Review: "Meet the Browns" Movie Needs More Browns

TRASH IN MY EYE No. 54 (of 2010) by Leroy Douresseaux


Tyler Perry’s Meet the Browns (2008)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for drug content, language including sexual references, thematic elements, and brief violence
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Tyler Perry and Reuben Cannon
CINEMATOGRAPHER: Sandi Sissel
EDITOR: Maysie Hoy

DRAMA/COMEDY

Starring: Angela Bassett, David Mann, Tamela J. Mann, Lance Gross, Chloe Bailey, Mariana Tolbert, Rick Fox, Sofia Vergara, Irma P. Hall, Frankie Faison, Margaret Avery, Jenifer Lewis, Lamman Rucker, Phillip Edward Van Lear, and Tyler Perry

Tyler Perry’s Meet the Browns is a 2008 film based upon a 2004 play written by Perry (like many of his films). The film was later spun off into a cable television series of the same name.

The film focuses on Brenda Brown (Angela Bassett), a single mother living in inner city Chicago, with her three children: daughters Tosha (Chloe Bailey) and Lena (Mariana Tolbert), and her oldest child, Michael (Lance Gross), a talented high school basketball player. Struggling for years to make ends meet and keep her three kids off the street, Brenda loses her job when her company shuts down (on pay day!). Brenda is feeling very down when a letter from Georgia arrives announcing the death of the father she has never met.

Looking for a chance to get away, Brenda takes her family to an unnamed small town in Georgia for the funeral. Nothing could have prepared her, however, to meet the Browns, her long lost relatives. Crass and fun loving, this Southern clan welcomes Brenda and her children to raucous family get-togethers and lavish meals of traditional Southern fare. Brenda also once again encounters Harry Belton (Rick Fox), a basketball recruiter interested in Michael’s future who first visited the family in Chicago, but Brenda is suspicious of Harry’s intentions both towards her and her son. Meanwhile, back in Chicago, Michael is determined to help alleviate the family’s financial problems and begins to consider becoming a drug dealer. Should Brenda stay and fight it out in Chicago or return to her strange, new family in Georgia?

Like Tyler Perry’s Daddy’s Little Girls, Meet the Browns is a drama with some humor. In a way, it also seems to be two movies – one focusing on Brenda and her family’s trials and tribulations in Chicago, and the other (the shorter of the two) focusing on Brenda’s small town relatives, the Browns. The parts of the film that take place in Chicago feature Perry’s usual besieged, single-parent melodrama, but it isn’t as good as what was in Daddy’s Little Girls. Frankly, except for a few sequences, the only part of Brenda-in-Chicago that I enjoyed was the delightful comic performance by Sofia Vergara as Brenda’s coworker and friend, Cheryl.

Meet the Browns is at its best when we are meeting the Browns, especially the wonderful Mr. Brown (David Mann), who is the main character of the spin-off television series. Jenifer Lewis also gives a salty comic turn as Vera Brown, and this film would have been better had Lewis had a bigger role. Former Los Angeles Laker, Rick Fox, gives an average performance, a bit stiff and dry, about what one would expect from former professional athletes taking up acting.

Another problem with this movie is that the lead actress, Angela Bassett, often seems out of place. There are moments when Bassett’s turn as Brenda Brown is pitch-perfect and poignant, but there are indeed moments when Bassett overacts and Brenda comes across as shrill. It is a testament to her skill that those bad moments don’t overwhelm the entire performance, as well as the movie

Audiences that enjoy Tyler Perry’s usual mixture of moralizing, affection, and forgiveness mixed with boisterous comedy and mockery will enjoy Meet the Browns, although as Perry films go, it is not one of his better films.

