Negromancer News Bits and Bites from June 9th to 15th, 2024 - UPDATE #11

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

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ENTERTAINMENT AND CULTURE NEWS:

MOVIES - From Variety:  Oscar-winner Russell Crowe explains why he turned down the role of "Aragorn" in Peter Jackson's "The Lord of the Rings" trilogy. Viggo Mortensen eventually won the role.

TELEVISION - From Deadline:  Longtime TNT sports broadcaster, Charles Barkley, says that he is going to retire after the 2024-25 NBA season. The news comes as it seems TNT's parent, Warner Bros. Discovery, is going to lose its NBA rights to NBC.

NETFLIX - From Deadline:  Idris Elba and Rebecca Ferguson are circling roles in Oscar-winner Kathryn Bigelow's ("The Hurt Locker) next film for Netflix.

ANIMATION - From Variety:  Warner Bros. Animation, New Line Cinema, and Sola Entertainment previewed 20 minutes of its upcoming anime feature “The Lord of the Rings: The War of the Rohirrim.”  Directed by Kenji Kemiyana ("Ghost in the Shell: Stand Alone Complex"), the footage received thunderous applause during the packed presentation on Tuesday at the Annecy Animation Festival.

MOVIES - From Variety:  Director Henry Selick is once again interested in a film adaptation to Neil Gaiman's 2013 novel, "The Ocean at the End of the Lane."  Selick also hopes to revive his failed Pixar project, "The Shadow King."

NETFLIX - From Deadline:  Yahya Abdul Mateen II will star in Netflix's TV adaptation of the 2004 Denzel Washington film, "Man on Fire."

BOX OFFICE - From BoxOfficePro:  The winner of the 6/7 to 6/9/2024 weekend box office is Sony Pictures' Bad Boys: Ride or Die with an estimated total of 56 million dollars.

From Deadline:  Bad Boys: Ride or Die leads the international box office with a debut of 48.6 million dollars. It's global box office haul is 104.6 million dollars.

AMAZON - From Deadline:  Oscar-nominee Kristen Stewart will play ground-breaking American astronaut, Sally Ride, in the Amazon MGM Studios miniseries, "The Challenger."

MOVIES - From THR:  The film that will follow the recent hit, "Godzilla x Kong: The New Empire," has a director.  It is Grant Sputore, who directed the 2019 Hilary Swank sci-fi flick, "I Am Mother."

OBITS:

From NBA:  American basketball player, coach, scout, and executive, Jerry West, has died at the age of 86, Wednesday, June 12, 2024.  He is best remembered for his association with the NBA's Los Angeles Lakers, including being a member of the 1971-72 NBA Championship team that went 69 wins and 13 losses.  That won-loss record was an NBA season record that stood until the 1995-96 Chicago Bulls won 72 games and lost 10 on the way to an NBA title.  West also won 8 titles as an executive, including five as a member of the Lakers front office and two as a member of the Golden State Warriors front office.  West is a three-time member of the Naismith Basketball Hall of Fame.  As a player, he was inducted as a member of the 1960 U.S. Olympic Basketball team which won the gold medal and again as a player in 1980.  Later, this year (2024), he will be inducted as an NBA executive. West's silhouette is the basis for the NBA's logo.

From Deadline:  American journalist and television commentator, Howard Fineman, has died at the age of 75, Tuesday, June 11, 2024.  Fineman was best known for his work with the cable news network, MSNBC.

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POLITICS - 

From TheRoot:  "The Root" gives you "The Long Racist History of Donald Trump, from the 1970s to Now."

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 Truthout:  On Thursday afternoon (May 30th, 2024), in "The People vs. Donald Trump" — the New York-based trial featuring, for the first time in United States history, an ex-president in a criminal proceeding— a jury of the former president’s peers delivered a unanimous verdict: that he was guilty of all crimes he was accused of committing. Trump becomes the first former President in US History to be convicted of a crime.

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

Review: Viggo Mortensen is a Kingpin in Cronenberg's "CRIMES OF THE FUTURE"

TRASH IN MY EYE No. 49 of 2022 (No. 1861) by Leroy Douresseaux

Crimes of the Future (2022)
COUNTRY OF ORIGIN:  Canada (with France, Greece, and UK); Language:  English
Running time:  107 minutes (1 hour, 47 minutes)
MPAA – R for strong disturbing violent content and grisly images, graphic nudity and some language
WRITER/DIRECTOR:  David Cronenberg
PRODUCERS:  Robert Lantos, Panos Papahadzis, and Steve Solomos
CINEMATOGRAPHER:  Douglas Koch (D.o.P.)
EDITOR:  Christopher Donaldson
COMPOSER:  Howard Shore

SCI-FI

Starring:  Viggo Mortensen, Léa Seydoux, Don McKellar, Scott Speedman, Welket Bungué, Lihi Kornowski, Nadia Litz, Tanaya Beatty, Sotiris Siozos, and Kristen Stewart

Crimes of the Future is a 2022 Canadian science fiction film from writer-director David Cronenberg.  The film focuses on a performances artist who showcases the metamorphosis of his internal organs with the help of his partner who performs surgery on him during the performance.

Crimes of the Future opens sometime in the future when humanity has experienced a number of biological changes and evolutionary changes to human physiology.  The film introduces Saul Tenser (Viggo Mortensen) and Caprice (Lea Seydoux), a performance artist couple.  Saul's body is afflicted by “accelerated evolution syndrome,” which forces his body to constantly develop new vestigial organs.  Tenser is in constant pain, and he relies biomechanical devices in order to sleep and to eat.  Using a “Sark autopsy module,” Caprice performs surgery on Saul before an audience as an act of performance art, performances which have made the duo world renown.

Saul and Caprice's performances have started to draw official, governmental, and law enforcement interest.  They meet Wippet (Don McKellar) and Timlin (Kristen Stewart), the two bureaucrats in charge of the “National Organ Registry,” which catalogs and stores newly developed and evolved organs.

Not everyone is excited about “body-growth” and consider it a “body-crime.”  Cope (Welket Bungué), a detective with the “New Vice Unit,” a governmental police agency, wants Tenser to infiltrate the worlds of evolutionists, the people that want to accept and encourage “accelerated evolution syndrome.”  After he meets Lang Dotrice (Scott Speedman), a grieving father, Saul goes so deep into the world of this new human evolution that he might discover something about himself.

Some consider Crimes of the Future to be both a science fiction and horror film, but I consider it to be only a science fiction film.  However, I do recognize how much the film travels into the realms of the genre of “body horror.”  In that, Crimes of the Future does share many similarities with David Cronenberg's last science fiction-horror film, eXistenZ (1999).  Both are set in a world where biotechnology invents new machines that can directly interface with human bodies and control those bodies.  In both films, public performances of man-machine interfaces are both popular and controversial, and a diverse group of entities:  law enforcement, fetishists, secretive agencies, rebels, dissidents, and subcultures seek to control the future and future-tech.

In Crimes of the Future, Cronenberg presents a world in which the evolutionary change is spurred on by technology and other man-made efforts.  Once this new evolution starts, it is free to do as it pleases, outside the considerations of humanity.  As in many of his films, a lead character, group of characters, and/or society and the world at large struggle to adapt to that change.  To one extent or another, they are against it, afraid of it, and some ultimately, even if reluctantly, embrace that change.

