Negromancer News Bits and Bites from June 9th to 15th, 2019 - Update #21

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MOVIES - From Variety:  Bradley Cooper is in early talks to appear in Guillermo del Toro's next film, "Nightmare Alley."

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SCANDAL - From YahooEntertainment:  Oscar-winning actor Cuba Gooding, Jr. was booked for misdemeanor forcible touching and sexual abuse in the third degree by the NYPD and he was arraigned in Manhattan Criminal Court and released without bail on Thursday night.  TMZ claims to have video of Gooding groping a woman at a New York bar.

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STREAMING-ANIMATION - From Newsarama:  DreamWorksTV has released a teaser trailer for Netflix's "Fast & Furious: Spy Racer" animated series.

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SPORTS - From YahooSports:  The Toronto Raptors are the 2019 NBA Champions, their first.  Kawhi Leonard is named MVP of the Championship Series.

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SCANDAL - From TheDailyBeast:  So bestselling author Nicholas Sparks may be a racist, homophobic, Christian bigot.  This article reprints damning emails from Sparks.

From TheGuardian:  This is an article from four and a half years ago about a lawsuit against Nicholas Sparks, who has had many of his bestselling novels turned into films.  The lawsuit is scheduled to go to trial in August of this year.

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SPORTS - From YahooSports:  The St. Louis Blues are the National Hockey League champions, winning the 2019 Stanley Cup, 4 games to 3 games against the Boston Bruins.  This Blues won their first Stanley Cup championship by beating the Bruins 4 to 1 in Game 7 in Boston.

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ANIMATION - From Newsarama:  There is a new "Looney Tunes Cartoons" short with Bugs Bunny, "Dynamite Dance."  See it here.

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MUSIC - From GetPocket:  The story of Prince Nico Mbarga, the man who recorded the most popular son in African history, "Sweet Mother."

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STAR TREK - From ThePlaylist:  Regarding the "Star Trek" movie in which Quentin Tarantino is supposed to be involved, Tarantino says that a script has been written and it is awaiting his notes.  He says the film will definitely be rated "R."

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ANIMATION - From Variety:  Classic animated Disney characters, "Chip 'n Dale" are getting a reboot for the streaming service, Disney+.

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STREAMING - From Deadline:  Sandra Bullock, Akiva Goldsman, and John Legend are executive producing a dance-flavored, 1980s, drama-comedy inspired by Bullock's college years.  This project is headed to Amazon.

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AWARDS - From USWeekly:  A complete list of winners and nominees at the 2019 Tony Awards.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 6/7 to 6/9/2019 weekend box office is "The Secret Life of Pets 2" with an estimated haul of 47.1 million dollars.

From Deadline:  "Dark Phoenix" has the worst opening weekend at the domestic box office of any "X-Men" film at 33 million dollars.  It may well lose over 100 million dollars.  This article also talks about the film's troubles.

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STREAMING - From Deadline:  Steven Spielberg is writing a "creepy" and "super scary" series for the "Quibi" digital platform overseen by Jeffrey Katzenberg and Meg Whitman.

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LGBTQ - From Slate:  "Before Stonewall, if You Were Attacked for Being Gay, You Were the Criminal" by James Polchin

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CULTURE - From Politico:  "How Legal Weed Is Killing America’s Most Famous Marijuana Farmers" by Natalie Fertig

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MOVIES - From FlickeringMyth:  Pro wrestler turned actor John Cena is either close to joining the "Fast & Furious 9" or has officially joined, according to Vin Diesel.

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MOVIES - From Variety:  Kevin Hart is developing a remake of the 1988 Bill Murray, Christmas dark comedy film, "Scrooged."

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MUSIC - From YahooEntertainment:  Madonna is quite upset about a "New York Times" profile of her.


OBITS:

From NFL:  Longtime NFL owner of the Denver Broncos, Pat Bowlen, has died at the age of 75, Thursday, June 13, 2019.  Bowlen and his siblings bought the Broncos in 1984.  The Broncos won three Super Bowl titles during his ownership.

From NOLA:  Noted Louisiana blues and Zydeco musician, Paul "Lil Buck" Sinegal, has died at the age of 75, Monday, June 10, 2019.  The Lafayette, Louisiana-born guitarist recorded with Lil Bob, and Rockin' Dopsie, to name a few, and he was a member of the late Clifton Chenier's Band.

From RollingStone:  Rock musician and songwriter, Roky Erickson, died at the age of 71, Friday, May 31, 2019.  Erickson was a pioneer of psychedelic rock and a cult figure.  He spent several years in a Texas mental institution and battled mental illness for most of his life.  He is best known for his association with the band, "The 13th Floor Elevators."  The 2000s saw a revival of his career and also him gaining control of his health.

Review: Wahlberg and Berg Drive "Lone Survivor"

TRASH IN MY EYE No. 8 (of 2017) by Leroy Douresseaux

Lone Survivor (2013)
Running time:  121 minutes (2 hours, 1 minute)
MPAA – R for strong bloody war violence and pervasive language
DIRECTOR:  Peter Berg
WRITER:  Peter Berg (based on the book by Marcus Luttrell and Patrick Robinson)
PRODUCERS:  Sarah Aubrey, Peter Berg, Randall Emmett, Akiva Goldsman, Vitaly Grigoriants, Norton Herrick, Stephen Levinson, Barry Spikings, and Mark Wahlberg
CINEMATOGRAPHER:  Tobias Schliessler (D.o.P.)
EDITOR:  Colby Parker Jr.
COMPOSERS:  Explosions in the Sky and Steve Jablonsky
Academy Award nominee

WAR/ACTON/DRAMA/BIOPIC

Starring:  Mark Wahlberg, Taylor Kitsch, Emile Hirsch, Ben Foster, Yousuf Azami, Ali Suliman, Eric Bana, Alexander Ludwig, Jerry Ferrar, and Rohan Chand

Lone Survivor is a 2013 war film written and directed by Peter Berg.  The film is an adaptation of the 2007 nonfiction book, Lone Survivor: The Eyewitness Account of Operation Redwing and the Lost Heroes of SEAL Team 10, written  Marcus Luttrell and Patrick Robinson.  The film is a dramatization of a failed 2005 mission to kill a Taliban leader in Afghanistan and also of Luttrell and his teammates fight to survive after the mission goes bad.

Lone Survivor opens in Afghanistan at the Bagram Air Base.  There is an Afghan Taliban leader named Ahmad Shah (Yousuf Azami), who is responsible for killing over twenty United States Marines, as well as villagers and refugees who were aiding American forces.  The Navy SEALs are ordered to capture or kill Shah, and as part of the mission, a four-man SEAL reconnaissance and surveillance team gets the task of tracking down Shah and killing him.

That SEAL team:  leader Michael P. “Murph” Murphy (Taylor Kitsch); snipers Marcus Luttrell (Mark Wahlberg) and Matthew "Axe" Axelson (Ben Foster); and communications specialist, Danny Dietz (Emile Hirsch), are inserted into a mountainous region near Shah's base of operations.  The team finds Shah, but the mission inadvertently goes awry.  The SEALs attempt to leave the area, but are forced to battle Taliban forces.  Injured, outnumbered, and at a tactical disadvantage, the SEALs begin a valiant struggle to survive.

Lone Survivor has visceral power, which it reveals in the way it brings the Navy SEALs mission to kill Shah to life.  Director Peter Berg and film editor Colby Parker Jr. bring the viewers deep into the action, so much so that I started to believe that the Taliban was also hunting me.

However, the film's first 34 minutes are largely about military jargon and also about forcing heavy-handed jingoism about the United States' military mission and presence in Afghanistan on the viewer.  Truthfully, Lone Survivor avoids any examination about the U.S. presence in that country.  The movie is strictly about  (1) the mission, (2) military courage, (3) the band-of-brothers ethos in the U.S. military, (4) how great the SEALs are, and (5) survival.  Lone Survivor is not so much a story as it is the depiction of a moment or perhaps, of a particularly memorable sequence of events in the history of the “War on Terror” in Afghanistan.

I think that writer/director Peter Berg attempts to dazzle his audience with muscular, physical film making and with a story of a grueling struggle to survive.  I think this makes the film light on characterization, but heavy on stereotypes and assumptions.  By the time the film presented friendly natives, it was hard for me to believe they were friendly because, except for a child character, everyone seemed like a dangerous brown person.

Still, I am impressed by Mark Wahlberg's performance.  Unable to show a deeper side of Marcus Luttrell, Wahlberg turns himself into a battered-and-bruised wounded warrior in order to make us like Luttrell.  It's like Wahlberg is channeling Mel Gibson in Braveheart (1995).  Peter Berg slyly sets us up for cathartic release when the cavalry shows up to rescue the lone survivor.  It's a cheat, but I guess you do what you have to in order to make a shallow script into a good movie.  And Lone Survivor, in its own way, is indeed a good movie.