5 of 10
B-

Monday, July 19, 2010

Alien Anthology Arrives on Blu-ray October 25

ALIEN ANTHOLOGY: The Ultimate Collection Featuring All Four ALIEN Films Hatches On Blu-ray from October 25 With Never-Before-Seen Bonus Material And The Debut Of The Exclusive and Groundbreaking Interactive Experience, MU-TH-UR Mode

ON BLU-RAY, EVERYONE WILL HEAR YOU SCREAM

Fans Have A Chance To Board The Nostromo During Comic-Con At Booth #3528 And Enter The Hibernation Chamber Of The Doomed Intergalactic Crew

LOS ANGELES--(BUSINESS WIRE)--Sometimes, the scariest things come from within. Twentieth Century Fox Home Entertainment presents one of the most successful and terrifying film franchises of all time when the ALIEN ANTHOLOGY debuts on Blu-ray for the first time ever from October 25 internationally and on October 26 in North America. All four ALIEN films have been reinvigorated for an intense Blu-ray high-definition viewing experience. The release also marks the debut of MU-TH-UR Mode, a fully interactive companion that takes the extensive materials in the ALIEN ANTHOLOGY and puts them in the user’s hand – connecting fans to special features on all six discs and instantly providing an index of all available ALIEN content, including over 60 hours of special features and over 12,000 images.

The ALIEN ANTHOLOGY is a truly unique home entertainment experience. For the first time ever, the studio has united the material from every home video release of the ALIEN saga including the 1991/1992 laserdisc releases, the 1999 “Legacy” release and 2003’s groundbreaking ALIEN QUADRILOGY release into one complete Blu-ray collection. The set also includes two versions of each film and over four hours of previously unreleased exclusive material such as original screentests of Sigourney Weaver prior to filming the original ALIEN, unseen deleted scenes, thousands of still photographs from the Fox archives, the previously unseen original cut of “Wreckage and Rage: The Making of ALIEN3,” and much, much more.

The ALIEN ANTHOLOGY will be available for a suggested retail price of $139.99 U.S. / $179.99 Canada. Prebook is September 22.

The ALIEN ANTHOLOGY is just one aspect of Twentieth Century Fox Home Entertainment’s yearlong campaign to honor the studio’s 75th birthday. This year the division will debut several select fan-favorites on Blu-ray for the first time ever including The Rocky Horror Picture Show, William Shakespeare’s Romeo + Juliet, Moulin Rouge!, The Last of the Mohicans1 and The Sound of Music.

DISC ONE: ALIEN
1979 Theatrical Version
2003 Director’s Cut with Ridley Scott Introduction
Audio Commentary by Director Ridley Scott, Writer Dan O’Bannon, Executive Producer Ronald Shusett, Editor Terry Rawlings, Actors Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton and John Hurt
Audio Commentary (for Theatrical Cut only) by Ridley Scott
Final Theatrical Isolated Score by Jerry Goldsmith
Composer’s Original Isolated Score by Jerry Goldsmith
Deleted and Extended Scenes
MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream

DISC TWO: ALIENS
1986 Theatrical Version
1991 Special Edition with James Cameron Introduction
Audio Commentary by Director James Cameron, Producer Gale Anne Hurd, Alien Effects Creator Stan Winston, Visual Effects Supervisors Robert Skotak and Dennis Skotak, Miniature Effects Supervisor Pat McClung, Actors Michael Biehn, Bill Paxton, Lance Henriksen, Jenette Goldstein, Carrie Henn and Christopher Henn
Final Theatrical Isolated Score by James Horner
Composer’s Original Isolated Score by James Horner
Deleted and Extended Scenes
MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream

DISC THREE: ALIEN3
1992 Theatrical Version
2003 Special Edition (Restored Workprint Version)
Audio Commentary by Cinematographer Alex Thomson, B.S.C., Editor Terry Rawlings, Alien Effects Designers Alec Gillis and Tom Woodruff, Jr., Visual Effects Producer Richard Edlund, A.S.C., Actors Paul McGann and Lance Henriksen
Final Theatrical Isolated Score by Elliot Goldenthal
Deleted and Extended Scenes
MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream

DISC FOUR: ALIEN RESURRECTION
1997 Theatrical Version
2003 Special Edition with Jean-Pierre Jeunet Introduction
Audio Commentary by Director Jean-Pierre Jeunet, Editor Hervé Schneid, A.C.E., Alien Effects Creators Alec Gillis and Tom Woodruff, Jr., Visual Effects Supervisor Pitof, Conceptual Artist Sylvain Despretz, Actors Ron Perlman, Dominique Pinon and Leland Orser
Final Theatrical Isolated Score by John Frizzell
Deleted and Extended Scenes
MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream

