Warner Bros. Pictures and Legendary Pictures Are Ready for Another “Hangover”
Director Todd Phillips will reunite with Bradley Cooper, Ed Helms and Zach Galifianakis for Part III of the blockbuster comedy franchise, to open on May 24, 2013
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures and Legendary Pictures are reteaming with Todd Phillips for “The Hangover Part III,” the third installment in the record-breaking comedy franchise, which is slated for release on May 24, 2013. The announcement was made today by Jeff Robinov, President Warner Bros. Pictures Group.
“The Hangover Part III” will star Bradley Cooper, Ed Helms and Zach Galifianakis, who will reprise the roles of Phil, Stu and Alan, collectively known to moviegoers as “the Wolfpack.” In the previous two films, the three friends’ attempts to plan a celebration have resulted in disaster for them, but led to a combined billion-dollar success at the worldwide box office.
In making the announcement, Robinov stated, “We are extremely pleased to have Todd Phillips and the guys back together again for another ‘Hangover,’ and we look forward to collaborating with them on another great movie.”
Phillips said, “I’m so excited to embark on another ‘Hangover’ film with Bradley, Ed and Zach. We’re going to surprise a lot of people with the final chapter we have planned. It will be a fitting conclusion to our three-part opera of mayhem, despair and bad decisions.”
Phillips is writing the screenplay with Craig Mazin, who also collaborated with him on the screenplay for “The Hangover Part II.” Phillips is again producing the film under his Green Hat Films banner, together with Dan Goldberg. Thomas Tull and Scott Budnick will serve as executive producers.
Production on the film is projected to begin in September 2012.
A presentation of Warner Bros. Pictures, in association with Legendary Pictures, “The Hangover Part III” will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Saturday, March 24, 2012
Friday, March 23, 2012
Review: "Rashomon" Defies Time (Happy B'day, Akira Kurosawa)
Rashômon (1950) – Black and white
COUNTRY OF ORIGIN: Japan
Running time: 88 minutes (1 hour, 28 minutes)
Not rated by the MPAA
EDITOR/DIRECTOR: Akira Kurosawa
WRITERS: Shinobu Hashimota and Akira Kurosawa (based upon stories by Ryunosuke Akutagawa)
PRODUCER: Minoru Jingo
CINEMATOGRAPHER: Kazuo Miyagawa
EDITOR: Fumio Hayasaka
Academy Award winner
DRAMA/MYSTERY/CRIME with elements of a thriller
Starring: Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijiro Ueda, Fumiko Honma, Daisuke Katô
Rashômon is a 1950 Japanese crime drama from director Akira Kurosawa. In 1952, the film won an Honorary Academy Award as the best foreign language film released in the United States in 1951. The film is based on two stories by Ryunosuke Akutagawa and is the story of a murder told from differing points of view.
The fact that Akira Kurosawa’s Rashômon is considered by critics to be one of the best films ever made and that it is also one of the most influential films every made should be enough of a recommendation. However, I’m well aware of how put off many people are by “serious film” or movies that critics hail as masterpieces. Rashômon is simply a good movie, and virtually anyone who likes crime dramas or mysteries will love this philosophical and psychological thriller.
An incident involving the murder of a husband and the rape of the wife in the forest is reported to local authorities, but what really happened? The horrible incident is told from the point of view of four witnesses: the alleged murderer/rapist, the wife, the murdered husband (the husband’s spirit speaks through his wife as a medium, nonetheless), and someone who watched part of what happened from a hidden vantage point. Who is telling the truth, and, in this case, just what is truth?
One of the many wonderful things about this film, like all the great stories, is that it spins a good yarn while simultaneously examining the state of man. Why are people selfish? Why do they lie? And are all humans basically selfish creatures who (when it comes down to it) really serve their own individual interests? The film is a fine mystery/crime drama with some amazing twists and turns (the husband’s tortured spirit telling his side of the tale is unforgettable) that will keep the viewer riveted, but that it also makes you think about us, about humanity, pushes it over the top. Except that Rashômon seems a bit too slow from the top, it nears perfection in the art of cinema and in making good use of the medium.
9 of 10
A+
NOTES:
1952 Academy Awards: 1 win: “Honorary Award” (Japan) – Voted by the Board of Governors as the most outstanding foreign language film released in the United States during 1951.
