Review: "Ed Wood" Biopic is Still a Delight (Happy B'day, Ed Wood)

TRASH IN MY EYE No. 161 (of 2003) by Leroy Douresseaux

Ed Wood (1994)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – R for some strong language
DIRECTOR: Tim Burton
WRITERS: Scott Alexander and Larry Karaszewski (based upon the book Nightmare of Ecstasy by Rudolph Grey)
PRODUCERS: Tim Burton and Denise Di Novi
CINEMATOGRAPHER: Stefan Czapsky
EDITOR: Chris Lebenzon
COMPOSER: Howard Shore
Academy Award winner

COMEDY/DRAMA/BIOPIC

Starring: Johnny Depp, Martin Landau, Sarah Jessica Parker, Patricia Arquette, Jeffrey Jones, Bill Murray, Max Casella, Brent Hinkley, Lisa Marie, Vincent D’Onofrio, and George “The Animal” Steele

Martin Landau won an Oscar as Best Supporting Actor for his role in Tim Burton’s Ed Wood, a biopic of the legendary director of such “awful” movies as Plan 9 from Outer Space and Glen or Glenda. A box office flop when it was released on Halloween night in 1994, Ed Wood still earned rave reviews and today is a fan favorite amongst many movie buffs. At the time, it was Tim Burton’s best directorial effort since Beetlejuice (1988) and since that film, he has not made another film that is closer to the spirit he showed in his early works.

Edward D. Wood, Jr. (Johnny Depp) wanted to be a great filmmaker, but probably lacked the talent and skills, if not the vision, to be one. Just before his career kicks off in the early 1950’s, Wood meets the infamous Bela Lugosi (Martin Landau) best known for starring in horror films, and especially for his trademark work, the 1931 film version of Dracula. Lugosi, a heroin addict on the tale end of his career and financial strapped, joins Ed Wood’s gang of merry idiots, outcasts, and weirdoes to make three truly awful films. Ed Wood and the elder thespian become close friends as Wood struggles to finance his pictures.

It’s difficult to find fault with Ed Wood, as pretty much everything about the film is top notch, from the wonderful art direction and costumes to Howard Shore’s magnificent score. Cinematographer Stefan Czapsky’s glorious black and white photography remains one of the best examples of black and white film used as an artistic choice in the last quarter century.

Ed Wood claims to be a mostly true story of Wood the filmmaker, but Burton’s intent here is what his intent is in many of his films – to tell the uplifting story of the outcast, outsider, weirdo, or nonconformist who struggles to do his own thing in spite of what normal society says. The script, by biopic experts Scott Alexander and Larry Karaszewski (The People vs. Larry Flynt and Man on the Moon), takes a naïve, idealistic, and ultimately light-hearted approach in examining people who do really bad work, but who have the best intentions. The writers don’t, however, play everything as happy-go-lucky because the story depicts an awful lot of frustrations in the way of Wood and his crew.

Stylistically, Burton takes the approach of making Ed Wood look like a camp picture. Shot in black and white, the film’s style is almost as farcical as Wood’s filmography. Perhaps, it was best for Burton to make his film as off-kilter as his subject, and it worked. Biographical films face many obstacles; being boring and preachy or making saints and martyrs of their subjects are the worst sins of biopics. Ed Wood, however, is fun, surreal, and fantastical, and Burton sees the world through the eyes of a harmless madman who wanted to make great movies and made painfully bad pictures. This is a bold creative move on Burton’s part, the kind of adventurous and imaginative choices that he doesn’t always make. The Hollywood machine often eats the brilliance out of this visionary filmmaker.

Wood is also full of wonderful performances. Besides Landau’s Lugosi (for which he received numerous awards), Depp shows that he is every bit the wild spirit that his frequent collaborator Burton is. Depp’s Wood wears a kabuki mask of campy zaniness, but Depp also plays the character with such depth that how can we not help but take Wood seriously as a serious filmmaker even when we know he makes crap? Bill Murray for his wily and self-effacing performance and Lisa Marie for playing Vampira as a staid, ticking, sex bomb also deserve notice. Along with everybody else, they make Ed Wood a rare cinematic treat, an oddball movie about an oddball filmmaker. Ed Wood is hilarious, and is finally a deeply moving picture about the quest to share one’s dreams with the world.

