Press release:
Oscar® Winner Peter Jackson to Direct “The Hobbit” in Two Installments
Peter Jackson Set to Direct J.R.R. Tolkien’s “The Hobbit” in a Two-Part 3-D Production of Extraordinary Scope
LOS ANGELES--(BUSINESS WIRE)--The two films based on “The Hobbit” are now greenlit and will begin principal photography in February 2011, under the direction of Peter Jackson, it was jointly announced today by Toby Emmerich, President and Chief Operating Officer, New Line Cinema, Alan Horn, President and Chief Operating Officer, Warner Bros., and Steve Cooper, co-Chief Executive Officer of Metro-Goldwyn-Mayer Inc.
Jackson, who directed all three “Lord of the Rings” films, will helm the two films back-to-back, telling the story of “The Hobbit” in two parts. Jackson will utilize groundbreaking visual effects and his incomparable storytelling to bring J.R.R. Tolkien’s novel to the big screen. Both Hobbit movies will be filmed in Digital 3-D, using the latest camera and stereo technology to create a high quality, comfortable viewing experience. Jackson also co-wrote the screenplays with Fran Walsh, Philippa Boyens and Guillermo del Toro.
“Exploring Tolkien’s Middle-earth goes way beyond a normal filmmaking experience,” Jackson said. "It’s an all-immersive journey into a very special place of imagination, beauty and drama. We’re looking forward to re-entering this wondrous world with Gandalf and Bilbo - and our friends at New Line Cinema, Warner Brothers and MGM.”
“Peter is a filmmaker of incomparable ability; having him return to Middle-earth to produce and direct is a dream come true. A genuine original, Peter is a gifted storyteller, visionary director and pioneer in film technology,” said Emmerich. “Reuniting with Peter, Fran and Philippa truly makes it feel like we are going ‘there and back again.’”
“There is no human being on the planet as qualified as Peter Jackson to direct these films,” said Horn. “Peter is incredibly talented and has the creative vision and experience to bring this beloved property to life in a way that no other filmmaker could. And the team of Fran Walsh and Philippa Boyens has proven through their work on the 'Lord of the Rings' trilogy that no one is more skilled at transforming Tolkien's written words into a vibrant, living language that makes the audience believe they are not merely visiting Middle-earth but actually living in it. We couldn’t be more thrilled and look forward to seeing ‘The Hobbit’ take shape under Peter’s stewardship and the team he is putting together.”
"MGM is excited to move forward and add to the successful 'Lord of the Rings' franchise," said Cooper. "Under Peter's direction, the films will undoubtedly appeal to fans of the original 'LOTR' trilogy and also bring the stories to a new generation of fans."
“The Hobbit” is being co-produced by New Line Cinema and MGM, with New Line managing production, Warner Bros Pictures handling domestic distribution and MGM distributing internationally. Peter Jackson, Fran Walsh and Carolynne Cunningham are producing the films, with Philippa Boyens as co-producer and Ken Kamins as executive producer.
The Oscar®-winning, critically acclaimed “LOTR” trilogy grossed nearly $3 billion worldwide at the box office. In 2003, “Return of the King” swept the Academy Awards®, winning all of the 11 categories in which it was nominated, including Best Picture – the first ever Best Picture win for a fantasy film. The trilogy’s production was also unprecedented at the time.
ABOUT NEW LINE CINEMA:
New Line Cinema continues to be one of the most successful independent film companies. For more than 40 years, its mission has been to produce innovative, popular, profitable entertainment in the best creative environment. A pioneer in franchise filmmaking, New Line produced the Oscar®-winning “The Lord of the Rings” trilogy, which is a landmark in the history of film franchises. New Line Cinema is a division of Warner Bros.
ABOUT PETER JACKSON/WINGNUT FILMS:
Peter Jackson is one of the world's most successful filmmakers. His monumental achievement co-writing, co-producing and directing “The Lord of the Rings” trilogy (with fellow Academy Award® winners and frequent collaborators Fran Walsh and Philippa Boyens) earned a total of 30 Academy Award® nominations and 17 Academy Awards®. Jackson and Walsh received their first Oscar® nomination for Best Original Screenplay for their acclaimed film “Heavenly Creatures.” Jackson, through his New Zealand-based Wingnut Films banner, also was responsible for the globally successful 2005 remake of “King Kong,” which earned over $500 million worldwide and 3 Academy Awards®. Jackson most recently directed the Academy Award®-nominated “The Lovely Bones,” an adaptation of the acclaimed best-selling novel by Alice Sebold, which to date has earned nearly $100 million worldwide; and produced the global sensation “District 9,” which received an Academy Award® nomination for Best Picture. He is also developing a trilogy of films with Steven Spielberg based on Tintin, the world renowned comic book series by Herge. In 2010, he received a Knighthood for his services to film.
ABOUT METRO-GOLDWYN-MAYER STUDIOS INC.
