Review: "AMSTERDAM" is a Movie That Follows the Right God Home

TRASH IN MY EYE No. 4 of 2023 (No. 1893) by Leroy Douresseaux

Amsterdam (2022)

Running time:  134 minutes (2 hours, 14 minutes)

MPA – R for brief violence and bloody images

WRITER/DIRECTOR:  David O. Russell

PRODUCERS:  David O. Russell, Christian Bale, Matthew Budman, Anthony Katagas, and Arnon Milchan

CINEMATOGRAPHER:  Emmanuel Lubezki (D.o.P.)

EDITOR:  Jay Cassidy

COMPOSER:  Daniel Pemberton

DRAMA/COMEDY/HISTORICAL

Starring:  Christian Bale, Margot Robbie, John David Washington, Alessandro Nivola, Andrea Riseborough, Anya Taylor-Joy, Chris Rock, Matthias Schoenaerts, Michael Shannon, Mike Myers, Taylor Swift, Timothy Olyphant, Zoe Saldana, Rami Malek, Ed Begley, Jr., Beth Grant, and Robert De Niro

Amsterdam is a 2022 comedy, period drama, and historical film from writer-director David O. Russell.  The film is based on the 1933 United States political conspiracy “the Business Plot,” which involved a secret plan to overthrow the government of President Franklin D. Roosevelt and to install a dictator in its place.  Amsterdam follows three friends who seek to uncover the truth behind the mysterious death and apparent murder of a retired U.S. general.

Amsterdam introduces Burt Berendsen M.D. (Christian Bale), a physician and surgeon.  In 1918, his estranged wife, Beatrice Vandenheuvel (Andrea Riseborough) and her parents, who don't really care for Burt because he is “half-Jew,” bully him into enlisting to fight in World War I.  While stationed in France, Burt befriends an African-American soldier, Harold Woodman (John David Washington).

Later, after being severely injured in battle, Burt and Harold are nursed back to health by Valerie Bandenberg (Margot Robbie), an eccentric American nurse and artist who makes art out of shrapnel removed from the soldiers.  Burt and Harold befriend Valerie and follow her to Amsterdam, the capitol of the Netherlands.  There, they live together and Harold and Valerie engage in a budding romance.  First, Burt returns to New York City to be with his wife, and then, Harold returns to begin his career as an attorney.

In 1933, Burt owns his own medical practice that caters to veterans of WWI, and he still remains friends with Harold.  Things begin to change for them when they discover that General Bill Meekins (Ed Begley, Jr.), who was important to Burt and Harold during the war, has died.  His daughter, Elizabeth Meekins (Taylor Swift), believes that her father was murdered.  Soon, Elizabeth herself is murdered, and Burt and Harold are blamed.  Seeking to clear themselves, they begin to investigate the mystery surrounding General Meekins before his death, which leads to their reunion with Valerie.  She had also returned to America and is living in seclusion with her wealthy brother, Tom Voze (Rami Malek) and his wife, Libby (Anya Taylor-Joy).

The three friends find themselves in a conspiracy involving another retired military officer, Marine Corps General Gil Dillenbeck (Robert De Niro).  And everything is heading for a showdown at an event that is very important to Burt, the 14th Annual New York Veterans Reunion Gala.

Yeah, dear readers, the synopsis of the film's plot is a bit longer than I would like it to be.  Although Amsterdam's narrative only runs a little under two hours and ten minutes, the film has enough subplots, characters, and settings to fill a television miniseries.  Actually, a miniseries version of Amsterdam with the same cast would be orgasmic – well, at least for me it would.

Anyway, most of you, dear readers, are familiar (to one extent or another) with the event known as the “January 6 United States Capitol attack.”  On Wednesday, January 6, 2021, a (mostly) white mob attacked the United States Capitol Building in Washington, D.C. The members of mob were comprised of supporters of then-President Donald Trump, and they were seeking to keep Trump in power by preventing a joint session of the U.S. Congress from counting the electoral college votes to formalize the victory of President-elect Joe Biden.

That event led journalists, historians, and writers to recall other insurrections and attempts to overthrow a democratically elected U.S. government.  The Business Plot is one of them.  It has also been referred to as “the Wall Street Putsch” because the people behind it were allegedly wealthy American businessmen.  They hoped to overthrow the government of President Franklin D. Roosevelt by creating a fascist organization comprised of World War I veterans that would be led by Marine Corp General Smedley Butler, a hero of WWI and a veteran of several military conflicts.  After this military led coup and overthrow of the government, the plotters would install Butler as a dictator.

Butler, upon whom Amsterdam's Gen. Dillenbeck is based, himself is the one who revealed the Business Plot.  At the time, some of the press considered the Business Plot to be hoax, although a congressional committee investigating the plot believed that it was discussed and at least partially planned.

Amsterdam is a film that is kind of like a fairy tale version the Business Plot with Burt (ostensibly the story's lead character), Harold, and Valerie as the gallant trio fighting the mysterious bad guys.  In this manner, the film is filled with conniving wizards (rich businessmen), evil knights (the killers of Gen. Meekins), and menagerie of oddball characters and creature-types, which is a good way to describe even Amsterdam's heroic trio.  As I said earlier, I think that the manner in which writer-director David O. Russell tells this story, it needs to be done in a longer form.