7 of 10
B+

Wednesday, July 29, 2015


NOTES:
2014 Academy Awards, USA:  2 nominations:  “Best Achievement in Sound Mixing” (Andy Koyama, Beau Borders, and David Brownlow) and “Best Achievement in Sound Editing” (Wylie Stateman)


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

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Warner Bros, DC Comics Announce Live-Action Series, "Titans" and Return of "Young Justice"

Warner Bros. Television and DC Entertainment Announce All-New Live-Action Series “Titans,” from Executive Producers Akiva Goldsman, Geoff Johns, Greg Berlanti and Sarah Schechter, to Debut in 2018

“Young Justice: Outsiders,” the Highly Anticipated Third Season of Warner Bros. Animation’s “Young Justice,” Also to Bow Next Year

Series Will Air Exclusively on Upcoming DC-Branded Direct-to-Consumer Digital Service

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Television and DC Entertainment today announced that executive producers Akiva Goldsman, Geoff Johns, Greg Berlanti and Sarah Schechter are teaming up for the all-new live-action drama series “Titans,” which will debut in 2018. Additionally, Warner Bros. Animation’s “Young Justice: Outsiders,” the highly anticipated third season of the popular “Young Justice” series, is also ramping up for its first mission next year.

Both fan-driven series are in early stages of production and will air exclusively on a DC-branded direct-to-consumer digital service in 2018. Operated by Warner Bros. Digital Networks Group, the new digital service will deliver an immersive experience designed just for DC fans.

“Titans” follows a group of young soon-to-be Super Heroes recruited from every corner of the DC Universe. In this action-packed series, Dick Grayson emerges from the shadows to become the leader of a fearless band of new heroes, including Starfire, Raven and many others. “Titans” is a dramatic, live-action adventure series that will explore and celebrate one of the most popular comic book teams ever.

“Titans” will be written by Akiva Goldsman (“Star Trek: Discovery,” “Underground”), Geoff Johns (President & Chief Creative Officer, DC Entertainment; “The Flash,” “Arrow”) and Greg Berlanti (“Arrow,” “DC’s Legends of Tomorrow,” “The Flash,” “Supergirl”). Goldsman, Johns, Berlanti and Sarah Schechter (“Arrow,” “DC’s Legends of Tomorrow,” “The Flash,” “Supergirl”) are executive producers of the series from Weed Road Pictures and Berlanti Productions in association with Warner Bros. Television.

In “Young Justice: Outsiders,” the teenage Super Heroes of the DC Universe come of age in an animated world of super-powers, Super-Villains and super secrets. In the highly anticipated new season, the team faces its greatest challenge yet as it takes on meta-human trafficking and the terrifying threat it creates for a society caught in the crossfire of a genetic arms race spanning the globe and the galaxy. Equally praised by critics and viewers for its impressive visuals and rich storytelling, “Young Justice” reached more than 25 million unique viewers in each of its two seasons on Cartoon Network. This passionate fan support set the stage for the new third season.

Sam Register (“Teen Titans Go!,” “Justice League Action”) is executive producer of “Young Justice.” Brandon Vietti (“Batman: Under the Red Hood,” “Superman Doomsday”) and Greg Weisman (“Star Wars Rebels,” “Gargoyles”) are producers of the series, produced by Warner Bros. Animation. Emmy Award winner Phil Bourassa (“Young Justice,” “Justice League Dark,” “Teen Titans: The Judas Contract”) serves as the series’ art director.

For updates on these exciting new series and the upcoming DC digital service, visit www.DCFanUpdates.com.

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Guy Ritchie's King Arthur Begins Production in the UK

Director Guy Ritchie’s New King Arthur Movie Now in Production

Charlie Hunnam Stars as Arthur, joined by Astrid Bergès-Frisbey, Djimon Hounsou, Aidan Gillen, with Jude Law and Eric Bana

BURBANK, Calif.--(BUSINESS WIRE)--Acclaimed filmmaker Guy Ritchie brings his dynamic style to an original King Arthur epic, a sweeping fantasy action adventure starring Charlie Hunnam (FX’s “Sons of Anarchy”), for Warner Bros. Pictures and Village Roadshow Pictures. Principal photography has begun at Warner Bros. Studios Leavesden, UK.

The bold new story introduces a streetwise young Arthur who runs the back alleys of Londonium with his gang, unaware of the life he was born for until he grasps hold of the sword Excalibur—and with it, his future. Instantly challenged by the power of Excalibur, Arthur is forced to make some hard choices. Throwing in with the Resistance and a mysterious young woman named Guinevere, he must learn to master the sword, face down his demons and unite the people to defeat the tyrant Vortigern, who stole his crown and murdered his parents, and become King.

Starring with Hunnam is Astrid Bergès-Frisbey (“Pirates of the Caribbean: On Stranger Tides”) as Guinevere; Oscar nominee Djimon Hounsou (“Blood Diamond,” “In America”) as Resistance leader Bedivere; Aidan Gillen (HBO’s “Game of Thrones”) as Goosefat Bill; Oscar nominee Jude Law (“Cold Mountain,” “The Talented Mr. Ripley”) as Vortigern; and Eric Bana (“Star Trek”) as Arthur’s father, King Uther Pendragon.

Guy Ritchie (upcoming “The Man From U.N.C.L.E.,” “Sherlock Holmes: A Game of Shadows”) will direct from a screenplay by Joby Harold (“Awake”). Ritchie will also produce the film, alongside “Sherlock Holmes” and “The Man From U.N.C.L.E.” producers Lionel Wigram and Steve Clark-Hall, Akiva Goldsman (“I Am Legend,” Oscar-winning screenwriter for “A Beautiful Mind”), Joby Harold, and Tory Tunnell (“Awake,” “Holy Rollers”). David Dobkin (“The Judge”) and Bruce Berman (“American Sniper”) will executive produce. Max Keene (first AD, the “Sherlock Holmes” movies) will serve as co-producer and James Herbert (“The Man from U.N.C.L.E.,” the “Sherlock Holmes” movies) as associate producer.

The creative team joining Ritchie behind the scenes includes two-time Oscar-nominated director of photography John Mathieson (“Gladiator,” “The Phantom of the Opera”), Oscar-nominated production designer Gemma Jackson (“Finding Neverland”), editor James Herbert, costume designer Annie Symons (Masterpiece Theater’s “Great Expectations”), makeup and hair designer Christine Blundell (“Mr. Turner,” the “Sherlock Holmes” films), and Oscar-nominated VFX Supervisor Nick Davis (“The Dark Knight”).

The film will shoot primarily at Warner Bros. Studios Leavesden, and on location in Wales and Scotland.

Slated for release on July 22, 2016, it will be distributed in North America by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

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Review: "Deep Blue Sea" is a Good Shark Movie (Happy B'day, LL Cool J)

TRASH IN MY EYE No. 30 (of 2002) by Leroy Douresseaux

Deep Blue Sea (1999)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA – R for graphic shark attacks, and for language
DIRECTOR:  Renny Harlin
WRITERS:  Duncan Kennedy, Donna Powers, and Wayne Powers
PRODUCERS:  Akiva Goldsman, Tony Ludwig, Don MacBain, and Alan Riche
CINEMATOGRAPHER:  Stephen Windon
EDITORS:  Derek G. Brechin, Dallas S. Puett, and Frank J. Urioste
COMPOSER:  Trevor Rabin

THRILLER/SCI-FI/HORROR

Starring:  Thomas Jane, Saffron Burrows, LL Cool J, Michael Rapaport, Stellan Skarsgård, Jacqueline McKenzie, Aida Turturro, and Samuel L. Jackson

The subject of this movie review is Deep Blue Sea, a 1999 science fiction thriller and horror film from director Renny Harlin.  The film takes place on an isolated, sea-based research facility where a group of scientists find themselves being hunted by a trio of intelligent sharks.

On an isolated underwater research facility, a group of scientists search for a cure for Alzheimer’s disease using Mako sharks.  Dr. Susan McAlester (Saffron Burrows) and Jim Whitlock (Stellan Skarsgard) have illegally used genetic engineering to make the sharks’ brains bigger.  When Russell Franklin (Samuel L. Jackson), the businessman who funds the disease research, arrives at the facility, the sharks are already bigger, faster, and more aggressive.

During a severe storm, the scientists celebrate their success.  However, the intelligent sharks take advantage of the storm to make an attack upon the facility that causes it to begin sinking.  A shark wrangler, Carter Blake (Thomas Jane), and the facility’s cook, Preacher (James T. Smith/LL Cool J), lead a group of survivors in a race to reach the surface while the facility quickly floods.  The sharks also gain entrance to the facility and hunt the fleeing humans.

Directed by Renny Harlin (Cliffhanger, The Long Kiss Goodnight), Deep Blue Sea is a cat and mouse game in which the characters run an obstacle course to save their lives.  Harlin and the film’s writers continually drop trouble in the lap of the cast, who must use every resource at hand to save themselves.  Deep Blue Sea is not Jaws.  While the latter remains a powerful suspense thriller, the former is a quite effective edge-of-your-seat action movie.  Harlin has a knack for taking what could have been only pedestrian material and making good, light entertainment.