8 of 10
A

NOTES:
1995 Academy Awards: 2 wins: “Best Actor in a Supporting Role” (Martin Landau) and “Best Makeup” (Rick Baker, Ve Neill, and Yolanda Toussieng)

1995 Golden Globes: 1 win: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Martin Landau); 2 nominations: “Best Motion Picture - Comedy/Musical” and “Best Performance by an Actor in a Motion Picture - Comedy/Musical” (Johnny Depp)

1996 BAFTA Awards: 2 nominations: “Best Make Up/Hair” (Ve Neill, Rick Baker, and Yolanda Toussieng) and “Best Performance by an Actor in a Supporting Role” (Martin Landau)

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Warner Bros Issues Statement About Upcoming Harry Potter Film

Press release:

Statement from Warner Bros. regarding “Harry Potter and the Deathly Hallows – Part 1”

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures has made the decision to release “Harry Potter and the Deathly Hallows – Part 1” in 2D, in both conventional and IMAX theaters, as we will not have a completed 3D version of the film within our release date window. Despite everyone’s best efforts, we were unable to convert the film in its entirety and meet the highest standards of quality. We do not want to disappoint fans who have long anticipated the conclusion of this extraordinary journey, and to that end, we are releasing our film day-and-date on November 19, 2010, as planned. We, in alignment with our filmmakers, believe this is the best course to take in order to ensure that our audiences enjoy the consummate “Harry Potter” experience.

Producer David Heyman said, “For 10 years, we have worked alongside Alan Horn and the studio, whose priority has always been to preserve the integrity of Jo Rowling’s books as we have adapted them to the screen, and this decision reflects that commitment.”

Director David Yates added, “This decision, which we completely support, underscores the fact that Warner Bros. has always put quality first.”

As scheduled, on July 15, 2011, we will deliver to conventional and IMAX theaters our final installment of the film franchise, “Harry Potter and the Deathly Hallows – Part 2,” in both 2D and 3D formats.

Review: "Cronos" is a Different Kind of Vampire Flick (Happy B'day, Guillermo del Toro)

TRASH IN MY EYE No. 194 (of 2004) by Leroy Douresseaux

Cronos (1993)
COUNTRY OF ORIGIN: Mexico (Languages: English and Spanish)
MPAA - R for horror violence and for language
Running time: 94 minutes (1 hour, 34 minutes)
WRITER/DIRECTOR: Guillermo del Toro
PRODUCERS: Arthur Gorson and Bertha Navarro
CINEMATOGRAPHER: Guillermo Navarro
EDITOR: Raúl Dávalos

HORROR

Starring: Federico Luppi, Ron Perlman, Claudio Brook, Margarita Isabel, and Tamara Shanath

Cronos is writer/director Guillermo del Toro’s novel take on the vampire myth. The “Cronos Device” is a golden, elegant, mechanized scarab that grants the gift or curse of eternal life to those who would wear it. Inside the scarab is a tiny insect of unknown origin, and when the device stabs a mechanical pincer into the flesh of the wearer, injecting them with a substance from the insect that gives the wearer immortality.

Jesús Gris (Federico Luppi), an aging antique dealer, finds the scarab and inadvertently uses it, unaware that the device comes with instructions written on a set of ancient documents. Those are in the possession of Dieter de la Guardia (Claudio Brook), a wealthy industrialist slowly dying of some debilitating disease (likely cancer), a man who has been searching long and hard for the Cronos Device. Dieter uses his nephew and heir, Angel (Ron Perlman), as a heavy to obtain the device from Jesús, which leads to a protracted, bloody, and gruesome dispute between all parties involved in the struggle for immortality and the Cronos Device.

As a film, Cronos likely passes as a horror movie, but as a story, it’s more dark fantasy than anything else. Visually, Cronos has a striking, almost golden-hued or gilded gloomy look. The story is nice, and though he doesn’t pay off on the concept’s potential, del Toro creates a number of decidedly creepy images. Still, the golden earth tones, unique art direction, and mechanical effects make this a decidedly different kind of horror tale, worth viewing by those who take their movie watching seriously.

6 of 10
B

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Tyler Perry and Dwayne Johnson Unite for New Comedy

The website, Deadline, is reporting that Tyler Perry and Dwayne "The Rock" Johnson are teaming up to star in the film, "Take My Wife."  Perry plays a newly-divorced man who is looking for a new husband for his ex-wife so that he doesn't have to pay alimony.  The plan works, but then Perry's character falls in love with his wife again.