Metro-Goldwyn-Mayer Studios Inc. is actively engaged in the worldwide production and distribution of motion pictures, television programming, home video, interactive media, music, and licensed merchandise. The company owns the world's largest library of modern films, comprising around 4,100 titles. Operating units include Metro-Goldwyn-Mayer Studios Inc., Metro-Goldwyn-Mayer Pictures Inc., United Artists Films Inc., MGM Television Entertainment Inc., MGM Networks Inc., MGM Distribution Co., MGM International Television Distribution Inc., Metro-Goldwyn-Mayer Home Entertainment LLC, MGM ON STAGE, MGM Music, MGM Consumer Products and MGM Interactive. In addition, MGM has ownership interests in domestic and international TV channels reaching over 130 countries. For more information, visit http://www.mgm.com/.
Sunday, October 17, 2010
Review: I Love Eminem, But 8 Mile... Not so Much (Happy B'day, Eminem)
TRASH IN MY EYE No. 109 (of 2003) by Leroy Douresseaux
8 Mile (2002)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for strong language, sexuality, some violence and drug use
DIRECTOR: Curtis Hanson
WRITER: Scott Silver
PRODUCERS: Brian Grazer, Curtis Hanson, and Jimmy Iovine
CINEMATOGRAPHER: Rodrigo Prieto
EDITORS: Craig Kitson and Jay Rabinowitz
COMPOSER: Proof
Academy Award winner
DRAMA/MUSIC
Starring: Eminem, Kim Basinger, Mekhi Phifer, Brittany Murphy, Evan Jones, Omar Benson, Eugene Byrd, Michael Shannon, Anthony Mackie, and Taryn Manning
8 Mile became the first film to have a rap/hip-hop song win the Oscar for "Best Song." Directed by Curtis (L.A. Confidential) Hanson, the film stars mega popular rapper Eminem, and the film went on to be an enormous hit, much to many people’s surprise. It’s a strange film, part Rocky, part Flashdance, and part Purple Rain, with a star who is very controversial musical figure and who has angered any number of easily offended groups, including gay rights advocates and feminists. 8 Mile also seemed like a strange film for Hanson to direct, considering he’d won an Academy Award for co-writing L.A. Confidential and had also directed the critically-acclaimed, but largely ignored Wonder Boys. Besides, Hanson’s prior work had been so stunningly white bread, one had to wonder if he could direct a film with a very large black supporting cast and set in urban and hip-hop culture.
Eminem plays Jimmy “B-Rabbit” Smith, Jr., a down-on-his-luck blue-collar worker trying to find his place in the rap game. When he leaves his girlfriend (Taryn Manning), he moves into his mom Stephanie’s (Kim Basinger) trailer, but Rabbit doesn’t exactly see eye to eye with mom’s boyfriend, Greg (Michael Shannon), who went to school with Rabbit. Meanwhile, Rabbit’s homeboy, Future (Mekhi Phifer), is trying to get Rabbit to participate in the MC battles he hosts at a rundown club. MC battles pit two rappers against each other, each rapper getting under a minute to out rap and embarrass his opponent in front of an audience. Rabbit, determined to succeed at his dream, is caught between Future’s ideas about their respective paths to hip-hop glory and the plans of a smooth taking and ambitious hustler (Eugene Byrd) who promises Rabbit that elusive industry connection.
8 Mile is really a dark and depressing film. Rabbit and his friends are mainly poor, young men barely getting by each day; to a man, each one lives with his mother. They have bad jobs, and their neighborhoods are falling down around them. It’s quite stunning how Hanson went the direct path in depicting the squalid living conditions and the sense of hopeless that pervades their environments. Even when Rabbit and his friends are together having a good time, you can’t help but notice how decrepit their city around them is or how everyone seems to own old, rickety automobiles that last saw better days in the 70’s.
Hope seems strangled in this movie, and the film’s very dry story doesn’t help matters. The script is tepid and plotless, and the characters are shallow and simple-minded character types: the violent rivals, the mean boss at work, the pitiful alcoholic parent (Kim Basinger in a performance destined to become a camp classic), the underdog, etc. I especially despised Brittany Murphy as Rabbit’s ho friend, Alex; it’s a bad performance. All Ms. Murphy does in primp and preen, trying to make her character sly, knowing and witty, but only arriving at being whorish, cheap, and dishonest.
The film is decent, but it’s mostly listless and tiresome. Even if real life is like this, art plays with ideals, and a plot would have helped this film seem like it was going somewhere. Even if Rabbit doesn’t reach his goals in the movie, the film should end with a sense of hope, and here, the sense of hope is at best ambiguous. I like Eminem, but I found 8 Mile only somewhat entertaining. If you’re not a fan of his, there’s no reason to see this listless movie. The rapper doesn’t act; he simply pretends to be a character that sulks all the time.
If there’s one reason to see this film, then it’s the rap battle near the end when Rabbit decides to face down his rap enemies on stage. Finally, Eminem seems at home in this picture. He springs to life, smiling, grimacing, frowning, and leering, as the delivery of his arsenal of lyrics requires it. Although the MC battles are fairly energetic and quite hilarious, by the time they arrive, the film is so mired in dreariness that I’d really be reaching if I told you that rap music redeems this film.
