Review: "Daddy Day Care" is Eddie Murphy Empty Calories

TRASH IN MY EYE No. 91 (of 2003) by Leroy Douresseaux


Daddy Day Care (2003)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG for language
DIRECTOR: Steve Carr
WRITER: Geoff Rodkey
PRODUCERS: Matt Berenson, John Davis, and Wyck Godfrey
CINEMATOGRAPHER: Steven Poster
EDITOR: Christopher Greenbury
COMPOSER: David Newman

COMEDY/FAMILY with elements of fantasy

Starring: Eddie Murphy, Jeff Garlin, Steve Zahn, Regina King, Kevin Nealon, Anjelica Huston, Jonathan Katz, Leila Arcieri, Khamani Griffin, and Max Burkholder

Once upon a time Eddie Murphy starred in movies people couldn’t get enough of like Trading Places and Beverly Hills Cop. Then, according to bigoted critics, Murphy turned his back on his “white audience” with films like Harlem Nights and Boomerang, which were not blockbusters but were nevertheless both excellent films featuring mostly African-American casts. Since the mid-90’s Murphy has starred in a number of “family-oriented” films that have been huge hits: The Nutty Professor, Mulan, Dr. Doolittle, and Shrek, etc. Frankly, I wouldn’t mind a combination of the star that appeared in Trading Places and Boomerang, but I can deal with the family friendly fare like Murphy’s recent hit, Daddy Day Care.

Charlie Hinton (Eddie Murphy) and Phil (Jeff Garlin) are laid off (fired) from their well paying jobs. As the weeks of being unemployed blow by they are spending more time with their sons, not that that’s a bad thing; they’re just not used to being employed. Like a light bulb exploding in his head, Charlie gets the idea of opening a daycare center, partly because he can no longer afford the posh Chapman Academy his son was attending when he was working. After initial skepticism, a growing number of mothers begin to rely on the affordable care that Charlie and Phil provide. However, the Chapman dowager, Mrs. Haridan (Anjelica Huston), doesn’t like the competition and schemes to have Charlie and Phil’s increasingly popular Daddy Day Care closed.

There’s no point in beating around the bush. Daddy Day Care is an entertainment delivery vehicle meant to give the “family audience” a few chuckles while affirming the bushy middle-class, suburban lifestyle. If that’s sounds like a criticism, it isn’t, not quiet. It’s simply that this film doesn’t have to be so vapid. Even the menace of Mrs. Haridan’s attempt to close the school is at best a lukewarm threat. If not for Ms. Huston’s ability to chew into even the most cardboard cutout characters, there would have been no dramatic tension in this film. The two male leads have lost their well-paying jobs, for chrissakes. That resonates with much of the audience in these shaky-as-ever economic times. Hell yeah, there are lots of laughs; I certainly found many, but this film could have been about something – about two dads struggling with new roles, roles men are not used to playing.

Oh well, I don’t regret seeing Daddy Day Care, and there are lots of warm and fuzzy feelings. It’s a safe trip to the movies for the entire family. Steve Zahn as Marvin, Daddy Day Care’s first new employee is an absolute show stealing delight. Impossible as it might seem, I like him more each time I see him in a movie. His inspired performance and off-kilter character were more than worth my time.

P.S. Two characters speak Klingon (a language from the Star Trek television and film franchise, for those who don’t know) in this movie; that alone is worth $1 of your admission price.

6 of 10
B

Review: Refn and Gosling "Drive" to Greatness

TRASH IN MY EYE No. 18 (of 2012) by Leroy Douresseaux

Drive (2011)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for strong brutal bloody violence, language and some nudity
DIRECTOR: Nicolas Winding Refn
WRITER: Hossein Amini (based upon the novel by James Sallis)
PRODUCERS: Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker, and Adam Siegel
CINEMATOGRAPHER: Newton Thomas Sigel (D.o.P.)
EDITOR: Mat Newman
COMPOSER: Cliff Martinez
Academy Award nominee

CRIME/DRAMA/ACTION/THRILLER with elements of romance

Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman, and Kaden Leos

I kept hearing good things about the film Drive, a 2011 crime drama and action thriller starring Ryan Gosling. Directed by critically-acclaimed Danish filmmaker, Nicolas Winding Refn, Drive centers on a mysterious getaway driver who lands himself in trouble when he helps out his neighbor’s troubled husband. The good things I heard about this film turned out to be true, and it is one of the very best films of 2011.