Two things hold this film together, David Cronenberg's vision and his muse, actor Viggo Mortensen as Saul Tenser.  Cronenberg and his collaborators have created a world in which biotechnological and evolutionary changes take place in drab and rundown settings.  In Crimes of the Future, Cronenberg does not need flying cars and off-world colonies in order to communicate to his audience that the world and mankind are in a future undergoing radical transformation.  True to his ways, Cronenberg is both provocative and exploitative and visionary and elegant as he executes a story of a world in which evolution forces humanity to live in the world it made.

Crimes of the Future has a number of eccentric performances.  Lea Seydoux makes Caprice grow … and evolve, and Kristen Stewart is impish and mysterious as Timlin.  However, Viggo Mortensen is both the center of this film's narrative and the outer boundaries of its ideas and ambitions.  He holds it together both as one afflicted by evolution and as an explorer of the world of evolution and new humans.  Mortensen's gift is to make people buy into the idea that he is indeed the character he plays and that what he does as that character is authentic and not a contrivance of a really talented actor.

Once again, David Cronenberg offers a film that examines horrifying change, and he does it without nostalgia and sentiment, but with a superb score by the great Howard Shore.  Yeah, Cronenberg is a genius, and Crimes of the Future is his latest masterpiece.  The ending, which feels like a quick wrap-up, is the only reason I won't call this film perfect, but it would be a crime of the present for me to quibble about that.

9 of 10
A+
★★★★+ out of 4 stars

Thursday, August 25, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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NatGeo's "Cosmos" Returns for a Third Season, March 2020

COSMOS Returns! Season 3 of the Most Celebrated Science Show on the Planet to Premiere March 9, 2020, on National Geographic

THE HIGHLY ANTICIPATED COSMOS: POSSIBLE WORLDS TO AIR GLOBALLY ON NATIONAL GEOGRAPHIC IN 172 COUNTRIES AND 43 LANGUAGES

FOX to Air the Complete Season Summer 2020

The Emmy- and Peabody Award-winning Series Hails from Executive Producer, Writer, Director and Creator Ann Druyan with Executive Producers Seth MacFarlane, Brannon Braga and Jason Clark; Series is Hosted by Neil deGrasse Tyson

The 13-part Mind-Blowing Voyage Boasts an All-star Team of Creatives Including Acclaimed Costume Designer Ruth E. Carter, Cinematographer Karl Walter Lindenlaub and Composer Alan Silvestri

Voiceover Artists Include Seth MacFarlane, Sir Patrick Stewart, Viggo Mortensen and Judd Hirsch; Author Sasha Sagan, Ann Druyan and Carl Sagan’s Daughter, Recurs In Live-action Role of Sagan’s Mother, Rachel Gruber Sagan

NEW YORK--(BUSINESS WIRE)--The most beloved, wonder-filled science franchise in television history returns with a new, 13-episode, mind-blowing adventure when COSMOS: POSSIBLE WORLDS premieres March 9, 2020 on National Geographic. This out-of-this-world trip through space and time will transport viewers across 13.8 billion years of cosmic evolution and deep into the future.

    “Which is why we’re excited for the next chapter of the most-beloved and most-watched science show to date, COSMOS, to return to our air. COSMOS: POSSIBLE WORLDS takes complex themes from astrophysics, astronomy and anthropology and makes them accessible and entertaining for millions of people around the world to devour.”

The next chapter of COSMOS, announced in celebration of what would have been visionary Carl Sagan’s 85th birthday this Saturday, Nov. 9, continues the legacy of the groundbreaking series co-written with Ann Druyan and Steven Soter, which was broadcast to a global audience 40 years ago. COSMOS: POSSIBLE WORLDS airs on Nat Geo in 172 countries and 43 languages and on FOX this summer. The previous season was seen by over 135 million people worldwide.

This Emmy-winning, worldwide phenomenon is the brainchild of Emmy and Peabody Award winner Ann Druyan, creative director of NASA’s legendary Voyager Interstellar Message, who serves as creator, executive producer, writer and director, and Emmy-winning and Academy Award-nominated executive producers Seth MacFarlane (“The Orville,” “Family Guy”), Brannon Braga (“The Orville,” “Star Trek”) and Jason Clark (“The Orville,” “The Long Road Home”).

Neil deGrasse Tyson, an astrophysicist with the American Museum of Natural History, host of the four-time Emmy-nominated “StarTalk” series and best-selling author (Death by Black Hole,” “Letters from an Astrophysicist), returns as host and series executive science editor. This season begins with him on the shores of the cosmic ocean as COSMOS’ enhanced and upgraded ‘Ship of the Imagination’ and ‘Cosmic Calendar’ return, taking viewers on a journey through time and spanning a stunning variety of worlds. Throughout these adventurous episodes, COSMOS: POSSIBLE WORLDS integrates one-of-a-kind VFX, animations, holograms and stylized reenactments to carry viewers to never-before-seen worlds and meet unsung superheroes who have made possible our understanding of life’s spectacular voyage — from its origin at the bottom of the sea to its possible future on the exotic worlds of distant stars.

“This third season of COSMOS: POSSIBLE WORLDS is our boldest yet,” says Druyan. “The ‘Ship of the Imagination’ will carry us places we never dared to venture before: lost worlds and worlds to come, deep into the future and straight through that hole in the curtain masking other realities – and all of it rigorously informed by science and made real by lavish VFX.”

“National Geographic is proud to be the world’s leading destination for viewers who are passionate about science and exploration,” says Courteney Monroe, president of global television networks at National Geographic. “Which is why we’re excited for the next chapter of the most-beloved and most-watched science show to date, COSMOS, to return to our air. COSMOS: POSSIBLE WORLDS takes complex themes from astrophysics, astronomy and anthropology and makes them accessible and entertaining for millions of people around the world to devour.”

COSMOS: POSSIBLE WORLDS ventures to previously uncharted territories: starting back to the dawning of our universe, moving forward to the futuristic 2039 New York World’s Fair and then far beyond into the distant future on other worlds. Visit an open house in the first apartment ever built and climb a 10,000-year-old stairway to the stars. Return to the foreboding ‘Halls of Extinction,’ with living dioramas of the broken branches on the tree of life, and venture to the new, glorious ‘Palace of Life,’ with its soaring towers filled with vibrant marine creatures. Stand beneath its ‘Arch of Experience’ to know what it’s like to soar with the eagles or swim with the whales on their epic voyages.

Associated with the series are some of television and film’s most revered creatives across all crafts, including Emmy-nominated cinematographer Karl Walter Lindenlaub (“Independence Day,” “Stargate”); Academy Award-winning and Emmy-nominated costume designer Ruth E. Carter (“Black Panther,” “Roots”); Emmy-winning and Academy Award-nominated composer Alan Silvestri (“The Avengers,” “Forrest Gump,” “Contact”); visual effects supervisor Jeffrey A. Okun (“Clash of the Titans,” “Blood Diamond”); and supervising animation directors Lucas Gray (“The Simpsons,” “Family Guy”), Emmy-nominated Brent Woods (“American Dad!,” “Family Guy”) and Academy Award-nominated Duke Johnson (“Anomalisa,” “Mary Shelley’s Frankenhole”).

