Thanks to IMDb.com, I discovered a new website, Shadow and Act, which its participants describe as "A collective of writers, filmmakers, film critics and film enthusiasts, interested in discussing primarily film and filmmakers of the African Diaspora."
They made note of the following tidbit: Will Smith and a Chinese director named Eva Jin are developing an hour-long, television crime drama for Fox. It will be set in China and focused on a crime-fighting American female college student studying abroad in China.
I'll let you know when I learn more.
Sunday, January 2, 2011
Director and Stars Deliver the Goods in "The Savages"
TRASH IN MY EYE No. 25 (of 2008) by Leroy Douresseaux
The Savages (2007)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for some sexuality and language
WRITER/DIRECTOR: Tamara Jenkins
PRODUCERS: Anne Carey, Ted Hope, and Erica Westheimer
CINEMATOGRAPHER: W. Mott Hupfel, III
EDITOR: Brian A. Kates
Academy Award nominee
DRAMA/COMEDY
Starring: Laura Linney, Philip Seymour Hoffman, Philip Bosco, Peter Friedman, Gbenga Akinnagbe, David Zayas, and Cara Seymour
Writer/director Tamara Jenkins delivered some of the best screenwriting of 2007 with her drama, The Savages. Her stars, Laura Linney and Philip Seymour Hoffman, in turn, delivered some of the best acting on screen all year.
Wendy Savage (Linney) and her brother Jon Savage (Hoffman) carry the emotional scars of an abusive childhood. Living in New York City’s East Village, Wendy is a long aspiring playwright who spends her days temping and spends her nights having an affair with her neighbor, Larry (Peter Friedman). Living in upstate Buffalo, New York, Jon is a professor of drama, struggling to finish his book on Bertolt Brecht. They suddenly get an unexpected call from Arizona informing them that their estranged and abusive father, Lenny Savage (Philip Bosco) is suffering from dementia.
Reunited, the siblings face the challenge of caring for their ailing elderly father in spite of their emotional disconnect from him and each other. They move him into a Buffalo nursing home, and Wendy takes up residence with Jon. Living under the same roof again, Wendy and Jon rediscover each other’s eccentricities, personal failings, and the other things that drove them crazy. However, they may finally have to face adulthood and learn what good there really is in being part of a family.
If a director is to keep a family drama like The Savages from becoming a sappy soap opera, she must draw nuance from both her script and her performers, which Tamara Jenkins does in The Savages, earning herself an Oscar nomination for “Best Original Screenplay.” This smartly written and beautifully played film is for people who love films that allow great actors to do the thing they do so well.
Laura Linney, who also earned an Oscar nod for this picture, wows with her deep and sensitive portrayal of woman adrift in her middle age and trying to get her bearings. Linney really sells the notion that Wendy Savage will, through this tragedy, find the things in her past that she can both cherish and also bring into the future to make her life better. Philip Seymour Hoffman, having a career year in 2007, shows off his diversity by also playing a sensitive creative type. Hoffman also enriches Jon by gradually revealing a strong, steady side to a character that seems unable to take the next big step in anything he does.
Tamara Jenkins reveals an uncanny touch in the way she examines how nature and nurture go into making us who we are, and she makes an attractive narrative of this. It is a film that, while compassionate, is unsentimental.
7 of 10
A-
NOTES:
2008 Academy Awards: 2 nominations: “Best Performance by an Actress in a Leading Role” (Laura Linney) and “Best Writing, Screenplay Written Directly for the Screen” (Tamara Jenkins)
2008 Golden Globes: 1 nomination for “Best Performance by an Actor in a Motion Picture – Musical or Comedy (Philip Seymour Hoffman)
The Savages (2007)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for some sexuality and language
WRITER/DIRECTOR: Tamara Jenkins
PRODUCERS: Anne Carey, Ted Hope, and Erica Westheimer
CINEMATOGRAPHER: W. Mott Hupfel, III
EDITOR: Brian A. Kates
Academy Award nominee
DRAMA/COMEDY
Starring: Laura Linney, Philip Seymour Hoffman, Philip Bosco, Peter Friedman, Gbenga Akinnagbe, David Zayas, and Cara Seymour
Writer/director Tamara Jenkins delivered some of the best screenwriting of 2007 with her drama, The Savages. Her stars, Laura Linney and Philip Seymour Hoffman, in turn, delivered some of the best acting on screen all year.