Lionsgate is apparently in the lead to buy the film which currently is without a distributor.  Perry will co-produce the film through his 34th Street Films production banner.  Johnson will be one of the film's executive producers.

Review: "Seabiscuit" is an Uplifting Tale of a Horse and His Boys

TRASH IN MY EYE No. 21 (of 2004) by Leroy Douresseaux

Seabiscuit (2003)
Running time: 140 minutes (2 hours, 20 minutes)
MPAA – PG-13 for some sexual situations and violent sports-related images
DIRECTOR: Gary Ross
WRITER: Gary Ross (from the novel by Laura Hillenbrand)
PRODUCERS: Kathleen Kennedy, Frank Marshall, Gary Ross, and Jane Sindell
CINEMATOGRAPHER: John Schwartzman (D.o.P.)
EDITOR: William Goldenberg
COMPOSER: Randy Newman
Academy Award nominee

DRAMA

Starring: Tobey Maguire, Jeff Bridges, Chris Cooper, William H. Macy, Kingston DuCoeur, Elizabeth Banks, Gary Stevens, Eddie Jones, and David McCullough, and Michael Angarano

Seabiscuit is the story of three men who are broken by misfortune in their lives and how one unlikely horse becomes a champion and changes their lives. The film is based upon the true story of Seabiscuit, an undersized, Depression-era horse whose story lifted the spirits of a nation and the three-man team behind it.

Charles Howard (Jeff Bridges) was a bicycle salesman who made his fortune in automobiles, but saw his only son die in a tragic mishap. Tom Smith (Chris Cooper) was a horseman who ended up a drifter after the stock market crash that precipitated the Depression. Red Pollard (Michael Angarano) lived with his well-to-do middle, class family, residing in a lovely home. All the family members loved to read, but Red’s love of horses and his rapport with them was obvious to anyone who saw him with a horse. After the Depression causes the Pollards to lose their home, Red’s parents leave him with a track owner, thinking Red would be better off as a jockey. It is, however, a rough life, and the adult Red (Tobey Maguire) is a wreck of a man and an alcoholic. Gradually fate brings the three hurt men together around one horse, as they try to help Seabiscuit reach the glory many thought would be his destiny by right of his lineage.

Seabiscuit is a curious film. It looks like a period piece and feels like a mini-epic, but the film is ultimately an emotional masterpiece. That simply means that the film brings forth the viewers’ emotions. You can feel the thrill of victory in your heart when the horse wins. When tragedy strikes or something bad happens to a character, you might also feel the sadness. You thrill, cheer, and cry, because you can feel along with the characters.

Director Gary Ross has written some very good films including Big (1988) and Dave, and he also directed the very charming Pleasantville. His best attribute is creating characters that breath, characters that make you care about them, so that you root for them, are happy for them, and are sad with them. When the viewer cares for the characters, they’re likely to buy into the movie.

Ross writes and directs a picture in which he makes nearly every moment riveting, both the quiet moments and the scenes of stadiums crowded with people anxious to see a horse race. It’s worth following the line of action because the drama is so entrancing. It’s enough to make you forget the times when the film feels too staged and its theatrics too over-the-top and posed.

The acting is all first rate. What else should we expect from a cast that includes such great character actors as Jeff Bridges, Chris Cooper, and William H. Macy, especially when they’re given a script with rich characters to perform? And Tobey Maguire seems to have impeccable tastes when it comes to choosing films (The Ice Storm, The Cider House Rules), so it’s a safe bet to see anything with him in it. Plus, his charming, boyishly good looks also have a kind of weary everyman quality, like a guy who has lived a varied and interesting life. Maguire just looks like he belongs in the films in which he stars.

In large measure, Seabiscuit is about redemption and about lives made whole again. It’s about people who feel abandoned and suddenly find other people who care about them or about the lonely finding groups to which they can belong. The film is less about feeling good and more about being able to get on your feet again. The film says that a person can overcome any obstacle, and Seabiscuit proclaims it so winningly.

