Friday, April 2, 2010
VIZ Cinema Presents Second "TokyoScope Talks" Next Week
TOKYOSCOPE TALK VOL. 2: MECHA MANIA – FOUR DECADES OF ROBOT ANIME
VIZ CINEMA HOSTS A UNIQUE PRESENTATION ON THE HISTORY OF SCI-FI ROBOT ANIME AND PRESENTS GUNDAM TRIPLE FEATURE IN SPECIAL ALL-DAY MOVIE MARATHON
VIZ Cinema is pleased to offer a fun-packed weekend of anime as it welcomes Patrick Macias, Editor-in-Chief of OTAKU USA, on Friday April 9th for the latest in his ongoing series of TokyoScope Talks on Japanese cinema and pop media. On Saturday, April 10th, VIZ Cinema offers a special Gundam Movie Marathon. Three feature films featuring the iconic robot will be screened in the theatre, which features 35mm and digital projection and a THX®-certified sound system.
TokyoScope Talk Vol. 2: MECHA MANIA: Four Decades of Slam-Bang Sci-Fi Robot Anime comes to VIZ Cinema on Friday, April 9th at 7:00pm. Tickets are $8.00. Also co-hosting the event will be author and critic Tomohiro Machiyama, who together with Macias wrote Cruising Anime City, (published by Stone Bridge Press) a highly detailed travel guide about Tokyo otaku culture and the anime phenomenon.
“From Astro Boy and Tetsujin 28 to Gundam and Voltron to Transformers and Gurren Lagann, giant robots and other fantastic machines and technology, or mecha, are instantly recognizable mainstays of anime,” says Macias. “There’s also a lot of cultural iconography intertwined with these machines and their operators, often presented as heroic warriors in the samurai warrior tradition. I look forward to tracing the nearly 50 year history and evolution of mecha along with some often humorous stories and latest examples. And don’t miss an awesome raffle giveaway featuring some tear-jerking treasures for super mecha fans!”
VIZ Cinema’s Weeknight Anime People makes a special weekend stop with an day-long triple feature of Gundam! General ticket price: $10:00; Combo tickets are $25:00. No further discounts will apply.
Gundam Movie Marathon, Saturday, April 10th – One Day Only!
Mobile Suit Gundam Movie I, 11:00am
Mobile Suit Gundam Movie II: Soldiers of Sorrow, 1:35pm
Mobile Suit Gundam Movie III: Encounters in Space, 4:05pm
VIZ Cinema’s Weeknight Anime People makes a special weekend stop with an afternoon of Gundam! In the year 0079 of the Universal Century, the Earth Federation and its space colonies are engaged in an apocalyptic war. The rebellious Duchy of Zeon, using humanoid fighting machines called Mobile Suits, has all but vanquished the Federation. Now the Federation’s last hope is the prototype Mobile Suit, Gundam. When a twist of fate makes young civilian Amuro Ray the sole-pilot of Gundam, Amuro’s own battle begins – a struggle not only for the Federation’s survival, but for his own. General ticket price: $10:00; Combo tickets are $25:00. No further discounts will apply.
VIZ Cinema is the nation’s first movie theatre devoted exclusively to Japanese film and anime. The 143-seat subterranean theatre is located in the basement of the NEW PEOPLE building and features plush seating, digital as well as 35mm projection, and a THX®-certified sound system.
NEW PEOPLE offers the latest films, art, fashion and retail brands from Japan and is the creative vision of the J-Pop Center Project and VIZ Pictures, a distributor and producer of Japanese live action film. Located at 1746 Post Street, the 20,000 square foot structure features a striking 3-floor transparent glass façade that frames a fun and exotic new environment to engage the imagination into the 21st Century. A dedicated web site is also now available at: http://www.newpeopleworld.com/.
VIZ CINEMA HOSTS A UNIQUE PRESENTATION ON THE HISTORY OF SCI-FI ROBOT ANIME AND PRESENTS GUNDAM TRIPLE FEATURE IN SPECIAL ALL-DAY MOVIE MARATHON
VIZ Cinema is pleased to offer a fun-packed weekend of anime as it welcomes Patrick Macias, Editor-in-Chief of OTAKU USA, on Friday April 9th for the latest in his ongoing series of TokyoScope Talks on Japanese cinema and pop media. On Saturday, April 10th, VIZ Cinema offers a special Gundam Movie Marathon. Three feature films featuring the iconic robot will be screened in the theatre, which features 35mm and digital projection and a THX®-certified sound system.
TokyoScope Talk Vol. 2: MECHA MANIA: Four Decades of Slam-Bang Sci-Fi Robot Anime comes to VIZ Cinema on Friday, April 9th at 7:00pm. Tickets are $8.00. Also co-hosting the event will be author and critic Tomohiro Machiyama, who together with Macias wrote Cruising Anime City, (published by Stone Bridge Press) a highly detailed travel guide about Tokyo otaku culture and the anime phenomenon.
“From Astro Boy and Tetsujin 28 to Gundam and Voltron to Transformers and Gurren Lagann, giant robots and other fantastic machines and technology, or mecha, are instantly recognizable mainstays of anime,” says Macias. “There’s also a lot of cultural iconography intertwined with these machines and their operators, often presented as heroic warriors in the samurai warrior tradition. I look forward to tracing the nearly 50 year history and evolution of mecha along with some often humorous stories and latest examples. And don’t miss an awesome raffle giveaway featuring some tear-jerking treasures for super mecha fans!”