Wendy Savage (Linney) and her brother Jon Savage (Hoffman) carry the emotional scars of an abusive childhood. Living in New York City’s East Village, Wendy is a long aspiring playwright who spends her days temping and spends her nights having an affair with her neighbor, Larry (Peter Friedman). Living in upstate Buffalo, New York, Jon is a professor of drama, struggling to finish his book on Bertolt Brecht. They suddenly get an unexpected call from Arizona informing them that their estranged and abusive father, Lenny Savage (Philip Bosco) is suffering from dementia.
Reunited, the siblings face the challenge of caring for their ailing elderly father in spite of their emotional disconnect from him and each other. They move him into a Buffalo nursing home, and Wendy takes up residence with Jon. Living under the same roof again, Wendy and Jon rediscover each other’s eccentricities, personal failings, and the other things that drove them crazy. However, they may finally have to face adulthood and learn what good there really is in being part of a family.
If a director is to keep a family drama like The Savages from becoming a sappy soap opera, she must draw nuance from both her script and her performers, which Tamara Jenkins does in The Savages, earning herself an Oscar nomination for “Best Original Screenplay.” This smartly written and beautifully played film is for people who love films that allow great actors to do the thing they do so well.
Laura Linney, who also earned an Oscar nod for this picture, wows with her deep and sensitive portrayal of woman adrift in her middle age and trying to get her bearings. Linney really sells the notion that Wendy Savage will, through this tragedy, find the things in her past that she can both cherish and also bring into the future to make her life better. Philip Seymour Hoffman, having a career year in 2007, shows off his diversity by also playing a sensitive creative type. Hoffman also enriches Jon by gradually revealing a strong, steady side to a character that seems unable to take the next big step in anything he does.
Tamara Jenkins reveals an uncanny touch in the way she examines how nature and nurture go into making us who we are, and she makes an attractive narrative of this. It is a film that, while compassionate, is unsentimental.
7 of 10
A-
NOTES:
2008 Academy Awards: 2 nominations: “Best Performance by an Actress in a Leading Role” (Laura Linney) and “Best Writing, Screenplay Written Directly for the Screen” (Tamara Jenkins)
2008 Golden Globes: 1 nomination for “Best Performance by an Actor in a Motion Picture – Musical or Comedy (Philip Seymour Hoffman)
Saturday, January 1, 2011
Happy New Year's 2011 and Negromancer Heaven
Welcome to Negromancer, the rebirth of my former movie review website as a movie review and movie news blog. I’m Leroy Douresseaux, and I also blog at http://ireadsyou.blogspot.com/ and write for the Comic Book Bin (which has smart phones apps).
Happy New Year, and it is a happy new year thanks to you, the readers. This blog is doing much better than I thought it would at this point. Many thanks to all the people who have ordered from Amazon through the links and thanks for the donations, which have helped in those... lost employment days. Onward, Negromancer souljas!
All images appearing on this blog are © copyright and/or trademark their respective owners.
Happy New Year, and it is a happy new year thanks to you, the readers. This blog is doing much better than I thought it would at this point. Many thanks to all the people who have ordered from Amazon through the links and thanks for the donations, which have helped in those... lost employment days. Onward, Negromancer souljas!
All images appearing on this blog are © copyright and/or trademark their respective owners.