Still, one thing at which Russell really excels is in creating ensemble films featuring a cast that delivers stellar performances which in turn creates the most interesting cinematic characters.  He has done that with a large ensemble, as in the case of his highly-acclaimed 2013 film, American Hustle, and with an intimate small ensemble, such as in his Oscar-winning 2012 film, Silver Linings Playbook.

Christian Bale delivers another amazing performance as Burt Berendsen.  Margot Robbie is eccentric and delightful as Valerie, and John David Washington is dashing, bold, and stalwart as Harold.  Robbie and Washington have excellent chemistry and thus, are convincing as a couple.  Anya Taylor-Joy, beautiful and radiant as always, effortlessly slays in her turn as the vain and insecure attention-seeker, Libby Voze.  Of course, Robert De Niro, as Gen. Dillenbeck, turns up the heat in the film's most pivotal moments.

Rami Malek, Chris Rock, and Zoe Saldana also shine in key supporting roles, and Taylor Swift's quick spin as Bill Meekins' daughter, Elizabeth, gives the film an early jolt.  So the smaller roles help to make Amsterdam that much better as a top notch ensemble film.

In the film, the city of Amsterdam seems to represent a place where people can be their authentic selves while accepting that others must also be allowed to be their authentic selves, even if that might lead to clashes of personality and belief.  Amsterdam is not perfect, but it is lovable because of its idiosyncratic way, and that makes me look forward to the next large ensemble film from the inimitable David O. Russell.

8 of 10

A

★★★★ out of 4 stars

Saturday, January 21, 2023

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Review: "PEARL" Horror Film is as Crazy as It Wants to Be

TRASH IN MY EYE No. 72 of 2022 (No. 1884) by Leroy Douresseaux

Pearl (2022)

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

MPA – R for some strong violence, gore, strong sexual content and graphic nudity

DIRECTOR:  Ti West

WRITERS: Ti West and Mia Goth (based on characters created by Ti West)

PRODUCERS:  Jacob Jaffke, Harrison Kreiss, Kevin Turen, and Ti West

CINEMATOGRAPHER:  Eliot Rockett (D.o.P.)

EDITOR:  Ti West

COMPOSERS:  Tyler Bates and Tim Williams

HORROR

Starring:  Mia Goth, David Corenswet, Tandi Wright, Matthew Sunderland, Emma Jenkins-Purro, Alistair Sewell, and Amelia Reid

Pearl is a 2022 horror film from director Ti West.  The film serves as a prequel to the 2022 horror film, X, and is also the second entry in the “X” film series.  The film focuses on a young woman who feels trapped on her family's isolated farm where she dreams of stardom and harbors a dark side.

Pearl opens in 1918.  In Europe, World War I rages on, and in the United States, the homefront is plagued by an influenza pandemic.  The story focuses on Pearl (Mia Goth), a young woman who lives on a Texas farm with her parents who are German immigrants.  Pearl's husband, Howard (Alistair Sewell), is serving in WWI.  Her domineering mother, Ruth (Tandi Wright), insists that Pearl always work, either tending to the animals or caring for her paralyzed father (Matthew Sunderland).

However, Pearl longs for a more glamorous life, and she visits the local cinema where she can watch silent films.  Pearl wishes she could be like one of the chorus girls she sees in her favorite films.  Pearl wants to be a star, but she also shows signs of being quite the disturbed individual:  killing farm animals, abusing her father, and thinking about killing people.

Pearl is certainly a horror movie, but the film is also a psychological drama and suspense and mystery thriller.  Writer-director Ti West and writer-star Mia Goth plumb the depths of Pearl's character, her conflicts, and her dreams.  Pearl is like other people, although she does not think so.  What makes her stand out is that he murderous impulses are not held in check and only get worse.

Pearl is also an edgy immigrant family drama that uses the clash between the old (the immigrant) parents and the new (Pearl the daughter) as a vehicle for Pearl's rage.  From the moment the story introduces Pearl's tiresome mother, Ruth, the family conflict devolves into a tawdry, yet alluring Gothic horror of the kind that recalls the work of the late novelist, V.C. Andrews (1923-86).  The demands of Pearl's parents, especially the bitter Ruth, with her ruthless tongue, push out the darker aspects of Pearl's identity and personality.

Pearl builds its suspense and mystery on a game of time and fate.  When will the repressed homicidal aspects of her personality, which Pearl seems to think of as her “true self,” come busting out?  Pearl's dreams might be pipe dreams, but in her performance, Mia Goth convinces her audience that Pearl really does want to perform for the people she believes could be her audience.  Pearl wants to be loved, but she believes that the real her cannot be loved, nor is true self worthy of love.

Pearl is complicated.  Horror films have long dealt with duality – killer and victim.  However, there is a strain of horror that deals with lead characters that are sometimes sympathetic.  They also turn out to have personality disorders that result in the compulsion to brutally kill people within their reach.  In the 1976 film, Carrie (based on Stephen King's 1974 of the same name), the title character seems to have her dark side forced out of her.  Pearl forces a light side of herself out into the world, but her homicidal nature does not need to be pushed out.  It does not need much coaxing to come out and play a game of death with unwary victims.

As a team, Ti West and Mia Goth deliver a truly unique cinematic work of horror and (yes) suspense in Pearl.  As Pearl the character, Goth is the pounding hell-spawned heart of this film, and it needs a strong heart.  Honestly, outside of Pearl the character, Pearl the film's plot, characters, and setting art surreal to the point of being too cute.