Many celebrities compose the noteworthy corps of actors who lend their voices to COSMOS: POSSIBLE WORLDS. This season includes Academy Award-nominated and Emmy Award-winning actor Seth MacFarlane (“The Orville,” “Family Guy”) as President Truman; Emmy- and Golden Globe-nominated actor Sir Patrick Stewart (“Star Trek,” “X-Men”) as German, British-born astronomer William Herschel; Academy Award-nominated Viggo Mortensen (“The Green Book,” “The Lord of the Rings”) as Soviet plant geneticist Nikolai Vavilov; and Judd Hirsch (“A Beautiful Mind,” “Independence Day”) as Robert Oppenheimer, famously known as the “Father of the Atomic Bomb.” Sasha Sagan, Druyan and Sagan’s daughter, appears in a recurring live-action role as Sagan’s mother, Rachel Gruber Sagan.

In conjunction with the launch of the new season, National Geographic Books is publishing a companion book, Cosmos: Possible Worlds, by Druyan, the long-awaited follow-up to Sagan’s international bestseller, Cosmos.

COSMOS: POSSIBLE WORLDS is produced for National Geographic and FOX by Cosmos Studios, the company Ann Druyan co-founded in 2000, and Seth MacFarlane’s Fuzzy Door. Druyan and Brannon Braga are the series’ writers and directors. Druyan, MacFarlane, Braga and Jason Clark executive produce. Kara Vallow (“Family Guy,” “American Dad!”) co-executive produces, and Joseph Micucci (“Patriots Day,” “Ted 2”) produces. For National Geographic, Kevin Mohs is executive producer and Geoff Daniels is EVP of global unscripted entertainment.

“Like” COSMOS: POSSIBLE WORLDS on Facebook at CosmosOnTV. Follow the series on Twitter @CosmosOnTV. See photos and videos on Instagram by following @CosmosOnTV.


About National Geographic
National Geographic Partners LLC (NGP), a joint venture between the National Geographic Society and Disney, is committed to bringing the world premium science, adventure and exploration content across an unrivaled portfolio of media assets. NGP combines the global National Geographic television channels (National Geographic Channel, Nat Geo WILD, Nat Geo MUNDO, Nat Geo PEOPLE) with National Geographic’s media and consumer-oriented assets, including National Geographic magazines; National Geographic studios; related digital and social media platforms; books; maps; children’s media; and ancillary activities that include travel, global experiences and events, archival sales, licensing and e-commerce businesses. Furthering knowledge and understanding of our world has been the core purpose of National Geographic for 131 years, and now we are committed to going deeper, pushing boundaries, going further for our consumers … and reaching millions of people around the world in 172 countries and 43 languages every month as we do it. NGP returns 27 percent of our proceeds to the nonprofit National Geographic Society to fund work in the areas of science, exploration, conservation and education. For more information visit natgeotv.com or nationalgeographic.com, or find us on Facebook, Twitter, Instagram, YouTube, LinkedIn and Pinterest.

About Cosmos Studios
Co-founded in 2000 by CEO and visionary Ann Druyan, Ithaca, NY-based Cosmos Studios creates, produces, and distributes eye, brain, heart and soul-nourishing science-based entertainment in all media.

Cosmos Studios aims to tear down the walls that have excluded so many from the scientific enterprise. We work to demystify the language, values, and drama of science, to give everyone the power of its permanently revolutionary methodology.

Carl Sagan, and those privileged to work with him, demonstrated that there is a world-wide appetite for compelling entertainment that reflects our dawning awareness of cosmic evolution and our place in its great story. There is a planet-wide hunger for images and dreams that reflect our radically altered sense of who, where, and when we are… where we might go, who we might become.

In collaboration with award-winning writers, artists, filmmakers, producers, researchers, engineers, educators, artists, and a growing list of partners across science, communications, and finance, we seek to touch audiences with the soaring spiritual high that comes from grasping science's central revelation- our oneness with the cosmos.

Come with us at www.cosmosstudios.com
on Facebook at www.facebook.com/CosmosStudiosOfficial/
on Twitter at www.twitter.com/cosmosstudios
on Instagram at www.instagram.com/cosmosstudiosofficial/

About Fuzzy Door
Led by writer, producer and director Seth MacFarlane and president Erica Huggins, Fuzzy Door is the production company behind many of today’s most successful film and television projects. With potent irreverence, biting satire, rule-breaking humor, compelling social issues and engaging storytelling, it has created an enviable portfolio of award-winning properties. Currently, the company produces the Hulu space adventure series “The Orville”; the beloved and Emmy-winning animated comedy series “Family Guy,” which is currently celebrating its 20th anniversary; and the fan-favorite series “American Dad!,” now airing its 14th season. Fuzzy Door strategically built on the success of the 1980’s “Cosmos” series by producing the award-winning “Cosmos: A Spacetime Odyssey,” which garnered 13 Emmy nominations and was seen by more than 135 million people worldwide, and is gearing up for the next installment, COSMOS: POSSIBLE WORLDS, set to air in 2020. On the film side, Fuzzy Door has created several commercially successful comedies, such as “Ted,” “Ted 2” and “A Million Ways to Die in the West,” which have collectively grossed more than $800 million at the worldwide box office. The company is committed to weaving a socially conscious and intellectually curious thread through projects to bring fearless, innovative and bold stories to life, while maintaining its trademark sense of humor and wonder.

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Negromancer News Bits and Bites from January 13th to 19th, 2019 - Update #27

Support Leroy on Patreon:

TELEVISION - From Variety:  One of the pilots that NBC has ordered is a comedy, "Saving Kenan," starring "Saturday Night Live" veteran, Kenan Thompson."

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PIXAR - From Deadline:  Two-time Oscar-winner, Lee Unkrich ("Toy Story 3," "Coco") is leaving Pixar.

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STREAMING - From Deadline:  Netflix and Shawn Levy are rebooting the true crime/paranormal TV series, "Unsolved Mysteries."  The original series ran for 14 seasons between 1987 and 2010, and the late Robert Stack is the host most associated with the series.

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CELEBRITY - From HuffPost:  Arnold Schwarzenegger's bodybuilding son, Joseph Baena, recreates his father's iconic 1976 bodybuilding pose.

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BOX OFFICE - Newsarama:  The winner of the Wednesday, January 16, 2019 daily box office is "Dragon Ball Super: Broly" with an take of just over $7 million.

From BoxOfficeMojo:  The box office chart for Wednesday, January 16, 2019, the day "Dragon Ball Super: Broly."

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COMICS-FILM - From Newsarama:  Dwayne "The Rock" Johnson challenges Chris Hemsworth to a Marvel Studios/"Fast & Furious" crossover film.

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MUSIC - From Variety:  Sony Music has parted ways with controversial R&B recording artist, R. Kelly, who has been dogged by sexual misconduct allegations for the past two decades plus.  Kelly's catalog/back list will remain with Sony/RCA.

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OSCARS - From Variety:  Kristopher Tapley offers his final Oscar nominations predictions ahead of the Tuesday, Jan. 22, 2019 announced of the nominations for the 91st Academy Awards.

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MOVIES - From TheWrap:  The J.R.R. Tolkien biographical film, "Tolkien," is set for release May 10, 2019.  Nicholas Hoult will play Tolkien, the creator of "The Lord of the Rings."

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MOVIES - From Deadline:  Lionsgate and Hasbro's film based on the game, "Monopoly," will star Kevin Hart and be directed by Tim Story, who directed Hart in the "Ride Along" films.

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MOVIES - From Deadline:  The race to win J.J. Abrams and his "Bad Robot" company may be close to an end.

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MOVIES - From BleedingCool:  Jason Reitman reportedly will direct the next installment of the "Ghostbusters" franchise, this one set in the "original universe" of the 1983 and 1989 films.