VIZ Cinema’s Weeknight Anime People makes a special weekend stop with an day-long triple feature of Gundam! General ticket price: $10:00; Combo tickets are $25:00. No further discounts will apply.
Gundam Movie Marathon, Saturday, April 10th – One Day Only!
Mobile Suit Gundam Movie I, 11:00am
Mobile Suit Gundam Movie II: Soldiers of Sorrow, 1:35pm
Mobile Suit Gundam Movie III: Encounters in Space, 4:05pm
VIZ Cinema’s Weeknight Anime People makes a special weekend stop with an afternoon of Gundam! In the year 0079 of the Universal Century, the Earth Federation and its space colonies are engaged in an apocalyptic war. The rebellious Duchy of Zeon, using humanoid fighting machines called Mobile Suits, has all but vanquished the Federation. Now the Federation’s last hope is the prototype Mobile Suit, Gundam. When a twist of fate makes young civilian Amuro Ray the sole-pilot of Gundam, Amuro’s own battle begins – a struggle not only for the Federation’s survival, but for his own. General ticket price: $10:00; Combo tickets are $25:00. No further discounts will apply.
VIZ Cinema is the nation’s first movie theatre devoted exclusively to Japanese film and anime. The 143-seat subterranean theatre is located in the basement of the NEW PEOPLE building and features plush seating, digital as well as 35mm projection, and a THX®-certified sound system.
NEW PEOPLE offers the latest films, art, fashion and retail brands from Japan and is the creative vision of the J-Pop Center Project and VIZ Pictures, a distributor and producer of Japanese live action film. Located at 1746 Post Street, the 20,000 square foot structure features a striking 3-floor transparent glass façade that frames a fun and exotic new environment to engage the imagination into the 21st Century. A dedicated web site is also now available at: http://www.newpeopleworld.com/.
Review: John Singleton's "Baby Boy" Returns to Singleton's Cinematic Roots
TRASH IN MY EYE No. 23 (of 2001) by Leroy Douresseaux
Baby Boy (2001)
Running time: 130 minutes (2 hours, 10 minutes)
Baby Boy (2001)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – R for strong sexuality, language, violence and some drug use
WRITER/PRODUCER/DIRECTOR: John Singleton
CINEMATOGRAPHER: Charles E. Mills (D.o.P.)
EDITOR: Bruce Cannon
DRAMA with elements of crime and romance
Starring: Tyrese, Taraji P. Henson, Omar Gooding, Tamara LeSeon Bass, Candy Ann Brown, A.J. Johnson, Ving Rhames, Snoop Dogg, Mo’Nique, Angell Conwell, Kareem J. Grimes, Kaylan Bolton and Kylan Bolton
Jody (Tyrese Gibson) is a 20-year-old black man living with his mother (Candy Ann Brown). He is the father of two children by two different women. The relationship with one of the baby mama’s, Yvette (Taraji P. Henson) is the romantic focus of the film. Jody’s mother has an openly sexual relationship with Melvin (Ving Rhames), himself a former banger; he is a muscular Mandingo and Jody’s mother doesn’t have to call Tyrone when she needs some good, strong lovin.’ B’leive ‘dat!
Jody’s homey, Sweet Pea (Omar Gooding) is lost and also unemployed; he is desperate for meaning in and a purpose for his life. As he relationship with Yvette deteriorates, her old flame, a recently released convict named Rodney (rapper Snoop Dogg) shows up, literally gunning for Jody’s life.
Directed by John Singleton (Shaft), Baby Boy is more a slice of social studies than entertainment. It belongs to Singleton’s South Central Los Angeles milieu that he introduced in Boyz N the Hood, but it is thematically similar to the Boyz follow up, Poetic Justice.
The film opens with Jody dreaming that he’s an adult still in the womb; it is a visually jarring set piece that conveys the troubled state of Jody’s mind. It’s not long before we also realize that Jody’s life is frozen. He going nowhere, spending his days hustling, watching television, and involved in sexual escapades with many women.
He resents his mother’s relationship with Melvin, but Melvin is very familiar with the type of “li’l nigga” that Jody is because Melvin was himself once of a similar type. Jody has a twisted view of his relationship with his baby mamas. He tells Yvette that he lies to her about his philandering because he loves her too much to hurt her with the truth that he is a man whore. He uses the other women for sex because they’re, in his words, “tricks,” but he really loves Yvette because she is the mother of his son. His other baby mama, Peanut (Tamara LaSeon Bass), a girl whose own mother seems to be well to do, is less tolerant of Jody and dismisses him. In fact, when his relationship with Yvette collapses, Jody tries to seduce Peanut, but she quickly lets him know that she intends on treating him like an on-call sex toy. For Jody, Peanut treating him like an object jars Jody.
The film has only two characters as fathers – Jody and Melvin; in fact, fathers are conspicuously absent from this film. Melvin is estranged from his own children; his eldest son informs Jody off screen that Melvin beat his mother. Jody isn’t much better; his children are merely vestiges of his fornicating rather than the result of some kind of manhood. Jody’s own father is rarely spoken of, and Jody could have been hatched from an egg for all the knowledge of being a human father he obviously does not possess.
WRITER/PRODUCER/DIRECTOR: John Singleton
CINEMATOGRAPHER: Charles E. Mills (D.o.P.)
