Press release:
ROBIN HOOD TEAMS UP WITH “SUPERMAN”
ROBIN HOOD JOINS PARTICIPANT MEDIA IN SOCIAL ACTION CAMPAIGN TO BRING WAITING FOR “SUPERMAN” TO THOUSANDS OF NEW YORKERS FREE OF CHARGE
LOS ANGELES – October 28, 2010 – The Robin Hood Foundation has teamed up with Participant Media’s Social Action Campaign for WAITING FOR “SUPERMAN” by underwriting a ticket giveaway program that is allowing a variety of New Yorkers from underserved neighborhoods in Manhattan, the Bronx and Brooklyn to see the film.
The landmark documentary has sparked a vital conversation on the current state of public education in the United States. The program’s goal is to spread awareness by providing 50,000 New Yorkers tickets to see WAITING FOR “SUPERMAN” at no charge.
Robin Hood has distributed thousands of vouchers redeemable for admission to any performance of the film at select New York theaters over a three-week period starting Friday, October 22. There will be additional free screenings of the film to be shown throughout the five boroughs over the next several months.
“As a result of Robin Hood’s support, tens of thousands of New Yorkers from underserved neighborhoods will now have the chance to see WAITING FOR “SUPERMAN” and be able to be part of the national conversation,” said Jim Berk, CEO Participant Media. “Their next step is to text ‘POSSIBLE TO 77177’ or visit waitingforsuperman.com/action, where they can find a variety of ways to get actively involved in changing the quality of education in their own communities.”
Geoffrey Canada’s Harlem Children’s Zone, which is featured in the film, has distributed 10,000 of the free vouchers, valid from now through November 11, for admission to any performance of the film at the AMC Magic Johnson Harlem 9 theatre and the AMC Empire 25 theatre in Manhattan. 19,000 have been distributed by Robin Hood’s network of grantees, with 12,500 redeemable at the two AMC theatres from now through November 11, and 6,500 vouchers, valid from now through November 4 at the UA Court Street theatre in Brooklyn.
About WAITING FOR "SUPERMAN”
From An Inconvenient Truth director Davis Guggenheim comes WAITING FOR "SUPERMAN”, a provocative and cogent examination of the crisis of public education in the United States told through multiple interlocking stories—from a handful of students and their families whose futures hang in the balance, to the educators and reformers trying to find real and lasting solutions within a dysfunctional system. Tackling such politically radioactive topics as the power of teachers’ unions and the entrenchment of school bureaucracies, Guggenheim reveals the invisible forces that have held true education reform back for decades.
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.
About Participant Media
Participant Media (participantmedia.com) is a Los Angeles-based global entertainment company specializing in socially-relevant documentary and non-documentary feature films, television, publishing and digital media. 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 online Social Action Network is TakePart (takepart.com).
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's films include The Kite Runner, Charlie Wilson's War, Darfur Now, An Inconvenient Truth, Good Night, and Good Luck, Syriana, The Visitor, The Soloist, Food, Inc., The Informant!, The Cove, The Crazies, Oceans, Countdown to Zero, WAITING FOR "SUPERMAN” and Fair Game.
About Robin Hood Foundation
Robin Hood holds steadfast to a single mission: fight poverty in New York City. Robin Hood is changing the fates and saving the lives of our neighbors in need by applying investment principles to charitable giving. We find, fund and create the most effective programs and schools serving families in New York City’s poorest neighborhoods. To ensure that every dollar is invested wisely, we rigorously assess each program using independent, third-party evaluators to hold each program accountable. Because Robin Hood’s board of directors pays all administrative, fundraising and evaluation costs, 100 percent of donations go directly to organizations helping impoverished New Yorkers build better lives. www.robinhood.org
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 Walden MediaWalden 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.”
