In "Star Trek The Motion Picture" Old Friends Returned

TRASH IN MY EYE No. 210 (of 2006) by Leroy Douresseaux


Star Trek: The Motion Picture (1979)
Running time: 132 minutes (2 hours, 12 minutes)
MPAA – PG for sci-fi action and mild language
DIRECTOR: Robert Wise
WRITER: Harold Livingston; from a story by Alan Dean Foster (based on the TV series created by Gene Roddenberry)
PRODUCER: Gene Roddenberry
CINEMATOGRAPHER: Richard H. Kline
EDITOR: Todd Ramsay

SCI-FI/ADVENTURE with elements of drama

Starring: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, and Stephen Collins

The original cast of the 1960’s sci-fi television series, “Star Trek,” reunites aboard the U.S.S. Enterprise with Capt. James T. Kirk (William Shatner), now admiral, back in the big chair. Their mission is to intercept a giant alien ship steadily approaching Earth and destroying everything in its path. Kirk must also square off with the man who was the Enterprise’s new captain, Commander Decker (Stephen Collins), until Kirk displaced Decker and made him his assistant.

In 1979, Star Trek: The Motion Picture blasted onto movie screens, much to the delight of Trekkies/Trekkers (Star Trek fanatics) and TV viewers who made the original series, which ran on broadcast TV from 1966-69, a smash hit in syndication during the 1970s.

While not the best of the Star Trek films featuring the cast of the original series, it’s joyous simply because the film marked the return of the original cast. The film has many good moments, some of them awe-inspiring and others deeply emotional (such as the scene in which Kirk sees the Enterprise in dock for the first time in over two years). While at times, it comes across as a Star Trek riff on 2001: A Space Odyssey, Star Trek: The Motion Picture hits all the right notes for those of us who are not fanatics, but who have a soft spot for the original Star Trek – warts and all.

7 of 10
B+

NOTES:
1980 Academy Awards: 3 nominations: “Best Art Direction-Set Decoration” (Harold Michelson, Joseph R. Jennings, Leon Harris, John Vallone, and Linda DeScenna), “Best Effects, Visual Effects” (Douglas Trumbull, John Dykstra, Richard Yuricich, Robert Swarthe, David K. Stewart, and Grant McCune), and “Best Music, Original Score” (Jerry Goldsmith)

1980 Golden Globes: 1 nomination: “Best Original Score - Motion Picture” (Jerry Goldsmith)

Tuesday, October 10, 2006

VIZ Cinema Presents the Bad Girls

BAD GIRLS & WILD WOMEN OPEN A FUN FILLED WEEK OF J-POP INSPIRED EVENTS AT NEW PEOPLE

Shochu Distiller Haamonii Hosts Pre-Show Reception; TokyoScope DELUXE Is The 1st of 5 Nights Of Pure Japanese Pop Culture Leading Up To The J-Pop Summit Festival 2010 On September 18th

NEW PEOPLE and VIZ Cinema have announced a very special session of the popular TokyoScope Talk DELUXE film lecture series with a look at sexy cinematic vixens in Bad Girls & Wild Women on Monday, September, 13th at 6:00pm.

The evening will be complemented by a rare theatrical screening of the classic “pinky violence” prison film Female Prisoner #701: Scorpion. Adults only due to mature subject matter; 18+ General admission tickets for the discussion and film screening are $20.00.

TokyoScope Talk DELUXE: Bad Girls & Wild Women finds hosts Patrick Macias (Editor, Otaku USA), delving into the dark world of Stray Cats, Female Prisoners, Delinquent Bosses and other sexy bad girl roles from Japanese cult cinema. For the “DELUXE” session of the series, Macias will introduce the history of classic pinky violence, followed by director Shunya Ito’s film, Female Prisoner #701: Scorpion (1972), which is based on a manga comic series by Toru Shinohara, and epitomized the exploitation film genre that was popular in Japan the 70s. This event will also be followed by an after-party and Q&A.

For the pre-event reception beginning at 6:00pm, NEW PEOPLE will offer J-Pop gift bags and present inventive spirits and beverages from Shochu distiller Haamonii. Haamonii is a new low calorie Japanese spirit created from over 400 years of tradition that mixes like vodka but with far less calories and a very smooth, floral-inspired taste. Haamonii, which means harmony in Japanese, won a gold medal from the Beverage Tasting Institute and is hand‐crafted in small batches in the San Francisco Bay Area.