DISC FIVE: MAKING THE ANTHOLOGY
In addition to over 12 hours of candid, in-depth documentaries, you now have the ability to go even deeper into Alien Anthology history with nearly five hours of additional video Enhancement Pods created exclusively for this collection, presenting behind-the-scenes footage, raw dailies and interview outtakes from all four films. At topical points in the documentaries, you may access these pods to enhance your experience, or watch them on their own from the separate Enhancement Pod index.

The Beast Within: Making ALIEN
Star Beast: Developing the Story
The Visualists: Direction and Design
Truckers in Space: Casting
Fear of the Unknown: Shepperton Studios, 1978
The Darkest Reaches: Nostromo and Alien Planet
The Eighth Passenger: Creature Design
Future Tense: Editing and Music
Outward Bound: Visual Effects
A Nightmare Fulfilled: Reaction to the Film
Enhancement Pods
Superior Firepower: Making ALIENS
57 Years Later: Continuing the Story
Building Better Worlds: From Concept to Construction
Preparing for Battle: Casting and Characterization
This Time It’s War: Pinewood Studios, 1985
The Risk Always Lives: Weapons and Action
Bug Hunt: Creature Design
Beauty and the Bitch: Power Loader vs. Queen Alien
Two Orphans: Sigourney Weaver and Carrie Henn
The Final Countdown: Music, Editing and Sound
The Power of Real Tech: Visual Effects
Aliens Unleashed: Reaction to the Film
Enhancement Pods
Wreckage and Rage: Making ALIEN3
Development Hell: Concluding the Story
Tales of the Wooden Planet: Vincent Ward’s Vision
Stasis Interrupted: David Fincher’s Vision
Xeno-Erotic: H.R. Giger’s Redesign
The Color of Blood: Pinewood Studios, 1991
Adaptive Organism: Creature Design
The Downward Spiral: Creative Differences
Where the Sun Burns Cold: Fox Studios, L.A. 1992
Optical Fury: Visual Effects
Requiem for a Scream: Music, Editing and Sound
Post-Mortem: Reaction to the Film
Enhancement Pods
One Step Beyond: Making ALIEN RESURRECTION
From the Ashes: Reviving the Story
French Twist: Direction and Design
Under the Skin: Casting and Characterization
Death from Below: Fox Studios, Los Angeles, 1996
In the Zone: The Basketball Scene
Unnatural Mutation: Creature Design
Genetic Composition: Music
Virtual Aliens: Computer Generated Imagery
A Matter of Scale: Miniature Photography
Critical Juncture: Reaction to the Film
Enhancement Pods
MU-TH-UR Mode Interactive Experience to Access and Control Enhancement Pods

DISC SIX: THE ANTHOLOGY ARCHIVES
ALIEN
Pre-Production
First Draft Screenplay by Dan O’Bannon
Ridleygrams: Original Thumbnails and Notes
Storyboard Archive
The Art of Alien: Conceptual Art Portfolio
Sigourney Weaver Screen Tests with Select Director Commentary
Cast Portrait Gallery
Production
The Chestbuster: Multi-Angle Sequence with Commentary
Video Graphics Gallery
Production Image Galleries
Continuity Polaroids
The Sets of Alien
H.R. Giger’s Workshop Gallery
Post-Production and Aftermath
Additional Deleted Scenes
Image & Poster Galleries
Experience in Terror
Special Collector’s Edition LaserDisc Archive
The Alien Legacy
American Cinematheque: Ridley Scott Q&A
Trailers & TV Spots