Friday, October 29, 2010
Review: "Batman Begins" Still Thrills
TRASH IN MY EYES No. 96 (of 2005) by Leroy Douresseaux
Batman Begins (2005)
Running time: 140 minutes (2 hours, 20 minutes)
MPAA – PG-13 for intense action violence, disturbing images, and some thematic elements
DIRECTOR: Christopher Nolan
WRITER: David S. Goyer and Christopher Nolan; from a story by David S. Goyer (based upon the BATMAN characters published by DC Comics and created by Bob Kane)
PRODUCERS: Emma Thomas, Charles Roven, and Larry Franco
CINEMATOGRAPHER: Wally Pfister, A.S.C.
EDITOR: Lee Smith, A.C.E.
Academy Award nominee
DRAMA/ACTION/ADVENTURE/MYSTERY
Starring: Christian Bale, Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, Cillian Murphy, Tom Wilkinson, Rutger Hauer, Ken Watanabe, Morgan Freeman, Mark Boone Junior, Linus Roache, Sara Stewart, Gus Lewis, Gerald Murphy, and Christine Adams
In Batman Begins, Bruce Wayne (Christian Bale) is tormented by guilt and anger over the death of his parents, Dr. Thomas and Martha Wayne (Linus Roache and Sara Stewart), killed one dark night by a common hood, when Bruce was a child (Gus Lewis). When he grew older, he became determined to fight injustice and fear and to also honor his parents’ altruistic legacy, so Bruce decides to educate himself in the ways of the criminal mind by traveling the world and mixing with criminals. Eventually, the mysterious Henri Ducard (Liam Neeson) mentors him in the mastery of the physical and mental disciplines. Ducard also offers Bruce a place in the League of Shadows, a vigilante group to which Ducard belongs and that is headed by the enigmatic Ra’s al Ghul (Ken Watanabe).
Bruce eventually returns to the city that he called home before his seven-year odyssey, Gotham, and finds it devoured by rampant crime and corruption. Wayne Enterprises, the business that his family has owned for generations, is about to make a public stock offering at the behest of it’s CEO, Richard Earle (Rutger Hauer), a man not interested in Wayne Enterprises’ history of serving the public good. Bruce’s close childhood friend, Rachel Dawes (Katie Holmes), is an Assistant District Attorney struggling to gain convictions against the city’s most notorious criminals and their scumbag crime boss, Carmine Falcone (Tom Wilkinson). Her efforts are often thwarted by Dr. Jonathan Crane (Cillian Murphy), a prominent Gotham psychiatrist who bolsters insanity defenses for Falcone’s thugs in return for his own favors.
But Bruce has a plan. He is developing a costumed alter ego, the Batman, based upon the things that frightened him most as a child, bats. With the help of the Wayne family’s long-time trusted butler, Alfred (Michael Caine), detective Jim Gordon (Gary Oldman) – one of the few good cops on the Gotham police force – and Lucius Fox (Morgan Freeman), his ally at Wayne Enterprises’ Applied Sciences division, Bruce unleashes the masked crusader Batman, who uses his strength, fighting skills, intellect, and an array of high tech weaponry to fight the sinister forces gathered to destroy Gotham.
In Batman Begins, the first film in the Batman movie franchise since the failed 1997 film, Batman and Robin and also a restart for the franchise, the acting is quite good. Christian Bale is superb as Bruce Wayne, a man who doesn’t yet have a thousand faces, but may eventually. Bale’s Bruce has grit and determination, but he suffers the imperfections and infallibilities of a man haunted by childhood fears and the deaths of his parents. He is a believable Bruce Wayne to whom we can attach our fortunes and through whom we can live vicariously as Bruce Wayne searches for the deeper answers to crime and punishment, justice, vigilance, and charity. Bale’s Bruce Wayne is Bruce played by an actor who takes the part of a comic book character and brings it to life through his art the way serious actors bring great literary characters to life.
