Daniel Radcliffe Has the Right Stuff for "The Woman in Black"

TRASH IN MY EYE No. 62 (of 2012) by Leroy Douresseaux


The Woman in Black (2012)
COUNTRY OF ORIGIN: U.K. with Canada and Sweden
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – PG-13 for thematic material and violence/disturbing images
DIRECTOR: James Watkins
WRITER: Jane Goldman (based on the novel by Susan Hill)
PRODUCERS: Richard Jackson, Simon Oakes, and Brian Oliver
CINEMATOGRAPHER: Tim Maurice-Jones (D.o.P.)
EDITOR: Jon Harris
COMPOSER: Marco Beltrami

HORROR/MYSTERY/THRILLER

Starring: Daniel Radcliffe, Ciarán Hinds, Janet McTeer, Misha Handley, Jessica Raine, Sophie Stuckey, and Liz White

The Woman in Black is a 2012 British horror and mystery thriller starring Daniel Radcliffe. The film is loosely based on the 1983 novel, The Woman in Black, written by Susan Hill. The film stars Daniel Radcliffe, who is famous for playing the title role in the Harry Potter films. Radcliffe plays a young lawyer who travels to a remote village where he discovers a vengeful ghost terrorizing the locals.

The Woman in Black’s film story is set in the Edwardian era (1901-1910). Arthur Kipps (Daniel Radcliffe) is a young attorney living in London. Kipps is also a young widower with a four-year-old son, Joseph (Misha Handley). A senior partner at the firm for which Kipps works is displeased with Arthur’s performance. Arthur gets an assignment that can save his career (for the time being). He must travel to the remote coastal village of Crythin Gifford, where he must gather the paperwork to sell Eel Marsh House, the home of a recently deceased client.

After a long journey by train, Arthur arrives at Crythin Gifford and finds the villagers acting coldly towards him. Samuel Daily (Ciarán Hinds), a wealthy local, and his wife, Elizabeth (Janet McTeer), are the only locals who welcome him. Arthur comes to understand that the people do not want him to go to Eel Marsh House, which is abandoned, but he must go to the home in order to search for important paperwork. When he finally settles in at the old house, Arthur learns that he is not alone when he sees the Woman in Black. Who is she and what does she want? Why does her mere appearance so frighten the villagers?

The Woman in Black is a classic ghost story that relies on setting and atmosphere more so than violence and action. It is a mystery because Arthur Kipps is trying to solve several mysteries that revolve around the Woman in Black and the villagers. It is a thriller because the story seems to always have a sound like a creak or a thud or some kind of wraith-like apparition ready to push in front of the camera and into your field of vision. It is a pure horror movie because it is simply chilling. I had goose bumps. My blood frequently ran cold. An intense tingly feeling ran through my upper arms, shoulders, upper back, neck, and head so many times that I often wondered if I was having a medical emergency.

The Woman in Black will keep you either on the edge of your seat or pressed into the back of your seat or both. Daniel Radcliffe gives a good performance, one that is tailored for this gothic-styled ghost story. Radcliffe will make it hard for you to think about Potter while watching this exceptionally scary movie. The Woman in Black will make you forget about anything else when she is around.

8 of 10
A

Sunday, July 29, 2012

Review: The Best Thing about "Ted" is Ted

TRASH IN MY EYE No. 61 (of 2012) by Leroy Douresseaux

Ted (2012)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – R for crude and sexual content, pervasive language, and some drug use
DIRECTOR: Seth MacFarlane
WRITERS: Seth MacFarlane, Alec Sulkin, and Wellesley Wild; from a story by Seth MacFarlane
PRODUCERS: Jason Clark, John Jacobs, Seth MacFarlane, Scott Stuber, and Wellesley Wild
CINEMATOGRAPHER: Michael Barrett
EDITOR: Jeff Freeman
COMPOSER: Walter Murphy

FANTASY/COMEDY/ROMANCE

Starring: Mark Wahlberg, Mila Kunis, Seth McFarlane (voice), Joel McHale, Giovanni Ribisi, Patrick Warburton, Matt Walsh, Jessica Barth, Aedin Mincks, Bretton Manley, and Patrick Stewart (narrator) with Norah Jones, Sam J. Jones, Tom Skerritt, Ralph Garman, Alex Borstein, and Ryan Reynolds

The subject of this movie review is Ted, a 2012 comedy and fantasy film directed by Seth McFarlane, the creator of the long-running animated television series, “Family Guy” (FOX). The film stars Mark Wahlberg, Mila Kunis, and McFarlane, who gives voice to a teddy bear created using motion-capture CGI.