ALIENS
Pre-Production
Original Treatment by James Cameron
Pre-Visualizations: Multi-Angle Videomatics with Commentary
Storyboard Archive
The Art of Aliens: Image Galleries
Cast Portrait Gallery
Production
Production Image Galleries
Continuity Polaroids
Weapons and Vehicles
Stan Winston’s Workshop
Colonial Marine Helmet Cameras
Video Graphics Gallery
Weyland-Yutani Inquest: Nostromo Dossiers
Post-Production and Aftermath
Deleted Scene: Burke Cocooned
Deleted Scene Montage
Image Galleries
Special Collector’s Edition LaserDisc Archive
Main Title Exploration
Aliens: Ride at the Speed of Fright
Trailers & TV Spots

ALIEN3
Pre-Production
Storyboard Archive
The Art of Arceon
The Art of Fiorina
Production
Furnace Construction: Time-Lapse Sequence
EEV Bioscan: Multi-Angle Vignette with Commentary
Production Image Galleries
A.D.I.’s Workshop
Post-Production and Aftermath
Visual Effects Gallery
Special Shoot: Promotional Photo Archive
Alien3 Advance Featurette
The Making of Alien3 Promotional Featurette
Trailers & TV Spots

ALIEN RESURRECTION
Pre-Production
First Draft Screenplay by Joss Whedon
Test Footage: A.D.I. Creature Shop with Commentary
Test Footage: Costumes, Hair and Makeup
Pre-Visualizations: Multi-Angle Rehearsals
Storyboard Archive
The Marc Caro Portfolio: Character Designs
The Art of Resurrection: Image Galleries
Production
Production Image Galleries
A.D.I.’s Workshop
Post-Production and Aftermath
Visual Effects Gallery
Special Shoot: Promotional Photo Archive
HBO First Look: The Making of Alien Resurrection
Alien Resurrection Promotional Featurette
Trailers & TV Spots

ANTHOLOGY
Two Versions of Alien Evolution
The Alien Saga
Patches and Logos Gallery
Aliens 3D Attraction Scripts and Gallery
Aliens in the Basement: The Bob Burns Collection
Parodies
Dark Horse Cover Gallery
Patches and Logos Gallery
MU-TH-UR Mode Interactive Experience


About Twentieth Century Fox Home Entertainment
Twentieth Century Fox Home Entertainment, LLC (TCFHE) is a recognized global industry leader and a subsidiary of Twentieth Century Fox Film Corporation, a News Corporation company. Representing 75 years of innovative and award-winning filmmaking from Twentieth Century Fox, TCFHE is the worldwide marketing, sales and distribution company for all Fox film and television programming, acquisitions and original productions on DVD, Blu-ray Disc Digital Copy, Video On Demand and Digital Download. The company also releases all products globally for MGM Home Entertainment. Each year TCFHE introduces hundreds of new and newly enhanced products, which it services to retail outlets from mass merchants and warehouse clubs to specialty stores and e-commerce throughout the world.

ALIEN ANTHOLOGY

Street Date: October 26, 2010
Prebook Date: September 22, 2010
Screen Format:
ALIEN: Widescreen 2.35:1
ALIENS: Widescreen 1.85:1
ALIEN3: Widescreen 2.35:1
ALIEN RESURRECTION: Widescreen 2.35:1

Audio:
ALIEN: English 5.1 DTS-HD Master Audio, English 4.1 Dolby Surround, English Dolby Surround, French 5.1 DTS, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital

ALIENS: English 5.1 DTS-HD Master Audio, English 4.1 Dolby Surround, English Dolby Surround, French 5.1 DTS, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital

ALIEN3: English 5.1 DTS-HD Master Audio, English, French 5.1 DTS, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital

ALIEN RESURRECTION: English 5.1 DTS-HD Master Audio, English, French 5.1 DTS, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital

Subtitles: English, French, Spanish, Portuguese
U.S. Rating: R
Total Run Time: 1020 Minutes
Closed Captioned: Yes

1 North America only.

Review: "Inception" is Fantastic but Hollow

TRASH IN MY EYE No. 53 (of 2010) by Leroy Douresseaux

Inception (2010)
Running time: 148 minutes (2 hours, 28 minutes)
MPAA – PG-13 for sequences of violence and action throughout
WRITER/DIRECTOR: Christopher Nolan
PRODUCERS: Christopher Nolan and Emma Thomas
CINEMATOGRAPHER: Wally Pfister
EDITOR: Lee Smith
COMPOSER: Hans Zimmer