Liam Neeson is magnetic and electric as the menacing, almost religious, leader Ducard. Neeson gives Ducard’s every word weight and gravity, which solidifies the character’s importance. Michael Caine is grandfatherly and matronly as Bruce’s loyal butler, Alfred, the best interpretation of the character in live action film to date. Morgan Freeman is sly and witty as Lucius Fox. Katie Holmes is scrappy, savvy, and smart as Rachel Dawes, a character who is too little in this film, but Ms. Holmes, like Neeson with Ducard, makes Rachel’s every word and scene count.
The directing by Christopher Nolan is good (but not as good as his debut Memento); the editing, photography, action sequences, costumes, art direction/set decorations, and locations are all tight-ass fine. However, the thing that makes Batman Begins good is the script by Nolan and co-writer David S. Goyer (the Blade franchise), from a story by Goyer. They treat the subject matter with seriousness that is tremendous, as if this comic book film should be adapted with all the somberness one would an acclaimed literary novel. Batman Begins is a summer film with meat on it; it’s eye candy that sticks in the mind and in the heart. The story is always engaging the thought process and appealing to the emotional side. Audiences probably won’t feel as if they just had a fluffy desert when they leave the theatre after seeing this. Batman Begins is a great romantic adventure, the kind that thrived in the 19th century and sadly died by the mid-20th century. Though Batman Begins drags on a few occasions, this enthralling film will remind some how good heroic tales can be and introduce others to the joys of romantic, heroic adventure.
9 of 10
A+
NOTES:
2006 Academy Awards: 1 nomination: “Best Achievement in Cinematography” (Wally Pfister)
2006 BAFTA Awards: 3 nominations: “Best Achievement in Special Visual Effects” (Janek Sirrs, Dan Glass, Chris Corbould, and Paul J. Franklin), “Best Production Design” (Nathan Crowley), and “Best Sound” (David Evans, Stefan Henrix, and Peter Lindsay)
Batman Begins (2005)
Running time: 140 minutes (2 hours, 20 minutes)
MPAA – PG-13 for intense action violence, disturbing images, and some thematic elements
DIRECTOR: Christopher Nolan
WRITER: David S. Goyer and Christopher Nolan; from a story by David S. Goyer (based upon the BATMAN characters published by DC Comics and created by Bob Kane)
PRODUCERS: Emma Thomas, Charles Roven, and Larry Franco
CINEMATOGRAPHER: Wally Pfister, A.S.C.
EDITOR: Lee Smith, A.C.E.
Academy Award nominee
DRAMA/ACTION/ADVENTURE/MYSTERY
Starring: Christian Bale, Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, Cillian Murphy, Tom Wilkinson, Rutger Hauer, Ken Watanabe, Morgan Freeman, Mark Boone Junior, Linus Roache, Sara Stewart, Gus Lewis, Gerald Murphy, and Christine Adams
In Batman Begins, Bruce Wayne (Christian Bale) is tormented by guilt and anger over the death of his parents, Dr. Thomas and Martha Wayne (Linus Roache and Sara Stewart), killed one dark night by a common hood, when Bruce was a child (Gus Lewis). When he grew older, he became determined to fight injustice and fear and to also honor his parents’ altruistic legacy, so Bruce decides to educate himself in the ways of the criminal mind by traveling the world and mixing with criminals. Eventually, the mysterious Henri Ducard (Liam Neeson) mentors him in the mastery of the physical and mental disciplines. Ducard also offers Bruce a place in the League of Shadows, a vigilante group to which Ducard belongs and that is headed by the enigmatic Ra’s al Ghul (Ken Watanabe).
Bruce eventually returns to the city that he called home before his seven-year odyssey, Gotham, and finds it devoured by rampant crime and corruption. Wayne Enterprises, the business that his family has owned for generations, is about to make a public stock offering at the behest of it’s CEO, Richard Earle (Rutger Hauer), a man not interested in Wayne Enterprises’ history of serving the public good. Bruce’s close childhood friend, Rachel Dawes (Katie Holmes), is an Assistant District Attorney struggling to gain convictions against the city’s most notorious criminals and their scumbag crime boss, Carmine Falcone (Tom Wilkinson). Her efforts are often thwarted by Dr. Jonathan Crane (Cillian Murphy), a prominent Gotham psychiatrist who bolsters insanity defenses for Falcone’s thugs in return for his own favors.