1953 Academy Awards: 1 nomination: “Best Art Direction-Set Decoration, Black-and-White” (Takashi Matsuyama and H. Motsumoto)
1953 BAFTA Awards: 1 nomination: “Best Film from any Source” (Japan)
Second Robert Downey Jr. "Sherlock Holmes" Surpasses First in Cash Made
“Sherlock Holmes: A Game of Shadows” Bests Its Predecessor, Nabbing Global Tally of $529 Million and Counting
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Sherlock Holmes: A Game of Shadows” has hit the $529 million benchmark in global box office, with an estimated $186.7 million on the domestic side and $342.3 million internationally, surpassing its predecessor’s worldwide gross of $524.4 million. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan-Rubinek, President of International Distribution, Warner Bros. Pictures.
The film has drawn large opening crowds and repeat business since its late December debut, continuing its momentum as it rolled out internationally. In the U.S., “Sherlock Holmes: A Game of Shadows” opened at #1 and spent six weeks in the U.S. top ten. Internationally, it was the #1 film for three straight weeks (January 8 - January 23).
“Our successful box office continues to prove the appeal of Sherlock Holmes, especially in the hands of guy Ritchie and his amazing cast, led by Robert Downey Jr. and Jude Law,” Fellman said. “The film had outstanding results throughout the holidays and continued to gain traction well into 2012.”
“Rolling out this film internationally has been tremendously exciting, as the film has clearly resonated with audiences around the globe,” Kwan-Rubinek added. “The first ‘Sherlock Holmes’ was such a tremendous success overseas, and to surpass that number in these same markets is truly a remarkable achievement. We congratulate the filmmakers and cast, as well as our international teams, on these excellent results.”
“‘Sherlock Holmes: A Game of Shadows’ gave moviegoers another opportunity to experience Guy Ritchie’s fun and inventive take on the legendary detective,” said Sue Kroll, the Studio's President, Worldwide Marketing. “The movie is a great adventure—complete with action, humor and great characters. Congratulations to the filmmakers and cast, who were truly our partners in bringing Sherlock Holmes back to an enthusiastic worldwide audience.”
Robert Downey Jr. reprises his role as the world’s most famous detective, Sherlock Holmes, and Jude Law returns as his friend and colleague, Dr. Watson, in “Sherlock Holmes: A Game of Shadows.”
Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor James Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may give him an advantage over the renowned detective. Holmes’ investigation into Moriarty’s plot becomes more dangerous as it leads him and Watson out of London to France, Germany and finally Switzerland. But the cunning Moriarty is always one step ahead, and moving perilously close to completing his sinister plan. If he succeeds, it will not only bring him immense wealth and power but alter the course of history.
Filmmaker Guy Ritchie returned to direct “Sherlock Holmes: A Game of Shadows,” the follow-up to the smash hit “Sherlock Holmes.” The sequel reunited producers Joel Silver, Lionel Wigram, Susan Downey and Dan Lin. Bruce Berman and Steve Clark-Hall served as executive producers. The film also stars Noomi Rapace, Jared Harris, Eddie Marsan, Kelly Reilly, and Rachel McAdams. “Sherlock Holmes: A Game of Shadows” was written by Michele Mulroney & Kieran Mulroney. Sherlock Holmes and Dr. Watson were created by the late Sir Arthur Conan Doyle, and appear in stories and novels by him.
Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Silver Pictures Production, in association with Wigram Productions, a Guy Ritchie Film, “Sherlock Holmes: A Game of Shadows.” The film is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.
http://www.sherlockholmes2.com/
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Sherlock Holmes: A Game of Shadows” has hit the $529 million benchmark in global box office, with an estimated $186.7 million on the domestic side and $342.3 million internationally, surpassing its predecessor’s worldwide gross of $524.4 million. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan-Rubinek, President of International Distribution, Warner Bros. Pictures.
The film has drawn large opening crowds and repeat business since its late December debut, continuing its momentum as it rolled out internationally. In the U.S., “Sherlock Holmes: A Game of Shadows” opened at #1 and spent six weeks in the U.S. top ten. Internationally, it was the #1 film for three straight weeks (January 8 - January 23).
“Our successful box office continues to prove the appeal of Sherlock Holmes, especially in the hands of guy Ritchie and his amazing cast, led by Robert Downey Jr. and Jude Law,” Fellman said. “The film had outstanding results throughout the holidays and continued to gain traction well into 2012.”