In the film, he is only known as The Driver (Ryan Gosling), and he is a supremely skilled getaway driver for those who need to get away after pulling off a heist or robbery. The Driver is also a Hollywood stuntman and mechanic, working on both jobs for garage owner, Shannon (Bryan Cranston). Shannon wants to get involved in stock car racing with The Driver as the man behind the wheel, so Shannon brings in mobster, Bernie Rose (Albert Brooks), as an investor in this venture.

The Driver lives in a low-rent apartment building where he meets and befriends his neighbor, Irene (Carey Mulligan), and her son, Benicio (Kaden Leos). The Driver begins to date Irene, but she is actually married to a man named Standard Gabriel (Oscar Isaac), who is about to be released from prison. After Standard is released, he must find a way to pay back protection money that he owes to a gangster. The Driver tries to help Standard and things go bad on all sides.

Drive is a hard-edged crime thriller with a neo-Film-Noir pedigree. Those who watch it may see the influence of a lot of Los Angeles-based films, including Pulp Fiction and various Michael Mann films. There is also more than a touch of John Carpenter – from the atmospheric, 1980s synth-pop score (created by the always interesting Cliff Martinez) to the somewhat Michael Myers-like Driver. I also see this as partially a blend of Carpenter’s original Halloween (1978) and The Transporter film series.

Whatever its influences are, Drive is simply brilliant. It is cool without being slick and overly produced (like many Hollywood crime movies). Drive is more modern than retro, but it has a timeless quality that also makes it seem to be from a vague near-future. Director Nicolas Winding Refn turned in one of the year’s best feats of film directing simply by making a movie that takes so many influences and inspirations and turns them into an original vision and a film apart from the rest.

This movie has a number of good performances. Of course, Ryan Gosling is the centerpiece. At first, he may come across as flat and too cool, but he slowly unveils a great big darkness that lives just under the surface. Gosling also shows a gentle, romantic, and human side that surprisingly breaks through in the most surprising moments. Plus, Gosling creates, in The Driver, a most memorable man-of-few-words anti-hero. The Driver is another performance that shows just how much talent Gosling has.

Carey Mulligan is solid in a relatively quiet and restrained performance, but she sells every scene in which she appears and matches Gosling when they appear in the same scene. Everything Albert Brooks does in this movie seems fresh and sensational, even when he does something that a movie mobster typically does. He makes the old mobster stereotypes edgy, contemporary, and original.

Drive is a crime flick that is also a dark L.A. fairy tale. It makes violence and brutality seem as if it could be no cooler than it is in Los Angeles. I would have enjoyed seeing more action sequences with cars, but I like Drive too much to complain.

9 of 10
A+

NOTES:
2012 Academy Awards: 1 nomination: “Best Achievement in Sound Editing” (Lon Bender and Victor Ray Ennis)

2012 BAFTA Awards: 4 nominations: “Best Film” (Marc Platt and Adam Siegel), “Best Director” (Nicolas Winding Refn), “Best Editing” (Matthew Newman), “Best Supporting Actress” (Carey Mulligan)

2011 Cannes Film Festival: 1 win: “Best Director” (Nicolas Winding Refn); 1 nomination: “Palme d'Or” (Nicolas Winding Refn)

2012 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Albert Brooks)

Friday, March 09, 2012

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Robert Sherman, "Mary Poppins" Songwriter, Dies at 86

(From left to right: Robert Sherman, Richard Sherman, and Walt Disney.  Courtesy of of Walt Disney Company.)

Oscar®-Winning Mary Poppins Songwriter Robert B. Sherman, of the Legendary Sherman Brothers, Dies in London at Age 86; His Credits Include Beloved Songs for The Jungle Book, Winnie the Pooh, Plus “it’s a small world (after all)”

BURBANK, Calif.--(BUSINESS WIRE)--Robert B. Sherman, half of the acclaimed and prolific Sherman Brothers songwriting team, passed away in London, England, on March 5 at The London Clinic, from an age-related illness. He was 86 years old. In collaboration with his brother, Richard M. Sherman (who survives him), Robert wrote some of the most memorable and beloved songs in the history of modern family entertainment. Personally selected by Walt Disney to write songs for his films, television shows, and theme parks, the Sherman Brothers had perhaps their biggest career milestone with the 1964 Disney masterpiece Mary Poppins, for which they received two of the film’s five Oscar® wins for Best Song (“Chim Chim Cher-ee”) and Best Original Score. They are responsible for more motion picture musical song scores than any other songwriting team in film history.