But Bruce has a plan. He is developing a costumed alter ego, the Batman, based upon the things that frightened him most as a child, bats. With the help of the Wayne family’s long-time trusted butler, Alfred (Michael Caine), detective Jim Gordon (Gary Oldman) – one of the few good cops on the Gotham police force – and Lucius Fox (Morgan Freeman), his ally at Wayne Enterprises’ Applied Sciences division, Bruce unleashes the masked crusader Batman, who uses his strength, fighting skills, intellect, and an array of high tech weaponry to fight the sinister forces gathered to destroy Gotham.
In Batman Begins, the first film in the Batman movie franchise since the failed 1997 film, Batman and Robin and also a restart for the franchise, the acting is quite good. Christian Bale is superb as Bruce Wayne, a man who doesn’t yet have a thousand faces, but may eventually. Bale’s Bruce has grit and determination, but he suffers the imperfections and infallibilities of a man haunted by childhood fears and the deaths of his parents. He is a believable Bruce Wayne to whom we can attach our fortunes and through whom we can live vicariously as Bruce Wayne searches for the deeper answers to crime and punishment, justice, vigilance, and charity. Bale’s Bruce Wayne is Bruce played by an actor who takes the part of a comic book character and brings it to life through his art the way serious actors bring great literary characters to life.
Liam Neeson is magnetic and electric as the menacing, almost religious, leader Ducard. Neeson gives Ducard’s every word weight and gravity, which solidifies the character’s importance. Michael Caine is grandfatherly and matronly as Bruce’s loyal butler, Alfred, the best interpretation of the character in live action film to date. Morgan Freeman is sly and witty as Lucius Fox. Katie Holmes is scrappy, savvy, and smart as Rachel Dawes, a character who is too little in this film, but Ms. Holmes, like Neeson with Ducard, makes Rachel’s every word and scene count.
The directing by Christopher Nolan is good (but not as good as his debut Memento); the editing, photography, action sequences, costumes, art direction/set decorations, and locations are all tight-ass fine. However, the thing that makes Batman Begins good is the script by Nolan and co-writer David S. Goyer (the Blade franchise), from a story by Goyer. They treat the subject matter with seriousness that is tremendous, as if this comic book film should be adapted with all the somberness one would an acclaimed literary novel. Batman Begins is a summer film with meat on it; it’s eye candy that sticks in the mind and in the heart. The story is always engaging the thought process and appealing to the emotional side. Audiences probably won’t feel as if they just had a fluffy desert when they leave the theatre after seeing this. Batman Begins is a great romantic adventure, the kind that thrived in the 19th century and sadly died by the mid-20th century. Though Batman Begins drags on a few occasions, this enthralling film will remind some how good heroic tales can be and introduce others to the joys of romantic, heroic adventure.
9 of 10
A+
NOTES:
2006 Academy Awards: 1 nomination: “Best Achievement in Cinematography” (Wally Pfister)
2006 BAFTA Awards: 3 nominations: “Best Achievement in Special Visual Effects” (Janek Sirrs, Dan Glass, Chris Corbould, and Paul J. Franklin), “Best Production Design” (Nathan Crowley), and “Best Sound” (David Evans, Stefan Henrix, and Peter Lindsay)
---------------------------
Thursday, October 28, 2010
Dark Knight 3 Entitled "The Dark Knight Rises"
Yesterday, Los Angeles Times blog, Hero Complex, broke the news that Christopher Nolan's third Batman film is to be entitled "The Dark Knight Rises." No, The Riddler will not be a villain, and the film will not be in 3D. Empire Online also talks about this news.