Ted opens in 1985 in the city of Boston where we meet a lonely boy named John Bennett who receives a teddy bear for Christmas. John names the toy “Ted,” and makes a wish that Ted could come to life. John wakes up to find Ted walking and talking.

The story later moves to 2012 where we find an adult John Bennett (Mark Wahlberg) and Ted (voice of Seth McFarlane) still living together, watching bad movies and smoking pot. John has a dead-end job, but is dating a pretty, level-headed office worker named Lori Collins (Mila Kunis). After four years of dating, Lori wants John to grow up and leave childish things behind, and that includes Ted. But breaking up is hard to do and John and Lori’s relationship is put to the test, and Ted is endangered.

The best thing about Ted is Ted, and this trash-talking, vulgar teddy bear is a delightful gift that keeps on giving delights. Motion capture CGI (or animation or whatever) has given us one of the few motion capture characters with genuine personality since Gollum in the Lord of the Rings movies.

Wahlberg and Kunis are good, but the romance of John and Lori could not sustain an entire romantic comedy on its own. Wahlberg and Kunis’ characters are at their best when they form a threesome with Ted. Wahlberg has played the tough guy in so many crime and action thrillers that it is easy to forget how good he is at playing comedy with that solidly straight face of his. Kunis is expressive as an actress who trades understated for passion instead. She makes Lori’s frustration with John’s behavior and with her boss Rex’s harassment come through loud and clear.

Ted allows Seth McFarlane, as director, co-writer, co-producer, and co-star, to let loose in ways he cannot with “Family Guy,” and McFarlane and his cohorts get away with a lot on that network television series. In Ted, McFarlane and company tweak the sacred and the profane, as well as the mundane. It is also refreshing to see a mainstream comedy take on some good old-fashioned ethnic humor. Ted is not one of those comedies that fail to deliver. It’s very funny, and that’s enough.

7 of 10
B+

Saturday, July 28, 2012

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Review: "The Break-Up" Puts Starch in the Romantic Comedy

TRASH IN MY EYE No. 241 (of 2006) by Leroy Douresseaux

The Break-Up (2006)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG-13 for sexual content, some nudity, and language
DIRECTOR: Peyton Reed
WRITERS: Jeremy Garelick and Jay Lavender; from a story by Vince Vaughn and Jeremy Garelick and Jay Lavender
PRODUCERS: Scott Stuber and Vince Vaughn
CINEMATOGRAPHER: Eric Edwards
EDITOR: David Rosenbloom and Dan Lebental

DRAMA/COMEDY with elements of romance

Starring: Vince Vaughn, Jennifer Aniston, Jon Favreau, Jason Bateman, Vincent D’Onofrio, Cole Hauser, Joey Lauren Adams, Peter Billingsley, John Michael Higgins, Ann-Margaret, Judy Davis, Justin Long, and Jacqueline Williams

When celebrity couples make a film, it can be a financial disaster (Gigli starring Ben Affleck and Jennifer Lopez) or a box office smash (Mr. & Mrs. Smith starring Brad Pitt and Angelina Jolie). Vince Vaughn and Jennifer Aniston are a celebrity couple (although they are coy about it), and their film, The Break-Up, was a box office hit in spite of receiving mostly mediocre and poor reviews. But I liked it a lot.

Once upon a time, Gary Grobowski (Vince Vaughn) and Brooke Meyers (Jennifer Aniston) were deeply in love, but like all couples, the daily grind and same old routine started to drive them crazy. One evening, after a long an exhausting day, Gary and Brooke have an argument and somehow it becomes the break-up. The problem is they live together, and neither wants to give up their plum condo. An all-out war and a test of wills begins with each one turning to his or her friends and family for advice. Gary and Brooke are each determined to be the “last man standing,” but, even as things get nastier, will either one like where this feud is going when there are still strong feelings of love.