EDITOR: Bruce Cannon
DRAMA with elements of crime and romance
Starring: Tyrese, Taraji P. Henson, Omar Gooding, Tamara LeSeon Bass, Candy Ann Brown, A.J. Johnson, Ving Rhames, Snoop Dogg, Mo’Nique, Angell Conwell, Kareem J. Grimes, Kaylan Bolton and Kylan Bolton
Jody (Tyrese Gibson) is a 20-year-old black man living with his mother (Candy Ann Brown). He is the father of two children by two different women. The relationship with one of the baby mama’s, Yvette (Taraji P. Henson) is the romantic focus of the film. Jody’s mother has an openly sexual relationship with Melvin (Ving Rhames), himself a former banger; he is a muscular Mandingo and Jody’s mother doesn’t have to call Tyrone when she needs some good, strong lovin.’ B’leive ‘dat!
Jody’s homey, Sweet Pea (Omar Gooding) is lost and also unemployed; he is desperate for meaning in and a purpose for his life. As he relationship with Yvette deteriorates, her old flame, a recently released convict named Rodney (rapper Snoop Dogg) shows up, literally gunning for Jody’s life.
Directed by John Singleton (Shaft), Baby Boy is more a slice of social studies than entertainment. It belongs to Singleton’s South Central Los Angeles milieu that he introduced in Boyz N the Hood, but it is thematically similar to the Boyz follow up, Poetic Justice.
The film opens with Jody dreaming that he’s an adult still in the womb; it is a visually jarring set piece that conveys the troubled state of Jody’s mind. It’s not long before we also realize that Jody’s life is frozen. He going nowhere, spending his days hustling, watching television, and involved in sexual escapades with many women.
He resents his mother’s relationship with Melvin, but Melvin is very familiar with the type of “li’l nigga” that Jody is because Melvin was himself once of a similar type. Jody has a twisted view of his relationship with his baby mamas. He tells Yvette that he lies to her about his philandering because he loves her too much to hurt her with the truth that he is a man whore. He uses the other women for sex because they’re, in his words, “tricks,” but he really loves Yvette because she is the mother of his son. His other baby mama, Peanut (Tamara LaSeon Bass), a girl whose own mother seems to be well to do, is less tolerant of Jody and dismisses him. In fact, when his relationship with Yvette collapses, Jody tries to seduce Peanut, but she quickly lets him know that she intends on treating him like an on-call sex toy. For Jody, Peanut treating him like an object jars Jody.
The film has only two characters as fathers – Jody and Melvin; in fact, fathers are conspicuously absent from this film. Melvin is estranged from his own children; his eldest son informs Jody off screen that Melvin beat his mother. Jody isn’t much better; his children are merely vestiges of his fornicating rather than the result of some kind of manhood. Jody’s own father is rarely spoken of, and Jody could have been hatched from an egg for all the knowledge of being a human father he obviously does not possess.
One of the themes here seems imply that Jody can’t be a father because he never had one to show him what it means to be a father and a man. That was Singleton’s dominant theme in Boyz, much to the delight of conservative i.e. Republican critics and fans of the movie. However, if a boy who did not know his own father himself grows to be a bad father, the reason is not necessarily because he didn’t have a dad.
Jody is selfish, spoiled, and manipulative. It’s difficult to tell what part his mother played in his personality, as there isn’t much back-story to her other than that she threw Jody’s older brother out of the house. Someone killed him, and Jody believes his mother throwing the brother out led to that. We also learn that mom has had lots of boyfriends.
As stated earlier, this film is more social studies than entertainment. Singleton seems to be saying to his audience, see how these people are. Or it may be that it is easy for him to make a movie about a subject with which he is very familiar. The film aims at making some kind of point, but Singleton stumbles to a tacked on and predictable ending. Maybe, the film’s resolution is “real” or “how it is on the streets,” but this is drama and it demands some kind of structure and purpose.
Singleton doesn’t have to provide pat answers to solve social “problems.” There are no easy answers to social issues, but the demand for resolutions comes with the territory of making socially relevant films. Singleton overly relies on the visceral impact of profanity-laden dialogue and animalistic, confrontational sex. He’s onto something, having tackled an important issue, but he reduces his movie to a series of blunt, angry scenes. Maybe, he doesn’t know the power and danger of the subject with which he plays. He certainly doesn’t realize the dramatic potential of his subject. He wastes Snoop Dogg’s Rodney character, not to speak of under utilized Ving Rhames.
Boyz in the Hood had a good story that was universal in both its appeals and its themes. Singleton hasn’t been able to duplicate that quality of story since then. He has an idea of how to make really good films, but it’s a shame we have to keep waiting for his arrival as a really good filmmaker. He’ll become one when he takes a social issue and makes a film with a good story that clearly conveys its message to the audience.
Powerful and forceful, Baby boy is a diamond in the rough despite it structural shortcomings. There is enough good there that makes it worthy of considerable critical analysis. It’s a bold, brazen, adventurous movie. While stopping short of being great, it has more substance than most films today, so Baby Boy is worth your time.