In the second half of the film, Goth has a delightful dance sequence that personifies to the depth of Pearl's character.  I can see why Oscar-winning director Martin Scorsese says that Goth's performance here is Oscar worthy.  Mia Goth liberates horror of its needs for scream queens, masked killers, final girls, and supernatural theatrics.  Pearl shows that horror movies can be quite horrifying simply by imagining the ultimate heart of darkness in its prettiest maidens, smiling waifs, and perky sprites – you know, the kind of female that is usually the victim in scary movies.

8 of 10

A

★★★★ out of 4 stars

Wednesday, November 30, 2022

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

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Review: 2022 Version of "DEATH ON THE NILE" Is Dark and Edgy on the Nile

TRASH IN MY EYE No. 31 of 2022 (No. 1843) by Leroy Douresseaux

Death on the Nile (2022)
Running time:  127 minutes (2 hours, 7 minutes)
MPA – PG-13 for violence, some bloody images, and sexual material
DIRECTOR: Kenneth Branagh
WRITER: Michael Green (based on the novel by Agathie Christie)
PRODUCERS:  Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Kevin J. Walsh, and Ridley Scott
CINEMATOGRAPHER:  Haris Zambarloukos (D.o.P.)
EDITOR:  Una Ni Dhonghaile
COMPOSER:  Patrick Doyle

MYSTERY

Starring:  Kenneth Branagh, Gal Gadot, Armie Hammer, Tom Bateman, Annette Bening, Russell Brand, Letitia Wright, Sophie Okonedo, Emma Mackey, Rose Leslie, Ali Fazal, Rose Leslie, Jennifer Saunders, Dawn French, and Naveed Kahn

Death on the Nile is a 2022 mystery film directed by Kenneth Branagh.  It is based on the 1937 novel, Death on the Nile, written by Agatha Christie (1890-1976).  In Death on the Nile the movie, Hercule Poirot investigates the murder of a young heiress that occurs on a ship sailing the Nile

Death on the Nile finds famous detective, Hercule Poirot (Kenneth Branagh), embarking on a luxurious cruise on the Nile River in Egypt.  Poirot is delighted to discover that his friend, Bouc (Tom Bateman), will also be aboard the ship named the “Karnak.”

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

When Linnet is found shot to death aboard the Karnak, Jackie is the most obvious culprit, but there are others on board who have reason to want Linnet dead.  There is Linnet's maid, Louise Bourget (Rose Leslie), who was bitter because her mistress sabotaged her engagement.  Linnet's attorney and estate trustee, Andrew Katchadourian (Ali Fazal), was stealing from her, although they were cousins.  Linnet's godmother, Maria van Schuyler (Jennifer Saunders), is a socialist who gave away her wealth, but stands to inherit some of Linnet's estate.  Bowers (Dawn French), van Schuyler's nurse, blamed Linnet's father for financially ruining her family.

Salome Otterbourne (Sophie Okonedo), a brassy blues and jazz singer and guitarist, and Rosalie (Letitia Wright), her niece and manager, were once the target of a racist complaint by Linnet.  However, Rosalie became Linnet's friend in boarding school and admits that there are reasons to both hate and love Linnet.  Dr. Windlesham (Russell Brand) was once engaged to Linnet, but she left him for Simon.  Bouc's mother, Euphemia (Annette Bening), resented Linnet for introducing Bouc to Rosalie.

Poirot must uncover the identity of the killer.  He better hurry because the bodies are starting to pile up.

In this new version of Death on the Nile, there is an attention to detail.  The audience can see it in the lighting, the hair and make-up, the costumes, the art direction, the editing, and the score.  This is also to create Hercule Poirot's world of light and much darkness and shadows.  Early in the film, writer Michael Green and director Kenneth Branagh take us to the World War I life of Poirot, tragedy on the battlefield and off sets the stage for what would become the future great detective's world.  Shadowy nightclubs filled with earthy blues and showy jazz music; sumptuous desserts; lavishly appointed night people; sunny paradises; and exotic locales – everything has a dark side.  It does not matter how golden hued anything is; there is darkness.  Even the dark side has a darker side.

All the performances are topnotch; Branagh even gets a showy transformation from comedian Russell Brand, here, being his best PBS Masterpiece self.  Good acting sells Death on the Nile's central theme that envy, greed, lust, and pride will destroy friends and lovers.  They will even lead to murder most foul, of course.

Branagh takes the cynicism of post-war American Film-Noir and pours it all over Dame Agatha Christie's storytelling.  Rarely has such cinematic beauty dressed so much evil and darkness.  The lovely meets the lethal.

Death on the Nile 2022 starts slow and drags for some time.  For a time, it takes Sophie Okonedo lip-syncing Sister Rosetta Tharpe to give the film early heat.  Linnet Ridgeway's murder, however, lights a fire under Death on the Nile as it moves to its ending of triumphant tragedy.  There is no victory in the resolution of this case – only hurt and grief.  Maybe, hurt and grief are the victors.  The viewers are also victors, as Branagh orchestrates another unique and winning take on the cozy, old mysteries of Agatha Christie.