“Rolling out this film internationally has been tremendously exciting, as the film has clearly resonated with audiences around the globe,” Kwan-Rubinek added. “The first ‘Sherlock Holmes’ was such a tremendous success overseas, and to surpass that number in these same markets is truly a remarkable achievement. We congratulate the filmmakers and cast, as well as our international teams, on these excellent results.”
“‘Sherlock Holmes: A Game of Shadows’ gave moviegoers another opportunity to experience Guy Ritchie’s fun and inventive take on the legendary detective,” said Sue Kroll, the Studio's President, Worldwide Marketing. “The movie is a great adventure—complete with action, humor and great characters. Congratulations to the filmmakers and cast, who were truly our partners in bringing Sherlock Holmes back to an enthusiastic worldwide audience.”
Robert Downey Jr. reprises his role as the world’s most famous detective, Sherlock Holmes, and Jude Law returns as his friend and colleague, Dr. Watson, in “Sherlock Holmes: A Game of Shadows.”
Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor James Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may give him an advantage over the renowned detective. Holmes’ investigation into Moriarty’s plot becomes more dangerous as it leads him and Watson out of London to France, Germany and finally Switzerland. But the cunning Moriarty is always one step ahead, and moving perilously close to completing his sinister plan. If he succeeds, it will not only bring him immense wealth and power but alter the course of history.
Filmmaker Guy Ritchie returned to direct “Sherlock Holmes: A Game of Shadows,” the follow-up to the smash hit “Sherlock Holmes.” The sequel reunited producers Joel Silver, Lionel Wigram, Susan Downey and Dan Lin. Bruce Berman and Steve Clark-Hall served as executive producers. The film also stars Noomi Rapace, Jared Harris, Eddie Marsan, Kelly Reilly, and Rachel McAdams. “Sherlock Holmes: A Game of Shadows” was written by Michele Mulroney & Kieran Mulroney. Sherlock Holmes and Dr. Watson were created by the late Sir Arthur Conan Doyle, and appear in stories and novels by him.
Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Silver Pictures Production, in association with Wigram Productions, a Guy Ritchie Film, “Sherlock Holmes: A Game of Shadows.” The film is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.
http://www.sherlockholmes2.com/
Thursday, March 22, 2012
Review: "Pleasantville" is Pleasingly Pleasant
Pleasantville (1998)
Running time: 124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for some thematic elements emphasizing sexuality, and for language
WRITER/DIRECTOR: Gary Ross
PRODUCERS: Robert J. Degus, Jon Kilik, Gary Ross, and Steven Soderbergh
CINEMATOGRAPHER: John Lindley
EDITOR: William Goldenberg
COMPOSER: Randy Newman
Academy Award nominee
COMEDY/DRAMA/FANTASY
Starring: Tobey Maguire, William H. Macy, Joan Allen, Reese Witherspoon, Jeff Daniels, Jane Kaczmarek, Don Knotts, Paul Walker, and J.T. Walsh
The subject of this movie review is Pleasantville, a 1998 comedy-drama and fantasy film from writer/director Gary Ross, who would go on to write and direct the Oscar-nominated, Seabiscuit (2003). Pleasantville stars Tobey Maguire and Reese Witherspoon as a brother and sister transported into their television set where they find themselves in the world of a 1950s black and white situation comedy.
It’s premise, especially the device that initiates the premise, is something straight out of pulp science fiction or pulp comics (in particular, EC comics), but Pleasantville ends up being a film poignant and delightful and thought provoking and entertaining. The film begins in the 1990’s with a brother and sister pair. David Wagner (Tobey Maguire), single, lonely, and unhappy, escapes his melancholy reality by watching the nostalgic 1950’s era soap opera, “Pleasantville.” After his TV breaks, a very strange repairman (Don Knott) gives him an equally strange remote control, but his sister, Jennifer (Reese Witherspoon), who is David’s exact opposite (happy and more far more sexually active than her brother), argues with David over watching the TV. During their struggle for the peculiar remote control, it transports the pair into the television to Pleasantville.