Friday, December 31, 2010
Fantastic "Exit Through the Gift Shop" a Strange Art Movie
TRASH IN MY EYE No. 107 (of 2010) by Leroy Douresseaux
Exit Through the Gift Shop (2010)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – R for some language
DIRECTOR: Banksy
PRODUCERS: Holly Cushing, Jaimie D'Cruz, and James Gay-Rees
EDITORS: Tom Fulford and Chris King
DOCUMENTARY
Starring: Thierry Guetta, Banksy, Shepard Fairey, Monsieur André, Space Invader, Zevs, and Rhys Ifans (narrator)
Exit Through the Gift Shop is a documentary that largely focuses on Thierry Guetta, a French immigrant to Los Angeles. Although he was a successful small businessman, Guetta also had an obsession with carrying his camera everywhere and constantly filming his surroundings – from inside his home and business (a vintage clothing store) to outside in public. On holiday in France, Guetta discovers that one of his cousins is Invader, an internationally known street artist.
Fascinated by his cousin’s art, Guetta turns his camera on the street artists and eventually meets such street art luminaries as Shepard Fairey (who created the Barack Obama “HOPE” poster), Borf, Ron English, and Buffmonster, among others. Eventually, Guetta attempts to make a documentary film from all the footage he has shot of street artists. After meeting the secretive and legendary Banksy, a British graffiti artist, stencil artist, and painter, Guetta’s project takes a surprising twist. Banksy takes over the filmmaking duties, and Guetta reinvents himself as the street artist “Mr. Brainwash” (or MBW).
There has been some speculation that Exit Through the Gift Shop is one big prank – the documentary film about street art that is essentially graffiti on the body politic of documentary filmmaking. This film could also be seen as a satire of the art scene and of media hype, especially hype around artistic or cultural events. However, as brief as this film is, Exit Through the Gift Shop does capture the mesmerizing power of art and also the ability of artists, especially rebels and innovators, to capture the public’s imagination.
Exit Through the Gift Shop heaps scorn on practically everyone who appears in the film and anyone who is involved in this narrative. In a subtle way, it disapproves of the way underground and outsider art has become commercialized, just another thing for rich people to co-opt with their cash. Is street art just more pop art? Still, the film cannot hide the fact that people are genuinely fascinated by art: arguing about art, deciding what constitutes art, and depicting how artists can astonish with the surprising mediums they use to present their art.
Whatever the truth is about the validity of the film’s content and subject matter, Exit Through the Gift Shop does something many films have a difficult time doing, captivating the audience from beginning to end. Its only fault may be that it doesn’t give us more of its delightful subjects and characters.
9 of 10
A+
Friday, December 31, 2010
Exit Through the Gift Shop (2010)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – R for some language
DIRECTOR: Banksy
PRODUCERS: Holly Cushing, Jaimie D'Cruz, and James Gay-Rees
EDITORS: Tom Fulford and Chris King
DOCUMENTARY
Starring: Thierry Guetta, Banksy, Shepard Fairey, Monsieur André, Space Invader, Zevs, and Rhys Ifans (narrator)
Exit Through the Gift Shop is a documentary that largely focuses on Thierry Guetta, a French immigrant to Los Angeles. Although he was a successful small businessman, Guetta also had an obsession with carrying his camera everywhere and constantly filming his surroundings – from inside his home and business (a vintage clothing store) to outside in public. On holiday in France, Guetta discovers that one of his cousins is Invader, an internationally known street artist.
Fascinated by his cousin’s art, Guetta turns his camera on the street artists and eventually meets such street art luminaries as Shepard Fairey (who created the Barack Obama “HOPE” poster), Borf, Ron English, and Buffmonster, among others. Eventually, Guetta attempts to make a documentary film from all the footage he has shot of street artists. After meeting the secretive and legendary Banksy, a British graffiti artist, stencil artist, and painter, Guetta’s project takes a surprising twist. Banksy takes over the filmmaking duties, and Guetta reinvents himself as the street artist “Mr. Brainwash” (or MBW).