8 out of 10
A
★★★★ out of 4 stars

Saturday, May 14, 2022


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Review: "THE KING'S MAN" is the Best "Kingsman" Yet

TRASH IN MY EYE No. 23 of 2022 (No. 1835) by Leroy Douresseaux

The King's Man (2021)
Running time: 131 minutes (2 hours, 11 minutes)
MPA – R for sequences of strong/bloody violence, language, and some sexual material
DIRECTOR:  Matthew Vaughn
WRITERS:  Matthew Vaughn and Karl Gajdusek; from a story by Matthew Vaughn (based on on the comic book, The Secret Service, by Mark Millar and Dave Gibbons)
PRODUCERS:  Adam Bohling, David Reid, and Matthew Vaughn
CINEMATOGRAPHER:  Ben Davis (D.o.P.)
EDITOR:  Jason Ballantine and Rob Hall
COMPOSERS:  Dominic Lewis and Matthew Margeson

FANTASY/ACTION/SPY/WAR with some elements of comedy

Starring:  Ralph Fiennes, Gemma Arterton, Djimon Hounsou, Rhys Ifans, Harris Dickinson, Matthew Goode, Tom Hollander, Daniel Brühl, Charles Dance, Aaron Taylor-Johnson, and Stanley Tucci

The King's Man is a 2021 spy and action movie and war drama from director Matthew Vaughn.  It is the third film in the Kingsman film series, and it is a “prequel” to the previous two films, Kingsman: The Secret Service (2015) and Kingsman: The Golden Circle (2017).  All three films are based on characters and elements from the 2012 comic book miniseries, The Secret Service, by Mark Millar and Dave Gibbons.  The King's Man focuses on an aristocrat and his spy network as they try to stop a plot to pit the British, German, and Russian empires against each other in a war that will wipe out millions of lives.

The King's Man introduces British aristocrat Orlando, Duke of Oxford (Ralph Fiennes).  In 1914, Orlando has formed a private spy network consisting of domestic servants employed by the world's most powerful dignitaries.  His own servants, his butler, Shola (Djimon Hounsou), and his maid/nanny, Polly Watkins (Gemma Arterton), are his closest aides and confidants.  The primary objective of Orlando's network is to protect the United Kingdom and the British Empire from the conflagration of the approaching “Great War.”

Orlando's only son, Conrad (Harris Dickinson), is eager to fight, but Orlando forbids him from joining the British Army and uses his connections to keep him from entering service.  Besides, there are other things to keep father, son, and the spy network busy.  Orlando's friend, the Archduke Franz Ferdinand (Ron Cook), and his wife are assassinated.  Orlando learns that the assassin is part of “The Flock,” a group plotting to pit the German, Russian, and British empires against each other in the Great War.

Orlando and his network then engage in a series of adventures to foil the Flock's plans, that includes killing Grigori Rasputin (Rhys Ifans), the priest and mystic who serves the Flock's mysterious leader, “The Shepherd.”  As his personal physician, Rasputin practically controls Tsar Nicholas (Tom Hollander) of Russia.  And if Nicholas does as Rasputin wants, Great Britain may be doomed.  Can Orlando and his network stop The Shepherd and save the British Empire?  And will Conrad remain with his father's network or will he force his way into military service in a war in which young men like him are dying by the thousands?

The King's Man is easily the best of the Kingsman series, thus far.  The villain, “The Shepherd,” is ridiculous, but his motivations will make more sense and is more likely to appeal to British audiences.  For me, The Shepherd is what keeps The King's Man from being a truly great film.

The film's remix of the history of the “Great War” (World War I) seems inappropriate, but the film's inclusion of WWI is what makes it stand out from other films based on comic books.  In fact, The King's Man is grounded in a darker take on that war than another comic book movie, Wonder Woman (2017), which is also largely set during the first World War.  In a way, The King's Man seems like a salute to the men who served and the ones who died in the muck and mud of Europe during “the war to end all wars.”

Ralph Fiennes brings a touch of class and some serious dramatic chops to this film.  It seems as if director Matthew Vaughn and his co-writer, Karl Gajdusek, take this film more seriously than Vaughn did with the previous two films, which were action-spy movies with a strong comic overtone.  The King's Man is a war drama, spy serial, and action-thriller, and Fiennes, as Orlando, the Duke of Oxford, sells this film's seriousness.

Gemma Arterton and Djimon Hounsou are also quite good as Orlando's top lieutenants, Polly and Shola, respectively.  As Rasputin, Rhys Ifans offers a performance that is off-beat, over-the-top, and colorful.  Tom Hollander, with the help of the make-up and hairstyling crew of The King's Man, is credible in three roles, but makes his most potent turn as Britain's King George.  Harris Dickinson as Orlando's son, Conrad, gives the film's most hot-blooded and nuanced performance.

The best way I can describe The King's Man is as being like a serial adventure.  The film's plot is comprised of multiple missions and subplots, which keeps the film's narrative hopping.  The film moves fast, fast enough to keep audiences from focusing on the film's inconsistencies and flaws in logic, but also fast enough to make the story seem like a non-stop, breathtaking adventure.  Like Matthew Vaughn himself, I want to see a fourth film in the series, one that focuses on the characters that make it to the end of this film and on their first decade as the “Kingsman.”  I highly recommend The King's Man to audiences that have watched either of the first two films or both.  They were really a build up to the best of their lot, The King's Man.