This lively event also kicks off J-Pop Week, offering five consecutive nights of pop culture inspired events that culminate with the J-Pop Summit Festival 2010, on Saturday, September 18th in San Francisco’s Japantown. Tickets are now available on www.J-Pop.com.

J-Pop Week continues at NEW PEOPLE every night through Friday, September 17th with a variety of events celebrating Japanese and Asian film, anime, fashion design, music and other forms of pop culture. Special gift bags containing a variety of fun premiums will be given to all ticket holders each night. Check www.J-Pop.com for a complete list of nightly events.

The J-Pop Summit Festival 2010 will present a variety of fun Japanese pop-inspired attractions including fashion shows, a theatrical film premiere, live art performances, and mini-concerts by some of Japan’s hottest bands. Innovative artists and companies from the Bay area and Japan will join in with an array of products for sale in open air displays on both sides of Post Street and a food court highlighting Japanese cuisine will further complement the celebration. More details are available at: www.J-Pop.com.

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.


About NEW PEOPLE
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: Roman Polanski Spins Thrills in "The Ghost Writer"

TRASH IN MY EYE No. 74 (of 2010) by Leroy Douresseaux

The Ghost Writer (2010)
Running time: 128 minutes (2 hours, 8 minutes)
MPAA – PG-13 for language, brief nudity/sexuality, some violence and a drug reference
DIRECTOR: Roman Polanski
WRITERS: Roman Polanski; from an adaptation by Robert Harris (based upon the novel The Ghost by Robert Harris)
PRODUCERS: Robert Benmussa, Roman Polanski, and Alain Sarde
CINEMATOGRAPHER: Pawel Edelman (director of photography)
EDITOR: Hervé de Luze
COMPOSER: Alexandre Desplat

MYSTERY/SUSPENCE/THRILLER

Starring: Ewan McGregor, Pierce Brosnan, Kim Cattrall, Olivia Williams, Timothy Hutton, Tom Wilkinson, Jim Belushi, Robert Pugh, Jon Bernthal, Tim Preece, and Eli Wallach

In the film Green Zone, director Paul Greengrass (The Bourne Ultimatum) and Oscar-winning screenwriter Brian Helgeland presented their critique of the run-up to the Iraq War within the framework of a military action thriller starring Matt Damon.

Oscar-winning director Roman Polanski (The Pianist) and co-writer Robert Harris also have something to say about Iraq. They present their criticism of former British Prime Minister Tony Blair’s cooperation with the U.S. invasion of Iraq as a murder mystery and political thriller entitled The Ghost Writer, based upon Harris’ novel, The Ghost.

In the film, Ewan McGregor plays a successful British ghostwriter, a professional writer who is paid to write books, articles, reports, etc. that are credited to another person. He is hired by a giant American publishing house to ghostwrite the memoirs of former British Prime Minister Adam Lang (Pierce Brosnan). McGregor’s character is unnamed in the story, but he refers to himself and is known to others as “The Ghost” or “Lang’s Ghost.”

The Ghost’s agent sees this job as the opportunity of a lifetime, but this project seems doomed from the start. The Ghost’s predecessor on the project, Mike McAra, a long time aide to Lang, drowned in an apparent suicide. The Ghost arrives at Martha’s Vineyard (near Cape Cod, Massachusetts), where Lang is staying in an oceanfront house. It is the middle of winter, and The Ghost finds Lang under siege. He has been recently accused of possible war crimes by a former British foreign secretary, Richard Rycart (Robert Pugh), and now faces the threat of prosecution by the International Criminal Court.

As The Ghost works with Lang and researches the project, he discovers that Lang is surrounded by untrustworthy people, and the circle of shifty characters seems ever-widening. Lang’s political controversies bring a swarm of reporters and protestors, eventually forcing The Ghost to move into Lang’s home. There, he uncovers clues suggesting that McAra may have stumbled onto a dark secret about Lang, and The Ghost wonders if he will ultimately share McAra’s fate.

Polanski can certainly write and direct a thriller. This film is tense, and stylish, but not in a showy way. The Ghost Writer is almost always mesmerizing and often riveting. Polanski teases his audience with just enough tidbits about the characters and their pasts to keep their brains on overdrive trying to decipher the players and their actions. Sometimes, this movie is too coy about the characters and their motivations, but the atmosphere of paranoia and deceit will make you overlook any faults. The film’s smooth pace belies its ability to keep the viewer on the edge, never settled, and too busy to nitpick.