From Newsarama:  Jason Reitman's "secret Ghostbusters" project already has a teaser trailer.  Reitman's father, Ivan Reitman, who directed the original 1980s "Ghostbusters" films, will produce the new film (which is set for 2020), which is apparently set in the "original universe" of films.

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AWARDS - From Variety:  2019 USC Libraries Scripter Award nominations have been announced.  "Black Panther" is one of the nominees.

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TECH - From Wired:  MacKenzie Bezos and the Myth of the Lone Genius Founder

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MOVIES - From THR:  Jon Bernthal ("The Punisher") and Vera Farmiga ("The Conjuring") joins "The Sopranos" prequel, "The Many Saints of Newark."

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MOVIES - From ThePlaylist:  Director David Cronenberg is prepping a sequel to his most excellent 2007 film, "Eastern Promises," with star Viggo Mortensen returning.

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TELEVISION - From Deadline:  HBO is rebooting the classic TV series, "Perry Mason," and have tapped Matthew Rhys ("The Americans") to play Mason.

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MOVIES - From Deadline:  Liza Minnelli giver a rare endorsement of the biographical musical about her mother, Judy Garland, entitled "Chasing Rainbows: The Road to Oz."  Of course you know that Garland was Minnelli's mother.

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STAR TREK - From Deadline:   "Star Trek: Discovery's" Philippa Georgiou (played by actor Michelle Yeoh) is getting her own "Star Trek" TV spin-off.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 1/11 to 1/13/2019 weekend box office is "The Upside" with an estimated box office haul of $19.59 million.

From Variety:  "Bumblebee" leads the international box office with a $35.6 million.

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TELEVISION - From TheWrap:  HBO announces that April 14, 2019 will be the premiere date for first episode of the eighth and final season of "Game of Thrones."

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AWARDS - From Variety:  The winners of the 24th annual Critics Choice Awards have been announced.  "Roma" wins "best picture" and "best director" awards.

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MOVIES - From Variety:  Craig Brewer ("Hustle & Flow") is set to direct Eddie Murphy in "Coming to America 2,"  Brewer just completed "Dolemite is My Name," which also stars Murphy.

OBITS:

From Variety:  Tony Mendez, the CIA officer portrayed by Ben Affleck in the Oscar-winning best picture, "Argo," has died at the age of 78, Saturday, January 19, 2019.

From People:  Iconic Broadway star, Carol Channing, has died at the age of 97, Tuesday, January 15, 2019.  Channing is known for her role in iconic Broadway musicals, "Gentlemen Prefer Blondes" and "Hello, Dolly!" (for which she won a Tony Award).  She received an Oscar nomination for her role in the film, "Thoroughly Modern Millie."

From Variety:  Filmmaker and choreographer, Jo Andres, died at the age of 64, Monday, January 7, 2019.  Andres, who was married to acclaimed actor Steve Buscemi for 31 years, choreographed actor Stanley Tucci's directorial effort, "The Imposters" (1998) and directed the film, "Black Kites" (1996).

"Widows," "Green Book" to Screen at Austin Film Festival 2018

Austin Film Festival Announces Full Film and Conference Schedule

Slate Includes Centerpiece Film Ben is Back, Widows, Green Book, Friends from College Season 2 Premiere, Wildlife

AUSTIN, Texas--(BUSINESS WIRE)--Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today the full schedule of films and panels for the 25th Anniversary festival, this October 25-November 1, 2018. AFF’s feature film slate includes 23 World, North American, and US Premieres, a robust retrospective series, and highly anticipated marquee titles, including Steve McQueen’s and Gillian Flynn’s modern-day thriller Widows, Peter Farrelly’s dramedy period piece Green Book starring Mahershala Ali and Viggo Mortensen, Mike Leigh’s period piece Peterloo, Mickey Rourke-starring boxing drama Tiger, Paul Dano’s Wildlife starring Jake Gyllenhaal and Carey Mulligan, and Julia Roberts and Lucas Hedges family drama Ben is Back bowing as AFF’s Centerpiece selection, with writer/director Peter Hedges in attendance.

AFF also announced its 2018 television program. Included this year is comedy series Friends From College, launching on Netflix in 2019. Creators Francesca Delbanco and Nicholas Stoller will present a special preview screening of the Season 2 premiere episode. Creator Justin Marks and executive producer Jordan Horowitz will also be on hand at the Festival to present the season 2 premiere of their espionage spy thriller Counterpart, starring Academy Award® winner J.K. Simmons, premiering on Starz later this year.

AFF’s retrospective series will feature Tony Gilroy presenting his 1995 film Dolores Claiborne based on Stephen King’s novel, Graham Yost presenting his 1994 action classic Speed, and writer Mick Garris in attendance for a special Halloween presentation of Hocus Pocus.

Other World Premieres include The Dancing Dogs of Dombrova, F/11 and Be There, The Amaranth, A Girl Named C, and Waiting for the Miracle to Come.

The full Film and Conference schedule can be found at www.austinfilmfestival.com.


ABOUT AUSTIN FILM FESTIVAL:
Austin Film Festival (AFF) is a non-profit organization dedicated to furthering the art, craft and business of writers and filmmakers and recognizing their contributions to film, television and new media. AFF is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department and the Texas Commission on the Arts. All attendees and events are based on permitting schedules and are subject to change and/or cancellation without notice.

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Casey Affleck Wins "Best Actor" Oscar

Actor in a Leading Role

Nominees
Casey Affleck - Manchester by the Sea - WINNER

Andrew Garfield - Hacksaw Ridge

Ryan Gosling - La La Land

Viggo Mortensen - Captain Fantastic

Denzel Washington - Fences

Review: "The Return of the King" is a Crowning Achievement

TRASH IN MY EYE No. 178 (of 2003) by Leroy Douresseaux

The Lord of the Rings: The Return of the King (2003)
Running time: 201 minutes (3 hours, 21 minutes)
MPAA – PG-13 for intense epic battle sequences and frightening images
DIRECTOR: Peter Jackson
WRITERS: Frances Walsh, Philippa Boyens, and Peter Jackson (from the novel by J.R.R. Tolkien)
PRODUCERS: Peter Jackson, Barrie M. Osborne, and Fran Walsh
CINEMATOGRAPHER: Andrew Lesnie (D.o.P.)
EDITOR: Jamie Selkirk
COMPOSER: Howard Shore
Academy Award winner including “Best Picture”

FANTASY/ACTION/ADVENTURE

Starring: Elijah Wood, Ian McKellan, Viggo Mortensen, Sean Astin, Orlando Bloom, Liv Tyler, Hugo Weaving, Billy Boyd, Cate Blanchett, Dominic Monaghan, Miranda Otto, John Rhys-Davies, Andy Serkis, David Wenham, Paul Norell, Lawrence Makoare, and Alan Howard (voice)

The subject of this movie review is The Lord of the Rings: The Return of the King, a 2003 fantasy film from director Peter Jackson. The film is the third of three movies based on J.R.R. Tolkien’s three-novel cycle, The Lord of the Rings (1954-55), specifically the first book, The Return of the King (1955).

The Rings trilogy ends with The Lord of the Rings: The Return of the King, a magnificent epic of war, romance, honor, loyalty, and salvation. Although I view it as the least of the three films, ROTK is quite entertaining – at many moments, spectacularly so. Anyone who loved the first two pictures will certainly love this finale.