4 of 10
C
NOTES:
2003 Academy Awards: 1 win: “Best Music, Original Song” (Eminem-music/lyrics, Jeff Bass-music, and Luis Resto-music for the song "Lose Yourself")
2003 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Eminem-music/lyrics, Jeff Bass-music, and Luis Resto-music for the song "Lose Yourself")
8 Mile (2002)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for strong language, sexuality, some violence and drug use
DIRECTOR: Curtis Hanson
WRITER: Scott Silver
PRODUCERS: Brian Grazer, Curtis Hanson, and Jimmy Iovine
CINEMATOGRAPHER: Rodrigo Prieto
EDITORS: Craig Kitson and Jay Rabinowitz
COMPOSER: Proof
Academy Award winner
DRAMA/MUSIC
Starring: Eminem, Kim Basinger, Mekhi Phifer, Brittany Murphy, Evan Jones, Omar Benson, Eugene Byrd, Michael Shannon, Anthony Mackie, and Taryn Manning
8 Mile became the first film to have a rap/hip-hop song win the Oscar for "Best Song." Directed by Curtis (L.A. Confidential) Hanson, the film stars mega popular rapper Eminem, and the film went on to be an enormous hit, much to many people’s surprise. It’s a strange film, part Rocky, part Flashdance, and part Purple Rain, with a star who is very controversial musical figure and who has angered any number of easily offended groups, including gay rights advocates and feminists. 8 Mile also seemed like a strange film for Hanson to direct, considering he’d won an Academy Award for co-writing L.A. Confidential and had also directed the critically-acclaimed, but largely ignored Wonder Boys. Besides, Hanson’s prior work had been so stunningly white bread, one had to wonder if he could direct a film with a very large black supporting cast and set in urban and hip-hop culture.
Eminem plays Jimmy “B-Rabbit” Smith, Jr., a down-on-his-luck blue-collar worker trying to find his place in the rap game. When he leaves his girlfriend (Taryn Manning), he moves into his mom Stephanie’s (Kim Basinger) trailer, but Rabbit doesn’t exactly see eye to eye with mom’s boyfriend, Greg (Michael Shannon), who went to school with Rabbit. Meanwhile, Rabbit’s homeboy, Future (Mekhi Phifer), is trying to get Rabbit to participate in the MC battles he hosts at a rundown club. MC battles pit two rappers against each other, each rapper getting under a minute to out rap and embarrass his opponent in front of an audience. Rabbit, determined to succeed at his dream, is caught between Future’s ideas about their respective paths to hip-hop glory and the plans of a smooth taking and ambitious hustler (Eugene Byrd) who promises Rabbit that elusive industry connection.
8 Mile is really a dark and depressing film. Rabbit and his friends are mainly poor, young men barely getting by each day; to a man, each one lives with his mother. They have bad jobs, and their neighborhoods are falling down around them. It’s quite stunning how Hanson went the direct path in depicting the squalid living conditions and the sense of hopeless that pervades their environments. Even when Rabbit and his friends are together having a good time, you can’t help but notice how decrepit their city around them is or how everyone seems to own old, rickety automobiles that last saw better days in the 70’s.
Hope seems strangled in this movie, and the film’s very dry story doesn’t help matters. The script is tepid and plotless, and the characters are shallow and simple-minded character types: the violent rivals, the mean boss at work, the pitiful alcoholic parent (Kim Basinger in a performance destined to become a camp classic), the underdog, etc. I especially despised Brittany Murphy as Rabbit’s ho friend, Alex; it’s a bad performance. All Ms. Murphy does in primp and preen, trying to make her character sly, knowing and witty, but only arriving at being whorish, cheap, and dishonest.
The film is decent, but it’s mostly listless and tiresome. Even if real life is like this, art plays with ideals, and a plot would have helped this film seem like it was going somewhere. Even if Rabbit doesn’t reach his goals in the movie, the film should end with a sense of hope, and here, the sense of hope is at best ambiguous. I like Eminem, but I found 8 Mile only somewhat entertaining. If you’re not a fan of his, there’s no reason to see this listless movie. The rapper doesn’t act; he simply pretends to be a character that sulks all the time.
If there’s one reason to see this film, then it’s the rap battle near the end when Rabbit decides to face down his rap enemies on stage. Finally, Eminem seems at home in this picture. He springs to life, smiling, grimacing, frowning, and leering, as the delivery of his arsenal of lyrics requires it. Although the MC battles are fairly energetic and quite hilarious, by the time they arrive, the film is so mired in dreariness that I’d really be reaching if I told you that rap music redeems this film.
4 of 10
C
NOTES:
2003 Academy Awards: 1 win: “Best Music, Original Song” (Eminem-music/lyrics, Jeff Bass-music, and Luis Resto-music for the song "Lose Yourself")
2003 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Eminem-music/lyrics, Jeff Bass-music, and Luis Resto-music for the song "Lose Yourself")
--------------------
Second Season of "Vampire Knight Guilty" Streaming at VIZAnime.com
VIZ MEDIA ANNOUNCES THE SECOND SEASON OF THE HIT VAMPIRE KNIGHT ON VIZANIME.COM, VAMPIRE KNIGHT GUILTY
VIZ Media announces the debut today of VAMPIRE KNIGHT GUILTY, the second season of hit VAMPIRE KNIGHT animated series (both rated ‘T+’ for Older Teens) available now from VIZAnime.com, the company’s premier website for anime, as well as the streaming content provider HULU (http://www.hulu.com/).
