Review: Big Mommas: Like Father, Like Son

TRASH IN MY EYE No. 77 (of 2011) by Leroy Douresseaux

Big Mommas: Like Father, Like Son (2011)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG-13 for some sexual humor and brief violence
DIRECTOR: John Whitesell
WRITERS: Matthew Fogel, Don Rhymer, and Matthew Fogel (based upon characters created by Darryl Quarles)
PRODUCERS: David T. Friendly and Michael Green
CINEMATOGRAPHER: Anthony B. Richmond
EDITOR: Priscilla Nedd-Friendly
COMPOSER: David Newman

COMEDY/CRIME

Starring: Martin Lawrence, Brandon T. Jackson, Jessica Lucas, Michelle Ang, Portia Doubleday, Emily Rios, Ana Ortiz, Henri Lubatti, Lorenzo Pisoni, Tony Curran, Marc John Jeffries, Brandon Gill, Ken Jeong, Max Casella, Sheri Shepherd, and Faizon Love

Big Mommas: Like Father, Like Son is a 2011 crime comedy and the third film in the Big Momma’s House franchise. Martin Lawrence returns as the FBI agent who occasionally dons a fat suit to become the no-nonsense granny, Big Momma.

FBI Agent Malcolm Turner (Martin Lawrence) is a busy man. He is trying to get his stepson Trent Turner (Brandon T. Jackson) into Duke University, but Trent only wants to pursue his hip-hop dreams as the rapper, Prodi-G. Meanwhile, Malcolm is trying to get information on Russian gangster, Chirkoff (Tony Curran), so he is getting help from an informant, Anthony “Tony” Canetti (Max Casella), who has a hidden flash drive full of information on Chirkoff.

After Trent witnesses Chirkoff kill Canetti, Malcolm knows that he and his stepson have to go into hiding. Malcolm and Trent head for the place where Canetti apparently hid the flash drive, the Georgia Girls School for Arts. Malcolm disguises himself as his alter-ego, Hattie Mae Pierce AKA Big Momma, while Trent dons his own fat suit and becomes Charmaine Daisy Pierce, Big Momma’s great niece. Even in disguise, fitting in at the school is difficult. Trent/Charmaine falls for an insecure singer songwriter named Haley Robinson (Jessica Lucas). The school’s lovable, overweight janitor, Kurtis Kool (Faizon Love), is smitten with Big Momma, but, as Canetti’s friend, Kurtis may know something about the whereabouts of the flash drive.

Big Mommas: Like Father, Like Son is a little better than Big Momma’s House 2 and funnier, but, of course, that’s not saying much, as the second film was stubbornly mediocre. It has some funny moments, but overall, this seems like just a second-rate kids’ comedy. For the most part, Lawrence and Jackson manage to create a credible father-son relationship between Malcolm and Trent. I bought their act as obstinate dad and disagreeable teenager; both actors manage to brew some screen chemistry in spite of the rotten script and poor character writing.

The best thing about this film is the always entertaining Faizon Love. He plays Kurtis Kool like a character that is free of a bad script and average directing and thus can make us laugh anyway. If the people involved in this franchise cannot do better than what they have done since the original film, they should let Big Mommas: Like Father, Like Son be the last appearance of Big Momma.

4 of 10
C

Sunday, September 04, 2011

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"Naruto Shippuden: Bonds" to Debut at 2011 New York Comic Con

VIZ MEDIA INVITES FANS TO ENTER HEROES OF ANIME SWEEPSTAKES FOR A CHANCE TO WIN PASSES TO ATTEND THE U.S PREMIERE OF NARUTO SHIPPUDEN THE MOVIE: BONDS

Only A Short Time Left To Enter The Special Contest To Attend The NARUTO SHIPPUDEN Movie Event In New York City

There’s only a short time until VIZ Media’s Heroes of Anime summer sweepstakes ends on September 15th, and fans are encouraged to enter for a chance to win passes to attend the exclusive U.S theatrical premiere of the latest NARUTO feature film – NARUTO SHIPPUDEN THE MOVIE: BONDS – set to take place in New York City in October during the 2011 New York Comic Con. Entry details and complete information are available at: www.viz.com/25years.