Most of the former Fellowship of the Ring: the man who would be king Aragorn (Viggo Mortensen), the elfin archer Legolas (Orlando Bloom), the wizard Gandalf (Ian McKellan), Gimli (John Rhys-Davies), and the Hobbits – Pippin (Billy Boyd) and Merry (Dominic Monaghan) gather in preparation for the final battle in the defense of Middle Earth. They join the people of Rohan to aid Gondor in a ferocious battle to save the human royal city of Minas Tirith. Meanwhile, Gollum leads the other two hobbits – Sam (Sean Astin) and the bearer of the One Ring, Frodo (Elijah Wood), to Mount Doom. The Hobbits are unaware of the treacherous path upon which Gollum leads them; he is the former owner of the One Ring and seeks to destroy the Hobbits so that he may regain possession of the Ring. As Frodo and Sam approach Mount Doom, the birth place of the Ring and the only place where it can be destroyed, the good guys gather at the Black Gates for a battle against the bad guys as the evil eye of Sauron searches for the One Ring, the object that will restore Sauron to Middle Earth.

Although ROTK is certainly a fine film, it has an air about it of being a story that’s run too long. Much of what makes The Lord of the Rings so endearing, the pageantry, the epic scope, the romantic soliloquies, the grand battles, the sweeping score, and the lead characters love for one another slowly creep towards self-parody. Thrilling speeches seem flat; fascinating fantastical creatures become comical. That maybe one reason director Peter Jackson cut the film to three hours and 20 minutes, as an earlier cut of the film had reportedly crept close to four and half hours in length.

Because the film story’s is so wonderful and engaging, I can overlook the flaws as ROTK wraps up LOTR. All aspects of the filmmaking is, for the most part, either excellent or very good: directing, acting, script, score, photography, visual effects, costume and set design. The one really great element of the film is it’s editing; that is what holds the film together even in the moments when it starts to tread the fine line between sublime and pure ridiculous.

In the end, The Lord of the Rings: The Return of the King is probably the best closing chapter of a trilogy since Return of the Jedi, and ROTK is, even with its blemishes, a technically superior effort to Jedi. It’s certainly better than The Matrix Revolutions, so I’ll be happy that The Return of the King is a tremendously satisfying conclusion and heartily recommend it.

8 of 10
A

NOTES:
2004 Academy Awards: 11 wins: “Best Picture” (Barrie M. Osborne, Peter Jackson, and Fran Walsh), “Best Art Direction-Set Decoration” (Grant Major-art director, Dan Hennah-set decorator, and Alan Lee-set decorator), “Best Costume Design” (Ngila Dickson and Richard Taylor), “Best Director” (Peter Jackson), “Best Film Editing” (Jamie Selkirk), “Best Makeup” (Richard Taylor and Peter King), “Best Music, Original Score” (Howard Shore), “Best Music, Original Song” (Fran Walsh, Howard Shore, and Annie Lennox for the song "Into the West"), “Best Sound Mixing” (Christopher Boyes, Michael Semanick, Michael Hedges, and Hammond Peek), “Best Visual Effects” (Jim Rygiel, Joe Letteri, Randall William Cook, and Alex Funke), and “Best Writing, Adapted Screenplay” (Fran Walsh, Philippa Boyens, and Peter Jackson)

2004 BAFTA Awards: 5 wins: “Best Film” (Barrie M. Osborne, Fran Walsh, and Peter Jackson), “Audience Award, “Best Achievement in Special Visual Effects” (Joe Letteri, Jim Rygiel, Randall William Cook, and Alex Funke), “Best Cinematography” (Andrew Lesnie), and “Best Screenplay – Adapted” (Fran Walsh, Philippa Boyens, and Peter Jackson); 9 nominations: “Anthony Asquith Award for Film Music” (Howard Shore), “BAFTA Children's Award Best Feature Film” (Peter Jackson, Fran Walsh, and Barrie M. Osborne), “Best Costume Design” (Ngila Dickson and Richard Taylor), “Best Editing” (Jamie Selkirk), “Best Make Up/Hair” (Richard Taylor, Peter King, and Peter Owen), “Best Performance by an Actor in a Supporting Role” (Ian McKellen), “Best Production Design” (Grant Major), “Best Sound” (Ethan Van der Ryn, Mike Hopkins, David Farmer, Christopher Boyes, Michael Hedges, Michael Semanick, and Hammond Peek) and “David Lean Award for Direction” (Peter Jackson)

2004 Golden Globes, USA: 4 wins: “Best Director - Motion Picture” (Peter Jackson), “Best Motion Picture – Drama” “Best Original Score - Motion Picture” (Howard Shore), and “Best Original Song - Motion Picture” “Howard Shore, Fran Walsh, and Annie Lennox for the song "Into the West")

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Review: "The Two Towers" is the Best of the Trilogy

TRASH IN MY EYE No. 172 (of 2003) by Leroy Douresseaux

The Lord of the Rings: The Two Towers (2002)
Running time: 179 minutes (2 hours, 59 minutes)
MPAA – PG-13 for epic battle sequences and scary images
DIRECTOR: Peter Jackson
WRITERS: Fran Walsh, Philippa Boyens, Stephen Sinclair, and Peter Jackson (based upon the novel by J.R.R. Tolkien)
PRODUCERS: Peter Jackson, Barrie M. Osborne, and Fran Walsh
CINEMATOGRAPHER: Andrew Lesnie (D.o.P.)
EDITOR: Michael Horton
COMPOSER: Howard Shore
Academy Award winner

FANTASY/ACTION/ADVENTURE

Starring:  Elijah Wood, Ian McKellan, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Bernard Hill, Christopher Lee, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Miranda Otto, David Wenham, Brad Dourif, and Andy Serkis

The subject of this movie review is The Lord of the Rings: The Two Towers, a 2002 fantasy film from director Peter Jackson. The film is the second of three movies based on J.R.R. Tolkien’s three-novel cycle, The Lord of the Rings (1954-55), specifically the first book, The Two Towers (1954).

As the second installment of the Ring Trilogy, The Lord of the Rings: The Two Towers, begins, the hobbits Frodo (Elijah Wood) and his companion Sam (Sean Astin) continue alone to Mordor to destroy the One Ring, as the Fellowship (the group of heroes who were to accompany Frodo) is broken. The Uruk-hai (Orcs) have captured their fellow hobbits, Merry (Dominic Monaghan) and Pippin (Billy Boyd).

Meanwhile, the shadow of the Dark Lord Sauron spreads across the land as he hungers for the One Ring, which he once wore and that gave him great powers. Aragorn (Viggo Mortensen), the elfin archer Legolas (Orlando Bloom), and the dwarf Gimli (John Rhys-Davies) make friends with a race of humans called the Rohan. Gandalf the Grey (Ian McKellan), thought to be dead, returns as Gandalf the White. The two towers that are between Sauron’s Mordor and at the corrupt wizard Saruman’s stronghold Isengard are united in their lust for destruction.

Aragorn and his companions join the Rohan king Théoden (Bernard Hill) at the Rohan fortress Helms Deep to fend off a grand Uruk-hai army created by Saruman (Christopher Lee) to destroy mankind and Middle-earth. Frodo and Sam meet one of the Ring’s original bearers, Gollum (Andy Serkis). The creature had been stalking the hobbit pair in hopes of recapturing his “precious,” the name by which he calls the Ring, but Frodo and Sam capture Gollum and use him to lead the way to Mt. Doom, the only place where the Ring can be destroyed.