Ewan McGregor executes the perfect turn as the laconic Ghost, who views everything with a critical eye, but is also always on the lookout for clues. Olivia Williams is both vicious and vulnerable as Lang’s erratic wife, Ruth Lang, and the underrated Kim Cattrall gives a clever performance as the red herring chanteuse, Amelia Bly, Lang’s personal assistant.

Your politics or your opinions of the director may affect how you feel about this movie, but this confident thriller is perfect for those who love political intrigue. The Ghost Writer makes other recent political thriller/murder mysteries (like Edge of Darkness with Mel Gibson) look positively anemic. I won’t say that The Ghost Writer is as good as Polanski’s classic Chinatown, but this is good stuff.

7 of 10
B+

Tuesday, September 07, 2010

Review: "The Pianist" Simply Superb

TRASH IN MY EYE No. 30 (of 2004) by Leroy Douresseaux


The Pianist (2002)
Running time: 150 minutes (2 hours, 30 minutes)
MPAA – R for violence and brief strong language
DIRECTOR: Roman Polanski
WRITER: Ronald Harwood (based upon the novel by Wladyslaw Szpilman)
PRODUCERS: Robert Benmussa, Roman Polanski, and Alain Sarde
CINEMATOGRAPHER: Pawel Edelman (director of photography)
EDITOR: Hervé de Luze
COMPOSER: Wojciech Kilar
Academy Award winner

DRAMA/WAR

Starring: Adrien Brody, Thomas Kretschmann, Frank Finlay, Maureen Lipman, Emilia Fox, Ed Stoppard, Julia Rayner, Jessica Kate Meyer, and Michal Zebrowski

Director Roman Polanski, writer Ronald Harwood, and actor Adrien Brody all won Oscars® for their work on The Pianist, a film based upon the memoirs of Wladyslaw Szpilman (Adrien Brody), a Polish Jew who survived for five years in the Warsaw ghetto during World War II. It’s arguably the best non-documentary film about the Holocaust and Jewish oppression at the hands of the Germans after Schindler’s List.

Stylistically, The Pianist is similar to Schindler’s List in that both films visually have an atmosphere of classic cinema from the Golden Age of Hollywood film – the late 1930’s and 1940’s. From a technical aspect, the film is beautifully photographed with a gorgeous color palette that looks luscious even when melancholy gray tones are omnipresent. Also of top caliber are the art direction and set decoration, the costume design, and the original music by Wojciech Kilar.

What else can I say? This film, because of its subject matter, is difficult to watch, but from a filmmaking point of view, The Pianist is near perfect. Everyone deserved their awards and nominations, and Polanski cemented his place as a daring filmmaker willing to take chances and making great films when he succeeds.

If there must be one main reason to see this film, Adrien Brody’s performance is it. He plays Szpilman as both an eternal optimist and as a survivor, and the thing that is most uplifting about this film (which is filled with sorrow and tragedy) is that Szpilman survives. When he’s beaten down to being little more than a pitiful animal and a pathetic human skeleton, he nimbly skirts death’s every blow. Add the beautiful musical performances of Chopin and Beethoven, each one exquisitely staged and shot by Polanski and his cinematographer Pawl Edelman, and a great film is even greater.

9 of 10
A+

NOTES:
2003 Academy Awards: 3 wins: “Best Actor in a Leading Role” (Adrien Brody), “Best Director” (Roman Polanski), and “Best Writing, Adapted Screenplay” (Ronald Harwood); 4 nominations: “Best Cinematography” (Pawel Edelman), “Best Costume Design” (Anna B. Sheppard), “Best Editing” (Hervé de Luze), and “Best Picture” (Roman Polanski, Robert Benmussa, Alain Sarde)

2003 BAFTA Awards: 2 wins: “Best Film” (Roman Polanski, Robert Benmussa, and Alain Sarde) and “David Lean Award for Direction” (Roman Polanski); 5 nominations: “Anthony Asquith Award for Film Music” (Wojciech Kilar), “Best Cinematography” (Pawel Edelman), “Best Performance by an Actor in a Leading Role” (Adrien Brody), “Best Screenplay – Adapted” (Ronald Harwood), and “Best Sound” (Jean-Marie Blondel, Dean Humphreys, and Gérard Hardy)

2003 Golden Globes: 2 nominations: “Best Motion Picture – Drama” and Best Performance by an Actor in a Motion Picture – Drama” (Adrien Brody)

Lionsgate Releases First Image from Tyler Perry's "For Colored Girls"

This is the first image from Tyler Perry's upcoming film, For Colored Girls.