7 of 10
A-

Thursday, April 14, 2022


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

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Peter Jackson's "They Shall Not Grow Old" Expands Theatrical Release

Peter Jackson’s “They Shall Not Grow Old” Marches on, to 150 Markets across North America

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures is widening the front for Peter Jackson’s widely acclaimed World War I documentary, “They Shall Not Grow Old.” The studio will expand the release of the film to 500 theatres across 150 markets throughout the U.S. and Canada, beginning on Friday, February 1, 2019, with special pre-shows the evening before. The announcement was made today by Jeff Goldstein, President, Domestic Distribution, Warner Bros. Pictures.

    “We are proud to share Peter Jackson’s outstanding documentary with audiences across North America. Bringing us into the trenches and onto the battlefield of the Great War, the film stands as a powerful reminder of the sacrifices made by all those who serve, both then and now.”

The Warner Bros. release comes following the film’s hugely successful Fathom Events dates, which yielded record-setting results. “They Shall Not Grow Old” took in $8.34 million, making it the highest-grossing U.S. Cinema Event release ever.

Jackson’s stunning restoration of footage from more than a century ago has received rapturous praise from both critics and audiences, and just earned a BAFTA Award nomination for Best Documentary. It is Certified Fresh on Rotten Tomatoes with an impressive 97% positive reviews and received an A CinemaScore.

In his announcement, Goldstein said, “We are proud to share Peter Jackson’s outstanding documentary with audiences across North America. Bringing us into the trenches and onto the battlefield of the Great War, the film stands as a powerful reminder of the sacrifices made by all those who serve, both then and now.”

From Academy Award-winning filmmaker Peter Jackson (“The Lord of the Rings” Trilogy, “The Hobbit” Trilogy) comes the groundbreaking documentary “They Shall Not Grow Old,” presented on the centenary of the end of the First World War.

Applying state-of-the-art restoration, colorization and 3D technologies to century-old footage—carefully chosen from hundreds of hours of original Great War film held in the archives of the Imperial War Museum (IWM)—Jackson has created an intensely gripping, immersive and authentic cinematic experience. The only narration comes from Great War veterans themselves, selected from over 600 hours of BBC and IWM archive interviews, resulting in a gripping account of “The War to End All Wars,” told by the soldiers who experienced it.

By restoring the original footage to a standard never seen before, the human face of WWI emerges with vivid clarity through the fog of time. Jackson captures the day-to-day experience of its soldiers and reveals the reality of war for those on the front line: their attitudes about the conflict; their camaraderie and their need for humor amidst the horror; the functions of daily life in the trenches; and what their lives were like during periods of rest. Using cutting-edge techniques to transform the images of a century ago into footage that could have been shot today, Jackson both remembers and honors a generation changed forever by a global war.

“They Shall Not Grow Old” was directed by Peter Jackson and produced by Clare Olssen and Jackson, with Ken Kamins, Tessa Ross, Di Lees and Jenny Waldman serving as executive producers. The film was edited by Jabez Olssen. The music is by David Donaldson, Janet Roddick & Steve Roche.

Warner Bros. Pictures presents a Wingnut Films Production, co‐commissioned by 14‐18 NOW and Imperial War Museum in association with BBC. This film has been rated R for disturbing war images.

Theyshallnotgrowold.movie

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Fathom Events Announces Third Date for "They Shall Not Grow Old"

Peter Jackson’s “They Shall Not Grow Old” to Have a Third Date from Fathom Events

The Acclaimed Documentary to Screen at More Than 1,000 Locations on Monday, January 21, 2019

BURBANK, Calif.--(BUSINESS WIRE)--On the heels of its already record-breaking release, and in response to popular demand, a third Fathom Events date has been added for Warner Bros. Pictures’ much-heralded WWI documentary “They Shall Not Grow Old,” from Oscar-winning filmmaker Peter Jackson. The film will be screened at more than 1,000 locations in the U.S. and Canada on Monday, January 21, 2019, taking advantage of the holiday weekend. The announcement was made today by Jeff Goldstein, President, Domestic Distribution, Warner Bros. Pictures, and Ray Nutt, CEO of Fathom Events.

    “We are honored to give audiences another chance to experience this groundbreaking documentary as it should be seen—in 3D and on the big screen.”

“They Shall Not Grow Old” debuted in North America at 1,122 locations on December 17, 2018, taking in an impressive $2.327 million. As anticipation grew for the second Fathom Events release date, on December 27, several locations were sold out more than a week in advance. Playing on 1,007 screens, the film earned an astounding $3.375 million for a record-shattering two-day total of $5.702 million. It is the highest-grossing U.S. cinema event to date, for both Fathom Events and the event-cinema industry.

In making the announcement, Goldstein stated, “The response to ‘They Shall Not Grow Old’ has been overwhelming. Peter Jackson’s documentary is a towering achievement of film restoration that has conquered the ravages of time and stands as a fitting tribute to all those who fought and died in what was then called ‘The War to End All Wars.’ We are so proud to be part of bringing this film to audiences across the U.S. and Canada.”

“This project has been a historic and record-setting journey for Fathom, Warner Bros., our exhibitor partners and the event-cinema industry,” said Fathom Events CEO Ray Nutt. “We are honored to give audiences another chance to experience this groundbreaking documentary as it should be seen—in 3D and on the big screen.”