Those who liked The Lord of the Rings: The Fellowship of the Ring, the first installment, will very likely love this one as much if not more. I certainly found The Two Towers to be a superior film, which is no mean thing, as TFOTR is also a fantastic and great film. It’s an epic war story, which director Peter Jackson fills to its brim with traditional romance. In fact, it is a great romantic film, in the mold of the classic adventure films that combined intense drama or melodrama and powerful emotions.

I did find some of the special effects and computer-generated effects to be a bit weak and lame. The best SFX/CGI achievement is Gollum, who is CGI; however, Gollum actor Andy Serkis apparently acted the part out in whole – emotionally and physically. The CGI people then took his actual work and made a CGI character. Serkis also provided Gollum’s voice. Many thought Serkis was deserving of an Academy Award nomination because the CGI was “merely” copying his work, as if they simply drew over his filmed performance. Alas, Serkis did not receive a nomination.

That doesn’t matter because The Two Towers was the best film of 2002, and is arguably one of the best fantasy films ever made. Its three-hour running time goes by quickly. From TTT’s overwhelming and powerful battle scenes to the deeply, heartfelt moments between the characters, this is a film experience not to be missed, especially if you’re the kind of viewer who can understand and absorb a film of strongly fantastic elements.

10 of 10

NOTES:
2003 Academy Awards: 2 wins: “Best Sound Editing” (Ethan Van der Ryn and Mike Hopkins) and “Best Visual Effects” (Jim Rygiel, Joe Letteri, Randall William Cook, and Alex Funke); 4 nominations: “Best Art Direction-Set Decoration” (Grant Major-art director, Dan Hennah-set decorator, and Alan Lee-set decorator), “Best Film Editing” (Michael Horton), and “Best Picture” (Barrie M. Osborne, Fran Walsh, and Peter Jackson), “Best Sound” (Christopher Boyes, Michael Semanick, Michael Hedges, and Hammond Peek)

2003 BAFTA Awards: 3 wins: “Audience Award,” Best Achievement in Special Visual Effects” (Jim Rygiel, Joe Letteri, Randall William Cook, and Alex Funke), “Best Costume Design” (Ngila Dickson and Richard Taylor); 8 nominations: “Best Film” (Barrie M. Osborne, Fran Walsh, and Peter Jackson), “BAFTA Children's Award Best Feature Film” (Peter Jackson, Barrie M. Osborne, Fran Walsh), “Best Cinematography” (Andrew Lesnie), “Best Editing” (Michael Horton and Jabez Olssen), “Best Make Up/Hair” (Peter Owen, Peter King, and Richard Taylor), “Best Production Design” (Grant Major), “Best Sound” (Ethan Van der Ryn, David Farmer, Mike Hopkins, Hammond Peek, Christopher Boyes, Michael Semanick, and Michael Hedges), and “David Lean Award for Direction” (Peter Jackson)

2003 Golden Globes, USA: 2 nominations: “Best Director - Motion Picture” (Peter Jackson) and “Best Motion Picture – Drama”

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Review: "The Fellowship of the Ring" is Still a Great Start to a Trilogy

TRASH IN MY EYE No. 5 (of 2002) by Leroy Douresseaux

The Lord of the Rings: The Fellowship of the Ring (2001)
Running time: 178 minutes (2 hours, 58 minutes)
MPAA – PG-13 for epic battle sequences and some scary images
DIRECTOR: Peter Jackson
WRITERS: Frances Walsh, Philippa Boyens, and Peter Jackson (based upon the novel by J.R.R. Tolkien)
PRODUCERS: Peter Jackson, Barrie M. Osborne, Tim Sanders, and Fran Walsh
CINEMATOGRAPHER: Andrew Lesnie
EDITOR: John Gilbert
COMPOSER: Howard Shore
Academy Award winner

FANTASY/ADVENTURE/ACTION/DRAMA

Starring: Elijah Woods, Ian McKellen, Viggo Mortensen, Liv Tyler, Hugo Weaving, Sean Astin, Orlando Bloom, Sean Bean, Billy Boyd, Dominic Monaghan, Christopher Lee, Cate Blanchette, Sala Baker, John Rhys-Davies, Ian Holm, Craig Parker, Andy Serkis, and (voice) Alan Howard

The subject of this movie review is The Lord of the Rings: The Fellowship of the Ring, a 2001 fantasy film from director Peter Jackson. The film is the first of three movies based on J.R.R. Tolkien’s three-novel cycle, The Lord of the Rings (1954-55), specifically the first book, The Fellowship of the Ring (1954).

In the adaptation of J. R. R. Tolkein’s novel The Fellowship of the Ring, a hobbit named Frodo Baggins (Elijah Wood, The Ice Storm) inherits a ring from his famous uncle Bilbo Baggins (Ian Holm, The Sweet Hereafter). When a wizard named Gandalf (Ian McKellen, X-Men and Gods and Monsters), who is a friend of the family, discovers that the ring is in fact the One Ring of the Dark Lord Sauron, the ring must be taken to the place of its creation, the Cracks of Doom, the only place where the ring can be destroyed. That task falls upon the shoulders of Frodo.

Three fellow hobbits join Frodo on his quest, including one who becomes very close to him, Samwise “Sam” Gamgee (Sean Astin, Rudy). Before long the group becomes nine, a Fellowship to take the ring to the Cracks of Doom so that Frodo can destroy it. However, great evil besets them in the form of Gandalf’s mentor Saruman the White (the great Christopher Lee), who is now on the side of darkness, and his army of mighty Orcs, who serve the rings original dark owner, Sauron (voice of Sala Baker). Obstacles, great dangers, horribly evils, and death confront the Fellowship every step of their quest.

Directed by Peter Jackson (Heavenly Creatures, The Frighteners), The Fellowship of the Ring is the first of three films each released a year apart that will comprise the Lord of the Rings trilogy. Even within budget constraints, Jackson has always proved himself to be an inventive and imaginative director. Like a painter, his canvases are well planned and constructed, and he does not waste shots; every frame seems important to the larger work.

He previous experience in dark fantasy, horror, and the weird made him an ideal choice to direct a film version of Tolkein’s sprawling epic, and Jackson delivers a nearly three hour film that is both visceral and subdued. An epic as good as any every delivered by a Hollywood studio, it captures the imagination while keeping the viewer nearly unawares of its length.

Nearly, that is. It’s a bit of hubris on Jackson and on New Line Cinema, Lord’s studio, to assume that an audience will tolerate Fellowship’s abrupt ending simply because the story is “to be continued” next year. The beginning, middle, and end of LOTR’s story are actually three separate films, not one film. It isn’t that FOTR’s ending is bad, just presumptuous of our patience and acceptance that this movie is like a serial. We will have to wait over two years to get the entire story.

These are certainly minor complaints in light of what Jackson delivers. He has a fine cast of actors, and the characters that he took from the novel he has made into excellent cinematic characters. The work of his SFX group creates nearly flawless special effects shots. Using New Zealand as the Middle Earth location of the stories is a wonderful choice. Between special effects and creative camera work, Jackson has created a world that is itself a character. Jackson and his fellow screenwriters Frances Walsh (a frequent collaborator of Jackson’s) and Philippa Boyens have created an excellent script makes the battle of good and evil unambiguous and quite compelling. Although the characters’ desires and personalities may occasionally straddle a gray area, what is right is clearly defined from what is wrong. That’s always the case regardless of character motivations and goals; moral relativism is kicked to the curb.