If I find any more news about this, I'll add the link(s) in a future post.
If I find any more news about this, I'll add the link(s) in a future post.
Review: "Saw IV" Redeems "Saw 3"
TRASH IN MY EYE No. 133 (of 2007) by Leroy Douresseaux
Saw IV (2007)
Running time: 95 min (1 hour, 35 minutes)
MPAA – R for sequences of grisly bloody violence and torture throughout and for language
DIRECTOR: Darren Lynn Bousman
WRITERS: Patrick Melton and Marcus Dunstan; from the story by Thomas H. Fenton and Patrick Melton and Marcus Dunstan
PRODUCERS: Mark Burg and Oren Koules
CINEMATOGRAPHER: David A. Armstrong
EDITOR: Kevin Greutert
HORROR/CRIME/MYSTERY/THRILLER
Starring: Tobin Bell, Costas Mandylor, Scott Patterson, Betsey Russell, Lyriq Bent, Athena Karkanis, Justin Louis, Simon Reynolds, Donnie Wahlberg, Angus Macfadyen, Shawnee Smith, and Billy Otis
As Saw IV opens, Jigsaw (Tobin Bell) and his apprentice Amanda (Shawnee Smith) are dead, and the police discover Detective Kerry’s (Dina Meyer) body. Two seasoned FBI profilers, Agent Strahm (Scott Patterson) and Agent Perez (Athena Karkanis), arrive in this community that Jigsaw has terrorized to assist veteran Detective Hoffman (Costas Mandylor) in sifting through Jigsaw's latest grizzly remains and piecing together the puzzle.
Meanwhile, SWAT Commander Rigg (Lyriq Bent), the last officer untouched by Jigsaw, is abducted and thrust into Jigsaw’s bloody game of bizarre death contraptions. Rigg has only ninety minutes to overcome a series of demented traps and his own obsessions to save his old friend Eric Matthews (Donnie Wahlberg), who is revealed to still be alive, or face the deadly consequences.
Saw IV has a huge twist that is somehow connected to Saw III, and it will only serve to enrich this fantastic horror/crime film series that borders on torture porn. In fact, IV is an upgrade on III. For one, whereas III seemed to be mostly about violence, gore, and sadism, IV is a suspenseful mystery/thriller that keeps the viewer on the edge of his seat in terror and keeps up the urgency to unravel the mystery. Secondly, IV finally offers the origin story of Jigsaw, and it’s a tightly written story within a story that is as poignant and tragic as many film dramas and as shocking as the best horror flicks. Thirdly, the ensemble cast is good, in particularly Lyriq Bent in his performance as the determined Rigg.
Saw IV is just as big as a gross out flick as Saw III, but this time we get an edgy thriller, a riveting mystery, and good filmmaking to go with the gleefully gory stuff.
7 of 10
B+
Sunday, October 28, 2007
Saw IV (2007)
Running time: 95 min (1 hour, 35 minutes)
MPAA – R for sequences of grisly bloody violence and torture throughout and for language
DIRECTOR: Darren Lynn Bousman
WRITERS: Patrick Melton and Marcus Dunstan; from the story by Thomas H. Fenton and Patrick Melton and Marcus Dunstan
PRODUCERS: Mark Burg and Oren Koules
CINEMATOGRAPHER: David A. Armstrong
EDITOR: Kevin Greutert
HORROR/CRIME/MYSTERY/THRILLER
Starring: Tobin Bell, Costas Mandylor, Scott Patterson, Betsey Russell, Lyriq Bent, Athena Karkanis, Justin Louis, Simon Reynolds, Donnie Wahlberg, Angus Macfadyen, Shawnee Smith, and Billy Otis
As Saw IV opens, Jigsaw (Tobin Bell) and his apprentice Amanda (Shawnee Smith) are dead, and the police discover Detective Kerry’s (Dina Meyer) body. Two seasoned FBI profilers, Agent Strahm (Scott Patterson) and Agent Perez (Athena Karkanis), arrive in this community that Jigsaw has terrorized to assist veteran Detective Hoffman (Costas Mandylor) in sifting through Jigsaw's latest grizzly remains and piecing together the puzzle.