There has been some speculation that Exit Through the Gift Shop is one big prank – the documentary film about street art that is essentially graffiti on the body politic of documentary filmmaking. This film could also be seen as a satire of the art scene and of media hype, especially hype around artistic or cultural events. However, as brief as this film is, Exit Through the Gift Shop does capture the mesmerizing power of art and also the ability of artists, especially rebels and innovators, to capture the public’s imagination.
Exit Through the Gift Shop heaps scorn on practically everyone who appears in the film and anyone who is involved in this narrative. In a subtle way, it disapproves of the way underground and outsider art has become commercialized, just another thing for rich people to co-opt with their cash. Is street art just more pop art? Still, the film cannot hide the fact that people are genuinely fascinated by art: arguing about art, deciding what constitutes art, and depicting how artists can astonish with the surprising mediums they use to present their art.
Whatever the truth is about the validity of the film’s content and subject matter, Exit Through the Gift Shop does something many films have a difficult time doing, captivating the audience from beginning to end. Its only fault may be that it doesn’t give us more of its delightful subjects and characters.
9 of 10
A+
Friday, December 31, 2010
Review: Ben Kingsley a Beast in "Sexy Beast" (Happy B'day, Ben Kingsley)
TRASH IN MY EYE No. 22 (of 2002) by Leroy Douresseaux
Sexy Beast (2000)
COUNTRY OF ORIGIN: UK
U.S. Opening date: June 15, 2001
Running time: 89 minute (1 hour, 29 minutes)
MPAA – R for pervasive language, strong violence, and some sexuality
DIRECTOR: Jonathan Glazer
WRITERS: Louis Mellis and David Scinto; from a story by Andrew Michael Jolley
PRODUCER: Jeremy Thomas
CINEMATOGRAPHERS: Ivan Bird with Dan Landin
EDITORS: John Scott and Sam Sneade
Academy Award nominee
CRIME/DRAMA with elements of comedy
Starring: Ray Winstone, Ben Kingsley, Ian McShane, Amanda Redman, James Fox, Cavan Kendall, and Julianne White
Gal (Ray Winstone) is a retired safecracker living in Spain with his wife, Deedee (Amanda Redman). Don Logan (Ben Kingsley), an old London acquaintance, comes calling to recruit Gal into a gang of hoods to pull off a major heist for a big time gangster, Teddy Bass (Ian McShane). Gal wants to say “no,” but Don isn’t likely to take “no” for an answer. When Don and his quirky personality arrive at Gal’s Spanish villa, all bloody hell ensues.
Helmed by first time director Jonathan Glazer, Sexy Beast is a brutal British crime comedy/drama similar in vein to Guy Ritchie’s Snatch. Unlike the ensemble Snatch, Beast’s focus is primarily on Gal, his dilemma and Don Logan’s startling personality. Until the actual heist begins, the tension focuses on the possibility of Logan turning violent and weird on Gal when Gal refuses to join the crew Logan is recruiting for Bass.
Ray Winstone is very convincing as Gal, grown lazy, soft, and complacent in his retirement; so comfortable is he that Gal nearly goes to pieces when informed that Don is reentering his world. You can taste Gal’s turmoil and fear; he really doesn’t want any part of his old life. The film’s focus is really the tightrope upon which he walks from beginning to end, and he sells the audience his troubles, his fear, and his anxiety.
Tension and dilemmas aside, the best reason to watch this film is Ben Kingsley. Don Logan is one of those roles in which a talented actor can chew up the screen, but Kingsley doesn’t just chew scenery; he owns this movie. Don is actually royalty, the king of man-to-man talks, the invading conqueror of any situation. He talks so fast in some kind of cockney that you can barely understand what he says, but you get the gist of what he saying - trouble. Don means to get his way. Kingsley is a subtle show off in this part; he’s natural and smooth. His performance is unobtrusive, and his Don is indeed kind of sexy.