6 of 10
B
-------------------------
Review: "Madea's Family Reunion" a Black Family Film Classic
TRASH IN MY EYE No. 48 (of 2006) by Leroy Douresseaux
Tyler Perry’s Madea’s Family Reunion (2006)
Opening date: Friday, February 24, 2006
MPAA – PG-13 for mature thematic material, domestic violence, and sex and drug references
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Reuben Cannon and Tyler Perry
CINEMATOGRAPHER: Toyomichi Kurita
EDITOR: John Carter
COMEDY/DRAMA/ROMANCE
Starring: Tyler Perry, Lisa Arrindell Anderson, Rochelle Aytes, Lynn Whitfield, Blair Underwood, Boris Kodjoe, Keke Palmer, Henry Simmons, Mablean Ephriam, Cicely Tyson, and Maya Angelou
Southern matriarch Madea (Tyler Perry) is normally an unstoppable force, but she finds her hands full with a court ordered foster child, Nikki (Keke Palmer). Then, Madea also has to contend with planning a family reunion. That’s not enough on her plate, however; her nieces, sisters Lisa (Rochelle Aytes) and Vanessa (Lisa Arrindell Anderson), are having relationship problems. Lisa is engaged to marry Carlos (Blair Underwood), a wealthy investment banker who constantly hits and abuses her. Vanessa has finally found a good man Frankie (Boris Kodjoe), but she can’t quite bring herself to trust him no matter how good he is. Most of that distrust is based on her relationship with her and Lisa’s mother, Victoria (Lynn Whitfield), a desperate gold digger who is willing to marry Lisa off to an abusive husband like Carlos just so that he can take care of both Lisa and her. With the family reunion and dark secrets coming out of every clash between Victoria and her daughters, Madea has to use all her tricks to organize the reunion and hope God can cover the rest.
Tyler Perry’s Madea’s Family Reunion is technically a better composed film than the previous adaptation of one Perry’s plays to screen, Diary of a Mad Black Woman. Family Reunion is not as funny as Dairy, although there are lots of laughs, in particularly the scenes between Madea and her foster child Nikki. However, the emphasis here is on the various relationship combinations involving Victoria, Lisa, Vanessa, Frankie, and/or Carlos, and boy, are there fireworks. The combination of soap opera hysteria and melodramatic theatrics is not only over-the-top, but also often just too damn much. The conflicts, feuds, personal demons, etc. may not match up to the commotion that is sometimes real life, but the story here is a bit of a spectacle even for film.
Still, some of it rings true. Tyler Perry’s plays are what’s known by some as “Black Gospel Theatre,” in which characters, mostly poor and working class black folk, beset by all manner of personal setbacks, dilemmas, tribulations, obstacles, etc. have to fight their way out using both inner strength and their faith in (the Christian) God, with an emphasis on both healing and faith. This might put some off, especially those who aren’t particularly religious, but this kind of Christian and prayer oriented African-American drama appeals to many working class Americans, especially blacks, but increasingly whites.
The two film adaptations, like the plays, focus on female characters, but the message is universal. While women make up a large part of Madea’s Family Reunion’s audience, men can find messages and teachings aimed at them. Perry uses Madea as comic relief, but the character isn’t a clown. She spouts wisdom, most of it very practical and useful, between feeding her guests and arguing with Cousin Joe (Perry). This makes the film half-comedy and half-religious inflected drama.
The cast of Family reunion might overact (Lynn Whitfield in particular), and some may not be really good actresses (Lisa Arrindell Anderson), but they make the occasionally overheated drama and often-inflamed dramatics work. It’s palatable; one can feel that Blair Underwood (a very good actor short on work because he’s black) is ready to strike out at anyone who gets in his way. So Madea’s Family Reunion might be a crazy family drama, and it does go overboard; still, its good intentions don’t pave a road to hell, and the movie just works.
Besides, there’s always Madea herself for a good time, and maybe that’s what Madea’s Family Reunion needed – more Madea. I don’t know why playing fat-lady drag appeals to so many black comedians, but like Martin Lawrence in the Big Momma’s House franchise, Tyler Perry does it well. Family Reunion is at its best when Madea is being politically incorrect and giving more mouthy adolescents some good old-fashioned beatings; that would have meant an even better film. So here is one call for more Madea. Maybe next time.
7 of 10
A-
Saturday, March 4, 2006
Tyler Perry’s Madea’s Family Reunion (2006)
Opening date: Friday, February 24, 2006
MPAA – PG-13 for mature thematic material, domestic violence, and sex and drug references
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Reuben Cannon and Tyler Perry
CINEMATOGRAPHER: Toyomichi Kurita
EDITOR: John Carter
COMEDY/DRAMA/ROMANCE
Starring: Tyler Perry, Lisa Arrindell Anderson, Rochelle Aytes, Lynn Whitfield, Blair Underwood, Boris Kodjoe, Keke Palmer, Henry Simmons, Mablean Ephriam, Cicely Tyson, and Maya Angelou
Southern matriarch Madea (Tyler Perry) is normally an unstoppable force, but she finds her hands full with a court ordered foster child, Nikki (Keke Palmer). Then, Madea also has to contend with planning a family reunion. That’s not enough on her plate, however; her nieces, sisters Lisa (Rochelle Aytes) and Vanessa (Lisa Arrindell Anderson), are having relationship problems. Lisa is engaged to marry Carlos (Blair Underwood), a wealthy investment banker who constantly hits and abuses her. Vanessa has finally found a good man Frankie (Boris Kodjoe), but she can’t quite bring herself to trust him no matter how good he is. Most of that distrust is based on her relationship with her and Lisa’s mother, Victoria (Lynn Whitfield), a desperate gold digger who is willing to marry Lisa off to an abusive husband like Carlos just so that he can take care of both Lisa and her. With the family reunion and dark secrets coming out of every clash between Victoria and her daughters, Madea has to use all her tricks to organize the reunion and hope God can cover the rest.