Meanwhile, SWAT Commander Rigg (Lyriq Bent), the last officer untouched by Jigsaw, is abducted and thrust into Jigsaw’s bloody game of bizarre death contraptions. Rigg has only ninety minutes to overcome a series of demented traps and his own obsessions to save his old friend Eric Matthews (Donnie Wahlberg), who is revealed to still be alive, or face the deadly consequences.
Saw IV has a huge twist that is somehow connected to Saw III, and it will only serve to enrich this fantastic horror/crime film series that borders on torture porn. In fact, IV is an upgrade on III. For one, whereas III seemed to be mostly about violence, gore, and sadism, IV is a suspenseful mystery/thriller that keeps the viewer on the edge of his seat in terror and keeps up the urgency to unravel the mystery. Secondly, IV finally offers the origin story of Jigsaw, and it’s a tightly written story within a story that is as poignant and tragic as many film dramas and as shocking as the best horror flicks. Thirdly, the ensemble cast is good, in particularly Lyriq Bent in his performance as the determined Rigg.
Saw IV is just as big as a gross out flick as Saw III, but this time we get an edgy thriller, a riveting mystery, and good filmmaking to go with the gleefully gory stuff.
7 of 10
B+
Sunday, October 28, 2007
--------------------------
Review: "Saw III" Gory and Boring... Which is Actually Kinda Impressive
TRASH IN MY EYE No. 223 (of 2006) by Leroy DouresseauxSaw III (2006)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for strong grisly violence and gore, sequences of terror and torture, nudity, and language
DIRECTOR: Darren Lynn Bousman
WRITERS: Leigh Whannell; from a story by James Wan and Leigh Whannell
PRODUCERS: Gregg Hoffman, Oren Koules, and Mark Burg
CINEMATOGRAPHER: David A. Armstrong (director of photography)
EDITOR: Kevin Greutert
HORROR with elements of drama
Starring: Tobin Bell, Shawnee Smith, Angus Macfadyen, Bahar Soomekh, Dina Meyer, Mpho Koaho, Barry Flatman, Lyriq Bent, and J LaRose
The Jigsaw killer (Tobin Bell) and his apprentice, Amanda (Shawnee Smith), are still subjecting hapless victims to their cruel, sadistic, and intricate games of death. While city detectives frantically hunt for them, they’ve chosen two new pawns, the detached and clinical Dr. Lynn Denlon (Bahar Soomekh), and Jeff (Angus Macfadyen), a grieving father obsessed with getting revenge for the death of his young son.
Saw III, of all the Saw films, may delve most deeply into the psychology of both the game masters and their “players.” However, for all its attempts at discovering the reasons and rationales for the characters’ actions, Saw III is listless, although it is as gory and gross as the previous movies. Watching the characters desperately fight to escape the mega sadistic contraptions Jigsaw and Amanda have prepared for them (there’s a twist here) is painful – ready-made to cause viewer squirming and flinching. But the whole gruesome exercise seems as dull and as unappealing as harvesting belly button lint.
Most of Saw II’s crew has returned for Saw III, including director Darren Lynn Bousman and screenwriter Leigh Whannell (who based Saw III’s script on an idea by original Saw director James Wan), but they couldn’t rebuild the fire they started for Saw II. The production values are also of lesser quality. The set looks like a rundown mechanic’s garage, and the cinematography is dull and poorly lit even for a horror flick. The acting amounts to sneers, hard stares, hollering, and over-emoting. Hardcore gore attics (and Saw fanatics) may very well find much in this flick to love, but if it weren’t for the scene with the puréed putrid pigs, Saw III wouldn’t have a single memorable moment.