Cross Academy is attended by two groups of students: the Day Class and the Night Class. At twilight, when the students of the Day Class return to their dorms, they cross paths with the mysterious Night Class on their way to school. Yuki Cross and Zero Kiryu are the Guardians of the school, protecting the Day Class from the Academy's dark secret: the Night Class is full of vampires!
In VAMPIRE KNIGHT GUILTY, Yuki is torn between the two people she cares for most when Zero is accused of Shizuka Hio’s murder and Kaname refuses to attest to his innocence. Drawn deeper into the world of vampires, Yuki struggles to recall the events of ten years earlier but fails time and again. Kaname evades Yuki’s questions about the past, but when her visions of blood grow more frequent and intense, the past may come to light whether she wants it to or not!
VAMPIRE KNIGHT and VAMPIRE KNIGHT GUILTY are based on the best-selling manga series created by Matsuri Hino (rated ‘T+’ for Older Teens and published by VIZ Media), who burst onto the scene in Japan with her debut title, Kono Yume ga Sametara (When This Dream Is Over) in LaLa DX magazine. With the success of subsequent series such as CAPTIVE HEARTS and MERU PURI (both also published domestically by VIZ Media), Hino has firmly established herself as a major force in the world of shojo manga. VAMPIRE KNIGHT is currently serialized in LaLa magazine in Japan.
For more information on the VAMPIRE KNIGHT manga and to read free previews online please visit http://www.shojobeat.com/. For more information on this and other animated titles from VIZ Media please visit http://www.vizanime.com/.
Saturday, October 16, 2010
Documentary "No End in Sight" is Simply Brilliant
TRASH IN MY EYE No. 139 (of 2007) by Leroy Douresseaux
No End in Sight (2007)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – no rated
WRITER/DIRECTOR: Charles Ferguson
PRODUCERS: Jennie Amias, Charles Ferguson, Audrey Marrs, and Jessie Vogelson
CINEMATOGRAPHER: Antonio Rossi
EDITORS: Chad Beck and Cindy Lee
Academy Award nominee
DOCUMENTARY – Politics, Iraq War
Starring: Campbell Scott (narrator), Chris Allbritton, Richard Armitage, Amazia Baram, Ambassador Barbara Bodine, Gerald Burke, Gen. Jay Garner, Col. Paul Hughes, George Packer, Paul Pillar, Nir Rosen Walter Slocombe, Col. Lawrence Wilkerson with Seth Moulton, Hugo Gonzales, and David Yancey
No End in Sight is the acclaimed documentary from award-winning documentary filmmaker (and former Brookings Institution fellow) Charles Ferguson. No End in Sight examines the decisions that led to the U.S. invasion of Iraq in March of 2003 but mostly focuses on the handling of the subsequent occupation as managed by the administration of President George W. Bush. The film, which premiered at the 2007 Sundance Film Festival (where it won the “Special Jury Prize for Documentaries”), features exclusive interviews with central players in the planning and execution of the invasion. Using these interviews, Ferguson also offers a detailed analysis of the American occupation of Iraq through most of 2006.
Masterfully edited and tightly composed as a narrative, No End in Sight provides a broad view of the poor planning and general incompetence in managing post-invasion Iraq. The film also reveals the Bush administration’s ignorance about Iraq and the high-level arrogance that in turn resulted in poor decision making early in the occupation of Iraq. Charles H. Ferguson, a political scientist and software entrepreneur, pulls no punches as he chronicles the twists and turns the Bush administration took to lead American down the path to war, but rather than merely acting as a Bush-hater, Ferguson wants to make us mad. Arrogance, mishandling, GOP cronyism, willful ignorance, etc. cost the United States dearly in Iraq. Ferguson’s argument is that the early days of the occupation should and could have gone much better that it did, but the early mistakes essentially made the occupation of Iraq, over the long run, a disaster for the U.S., if not outright dooming the occupation to failure. The film seems to say, “We should be mad because it should have gone better.”
No End in Sight doesn’t necessarily take sides. Was the 2003 invasion of Iraq right or wrong? Ferguson avoids that question, for the most part. Instead, he focuses on how U.S. success in Iraq was lost from the beginning, and that’s damning enough.