The Heroes of Anime contest, which also celebrates VIZ Media’s 25th Anniversary, will award one lucky Grand Prize winner with 2 passes to the premiere of NARUTO SHIPPUDEN THE MOVIE: BONDS as well as free airfare and hotel accommodations in New York City for themselves and a guest.

Runner-up Heroes of Anime prizes include an Apple iPad™, awarded to one lucky contestant, as well as several prize packages that will include fun tchotchkes and collectibles from a variety of top VIZ Media anime properties.

In NARUTO SHIPPUDEN THE MOVIE: BONDS, a group of mysterious flying ninja have arrived from overseas to launch a sudden attack against the Hidden Leaf Village, leaving behind a wake of destruction. The group is revealed to be the “Sky Ninja” from the Land of Sky, a nation thought to have been destroyed by the Hidden Leaf Village long ago. To save their village, Naruto and his friends set out to stop this new threat. During the course of the mission, Naruto crosses paths with Sasuke, his friend who has parted ways from the Leaf Village.

More information on NARUTO is available at http://www.naruto.com/.

Souleymane Cissé to Be Honored at 7th Montreal Black Film Festival

Legendary Souleymane Cissé the first African filmmaker to win a prize at the Cannes Festival, to receive Honorary Award at the 7th Montreal International Black Film Festival

MONTREAL/CNW Telbec/ - The first African filmmaker to win a prize at the Cannes Festival, the legendary African cinema author Souleymane Cissé, will receive a Lifetime Achievement Award at the 7th edition of the Montreal International Black Film Festival on September 27, 2011. This honorary award recognizes his extraordinary contribution to the film industry, especially in the fields of independent filmmaking and African cinema. The MIBFF wants to honour him for his amazing efforts to break down barriers and help create a better understanding of the reality of Black people through his films. The famous writer Dany Laferrière will be presenting him with the award.

"It's impossible to express how honoured we are to pay tribute to a filmmaker who's touched the whole planet through his work and who is still an inspiration to future generations", said Fabienne Colas, president of the Festival. "We're doubly honoured that Dany Laferrière, winner of the 2009 Médicis Award, accepted to present this award to Souleymane Cissé."

According to him, "Souleymane Cissé is one of the most refined and sensitive person to bear witness to the realities of Africa. His universal mind is a beacon of light for us. And his discretion is all to his credit."

Souleymane Cissé's career is impressive, to say the least. His interest in cinema started when he was only seven. After completing high school in Dakar, he moved back to Mali in 1960, as the country was gaining independence. During a screening of a documentary film about Patrice Lumumba's arrest, he had an epiphany: he would make movies. He obtained a scholarship and went to Moscow, where he became a projectionist and then a filmmaker.

In 1970, Mali's Ministry of Information hired him as a cameraman. Two years later, he released Cinq jours d'une vie (Five Days in a Life), which won an award at the Carthage Film Festival. His first feature, Den Muso (The Girl), completed with the help of French funding, tells the story of a young mute girl who was raped, then rejected by her family. It was banned in Mali and Souleymane Cissé was arrested and jailed.

His films, Baara (Work) and Finyè (Wind), both received critical acclaim and won the Étalon de Yennenga Award at Fespaco. But the film that finally brought him into the public eye was Yeelen (Light). This film won the Jury Prize at the 1987 Cannes Festival and will be part of the cinema and audiovisual curriculum for the 2011-2013 French Baccalaureate. In 1995, he directed Waati (Time).

Souleymane Cissé has sat on many juries, including the Official Selection Jury at the 1983 Cannes Festival and the Cinéfondation Jury at the 2006 Cannes Festival.

His most recent film, Min Yè (Tell Me Who You Are), was part of the Official Selection of the 62nd Cannes Festival in 2009.