Tickets will be available soon at www.FathomEvents.com and participating theater box offices.

From Academy Award-winning filmmaker Peter Jackson (“The Lord of the Rings” Trilogy, “The Hobbit” Trilogy) comes the groundbreaking documentary “They Shall Not Grow Old,” presented on the centenary of the end of the First World War.

Applying state-of-the-art restoration, colorization and 3D technologies to century-old footage—carefully chosen from hundreds of hours of original Great War film held in the archives of the Imperial War Museum (IWM)—Jackson has created an intensely gripping, immersive and authentic cinematic experience. The only narration comes from Great War veterans themselves, selected from over 600 hours of BBC and IWM archive interviews, resulting in a gripping account of “The War to End All Wars,” told by the soldiers who experienced it.

By restoring the original footage to a standard never seen before, the human face of WWI emerges with vivid clarity through the fog of time. Jackson captures the day-to-day experience of its soldiers and reveals the reality of war for those on the front line: their attitudes about the conflict; their camaraderie and their need for humor amidst the horror; the functions of daily life in the trenches; and what their lives were like during periods of rest. Using cutting-edge techniques to transform the images of a century ago into footage that could have been shot today, Jackson both remembers and honors a generation changed forever by a global war.

“They Shall Not Grow Old” was directed by Peter Jackson and produced by Clare Olssen and Jackson, with Ken Kamins, Tessa Ross, Di Lees and Jenny Waldman serving as executive producers. The film was edited by Jabez Olssen. The music is by David Donaldson, Janet Roddick & Steve Roche.

Warner Bros. Pictures presents a Wingnut Films Production, co‐commissioned by 14‐18 NOW and Imperial War Museum in association with BBC. This film has been rated R for disturbing war images.

Theyshallnotgrowold.movie

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Fathom Events Announces Special Showings of "They Shall Not Grow Old" Doc

Peter Jackson’s Highly Anticipated WWI Documentary “They Shall Not Grow Old” Receives Special U.S. Release December 17 and 27 Presented by Warner Bros. Pictures and Fathom Events

Tickets on Sale November 16 for This Two-Night Theatrical Event, Featuring an Introduction from World-Renowned Filmmaker Peter Jackson and Followed by a Special Piece on the Creation of this Trailblazing Documentary

DENVER--(BUSINESS WIRE)--Fathom Events has partnered with Warner Bros. Pictures to bring Academy Award winner Peter Jackson’s poignant WWI documentary “They Shall Not Grow Old” to movie theaters across the U.S. on Monday, December 17, 2018 with an encore presentation on Thursday, December 27, 2018. The film is presented in 2D and RealD™ 3D, and tickets go on sale on Friday, November 16, 2018 at www.FathamEvents.com and participating theater box offices.

    “Putting this documentary on the big screen via the Fathom network will further illuminate Jackson’s work and allow moviegoers to see the impressive visual detail of the restored footage as though they were a part of that moment in time.”

Jackson recorded a special introduction to the film—which he has called his most personal—offering his perspective on why the film is important for audiences, who have never experienced WWI footage as anything but grainy black & white…and silent. In “They Shall Not Grow Old,” Jackson opens a window to the past in a way that has never been seen or heard before, noting, “Restoration is a humanizing process.” The screening will be immediately followed by special content offering firsthand insights into what went into this groundbreaking feat of research, filmmaking and storytelling.

The acclaimed documentary is an extraordinary look at the soldiers and events of the Great War, using film footage captured at the time, now presented as the world has never seen. By utilizing state-of-the-art restoration, colorization and 3D technologies, and pulling from 600 hours of BBC archival interviews, Jackson puts forth an intensely gripping, immersive and authentic experience through the eyes and voices of the British soldiers who lived it.

“We knew that partnering with Warner Bros. to bring this extraordinary documentary to U.S. audiences was essential,” said Fathom Events CEO Ray Nutt. “Putting this documentary on the big screen via the Fathom network will further illuminate Jackson’s work and allow moviegoers to see the impressive visual detail of the restored footage as though they were a part of that moment in time.”

Carolyn Blackwood, President and Chief Content Officer, New Line Cinema and executive producer on “The Hobbit” Trilogy stated, “This documentary is simply special on every level – it is an arresting and gripping way to humanize and honor those who served so bravely during WWI by using actual footage shot at the time and narrated with the voices of the soldiers who experienced it. Leave it to Peter to come up with a groundbreaking way to reflect back on a period in history that deserves another look.”

Jeff Goldstein, President of Domestic Distribution, Warner Bros. Pictures, said, “With this being the 100th anniversary of Armistice Day, I can’t imagine a more appropriate time to honor the courage of the soldiers who fought in WWI – what was then ‘the war to end all wars’ – many of whom made the ultimate sacrifice. Peter has made history come alive through the medium of film, and we are so pleased to be a part of bringing his vision to today’s audiences.”