Pictured are from left to right: Anika Noni Rose (as Yasmine), Kerry Washington (as Kelly), Janet Jackson (as Joanna), Kimberly Elise (as Crystal), Phylicia Rashad (as Gilda), Loretta Devine (as Juanita), Tessa Thompson (Nyla) and Thandie Newton (Tangie) in "For Colored Girls." Photo credit: Patrick Harbron

Lionsgate recently announced that the film's release date has been moved up from the Martin Luther King holiday weekend in 2011 to November 5 2010.
 
To see this image at a larger size, go here.

Review: "The Expendables" is the Real Kick Ass

TRASH IN MY EYE No. 73 (of 2010) by Leroy Douresseaux -
The Expendables (2010)

Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for strong action and bloody violence throughout, and for some language
DIRECTOR: Sylvester Stallone
WRITERS: David Callaham and Sylvester Stallone; from a story by David Callaham
PRODUCERS: Kevin King, Avi Lerner, Kevin King Templeton, and John Thompson
CINEMATOGRAPHER: Jeffrey Kimball (director of photography)
EDITORS: Ken Blackwell and Paul Harb
COMPOSER: Brian Tyler

ACTION

Starring: Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Mickey Rourke, Eric Roberts, Randy Couture, Steve Austin, David Zayas, Giselle Itié, Charisma Carpenter, Gary Daniels, and Terry Crews with Bruce Willis and Arnold Schwarzenegger

The late summer 2010 box office season has offered one surprising gem, The Expendables, an explosive action film co-written, directed, and starring Sylvester Stallone. Much has been made of this film being a throwback to the old macho, testosterone-fueled action films of the 1980s. Indeed, this movie does have a First Blood and friends, Team Rambo vibe to it. In fact, 80s action stars, Arnold Schwarzenegger and Bruce Willis, swagger (and wheeze a bit) through cameo appearances.

The Expendables, however, isn’t some homage, parody, or sentimental recollection of action movie days gone by. The Expendables is an authentic ass-kicking, ass-stabbing, cap-popped-in-ass action movie, and boy, is it good. [No panty-waists allowed!]

The story focuses on the Expendables, an elite band of mercenaries led by an American named Barney Ross (Sylvester Stallone). The teams consists of Ross’ right-hand man, former Special Air Service soldier, Lee Christmas (Jason Statham); martial artist Yin Yang (Jet Li); sniper Gunner Jensen (Dolph Lundgren); demolitions expert Toll Road (Randy Couture); and weapons specialist Hale Caesar (Terry Crews).

Ross accepts a high-paying assignment from the mysterious “Mr. Church” (Bruce Willis) to assassinate General Garza (David Zayas), the brutal dictator of (fictional) Vilena, a small Caribbean island nation. On a reconnaissance mission, Ross and Christmas learn that Garza is being backed by James Munroe (Eric Roberts) a corrupt ex-CIA agent. With his henchmen, Paine (Steve Austin) and The Brit (Gary Daniels), Munroe manipulates Garza and his military into terrorizing the island’s inhabitants, while Munroe seeks to control the drug trade he once fought as CIA. Inspired by Sandra (Giselle Itié), a beautiful islander, Ross becomes determined to stop Munroe and Garza, even if he has to do it alone – although his Expendables obviously won’t let him.

I don’t remember 80s action movies being quite as violent and as gory as The Expendables, although Die Hard 2 had an equally high body count. The violence, however, is not a problem for me. Movies like the Jason Bourne franchise and the recent Live Free or Die Hard offer so much high-tech gloss that the low-tech, bloody mayhem of The Expendables is like cool, sweet lemonade on a scorching hot summer day. This is a meat and potatoes action movie in which brute force does the ass kicking without computerized weapons.

Of course, the acting is mostly mediocre, but still surprisingly sincere. Watching The Expendables, you might get the idea that these guys had fun making this movie, but still took their work very seriously. Jason Statham is the standout here, and Terry Crews’ Hale Caesar should have had more screen time, while Jet Li’s Yin Yang felt extraneous.

Stallone has surprised everyone and made a real action movie, a man’s man action movie. At his age and after plastic surgery, Stallone is starting to look like Boris Korloff’s Frankenstein. Still, by sticking to his old guns, he and his cinematic kitchen staff have made an action movie meal that sticks to the ribs. Hollywood should ask for The Expendables’ recipe.