The cast is quite good, and LL Cool J adds a touch of humor to the film as Preacher.  Thomas Jane’s Blake and Cool J’s Preacher are the characters with whom we identify and attach ourselves.  One is the stoic, tough action guy and the other is funny man who keeps the show from getting too serious.  Samuel L Jackson is once again the actor who brings an air of seriousness in a performance that is quite good and that sets the tone for the film.  Much of the cast is shark fodder, but each one is determined to give a solid performance.  Deep Blue Sea is quite a bit of fun and stands up to repeated viewings.  It won’t be remembered as a cinematic classic, but it is a good time.  Quite a few action films try to be that and fail, but Deep Blue Sea delivers.

6 of 10
B

NOTE:
2000 Image Awards:  1 nomination:  “Outstanding Supporting Actor in a Motion Picture” (LL Cool J)

Updated:  Tuesday, January 14, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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Review: "Starsky and Hutch" is Average Entertainment (Happy B'day, Snoop Dogg)

TRASH IN MY EYE No. 27 (of 2004) by Leroy Douresseaux

Starsky & Hutch (2004)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – PR-13 for drug content, sexual situations, partial nudity, language and some violence
DIRECTOR:  Todd Phillips
WRITERS:  John O’Brien, Scot Armstrong and Todd Phillips, from a story Steve Long and John O’Brien (based upon characters created by William Blinn)
PRODUCERS:  William Blinn, Stuart Cornfeld, Akiva Goldsman, Tony Ludwig, and Alan Riche
CINEMATOGRAPHER:  Barry Peterson (D.o.P.)
EDITOR:  Leslie Jones
COMPOSER:  Theodore Shapiro

COMEDY/CRIME with some elements of action

Starring:  Ben Stiller, Owen Wilson, Snoop Dogg, Fred Williamson, Vince Vaughn, Juliette Lewis, Jason Bateman, Amy Smart, Carmen Electra, George Cheung, Chris Penn, Patton Oswalt, Jenard Burks, The Bishop Don Magic Juan, and Paul Michael Glaser and David Soul

The subject of this movie review is Starsky & Hutch, a 2004 crime comedy from director Todd Phillips.  The film is based on the 1970s television series, Starsky & Hutch, a police drama-thriller that was created by William Blinn and was originally broadcast on the ABC television network from 1975 to 1979.  The film is a kind of prequel to the original television series.  Starsky & Hutch the movie follows two streetwise cops who fight crime in their red-and-white Ford Torino.

With my refined tastes, I should technically be repulsed by film remakes of 70’s television programs, but repulsed or otherwise, I’ll generally see them.  Still, I’d planned on seeing the controversial Mel Gibson Jesus movie, but it was sold out, and there was the poster for Starsky & Hutch staring me in the face.  Though I had to settle on something I hadn’t planned on seeing at the time, it didn’t really affect my enjoyment of Starsky and Hutch.  It’s a fairly funny film, but you wouldn’t have missed a cinematic event that must be seen on the big screen if you’d waited for home video or TV.

Set in a sort of anachronistic version of the 1970’s, S&H is the story of two streetwise detectives who form an unlikely partnership.  David Starsky (Ben Stiller) is an anal by-the-books guy, who actually does nothing but screw up, despite his attention to rules.  Ken “Hutch” Hutchinson (Owen Wilson) is a genial kind of guy, always hanging loose, but he is also the kind of cop who breaks the law when it suits him.  Hutch robs bookies for their loot, and he uses illegal drugs.  The mismatched pair gets on the nerves of their boss, Captain Dobey (Fred Williamson), relies on tips from an omniscient street informer, Huggy Bear (Snoop Dogg), and busts crime in Starksy’s 1974 red-and-white, souped-up Ford Torino.  Their first big case together involves a respectable businessman, Reese Feldman (Vince Vaughn), who may be a big time cocaine dealer.  However, Starsky and Hutch’s bumbling and lack of hard evidence dog their case every step of the way.

Starsky & Hutch has some extremely hilarious moments, not as many as, say, Scary Movie 3.  S&H is structured like SM3 in that S&H’s plot, story, and script are basically an elaborate, but dumb, blueprint to layout jokes.  S&H’s script is, however, nothing like the disaster of that was SM3’s script.  S&H also reminds me of another of director Todd Phillip’s hits, Old School (2003): lots of funny scenes, but ultimately a lame, by-the-book, Hollywood yuck fest that plays it way too safe.

This is also one of the times that Ben Stiller’s shtick, that of the angry, quick-tempered nerd, works for the film.  Owen Wilson is a great screen presence; the camera loves him, and the role of the amiable Hutch easily fits Owen’s usually warm and generous film persona.

I generally enjoyed this film’s deep tongue in the tongue-in-cheek mode.  Starsky and Hutch is not to be taken seriously, nor does the film try to make you do so.  The quasi-70’s setting is a hoot, at least early on, but the film’s period atmosphere eventually dissolves into mere background noise.  There should have been much more Snoop Dogg because he surprisingly has good screen presence.  Also, Will Ferrell’s (who doesn’t get a screen credit) riotous turn as Big Earl, a man in the county lockup with serious man crush issues, is certainly a reason to see this film, at home or in a theatre.

5 of 10
B-

NOTES:
2005 Razzie Awards:  2 nominations: “Worst Actor” (Ben Stiller) and “Worst Supporting Actress” (Carmen Electra)

Updated:  Sunday, October 20, 2013

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Warner Bros. Sets "Winter's Tale" for Valentine's Day 2014

Warner Bros. Pictures Announces February 14, 2014 Release for Akiva Goldsman’s “Winter’s Tale”

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures has set a winter release date for “Winter’s Tale,” written and directed by Oscar®-winning screenwriter Akiva Goldsman (“A Beautiful Mind”) and based on the novel by Mark Helprin. The film, from Warner Bros. Pictures and Village Roadshow Pictures, will open in North America on February 14, 2014, with international dates to follow. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

Stated Fellman, “We look forward to unveiling ‘Winter’s Tale’ as Akiva’s directorial debut. It features a remarkable roster of acting talent and a sweeping, romantic story that’s ideally suited for the holiday play period.”

“With its pedigree and stellar international cast, this epic, moving tale will have broad appeal overseas,” said Kwan Vandenberg. “The February date provides us a strong corridor in which to launch the film worldwide.”

Set in a mythic New York City and spanning more than a century, “Winter’s Tale” is a story of miracles, crossed destinies, and the age-old battle between good and evil.

The film stars Colin Farrell (“Total Recall”), Jessica Brown Findlay (TV’s “Downton Abbey”), and Oscar® winners Jennifer Connelly (“A Beautiful Mind”), William Hurt (“Kiss of the Spider Woman”), Eva Marie Saint (“On the Waterfront”) and Russell Crowe (“Gladiator”). It also introduces young newcomers Ripley Sobo and Mckayla Twiggs (both from Broadway’s “Once”).

“Winter’s Tale” marks the directorial debut of Akiva Goldsman, who also wrote the screenplay, based on the acclaimed novel by Mark Helprin. Goldsman is also producing, with Marc Platt (“Drive”), Michael Tadross (“Sherlock Holmes”) and Tony Allard (Showtime’s “The Baby Dance”). Kerry Foster and Bruce Berman serve as executive producers.

The behind-the-scenes creative team includes five-time Oscar®-nominated director of photography Caleb Deschanel (“The Passion of the Christ,” “The Patriot”), production designer Naomi Shohan (“Constantine,” “I Am Legend”), costume designer Michael Kaplan (“Mission: Impossible – Ghost Protocol,” “Star Trek”) and editors Wayne Wahrman (“I Am Legend”) and Oscar® nominee Tim Squyres (“Life of Pi,” “Crouching Tiger, Hidden Dragon”). The music is composed by Oscar® winner Hans Zimmer (“The Lion King,” “Inception,” “Man of Steel”).

A presentation of Warner Bros. Pictures, in association with Village Roadshow Pictures, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

Review: "Cinderella Man" Ignores the Woman Next to the Man (Happy B'day, Paul Giamatti)

TRASH IN MY EYE No. 16 (of 2006) by Leroy Douresseaux

Cinderella Man (2005)
Running time: 144 minutes (2 hours, 24 minutes)
MPAA – PG-13 for intense boxing violence and some language
DIRECTOR: Ron Howard
WRITERS: Cliff Hollingsworth and Akiva Goldsman; from a story by Cliff Hollingsworth
PRODUCERS: Brian Grazer, Penny Marshall, and Ron Howard
CINEMATOGRAPHER: Salvatore Totino
EDITORS: Daniel P. Hanley and Mike Hill
COMPOSER: Thomas Newman
Academy Award nominee

DRAMA/BIOPIC/SPORTS

Starring: Russell Crowe, Renée Zellweger, Paul Giamatti, Craig Bierko, Paddy Considine, Bruce McGill, Ron Canada, Clint Howard, and Rufus Crawford

The subject of this movie review is Cinderella Man, a 2005 boxing drama and biographical film from director Ron Howard. The film is based on the life of heavyweight boxing champion, James J. Braddock (1935 to 1937), and the movie’s title is taken from Braddock’s nickname.