SCI-FI/FANTASY/ACTION/THRILLER

Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Tom Hardy, Ken Watanabe, Dileep Rao, Cillian Murphy, Tom Berenger, Marion Cotillard, Pete Postlethwaite, and Michael Caine

Christopher Nolan, the director of The Dark Knight, has unleashed a stunning new film – a visionary spectacle of spectacular visuals called Inception. Filled with mind-blowing visual effects, Inception is a mind-bending journey through the dreams and the subconscious. It will take your breath away; even dazzle you as long as you don’t pay attention to the shallow, clumsily built framework of a story.

Inception follows a thief named Dom Cobb (Leonardo DiCaprio) who has mastered a rather unusual craft called “extraction.” As an “extractor”, Cobb has the power the enter people’s dreams by thrusting himself into their subconscious, which gives him access to ideas and information that would be impossible to get otherwise. Cobb’s rare talent, ability, and technological know-how have made him a coveted player in this new frontier of corporate espionage, but this is a treacherous field that has also made him an international fugitive and keeps him from his family.

Now, Saito (Ken Watanabe), a Japanese businessman has offered Cobb a chance to clear his name. Saito wants Cobb to pull off the difficult (and thought to be impossible) job of inception – using a dream to plant an idea within a person’s mind. Their target is Robert Fischer, Jr. (Cillian Murphy), the heir to mega-corporation. Cobb and his team, including his point man, Arthur (Joseph Gordon-Levitt) and the newest member, college graduate student Ariadne (Ellen Page), think they’re about to pull off the perfect heist, until a dangerous enemy begins to track their every move. And this enemy is someone Cobb should have seen coming.

Far all its razzle dazzle, Inception is a heist movie. It’s like blending The Matrix with Ocean’s Eleven. Imagine Neo and his friends going into the Matrix not to fight the machine, but to steal people’s stuff. Inception may be a trippy trip like The Matrix, but as a heist movie, Cobb and company aren’t as cool as Danny Ocean’s crew.

But it is difficult to feel for the characters when nothing in this movie feels real, and other than the impressive imagery and effects, nothing else is powerful in this story. The characters are shallow, although they all have potential, and the female characters, Marion Cotillard’s Mallorie and (the ridiculously skinny) Ellen Page’s Ariadne, are especially wasted on the flimsy character drama. In fact, it is only Leonardo DiCaprio’s usually intense performance that makes the Dom Cobb character interesting, even at times alluring. The movie is so visually overwhelming, yet the story is about nothing. As a movie, Inception is merely an ingenious game.

Perhaps, Christopher Nolan has stolen into our dreams and implanted the idea that this is a great movie, and it is indeed an exceptional movie. Thanks to composer Hans Zimmer’s pounding score, Inception is even invigorating. However, this is a riff on The Matrix, and while its ending may leave a smile on your face (as it did to me), the lack of story makes Inception more a great experience than a great movie or story.

7 of 10
A-

Sunday, July 18, 2010

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Tyrese and Ludacris Return to "The Fast and the Furious"

According to this entry at AOL's Black Voices "BV on Movies" blog, actor-singer Tyrese Gibson and rapper-actor Ludacris announced via their Twitter accounts that they will be in the fifth installment of the The Fast and the Furious franchise.  The movie is tentatively titled "Fast Five."

"Just landed in Puerto Rico. Shooting for Fast & Furious 5 is about to be underway," tweeted Ludacris.

Of course, Vin Diesel and Paul Walker reprising their roles as Dominic Toretto and Brian O'Conner.

Tyrese and Ludacris appeared in the 2003 entry in the franchise, 2 Fast 2 Furious, the first sequel to 2001's The Fast and the Furious.  Tyrese played Roman Pearce, Brian's boyhood friend who is on house arrest after serving time in prison for which he still blames Brian. Ludacris played Tej Parker, a race host and a friend of Brian's, who arranges high stakes street racing events that Brian often races in and wins.