9 of 10
A+
Wednesday, November 28, 2007
NOTES:
2008 Academy Awards: 1 nomination: “Best Documentary, Features” (Charles Ferguson and Audrey Marrs)
No End in Sight (2007)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – no rated
WRITER/DIRECTOR: Charles Ferguson
PRODUCERS: Jennie Amias, Charles Ferguson, Audrey Marrs, and Jessie Vogelson
CINEMATOGRAPHER: Antonio Rossi
EDITORS: Chad Beck and Cindy Lee
Academy Award nominee
DOCUMENTARY – Politics, Iraq War
Starring: Campbell Scott (narrator), Chris Allbritton, Richard Armitage, Amazia Baram, Ambassador Barbara Bodine, Gerald Burke, Gen. Jay Garner, Col. Paul Hughes, George Packer, Paul Pillar, Nir Rosen Walter Slocombe, Col. Lawrence Wilkerson with Seth Moulton, Hugo Gonzales, and David Yancey
No End in Sight is the acclaimed documentary from award-winning documentary filmmaker (and former Brookings Institution fellow) Charles Ferguson. No End in Sight examines the decisions that led to the U.S. invasion of Iraq in March of 2003 but mostly focuses on the handling of the subsequent occupation as managed by the administration of President George W. Bush. The film, which premiered at the 2007 Sundance Film Festival (where it won the “Special Jury Prize for Documentaries”), features exclusive interviews with central players in the planning and execution of the invasion. Using these interviews, Ferguson also offers a detailed analysis of the American occupation of Iraq through most of 2006.
Masterfully edited and tightly composed as a narrative, No End in Sight provides a broad view of the poor planning and general incompetence in managing post-invasion Iraq. The film also reveals the Bush administration’s ignorance about Iraq and the high-level arrogance that in turn resulted in poor decision making early in the occupation of Iraq. Charles H. Ferguson, a political scientist and software entrepreneur, pulls no punches as he chronicles the twists and turns the Bush administration took to lead American down the path to war, but rather than merely acting as a Bush-hater, Ferguson wants to make us mad. Arrogance, mishandling, GOP cronyism, willful ignorance, etc. cost the United States dearly in Iraq. Ferguson’s argument is that the early days of the occupation should and could have gone much better that it did, but the early mistakes essentially made the occupation of Iraq, over the long run, a disaster for the U.S., if not outright dooming the occupation to failure. The film seems to say, “We should be mad because it should have gone better.”
No End in Sight doesn’t necessarily take sides. Was the 2003 invasion of Iraq right or wrong? Ferguson avoids that question, for the most part. Instead, he focuses on how U.S. success in Iraq was lost from the beginning, and that’s damning enough.
9 of 10
A+
Wednesday, November 28, 2007
NOTES:
2008 Academy Awards: 1 nomination: “Best Documentary, Features” (Charles Ferguson and Audrey Marrs)
"Detroit Metal City" Arriving on DVD in November
THE MOST DIOBOLOCAL HEAVY METAL SINGER FROM JAPAN IS UNLEASHED ON THE U.S. IN HILARIOUS COMEDY DETROIT METAL CITY NEW ON DVD FROM VIZ PICTURES
Film Based On A Popular Manga Series And Features Appearances By Gene Simmons Of KISS And Marty Friedman Of MEGADETH
VIZ Pictures, an affiliate of VIZ Media, LLC that focuses on Japanese live-action film distribution, has announced the DVD release on November 9th of Detroit Metal City. The live-action comedy, directed by Toshio Lee and based on the popular manga comic created by Kiminori Wakasugi, is presented in Japanese with English subtitles and will carry an MSRP of $24.92 U.S. / $35.99 CAN.
To celebrate the release, VIZ Pictures has scheduled a special one-night-only screening of Detroit Metal City at 7:15pm on Tuesday, November 4th at VIZ Cinema, located inside NEW PEOPLE in the heart of San Francisco’s Japantown (1746 Post St., San Francisco CA 94115).
Deluxe tickets to the screening are $25.00 and include a pass to the film, a copy of the new DVD, a poster and stickers, and entry into a raffle for several fun DETROIT METAL CITY premiums. Prizes will be awarded and attendees are invited to also enjoy complementary beverages before the show. Regular admission tickets are $10.00 (for film only). Please visit www.viz-pictures.com or www.vizcinema.com for complete details.
Detroit Metal City takes the zany rock antics inspired by films like Spinal Tap to hilarious new extremes in this story, based on a popular manga comic created by Kiminori Wakasugi that has sold more than 4.5 million copies in Japan (and published in North America by VIZ Media). It features notable appearances by Gene Simmons from the legendary band, KISS, and Marty Friedman of Megadeth, and stars Kenichi Matsuyama, one of the most adored actors in Japan today and known widely for his role as 'L' in the Death Note films (also available from VIZ Pictures).
“Detroit Metal City is a delightfully funny film that is a must-see for any rock fan,” says Seiji Horibuchi, President and CEO of VIZ Pictures. “Actor Kenichi Matsuyama brings the character of Johannes Krauser II to life in an inventive slapstick performance takes hints from Jim Carrey, Johnny Rotten and Alice Cooper. We look forward to audiences discovering this hilarious comedy that shows how fame isn’t all it’s cracked up to be when you’re the most diabolical, foul – and popular – heavy metal singer in Japan.”