Suddenly, David and Jennifer are Bud and Mary-Sue Parker, and they find themselves completely assimilated into the new world. They are now black and white instead of color, and they have new 50’s era clothes. They also have new and different parents Betty (Joan Allen) and George Parker (William H. Macy), more pleasant than the old models. While David decides to blend in with this new world, Jennifer is sexually aggressive with the sexually naïve teenage boys of this “Leave it to Beaver” like world. David/Bud and Jennifer/Mary-Sue’s antics begin to change the world, and one thing leads to another and suddenly there is a vivid, red rose in this black and white world. Soon, the denizens of Pleasantville start to break rules and to break with long held traditions and before long, life is growing ever more colorful in Pleasantville. But not everyone is happy, including Bud and Mary-Sue’s Pleasantville dad and the town council, and they plan to do something about it.
There is so much to like about this movie, especially the wonderful cast. Tobey Maguire and Reese Witherspoon perfectly portray the squabbling pair of siblings, playing them at just the right pitch to make this movie work. However, it is the adult or older actors that sell Pleasantville’s ideas and messages. The themes of conformity, rebellion, marital discord, infidelity, betrayal, loyalty, and mob violence and group-think come to life in the stand out performances of William H. Macy, Joan Allen, Jeff Daniels and the late J.T. Walsh. It’s fun to watch Ms. Witherspoon’s antics, and Maguire has that young everyman quality that draws audiences into living vicariously through him, but the older actors shape and structure the elements that define this film.
Many Oscar® watchers had pegged this film as an early favorite to receive some big nominations, but it only earned three Academy Award nominations in the so-called technical categories. I get the feeling that many people were put off by the film. The very things that make it so intriguing – from its ideas to its concept start to fall apart about midway through the film. Slowly, but surely, the structure becomes shaky the longer the film runs. At 124 minutes (2 hours and 4 minutes) this film seems about 20 minutes too long. The last third of the film seems especially too preachy, too obvious, and heavy-handed.
Still, director/screenwriter Gary Ross created an enduring and charming gem; though flawed, it harks back to simply notions and an idealized simpler time in a fictional golden age. But the film does seem to ask, was that time really idealized and just how much is actually fiction about the good old days.
7 of 10
B+
NOTES:
1999 Academy Awards: 3 nominations: “Best Art Direction-Set Decoration” (Jeannine Claudia Oppewall and Jay Hart), “Best Costume Design” (Judianna Makovsky), and “Best Music, Original Dramatic Score” (Randy Newman)
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Wednesday, March 21, 2012
Review: "Hugo" Captures the Magic of Movies
Hugo (2011)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – PG for mild thematic material, some action/peril and smoking
DIRECTOR: Martin Scorsese
WRITER: John Logan (based on Brian Selznick’s book, The Invention of Hugo Cabret)
PRODUCERS: Johnny Depp, Tim Headington, Graham King, and Martin Scorsese
CINEMATOGRAPHER: Robert Richardson
EDITOR: Thelma Schoonmaker
COMPOSER: Howard Shore
Academy Award winner
HISTORICAL/DRAMA/FAMILY with elements of fantasy
Starring: Asa Butterfield, Ben Kingsley, Sacha Baron Cohen, Chloë Grace Moretz, Ray Winstone, Emily Mortimer, Christopher Lee, Helen McCrory, Michael Stuhlbarg, Frances de la Tour, Richard Griffiths, and Jude Law
Hugo is a 2011 Oscar-winning historical drama and 3D adventure film directed by Martin Scorsese. The film is based upon The Invention of Hugo Cabret, a 2007 historical fiction novel by Brian Selznick. The film is about a boy who lives in the walls of a Paris train station and how he meets Georges Méliès, the real-life French film pioneer.
It is 1931, and 12-year-old Hugo Cabret (Asa Butterfield) takes care of the clocks at the Gare Montparnasse railway station in Paris. He lives in the walls of the station with his uncle, Claude Cabret (Ray Winstone), an alcoholic watchmaker who is responsible for maintaining the clocks at the station and who teaches the craft to Hugo. After his uncle disappears, Hugo fends for himself, stealing food and maintaining the clocks. Hugo has also taken on a project of his late father (Jude Law), repairing a broken automaton, a mechanical man that is supposed to write after he is wound.
To repair the automaton, Hugo steals mechanical parts from an elderly toy store owner. One day, the owner, Georges Méliès (Ben Kingsley), catches Hugo and takes the boy’s notebook, which has notes and drawings for fixing the automaton. To get his notebook back, Hugo begins working for Méliès and also befriends the old man’s goddaughter, Isabelle (Chloë Grace Moretz). The children’s friendship and curiosity lead to a shocking revelation that might restore the spirit of a forgotten artist.