In 2011, he was on the jury of the Tribeca Film Festival, founded by Robert De Niro.

As a committed filmmaker, Souleymane Cissé is the president and co-founder of the UCECAO, the Union of West African Cinema and Audiovisual Designers and Entrepreneurs. He's also on the board of Martin Scorsese's World Cinema Foundation, dedicated to preserving and restoring classic films from around the world.

For his work, Souleymane Cissé was appointed Commandeur de l'Ordre National in Mali, Officier de l'Ordre in Burkina Faso and Commandeur des Arts et des Lettres in France.

According to Martin Scorsese, Souleymane Cissé is...

Souleymane Cissé was interviewed on April 2011 by Academy Award Winning-Director Martin Scorsese at Tribeca Talks Series. Scorsese first discovered Cissé's film Yeelen while flipping through the channels late one night, and he describes it as "one of the greatest cinematic experiences of my life." "I didn't realize such wonderful cinema was being made in Africa," said Scorsese. "Our culture is more enriched by seeing these films."

Filmography:
1975 Den Muso (The Girl)
1977 Baara (Work)
1981 Finyè (Wind)
1987 Yeelen (Light)
1995 Waati (Time)
2009 Min Yè… (Tell Me Who You Are)

Some Awards:
British Film Institute Fellowship in 2009
Jury Prize - Festival de Cannes (Yeelen)
Sutherland Trophy - British Film Institute Awards (Yeelen)
Distribution Help Award - Fribourg International Film Festival (Yeelen)
Tanit d'Or - Carthage Film Festival (Finyè)
Prix du Jury - Locarno International Film Festival (Baara)
Golden Montgolfiere - Nantes Three Continents Festival (Baara)
Grand Prize - Etalon de Yennenga - FESPACO (Finyè)
Grand Prize - Etalon de Yennenga - FESPACO (Baara)

Some Nominations:
Palmes d'Or - Festival de Cannes (Waati)
Palmes d'Or - Festival de Cannes (Yeelen)
Best Foreign Film - Independent Spirit Award (Yeelen)


About the Montreal International Black Film Festival - MIBFF
Presented by Global Montreal, the Montreal International Black Film Festival (MIBFF) was created in 2005 by the Fabienne Colas Foundation, a nonprofit organization dedicated to promoting Cinema, Art and Culture. The mission of the Montreal International Black Film Festival is to stimulate the development of the independent film industry and to encourage more films on the realities of Blacks from around the world. The Festival wants to promote a different kind of cinema, cinema that hails from here and from abroad and that does not necessarily have the opportunity to grace the big screen, groundbreaking cinema that moves us, that raises awareness and that takes us all by surprise. The MIBFF wants to deal with issues and present works that raise questions, that provoke, that make us smile, that leave us perplexed, that shock us... A fresh new look at black cinema from the four corners of the globe! www.montrealblackfilm.com .

The 7th MIBFF will take place from September 22 to October 2, 2011!

Get all the festival news on:
http://www.montrealblackfilm.com/
www.facebook.com/festivalfilmblack
www.twitter.com/filmblackmtl

Brian De Palma's "Dressed to Kill" Now on Blu-ray

A BEAUTIFUL STRANGER HAS A NAUGHTY SECRET…

Brian De Palma’s Sexy Crime Thriller DRESSED TO KILL Makes Its Blu-ray Debut on September 6

Relive every suspenseful, erotically-charged fantasy captured in the timeless MGM classic DRESSED TO KILL, making its Blu-ray debut September 6 from Twentieth Century Fox Home Entertainment. Written and directed by critically-acclaimed filmmaker Brian De Palma (Scarface, The Untouchables), DRESSED TO KILL is a dark, psychological crime thriller with twists and turns around every corner.