Throughout their incredible 50-year career as a songwriting team, the Sherman Brothers garnered nine Academy Award® nominations; won three Grammy Awards®; were inducted into the Songwriters Hall of Fame; received a remarkable array of 24 gold and platinum albums; and were the recipients of a star on the Hollywood Walk of Fame. Robert and his brother were the subject of an acclaimed 2009 documentary, the boys: the sherman brothers story, and recipients of the National Medal of Arts (the highest honor the United States government bestows on artists). In recent years, the Shermans have enjoyed great success on the London and Broadway stage with twin theatrical productions of two of their most beloved films: Mary Poppins and Chitty Chitty Bang Bang.

Commenting on Robert’s passing, Richard Sherman said, “My brother Bob was a poetic soul with limitless imagination and talent. He was my loyal friend all through the years. We were fortunate to have been blessed by two great men, our key inspirations—our father, Al, who teamed us up and taught us the craft, and Walt Disney, who provided us with an opportunity to realize our greatest dreams. Bob will be lovingly missed by all of us in his family.”

“Today, on behalf of everyone at Disney, we mourn the loss of an extraordinary talent, Robert Sherman,” said Disney President and CEO Bob Iger. “One of the world’s greatest songwriters and a true Disney legend, his legacy will endure forever through the magic of his music. From Mary Poppins and it’s a small world to Winnie the Pooh and The Jungle Book, Robert, along with his brother Richard, wrote many of Disney’s most memorable and beloved songs, which continue to enchant millions of people around the world to this day.”

Robert’s son, Jeff Sherman, who co-directed the documentary, the boys, noted, “My dad passed away peacefully in London on Monday night. He was an incredible man who loved life and lived it to the fullest. As he often said, he wanted to bring happiness into the world, and unquestionably he succeeded. His love and his prayers, his philosophy and his poetry will live on forever. Forever his songs and his genius will bring hope, joy, and love to this small world.”

Multiple Oscar®-winning composer/songwriter Alan Menken said, “The Sherman brothers legacy goes far beyond the craft of songwriting. There is a magic in their songs and in the films and musicals they breathed life into. My thoughts and prayers are with Robert’s family, and with Richard Sherman, who has become a dear and precious friend to me.”

Leonard Maltin, film historian and author of the book The Disney Films, observed, “Robert Sherman and his brother Richard spent a decade providing lively, tuneful, and memorable songs for Walt Disney’s movies, TV shows, and theme parks—and worked their way into the hearts of millions of fans all over the world. Their songs have the unusual—and inimitable—ability to make you feel good. No wonder people took to them when they were new and still respond to them today.”

Jeff Kurtti, co-author of the 1998 Sherman Brothers biography, Walt’s Time: From Before to Beyond, said, “Bob, along with his brother Dick, wrote the songbook of youth for generations. I am often confronted with the idea that Sherman songs are ‘kiddie songs.’ This couldn’t be further from the truth. Bob in particular had an affection for, and a felicity with, words that gave the illusion of simplicity to truly complex works. He was a quiet center of intellect and feeling, and nothing revealed his inner life more than when he and his brother expressed rich ideas and deep emotions through music.”

Born in New York City on December 19, 1925, Robert Sherman was the son of popular Tin Pan Alley songwriter Al Sherman. His father was famous for composing such early 20th century song hits as “You’ve Got to Be a Football Hero,” “Potatoes are Cheaper, Tomatoes are Cheaper (Now’s the Time to Fall in Love!)” and “No! No! A Thousand Times, No!” But perhaps father Sherman’s greatest achievement was in the teaming of his sons to form one of the most successful and enduring songwriting partnerships in music history.