I guess that I should not be surprised that Martin Scorsese could pull off a film like Hugo – what is basically a family movie. I know that not all Scorsese’s films involve mobsters and violence, for instance, The Last Temptation of Christ and The Aviator, but his films are generally edgy adult dramas. With Hugo, however, Scorsese drives this film not only with a child’s sense of wonder and curiosity, but also with a child’s grit and determination to do what they believe is the right thing.
Scorsese’s films are successful because he gets great performances from his actors, and these performances are sometimes what make his films special (Robert De Niro in Raging Bull), or memorable (Joe Pesci in Goodfellas), or legendary (De Niro in Taxi Driver). In Hugo, the actors are so upfront emotionally that their intentions are clear to the audience. This makes the characters honest and vulnerable, in a childlike way that makes them endearing. That is why Chloë Grace Moretz’s Isabelle comes across as refreshing and intriguing rather than just being the girl character intruding in a boy’s tale.
While Ben Kingsley’s name is listed first in the credits, Asa Butterfield is the film’s star and Hugo Cabret is the lead character. Unlike some child actors who pretend more than they act, Butterfield plays Hugo with a veteran movie actor’s chops. He makes Hugo whole and believable, so much so that I lied to myself that Hugo was real boy.
Speaking of Ben Kingsley: after decades of great performances, I should not be surprised at how good he is as Georges Méliès, but I am. Kingsley is shockingly intense, even in the scenes that are relatively quiet and low key. In the scene in which Méliès tells the story of his past, Kingsley’s voice takes on a life of its own and magically transports us to Georges Méliès’ golden age.
And Hugo is magical. It is a trip into our dreams, in which the past comes to life. Most of all, Hugo reminds us of why movies are so special.
9 of 10
A+
NOTES:
2012 Academy Awards: 5 wins: “Best Achievement in Art Direction” (Francesca Lo Schiavo-set decorator and Dante Ferretti-production designer), “Best Achievement in Cinematography” (Robert Richardson), “Best Achievement in Sound Editing” (Philip Stockton and Eugene Gearty), “Best Achievement in Sound Mixing” (Tom Fleischman and John Midgley), and “Best Achievement in Visual Effects” (Robert Legato, Joss Williams, Ben Grossmann, Alex Henning); 6 nominations: “Best Achievement in Costume Design” (Sandy Powell), “Best Achievement in Directing” (Martin Scorsese), “Best Achievement in Film Editing” (Thelma Schoonmaker), “Best Achievement in Music Written for Motion Pictures, Original Score” (Howard Shore), “Best Motion Picture of the Year” (Graham King and Martin Scorsese), “Best Writing, Adapted Screenplay” (John Logan)
2012 BAFTA Awards: 2 wins: “Best Production Design” (Dante Ferretti and Francesca Lo Schiavo) and “Best Sound” (Tom Fleischman, Philip Stockton, John Midgley, and Eugene Gearty); 7 nominations: “Best Cinematography” (Robert Richardson), “Best Costume Design” (Sandy Powell), “Best Director” (Martin Scorsese), “Best Editing” (Thelma Schoonmaker), “Best Make Up & Hair” (Morag Ross and Jan Archibald), “Best Original Music” (Howard Shore), “Best Special Visual Effects” (Alex Henning, Robert Legato, Ben Grossmann, and Joss Williams)
2012 Golden Globes: 1 win: “Best Director - Motion Picture” (Martin Scorsese); 2 nominations: “Best Motion Picture – Drama” and “Best Original Score - Motion Picture” (Howard Shore)
Tuesday, March 20, 2012
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Tuesday, March 20, 2012
Disney Makes It Official: "John Carter" is a Box Office Bomb
Yesterday, The Walt Disney Company released a statement regarding the disappointing box office of its recent release, John Carter. The film made a little over $30 million during its opening weekend, March 9-11, 2012. The film, which reportedly had a production budget of $250 million, is largely based upon A Princess of Mars (1917), the first novel in Edgar Rice Burroughs' Barsoom novel series. Disney's statement read:
“In light of the theatrical performance of John Carter ($184 million global box office), we expect the film to generate an operating loss of approximately $200 million during our second fiscal quarter ending March 31. As a result, our current expectation is that the Studio segment will have an operating loss of between $80 and $120 million for the second quarter. As we look forward to the second half of the year, we are excited about the upcoming releases of The Avengers and Brave, which we believe have tremendous potential to drive value for the Studio and the rest of the company.”