Director Justin Lin, who helmed the third and fourth films, The Fast and the Furious: Tokyo Drift and Fast & Furious, is returning for "Fast Five."  Dwayne "The Rock" Johnson will play a lawman in pursuit of Dominic and Brian in the next filmm, which is scheduled to hit theatres in June 10, 2011.

Review: "The Twilight Samurai" Different and Moving

TRASH IN MY EYE No. 53 (of 2005) by Leroy Douresseaux


Tasogare seibei (2002)
International English title: The Twilight Samurai (2003)
COUNTRY OF ORIGIN: Japan
Running time: 129 minutes (2 hours, 9 minutes)
DIRECTOR: Yoji Yamada
WRITERS: Yoshitaka Asama and Yoji Yamada (based upon the three novels by Shuuhei Fujisawa)
PRODUCERS: Hiroshi Fukazawa, Shigehiro Nakagawa, and Ichiro Yamamoto
CINEMATOGRAPHY: Mutsuo Naganuma
EDITOR: Iwao Ishii
Academy Award nominee

DRAMA with elements of romance

Starring: Hiroyuki Sanada, Rie Miyazawa, Min Tanaka, Reiko Kusamura, Erina Hashiguchi, Miki Ito, Mitsuro Fukikoshi, and Tetsuro Tamba

Although trained as a samurai and belonging to a samurai clan, Seibei Iguchi (Hiroyuki Sanada) doesn’t fight alongside his clan in any battles. In the late Edo period of Japanese history, this samurai is a bookkeeper who rushes home at dusk, but doesn’t join his comrades in any festivities. Instead, the recent widower devotes himself to his two young daughters, Kayana (Miki Ito) and Ito (Erina Hashiguchi), and his ailing mother, Kino (Reiko Kusamura); that and his lack of hygiene make him a curiosity to his fellow clansmen, who call him Twilight Seibei. However, his defense of his friend, Michinojo Iinuma (Mitsuro Rukikoshi), and his unusual fighting technique bring him unwanted attention and soon an assignment that could cost him his life – just as he is accepting his love for his childhood friend, Michinojo’s sister, Tomoe Iinuma (Rie Miyazawa).

Tasogare seibei or The Twilight Samurai is a heartfelt elegy about man who doesn’t want to rise above his station in the world, but just wants to take care of his children and mother. Director Yoji Yamada takes a huge risk in losing his audience’s patience with the film’s slowly moving character drama. He focuses on somber, everyday detail to build Seibei’s character, a taciturn and impoverished man who eschews happiness for duty to family, as if they were mutual exclusive.

One might be fooled by the title, but this isn’t some martial arts slash fest. Seibei’s existence is bookkeeping and piecework to put food on his family’s table. However, there are hints at his past, both as a warrior and as a husband who believes that his late wife was disappointed in his material status, that come through gradually in this film. Thankfully, Sanada has the patience and acting chops to play with such sorrow until the film does have a chop-socky moment – a muscular and awkward fight scene that is more about one’s status in society than it is about power and violence.

There are good performances all around, and the voice over narration by an adult Kayana enhances the story of the father and adds easy commentary about this particular era of Japanese history. The Twilight Samurai, a 2004 Oscar nominee for best foreign-language film, is an eloquent domestic drama that doesn’t play to the usual samurai melodrama and shtick, but is still as moving as the most battling samurai films.

9 of 10
A+

NOTES:
2004 Academy Awards: 1 nomination: “Best Foreign Language Film (Japan)

Entertainment Weekly Covers Green Lantern Movie and Comic-Con International

From Entertainment Weekly’s July 23, 2010 issue (on newsstands nationwide Friday, July 16):

ENTERTAINMENT WEEKLY’S SPECIAL COMIC-CON PREVIEW

THIS WEEK’S SPECIAL ISSUE HAS THE EXCLUSIVE FIRST LOOK AT RYAN REYNOLDS AS GREEN LANTERN

New York – Ryan Reynolds is Hollywood’s newest superhero, as he prepares to star in next summer’s Green Lantern. This week’s issue of Entertainment Weekly, which is the third annual Comic-Con Preview issue, takes a look at whether Reynolds’ power ring (and his six-pack abs) can save the universe.