8 of 10
A

NOTES:
2004 Academy Awards: 7 nominations: “Best Picture” (Kathleen Kennedy, Frank Marshall, and Gary Ross), “Best Art Direction-Set Decoration” (Jeannine Claudia Oppewall-art director and Leslie A. Pope-set decorator), “Best Cinematography” (John Schwartzman), “Best Costume Design” (Judianna Makovsky), “Best Editing” (William Goldenberg), “Best Sound Mixing” (Andy Nelson, Anna Behlmer, and Tod A. Maitland), and “Best Writing, Adapted Screenplay” (Gary Ross)

2004 Golden Globes: 2 nominations: “Best Motion Picture – Drama” and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (William H. Macy)

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Juno's Jason Reitman and Diablo Cody Reteam on "Young Adult"

Press release:

PARAMOUNT ACQUIRES WORLDWIDE RIGHTS TO REITMAN AND CODY’S “YOUNG ADULT”

The film begins principal photography in NY this month

HOLLYWOOD, CA (October 7, 2010) – Paramount Pictures has acquired worldwide distribution rights to Mandate Pictures’ YOUNG ADULT from Academy Award®-nominated director Jason Reitman and Academy Award®-winning writer Diablo Cody. Academy-Award® winning actress Charlize Theron (“Monster,” “The Road”) stars alongside Golden Globe nominee Patrick Wilson (Angels in America, the upcoming “Morning Glory”) and Patton Oswalt (“Ratatouille”).

The movie will be produced by Academy-Award® nominated producers Lianne Halfon and Russell Smith of Mr. Mudd Productions, Mason Novick, Diablo Cody, Jason Reitman through his film banner Right of Way Films and Denver & Delilah Films. Nathan Kahane, John Malkovich, Helen Estabrook and Steven Rales will executive produce. Mary Lee, Kelli Konop, Brian Bell and Beth Kono will co-produce. Paramount’s David Beaubaire, will run point for the studio.

YOUNG ADULT marks the second collaboration for these filmmakers. Reitman, Mr. Mudd, Mandate, Novick and Cody had an enormously successful partnership on JUNO. The film, directed by Reitman and written by Cody, garnered a host of accolades, including an Academy Award® for Best Original Screenplay and three Academy Award® nominations for Best Motion Picture (Lianne Halfon, Mason Novick and Russell Smith, Producers), Best Actress, and Best Director. The $227 million box-office and critical sensation was released by Fox Searchlight in late 2007.

The film also marks the third collaboration for Reitman and Paramount. The studio released his Academy-Award® nominated “Up in the Air” last year. Earning over $160 million world-wide, the movie earned six Academy-Award® nominations, and five Golden Globe nominations, with Reitman taking home the Golden Globe for Best Adapted Screenplay. Reitman next produces the upcoming Paramount Pictures film “Jeff Who Lives At Home,” starring Jason Segel and Ed Helms, and directed by Jay and Mark Duplass, to be released in 2011.

“We immediately jumped at the chance to work with Jason again,” said Paramount Film Group President Adam Goodman. “He’s one of the most talented filmmakers working today and look forward to this next collaboration.”

Dan Freedman, SVP of Business and Legal Affairs, negotiated all deals for Mandate Pictures.


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, Insurge Pictures, 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 MANDATE PICTURES
Mandate Pictures is a multifaceted film production and financing company with a distinguished reputation and proven track record of success and profitability. Acquired by Lionsgate (NYSE: LGF) in 2007, Mandate continues to operate as an independent brand delivering acclaimed commercial and independent films worldwide. Under President Nathan Kahane, Mandate has carved out a unique position in the film industry, having the creative autonomy and capital to finance, develop, package and produce theatrical films such as the Academy Award®-nominated film, JUNO, directed by Jason Reitman, written by Diablo Cody and starring Ellen Page, Michael Cera, Jennifer Garner and Jason Bateman. Mandate’s most recent film THE SWITCH, starring Jennifer Aniston and Jason Bateman, was released by Miramax Films on August 20, 2010; upcoming films include an untitled comedy starring Joseph Gordon-Levitt and Seth Rogen, which will be distributed by Summit Entertainment in 2011.