There are a number of theories as to why the film failed to meet expectations. One is that there was a disconnect between the film's director, Andrew Stanton, a two-time Oscar-winner at Pixar Animation Studios for Finding Nemo and Wall-E, and Disney's marketing division. So because of disagreements between the two or a lack of cooperation, if you read it that way, the film's marketing never piqued the interests of large numbers of potential moviegoers. And big-budget event films like John Carter need lots of tickets sold to be profitable theatrically.
So far the film is doing okay outside of the North American market. I guessing that Disney probably spent about $400 million making and marketing the film, so they're announcing a loss to their shareholders and the public because there is no way that this film can make a profit theatrically. It would probably need to make around $800 million worldwide to do so.
I have been too busy to see the film at the theatre, but I will see it on DVD or on television. Most people who see it will probably see it via some kind of home entertainment. Who knows? Over time, it may make Disney a pretty penny and become liked enough to make frequent appearances on the networks and channels that seem to have Disney franchises like Pirates of the Caribbean and National Treasure on heavy rotation.
“In light of the theatrical performance of John Carter ($184 million global box office), we expect the film to generate an operating loss of approximately $200 million during our second fiscal quarter ending March 31. As a result, our current expectation is that the Studio segment will have an operating loss of between $80 and $120 million for the second quarter. As we look forward to the second half of the year, we are excited about the upcoming releases of The Avengers and Brave, which we believe have tremendous potential to drive value for the Studio and the rest of the company.”
There are a number of theories as to why the film failed to meet expectations. One is that there was a disconnect between the film's director, Andrew Stanton, a two-time Oscar-winner at Pixar Animation Studios for Finding Nemo and Wall-E, and Disney's marketing division. So because of disagreements between the two or a lack of cooperation, if you read it that way, the film's marketing never piqued the interests of large numbers of potential moviegoers. And big-budget event films like John Carter need lots of tickets sold to be profitable theatrically.
So far the film is doing okay outside of the North American market. I guessing that Disney probably spent about $400 million making and marketing the film, so they're announcing a loss to their shareholders and the public because there is no way that this film can make a profit theatrically. It would probably need to make around $800 million worldwide to do so.
I have been too busy to see the film at the theatre, but I will see it on DVD or on television. Most people who see it will probably see it via some kind of home entertainment. Who knows? Over time, it may make Disney a pretty penny and become liked enough to make frequent appearances on the networks and channels that seem to have Disney franchises like Pirates of the Caribbean and National Treasure on heavy rotation.
Review: "Inside Man" is Slick Entertainment, Nothing More (Happy B'day, Spike Lee)
Inside Man (2006)
Running time: 128 minutes (2 hours, 8 minutes)
MPAA – R for language and some violent images
DIRECTOR: Spike Lee
WRITER: Russell Gewirtz
PRODUCER: Brian Grazer
CINEMATOGRAPHER: Matthew Libatique (director of photography)
EDITOR: Barry Alexander Brown
COMPOSER: Terrence Blanchard
DRAMA/CRIME with elements of a thriller
Starring: Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor, Carlos Andrés Gómez, Kim Director, James Ransone, Bernard Rachelle, Peter Gerety, Victor Colicchio, and Cassandra Freeman
Inside Man is a 2006 crime drama from director Spike Lee. Lee was basically a director-for-hire of this story of a peculiar bank heist, which was originally going to be directed by Ron Howard.
Four people dressed in painters outfits march into the Manhattan Trust Bank and take 50 customers and employees hostage, and then put the bank under a surgically planned siege. Detective Keith Frazier (Denzel Washington) and Detective Bill Mitchell (Chiwetel Ejiofor) are dispatched to the seemingly airtight heist by their precinct captain, with Frazier acting as the hostage negotiator. Frazier is hopeful of resolving the situation quickly, but Dalton Russell (Clive Owen), the bank robbers’ leader, is exceedingly clever, uncannily calm, and totally in command. Not only does he manage to disorient his hostages, but he’s also managing to confuse the police and stall for time.