In 1928, James J. Braddock (Russell Crowe) was an up-and-coming prizefighter. By the early 1930, Jim Braddock was an impoverished ex-boxer – broken-down, beat-up, and as unfortunate and out of luck as so many Americans were who had hit rock bottom during the Depression. Although his boxing career was seemingly over, Braddock and still had a wife, Mae (Renée Zellweger), and three children to support, and to him they were what mattered most. Braddock was unable to pay his bills and eventually had to seek Public Relief (kind of like modern welfare); he even begged for money when things got that desperate.

However, Braddock never gave up on his dream to be a great boxer, even when the Boxing Commission took away his license to fight, and chance brings him a one-time fight. With his manager, Joe Gould (Paul Giamatti), at his side, Jim grabs the success of that fight and pushes his way back into boxing, each success keeping his family with a roof over their heads, food on the table, and light and heat. Eventually, he gets his dream match – a heavyweight championship fight with the reigning champion, the unstoppable Max Baer (Craig Bierko). Now, Jim, considered too old and finished by many in the boxing community, must face Baer, a man renowned for having killed two men in the ring.

Ron Howard’s biopic, Cinderella Man, based upon the real life of Depression-era boxing hero, Jim Braddock, was one of the best reviewed films of 2005, but considering the reviews and the pedigrees of the filmmakers involved, the film was not well attended. That’s a shame because Cinderella Man is one of those proverbial “good movies” of which many people, especially media watchers, complain there aren’t enough. This is actually Howard’s epic film, an ode to middle class values from a man, who as a child actor, played one of the ultimate Middle American children, Opie Taylor on “The Andy Griffith Show” and later played the teenage version of that in Richie Cunningham of “Happy Days.”

Cinderella Man is a film where you can really root for the hero, Jim Braddock. He’s the (not so) little guy battling against doubters, haters, financial misfortune, poverty, unemployment, etc., but he believes in himself. Though his back is often against the wall, he never quits, and he ain’t too proud to beg – if it keeps his family fed and off the streets. Russell Crowe’s performance embodies that plucky American spirit, but he shows something else we Americans really like – grit – the kind of grit it takes to fight the tough times. In fact, Paul Giamatti’s Joe Gould is like that voice inside our heads that keeps pushing us, and just when we think that the voice has left us, it’s back in our corner when it sees that we’re willing to fight out of the bad times. That’s the acting dynamic between Crowe and Giamatti – the hero and the voice of encouragement.

Cinderella Man actually does a few things to keep from being a perfect film. The lighting and cinematography are too murky; everything looks like an Old Master painting covered in soot. The script by Cliff Hollingsworth and Akiva Goldsman is good, but not great. One reason that it isn’t great is because it takes the easy road of turning Renée Zellweger’s Mae Braddock into the little wife at home fretting away for her man. I can imagine that Mae does as much to hold things together for the Braddocks, and Howard and his writers don’t have the imagination to really show her struggle – what she does to support the family unit. Mae is just a prop the filmmakers use when they need to send Jim home for scenes that don’t involve boxing or work.

Ultimately, this is Ron Howard’s Middle American fable, and he uses the elements of cinema to manipulate the audience as much as Steve Spielberg did in films like E.T. the Extraterrestrial and The Color Purple. However, Cinderella Man has many genuine and honest moments that speak to the American family and of the grit it takes for a family to keep it together. That’s enough to make me ignore the warts.

7 of 10
A-

NOTES:
2006 Academy Awards, USA: 3 nominations: “Best Performance by an Actor in a Supporting Role” (Paul Giamatti), “Best Achievement in Film Editing” (Daniel P. Hanley and Mike Hill), “Best Achievement in Makeup” (David LeRoy Anderson and Lance Anderson)

2006 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Cliff Hollingsworth and Akiva Goldsman)

2006 Golden Globes, USA: 2 nominations “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe) and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Paul Giamatti)

Tuesday, January 24, 2006

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Review: "Hancock" Fails to Be Special (Happy B'day, Will Smith)

TRASH IN MY EYE No. 31 (of 2008) by Leroy Douresseaux

Hancock (2008)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG-13 for some intense sequences of sci-fi action and violence, and language
DIRECTOR: Peter Berg
WRITERS: Vy Vincent Ngo and Vince Gilligan
PRODUCERS: Akiva Goldsman, James Lassiter, Michael Mann, and Will Smith
CINEMATOGRAPHER: Tobias A. Schliessler
EDITOR: Colby Parker, Jr. and Paul Rubell
COMPOSER: John Powell

SUPERHERO/ACTION/COMEDY/DRAMA

Starring: Will Smith, Charlize Theron, Jason Bateman, Jae Head, Eddie Marsan, David Mattey, Maetrix Fitten, Thomas Lennon, Johnny Galecki, and Darrell Foster

The subject of this movie review is Hancock, a 2006 superhero film starring Will Smith in the title role. Directed by Peter Berg, the film is part action movie, comedy, and drama, as well as part superhero fantasy.

Will Smith’s new film, Hancock, is a special effects-heavy movie about a superhero who is a drunken, dangerously careless jerk. Instead of looking shiny and futuristic in a fancy costume, he looks like a skid row bum in thrift store rags, but that’s not necessarily a bad thing. When the story presents this hero’s very public disasters and later his public struggles to be a good guy, this film is quite good, but sadly, it’s not always that good.

John Hancock (Will Smith) is the only superhero on the planet. He lives and works in Los Angeles, and boy, is everywhere else very happy that L.A. is stuck with him. If great power comes with great responsibility, Hancock ain’t buying that notion. He’s edgy, sarcastic, and prone to abusing civilians. His well-intentioned heroics get the job done saving lives and stopping criminals, but the same heroics always seem to leave jaw-dropping damage in their wake.

Los Angelinos have finally had enough. As far as they are concerned, if Hancock can’t do the job right (i.e. without causing millions of dollars in damages every time he plays hero), he needs to go away. But Hancock isn't the kind of man who cares what other people think; then, one day he saves the life of struggling PR executive Ray Embrey (Jason Batman). Grateful to be alive, Ray chooses to see his savior not as a menace, but as conflicted and misunderstood, so Ray convinces Hancock to let him embark on an image makeover of the hero. Hancock even sits down to a decent meal with Ray’s wife, Mary (Charlize Theron), and young son, Aaron (Jae Head). Hancock’s biggest obstacle, however, may be submitting to a prison sentence and finally facing both his demons and his past.

Peter Berg’s quasi-superhero film, Hancock, is at its best when the film presents Hancock fighting the war inside his head out in public. He’s adrift – doesn’t know who he is or remember from where he came. His life is a mess, so he’s messy on the job – literally tearing apart the city’s infrastructure and terrorizing the citizens. Watching those disasters are actually fun.

As fun as the action sequences and Hancock’s confrontations with the public are, the focus only on Hancock’s mental problems is not. It seems that somewhere along the line of developing this project, the filmmakers missed the point that watching Hancock interact with the public is great. When the film focuses on John Hancock’s origin (no spoilers here!) or features him alone, drinking and sulking about, it becomes a morose drama.

This great concept doesn’t exactly fail because of the shaky execution, but Hancock is a strange movie because half of it is a fun, high-concept superhero flick and the other half is a depressed superhero drama. It’s bizarre a situation. Will Smith is so good at creating this mentally, emotionally, and spiritually troubled super human that he also creates a somewhat unsatisfying hero that makes for a movie that is sometimes … well, unsatisfying.

Luckily Jason Bateman (who doesn’t make a bad move in this performance), as Ray Embrey, is so good at understanding what a movie needs at particular moment in the story. It’s the right facial expression, the perfect quip, or the best time to be serious. This movie is victorious when Smith’s Hancock and Bateman’s Embrey are onscreen together. Too bad Hancock doesn’t stick with that simple, yet highly entertaining formula.

6 of 10
B

Wednesday, July 02, 2008

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Review: "Batman and Robin" or Badman and Rotten

TRASH IN MY EYE No. 81 (of 2003) by Leroy Douresseaux

Batman and Robin (1997)
Running time: 125 minutes (2 hours, 5 minutes)
MPAA – PG-13 for strong stylized action and some innuendos
DIRECTOR: Joel Schumacher
WRITER: Akiva Goldsman (based upon the Batman character created by Bob Kane and Bill Finger)
PRODUCER: Peter Macgregor-Scott
CINEMATOGRAPHER: Stephen Goldblatt (D.o.P.)
EDITORS: Mark Stevens and Dennis Virkler
COMPOSER: Elliot Goldenthal

SUPERHERO/ACTION/ADVENTURE/FAMILY

Starring: Arnold Schwarzenegger, George Clooney, Chris O’Donnell, Uma Thurman, Alicia Silverstone, Michael Gough, Pat Hingle, John Glover, Elle Macpherson, Vivica A. Fox, Coolio, Nicky Katt, and Jeep Swenson

Until there is a fourth sequel, the third sequel to the 1989 box office smash Batman, Batman and Robin will be considered the film that killed the modern Batman film franchise. It’s not as if there is nothing redeemable about this film in particular because it has some good story elements. Batman and Robin is awful simply because it is over-produced. It is as ostentatious as a lavishly decorated and spectacularly colorful Mardi Gras or drag ball.