Kate Miller (Angie Dickinson, “Police Woman”) is a sexually-repressed housewife who seeks treatment from Dr. Robert Elliott (two-time Academy Award®-winner Michael Caine, Hannah and Her Sisters, The Cider House Rules). While secretly leaving a hotel after a one-night affair, Kate is mysteriously murdered by a tall blonde woman wearing sunglasses. The only witness is a high-priced call girl, Liz (Nancy Allen in a Golden Globe®-nominated performance), who becomes the killer’s next target. With the help of Kate’s grown son, Peter (Keith Gordon, A Midnight Clear), Liz discovers that the murderer is connected to Dr. Elliott, and the pair come face-to-face with a shocking surprise.

DRESSED TO KILL will be available on single-disc Blu-ray and includes four behind-the-scenes featurettes and a photo gallery. The ARP for Blu-ray is $16.99.

DRESSED TO KILL Special Features
• Unrated Cut Blu-ray
• “The Making of a Thriller” Full-Length Documentary including interviews with Brian De Palma, Angie Dickinson, Nancy Allen and Dennis Franz
• “Slashing Dressed to Kill” Featurette
• “Dressed to Kill: An Appreciation by Keith Gordon” Featurette
• “Comparison of the Unrated, R-rated, and Network Versions” Featurette
• Animated Photo Gallery


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/.

About Twentieth Century Fox Home Entertainment
Twentieth Century Fox Home Entertainment, LLC (TCFHE) is a recognized global industry leader and a subsidiary of Twentieth Century Fox Film Corporation, a News Corporation company. Representing 75 years of innovative and award-winning filmmaking from Twentieth Century Fox, TCFHE is the worldwide marketing, sales and distribution company for all Fox film and television programming, acquisitions and original productions on DVD, Blu-ray Disc Digital Copy, Video On Demand and Digital Download. The company also releases all products globally for MGM Home Entertainment. Each year TCFHE introduces hundreds of new and newly enhanced products, which it services to retail outlets from mass merchants and warehouse clubs to specialty stores and e-commerce throughout the world.

DRESSED TO KILL DVD: (Catalog #M124694)
Street Date: September 6, 2011
Screen Format: Widescreen 2.35:1
Audio: English: 5.1 DTS-HD Master Audio / French: Mono
Subtitles: Dubbed: English & French / Subtitled: English, French & Spanish
U.S. Rating: Unrated
Total Run Time: 105 minutes
Closed Captioned: Yes

Sam Peckinpah's "Straw Dogs" Now on Blu-ray

EVERY MAN HAS A BREAKING POINT

Celebrating the 40th Anniversary of a Sam Peckinpah Classic, The Blu-ray Disc Arrives For The First Time Ever September 6

Theatrical Remake Premieres Everywhere September 16

Los Angeles, CA (August 11, 2011) – How far will one man go to protect his wife and his home? One of the grittiest and controversial thrillers of all-time and banned in the United Kingdom for over 18 years, STRAW DOGS debuts on Blu-ray Disc September 6 from Twentieth Century Fox Home Entertainment. Released in celebration of the film’s 40th Anniversary and in anticipation of the upcoming theatrical remake, this violent and suspenseful tale from legendary director Sam Peckinpah (The Wild Bunch, The Getaway) stars two-time Academy Award® winner Dustin Hoffman* (The Graduate, Little Fockers) and Susan George (Mandingo, The House Where Evil Dwells).

To escape the Vietnam-era chaos in the U.S., American mathematician David Sumner (Hoffman) moves with his British wife Amy (George) to an isolated English village. Their presence provokes antagonism among the village's men. Escalating from routine bullying to the gang rape of his wife, David finds his pacifist self being backed into a corner and responds in the violent and gruesome manner he abhors.

The STRAW DOGS Blu-ray has been carefully restored and is presented with all-new 5.1 audio.

STRAW DOGS Blu-ray Special Features:
Original Theatrical Trailer
Three Original Television Spots


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/.