After a series of fits and starts the brothers found themselves composing numerous top-10 tunes for teen star and original Mouseketeer Annette Funicello, including the 1959 hit “Tall Paul” (marking the first time that a female singer reached a top ten slot for a rock ‘n’ roll single). The Shermans penned songs for such popular Funicello record albums as Hawaiianette (including “Pineapple Princess”), Dance Annette and The Story of My Teens, all presented on Buena Vista Records, a music subsidiary of Walt Disney Productions.

In December 1960, the Sherman brothers debuted their classic rock and roll song “You're Sixteen.” The tune carries the distinction of having twice gone to Billboard's No. 1 spot: once with Johnny Burnette and then an unprecedented second time with Ringo Starr in 1974. This seminal Sherman Brothers song hit, along with their tunes that helped to make Annette Funicello Disney’s first-ever musical teen star, caught the attention of Walt Disney himself and he quickly hired them as staff songwriters for his studio in 1960.
The early 1960s saw the Shermans compose a number of songs for such classic Disney films and TV productions such as Zorro, The Absent-Minded Professor, The Parent Trap (“Let’s Get Together,” performed by Hayley Mills), Walt Disney’s Wonderful World of Color (theme song), In Search of the Castaways, Summer Magic (their first film musical) and The Sword in the Stone (their first Disney animated feature).

When Walt Disney produced four shows for 1964-65 New York World’s Fair, he turned to the Sherman brothers to provide memorable music for three of the attractions. For the General Electric Carousel of Progress, they penned the show's optimistic theme song “There’s a Great Big Beautiful Tomorrow.” The Ford Motor Company sponsored the Disney attraction Magic Skyway, featuring the song “Get the Feel of the Wheel of a Ford.”

The New York World’s Fair also provided the Shermans with the opportunity to create perhaps their most famous song. After Walt Disney decided that his salute to the children of the world, being developed for the UNICEF pavilion and sponsored by Pepsi-Cola, needed a catchy theme song, he turned to his trusted songwriting team of Richard and Robert. The brothers composed “it’s a small world (after all).” Since then, it has become one of the most perennially translated and performed songs on earth.

In 1964, the Sherman brothers began work on what they affectionately refer to as their “magnum opus,” Walt Disney's 1964 musical film fantasy Mary Poppins. The film was nominated for a Disney-record 13 Academy Awards, including Best Picture. On April 5, 1965, at the 37th Annual Academy Awards the film won five Oscars, including two statuettes for the Shermans—Best Song (“Chim Chim Cher-ee”) and Best Original Score.

The remainder of the 1960s and early 70s saw the Sherman brothers contributing popular songs and scores to numerous classic Disney films. Some of their memorable Disney top box-office film credits of the era include The Monkey’s Uncle (1965), That Darn Cat! (1965), Winnie the Pooh and the Honey Tree (1966), The Gnome-Mobile (1967), The Jungle Book (1967), The Happiest Millionaire (1967), Winnie the Pooh and the Blustery Day (1969), The One and Only Genuine Original Family Band (1969), The Aristocats (1970) and Bedknobs and Broomsticks (1971).

In the early 1970s, the Sherman brothers left the Walt Disney Studios to pursue other film projects. They went on to provide an array of music, songs and occasional screenplays to such memorable family films as Chitty Chitty Bang Bang (1968), Snoopy Come Home (1972) Charlotte’s Web (1973), The Adventures of Tom Sawyer (1973), Huckleberry Finn (1974) and The Slipper and the Rose (1976).

In 1990, the Sherman brothers received the prestigious Disney Legends Award given by The Walt Disney Company. The award is given to individuals whose body of work has made a significant impact on the Disney entertainment legacy. They were also honored in 1991 with BMI’s (Broadcast Music Incorporated) Lifetime Achievement Award and share a star on the Hollywood Walk of Fame directly across from Grauman’s Chinese Theatre, where Mary Poppins premiered in 1964.

In 1999, Camphor Tree Publishers released the Sherman brothers’ autobiographical book entitled Walt’s Time: From Before to Beyond. The impressive family album-style book chronicles their amazing career(s) from childhood through their current endeavors using personal recollections and rarely seen family photos, film production photos and artwork.

The following year the Sherman brothers marked the new millennium with their fifth score for a Disney animated Winnie the Pooh film—The Tigger Movie (released in February 2000). For the film’s keynote song “Your Heart Will Lead You Home,” they shared composing credits with famed pop star Kenny Loggins.