Batman (George Clooney) and Robin (Chris O’Donnell) face the combined forces of Mr. Freeze (Arnold Schwarzenegger) and Poison Ivy (Uma Thurman). Complicating matters is a rivalry that has grown between the Dynamic Duo. Robin/Dick Grayson wants to do his own thing, and although he understands his young friend’s quest for independence, Batman/Bruce Wayne thinks the young man has a lot to learn, and that he, Bruce, is the teacher, and that the boy should listen. Poison Ivy picks up on this and plays the partners against one another. More trouble arrives in the form of Wayne Manor butler Alfred Pennyworth’s (Michael Gough) niece Barbara Wilson (Alicia Silverstone) who eventually becomes Batgirl.

Everything is overdone in this movie except for the script and the acting, both of which seem neglected. The art direction is as over-the-top sweet as high fructose corn syrup, and the costumes are high camp. Clowns wouldn’t want them, and trick-or-treaters wouldn’t be caught dead in them. The script is poor when it comes to internal logic and consistency. For example, how does Poison Ivy create that ridiculously fancy lair of hers? Where does it come from, and what’s the point of it? It’s just another over-dressed set. I could suspend disbelief if that, along with so much else, just didn’t seem…well, stupid, dumb, and tactless.

The acting is also over the top and bad. At times, Arnold Schwarzenegger seems to revert to the skill (or lack thereof) he showed in his early films. George Clooney, though earnest, is very weak as both Bruce Wayne and Batman. Batman needs to carry the movie, but Clooney struggles with poor material, and that’s made worse by the fact that he doesn’t have a grasp of what he’s supposed to do. It’s like the whole time he was running around the movie wondering just what the hell a “Batman” was. Also, it is high time to drop the use of sexual innuendo is Batman films. It’s not funny, and the dialogue is so hackneyed that these “naughty bits” fall flat when delivered by actors who are already being way too campy. I’m not saying that Batman needs to be so dark and serious, but nor should it be played as a bad joke.

However, there are good elements in the story: Mr. Freeze’s quest to save his wife, Poison Ivy’s machinations against Freeze and the Dynamic Duo, Alfred’s illness, Batman dealing with Robin’s growing pains, and the emphasis on family in the story. But it’s all tossed aside in favor of throwing tons of garish crap against the wall in hopes that something will stick; in the end, almost nothing does. The movie is almost a total failure from top to bottom, and it’s frustrating because it could have been something good. Director Joel Schumacher is not without some directorial skill and screenwriter Akiva Goldsman is one of Hollywood’s top scribes.

What we get in this movie is an overblown and wild spectacle made by people who cynically believed that enough people would pay to see this movie no matter how abysmal it was because they just have to see the next installment in the Batman franchise. And that worked to an extent, but many of their ticket buyers left as unsatisfied customers. If Warner Bros. wants to make shit, it’s no skin of my nose. There are always other action movies, always another action blast out, even if it’s from Warner’s own stable.

2 of 10
D

NOTES:
1998 Razzie Awards: 1 win: “Worst Supporting Actress” (Alicia Silverstone); 10 nominations: “Worst Picture” (Peter Macgregor-Scott), “Worst Director” (Joel Schumacher), “Worst Original Song” (Billy Corgan for the song "The End is The Beginning is The End"), “Worst Reckless Disregard for Human Life and Public Property,” “Worst Remake or Sequel,” “Worst Screen Couple” (George Clooney and Chris O'Donnell), “Worst Screenplay” (Akiva Goldsman), “Worst Supporting Actor” (Chris O'Donnell), “Worst Supporting Actor” (Arnold Schwarzenegger), and “Worst Supporting Actress” (Uma Thurman)

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Review: Tom Hanks' Magic Touch Energizes "The Da Vinci Code" (Happy B'day, Tom Hanks)

TRASH IN MY EYE No. 109 (of 2006) by Leroy Douresseaux

The Da Vinci Code (2006)
Running time: 149 minutes (2 hours, 29 minutes)
MPAA – PG-13 for disturbing images, violence, some nudity, thematic material, brief drug references, and sexual content
DIRECTOR: Ron Howard
WRITER: Akiva Goldsman (based upon the book by Dan Brown)
PRODUCERS: John Calley, Brian Grazer and Ron Howard
CINEMATOGRAPHER: Salvatore Totino
EDITORS: Dan Hanley, A.C.E. and Mike Hille, A.C.E.

MYSTERY/THRILLER

Starring: Tom Hanks, Audrey Tautou, Ian McKellen, Alfred Molina, Jürgen Prochnow, with Paul Bettany and Jean Reno, Jean-Yves Berteloot, Etienne Chicot, and Jean-Pierre Marielle

The subject of this movie review is The Da Vinci Code, a 2006 American mystery thriller from director Ron Howard and starring Tom Hanks. The film is based upon Dan Brown’s 2003 novel, The Da Vinci Code, which was a worldwide bestseller.

The French police summon famed Harvard Professor of Religious Symbology, Robert Langdon (Tom Hanks), to the world renown Paris museum, the Louvre, to assist them in a murder investigation in which the victim, curator of the Louvre, Jacques Sauniere (Jean-Pierre Marielle), has left behind a bloody trail of symbols and clues, including a bloody pentacle Sauniere drew on his own body before he died. However, police cryptologist, Sophie Neveu (Audrey Tautou), also arrives at the crime scene and surreptitiously informs Langdon that the lead investigator, Captain Fauche (Jean Reno), has pegged him as the first and only suspect in the murder.

Together, Langdon and Neveu unveil a series of stunning secrets hidden in the works of Renaissance painter Leonardo Da Vinci housed at the museum, all of which lead to a legendary secret society that has been guarding a secret nearly 2000 years old. Barely escaping the museum with the police hot on the tracks, Langdon and Neveu race from Paris to the French countryside to London, collecting clues as they attempt to crack Da Vinci’s code and reveal a conspiracy that may shake the very foundations of mankind. There, are however, sinister forces determined to stop them – personified in the form of a murderous albino monk, Silas (Paul Bettany).

Ron Howard’s latest film, The Da Vinci Code, is adapted by screenwriter Akiva Goldsman from author Dan Brown’s insanely popular novel of the same name. In fact, at 60 million copies sold worldwide, Brown’s book is the biggest selling hardcover work of fiction in history, and it has courted controversy because of its mix of conspiracy theory and pseudo history about the origins of Christianity virtually since the day it was published. Howard’s adaptation opened the 2006 Cannes Film Festival, where many of those who saw it allegedly panned the movie. By the time it opened theatrically worldwide on May 19th, U.S. film critics were either damning the movie with faint praise or simply skewering it.

Some critics have said that Tom Hanks and Audrey Tautou have no screen chemistry, but their characters certainly connect the first time they meet one another in the narrative. Some said that Hanks was miscast as novelist Dan Brown’s cerebral version of Indiana Jones, Robert Langdon, and Hanks is certainly older than the Langdon in Brown’s books (Langdon is also the star of Brown’s Angels and Demons) who is 30-something. However, Hanks is one of the most popular actors of his generation and of the last two decades, not to mention that he is a stellar movie actor. Regardless of the roles he takes, audiences take to Hanks and willingly live vicariously through his characters – seeing the movie through his eyes. He could sell salvation to the devil. So if he’s not like the Langdon of the book, it hardly seems to matter in the context of the movie.

Some critics have said that Howard’s direction is slow and makes The Da Vinci Code clunky. The film is riveting from beginning to end, and Howard, who has a Spielberg-like penchant forgetting audiences to respond favorably to the emotional cues he sets for different points in his films, takes us on an thrill ride that is equal parts intellect-engaging mystery tale and pulse-pounding, action/adventure flick. Some critics have also said that Howard’s film buries us in exposition. Much of the novel amounts to page after page of endless (but interesting) discussion of philosophy, religious history, art history, Middle Ages history, symbols, codes, Catholicism, etc. Goldsman screenplay only retains the exposition that is necessary for the turning the central plot of Dan Brown’s book into a film. Howard takes much of the novel’s historical discussion and turns it into flashbacks for the movie, so (for instance) we see snippets of The Knights Templars’ history rather than just be told about it.

The Da Vinci Code is simply a grand adult thriller that more than retains the spirit of Brown’s both controversial and internationally beloved book. The filmmaking on the part of writer and director is superb. The art direction and set decoration is top notch, all of it filmed in a cool and comforting photography that creates a sense of great mystery – an atmosphere that recalls Raiders of the Lost Ark. The acting is just right, with the performers knowing how to play up or down the fantastical and preposterous notions from Brown’s books – how to make their characters make the outlandish seem worth the effort to unravel it. The best at that is Ian McKellen as the jovial, bon vivant of alternative and wacky history, Sir Leigh Teabing. It all makes The Da Vinci Code one of the truly exceptional film mysteries to come along in many a year.