Sexy Beast is a slightly dressed meat and potatoes movie – nothing special at all except if anything British appeals to you because a British hood flick is better than an American gangster movie, of course. Sexy Beast can’t touch Reservoir Dogs or Pulp Fiction. It’s a quiet, but frantic look at a man’s dilemma with some gangster hoo-hah thrown in. The unequivocal delight here is Ben Kingsley. This one of those great performances you read about in film texts that you should really see.
6 of 10
B
NOTES:
2002 Academy Awards: 1 nomination: “Best Actor in a Supporting Role” (Ben Kingsley)
2001 BAFTA Awards: 1 nomination “Alexander Korda Award for Best British Film” (Jeremy Thomas and Jonathan Glazer)
2002 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Ben Kingsley)
Sexy Beast (2000)
COUNTRY OF ORIGIN: UK
U.S. Opening date: June 15, 2001
Running time: 89 minute (1 hour, 29 minutes)
MPAA – R for pervasive language, strong violence, and some sexuality
DIRECTOR: Jonathan Glazer
WRITERS: Louis Mellis and David Scinto; from a story by Andrew Michael Jolley
PRODUCER: Jeremy Thomas
CINEMATOGRAPHERS: Ivan Bird with Dan Landin
EDITORS: John Scott and Sam Sneade
Academy Award nominee
CRIME/DRAMA with elements of comedy
Starring: Ray Winstone, Ben Kingsley, Ian McShane, Amanda Redman, James Fox, Cavan Kendall, and Julianne White
Gal (Ray Winstone) is a retired safecracker living in Spain with his wife, Deedee (Amanda Redman). Don Logan (Ben Kingsley), an old London acquaintance, comes calling to recruit Gal into a gang of hoods to pull off a major heist for a big time gangster, Teddy Bass (Ian McShane). Gal wants to say “no,” but Don isn’t likely to take “no” for an answer. When Don and his quirky personality arrive at Gal’s Spanish villa, all bloody hell ensues.
Helmed by first time director Jonathan Glazer, Sexy Beast is a brutal British crime comedy/drama similar in vein to Guy Ritchie’s Snatch. Unlike the ensemble Snatch, Beast’s focus is primarily on Gal, his dilemma and Don Logan’s startling personality. Until the actual heist begins, the tension focuses on the possibility of Logan turning violent and weird on Gal when Gal refuses to join the crew Logan is recruiting for Bass.
Ray Winstone is very convincing as Gal, grown lazy, soft, and complacent in his retirement; so comfortable is he that Gal nearly goes to pieces when informed that Don is reentering his world. You can taste Gal’s turmoil and fear; he really doesn’t want any part of his old life. The film’s focus is really the tightrope upon which he walks from beginning to end, and he sells the audience his troubles, his fear, and his anxiety.
Tension and dilemmas aside, the best reason to watch this film is Ben Kingsley. Don Logan is one of those roles in which a talented actor can chew up the screen, but Kingsley doesn’t just chew scenery; he owns this movie. Don is actually royalty, the king of man-to-man talks, the invading conqueror of any situation. He talks so fast in some kind of cockney that you can barely understand what he says, but you get the gist of what he saying - trouble. Don means to get his way. Kingsley is a subtle show off in this part; he’s natural and smooth. His performance is unobtrusive, and his Don is indeed kind of sexy.
Sexy Beast is a slightly dressed meat and potatoes movie – nothing special at all except if anything British appeals to you because a British hood flick is better than an American gangster movie, of course. Sexy Beast can’t touch Reservoir Dogs or Pulp Fiction. It’s a quiet, but frantic look at a man’s dilemma with some gangster hoo-hah thrown in. The unequivocal delight here is Ben Kingsley. This one of those great performances you read about in film texts that you should really see.