Vince Vaughn is charming and charismatic, and no matter how many times he plays a sarcastic slacker, it never gets tired. Jennifer Aniston, gorgeous with a tight body and rocking ass, is quiet good in romantic roles. She seems to excel at playing the girlfriend or object of affection, and she does it well enough to suggest that someone should try her in a dramatic role. The Break-Up is her test drive because it is more drama than it is romance or comedy.

Vaughn and Aniston make The Break-Up both spicy and edgy, and it’s absolute delicious fun to watch this take-no-prisoners disintegration of a once thriving relationship. The comedy is dark, and the script maybe goes too far for some viewers in the way the writers are almost anal about showing as many embarrassing scenes and ugly confrontations between Gary and Brooke. As he did in Down with Love, director Peyton Reed is proving to be adept at making offbeat romances.

There are some nice supporting characters, nicely performed by a clever cast of character actors and actors who make a living playing the friend. As good as Jon Favreau, John Michael Higgins, Judy Davis, and Justin long are, they’re really just filler – the kind of comic relief buddies that are all too common in Hollywood relationship flicks. The real treat is Vaughn and Aniston, and The Break-Up is certainly an example of how good it sometimes can be when celebrity couples work together.

7 of 10
A-

Saturday, November 25, 2006

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Review: "Shadowboxer" is Bat-Shit-Crazy (Happy B'day, Helen Mirren)

TRASH IN MY EYE No. 253 (of 2006) by Leroy Douresseaux


Shadowboxer (2005)
Opening date: July 21, 2006
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – R for strong graphic violence and sexuality, nudity, language, and some drug use
DIRECTOR: Lee Daniels
WRITER: William Lipz
PRODUCERS: Lisa Cortes, Lee Daniels, Damon Dash, Brook Lenfest, and Dave Robinson
CINEMATOGRAPHER: M. David Mullen
EDITOR: William Chang and Brian A. Kates

CRIME/DRAMA/THRILLER

Starring: Cuba Gooding, Jr., Helen Mirren, Stephen Dorff, Vanessa Ferlito, Joseph Gordon-Levitt, Macy Gray, Cullen Flynn Clancy, Tomy Dunster, and Mo’Nique

The subject of this movie review is Shadowboxer, a 2005 crime thriller directed by Lee Daniels. After the film’s theatrical release in the summer of 2006, two of its stars would go on to win Academy Awards, Helen Mirren and Mo’Nique, and one had already won an Oscar, Cuba Gooding, Jr.

Clayton (Stephen Dorff), a nasty crime lord, hires the assassin Rose (Helen Mirren) and her stepson/partner/longtime lover, Mikey (Cuba Gooding, Jr.), to kill his wife, Vickie (Vanessa Ferlito), whom he believes is cheating on him. However, during the hit, Rose, suffering from cancer and on her last job, discovers that Vickie is pregnant and hesitates. Vickie immediately goes into labor and delivers a son. Rose takes mother and newborn and flees with Mikey to a new life in a pastoral suburb. Soon, the baby is seven-year old Anthony (Cullen Flynn Clancy), and the past is about to catch up with this unconventional family.

Shadowboxer is an audacious, unconventional thriller. Director Lee Daniels and writer William Lipz create a crime thriller than can masquerade as a family melodrama. This flick, however, has an awkward pace. Sometimes it is slow, and other times it is a meditative tale that shadowboxes with being philosophical – philosophy that it delivers either through imagery or dialogue. (Mikey religiously practices shadow boxing.) Shadowboxer’s overarching plot is a crime thriller tale full of cold, ruthless murderers, thugs, criminals, and assorted lowlifes, but it often comes across as low budget thriller with most of the actors merely posing rather than acting. The bad guys and badasses come across as stock characters, or maybe the direction they received for their performances was too artsy.

Shadowboxer doesn’t have any great or even really good performances, but this strange off-kilter flick spends the second half builds into a story of an unconventional family coming to grips with itself. The fact that the family members can be a workable nuclear family (even though this merger wasn’t meant to be) only makes seeing things work out that much more desirable. Rooting for this desperate, but loving family makes Shadowboxer’s narrative, pacing, and structural problems all less important.