About Fathom Events
Fathom Events is the leading event cinema distributor with theater locations in all top 100 DMAs® (Designated Market Areas) and ranks as one of the largest overall theater content distributors. Owned by AMC Entertainment Inc. (NYSE: AMC), Cinemark Holdings, Inc. (NYSE: CNK) and Regal Entertainment Group (NYSE: RGC), Fathom Events offers a variety of unique entertainment events in movie theaters such as live performances of the Metropolitan Opera, top Broadway stage productions, major sporting events, epic concerts, the yearlong TCM Big Screen Classics series, inspirational events and popular anime franchises. Fathom Events takes audiences behind the scenes for unique extras including audience Q&As, backstage footage and interviews with cast and crew, creating the ultimate VIP experience. Fathom Events’ live Digital Broadcast Network (“DBN”) is the largest cinema broadcast network in North America, bringing live and pre-recorded events to 975 locations and 1,578 screens in 181 DMAs. The company also provides corporations a compelling national footprint for hosting employee meetings, customer rewards events and new product launches. For more information, visit www.FathomEvents.com.

About “They Shall Not Grow Old”
The film was directed by Peter Jackson and edited by Jabez Olssen. It was produced by Jackson under his WingNut Films banner, and Clare Olssen, and executive produced by Ken Kamins and Tessa Ross, under her House Productions banner. Commissioned by the UK’s 14-18 NOW Arts Program, Imperial War Museums and BBC, it is being distributed by Warner Bros. Pictures.

About Peter Jackson
Peter Jackson produced, co-wrote and directed his screen adaptation of J.R.R. Tolkien’s “The Lord of The Rings” trilogy, which earned a total of 30 Academy Award nominations and won 17, including Best Picture in 2004 for “The Return of the King.” In 2010, he wrote, directed and produced his trilogy adaptation of “The Hobbit,” which gathered a total of seven Academy Award nominations.

About 14-18 NOW
14-18 NOW is a program of arts experiences connecting people with the First World War, as part of the UK’s official centenary commemorations. It commissions new work by leading contemporary artists across all art forms; the program has included over 200 artists from 35 countries, with commissions taking place in 160 locations across the UK.

About IWM
IWM (Imperial War Museums) has five branches in England. Their unique collections tell the story of people who have lived, fought and died in conflicts involving Britain and the Commonwealth since the First World War.

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Amblin Partners Announces Sam Mendes Film, "1917"

Sam Mendes to Make Self-Penned WW1 Drama 1917 for Amblin

LOS ANGELES--(BUSINESS WIRE)--Oscar winning director Sam Mendes brings his World War I film, 1917, to Amblin Partners. Mendes, who wrote the original script with Krysty Wilson-Cairns, will direct and produce the film. Pippa Harris, Mendes’ producing partner at Neal Street Productions, will also produce.

    “I couldn’t be happier to be back working with Amblin and Steven Spielberg again, alongside Donna Langley and all at Universal. I’ve been working on this script for over a year, so it’s very exciting to start making the movie itself a reality.”

Production is targeting an April 2019 start for a US release in December 2019 through Amblin’s distribution partner, Universal Pictures.

1917 marks a reunion for Mendes and the Steven Spielberg-led Amblin Partners. The British director made his first feature, the Oscar winning American Beauty, under the DreamWorks Pictures label, followed by two other productions – Road to Perdition and Revolutionary Road. Mendes most recently directed the last two movies in the James Bond franchise, Spectre and Skyfall.

Said Sam Mendes: “I couldn’t be happier to be back working with Amblin and Steven Spielberg again, alongside Donna Langley and all at Universal. I’ve been working on this script for over a year, so it’s very exciting to start making the movie itself a reality.”

Said Steven Spielberg: “Our company has been a home for Sam since his first film. I am so happy to have him back here in his old room spinning new stories – especially this hugely daring and ambitious new movie.”

CAA Media Finance packaged the film and brokered the deal.


About Amblin Partners
Amblin Partners is a content creation company, led by Steven Spielberg, that develops and produces films using the Amblin, DreamWorks and Participant Media banners and includes Amblin TV, a longtime leader in quality programming. The company’s investment partners include: Participant Media, Reliance Entertainment, Entertainment One (eOne), Alibaba Pictures and Universal Pictures.

About Neal Street Productions
Neal Street Productions was formed in 2003 by Sam Mendes, Pippa Harris and Caro Newling, and Nicolas Brown joined in 2013 to work across the film and TV portfolio. The company has been successful in film, theatre and television with hit movies including Revolutionary Road, Jarhead and Starter for 10.

Their diverse television slate includes the award-winning Stuart A Life Backwards, with Tom Hardy and Benedict Cumberbatch, three series of Penny Dreadful starring Josh Hartnett, Eva Green, Timothy Dalton and Rory Kinnear, and the hugely successful Call the Midwife. The show regularly gains over 10m viewers, it is the UK’s most watched TV drama series and it has been voted the Best Drama of the 21st Century in the BFI & Radio Times Festival Audience Poll. Neal Street also produced the critically acclaimed and award-winning The Hollow Crown - a series of Shakespeare films for the BBC/PBS - starring Ben Whishaw, Tom Hiddleston and Jeremy Irons, and a second series; The Hollow Crown: The Wars of the Roses starring Benedict Cumberbatch, Judi Dench, Hugh Bonneville, Keeley Hawes and Sophie Okonedo. Other TV projects include Britannia, a major new original drama series written by Jez Butterworth starring Kelly Reilly, Zoe Wanamaker and David Morrissey, for Sky and Amazon, and contemporary thriller, Informer, starring Paddy Considine, Bel Powley and Nabhaan Rizwan which will air on BBC and Amazon in 2018.