In the film, Soichi Negishi (played by Kenichi Matsuyama) is a sweet and shy young man who dreams of becoming a trendy singer songwriter. But for some reason, he is forced into joining the devil worshiping death metal band “Detroit Metal City” (DMC). In full stage make-up and costume, he transforms into Johannes Krauser II the vulgar-mouthed lead vocalist of the band. But he must keep this a secret from his crush, Yuri Aikawa, who despises death metal. What would she think if she found out? But against Negishi’s will, DMC rises to stardom. Things get even more complicated when the legendary king of death metal, Jack IL Dark (played by Gene Simmons), challenges DMC to a duel in the film’s climatic finale. What will be the fate of innocent Negishi as he climbs to the top of the death metal world?
For more information on Detroit Metal City or other VIZ Pictures titles, please visit http://www.viz-pictures.com/.
About VIZ Pictures, Inc.:
Based in San Francisco, California, VIZ Pictures, Inc. licenses and distributes selective Japanese live-action films and DVDs, with focus on Japanese "kawaii (cute) and cool" pop culture. VIZ Pictures strives to offer the most entertaining motion pictures straight from the "Kingdom of Pop" for audiences of all ages, especially the manga and anime generation, in North America. Some titles include DEATH NOTE, 20TH CENTURY BOYS, and TRAIN MAN: DENSHA OTOKO. VIZ Pictures is also the producer of NEW PEOPLE, a part of the J-Pop Center Project, a unique entertainment destination bringing Japanese pop culture through film, art, fashion, and retail products. For more information please visit www.viz-pictures.com or http://www.newpeopleworld.com/.
Friday, October 15, 2010
Review: "Vanity Fair" is a Good Old Fashioned Costume Melodrama (Happy B'day, Mira Nair)
TRASH IN MY EYE No. 28 (of 2005) by Leroy Douresseaux
Vanity Fair (2004)
Running time: 137 minutes (2 hours, 17 minutes)
MPAA – PG-13 for some sensuality/partial nudity and a brief violent image
DIRECTOR: Mira Nair
WRITERS: Matthew Faulk and Mark Skeet and Julian Fellowes (based upon the novel by William Makepeace Thackeray)
PRODUCERS: Janette Day, Lydia Dean Pilcher, and Donna Gigliotti
CINEMATOGRAPHER: Declan Quinn
EDITOR: Allyson C. Johnson
DRAMA with elements of romance
Starring: Reese Witherspoon, James Purefoy, Romola Garai, Tony Maudsley, Rhys Ifans, Jonathan Rhys-Meyers, Bob Hoskins, Douglas Hodge, Meg Wynn Owen, Natasha Little, Eileen Atkins, Jim Broadbent, Robert Pattinson, and Gabriel Byrne
Born into the lower class, Rebecca “Becky” Sharp (Reese Witherspoon) becomes a relentless social climber in London society, circa 1820. She ascends the social ladder with her friend, Amelia Sedley (Romola Garai), who is from a noble, but broke family. Becky begins as a governess before marrying a financially challenged nobleman, Rawdon Crawley (James Purefoy), who is also a gambler. She eventually discovers herself to be as vain and as foolish as anyone born of noble blood.
I love costume dramas, especially English films of this type, so I was bound to be a sucker for director Mira Nair’s Vanity Fair, the film adaptation of William Makepeace Thackeray’s massive 19-century novel. I’ve never read the novel, but I could still see that something was amiss. Reese Witherspoon seems ill cast as Thackeray’s cunning anti-heroine. Her accent is shoddy, her acting range is limited, and she’s just playing her Legally Blonde character in an English costume drama. Luckily, the camera loves her, and she has a charming film personality, even when she’s wrong for a part.
Vanity Fair also swings back and forth between being riveting and tepid, although Ms. Nair injects some exotic charm in it via Indian culture in the form of music, dance, costume, and bit players. What turns the film to its better half is that Ms. Nair and her primary screenwriter, Oscar winner, Julian Fellowes (Gosford Park), are able to wring poignancy out of the British stiff upper lip by emphasizing the disastrous consequences of human vanity and pride, mostly resulting from class prejudice. The theme seems to be that the personal cost of pride to the characters in terms of lost love and lost loved ones who departed (either through death or personal exile) before reconciliation is too high. In this the film rings true.
Vanity Fair is also a gorgeous period film filled with lavish sets and sumptuous costumes. Even the examples of poverty in the film and the portrayal of the filthy London streets seem authentic. The film’s visual flair more than makes up for its shaky moments, and while Vanity Fair isn’t as good as classic Merchant Ivory films like A Room with a View and Howard’s End, this classic of British literature, adapted with a hint of Indian spice, will sate the appetite for good old costume drama.