6 of 10
B
NOTES:
2002 Academy Awards: 1 nomination: “Best Actor in a Supporting Role” (Ben Kingsley)
2001 BAFTA Awards: 1 nomination “Alexander Korda Award for Best British Film” (Jeremy Thomas and Jonathan Glazer)
2002 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Ben Kingsley)
----------------------
"Black Swan," "The Social Network" Lead Online Film Critics Nominations
The Online Film Critics Society describes itself as "the largest, most respected organization for critics whose work appears primarily on the Internet." The group recently announced its nominations for the best films of 2010. OFCS members will submit their final votes and winners will be announced Monday, January 3, 2010.
Nominees for the 2010 OFCS Awards:
Best Picture
Black Swan
Inception
The Social Network
Toy Story 3
True Grit
Winter's Bone
Best Director
Darren Aronofsky, Black Swan
Danny Boyle, 127 Hours
Joel Coen and Ethan Coen, True Grit
David Fincher, The Social Network
Christopher Nolan, Inception
Best Lead Actor
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King's Speech
James Franco, 127 Hours
Ryan Gosling, Blue Valentine
Edgar Ramírez, Carlos
Best Lead Actress
Annette Bening, The Kids Are All Right
Kim Hye-ja, Mother
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter's Bone
Natalie Portman, Black Swan
Best Supporting Actor
Christian Bale, The Fighter
Andrew Garfield, The Social Network
John Hawkes, Winter's Bone
Mark Ruffalo, The Kids are All Right
Geoffrey Rush, The King's Speech
Best Supporting Actress
Amy Adams, The Fighter
Mila Kunis, Black Swan
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom
Best Original Screenplay
Mark Heyman, Andres Heinz & John McLaughlin, Black Swan
Noah Baumbach, Greenberg
Christopher Nolan, Inception
Lisa Cholodenko & Stuart Blumberg, The Kids Are All Right
David Seidler, The King's Speech
Best Adapted Screenplay
Danny Boyle & Simon Beaufoy, 127 Hours
Michael Bacall & Edgar Wright, Scott Pilgrim vs. the World
Aaron Sorkin, The Social Network
Joel Coen & Ethan Coen, True Grit
Debra Granik & Anne Rosellini, Winter's Bone
Best Cinematography
Anthony Dod Mantle & Enrique Chediak, 127 Hours
Matthew Libatique, Black Swan
Wally Pfister, Inception
Robert Richardson, Shutter Island
Roger Deakins, True Grit
Best Editing
Jon Harris, 127 Hours
Andrew Weisblum, Black Swan
Lee Smith, Inception
Jonathan Amos & Paul Machliss, Scott Pilgrim vs. the World
Kirk Baxter & Angus Wall, The Social Network
Best Animated Feature
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3
Best Film Not in the English Language
Carlos
Dogtooth
The Girl With The Dragon Tattoo
Mother
A Prophet
Best Documentary
Catfish
Exit Through the Gift Shop
Inside Job
Joan Rivers: A Piece of Work
Restrepo
Waiting for "Superman"
http://www.ofcs.org/
Nominees for the 2010 OFCS Awards:
Best Picture
Black Swan
Inception
The Social Network
Toy Story 3
True Grit
Winter's Bone
Best Director
Darren Aronofsky, Black Swan
Danny Boyle, 127 Hours
Joel Coen and Ethan Coen, True Grit
David Fincher, The Social Network
Christopher Nolan, Inception
Best Lead Actor
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King's Speech
James Franco, 127 Hours
Ryan Gosling, Blue Valentine
Edgar Ramírez, Carlos
Best Lead Actress
Annette Bening, The Kids Are All Right
Kim Hye-ja, Mother
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter's Bone
Natalie Portman, Black Swan
Best Supporting Actor
Christian Bale, The Fighter
Andrew Garfield, The Social Network
John Hawkes, Winter's Bone
Mark Ruffalo, The Kids are All Right