About Twentieth Century Fox Home Entertainment LLC
Twentieth Century Fox Home Entertainment, LLC (TCFHE) is a recognized global industry leader and a subsidiary of Twentieth Century Fox Film Corporation, a News Corporation company. Representing 75 years of innovative and award-winning filmmaking from Twentieth Century Fox, TCFHE is the worldwide marketing, sales and distribution company for all Fox film and television programming, acquisitions and original productions on DVD, Blu-ray Disc Digital Copy, Video On Demand and Digital Download. The company also releases all products globally for MGM Home Entertainment. Each year TCFHE introduces hundreds of new and newly enhanced products, which it services to retail outlets from mass merchants and warehouse clubs to specialty stores and e-commerce throughout the world.

STRAW DOGS Blu-ray (Catalogue # M125141)
Street Date: September 6, 2011
Screen Format: Widescreen
Audio: English: 5.1 DTS-HD Master Audio
Subtitles: English, French & Spanish
U.S. Rating: R
Total Run Time: 118 minutes
Closed Captioned: Yes

Review: "Beetle Juice" Never Loses its Juice (Happy B'day, Michael Keaton)

TRASH IN MY EYE No. 226 (of 2004) by Leroy Douresseaux

Beetle Juice (1988)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG
DIRECTOR: Tim Burton
WRITERS: Michael McDowell and Warren Skaaren; from a story by Larry Wilson and Michael McDowell
PRODUCERS: Michael Bender, Richard Hashimoto, and Larry Wilson
CINEMATOGRAPHER: Thomas Ackerman
EDITOR: Jane Kurson
COMPOSER: Danny Elfman
Academy Award winner

COMEDY/FANTASY with elements of horror

Starring: Alec Baldwin, Geena Davis, Michael Keaton, Winona Ryder, Jeffrey Jones, Catherine O’Hara, Glenn Shadix, Annie McEnroe, Rachel Mittelman, Patrice Martinex, Dick Cavett, and Sylvia Sidney

One of my very personal favorite films and the film that made me a Tim Burton fan is Beetle Juice, the story of a young couple whose accidental deaths starts them on a journey of wildly bizarre exploits filled with uncanny events, tricky people, and fantastic creatures. Adam (Alec Baldwin) and Barbara Maitland’s (Geena Davis) premature deaths in a car accident leaves them ghosts in their New England home. Getting used to death is one thing, but the Maitlands face an even bigger challenge. Charles (Jeffrey Jones) and Delia (Catherine O’Hara), a pretentious New York couple, have bought the Maitlands’ home and Delia is determined to transform the old-fashioned abode into a postmodern art show place.

Adam and Barbara befriend the couple’s daughter, Lydia (Winona Ryder), who is not only fascinated with all things morbid and macabre, but she can see the Maitlands. However, Adam and Barbara turn to Betelgeuse (Michael Keaton), a “bio-exorcist,” a mischievous spirit who claims he can exorcise the living, to chase Charles, Barbara, and their obnoxious friends from their house. But Betelgeuse has own evil agenda behind his guise of helping the undead young couple reclaim their home.

The concept was tailored made for director Tim Burton’s unique visual style, and he certainly molded the film with his “twisted” imagination and skewered vision, as he and his co-conspirators pack the film with clever ideas, fantastical objects and locations, and kooky gags. Beetle Juice was the last time Burton seemed to really let loose and have fun on a truly wacky filmed.

Still, some of the credit should go to the art director and set decorators, costume designers, SFX people, and make up artists, as the combination of these artists and craftsman created a film that gloriously combines pulp fiction nonsense, pop art, and modern art into one of the few films that looks and feels like a cool Looney Tunes cartoon. Also, Danny Elfman’s score for the movie is one of the great film scores of the last two decades of the 20th century.

When I first saw this film, I didn’t care for Michael Keaton’s performance as the title villain; at the time, his manic energy seemed forced and phony. Sixteen years later, it seems just right; go figure. The rest of the cast gives inspired performances that fit the film’s darkly comic tone, making Beetle Juice a unique film treat. It’s not a great film, (the third act seems rushed and… damaged), but I like it.