9 of 10
A+

Tuesday, May 23, 2006

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Review: Will "I Am Legend" Smith - The Film Rests on His Shoulders

TRASH IN MY EYE No. 143 (of 2007) by Leroy Douresseaux

I Am Legend (2007)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for intense sequences of sci-fi action and violence
DIRECTOR: Francis Lawrence
WRITERS: Mark Protosevich and Akiva Goldsman (based upon the 1971 screenplay by Joyce Hooper Corrington and John William Corrington and based upon the novel by Richard Matheson)
PRODUCERS: Akiva Goldsman, David Heyman, James Lassiter, Neal H. Moritz, and Erwin Stoff
CINEMATOGRAPHER: Andrew Lesnie
EDITOR: Wayne Wahrman
Image Awards nominee

SCI-FI/DRAMA/HORROR/THRILLER

Starring: Will Smith, Alice Braga, Charlie Tahan, Salli Richardson, and Willow Smith

I Am Legend is the third film adaptation of Richard Matheson’s 1954 novel, I Am Legend, following the 1961 film, The Last Man on Earth (starring Vincent Price), and the 1971 film, The Omega Man (starring Charlton Heston). The book also apparently influenced George Romero’s Night of the Living Dead.

Robert Neville (Will Smith) is the last human survivor in what is left of New York City, and perhaps the last man on earth, after a manmade virus – unstoppable and incurable – ravages humanity. Neville, however, is not quite alone. He shares the city with “the Infected,” victims of the plague who were mutated into monstrously fast and powerful carnivorous beings, who can only exist in the dark (and look like the belong in a video game).

For three years, Neville, who is also a brilliant scientist and military virologist, has scavenged for food and supplies. He also sends radio messages hoping to find other human survivors – his only companion a faithful dog named Sam. Immune to the virus, he also continues to search for a cure to the virus, a way to reverse the effects to the virus. Meanwhile, the Infected are watching him, waiting for him to make a fatal mistake, and Neville knows that he is outnumbered and running out of time.

There’s something missing in I Am Legend, and I can’t quite put my finger on it. I know what it does have in its favor – Will Smith, and that’s enough to carry the incomplete things and wash over the bad things. Neville played by Smith seems a powerful force in the lonely canyons and abandoned edifices of New York City – alone because man finally brought about Armageddon all on his own. It was the end of everything, and Satan didn’t have to break a sweat to bring it about, but here is the stubborn Smith-Neville, single-minded in his pursuit to survive and find a way to make hungry monsters human again. That makes him something like a persistent weed or an oblivious roach, or maybe he’s too clueless to remember that quite a bit of humanity was already trading in monstrosity before the virus wiped them out. This complexity of character and the ambivalence and stubbornness Smith gives Neville is what marks Will Smith as a great movie star and exceptional actor. His excellence is both in the process and in how he executes his preparation into fashioning engaging, riveting, mesmerizing characters.

Smith is glorious in a film that traffics in the mundane and sometimes makes intractable boredom the narrative, and what’s amazing is that he does it by playing a character that, while he may earn our sympathy, is largely unattractive. Neville is either slowly going crazy because he is lonely or has already been driven bonkers because he’s so desperate for human contact. He can’t be friends with the Infected who only want to eat him (although one could get the idea that he’d like to be friends). Smith presents Neville as someone, who because of his current state of affairs, should be avoided.

I Am Legend is well-served by the lovely German shepherd, Sam. In a world that has died, a dog is hope, love, friendship, and loyalty on four legs. Director Francis Lawrence, fortunate that Warner Bros. Pictures gave him another chance after Constantine, makes the best of this wonderful dog. Lawrence is also lucky for Smith’s masterful, rich performance and for the incredible CGI work that went into creating an empty NYC. That’s why “the whatever” that’s missing in I Am Legend seems like such a small thing, so Lawrence helms a film that is almost a great sci-fi movie, but is still a really good one.

7 of 10
A-

Sunday, December 16, 2007

NOTES:
2008 Image Awards: 2 nominations: “Outstanding Actor in a Motion Picture” (Will Smith) and “Outstanding Motion Picture”

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Review: "I, Robot" is a Star Vehicle and a Star Sci-Fi Film (Happy B'day, Will Smith)

TRASH IN MY EYE No. 126 (of 2004) by Leroy Douresseaux

I, Robot (2004)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – PG-13 for intense stylized action, and some brief partial nudity
DIRECTOR: Alex Proyas
WRITERS: Jeff Vintar and Akiva Goldsman; from a screen story by Jeff Vintar (suggested by a book by Isaac Asimov)
PRODUCERS: John Davis, Topher Dow, Wyck Godfrey, and Laurence Mark
CINEMATOGRAPHER: Simon Duggan (D.o.P.)
EDITORS: William Hoy, Richard Learoyd, and Armen Minasian
COMPOSER: Marco Beltrami
Academy Award nominee

SCI-FI/ACTION/THRILLER with elements of drama and mystery

Starring: Will Smith, Bridget Moynahan, Alan Tudyk, James Cromwell, Bruce Greenwood, Adrian L. Ricard, Chi McBride, Jerry Wasserman, and Fiona Hogan

In the year 2035, U.S. Robotics is about to roll out their most advanced robot, the NS5, when the company’s most brilliant robot scientist and inventor, Dr. Alfred Lanning (James Cromwell), commits suicide. Techno-phobic cop, Detective Del Spooner (Will Smith) investigates the case with the notion that a robot, specifically an apparently hyper-advanced version of the NS5 named “Sonny” (voice of Alan Tudyk), actually killed Dr. Lanning. Spooner’s investigation earns him the ire of his supervisor (Chi McBride) and U.S. Robotics’ headman, Lawrence Robertson (Bruce Greenwood). Spooner, nevertheless, soldiers on and uncovers an even larger threat to humanity posed by the new robots and a mysterious other.

Directed by Alex Proyas, I, Robot has none of the dark visuals Proyas displayed in his best-known work, The Crow and Dark City. Visually the film looks like Minority Report, and the film story is similar to both that film and the recent Paycheck. Proyas does an admirable job making I, Robot, a very entertaining and thrilling summer action movie. The film seamless flows from one scene to another, which is quite a trick for Proyas to have turned considering the script juggles and discards three major plot points: a murder mystery, corporate intrigue, and technological Armageddon. It’s a disappointment that the film didn’t focus on any one of the three, for it would have better severed the movie; still, the film is very good popcorn entertainment.

I must admit to being a big fan of Will Smith’s work. The handsome, talented, and (clearly) ambitious performer is both a quality actor and a big time movie star. His bravado, charm, endearing personality, wit and sarcasm, and screen presence carry this film and keep it well above mediocrity. Smith is also very good in sci-fi films; they’re a natural fit for him, and he dominates them the way Harrison Ford used to do in action movies or the way Tom Cruise still does in anything. If you’re a fan of Smith’s work, I, Robot is a must-see delight; if you’re an SF fan, you’ll probably see this anyway.

7 of 10
B+

NOTES:
2005 Academy Awards: 1 nomination: “Best Achievement in Visual Effects” (John Nelson, Andy Jones, Erik Nash, and Joe Letteri)

2005 Black Reel Awards: 1 nomination: “Best Film, Drama”

2005 Image Awards: 1 nomination: “Outstanding Actor in a Motion Picture” (Will Smith)

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Review: "Constantine" is No Hellblazer

TRASH IN MY EYE No. 26 (of 2005) by Leroy Douresseaux

Constantine (2005)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – R for violence and demonic images
DIRECTOR: Francis Lawrence
WRITERS: Kevin Brodbin and Frank Cappello; from a story by Kevin Brodbin (based upon the characters from the DC Comics/Vertigo Hellblazer graphic novels)
PRODUCERS: Lauren Shuler Donner, Benjamin Melniker, Michael Uslan, Erwin Stoff, Lorenzo di Bonaventura, and Akiva Goldsman
CINEMATOGRAPHER: Philippe Rousselot, A.F.C./A.S.C.
EDITOR: Wayne Wahrman, A.C.E.

HORROR/FANTASY/ACTION with elements of thriller

Starring: Keanu Reeves, Rachel Weisz, Shia LaBeouf, Tilda Swinton, Pruitt Taylor Vince, Djimon Hounsou, Gavin (McGregor) Rossdale, Jessie Ramirez, Jose Zuniga, Laz Alonso, Quinn Buniel, and Peter Stormare

In the mid 1980’s famed comic book writer Alan Moore created, at the behest of his artist collaborators, a character for their comic book series, Swamp Thing (that changed the face of mainstream or superhero comics), that would look like Sting, front man of the rock group, The Police. Two decades later, Keanu Reeves, not Sting, has brought the character, John Constantine, to cinematic life in the film, Constantine.

Back story: John Constantine (Keanu Reeves) was born with a gift he didn’t want – the ability to recognize the half-breed angels and demons that walk the earth in human skin. Constantine took his own life to end the torment of his visions, but he was resuscitated against his will. Constantine returned with the ability to walk the earthly border between Heaven and Hell. He attempts to earn his salvation as an exorcist/supernatural detective sending the half-breed demons back to hell. Still, Constantine is no saint; he lives a hard life of drinking and smoking too much while he tries to buy his way into heaven.