7 of 10
B+

Monday, September 06, 2010

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Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Third Benchmark Met in "Waiting for 'Superman'" Campaign

Press release:

50,000 PEOPLE PLEDGE TO SEE WAITING FOR "SUPERMAN"

First Book and Houghton Mifflin Harcourt Donate 250,000 New Books to Schools and Programs in Need - Third Benchmark Met on WaitingForSuperman.com "Pledge Progress Meter"

HOLLYWOOD, CA (September 3, 2010) - Paramount Pictures, Participant Media and Walden Media announced today 50,000 people have pledged to see the award-winning documentary film WAITING FOR "SUPERMAN" when it opens this fall, making it the third goal reached on the campaign's "Pledge Progress Meter." As a result, First Book and Houghton Mifflin Harcourt are teaming up to distribute 250,000 new books to schools and programs in low-income communities across the country. The books will be generously provided by Houghton Mifflin Harcourt and distributed through First Book's award-winning book distribution channels. In addition, the duo will donate an additional $100,000 worth of new books once the "Pledge Progress Meter" reaches 60,000.

"We are thrilled that by pledging to see the film, 50,000 people have already started an important dialogue about addressing the needs of America's students," said Kyle Zimmer, President and CEO of First Book. "First Book's mission is to provide the access to educational resources that is proven to be vital in literacy development. We are honored to have the opportunity to celebrate this pledge milestone by distributing 250,000 new books to students who need them most."

WAITING FOR "SUPERMAN" directed by Davis Guggenheim ("An Inconvenient Truth") will be released under the Paramount Vantage banner and distributed by Paramount Pictures. It examines the crisis of public education in the United States through multiple interlocking stories. Designed to start a national conversation, the movie and corresponding "Take the Pledge" campaign aim to inspire everyone to create innovative and long-term solutions to help change the course of our kids' lives for the better.

The "Pledge Progress Meter" launched in May as a way for non-profits, foundations and corporations to match individual pledge levels with powerful action items aimed at helping both students and public schools. First Book was the first organization to take the pledge.

The film opens in New York and Los Angeles on September 24, nationwide in October.

The film is produced by Lesley Chilcott, with Participant Media's Jeff Skoll and Diane Weyermann serving as executive producers. It is written by Davis Guggenheim & Billy Kimball.

For more information about the movie, or to take the pledge go to http://www.waitingforsuperman.com/ or text "PLEDGE" to 77177

To join the conversation visit us on Facebook at http://www.Facebook.com/WaitingForSuperman
What does your school need? Tell us by Tweeting #MySchoolNeeds at http://www.Twitter.com/WaitingSuperman


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.

About Participant Media
Participant Media is a Los Angeles-based entertainment company that focuses on socially relevant, commercially viable feature films, documentaries and television, as well as publishing and digital media. Participant Media is headed by CEO Jim Berk and was founded in 2004 by philanthropist Jeff Skoll, who serves as Chairman. Ricky Strauss is President.

Participant exists to tell compelling, entertaining stories that bring to the forefront real issues that shape our lives. For each of its projects, Participant creates extensive social action and advocacy programs, which provide ideas and tools to transform the impact of the media experience into individual and community action. Participant's films include The Kite Runner, Charlie Wilson's War, Darfur Now, An Inconvenient Truth, Good Night, and Good Luck, Syriana, Standard Operating Procedure, The Visitor, The Soloist, Food, Inc., The Informant!, The Cove, The Crazies, Oceans, Furry Vengeance, CASINO JACK and the United States of Money, Countdown to Zero and Waiting for "Superman."

About Walden Media
Walden Media specializes in entertainment for the whole family. Past award-winning films include: "The Chronicles of Narnia" series, "Journey to the Center of the Earth," "Nim's Island" and "Charlotte's Web." Upcoming films include the third installment in the Narnia series "The Chronicles of Narnia: The Voyage of the Dawn Treader."

About First Book
First Book provides new books to children in need addressing one of the most important factors affecting literacy - access to books. An innovative leader in social enterprise, First Book has distributed 70 million free and low cost books in thousands of communities. First Book has offices in the U.S. and Canada. For more information, please visit www.firstbook.org.

About Houghton Mifflin Harcourt
Boston-based Houghton Mifflin Harcourt Publishing Company is a global education leader and the world's largest publisher of educational materials for pre-K-12 schools. The Company publishes a comprehensive set of best-in-class educational solutions, ranging from research-based textbook programs to instructional technology to standards-based assessments for students and educators. The Company also publishes an extensive line of reference works and award-winning literature for adults and young readers. With origins dating back to 1832, Houghton Mifflin Harcourt combines its tradition of excellence with a commitment to innovation. To learn more about Houghton Mifflin Harcourt, visit www.hmhpub.com.