7 of 10
B+
Vanity Fair (2004)
Running time: 137 minutes (2 hours, 17 minutes)
MPAA – PG-13 for some sensuality/partial nudity and a brief violent image
DIRECTOR: Mira Nair
WRITERS: Matthew Faulk and Mark Skeet and Julian Fellowes (based upon the novel by William Makepeace Thackeray)
PRODUCERS: Janette Day, Lydia Dean Pilcher, and Donna Gigliotti
CINEMATOGRAPHER: Declan Quinn
EDITOR: Allyson C. Johnson
DRAMA with elements of romance
Starring: Reese Witherspoon, James Purefoy, Romola Garai, Tony Maudsley, Rhys Ifans, Jonathan Rhys-Meyers, Bob Hoskins, Douglas Hodge, Meg Wynn Owen, Natasha Little, Eileen Atkins, Jim Broadbent, Robert Pattinson, and Gabriel Byrne
Born into the lower class, Rebecca “Becky” Sharp (Reese Witherspoon) becomes a relentless social climber in London society, circa 1820. She ascends the social ladder with her friend, Amelia Sedley (Romola Garai), who is from a noble, but broke family. Becky begins as a governess before marrying a financially challenged nobleman, Rawdon Crawley (James Purefoy), who is also a gambler. She eventually discovers herself to be as vain and as foolish as anyone born of noble blood.
I love costume dramas, especially English films of this type, so I was bound to be a sucker for director Mira Nair’s Vanity Fair, the film adaptation of William Makepeace Thackeray’s massive 19-century novel. I’ve never read the novel, but I could still see that something was amiss. Reese Witherspoon seems ill cast as Thackeray’s cunning anti-heroine. Her accent is shoddy, her acting range is limited, and she’s just playing her Legally Blonde character in an English costume drama. Luckily, the camera loves her, and she has a charming film personality, even when she’s wrong for a part.
Vanity Fair also swings back and forth between being riveting and tepid, although Ms. Nair injects some exotic charm in it via Indian culture in the form of music, dance, costume, and bit players. What turns the film to its better half is that Ms. Nair and her primary screenwriter, Oscar winner, Julian Fellowes (Gosford Park), are able to wring poignancy out of the British stiff upper lip by emphasizing the disastrous consequences of human vanity and pride, mostly resulting from class prejudice. The theme seems to be that the personal cost of pride to the characters in terms of lost love and lost loved ones who departed (either through death or personal exile) before reconciliation is too high. In this the film rings true.
Vanity Fair is also a gorgeous period film filled with lavish sets and sumptuous costumes. Even the examples of poverty in the film and the portrayal of the filthy London streets seem authentic. The film’s visual flair more than makes up for its shaky moments, and while Vanity Fair isn’t as good as classic Merchant Ivory films like A Room with a View and Howard’s End, this classic of British literature, adapted with a hint of Indian spice, will sate the appetite for good old costume drama.
7 of 10
B+
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Review: "Mississippi Masala" A Dish That Ages Well (Happy B'day, Mira Nair)
TRASH IN MY EYE No. 9 (of 2001) by Leroy Douresseaux
Mississippi Masala (1991/1992)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R
DIRECTOR: Mira Nair
WRITER: Sooni Taraporevala
PRODUCERS: Mira Nair and Michael Nozik
CINEMATOGRAPHER: Edward Lachman
EDITOR: Roberto Silvi
Image Award winner
DRAMA/ROMANCE
Starring: Denzel Washington, Sarita Choudhury, Roshan Seth, Sharmila Tagore, Charles Dutton, Jon Seneca, Ranjit Chowdhry, Tico Wells, and Yvette Hawkins
When Edi Amin takes power in Uganda in 1972, Jay (Roshan Seth), a Ugandan of Indian descent takes his wife Kinnu (Sharmila Tagore) and daughter Mina (Sarita Choudhury) into exile. They eventually arrive in Greenwood, Mississippi and some time passes.
In the early Nineties, Mina falls in love with Demetrius Williams (Denzel Washington), a black man who runs a small carpet cleaning business with his brother Tyrone (Charles S. Dutton). What follows is the story of the difficult time that Mina and Demetrius’s families have dealing with the mixed relationship. At the same time, Jay longs for his homeland of Kampala, Uganda and pursues a lawsuit through a post-Amin government to regain the property he lost when Amin expelled Asians and non-black Africans from Uganda.
In Mississippi Masala, director Mira Nair (Salaam Bombay!) weaves a passionate, literate affair that slowly draws the viewer from a Uganda of rich, vibrant colors to a Greenwood, MS of heavy, earthy tones. She allows her prodigiously talented cast to do their thing, and they certainly take to it.
Washington is, as expected, very good. He is a sullen, cheeky fellow who quickly becomes smitten with the beautiful Mina after initially using her to spite his ex. Ms. Choudhury, who is sadly rarely seen in movies, possesses a face rich in its display of emotions. However, behind the husky, dark brown face is a mysterious pool of thoughts and feelings that one must brave to completely enjoy the experience of viewing her acting gifts.
Roshan Seth (Gandhi, A Passage to India) as Mina’s father Ray is also good; he is subtle even when he must be angry and passionate. The viewer can feel his pain and longing for his homeland. He is the bridge in the present from the past to the future, and he is the emotional center of the film. So good is he, that you will feel that you have to cry along with him when he cries, and you will struggle with him as he finds his way when he is lost.