Accolades continued in September 2002 as the Sherman brothers received the Lifetime Achievement Award from the Themed Entertainment Association in a ceremony at Hollywood’s historic El Capitan Theatre. In February 2003, Richard and Robert received the Windsor McCay Lifetime Achievement Award during the 30th Annual Annie Awards, presented by the International Animated Film Society.

In March 2010, the Disneyland Resort in California saluted the Shermans for their musical contributions to Disney Parks around the world. They were honored with their very own “window” on Main Street, U.S.A., which states: “Two Brothers Tunemakers – Richard M. Sherman and Robert B. Sherman: We’ll Write Your Tunes For a Song.”

In November 2006, a stage musical of their 2004 Olivier Award winning London West End production of Mary Poppins, produced by Disney and Cameron Mackintosh, opened on Broadway to acclaim and received seven Tony Award® nominations. The show combines the stories of P.L. Travers and the Academy Award-winning film to create an unforgettable theatrical experience and is currently playing to packed theaters on Broadway and on tour across North America and Australia.

In April 2002, the stage version of their classic 1968 film musical Chitty Chitty Bang Bang opened to acclaim at the historic London Palladium. Nominated for three Olivier Awards in the United Kingdom and five Tony Awards on Broadway, the show won Best Musical at the 2002 Variety Awards and the coveted 2006 Manchester Evening News Theatre Award for Best Family Show. The popular show is currently on tour throughout North America and the United Kingdom.

Thanks to their musical contributions to the Disney Parks around the world, the sun never sets on a Sherman Brothers song—their tunes are heard daily in California, Florida, Japan, France and China. Through the years many popular Disney Park attractions and entertainment spectaculars have featured Sherman brothers tunes, including Walt Disney's Enchanted Tiki Room, Carousel of Progress, it’s a small world, Adventure Thru Inner Space, Innoventions, The Many Adventures of Winnie the Pooh, Meet the World, Journey into Imagination, Fantasmic! and, most recently, World of Color.

Following the successful West End debut of Chitty Chitty Bang Bang, and the death of his beloved wife of 50 years, Joyce, Robert moved to London in 2002 to embark on a life filled with personal projects that included painting, writing poems and completing a long gestating collection of short stories entitled Moose.
In addition to his brother, Richard M. Sherman, Robert is survived by four children—Jeff Sherman, Robert J. Sherman, Laurie Sherman, and Tracy Sherman; as well as five grandchildren: Alex and Ryan (Jeff’s sons), and Josh, Amy and Sarah (Laurie’s children).

A public funeral service is planned at Hillside Memorial Park and Mortuary in Culver City on Friday, March 9 at 1 p.m. in the Large Chapel. Plans for a life celebration will be announced shortly.

Review: "The Rules of Attraction" Breaks Rules (Happy B'day, James Van Der Beek)

TRASH IN MY EYE No. 49 (of 2003) by Leroy Douresseaux

The Rules of Attraction (2002)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for strong sexual content, drug use, language and violent images (edited for re-rating)
DIRECTOR: Roger Avary
WRITER: Roger Avary (based upon the novel by Bret Easton Ellis)
PRODUCER: Greg Shapiro
CINEMATOGRAPHER: Robert Brinkmann
EDITOR: Sharon Rutter
COMPOSERS: tomandandy

DRAMA

Starring: James Van Der Beek, Ian Somerhalder, Shannyn Sossamon, Jessica Biel, Kate Bosworth, Jay Baruchel, Clifton Collins, Jr., Faye Dunaway, Swoosie Kurtz, Eric Stoltz, Fred Savage, and Kip Pardue

Roger Avary’s (who won an Oscar for co-writing Pulp Fiction) film The Rules of Attraction, an adaptation of Bret Easton Ellis’s novel of the same name, initially received an NC-17 rating before being edited to an R, and I have to say that I’d be afraid to see the “harsher” version that was too much for the tepid appetites of the MPAA rating board. It’s an apocalyptic love story about a love triangle involving three very self-absorbed students at a small New England college. It’s not for everyone, but it’s a bracing movie that throws safe filmmaking conventions to the wind and takes the viewer on a helter-skelter ride into the lust lives of hedonistic youth.