6 of 10
B

Wednesday, December 20, 2006

Review: "Batman: Under the Red Hood" is Very Red

TRASH IN MY EYE No. 60 (of 2012) by Leroy Douresseaux

Batman: Under the Red Hood (2010) – straight-to-video
Running minutes: 75 minutes (1 hour, 15 minutes)
MPAA – PG-13 for violent content and some drug references
DIRECTOR: Brandon Vietti
WRITER: Judd Winick
PRODUCERS: Bobbie Page and Bruce Timm
EDITOR: Margaret Hou
COMPOSER: Christopher Drake
ANIMATION STUDIO: Answer Studio

ANIMATION/SUPERHERO/SCI-FI/ACTION with elements of drama

Starring: (voices) Bruce Greenwood, Jensen Ackles, John Di Maggio, Neil Patrick Harris, Jason Isaacs, Wade Williams, Carlos Alazraqui, Gary Cole, Kelly Hu, Phil LaMarr, Jim Piddock, Kevin Michael Richardson, and Alexander Martella

Batman: Under the Red Hood is a 2010 direct-to-video superhero animated film from Warner Bros. Animation. Starring DC Comics avenger of the night, Batman, this is also the eighth feature in the DC Universe Animated Original Movies line.

The film is adapted from two storylines that appeared in Batman comic book titles published by DC Comics. The first is “A Death in the Family,” which was published in Batman #426-429 (1988-89). The second is “Under the Hood,” which was published in Batman #635-641, 645-650, Batman Annual #25 (2005-2006) and was written by Batman: Under the Red Hood screenwriter, Judd Winick.

Batman: Under the Red Hood begins when tragedy strikes Batman (Bruce Greenwood) and Jason Todd (Alexander Martella), the second young man to be Robin, during a mission to stop The Joker (John Di Maggio). Five years later, a new masked vigilante is using The Joker’s old alias, Red Hood (Jensen Ackles) and is wreaking havoc in Gotham City’s organized crime community.

Batman with his original Robin by his side, now called Nightwing (Neil Patrick Harris), try to put a stop to Red Hood, but find him to be more than a match for both of them. Crime boss, Black Mask (Wade Williams) is determined to get rid of the Red Hood, even if it means making a most dangerous choice. For the villain whom Black Mask hires to assassinate Red Hood will set in motion a game of death.

Batman: Under the Red Hood is dark and edgy, first of all because it is one of the most violent (if not the most violent) of DC Universe Animated Original Movies. The film is also surprisingly morbid with its scenes that depict the death of a young person, multiple corpses, the theft of a corpse, exhumation, a funky resurrection scene, mass shootings, brutal beatings, etc. This is a dark, dark, Dark Knight indeed.

The Joker is practically a supporting character with relatively few scenes (although his presence hangs over the entire narrative). This version of the character is well written and also superbly voice acted by John Di Maggio, who gives the kind of turn that adds a rude and dark humor to The Joker’s edginess. Neil Patrick Harris is an odd touch as Nightwing, but his performance gives this film some needed warmth. Jensen Ackles, best known as “Dean Winchester” in the television series, “Supernatural,” brings some righteous rage and energy to this movie. That is the opposite of Bruce Greenwood as Batman, whose voice stands out only in a few scenes. Also, either Wade Williams is the reason that Black Mask is a joke or the character is simply inappropriately and unintentionally comical.

The animation is high quality, which shows in the action scenes. The art direction is good, but there have been better visualizations of Batman’s world, especially Gotham City, in other animated features. Still, Batman: Under the Red Hood is a good film, but there is something about it that keeps me from fully embracing it. Could it be the whole “death in the family” thing or the film’s emphasis on violence that is bothering me? Maybe.

7 of 10
A-

Tuesday, July 24, 2012

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"Justice League: Crisis on Two Earths" is Twice the Fun

TRASH IN MY EYE No. 59 (of 2012) by Leroy Douresseaux


Justice League: Crisis on Two Earths (2010) – straight-to-video
Running minutes: 75 minutes (1 hour, 15 minutes)
MPAA – PG-13 for action violence
DIRECTOR: Sam Liu and Lauren Montgomery
WRITER: Dwayne McDuffie
PRODUCERS: Bobbie Page with Bruce Timm
EDITOR: Margaret Hou
COMPOSERS: James L. Venable with Christopher Drake
ANIMATION STUDIO: Moi Animation Studio

ANIMATION/SUPERHERO/SCI-FI/ACTION with elements of drama

Starring: (voices) William Baldwin, Mark Harmon, Chris Noth, Gina Torres, James Woods, Jonathan Adams, Brian Bloom, Bruce Davison, Josh Keaton, Vanessa Marshall, Nolan North, Freddi Rogers, James Patrick Stuart, and Cedric Yarbrough

Justice League: Crisis on Two Earths is a 2010 direct-to-video superhero animated film from Warner Bros. Animation. Starring DC Comics’ ultimate superhero team, the Justice League, this is also the seventh feature in the DC Universe Animated Original Movies line.