Geoffrey Rush, The King's Speech
Best Supporting Actress
Amy Adams, The Fighter
Mila Kunis, Black Swan
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom
Best Original Screenplay
Mark Heyman, Andres Heinz & John McLaughlin, Black Swan
Noah Baumbach, Greenberg
Christopher Nolan, Inception
Lisa Cholodenko & Stuart Blumberg, The Kids Are All Right
David Seidler, The King's Speech
Best Adapted Screenplay
Danny Boyle & Simon Beaufoy, 127 Hours
Michael Bacall & Edgar Wright, Scott Pilgrim vs. the World
Aaron Sorkin, The Social Network
Joel Coen & Ethan Coen, True Grit
Debra Granik & Anne Rosellini, Winter's Bone
Best Cinematography
Anthony Dod Mantle & Enrique Chediak, 127 Hours
Matthew Libatique, Black Swan
Wally Pfister, Inception
Robert Richardson, Shutter Island
Roger Deakins, True Grit
Best Editing
Jon Harris, 127 Hours
Andrew Weisblum, Black Swan
Lee Smith, Inception
Jonathan Amos & Paul Machliss, Scott Pilgrim vs. the World
Kirk Baxter & Angus Wall, The Social Network
Best Animated Feature
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3
Best Film Not in the English Language
Carlos
Dogtooth
The Girl With The Dragon Tattoo
Mother
A Prophet
Best Documentary
Catfish
Exit Through the Gift Shop
Inside Job
Joan Rivers: A Piece of Work
Restrepo
Waiting for "Superman"
http://www.ofcs.org/
Thursday, December 30, 2010
Review: "Waist Deep" is an Effective Crime Thriller (Happy B'day, Tyrese)
TRASH IN MY EYE No. 136 (of 2006) by Leroy Douresseaux
Waist Deep (2006)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R for strong violence and pervasive language
DIRECTOR: Vondie Curtis-Hall
WRITERS: Darin Scott and Vondie Curtis-Hall; from a story by Michael Mahern
PRODUCERS: Tony Brown, Ted Field, Preston L. Holmes, Joe Rosenberg, and Michael Weber
CINEMATOGRAPHER: Shane Hurlbut
EDITOR: Terilyn A. Shropshire
CRIME/DRAMA/ACTION
Starring: Tyrese Gibson, Meagan Good, Larenz Tate, The Game, H. Hunter Hall, Kimora Lee Simmons, and Kasi Lemmons
When he got out of prison, recently paroled ex-con O2 (Tyrese Gibson) told his son, Junior (Henry Hunter Hall) that he’d never leave him again. When Junior is kidnapped during a carjacking, the desperate single father is determined to keep his word, but retrieving his son involves guns, a violation of his parole. When his cousin, Lucky (Larenz Tate), informs him that local gang kingpin, Meat (The Game), has Junior and wants $100,000 in payment for Junior’s return, O2 is ready to get the money anyway he can. Joined by Coco (Meagan Good) a down-on-her-luck, street hustler, O2 embarks on a string of bank holdups and safe-house stickups to get the money, but taking on the vicious Big Meat might be too much for the new Bonnie and Clyde.
In Vondie Curtis-Hall’s urban thriller, Waist Deep, a minor character calls the leads (O2 and Coco) “the new modern day Bonnie and Clyde,” and the film does kind of play at the leads being an urban, hip hop riff on the legendary, real-life crime couple. However, the film has more in common with the 1949 Film-Noir classic, Gun Crazy, which influenced the Warren Beatty-Faye Dunaway film, Bonnie and Clyde. Regardless, Waist Deep is a taunt, gritty, gritty urban drama. With the camera, Vondie Curtis-Hall (who is probably still trying to live down directing the Mariah Carey bomb, Glitter) makes social commentary on poverty and crime in inner city Los Angeles. Through his cast and characters, Hall makes slick-looking pulp cinema that is as rough and as razor’s edge as Pulp Fiction, if not as witty and artful.