7 of 10
A-

NOTES:
1989 Academy Awards: 1 win: “Best Makeup” (Ve Neill, Steve LaPorte, and Robert Short)

1989 BAFTA Awards: 2 nominations: “Best Make Up Artist” (Ve Neill, Steve LaPorte, and Robert Short) and “Best Special Effects” (Peter Kuran, Alan Munro, Robert Short, and Ted Rae)

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"Madea's Big Happy Family" a Big Happy Movie

TRASH IN MY EYE No. 76 (of 2011) by Leroy Douresseaux

Madea’s Big Happy Family (2011)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 drug content, language and some mature thematic material
DIRECTOR: Tyler Perry
WRITER: Tyler Perry (based upon his play)
PRODUCERS: Roger M. Bobb, Reuben Cannon, and Tyler Perry
CINEMATOGRAPHER: Toyomichi Kurita
EDITOR: Maysie Hoy

COMEDY/DRAMA

Starring: Tyler Perry, Loretta Devine, Cassi Davis, Shannon Kane, Isaiah Mustafa, Natalie Desselle Reid, Rodney Perry, Tamela J. Mann, David Mann, Shad “Bow Wow” Moss, Teyana Taylor, Lauren London, Philip Anthony-Rodriguez, and Maury Povich

Madea’s Big Happy Family is a 2011 comedy/drama and is also the 11th film in the Tyler Perry film franchise. Based upon Perry’s play of the same title, Madea’s Big Happy Family finds super-grandmother Mabel “Madea” Simmons coming to the rescue of her dying niece and her big unhappy family.

Madea’s niece, Shirley (Loretta Devine), is dying of cancer, and she wants to bring her three children: Byron (Bow Wow), Tammy (Natalie Desselle Reid), and Kimberley (Shannon Kane) together to tell them the bad news. However, her two daughters are in the midst of awful marital discord with their husbands. Byron is having major baby mama drama from his ex, Sabrina (Teyana Taylor), and his money-hungry girlfriend, Renee (Lauren London), wants him to return to a life of crime.

Betty Ann Murphy, better known as the rambunctious Aunt Bam (Cassi Davis), pleads with Madea (Tyler Perry) to help bring Shirley’s children together. Madea decides to do it her way, with tough love and fists (if she has to) and a little laughter along the way. However, Madea has family drama of her own, with her baby daddy, Brown (David Mann), and their daughter, Cora (Tamela J. Mann).

As Madea movies go, Madea’s Big Happy Family is probably the one that most mixes the somberness and the outlandishness found in Tyler Perry’s movie starring or featuring Madea. The conflicts and confusion that surrounds Shirley’s family may seem over-the-top, but I can attest to directly experiencing or being familiar with some of this family’s problems. Besides, the actors give such tight, authentic performances that nothing their characters do really seems hysterical and contrived, which are occasional sins of Mr. Perry the screenwriter. Shad Moss, better known as the rapper, Bow Wow, delivers a surprisingly strong performance, subtle and graceful in some places. That is a trait not found in many rapper-turned-actors.

The craziness that ensues between Madea, Cora, and Brown is indeed funny – some of funniest Madea stuff since Madea’s Family Reunion. Perry deftly uses Madea’s no-nonsense approach to issues of life, death, pain, and general crisis to cloak some truth’s that a lot of people need to hear, especially members of the African-American audience under 40 years old. You would not be wrong to think that Madea’s Big Happy Family is Perry’s most potent message delivery system. If you get tired to the preaching, Madea, Cora, and Brown offer some excellent comic set pieces.

This film’s glaring weakness is the Shirley character. Ostensibly the lynchpin for a testy family reunion, Shirley is merely a prop or conversation piece that keeps the other characters’ roles advancing from one scene to the next. That is disappointing on a number of levels, one of them being that it robs Loretta Devine of a chance to show her range. Still, Madea’s Big Happy Family is a rousing success. The messages of a loving God, hope, love, self-respect, and respect for others go down smoothly in this spoonful of sweet medicine.

7 of 10
A-

Saturday, September 03, 2011

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