Tyler Perry’s Madea’s Family Reunion is technically a better composed film than the previous adaptation of one Perry’s plays to screen, Diary of a Mad Black Woman. Family Reunion is not as funny as Dairy, although there are lots of laughs, in particularly the scenes between Madea and her foster child Nikki. However, the emphasis here is on the various relationship combinations involving Victoria, Lisa, Vanessa, Frankie, and/or Carlos, and boy, are there fireworks. The combination of soap opera hysteria and melodramatic theatrics is not only over-the-top, but also often just too damn much. The conflicts, feuds, personal demons, etc. may not match up to the commotion that is sometimes real life, but the story here is a bit of a spectacle even for film.
Still, some of it rings true. Tyler Perry’s plays are what’s known by some as “Black Gospel Theatre,” in which characters, mostly poor and working class black folk, beset by all manner of personal setbacks, dilemmas, tribulations, obstacles, etc. have to fight their way out using both inner strength and their faith in (the Christian) God, with an emphasis on both healing and faith. This might put some off, especially those who aren’t particularly religious, but this kind of Christian and prayer oriented African-American drama appeals to many working class Americans, especially blacks, but increasingly whites.
The two film adaptations, like the plays, focus on female characters, but the message is universal. While women make up a large part of Madea’s Family Reunion’s audience, men can find messages and teachings aimed at them. Perry uses Madea as comic relief, but the character isn’t a clown. She spouts wisdom, most of it very practical and useful, between feeding her guests and arguing with Cousin Joe (Perry). This makes the film half-comedy and half-religious inflected drama.
The cast of Family reunion might overact (Lynn Whitfield in particular), and some may not be really good actresses (Lisa Arrindell Anderson), but they make the occasionally overheated drama and often-inflamed dramatics work. It’s palatable; one can feel that Blair Underwood (a very good actor short on work because he’s black) is ready to strike out at anyone who gets in his way. So Madea’s Family Reunion might be a crazy family drama, and it does go overboard; still, its good intentions don’t pave a road to hell, and the movie just works.
Besides, there’s always Madea herself for a good time, and maybe that’s what Madea’s Family Reunion needed – more Madea. I don’t know why playing fat-lady drag appeals to so many black comedians, but like Martin Lawrence in the Big Momma’s House franchise, Tyler Perry does it well. Family Reunion is at its best when Madea is being politically incorrect and giving more mouthy adolescents some good old-fashioned beatings; that would have meant an even better film. So here is one call for more Madea. Maybe next time.
7 of 10
A-
Saturday, March 4, 2006
Original "Clash of the Titans" B-Movie Fun
TRASH IN MY EYE No. 98 (of 2003) by Leroy Douresseaux
Clash of the Titans (1981)
Running time: 118 minutes (1 hour, 58 minutes)
DIRECTOR: Desmond Davis
WRITER: Beverley Cross
PRODUCERS: Ray Harryhausen and Charles H. Schneer
CINEMATOGRAPHER: Ted Moore (D.o.P.)
EDITOR: Timothy Gee
FANTASY/ACTION/ADVENTURE/FAMILY/ROMANCE
Starring: Harry Hamlin, Judi Bowker, Burgess Meredith, Laurence Olivier, Clair Bloom, Maggie Smith, Ursula Andress, Sian Phillips and Neil McCarthy
Since the original, classic, black and white film, King Kong, special effects wizard Ray Harryhausen was known for his meticulous use of stop-motion photography. This was the method of photographing models one frame at a time, from 25 to 35 frames for every one second of film that gave the models the illusion of life. Before computer-generated imagery (CGI), this was how fantastic creatures were given life in films. The special effects crew of The Empire Strikes Back made extensive use of the method for several scenes on the ice planet of Hoth. Harryhausen’s most famous and best example of his use of the technique is the famous skeleton fighters from Jason and the Argonauts.
Clash of the Titans, a big-budget spectacular back from the early 80’s, was Harryhausen’s last film before his retirement from filmmaking. The tale borrowed liberally from Greek mythology, and the master Harryhausen brought many wonderful creations to life for the film, my favorite being the gorgon, Medusa.
Perseus (Harry Hamlin) must find a way to defeat the Kraken (another Harryhausen creation) before his betrothed Andromeda (Judi Bowker) is sacrificed to the creature for the appeasement of a jealous goddess. With his trusty winged steed, Pegasus (more Harryhausen), Perseus sets off to obtain the head of Medusa, whose face turns men who gaze upon it to stone. It is the only thing that will stop the Kraken from snacking on his virginal bride-to-be.
Though the effects look dated, Clash of the Titans is fun, family-oriented fantasy. It’s exciting and adventuresome in a quaint sort of way, and it has never lost its charm. The combination of Greek myth, a cast that includes revered British actors, fantasy and fantastic creatures, with a B-movie pace makes this a delightful film treat for the young at heart.
6 of 10
B
Clash of the Titans (1981)
Running time: 118 minutes (1 hour, 58 minutes)
DIRECTOR: Desmond Davis
WRITER: Beverley Cross
PRODUCERS: Ray Harryhausen and Charles H. Schneer
CINEMATOGRAPHER: Ted Moore (D.o.P.)