On the theatre side, current productions include The Lehman Trilogy directed by Sam Mendes starring Simon Russell Beale which will be opening at the National Theatre in July 2018, The Ferryman written by Jez Butterworth, which, following its sell-out run and 5* reviews at both the Royal Court and the Gielgud Theatre in London will open at the Bernard B. Jacobs Theatre on Broadway in October 2018, The Moderate Soprano at the Duke of York’s Theatre in the West End, and Shrek The Musical which is touring across the UK throughout 2018/19. Neal Street Productions is an All3Media company, All3Media is owned jointly between Discovery Communications and Liberty Global.

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Review: Wonderful "Wonder Woman" in Less Than Wonderful Movie

TRASH IN MY EYE No. 16 (of 2017) by Leroy Douresseaux

[This review originally posted on Patreon.]

Wonder Woman (2017)
Running time:  141 minutes (2 hours, 21 minutes)
MPAA – PG - 13 for sequences of violence and action, and some suggestive content
DIRECTOR:  Patty Jenkins
WRITERS:  Allan Heinberg; from a story by Zack Snyder, Allan Heinberg, and Jason Fuchs (based on characters appearing in comic books published by DC Comics and created by William Moulton Marston)
PRODUCERS:  Charles Roven, Zack Snyder, Deborah Snyder, and Richard Suckle
CINEMATOGRAPHER:  Matthew Jensen
EDITOR:  Martin Walsh
COMPOSER:  Rupert Gregson-Williams

SUPERHERO/FANTASY/WAR/HISTORICAL

Starring:  Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya, Lilly Aspell, Lisa Loven Kongsli, Ann Wolfe, Ann Ogbomo, Emily Carey, and James Cosmo

Wonder Woman is a 2017 superhero fantasy, war, and and historical film from director Patty Jenkins.  The film stars the DC Comics superhero, Wonder Woman, who first appeared in All Star Comics #8 (1941) and was created by writer William Moulton Marston (with artist Harry George Peter).  The movie takes place when Wonder Woman was only known as Diana, princess of the Amazons, a young, trained warrior who goes out into the world to discover her full powers and her true destiny.  Wonder Woman is also the fourth film in the DC (Comics) Extended Universe film series.

Wonder Woman opens in present-day Paris, in the Louvre, where Diana Prince/Wonder Woman (Gal Gadot) works as an archivist of some type.   Bruce Wayne has sent her a gift, a World War I-era photographic plate that contains an image of Diana and three men.

This image returns Diana's memories to her past, beginning when she was a child (Lily Aspell) on the hidden island of Themyscira, home to the Amazon race of warrior women.  Diana is the daughter of the queen, Hippolyta (Connie Nielsen), who does not want her daughter trained to be a warrior.  Hippolyta's sister and Diana's aunt, General Antiope (Robin Wright), believes that Diana should be prepared for the eventual day when she will have to fight.

As a young woman, Diana rescues an American pilot and spy, Captain Steve Trevor (Chris Pine), after his plane crashes off the coast of Themyscira.  The Germans pursing Trevor invade Themyscira, but are repelled by the Amazons.  Diana interprets these events as signs that she must accompany Trevor as he returns to the world of men, where Diana believes she must confront the reason for the world war that rages across Europe (World War I).  Diana believes that Ares, the god of war, is behind the so-called “War to End All Wars,” but Diana does not realize that this journey will reveal the truth about her powers, her destiny, and her identity.

Since its release to theaters in the United States (almost a month ago as of this writing) and around the world (over a month as of this writing), Wonder Woman has received rave reviews.  Women and children, especially girls, have embraced the power of this beloved female superhero who finally stars in her own feature film.

I get it; I understand the appeal and the adoration, but for me, Wonder Woman the movie is, at best, a slightly above-average superhero movie.  Gal Gadot is wonderful as Wonder Woman, which surprised me because I thought she was all wrong when I first heard about her casting.  However, here, Gadot is so good that I had trouble imagining another actress (except maybe Linda Carter) as Wonder Woman.  Gadot embodies the strength and independence of a woman raised in a society in which women do not think of themselves as subordinate or inferior to men.

In the character drama, in the film's quiet moments, in the times when Diana fights for the forgotten and ignored (the “little” people?), director Patty Jenkins and Gal Gadot deliver on what Wonder Woman has meant, what she means today, and what she can mean in the future.  Jenkins and Gadot depict the ability of women to pursue the best of themselves and to pursue the best for humanity at large – with their endeavors as equal or even superior to those of men.  To nurture and to create; to defend and to take the initiative:  Wonder Woman/Diana and women can do anything men can do.

The problems with Wonder Woman the film are the men who contribute to this film.  Co-producer and co-writer Zack Snyder's handiwork is all over the cheesy, slow-motion camera fight scenes.  The fact that the last act devolves into a ridiculous supernatural battle between Diana and Ares is typical of the previous Warner/DC Comics films.  Those movies reeked with the ludicrous fights that were the climaxes of Snyder's The Man of Steel and Batman Vs. Superman: Dawn of Justice, as well as last year's Suicide Squad, which is also part of the DC Extended Universe.

Patty Jenkins and Gal Gadot deliver some superb movie making with Wonder Woman.  Unfortunately, the perspective of males, one of whom is a hack filmmaker, ruins it.

6 of 10
B

Friday, June 30, 2017


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

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