Angela Dodson (Rachel Weisz) is a skeptical police detective, really not buying all this occult mumbo jumbo, but she needs Constantine. Her sister, Isabel (Ms. Weisz), may have committed suicide. Angela finds that hard to believe because her sister was a devout Catholic, and devout Catholics know that suicides go straight to the inferno of hell. Angela convinces Constantine to help her, but their investigation quickly clears away Angela’s skepticism as their examination of the crime takes them to the world of angels and demons just behind the walls, on the other side of the metaphorical windows, and beneath the landscape of Los Angeles. The duo is caught in a series of catastrophic occult and satanic events that may not only cost them their lives, but the souls of all human kind.

If Keanu Reeves were a better actor, Constantine would have been a better film. First, we, the people who are familiar with the comic book, have to get over the fact that there were better actors to play the part. We may have been willing to accept that the character was changed from a Brit to an American, but Keanu? He has his moments, but most of them are in the last act. It’s not as if he were out acted; the rest of the characters seem extraneous, even the ones that are supposed to be important to the plot.

The story, which borrows heavily from the work of two early writers on the Constantine comic book (called Hellblazer), Jamie Delano and Garth Ennis, is conceptually interesting. The execution leaves something to be desired. Sometimes, it’s just pretentious, and sometimes, the occult angle is as good and as intriguing as the occult was in Raiders of the Lost Ark. The visualization of Hell (as a still-burning post-apocalyptic cityscape) is nice, but ultimately the script is just a hodge podge of concepts and ideas that are poorly thought out and used. It’s as if some things were added because they’d seem cool, but they were poorly used or just didn’t make sense in the context of the script. The writers seemingly knew how they wanted the film to begin and end, but only threw crap against the wall in between that.

Actually, director Francis Lawrence (known for his music videos for acts such as Britney Spears and Will Smith) gives the film a good pace and a tense atmosphere of dread. He manages to make something out of a poor script and Keanu’s monotone and flat speaking/acting style. It’s enough to make this worth renting for fans of horror and fantasy.

5 of 10
C+

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Review: "A Beautiful Mind" is Beautiful

TRASH IN MY EYE No. 24 (of 2002) by Leroy Douresseaux

A Beautiful Mind (2001)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for intense thematic material, sexual content and a scene of violence
DIRECTOR: Ron Howard
WRITER: Akiva Goldsman (based upon the book by Sylvia Nasar)
PRODUCERS: Brian Glazer and Ron Howard
CINEMATOGRAPHER: Roger Deakins
EDITORS: Dan Hanley and Mike Hill
Academy Award winner

DRAMA with elements of mystery and romance

Starring: Russell Crowe, Ed Harris, Jennifer Connelly, Christopher Plummer, Paul Bettany, Adam Goldberg, Josh Lucas, Anthony Rapp, Jason Gray-Stanford, and Judd Hirsch

A Beautiful Mind is based upon the real life story of John Forbes Nash, Jr. (Russell Crowe), a math prodigy, who goes on to win the Nobel Prize after years of struggling with schizophrenia. The handsome and arrogant Nash made an astonishing discovery early in his career and also meets his wife Alicia (Jennifer Connelly). On the brink of international fame, his world falls apart when he succumbs to mental illness. With the help of his wife, he struggles to regain his career and his social life and to be a husband and father to his wife and child.

Directed by Ron Howard, A Beautiful Mind is an engaging and riveting biopic that runs the gamut of emotions from elation to revulsion and from despair to hope. It is earnest and intense, playful and romantic, heartbreaking and life affirming. Not a biography in the art house mold, but a wonderful sort of middlebrow picture with a feel-good resolution for the masses, or at least those who are interested in Hollywood product that doesn’t involve SFX and titillation.

The artistry here is the performance of Russell Crowe. Increasingly a controversial figure hounded by the tabloids and infotainment news organizations, he has replaced Kevin Spacey as the actor of the moment. Here, he combines the best of his performances in The Insider (for which he earned an Academy Award nomination) and in Gladiator (for which he won an Academy Award) to portray John Nash – the paranoid hero of the former and the never-say-die leader of the latter. Since Romper Stomper, Crowe has been a mesmerizing screen presence, and he is at full wattage here.

He sells us on this movie, and we buy asking for more. When Nash is the shy boy, we yearn for him to get a woman. We thrill and laugh at Nash’s clumsy arrogance, and we enjoy his success. We cringe at his illness and hope against hope for his recovery. And who couldn’t, at least, almost shed tears when Nash’s peers and the Nobel committee honor him.

Ron Howard does good work here, and Ms. Connelly is pretty good as Alicia Nash, but this is Russell’s show, he can win the audience over. Since the twilight so-called Golden Age of studio pictures in Hollywood, there have been so few real, masculine men in movies. Some of them, post Golden Age are not great actors, and some that are, don’t have the box office draw. Crowe is all man, a fine actor, and a box office draw.

He’s an artist. He attracts the audience to Nash using every part of himself – in his gestures and the way he moves his body. We can believe Crowe is Nash in the way it seems that Crowe really loves mathematics. His face is a tapestry of emotions that are so convincing and so important to selling the scene, so layered and three-dimensional that were transported into the movie. We live and suffer vicariously with Crowe’s Nash.

For the haters out there, the best is yet to come. Things about the real Nash’s past that were left out of this film don’t matter one wit in respect to Crowe’s amazing performance. No disrespect to his collaborators, but A Beautiful Mind is all his.

8 of 10
A

NOTES:
2002 Academy Awards: 4 wins: “Best Picture” (Brian Grazer and Ron Howard), “Best Actress in a Supporting Role” (Jennifer Connelly), “Best Director” (Ron Howard), and “Best Writing, Screenplay Based on Material Previously Produced or Published” (Akiva Goldsman); 4 nominations: “Best Actor in a Leading Role” (Russell Crowe), “Best Editing” (Mike Hill and Daniel P. Hanley), “Best Makeup” (Greg Cannom and Colleen Callaghan), and “Best Music, Original Score” (James Horner)

2002 BAFTA Awards: 2 wins: “Best Performance by an Actor in a Leading Role” (Russell Crowe) and “Best Performance by an Actress in a Supporting Role” (Jennifer Connelly); 3 nominations: “Best Film” (Brian Grazer and Ron Howard), “Best Screenplay – Adapted” (Akiva Goldsman) and “David Lean Award for Direction” (Ron Howard)

2002 Golden Globes: 4 wins: “Best Motion Picture – Drama,” “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Jennifer Connelly), and “Best Screenplay - Motion Picture” (Akiva Goldsman); 2 nominations: “Best Director - Motion Picture” (Ron Howard) and “Best Original Score - Motion Picture” (James Horner)

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Review: "Jonah Hex" is Not Really THAT Bad

TRASH IN MY EYE No. 93 (of 2010) by Leroy Douresseaux

Jonah Hex (2010)
Running time: 81 minutes (1 hour, 21 minutes)
MPAA – PG-13 for intense sequences of violence and action, disturbing images and sexual
DIRECTOR: Jimmy Hayward
WRITERS: Mark Neveldine and Brian Taylor; from a story by William Farmer and Mark Neveldine and Brian Taylor (based upon the characters appearing in magazines published by DC Comics created by John Albano and Tony DeZuniga)
PRODUCERS: Akiva Goldsman and Andrew Lazar
CINEMATOGRAPHER: Mitchell Amundsen (D.o.P)
EDITORS: Kent Beyda, Dan Hanley, Tom Lewis, and Fernando Villena
COMPOSERS: Marco Beltrami and Mastodon

WESTERN/ACTION with elements of horror

Starring: Josh Brolin, John Malkovich, Megan Fox, Aidan Quinn, Michael Fassbender, Will Arnett, John Gallagher, Jr., Tom Wopat, Michael Shannon, Wes Bentley, John McConnell, and Lance Reddick with Jeffrey Dean Morgan (no screen credit)

Jonah Hex is a recent Western, released by Warner Bros. Pictures this past June. The title character, Jonah Hex, is one of DC Comics’ Western characters, and this anti-hero type is a bounty hunter whose face is horribly scarred on the right side. Created by writer John Albano and artist Tony DeZuniga, Jonah Hex made his first appearance in the early 1970s.

During the American Civil War, Jonah Hex (Josh Brolin) fought for the Confederacy. However, Hex turned against his commanding officer, Quentin Turnbull (John Malkovich), after Turnbull ordered him to burn down a hospital. After the war, a vengeful Turnbull killed Hex’s wife and son and branded his initials into Hex’s face.

Most of the movie takes place in 1876. As the country prepares for the Centennial celebration, Turnbull plots a July 4th terrorist attack using a devastating super weapon, an attack he believes will topple the American government and destroy the nation. President Grant (Aidan Quinn) orders the U.S. military to find Jonah Hex, who has many warrants on his head, and make him an offer he can’t refuse. In exchange for his freedom (and some cash), Hex must stop Turnbull. Hex, who can temporarily resurrect and communicate with the dead, uses all his talents and an array of firearms to fight his way through Turnbull’s men. Hex also gets help from Lilah (Megan Fox), a gun-wielding prostitute in love with him.