EDITOR: Timothy Gee
FANTASY/ACTION/ADVENTURE/FAMILY/ROMANCE
Starring: Harry Hamlin, Judi Bowker, Burgess Meredith, Laurence Olivier, Clair Bloom, Maggie Smith, Ursula Andress, Sian Phillips and Neil McCarthy
Since the original, classic, black and white film, King Kong, special effects wizard Ray Harryhausen was known for his meticulous use of stop-motion photography. This was the method of photographing models one frame at a time, from 25 to 35 frames for every one second of film that gave the models the illusion of life. Before computer-generated imagery (CGI), this was how fantastic creatures were given life in films. The special effects crew of The Empire Strikes Back made extensive use of the method for several scenes on the ice planet of Hoth. Harryhausen’s most famous and best example of his use of the technique is the famous skeleton fighters from Jason and the Argonauts.
Clash of the Titans, a big-budget spectacular back from the early 80’s, was Harryhausen’s last film before his retirement from filmmaking. The tale borrowed liberally from Greek mythology, and the master Harryhausen brought many wonderful creations to life for the film, my favorite being the gorgon, Medusa.
Perseus (Harry Hamlin) must find a way to defeat the Kraken (another Harryhausen creation) before his betrothed Andromeda (Judi Bowker) is sacrificed to the creature for the appeasement of a jealous goddess. With his trusty winged steed, Pegasus (more Harryhausen), Perseus sets off to obtain the head of Medusa, whose face turns men who gaze upon it to stone. It is the only thing that will stop the Kraken from snacking on his virginal bride-to-be.
Though the effects look dated, Clash of the Titans is fun, family-oriented fantasy. It’s exciting and adventuresome in a quaint sort of way, and it has never lost its charm. The combination of Greek myth, a cast that includes revered British actors, fantasy and fantastic creatures, with a B-movie pace makes this a delightful film treat for the young at heart.
6 of 10
B
Thursday, April 1, 2010
Review: "Diary of a Mad Black Woman" Funny and True
TRASH IN MY EYE No. 103 (of 2005) by Leroy Douresseaux
Diary of a Mad Black Woman (2005)
Running time: 116 minutes (1 hour, 56 minutes)
Diary of a Mad Black Woman (2005)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – PG-13 for drug content, thematic elements, crude sexual references, and some violence
DIRECTOR: Darren Grant
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Reuben Cannon and Tyler Perry
CINEMATOGRAPHER: David Claessen
EDITOR: Terilyn A. Shropshire
DRAMA/COMEDY/RELIGIOUS (CHRISTIAN) with elements of romance
Starring: Kimberly Elise, Steve Harris, Tyler Perry, Shemar Moore, Cicely Tyson, Tamara Taylor, Lisa Marcos, Tiffany Evans, and Judge Mablean Ephriam
On the surface, Helen McCarter (Kimberly Elise) seemingly has the perfect life, living in a big mansion with her husband Charles McCarter (Steve Harris), a powerful Atlanta attorney, but even she knows that trouble is also bubbling beneath that same surface. All of a sudden Charles wants a divorce, and he kicks her out of their home on the eve of their 18th wedding anniversary and replaces her with a woman who has, unbeknownst to Helen, had two children for Charles. Helen is forced to return to “the ghetto,” where she finds refuge with the relatives Charles made her give up long ago because they didn’t fit in with his new high, life style. Helen finds solace and some comedy in the tragedy of her life through the insane antics of her pot smoking, gun toting, and much beloved grandmother figure, Madea (Tyler Perry). Helen also reunites with her mother, Myrtle (Cicely Tyson) , meets a new man, Orlando (Shemar Moore), and begins to keep a journal of her trial, tribulations, and recovery – The Diary of a Mad Black Woman.
Tyler Perry has made a name and a fortune for himself (after being homeless early in his career) with his black southern gospel theatre stage plays – six of them going back to 2000. Diary of a Mad Black Woman was first staged in 2001, and a recording of the Diary stage performance became part of a hit DVD series of Tyler Perry stage plays. After Fox Searchlight rejected Perry’s screenplay adaptation of Diary, he submitted it to Lions Gate Film, which green lit the project back in the Spring 2004, and for that we’re lucky.
The quality of the acting is mixed. For instance, Kimberly Elise’s voiceovers are dry, and Tyler Perry’s over-the-top antics, which may work well on the stage (I’ve never seen one of his plays performed live), is occasionally too forced even for the big screen. The script is also a bit dry, but makes some wonderful points about charity, forgiveness, Christianity, love, family, and marriage. Darren Grant’s directing holds the film together even through the clunky bits. However, the film ultimately comes together as a fabulous inspirational look at coming to terms with the trials of life, but most importantly coming to terms with one’s family: the one into which we are born, the ones which adopt us, and the ones into which we marry.
Diary of a Mad Black Woman is inspiring, uplifting, shocking, provocative, and always surprising. The message is familiar, but the ways in which the film gets us there is never dull and 99.9 percent of the time engaging. Although this is a film with a predominately black or African-American cast, Diary is universal and good for all Christian souls, even both the nominal and the sanctimonious ones.