A soundtrack that covers Hindu music, African songs, and the delta blues and soul flows through this film like a gentle breeze. It is a wonderful accompaniment to Taraporevala’s novel like script, which deals with its characters as if the film was a novel and had all the time in the world. It is only a slight problem that there are too many good characters. Taraporevala created such wonderful characters rich in back story, and he only has time to give us a small taste of most of them.
Taraporevala and Nair also make not too subtle comments on race and ethnicity. White folks are only minor characters in the film. They mar their brief appearances with their ignorance and racism. Even the poorest, trashiest whites in the film take on an air of superiority to any non-white they meet in the film. At one point, a loan manager at a local bank lectures Demetrius and Tyrone on how far hard work has gotten him, the loan officer, when it is clear that he hasn’t worked a hard day in his life, and. If he has, he has probably never known the struggle and disappointment that Demetrius and his brother have faced.
The “masala” of the title is an Indian dish composed of colorful spices, and the multi-national, multi-ethnic cast is just like that. The small servings that we get of most of them are indeed spicy and leave us longing for more.
This film only gets better with age, and leaves you always wanting more. One of the best films of its time, it is worth repeated viewings. Mississippi Masala is a thinking person’s film with an eye on telling a story to which anyone can relate – love so strong that no opposing forces are strong enough to dispose of it.
9 of 10
A+
NOTES:
1994 Image Awards: 1 win: “Outstanding Lead Actor in a Motion Picture” (Denzel Washington)
Mississippi Masala (1991/1992)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R
DIRECTOR: Mira Nair
WRITER: Sooni Taraporevala
PRODUCERS: Mira Nair and Michael Nozik
CINEMATOGRAPHER: Edward Lachman
EDITOR: Roberto Silvi
Image Award winner
DRAMA/ROMANCE
Starring: Denzel Washington, Sarita Choudhury, Roshan Seth, Sharmila Tagore, Charles Dutton, Jon Seneca, Ranjit Chowdhry, Tico Wells, and Yvette Hawkins
When Edi Amin takes power in Uganda in 1972, Jay (Roshan Seth), a Ugandan of Indian descent takes his wife Kinnu (Sharmila Tagore) and daughter Mina (Sarita Choudhury) into exile. They eventually arrive in Greenwood, Mississippi and some time passes.
In the early Nineties, Mina falls in love with Demetrius Williams (Denzel Washington), a black man who runs a small carpet cleaning business with his brother Tyrone (Charles S. Dutton). What follows is the story of the difficult time that Mina and Demetrius’s families have dealing with the mixed relationship. At the same time, Jay longs for his homeland of Kampala, Uganda and pursues a lawsuit through a post-Amin government to regain the property he lost when Amin expelled Asians and non-black Africans from Uganda.
In Mississippi Masala, director Mira Nair (Salaam Bombay!) weaves a passionate, literate affair that slowly draws the viewer from a Uganda of rich, vibrant colors to a Greenwood, MS of heavy, earthy tones. She allows her prodigiously talented cast to do their thing, and they certainly take to it.
Washington is, as expected, very good. He is a sullen, cheeky fellow who quickly becomes smitten with the beautiful Mina after initially using her to spite his ex. Ms. Choudhury, who is sadly rarely seen in movies, possesses a face rich in its display of emotions. However, behind the husky, dark brown face is a mysterious pool of thoughts and feelings that one must brave to completely enjoy the experience of viewing her acting gifts.
Roshan Seth (Gandhi, A Passage to India) as Mina’s father Ray is also good; he is subtle even when he must be angry and passionate. The viewer can feel his pain and longing for his homeland. He is the bridge in the present from the past to the future, and he is the emotional center of the film. So good is he, that you will feel that you have to cry along with him when he cries, and you will struggle with him as he finds his way when he is lost.
A soundtrack that covers Hindu music, African songs, and the delta blues and soul flows through this film like a gentle breeze. It is a wonderful accompaniment to Taraporevala’s novel like script, which deals with its characters as if the film was a novel and had all the time in the world. It is only a slight problem that there are too many good characters. Taraporevala created such wonderful characters rich in back story, and he only has time to give us a small taste of most of them.
Taraporevala and Nair also make not too subtle comments on race and ethnicity. White folks are only minor characters in the film. They mar their brief appearances with their ignorance and racism. Even the poorest, trashiest whites in the film take on an air of superiority to any non-white they meet in the film. At one point, a loan manager at a local bank lectures Demetrius and Tyrone on how far hard work has gotten him, the loan officer, when it is clear that he hasn’t worked a hard day in his life, and. If he has, he has probably never known the struggle and disappointment that Demetrius and his brother have faced.
The “masala” of the title is an Indian dish composed of colorful spices, and the multi-national, multi-ethnic cast is just like that. The small servings that we get of most of them are indeed spicy and leave us longing for more.
This film only gets better with age, and leaves you always wanting more. One of the best films of its time, it is worth repeated viewings. Mississippi Masala is a thinking person’s film with an eye on telling a story to which anyone can relate – love so strong that no opposing forces are strong enough to dispose of it.
9 of 10
A+
NOTES:
1994 Image Awards: 1 win: “Outstanding Lead Actor in a Motion Picture” (Denzel Washington)
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