The cast plays all their cards well. Tyrese Gibson isn’t a great actor, but he’s a quality leading man and is an excellent fit for roles in guy films (bullets, fisticuffs, and action). Meagan Good has come a long way since playing a teen sweetheart on the late Nickelodeon series, “Cousin Skeeter.” She has the body and the instinct to play a bombshell femme fatale, even if her acting chops are shaky. Rapper The Game is terrible and creepy as the monstrous Big Meat; to see this recording artist play the part with so much edge is to believe that he may have acting talent. Larenz Tate remains the consummate character actor, and, as he has since, Menace II Society, shines as a co-star.
Hall and the tightly written script he co-wrote with Darin Scott does falter in the last 10 minutes of the movie, but before that, Hall must have asked that his cast give it all because the actors come as close to perfection as they could come in a film like Waist Deep. It’s a nifty little crime thriller for when a movie lover wants the nasty edge in inner city crime dramas.
6 of 10
B
Wednesday, June 28, 2006
Waist Deep (2006)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R for strong violence and pervasive language
DIRECTOR: Vondie Curtis-Hall
WRITERS: Darin Scott and Vondie Curtis-Hall; from a story by Michael Mahern
PRODUCERS: Tony Brown, Ted Field, Preston L. Holmes, Joe Rosenberg, and Michael Weber
CINEMATOGRAPHER: Shane Hurlbut
EDITOR: Terilyn A. Shropshire
CRIME/DRAMA/ACTION
Starring: Tyrese Gibson, Meagan Good, Larenz Tate, The Game, H. Hunter Hall, Kimora Lee Simmons, and Kasi Lemmons
When he got out of prison, recently paroled ex-con O2 (Tyrese Gibson) told his son, Junior (Henry Hunter Hall) that he’d never leave him again. When Junior is kidnapped during a carjacking, the desperate single father is determined to keep his word, but retrieving his son involves guns, a violation of his parole. When his cousin, Lucky (Larenz Tate), informs him that local gang kingpin, Meat (The Game), has Junior and wants $100,000 in payment for Junior’s return, O2 is ready to get the money anyway he can. Joined by Coco (Meagan Good) a down-on-her-luck, street hustler, O2 embarks on a string of bank holdups and safe-house stickups to get the money, but taking on the vicious Big Meat might be too much for the new Bonnie and Clyde.
In Vondie Curtis-Hall’s urban thriller, Waist Deep, a minor character calls the leads (O2 and Coco) “the new modern day Bonnie and Clyde,” and the film does kind of play at the leads being an urban, hip hop riff on the legendary, real-life crime couple. However, the film has more in common with the 1949 Film-Noir classic, Gun Crazy, which influenced the Warren Beatty-Faye Dunaway film, Bonnie and Clyde. Regardless, Waist Deep is a taunt, gritty, gritty urban drama. With the camera, Vondie Curtis-Hall (who is probably still trying to live down directing the Mariah Carey bomb, Glitter) makes social commentary on poverty and crime in inner city Los Angeles. Through his cast and characters, Hall makes slick-looking pulp cinema that is as rough and as razor’s edge as Pulp Fiction, if not as witty and artful.
The cast plays all their cards well. Tyrese Gibson isn’t a great actor, but he’s a quality leading man and is an excellent fit for roles in guy films (bullets, fisticuffs, and action). Meagan Good has come a long way since playing a teen sweetheart on the late Nickelodeon series, “Cousin Skeeter.” She has the body and the instinct to play a bombshell femme fatale, even if her acting chops are shaky. Rapper The Game is terrible and creepy as the monstrous Big Meat; to see this recording artist play the part with so much edge is to believe that he may have acting talent. Larenz Tate remains the consummate character actor, and, as he has since, Menace II Society, shines as a co-star.
Hall and the tightly written script he co-wrote with Darin Scott does falter in the last 10 minutes of the movie, but before that, Hall must have asked that his cast give it all because the actors come as close to perfection as they could come in a film like Waist Deep. It’s a nifty little crime thriller for when a movie lover wants the nasty edge in inner city crime dramas.
6 of 10
B
Wednesday, June 28, 2006
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