7 of 10
B+
DIRECTOR: Darren Grant
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Reuben Cannon and Tyler Perry
CINEMATOGRAPHER: David Claessen
EDITOR: Terilyn A. Shropshire
DRAMA/COMEDY/RELIGIOUS (CHRISTIAN) with elements of romance
Starring: Kimberly Elise, Steve Harris, Tyler Perry, Shemar Moore, Cicely Tyson, Tamara Taylor, Lisa Marcos, Tiffany Evans, and Judge Mablean Ephriam
On the surface, Helen McCarter (Kimberly Elise) seemingly has the perfect life, living in a big mansion with her husband Charles McCarter (Steve Harris), a powerful Atlanta attorney, but even she knows that trouble is also bubbling beneath that same surface. All of a sudden Charles wants a divorce, and he kicks her out of their home on the eve of their 18th wedding anniversary and replaces her with a woman who has, unbeknownst to Helen, had two children for Charles. Helen is forced to return to “the ghetto,” where she finds refuge with the relatives Charles made her give up long ago because they didn’t fit in with his new high, life style. Helen finds solace and some comedy in the tragedy of her life through the insane antics of her pot smoking, gun toting, and much beloved grandmother figure, Madea (Tyler Perry). Helen also reunites with her mother, Myrtle (Cicely Tyson) , meets a new man, Orlando (Shemar Moore), and begins to keep a journal of her trial, tribulations, and recovery – The Diary of a Mad Black Woman.
Tyler Perry has made a name and a fortune for himself (after being homeless early in his career) with his black southern gospel theatre stage plays – six of them going back to 2000. Diary of a Mad Black Woman was first staged in 2001, and a recording of the Diary stage performance became part of a hit DVD series of Tyler Perry stage plays. After Fox Searchlight rejected Perry’s screenplay adaptation of Diary, he submitted it to Lions Gate Film, which green lit the project back in the Spring 2004, and for that we’re lucky.
The quality of the acting is mixed. For instance, Kimberly Elise’s voiceovers are dry, and Tyler Perry’s over-the-top antics, which may work well on the stage (I’ve never seen one of his plays performed live), is occasionally too forced even for the big screen. The script is also a bit dry, but makes some wonderful points about charity, forgiveness, Christianity, love, family, and marriage. Darren Grant’s directing holds the film together even through the clunky bits. However, the film ultimately comes together as a fabulous inspirational look at coming to terms with the trials of life, but most importantly coming to terms with one’s family: the one into which we are born, the ones which adopt us, and the ones into which we marry.
Diary of a Mad Black Woman is inspiring, uplifting, shocking, provocative, and always surprising. The message is familiar, but the ways in which the film gets us there is never dull and 99.9 percent of the time engaging. Although this is a film with a predominately black or African-American cast, Diary is universal and good for all Christian souls, even both the nominal and the sanctimonious ones.
7 of 10
B+
----------------------
Review: "Dracula 2000" is 2000 Times Bad
TRASH IN MY EYE No. 5 (of 2001) by Leroy Douresseaux
Dracula 2000 (2000)
Running time: 99 minutes; MPAA – R for violence/gore, language and some sexuality.
DIRECTOR: Patrick Lussier
WRITERS: Joel Soison, from a story by Joel Soison and Patrick Lussier
PRODUCERS: W.K. Border and Joe Soison
CINEMATOGRAPHER: Peter Pau (D.o.P.)
EDITOR: Peter Devaney Flanagan and Patrick Lussier
COMPOSER: Marco Beltrami
HORROR
Starring: Jonny Lee Miller, Justine Waddell, Gerard Butler, Danny Masterson, Jeri Ryan, Colleen Anne, Fitzpatrick, Jennifer Esposito, Lochlyn Munro, Sean Patrick Thomas, Omar Epps, Nathan Fillion, and Christopher Plummer
Patrick Lussier’s (a film editor on Mimic, Scream 2 and Scream 3) Dracula 2000 presents the fabled count as a young, handsome, curly-haired Adonis. Easily the sexiest Dracula since Christopher Lee, Gerard Butler’s vampire overwhelms the helpless screen with his stunningly good looks; no doubt, he’s got to get his props in the looks department. The problem is that his looks make it difficult to accept him as Dracula. Vampires dine on humans for Pete’s sake, and the idea of them as romance novel cover boys is pure silliness. Even Brad Pitt, Tom Cruise, and Gary Oldman had nastiness about them. This vampire’s handsome appearance would have his female (and some male) victims at his neck before he even had a chance to bare his fangs.
In this nouveau version of the classic story, Abraham Van Helsing (Christopher Plummer) is an English antiques dealer. Sometime during the 19th century, Van Helsing successfully captured Dracula (Gerard Butler). He keeps him locked in a well-fortified crypt, and he draws the Count’s cursed blood and injects it into his body to make himself immortal. That way he will always be alive to recapture Dracula if (or when) he escapes, since by this movie’s logic, the Count cannot be killed, and Van Helsing must always be there to save the world.
A small band of thieves led by a man named Marcus (Omar Epps), breaks into the crypt, and later, unwittingly release Dracula as the thieves escape to America. Loose in New Orleans, Dracula tracks Van Helsing’s daughter Mary Heller (Justine Waddell) who shares a psychic connection to Dracula via the vampire blood her father passed to her. Van Helsing’s chases the count, while his own assistant Simon Sheppard (Jonny Lee Miller, Trainspotting) follows him.
Dracula 2000 is by no means special, and the movie proudly revels in being dumb. The filmmakers never seem to aspire to give anything above the ordinary. The movie looks ordinary, and the acting outside of Plummer is poor. One can find in this movie things that one can find in many vampire movies that predate it. This story is so familiar that changing the locale to New Orleans simply isn’t enough to inject something new into the story. The movie doesn’t even try to take advantage of the wealth of stereotypes that setting a story in New Orleans offers: voodoo, Cajuns, jazz, organized crime, Harry Connick, Sr. under investigation again, Mardi Gras, etc. Apparently, the makers assumed that if they simply hiring a young, hot, photogenic cast would be enough to draw in the 18 to 35 set to watch an old story they’ve seen before. Granted that it worked to make American Pie from Porky’s, it just doesn’t work all the time.