4 of 10
C
Saturday, October 28, 2006
------------------------
Wednesday, October 27, 2010
Halle Berry Makes Late Bid for Oscar Nomination
Halle Berry news from Deadline. Her based-upon-a-true-story, 1970s psychological drama, Frankie and Alice, is a last minute entrance into the Oscar race. The film, which Berry produced, has been moved up to a December 17 released date in L.A. and NYC in order to qualify for the 2011 Oscars. It will go into a wider release (the top 20 cities) on Feb. 4th, shortly after the Oscar nominations are announced.
Monday, October 25, 2010
Review: "Sex and the City: The Movie" is Groovy
TRASH IN MY EYE No. 86 (of 2010) by Leroy Douresseaux
Sex and the City (2008)
Running time: 145 minutes (2 hours, 25 minutes)
MPAA – R for strong sexual content, graphic nudity and language
DIRECTOR: Michael Patrick King
WRITER: Michael Patrick King (based upon the book by Candace Bushnell and the television series created by Darren Star)
PRODUCERS: Michael Patrick King, John Melfi, Sarah Jessica Parker, and Darren Star
CINEMATOGRAPHER: John Thomas (D.o.P.)
EDITOR: Michael Berenbaum
COMEDY/DRAMA/ROMANCE
Starring: Sarah Jessica Parker, Kim Cattrall, Kristin Davis, Cynthia Nixon, Chris Noth, Jennifer Hudson, David Eigenberg, Evan Handler, Jason Lewis, Mario Cantone, Candice Bergen, Lynn Cohen, Gilles Marini, Joseph Pupo, and Alexandra Fong and Parker Fong
Sex and the City was an American comedy television series that was originally broadcast on HBO over six seasons from 1998 to 2004. Created by Darren Star, the series was based in part on Candice Bushnell’s book of the same title.
Sex and the City the series focused on 30-something Carrie Bradshaw (Sarah Jessica Parker), a columnist for the fictional New York Star and book author, and her three best friends: 30-somethings Miranda Hobbes (Cynthia Nixon) and Charlotte York (Kristin Davis) and 40-something Samantha Jones (Kim Cattrall). The girls often discussed their desires, sexual fantasies, love, and life. In 2008, the TV series made it to the big screen as Sex and the City: The Movie.
The movie’s story opens four years after the television series ended. Carrie and the on-again/off-again love of her life, John Preston A.K.A. Mr. Big (Chris Noth) are about to get married, but what began as a modest wedding has nearly quadrupled in sized. As her 50th birthday approaches, Samantha is living in Los Angeles with her boy toy actor boyfriend, Smith Jerrod (Jason Lewis). Samantha is also Smith’s manager, and she is starting to feel like a housewife, which she does not like.
Miranda and her husband, Steve Brady (David Eigenberg), have stopped having sex, and their marriage is in trouble, bigger trouble than she thinks. Charlotte and her husband, Harry Goldenblatt (Evan Handler), are also in for a big surprise regarding their marriage. 20 years after they first met in New York City, the girls are still supporting one another, and they need each other now more than ever.
I’ve only seen a few episodes of the Sex in the City series, and that was only in syndication when the episodes were edited for content. To date, I have liked what I’ve seen, although the series obviously isn’t aimed at me or my demographic group. The characters are what appeal to me. Each has personality traits which both attract and repel, but those characteristics are more substantive than quirky. Perhaps, I like them because I expected them to be vacuous, but instead found them engaging.
Carrie Bradshaw and friends are not shallow. While they are professional women living lives of affluence and abundance, those lives are not without conflict, drama, and dilemmas. The glamour is not without some gloom, and writer/director Michael Patrick King (a driving force behind the television series) freely goes to some dark places in the lives of the women.