Meanwhile, the bank’s chairman of the board of directors (ostensibly the owner), Arthur Case (Christopher Plummer), has used his vast and considerable political connections to arrange a meeting between Madeline White (Jodie Foster), a shadowy power player, and Russell – much to the chagrin of Detective Frazier. White is vague with Frazier about what she and Russell discuss during their brief meeting, but it seems as if looting a bank full of money isn’t Russell’s only objective. Detective Frazier needs to unravel this puzzle though, because he’s running out of time to keep this standoff from turning ugly and bloody for both hostages and hostage takers. The police high command is about to unleash Emergency Services Unit (ESU) Captain John Darius (Willem Dafoe) and his tactical unit to go in and settle the situation – to kill if necessary - and Frazier still isn’t sure just who is pulling the invisible strings of this strange case.
Inside Man may be Spike Lee’s most purely enjoyable film to date, being that it is almost totally free of his usual political drama and social commentary. The film is clever and Spike expertly extracts the unexpected turns and labyrinthine twists of writer Russell Gewirtz’s script. Lee adds the big time gloss to Gewirtz’s screenplay, his first produced for the big screen (He’d previously written for the late ABC TV series “Blind Justice.”). Lee makes the plot’s crafty tricks practical for a movie aimed at a broad audience.
Gewirtz’s script is rife with good characters, but it is obviously up to the director to set the tone and the actors to create by giving flesh to the concepts. There’s a natural humor to the characters, especially in their dialogue, and Lee allows that to play out, which brings the right amount of levity to this crime drama – a nice touch since this bank heist/hostage situation really isn’t about blood, guts, and guns. Lee also makes the most of the match of wits or chess game between Clive Owen’s Dalton Russell and Denzel Washington’s Keith Frazier.
This is the fourth collaboration between Spike and Denzel, after Mo’ Better Blues, Malcolm X, and He Got Game. Lee also seems familiar with Clive Owen, as he comfortable taps into Owen’s understated air of menace – the charming rogue. Jodie Foster makes the most of her part and creates an adversary that engages the audience as much as she engages the other characters. Foster’s Madeline White is a charming reptile; like the actress, the character has a natural intelligence that is obvious the first time someone meets her, but Foster adds the twist of making Madeline the perfect trouble-shooting witch.
Still, Inside Man is a bit too clever for its own good. Gewirtz never really taps into the raw emotional power of the devastating secret at the heart of his heist story, and Lee seems more in love with the shiny bauble the plot is, with all its unexpected shifts and revelations in the narrative, than he is with the consequences of malfeasance and with genuine evil. As a police procedural and heist film, Inside Man is as crafty as its colorful cast of cunning and wily characters makes it, and that’s craftiness by the carload – enough to keep your mind fighting with the puzzle for just about all of this film. The last 20 minutes or so of Inside Man is a bit of a stumble, as the filmmakers avoid the meat of an ugly subject matter, but getting to the end was still fun to watch.
Once upon a time – not that long ago – Spike would have readily ignored the genre aspects of this story in favor of tackling the issues of bigotry, public corruption, and appalling evil this story raises. Oh, well. At least he proved that he can be a very capable director-for-hire.
6 of 10
B
Thursday, June 15, 2006
NOTES:
2007 Black Reel Awards: 1 win: “Best Director” (Spike Lee); 3 nominations: “Best Actor” (Denzel Washington), “Best Film” (Brian Grazer and Jonathan Filley), “Best Original Score” (Terence Blanchard)
2007 Image Awards: 1 win: “Outstanding Directing in a Feature Film/Television Movie - Comedy or Drama” (Spike Lee); 1 nomination: “Outstanding Actor in a Motion Picture” (Denzel Washington)
MPAA – R for language and some violent images
DIRECTOR: Spike Lee
WRITER: Russell Gewirtz
PRODUCER: Brian Grazer
CINEMATOGRAPHER: Matthew Libatique (director of photography)
EDITOR: Barry Alexander Brown
COMPOSER: Terrence Blanchard
DRAMA/CRIME with elements of a thriller
Starring: Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor, Carlos Andrés Gómez, Kim Director, James Ransone, Bernard Rachelle, Peter Gerety, Victor Colicchio, and Cassandra Freeman
Inside Man is a 2006 crime drama from director Spike Lee. Lee was basically a director-for-hire of this story of a peculiar bank heist, which was originally going to be directed by Ron Howard.