As he was propelled at 60 feet a second on a wire to create the illusion he can fly, Reynolds opens up about the perils of flying at high speed. “The first time you do it, you’re deeply considering an adult diaper,” he admits. He’s spent countless hours training for elaborately choreographed fight scenes and maintained a monklike diet. “It’s all part of the job, so I guess I can’t complain,” he says. “You spend one day a week eating what you want and the other six days eating drywall and wood chips.”

Since being created in 1940, Green Lantern has been one of the most beloved characters in the DC Comics stable of heroes, but beyond a hardcore audience of fanboys, he’s basically known as just a guy in a green suit with a magical ring. “Green Lantern doesn’t enjoy the familiarity or renown of, say, Batman or Spider-Man,” producer Donald De Line acknowledges. “We have to make the movie stand on its own.”

Figuring out the right way to bring the story to the screen wasn’t simple. In 2004, reports surfaced that a zany comedic take on Green Lantern was in the works, but fanboys didn’t like it and the project quickly died. Greg Berlanti, a comic-book fan and TV producer (Brothers & Sisters), wrote a screenplay and pitched Warner Bros. an outline for a grand trilogy. “I had to convince them this was the most valuable property they hadn’t tapped into and that it wasn’t just a cartoony thing about a guy with a magic ring,” says Berlanti. “Of all the comic-book movies, there hadn’t been something with an Americana feeling on earth and an epic feeling in space.”

Reynolds got hooked by the notion that power-ring slinging intergalactic do-gooder Hal Jordan’s ring can conjure anything he dreams up. And the actor already had experience in the superhero realm, playing the acerbic Deadpool in X-Men Oirins: Wolverine and flirted with playing the Flash. Though a Deadpool spin-off is in development, Reynolds foresees no problem juggling two superhero characters. “Green Lantern is a totally different bag of tricks,” he says. “I wouldn’t think twice about playing a cop in one movie and an FBI agent in another one.”

With Reynolds’ wife, Scarlett Johansson, playing Black Widow in the Iron Man franchise, he says, “We have a lot of comic books lying around the house – more than the average young married couple.”

The actor reflects on the burden of carrying a superhero movie on his shoulders: “The pressure is all on me,” he says. “I try not to think too much about that.” He muses about the merchandising blitz that this summer tentpole movie will eventually unleash, a bonanza of green-hued products, each with his face plastered on it. “There’ll be the Green Lantern hubcaps,” he says drily. “The Green Lantern terry-cloth onesie. The Green Lantern prostate check.” For his part, there’s just one souvenir he wants when it’s all over: “I’m definitely leaving with a ring,” he says. “And maybe an ulcer.”


PLUS: AN EXCLUSIVE COMIC-CON PREVIEW

Each July, Hollywood offers sneak peeks at the hottest movies and TV shows at Comic-Con, the ultimate comic-book convention. This week’s issue offers an early look at some of this year’s coolest stuff, including Thor. Comic-book history might have been very different if Thor didn’t have a hammer but instead fought evil with, say, needle-nose pliers. “The look of the hammer was the very first conversation I had the day I started the job,” says director Kenneth Branagh. “We had conversations about Thor’s hammer the night before we started shooting. We had conversations about the hammer – the look of the hammer, how to shoot it – on the set. We’re still talking about the hammer.” Other exclusive sneak peeks include Sucker Punch, Buffy the Vampire Slayer: Season 8 Motion Comic, Tron: Legacy, Paul, Don’t Be Afraid of the Dark, Scott Pilgrim Vs. The World, The Expendables, and more. (Cover Story Package, Page 36)

Link for full story on EW.com: http://popwatch.ew.com/2010/07/15/green-lantern-ryan-reynolds/

See related story at I Reads You blog.