Jonah Hex was a critical and commercial flop during its theatrical release. I initially avoided the movie because the trailers looked dumb, and I thought that the movie was probably even dumber. When the opportunity to see it came around again, the first thing I thought was, I bet I’ll like this movie. And I did.

Jonah Hex is not really all that bad a movie. First, it really isn’t a Western. It is more a weird faux-Western like Will Smith’s 1999 flick, Wild Wild West. Also, a lot of this is clearly tongue-in-cheek. The director, Jimmy Hayward, tries too hard to make this film different. The film really doesn’t have much in the way of familiar Hollywood Western iconography, visual cues, or symbolism. The creators dress this movie to look like a Western, then, do everything to make it not a Western. Still, the film, at times, manages to have some good, Western-style action sequences.

The film’s writers, William Farmer and the team of (Mark) Neveldine and (Brian) Taylor, pack the story with a lot of ideas to ponder, including weird occult stuff, the character of revenge, and nature of war. There are also many scenes that are extraneous and/or badly staged, such as the motion comic-like origin story early in the film. In a comic book, this heap of weird ideas and scenes would likely not be a problem. In a film, it just makes the narrative move awkwardly.

Ultimately, the cast does right by this movie. Megan Fox makes the best of a poorly designed character. John Malkovich is, as always, superb in menacing, villainous role. Michael Fassbender is a scene-stealer as Turnbull’s homicidal right-hand man, Burke. Of course, Josh Brolin continues to prove himself as an exciting movie star and high-quality actor. It is remarkable what he does with the cheesy dialogue here. Brolin makes me wish for a sequel that may likely never come. For all its faults, Jonah Hex is so weird and is such kooky fun that it is not actually that bad.

5 of 10
C+

Wednesday, November 17, 2010

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Review: "The Losers" is Just Not Good

TRASH IN MY EYE No. 68 (of 2010) by Leroy Douresseaux

The Losers (2010)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – PG-13 for sequences of intense action and violence, a scene of sensuality and language
DIRECTOR: Sylvain White
WRITERS: Peter Berg and James Vanderbilt (based upon the comic book series written by Andy Diggle and illustrated by Jock and published by DC Comics/Vertigo)
PRODUCERS: Kerry Foster, Akiva Goldsman, and Joel Silver
CINEMATOGRAPHER: Scott Kevan
EDITOR: David Checel

COMIC BOOK/ACTION/MILITARY

Starring: Jeffrey Dean Morgan, Zoe Saldana, Chris Evans, Idris Elba, Columbus Short, Oscar Jaenada, Jason Patric, and Holt McCallany

The film, X-Men, which debuted in 2000, is seen as the film that began the current wave of superhero movies. In the 10 years since X-Men’s debut, the worst movie based upon a comic book that I have seen was The Punisher in 2004.

The Losers, a military-style action thriller which hit theatres this past April, is based upon a comic book of the same name. The Losers was published by DC Comics under its Vertigo imprint for 32 issues from 2003 to 2006. Written and created by Andy Diggle and drawn by the artist Jock (the British comics artist, Mark Simpson), the series followed a Special Forces team tied to the CIA and later betrayed by their CIA handler, Max.

The Losers is the worst comic book movie I’ve seen since The Punisher. The movie introduces an elite U.S. Special Forces unit sent into the Bolivian jungle on a search-and-destroy mission. The team is led by Franklin Clay (Jeffrey Dean Morgan) and includes William Roque (Idris Elba), Jake Jensen (Chris Evans), Linwood “Pooch” Porteous (Columbus Short) and Carlos “Cougar” Alvarez (Oscar Jaenada).

Despite a few surprises, the mission goes well until Clay and company are betrayed by their commander, Max (Jason Patric), a man whom they’ve never met. Presumed dead, the men struggle to make enough money to return to the U.S., but Clay is approached by Aisha (Zoe Saldana), a beautiful operative who offers to help them get home. Her price is what amounts to a suicide mission – kill the heavily-guarded Max. Meanwhile, Max is plotting to embroil the world in a global war by launching an environmentally-friendly bomb with the power of a nuclear weapon. But some of the people on this mission are also hiding secrets and plotting betrayal.

Like many current action movies, The Losers is slickly produced and offers plenty of flashy visuals, but it feels clunky and moves with an awkward gait, like a kid whose legs and feet are growing faster than he can adjust to them. In fact, for all the fast moving The Losers does, there is no sense of urgency in the characters. This is a guy movie about a band of guys (and one girl) who kick ass, but they just aren’t very interesting. Also, as Clay, Jeffrey Dean Morgan is just not cut out to be the lead in a movie.

Early in the film, Clay and his unit are supposedly desperate to go home, but don’t really seem to be doing much to get back. The entire bomb sub-plot just doesn’t have that ticking-time-bomb sense of urgency that films about bombs have (like the hugely underrated The Peacemaker from 1997). There is really only one truly cool moment here, and that is when Chris Evans’ Jake Jensen breaks into Goliath Worldwide Headquarters. The scene is so funny that it seems out of place with the rest of this sluggish movie.

Here, even the witty banter that is standard for a standard action flick is lame. Director Sylvain White, who used his flashy style to make Stomp the Yard feel so electric three years earlier, seems to know what he wants to do with The Losers. He simply made movie that makes it seem as if he didn’t know what he was doing. With The Losers, the viewer is the real loser.

2 of 10
D

Thursday, August 19, 2010

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Review: Pitt, Jolie Blaze in "Mr. and Mrs. Smith"

TRASH IN MY EYE No. 94 (of 2005) by Leroy Douresseaux

Mr. & Mrs. Smith (2005)
Running time: 115 minutes
MPAA – PG-13 for sequences of violence, intense action, sexual content, and brief strong language
DIRECTOR: Doug Liman
WRITER: Simon Kinberg
PRODUCER: Lucas Foster, Akiva Goldsman, Eric McLeod, Arnon Milchan, and Peter Wachsberger
CINEMATOGRAPHER: Bojan Bazelli
EDITOR: Michael Tronick

ACTION/COMEDY/ROMANCE with elements of a thriller

Starring: Brad Pitt, Angelina Jolie, Vince Vaughn, Kerry Washington, Adam Brody Chris Weitz, Rachael Huntley, Michelle Monaghan, and Keith David

The entertainment wing of the news media has been abuzz about the Brad Pitt-Angelina Jolie flick, Mr. & Mrs. Smith, directed by Doug Liman, for months now because many believe that the film shoot was where Pitt’s marriage to actress Jennifer Aniston (TV’s “Friends”) fell apart and his are-they/aren’t they relationship with Ms. Jolie began. For a while, it seemed as if the tawdry adultery angle would drown the film, but early favorable reviews kept any alleged hanky-panky from completely overshadowing the film. While Mr. & Mrs. Smith is an unusual mixture of several genres, it is a sassy, faux-witty, action flick with one great car chase scene and a lot of good chemistry between the stars, and I’m certainly glad I paid to see it in a theatre. Ignore the flimsy plot and the empty characters, which aren’t much more than plot props and targets for action violence. Mr. & Mrs. Smith is a star vehicle that you see if you like the stars.

Married for five or six years (that’s a joke in the film), John Smith (Brad Pitt) and Jane Smith (Angelina Jolie) are bored with their quiet, domestic tranquility. The biggest secret that they’re keeping from each other is that they are both assassins for different espionage organizations and are globetrotting and killing for hire behind each other’s back. The couple’s separate lives collide when they bumble upon the same assassination assignment. That causes the spouses to end up as each other’s next hit, but when they chose reconciliation instead of mutually assured destruction, both of their former agencies come gunning for them.

While not as entertaining as Liman’s film Go! (1999) and certainly not on the level of the super-smart, super thriller, The Bourne Identity (2002), Mr. & Mrs. Smith is a unique hybrid. It’s an action comedy, but it also an action romance. It’s an action thriller, but it’s also a romantic, action thriller. Pitt and Ms. Jolie have fine screen chemistry, so the romance is works; some of the comedy comes from their chemistry and timing, but much of it also comes from the cartoonish violence of the shoot-em-up’s and gunplay and the explosions in the film that more often than not are done for comic effect. There is one great car chase in the film and a death match between John and Jane that give the film all the thrills it needs. However, the final battle between the Smith’s and a seemingly endless supply of special operations squads is a bit flat.

Brad Pitt and Angelina Jolie are lucky that Liman and writer Simon Kinberg, whose screenplay is a frothy and tasty confection, deliver summer cinematic fun, or the superstar movie duo would have suffered the same meltdown that Ben Affleck and Jennifer Lopez experienced with their “romantically entangled” film, Gigili. Hardcore action junkies may not go for this film, but anyone who likes a different spin on big, loud action films will probably like this.

6 of 10
B

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