And the little jerky “fastmo” camera thing that Stephen Norrington used in Blade to show the high speed at which vampires moved is an old idea beaten to death in Dracula 2000. Omar Epps (The Wood, Love and Basketball) is wasted. No less talented than Matt Damon, Ben Affleck, Josh Hartnett, Heath Ledger, etc., only the color of his skin keeps him from getting the good roles and keeps him slumming in crap like this.
Poor Justine Waddell’s character spends so much time swooning in and out of visions; one would swear it was because of drunkenness rather than because she shares a link with a vampire. Her psychic connection with Dracula is more annoying than informative here. Unable to stop, catch her breath, and act because she’s often running away from this Fabio version of Dracula, her potential is wasted. And her romps with Dracula’s buxom crew of vampire sex kittens, led by Jeri Ryan (the Borg erection enhancer late of Star Trek: Voyager), is not as exciting as one would think. Doe-eyed and confused, Mary Heller is a sympathetic figure in a pathetic movie; character and audience are cheated.
2 of 10
D
Dracula 2000 (2000)
Running time: 99 minutes; MPAA – R for violence/gore, language and some sexuality.
DIRECTOR: Patrick Lussier
WRITERS: Joel Soison, from a story by Joel Soison and Patrick Lussier
PRODUCERS: W.K. Border and Joe Soison
CINEMATOGRAPHER: Peter Pau (D.o.P.)
EDITOR: Peter Devaney Flanagan and Patrick Lussier
COMPOSER: Marco Beltrami
HORROR
Starring: Jonny Lee Miller, Justine Waddell, Gerard Butler, Danny Masterson, Jeri Ryan, Colleen Anne, Fitzpatrick, Jennifer Esposito, Lochlyn Munro, Sean Patrick Thomas, Omar Epps, Nathan Fillion, and Christopher Plummer
Patrick Lussier’s (a film editor on Mimic, Scream 2 and Scream 3) Dracula 2000 presents the fabled count as a young, handsome, curly-haired Adonis. Easily the sexiest Dracula since Christopher Lee, Gerard Butler’s vampire overwhelms the helpless screen with his stunningly good looks; no doubt, he’s got to get his props in the looks department. The problem is that his looks make it difficult to accept him as Dracula. Vampires dine on humans for Pete’s sake, and the idea of them as romance novel cover boys is pure silliness. Even Brad Pitt, Tom Cruise, and Gary Oldman had nastiness about them. This vampire’s handsome appearance would have his female (and some male) victims at his neck before he even had a chance to bare his fangs.
In this nouveau version of the classic story, Abraham Van Helsing (Christopher Plummer) is an English antiques dealer. Sometime during the 19th century, Van Helsing successfully captured Dracula (Gerard Butler). He keeps him locked in a well-fortified crypt, and he draws the Count’s cursed blood and injects it into his body to make himself immortal. That way he will always be alive to recapture Dracula if (or when) he escapes, since by this movie’s logic, the Count cannot be killed, and Van Helsing must always be there to save the world.
A small band of thieves led by a man named Marcus (Omar Epps), breaks into the crypt, and later, unwittingly release Dracula as the thieves escape to America. Loose in New Orleans, Dracula tracks Van Helsing’s daughter Mary Heller (Justine Waddell) who shares a psychic connection to Dracula via the vampire blood her father passed to her. Van Helsing’s chases the count, while his own assistant Simon Sheppard (Jonny Lee Miller, Trainspotting) follows him.
Dracula 2000 is by no means special, and the movie proudly revels in being dumb. The filmmakers never seem to aspire to give anything above the ordinary. The movie looks ordinary, and the acting outside of Plummer is poor. One can find in this movie things that one can find in many vampire movies that predate it. This story is so familiar that changing the locale to New Orleans simply isn’t enough to inject something new into the story. The movie doesn’t even try to take advantage of the wealth of stereotypes that setting a story in New Orleans offers: voodoo, Cajuns, jazz, organized crime, Harry Connick, Sr. under investigation again, Mardi Gras, etc. Apparently, the makers assumed that if they simply hiring a young, hot, photogenic cast would be enough to draw in the 18 to 35 set to watch an old story they’ve seen before. Granted that it worked to make American Pie from Porky’s, it just doesn’t work all the time.
And the little jerky “fastmo” camera thing that Stephen Norrington used in Blade to show the high speed at which vampires moved is an old idea beaten to death in Dracula 2000. Omar Epps (The Wood, Love and Basketball) is wasted. No less talented than Matt Damon, Ben Affleck, Josh Hartnett, Heath Ledger, etc., only the color of his skin keeps him from getting the good roles and keeps him slumming in crap like this.
Poor Justine Waddell’s character spends so much time swooning in and out of visions; one would swear it was because of drunkenness rather than because she shares a link with a vampire. Her psychic connection with Dracula is more annoying than informative here. Unable to stop, catch her breath, and act because she’s often running away from this Fabio version of Dracula, her potential is wasted. And her romps with Dracula’s buxom crew of vampire sex kittens, led by Jeri Ryan (the Borg erection enhancer late of Star Trek: Voyager), is not as exciting as one would think. Doe-eyed and confused, Mary Heller is a sympathetic figure in a pathetic movie; character and audience are cheated.
2 of 10
D
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