Review: THE PRESTIGE's Brilliance is No Trick

TRASH IN MY EYE No. 225 (of 2006) by Leroy Douresseaux

The Prestige (2006)
Running time: 128 minutes (2 hours, 8 minutes)
MPAA – PG-13 for violence and disturbing images
DIRECTOR: Christopher Nolan
WRITERS: Jonathan Nolan and Christopher Nolan (based upon the novel by Christopher Priest)
PRODUCERS: Emma Thomas, Aaron Ryder, and Christopher Nolan
CINEMATOGRAPHER: Wally Pfister, ASC
EDITOR: Lee Smith A.C.E.
Academy Award nominee

DRAMA/THRILLER with elements of sci-fi and fantasy

Starring: Hugh Jackman, Christian Bale, Michael Caine, Piper Perabo, Rebecca Hall, Scarlett Johansson, David Bowie, and Andy Serkis

Director Christopher Nolan (Memento) reunites with two of the stars of his acclaimed hit film, Batman Begins – Christian Bale and Michael Caine – in The Prestige. Based upon the acclaimed novel of the same title by highly respected science fiction author, Christopher Priest, the film (like the book) blends sci-fi and history in telling the tale of magic and of an out-of-control rivalry.

In turn-of-the-century London, magicians are celebrities of the highest order, and in this age in which their craft can turn them into idols, two young magicians and colleagues are each ready to carve his path to fame and vast fortune. A tragic accident, however, turns them into enemies-for-life – bitter rivals intent on outdoing and upending each other. They’re either causing grave physical injury to one another or ruining each other’s act. The flashy showman and American, Robert Angier (Hugh Jackman) calls himself the “The Great Danton,” and he is obsessed with discovering the secrets of the edgy purist, Alfred Borden (Christian Bale), a.k.a. “The Professor,” who is a genius at inventing new stage tricks, but who lacks Angier’s showmanship. Borden is technically the better magician, and Angier lives to see the shock on his audiences’ faces. Their competition and rivalry grow more ferocious, almost with each trick and every show.

They drag everyone around them into their private war, including Cutter (Michael Caine), Angier’s “ingeneur” (a technician who actually creates magic tricks) and Olivia Wenscombe (Scarlett Johannson), Angier’s stage assistant, and Sarah (Rebecca Hall), Borden’s wife. Angier eventually turns to the fantastic new power of electricity and the brilliance of eccentric scientist, Nikola Tesla (David Bowie), in his bid to outdo Borden. But will the secret of “the prestige” take them too far into the darkest reaches of what is possible?

The Prestige is simply a riveting thriller built within a compelling drama, and the drama itself evolves from mesmeric characters. The Prestige is less like the literal-minded Batman Begins, and more like Nolan’s breakthrough flick, Memento – a time-shifting tale. The story (which Nolan co-wrote with his brother, Jonathan) hops back forth through the past, present, and future like Pulp Fiction, but demands your attention like The Sixth Sense. Grown up sensibilities and adult viewers demand engaging dramatic thrillers, and Christopher Nolan proves that he can deliver it, seemingly with stunning ease. The film isn’t without fault, as it is too dry in some segments and contrived in others. The end stumbles just a tad and overstates the obvious, but its flaws make actually make The Prestige worthy of contemplation long after the screen has faded to black.

Nolan’s cast gives him its all. Hugh Jackman completely sells the desperate and shamefully vain Robert Angier, while the always intense Christian Bale embodies Alfred Borden’s single-minded pursuit of craft and purity. Caine gives his edgiest performance since The Quiet American as Cutter. David Bowie is simply… delicious as the real-life Tesla, and Andy Serkis is a sweet curveball as the dodgy Alley.

Nolan also reunited key members of his technical crew from Batman Begins for The Prestige, and they play key roles (with brilliance) in creating an environment that is totally in synch with the film’s plot and setting. They make sure the visuals are tight, so that when the engaged viewer watches The Prestige with a careful eye, he will be delighted by surprising pledges, delightful turns, and one mind-numbing prestige.

8 of 10
A

Friday, November 03, 2006

NOTES:
2007 Academy Awards: 2 nominations: “Best Achievement in Art Direction” (Nathan Crowley-art director and Julie Ochipinti-set decorator) and “Best Achievement in Cinematography” (Wally Pfister)

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