While he has made it highly emotional and thoughtful at its heart, Jackson has also managed to make a war and action movie. He juggles genres like fantasy, comedy, drama, and war and weaves them into an epic. The movie, both its back-story and the main story, spans time, has multiple locations and environments, and has a wealth of characters. Visually pleasing and intellectual thoughtful, it is one of the best films in recent memories, a grand fantasy that captures the imagination on a deeper level (than say The Phantom Menace) like Crouching Tiger, Hidden Dragon. We can only hope that the two follow-ups are this good.

Go see this film.

9 of 10
A+

NOTES:
2002 Academy Awards: 4 wins: “Best Cinematography” (Andrew Lesnie), “Best Effects, Visual Effects” (Jim Rygiel, Randall William Cook, Richard Taylor, and Mark Stetson), “Best Makeup” (Peter Owen and Richard Taylor), and “Best Music, Original Score” (Howard Shore); 9 nominations: “Best Picture” (Peter Jackson, Barrie M. Osborne, and Fran Walsh), “Best Actor in a Supporting Role” (Ian McKellen), “Best Art Direction-Set Decoration” (Grant Major-art director and Dan Hennah-set decorator), “Best Costume Design” (Ngila Dickson and Richard Taylor), “Best Director” (Peter Jackson), “Best Film Editing” (John Gilbert), “Best Music, Original Song” (Enya, Nicky Ryan, Roma Ryan for the song "May It Be"), “Best Sound” (Christopher Boyes, Michael Semanick, Gethin Creagh, and Hammond Peek), “Best Writing, Screenplay Based on Material Previously Produced or Published” (Fran Walsh, Philippa Boyens, and Peter Jackson)

2002 BAFTA Awards: 5 wins: “Best Film” (Peter Jackson, Barrie M. Osborne, and Tim Sanders), “Audience Award,” “Best Achievement in Special Visual Effects” (Jim Rygiel, Richard Taylor, Alex Funke, Randall William Cook, and Mark Stetson), “Best Make Up/Hair” (Peter Owen, Peter King and Richard Taylor), “David Lean Award for Direction” (Peter Jackson); 9 nominations: “Anthony Asquith Award for Film Music” (Howard Shore), “BAFTA Children's Award Best Feature Film” (Peter Jackson, Barrie M. Osborne, Fran Walsh, and Tim Sanders), “Best Cinematography” (Andrew Lesnie), “Best Costume Design” (Ngila Dickson), “Best Editing” (John Gilbert), “Best Performance by an Actor in a Leading Role” (Ian McKellen), “Best Production Design’ (Grant Major), “Best Screenplay – Adapted” (Fran Walsh, Philippa Boyens, and Peter Jackson), “Best Sound” (David Farmer, Hammond Peek, Christopher Boyes, Gethin Creagh, Michael Semanick, Ethan Van der Ryn, and Mike Hopkins)

2002 Golden Globes, USA: 4 nominations: “Best Director - Motion Picture” (Peter Jackson), “Best Motion Picture – Drama,” “Best Original Score - Motion Picture” (Howard Shore), and “Best Original Song - Motion Picture (Enya for the song "May It Be")

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Review: Cronenberg Plays it a Little Safe in "A Dangerous Method"

TRASH IN MY EYE No. 31 (of 2012) by Leroy Douresseaux

A Dangerous Method (2011)
COUNTRY OF ORIGIN: Canada (with Germany, Switzerland, UK)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – R for sexual content and brief language
DIRECTOR: David Cronenberg
WRITER: Christopher Hampton (based upon his play, The Talking Cure, and also on the book, A Most Dangerous Method: The story of Jung, Freud, and Sabina Spielrein, by John Kerr)
PRODUCER: Jeremy Thomas
CINEMATOGRAPHER: Peter Suschitzky (D.o.P.)
EDITOR: Ronald Sanders
COMPOSER: Howard Shore
Golden Globe nominee

DRAMA/HISTORICAL/ROMANCE

Starring: Michael Fassbender, Keira Knightley, Viggo Mortensen, Vincent Cassel, and Sarah Gordon

A Dangerous Method is a 2011 Canadian historical drama from director David Cronenberg. This film’s screenplay is by Christopher Hampton and is based on his play, The Talking Cure.

Another source for A Dangerous Method is the book by John Kerr, A Most Dangerous Method: The story of Jung, Freud, and Sabina Spielrein, which was also the basis for Hampton’s play. The film is a fictional account of the real-life turbulent relationships between Carl Jung, the founder of analytical psychology; Sigmund Freud, the founder of the discipline of psychoanalysis; and Sabina Spielrein, who was a patient of Jung before she later became a physician and one of the first female psychoanalysts.

The film opens in the first decade of the 1900s. Sabina Spielrein (Keira Knightley), a young woman suffering from hysteria, arrives at the Burghölzli Clinic, the preeminent psychiatric hospital in Zurich, Switzerland. The young Swiss doctor, Carl Jung (Michael Fassbender), begins to treat Sabina using word association and dream interpretation as part of his approach to psychoanalysis, a radical new science devised by Sigmund Freud (Viggo Mortensen).

Jung and Freud begin to correspond, and Freud adopts Jung as his heir apparent and also as his Aryan (or non-Jewish) ally against the European medical establishment, which is anti-Semitic. Jung finds in Sabina a kindred spirit, and soon they begin a sexual relationship. However, Jung and Freud’s relationship begins to fray, and Jung’s relationship with Sabina becomes more complicated than Jung anticipated.

A Dangerous Method’s movie poster may suggest that the film is about a love triangle. The film is really about Jung’s relationship with two people, with more of the focus on the Jung-Spielrein relationship. As Jung and Spielrein, Michael Fassbender and Keira Knightley, respectively, give strong performances by conveying the passion between the two people who must often remain restrained and repressed as a matter of societal conventions. Neither actor comes across as delivering the typical too-aloof performance that actors sometimes give when appearing in costume or historical dramas. Knightley plays Sabina as coiled and imprisoned, waiting to explode to the freedom that will allow her to be herself. Fassbender makes Jung fervent with the desire to investigate and explore that cannot be put out by the coolness of discovery. Viggo Mortensen gives the kind of tart and showy performance that can make a supporting actor a scene stealer, and he does indeed steal every scene in which he appears. Honestly, I never imagined Freud to be as Mortensen depicts him – cool and sexy.

Director David Cronenberg is known for the coolness and aloofness evident in even his most daring, unusual, and controversial films. Sometimes, there is a clinical attitude in his movies that restrains the narrative, its ideas and characters. A Dangerous Method would seem to be the perfect film in which Cronenberg would be correctly detached, even distant; however, the relationships explored in this film dare the storyteller to be objective, though I will give Cronenberg and his primary actors credit for giving this film a humorous undercurrent, especially in the first half. A Dangerous Method is a very good film, but, although it is about doctors and science, the emotions, sensations, and passions needed to be given more freedom than they are here. A Dangerous Method is a tad dangerously distant.