Paul Denton (Ian Somerhalder) is in love with Sean Bateman (James Van Der Beek, Varsity Blues, “Dawson’s Creek”), while Sean is in love with Lauren Hynde (Shannyn Sossamon) who is in love with the mostly absent Victor Johnson (Kip Pardue). Sean and Lauren manage to cobble up some kind of relationship, and while Sean really starts to dig Lauren, he can’t help but screw it up. Meanwhile, the beautiful, bisexual Paul has the extreme hots for Sean, but Sean barely even notices him. So Paul pursues; Sean pursues, and Lauren kind of pursues, but she’s in sort of a zone of indecision – attracted to Sean and pining for Victor.

The novel was apparently told from several points of view, so to keep that spirit, Avary breaks linear time, shifts between varying points of view, compares and contrasts POV, and allows interior communication between character and viewer. In Sean’s case, we get a jumble and confusing mess of interior monologues that serve to establish his inability to relate to others beyond his need of them. Avary gives the film the running theme of that no one really ever knows anyone else and that maybe people don’t really want other people to know them. And to ask another for such an intimate entry is looked upon as disingenuous. Each character is so caught up in his desire for his object of attraction that he never really tries to know that person.

The Rules of Attraction is a fascinating, satiric, and darkly comic look at attraction and at obtaining the object of attraction. If it has a fault, it’s is that the film lapses into small, but periodic dry spells and moments of pointless observation that stop the movie instead of moving the story forward. However, the acting is very good, particular Van Der Beek in one of those roles that supposed to show the world that the pretty boy actor can be grim and gritty.

If there are rules of attraction, no one here seems to know them; the characters seem to play it by the seats of the pants they’re so quick to drop. I love this film. It’s a stunning visual testament to the ugliness and unbridled power of pursuit, a love story that’s different yet uncomfortably familiar.

7 of 10
B+

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The Empty Calories of "Into the Blue" are Surprisingly Tasty

TRASH IN MY EYE No. 150 (of 2005) by Leroy Douresseaux


Into the Blue (2005)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for intense sequences of action violence, drug material, some sexual content, and language
DIECTOR: John Stockwell
WRITER: Matt Johnson
PRODUCER: David Zelon
CINEMATOGRAPHERS: Shane Hurlbut with Peter Zuccarini (underwater)
EDITORS: Nicolas De Toth and Dennis Virkler

ACTION/ADVENTURE/CRIME/THRILLER

Starring: Paul Walker, Jessica Alba, Scott Caan, Ashley Scott, Josh Brolin, James Frain, Tyson Beckford, and Dwayne Adway

The subject of this movie review is Into the Blue, an underwater action movie and crime thriller starring Paul Walker and Jessica Alba. The film follows a group of friends who find both a sunken treasure and trouble from drug smugglers.

Recently fired from his job as a guide on scuba diving tour boat, Jared (Paul Walker) decides to pursue his dream of salvaging for lost treasure galleys in the deep, shark-infested waters of the Bahamas. His girlfriend, Sam (Jessica Alba), believes in him, of course, and is along for the ride, and so are his best friend, Bryce (Scott Caan), a young hotshot lawyer from New York City, and his latest conquest, Amanda (Ashley Scott), a young woman he just met a few days before. When the four young divers discover what may be a legendary shipwreck containing untold millions in gold, Jared believes his dream of finding buried treasure has come true.

However, near their salvage is a sunken plane containing the dead crew… and a large cargo of cocaine that may have a street value in the hundreds of millions. The friends make a vow to keep silent about both discoveries so that they can excavate the shipwreck and file a claim on it before rival treasure hunters (namely a challenger named Bates played by Josh Brolin) learn of their find and beat them to the gold. When two of the divers make a fatal decision regarding the cargo plane, drug smugglers looking for the plane turn the young treasure hunters into the hunted.