Sex in the City is partly about love and all its complications – even the gritty complications that cause you hurt and make you want to punish the love of your life. Sex and the City, however, is really all about the girls. If you loved them in the series, you’ll love going through hell, healing wounds, and enjoying friends and family with them in this film. Sex and the City: The Movie is both effervescent and tart the way romantic comedy should be, and this movie is one of the best modern romantic comedies.
7 of 10
A-
Monday, October 25, 2010
Sex and the City (2008)
Running time: 145 minutes (2 hours, 25 minutes)
MPAA – R for strong sexual content, graphic nudity and language
DIRECTOR: Michael Patrick King
WRITER: Michael Patrick King (based upon the book by Candace Bushnell and the television series created by Darren Star)
PRODUCERS: Michael Patrick King, John Melfi, Sarah Jessica Parker, and Darren Star
CINEMATOGRAPHER: John Thomas (D.o.P.)
EDITOR: Michael Berenbaum
COMEDY/DRAMA/ROMANCE
Starring: Sarah Jessica Parker, Kim Cattrall, Kristin Davis, Cynthia Nixon, Chris Noth, Jennifer Hudson, David Eigenberg, Evan Handler, Jason Lewis, Mario Cantone, Candice Bergen, Lynn Cohen, Gilles Marini, Joseph Pupo, and Alexandra Fong and Parker Fong
Sex and the City was an American comedy television series that was originally broadcast on HBO over six seasons from 1998 to 2004. Created by Darren Star, the series was based in part on Candice Bushnell’s book of the same title.
Sex and the City the series focused on 30-something Carrie Bradshaw (Sarah Jessica Parker), a columnist for the fictional New York Star and book author, and her three best friends: 30-somethings Miranda Hobbes (Cynthia Nixon) and Charlotte York (Kristin Davis) and 40-something Samantha Jones (Kim Cattrall). The girls often discussed their desires, sexual fantasies, love, and life. In 2008, the TV series made it to the big screen as Sex and the City: The Movie.
The movie’s story opens four years after the television series ended. Carrie and the on-again/off-again love of her life, John Preston A.K.A. Mr. Big (Chris Noth) are about to get married, but what began as a modest wedding has nearly quadrupled in sized. As her 50th birthday approaches, Samantha is living in Los Angeles with her boy toy actor boyfriend, Smith Jerrod (Jason Lewis). Samantha is also Smith’s manager, and she is starting to feel like a housewife, which she does not like.
Miranda and her husband, Steve Brady (David Eigenberg), have stopped having sex, and their marriage is in trouble, bigger trouble than she thinks. Charlotte and her husband, Harry Goldenblatt (Evan Handler), are also in for a big surprise regarding their marriage. 20 years after they first met in New York City, the girls are still supporting one another, and they need each other now more than ever.
I’ve only seen a few episodes of the Sex in the City series, and that was only in syndication when the episodes were edited for content. To date, I have liked what I’ve seen, although the series obviously isn’t aimed at me or my demographic group. The characters are what appeal to me. Each has personality traits which both attract and repel, but those characteristics are more substantive than quirky. Perhaps, I like them because I expected them to be vacuous, but instead found them engaging.
Carrie Bradshaw and friends are not shallow. While they are professional women living lives of affluence and abundance, those lives are not without conflict, drama, and dilemmas. The glamour is not without some gloom, and writer/director Michael Patrick King (a driving force behind the television series) freely goes to some dark places in the lives of the women.
Sex in the City is partly about love and all its complications – even the gritty complications that cause you hurt and make you want to punish the love of your life. Sex and the City, however, is really all about the girls. If you loved them in the series, you’ll love going through hell, healing wounds, and enjoying friends and family with them in this film. Sex and the City: The Movie is both effervescent and tart the way romantic comedy should be, and this movie is one of the best modern romantic comedies.
7 of 10
A-
Monday, October 25, 2010
----------------------------
Subscribe to:
Posts (Atom)