The film’s premise borrows from two DC Comics stories, “Crisis on Earth-Three” (Justice League of America #29-30, 1964) and the 2000 graphic novel, JLA: Earth 2, by Grant Morrison and Frank Quitely. Justice League: Crisis on Two Earths follows the Justice League as the team helps a good version of the arch-villain Lex Luthor from a parallel Earth where evil versions of the Justice League dominate the planet.

While rebuilding the Watchtower, their headquarters that orbits the Earth, the Justice League: Superman, Batman, Wonder Woman, Green Lantern, Martian Manhunter, and Flash are surprised to learn that supervillain Lex Luthor insists on having a meeting with the team. But wait! Isn’t Luthor in prison? This Lex Luthor (Chris Noth) hails from an alternate universe where evil counterparts of the Justice League rule over earth.

On Luthor’s Earth, Superman is Ultraman, Batman is Owlman, Wonder Woman is Superwoman, Green Lantern is Power Ring, and Flash is Johnny Quick. They form the Crime Syndicate. Now, the Justice League must help Luthor free his Earth from the Syndicate’s tyranny, but a certain Syndicate member is hoping to set a more diabolical plan in motion.

I thoroughly enjoyed watching Justice League: Crisis on Two Earths. Why do I like it? Of all the straight-to-DVD superhero films I’ve watched, this one offers the most bang for the buck that is my viewing pleasure in terms of fights. Superheroes and supervillains fight, and Crisis on Two Earths doesn’t deny the viewer, as we see every combination of battle possible. It seems as if every member of the Justice League gets a shot at every member of the Crime Syndicate and vice versa – from battles of entire squads to skirmishes of smaller groupings of characters.

This story is also surprisingly dark – from Owlman’s (James Woods) fanatical cynicism and narcissism to Batman’s (William Baldwin) cold-blooded and calculated decision making. The characters also make blunt assessments about each other, as Rose Wilson (Freddi Rogers) does of her father, President Slade Wilson (Bruce Davison). Also, the frank nature of the relationship between Owlman and Superwoman (Gina Torres) is not glossed over for the sake of younger viewers.

The voice-over performances by the voice cast bring to life the excellent character writing from television animation writer/producer, the late Dwayne McDuffie. The direction by Sam Liu and Lauren Montgomery is marvelous, especially in the framing of the action and fight scenes. Moi Animation Studio, the studio that produces the actual animation, does itself proud. This is a pretty movie that captures the color and energy of classic, four-color, superhero comic books. Justice League: Crisis on Two Earths – Encore! Encore!

8 of 10
A

Saturday, July 14, 2012

Cinemark Releases Statement on Aurora, Colorado Shooting

On July 20, 2012, a mass shooting occurred during a midnight screening of the film, The Dark Knight Rises, at a movie theater, the Century 16, which is located in the Town Center at Aurora shopping mall in Aurora, Colorado. The attack occurred in Theater 9 when a gunman, dressed in protective clothing, set off smoke or gas canisters. He then shot into the audience with multiple firearms, killing 12 people and injuring 58. Police arrested 24-year-old James Eagan Holmes, the lone suspect in the case, outside the cinema minutes after the shooting.

Cinemark Deeply Saddened by Aurora Theatre Shooting

PLANO, Texas--(BUSINESS WIRE)--Cinemark Holdings, Inc. (NYSE: CNK): Cinemark is deeply saddened about this tragic incident. Our thoughts and prayers are with the victims, their families and loved ones, our employees, and the Aurora community. We are grateful for the quick and professional reaction of all local law enforcement and emergency responders.

Cinemark is working closely with the Aurora Police Department and local law enforcement.