Four people dressed in painters outfits march into the Manhattan Trust Bank and take 50 customers and employees hostage, and then put the bank under a surgically planned siege. Detective Keith Frazier (Denzel Washington) and Detective Bill Mitchell (Chiwetel Ejiofor) are dispatched to the seemingly airtight heist by their precinct captain, with Frazier acting as the hostage negotiator. Frazier is hopeful of resolving the situation quickly, but Dalton Russell (Clive Owen), the bank robbers’ leader, is exceedingly clever, uncannily calm, and totally in command. Not only does he manage to disorient his hostages, but he’s also managing to confuse the police and stall for time.
Meanwhile, the bank’s chairman of the board of directors (ostensibly the owner), Arthur Case (Christopher Plummer), has used his vast and considerable political connections to arrange a meeting between Madeline White (Jodie Foster), a shadowy power player, and Russell – much to the chagrin of Detective Frazier. White is vague with Frazier about what she and Russell discuss during their brief meeting, but it seems as if looting a bank full of money isn’t Russell’s only objective. Detective Frazier needs to unravel this puzzle though, because he’s running out of time to keep this standoff from turning ugly and bloody for both hostages and hostage takers. The police high command is about to unleash Emergency Services Unit (ESU) Captain John Darius (Willem Dafoe) and his tactical unit to go in and settle the situation – to kill if necessary - and Frazier still isn’t sure just who is pulling the invisible strings of this strange case.
Inside Man may be Spike Lee’s most purely enjoyable film to date, being that it is almost totally free of his usual political drama and social commentary. The film is clever and Spike expertly extracts the unexpected turns and labyrinthine twists of writer Russell Gewirtz’s script. Lee adds the big time gloss to Gewirtz’s screenplay, his first produced for the big screen (He’d previously written for the late ABC TV series “Blind Justice.”). Lee makes the plot’s crafty tricks practical for a movie aimed at a broad audience.
Gewirtz’s script is rife with good characters, but it is obviously up to the director to set the tone and the actors to create by giving flesh to the concepts. There’s a natural humor to the characters, especially in their dialogue, and Lee allows that to play out, which brings the right amount of levity to this crime drama – a nice touch since this bank heist/hostage situation really isn’t about blood, guts, and guns. Lee also makes the most of the match of wits or chess game between Clive Owen’s Dalton Russell and Denzel Washington’s Keith Frazier.
This is the fourth collaboration between Spike and Denzel, after Mo’ Better Blues, Malcolm X, and He Got Game. Lee also seems familiar with Clive Owen, as he comfortable taps into Owen’s understated air of menace – the charming rogue. Jodie Foster makes the most of her part and creates an adversary that engages the audience as much as she engages the other characters. Foster’s Madeline White is a charming reptile; like the actress, the character has a natural intelligence that is obvious the first time someone meets her, but Foster adds the twist of making Madeline the perfect trouble-shooting witch.
Still, Inside Man is a bit too clever for its own good. Gewirtz never really taps into the raw emotional power of the devastating secret at the heart of his heist story, and Lee seems more in love with the shiny bauble the plot is, with all its unexpected shifts and revelations in the narrative, than he is with the consequences of malfeasance and with genuine evil. As a police procedural and heist film, Inside Man is as crafty as its colorful cast of cunning and wily characters makes it, and that’s craftiness by the carload – enough to keep your mind fighting with the puzzle for just about all of this film. The last 20 minutes or so of Inside Man is a bit of a stumble, as the filmmakers avoid the meat of an ugly subject matter, but getting to the end was still fun to watch.
Once upon a time – not that long ago – Spike would have readily ignored the genre aspects of this story in favor of tackling the issues of bigotry, public corruption, and appalling evil this story raises. Oh, well. At least he proved that he can be a very capable director-for-hire.
6 of 10
B
Thursday, June 15, 2006
NOTES:
2007 Black Reel Awards: 1 win: “Best Director” (Spike Lee); 3 nominations: “Best Actor” (Denzel Washington), “Best Film” (Brian Grazer and Jonathan Filley), “Best Original Score” (Terence Blanchard)
2007 Image Awards: 1 win: “Outstanding Directing in a Feature Film/Television Movie - Comedy or Drama” (Spike Lee); 1 nomination: “Outstanding Actor in a Motion Picture” (Denzel Washington)
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