Into the Blue is the Sport’s Illustrated swimsuit issue version of a hard-edge action movie, but it has a campy edge that would make it suitable for the CBS Sunday Night Movie or a made-for-TV USA cable network action thriller; plus its PG-13 rating makes Into the Blue safe for all but those… well, 13-year olds. Director John Stockwell doesn’t turn Matt Johnson’s screenplay into a hyper-kinetic video game, but instead makes the film into a kind of crime film, imagine a R-rated, dumbed-down heist or caper film like Out of Sight for teens or for those who can’t stomach R-movie violence. Another good thing about Matt Johnson’s screenplay is that it emphasizes characters over action. Put a competent cast and crew behind a script like this and the audience gets a nice character-driven piece that makes the audience invest itself in the players – that’s Into the Blue. The script’s glaring error is that it seems stretched out, thus giving it a few huge dry patches in which the narrative is literally spinning its wheels or drowning.

Paul Walker (The Fast and the Furious franchise) and Jessica Alba aren’t close to being good actors. Walker comes from the Keanu Reeves school of acting, which means awkward and stiff dialogue delivery, but quite frankly, he’s beautiful and looks good on screen. His face can express more emotion that he ever could through speaking, and Walker’s eyes are indeed the windows into the soul of his characters. You learn just as much about what kind of man Jared is by watching Walker’s physical acting as you could by listening to Paul struggle with lines. Alba tries to be a serious actress, but her body is the Gromit to her acting’s Wallace. You don’t want her off screen; you want to see her, whether you’re a man or woman.

The setting and beautiful locations really sell this flick. I never thought I’d enjoy seeing people diving in and jumping out of the water so much (about 60 to 70 percent of the film); this is truly an underwater action/adventure. Add Josh Brolin’s Mephisto-like turn to the mix of lithe young bodies in motion, in danger, and in the water, and Into the Blue is a very entertaining thriller – fun in the water, the movie theatre, or at home.

6 of 10
B

"Dark Tide," Starring Halle Berry, Debuts on Video-on-Demand March 8th

DARK TIDE - LIONSGATE AND WREKIN HILL ENTERTAINMENT, IN ASSOCIATION WITH ROW 1 PRODUCTIONS, UNREEL DARK TIDE, STARRING ACADEMY AWARD® WINNER HALLE BERRY, WITH MULTI-TIER RELEASE STRATEGY

Film To Debut On Ultra VOD March 8th Prior To US Theatrical Run March 30th With Packaged Media To Follow

LIONSGATE® (NYSE: LGF), a leading diversified global entertainment company, and Wrekin Hill Entertainment, an LA based film production and distribution company, in association with Row 1 Productions, announced today their multi-tiered release strategy to distribute the Academy Award® winner Halle Berry and Olivier Martinez action thriller DARK TIDE. Wrekin Hill Entertainment, in association with Row 1 Productions, acquired the US rights to director John Stockwell’s deep sea adventure for theatrical exhibition. Lionsgate, as part of its agreement with Wrekin Hill Entertainment will release the film on Video-on-Demand (VOD), Electronic Sell-Through (EST) and packaged media. The distribution plan leads off with a three week Ultra VOD window on March 8th with a theatrical release on March 30th, culminating in a packaged media and Digital Download release.

“The star power that Halle Berry brings to DARK TIDE paired with a genre that hits VOD audiences make it a perfect addition to our Ultra VOD strategy.” said Jim Packer, Lionsgate President of Worldwide Television and Digital Distribution.

Noted Chris Ball, President and CEO of Wrekin Hill Entertainment: “We are thrilled to be working with our partners at Lionsgate to attack the U.S. with this terrifying suspense thriller. Our multiplatform release assures that audiences across the country will have the opportunity to be bitten by DARK TIDE.”

Director John Stockwell (BLUE CRUSH, INTO THE BLUE) returns to the ocean with the thrilling feature DARK TIDE starring Academy Award® winner Berry and award-winning actor Martinez in their first on-screen roles together. The film, written by Amy Sorlie and Ronnie Christensen and based on a story by Sorlie, was produced by Jeanette Buerling and Matthew Chausse.

Synopsis: Kate (Berry) is a shark expert whose business has been failing since a shark attack killed a fellow diver under her command. Once dubbed "the shark whisperer," Kate is haunted by the memory of the attack and unable to get back into the water. With bills piling up and the bank about to foreclose on Kate's boat, Kate's old flame Jeff (Martinez) presents her with a lucrative opportunity: lead a thrill-seeking millionaire businessman on a dangerous shark dive…outside the cage. Battling her self-doubts and fear, Kate accepts the proposal -- and sets a course for the world's deadliest feeding ground: Shark Alley.

