come across as extraneous.  The “Three Bears Crime Family,” which includes Goldilocks (Florence Pugh), Mama Bear (Olivia Colman), Papa Bear (Ray Winstone), and Baby Bear (Samson Kayo), and also the crime lord, “Big” Jack Horner (John Mulaney), don't feel so important to the story that they could not be replaced with other famous fairy tale characters.  They aren't bad characters, but they seem to exist in The Last Wish for no other reason than to be part of this film's big action set pieces.  But Wagner Moura is awesome as the magnificent “Wolf.”  The film could have used more of him and less of the other “criminals.”

Still, Antonio Banderas once again makes Puss in Boots an animated character worthy of headlining his own films.  Hopefully, Puss in Boots: The Last Wish is not the last Puss in Boots film.

7 of 10

A-

★★★½ out of 4 stars

Sunday, April 16, 2023

NOTES:

2023 Academy Awards, USA:  1nomination: “Best Animated Feature Film” (Joel Crawford and Mark Swift)

2023 BAFTA Awards:  1 nomination: “Best Animated Feature Film” (Joel Crawford and Mark Swift)

2023 Golden Globes, USA:  1 nomination: “Best Motion Picture – Animated”

2023 Image Awards (NAACP):  1 nomination: “Outstanding Animated Motion Picture”

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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