Wes Craven Brings Terror to the Sky in "Red Eye"

TRASH IN MY EYE No. 134 (of 2005) by Leroy Douresseaux

Red Eye (2005)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG-13 for some intense sequences of violence, and language
DIRECTOR: Wes Craven
WRITER: Carl Ellsworth, from a story by Dan Foos and Carl Ellsworth
PRODUCERS: Chris Bender and Marianne Maddalena
CINEMATOGRAPHER: Robert Yeoman
EDITORS: Patrick Lussier and Stuart Levy

THRILLER

Starring: Rachel McAdams, Cillian Murphy, Brian Cox, Jayma Mays, and Jack Scalia

Wes Craven wants you to know that his new film, Red Eye, is not a horror film. I even saw him on a cable entertainment talk show where he emphatically stated that Red Eye was not a horror flick.

In the film, Lisa Reisert (Rachel McAdams), who hates to fly, has to take a plane, Fresh Air Flight 1019, from Texas (where she attended her grandmother’s funeral) back to Miami. Upon boarding her plane, Lisa is shocked to find that she’s seated next to Jackson Ripner (Cillian Murphy), a seemingly charming man with whom she earlier shared a drink. Once the plane is in the air, Jackson drops his flirtatious and charming façade and reveals to Lisa why he’s really on board the same plane with her. Jackson needs Lisa to use her pull as the desk manager of the popular Miami hotel, the Lux Atlantic, to move the Deputy Secretary of Homeland Security, Charles Keefe (Jack Scalia), to a room in the Lux where it will be easier to assassinate him (and his family). If Lisa doesn’t cooperate, Jackson’s comrade is waiting in car parked by her father’s home, waiting to kill dear old dad, Joe Reisert (Brian Cox). Trapped at 30,000 feet in air in the confines of the airplane and unable to summon help without endangering her father, Lisa has to figure away to thwart the ruthless Jackson, who never lets her out of his sight for very long.

While not a horror film, Red Eye is just more proof that Wes Craven knows how to give people chills and thrills. Red Eye is a nifty thriller that’s part Hitchcock (the first half) and part slasher film (the second half as Jackson pursues Lisa). The film is especially taut and tense during the plane sequences; those who don’t like flying will especially feel the shivers on the back on their necks and running down their spines. The wonderful camera work by Robert Yeoman (who has photographed all of Wes Anderson’s films) and Craven’s direction ably creates a sense of panic, doom, and claustrophobia. While Red Eye wears its B-movie credentials on its proverbial sleeves, Craven executes a premise into a suspense film that simply works – making a by-the-book plot a highly engaging cat-and-mouse drama – if only the story stayed on the plane.

Earlier in Summer 2005, Steven Spielberg turned sci-fi B-movie tropes into a grisly disaster film of high pedigree with War of the Worlds. Craven falls just short of making his own thriller into a rare breed suspense flick, and he shares the blame with the script. Neither he nor his screenwriter, Carl Ellsworth, do anything novel to keep Red Eye’s last act from becoming a video fare crime thriller. Red Eye is by no means a failure; it just fails at being great although the first half of the movie had the movie on the path to excellence. Ellsworth (who wrote Red Eye’s original story with former college classmate Dan Foos) was reportedly the only screenwriter to work on Red Eye’s script, a rarity in Hollywood, but in this case, perhaps it would have been best if at least one more writer put in his two cents worth.

Red Eye’s lightening pace can’t quite hide the ugly truth that the script turns what is an engaging adversary, Jackson Ripner, into nothing more than just another killer who in the film’s closing act overestimates himself. Cillian Murphy, sure to be a good character actor for some time to come, chews up the scenery as long as Jackson is on the airplane. When Red Eye’s script turns the story from a button-pushing psychological thriller into a killer-on-the-loose cheapie in the second half, Cillian Murphy’s Jackson looses his wicked charm and becomes a tiresome (and not too bright) ordinary home-invading assailant. It doesn’t help that the co-star Rachel McAdams is just another pretty face, and her acting, which has won her a prestigious Genie Award in her native country of Canada, delivers a functional performance here. In Red Eye, she lacks the tasty menace that made her such a sweet adversary for Lindsay Lohan in Mean Girls. Here, she’s just another spunky white girl running from a bad man with a knife – no better or worse than all the other white chicks who have run from monsters and killers for Craven since he first started making scary movies over three decades ago.

In the end, Red Eye works much more often than not. An edge-of-your-seat thriller with enough wit to make you laugh out loud, it’s a guaranteed winner for people who actually want to go to the theatre to see a movie, and it’ll also be a winning choice for those who are always looking for something good to rent from the video store.

6 of 10
B

Monday, August 22, 2005