The deal for DARK TIDE was negotiated by Ball and Rene Cogan for Wrekin Hill and Brandt Andersen on behalf of Row 1 Productions, with Stuart Ford and Jonathan Deckter of IM Global on behalf of the filmmakers.

YouTube Link: http://www.youtube.com/watch?v=0Wn544fBnS0


ABOUT LIONSGATE
Lionsgate is a leading global entertainment company with a strong and diversified presence in motion picture production and distribution, television programming and syndication, home entertainment, family entertainment, digital distribution and new channel platforms. The Company has built a strong television presence in production of prime time cable and broadcast network series, distribution and syndication of programming through Debmar-Mercury and an array of channel assets. Lionsgate currently has 15 shows on more than 10 networks spanning its prime time production, distribution and syndication businesses, including such critically-acclaimed hits as "Mad Men," "Weeds" and "Nurse Jackie" along with the comedy "Blue Mountain State," the Golden Globe winning drama "Boss" and the syndication successes "Tyler Perry's House Of Payne," its spinoff "Meet The Browns," "The Wendy Williams Show" and "Are We There Yet?".

Its feature film business has been fueled by such recent successes as THE LINCOLN LAWYER, TYLER PERRY'S MADEA'S BIG HAPPY FAMILY, MARGIN CALL, THE EXPENDABLES, THE LAST EXORCISM, TYLER PERRY'S WHY DID I GET MARRIED TOO?, KICK ASS and the critically-acclaimed PRECIOUS, which won two Academy Awards®. The Company's home entertainment business has grown to more than 7% market share and is an industry leader in box office-to-DVD and box office-to-VOD revenue conversion rate. Lionsgate handles a prestigious and prolific library of approximately 13,000 motion picture and television titles that is an important source of recurring revenue and serves as the foundation for the growth of the Company's core businesses. The Lionsgate brand remains synonymous with original, daring, quality entertainment in markets around the world.

About Wrekin Hill Entertainment
WREKIN HILL ENTERTAINMENT is a Los Angeles-based production and distribution company, founded by the former Newmarket Films team of Chris Ball and Rene Cogan. Ball and Cogan built a reputation at Newmarket for producing and distributing such indie classics as MEMENTO, DONNIE DARKO, WHALE RIDER, MONSTER, and THE PASSION OF THE CHRIST. Wrekin Hill has a multi-year US home entertainment distribution deal with Lionsgate, and a three-year multi-platform output deal with Canadian distributor eOne. The company aims to distribute four to five quality theatrical releases each year, in addition to its ancillary driven output, with a focus on the same kind of director-driven specialty films on which the team has built its reputation. During 2011, Wrekin Hill has theatrically released such films as Peter Weir’s THE WAY BACK, and Spencer Susser’s HESHER starring Joseph Gordon Levitt and Natalie Portman. In early 2012, the company will release award-winning Chinese director Zhang Yimou’s (House of Flying Daggers, Hero) and producer Zhang Weiping’s THE FLOWERS OF WAR starring Academy Award® winning actor Christian Bale. The film, which has been nominated for a Golden Globe for Best Foreign Language Film, also had a highly successful one-week awards qualifying run in late 2011. Other 2012 releases include Academy Award®-nominated Morgan Spurlock's fanboy documentary COMIC-CON EPISODE IV - A FAN'S HOPE; and Ben Palmer’s UK box office phenomenon THE INBETWEENERS, based on the award-winning British TV series of the same name.

About Row 1 Productions
Row 1 Productions was founded by a group of private investors including world-renowned Orthopedic Surgeon Dr. Rick Lehman. In addition to his prestigious medical practice, Lehman also has several holdings which include entertainment, medicine and an ownership stake in the NHL's Florida Panthers. Row 1 Production's investments include domestic rights acquisition and early stage bridge financing for production. Row 1 has provided financing for Stephen Frears’ LAY THE FAVORITE, FROZEN GROUND starring Nicholas Cage, and BROKEN CITY starring Mark Wahlberg and Russell Crowe. Row 1 Productions is headquartered in Beverly Hills, California.

Happy Birthday, Anna Douresseaux

I would enjoy celebrating your 45th birthday with you.