7 of 10
A-

NOTES:
2012 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Viggo Mortensen)

Friday, April 27, 2012

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Review: "A History of Violence" is Really Violent (Happy B'day, David Cronenberg)

TRASH IN MY EYE No. 160 (of 2005) by Leroy Douresseaux


A History of Violence (2005)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – R for brutal violence, graphic sexuality, nudity, language, and some drug use
DIRECTOR: David Cronenberg
WRITER: Josh Olson (based upon the graphic novel by John Wagner and Vince Locke)
PRODUCERS: Chris Bender, JC Spink, and David Cronenberg
CINEMATOGRAPHER: Peter Suschitzky
EDITOR: Ronald Sanders
Academy Award nominee

CRIME/DRAMA/MYSTERY with elements of a thriller

Starring: Viggo Mortensen, Maria Bello, Ed Harris, William Hurt, Ashton Holmes, Heidi Hayes, and Peter MacNeill

Tom Stall (Viggo Mortensen) is a pillar of the community in a rural Indiana town where he owns a small business, Stall’s Diner, and lives a quiet live with his wife, Edie (Maria Bello), and their two children, Jack (Ashton Holmes) and Sarah (Heidi Hayes). But the Stalls’ lives are forever changed after Tom thwarts a violent attempted robbery at the diner and kills the two, armed robbers. Lauded as a hero by his fellow townsfolk and by the media, he captures the attention of a Philadelphia mobster, Carl Fogarty (Ed Harris), and his henchmen who swear Tom is an old associate named Joey Cusack. It seems as if Fogarty wants Tom (or the man he swears is Joey) to tie up some loose ends…

In some ways, David Cronenberg’s new film, A History of Violence, is just like most violent crime dramas or action thrillers – the kind in which a man of few words tries to have a family and a peaceful life in a small town, but one day his violent history comes back to bite him on the ass. A good example of this sub-genre is the film noir (true) classic, Out of the Past with Robert Mitchum and Kirk Douglas, or even Clint Eastwood’s Oscar-winning Best Picture, Unforgiven. Like those two example of superb cinema, A History of Violence is contemplative. Where many directors would turn a movie crime drama into a hyper-kinetic music video, Cronenberg (who received a “Golden Palm” nomination at the 2005 Cannes Film Festival for this film) is almost painterly.

Bodies that are shot or mortally wounded in some other manner don’t fly off screen, nor do they disappear once used like some throw away special effects. We see humans rather than objects with gun shot wounds and nearly destroyed faces struggling to hold onto life. Cronenberg makes sure we hear the death rattle and the raspy, distressed breathing. Violence, even when justified, isn’t clean and pretty; there are real world consequences, as when Jack Stall badly beats two tormenting bullies at his high school. Cronenberg shows us chunks of flesh and some how that makes everything so visceral and more real, or maybe not so surreal, ethereal, and unreal as film violence normally is.

The performances are a mixed bag. Ed Harris and William Hurt shine with malicious glee in small, kooky roles. Maria Bello is sometimes, annoying and shrill, as Edie Stall, and sometimes she has moments where she is as earthy and authentic as a working woman with a family. Peter MacNeill as Sheriff Sam Carney is believable as the small town lawman who is as steady in the face of big city thugs as he is when dealing with his own people.

Still, this material truly stands out because of Cronenberg. The concept is pedestrian (almost pitiful), but screenwriter Josh Olson punches it up by creating weirdo and oddball characters and giving them quirky lines. Ultimately, Cronenberg is the ringmaster, or master chef, if you will, who makes this tale of a small town hero, who must face the vile and violent horror of his past, something a little different from the rest. A History of Violence is about the consequences of the past, and it’s too smart for pat resolutions; that only makes it special.

7 of 10
B+

Thursday, October 20, 2005

NOTES:
2006 Academy Awards: 2 nominations: “Best Performance by an Actor in a Supporting Role” (William Hurt) and “Best Writing, Adapted Screenplay” (Josh Olson)

2006 BAFTA Awards: 1 nomination: “Best Screenplay – Adapted” (Josh Olson)

2005 Cannes Film Festival: 1 nomination: “Palme d'Or” (David Cronenberg)

2006 Golden Globes: 2 nominations: “Best Motion Picture – Drama” and “Best Performance by an Actress in a Motion Picture – Drama” (Maria Bello)

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Review: Viggo Mortensen is Incredible in "Eastern Promises" (Happy B'day, Viggo Mortensen)

TRASH IN MY EYE No. 8 (of 2008) by Leroy Douresseaux

Eastern Promises (2007)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for strong brutal and bloody violence, some graphic sexuality, and nudity
DIRECTOR: David Cronenberg
WRITER: Steven Knight
PRODUCERS: Robert Lantos and Paul Webster
CINEMATOGRAPHER: Peter Suschitzky (D.o.P.)
EDITOR: Ronald Sanders
Academy Award nominee

CRIME/DRAMA with elements of a thriller

Starring: Viggo Mortensen, Naomi Watts, Armin Mueller-Stahl, Vincent Cassell, Sinead Cusak, Jerzy Skolimowski, and Tatiana Maslany (voice)

What makes a great performance is more than just the ability of the actor to crawl into the skin of the character he is playing. It’s also the ability to give the character depth and weight – the illusion of belonging in the time and place in which the film is set. This is the kind of performance that Viggo Mortensen gives in Eastern Promises, and that performance has resulted in a 2008 Best Actor Oscar nomination.

Eastern Promises is set in London and revolves around the mysterious and charismatic Russian-born Nikolai Luzhin (Viggo Mortensen), a driver for one of London's most notorious organized crime families of Eastern European origin. The family, itself a part of the Vory V Zakone (thieves in law) criminal brotherhood, is headed by Semyon (Armin Mueller-Stahl). Semyon exudes courtly charm as the welcoming proprietor of the plush Trans-Siberian restaurant, but that is an impeccable mask to cover a cold and brutal core. Semyon's volatile son and enforcer, Kirill (Vincent Cassel), is more tightly bound to Nikolai than to his own father, and Kirill uses Nikolai as his clean-up guy – disposing off bodies and killing at Kirill’s command.

Nikolai's carefully maintained existence is jarred once he crosses paths at Christmastime with Anna Khitrova (Naomi Watts), a midwife at a North London hospital and a child of Russian immigrants. Anna has possession of a diary belonging to Tatiana, a young teenager who dies while giving birth to a baby girl. Anna resolves to use the diary to try to trace the baby's lineage and relatives, and also to perhaps discover who harmed Tatiana.

Semyon wants the diary. When Nikolia learns that Anna has discovered incriminating evidence against his “family,” he finds his normally steely resolve compromised. Nikolia unexpectedly finds his loyalties divided, wanting to protect Anna, for whom he is developing strong feelings, and wanting to be loyal to Vory V Zakone. This begins a harrowing chain of murder, deceit, and retribution that will reverberate through the darkest corners of Zemyon’s criminal empire and through the London Russian underworld.

It would not be an exaggeration to say that Viggo Mortensen, so will remember for his role as “Aragorn” in The Lord of the Rings, has come of age as both an actor and a movie star. His turn as Nikolai is not an ordinary crime thriller performance; he simply isn’t just another film thug. Mortensen creates an aura of deep mystery and daunting ruthlessness around Nikolai, and being the center of the film, this rich character makes Eastern Promises an unusually strong crime thriller.

The measured, smoldering confrontations that shape and define Eastern Promises come from the well of Nikolai’s soul, a soul given to a fictional character by a great actor coming into his own.

8 of 10
A

NOTES:
2008 Academy Awards: 1 nomination for “Best Performance by an Actor in a Leading Role” (Viggo Mortensen)

2008 BAFTA Awards: 2 nominations: “Best British Film” (Paul Webster, Robert Lantos, David Cronenberg, and Steven Knight) and “Best Leading Actor” (Viggo Mortensen)

2008 Golden Globes: 3 nominations: “Best Motion Picture – Drama. “Best Original Score - Motion Picture” (Howard Shore), and “Best Performance by an Actor in a Motion Picture – Drama” (Viggo Mortensen)

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