Review: "Charlie’s Angels" Pure Pop Pleasure

TRASH IN MY EYE No. 99 (of 2003) by Leroy Douresseaux


Charlie’s Angels (2000)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13 for action violence, innuendo and some sensuality/nudity
DIRECTOR: McG
WRITERS: Ryan Rowe, Ed Solomon, and John August (from the television series by Ivan Goff and Ben Roberts)
PRODUCERS: Drew Barrymore, Leonard Goldberg, and Nancy Juvonen
CINEMATOGRAPHER: Russell Carpenter (D.o.P.)
EDITORS: Peter Teschner and Wayne Wahrman
COMPOSER: Edward Shearmur

ACTION/COMEDY

Starring: Cameron Diaz, Drew Barrymore, Lucy Liu, Bill Murray, Sam Rockwell, Kelly Lynch, Tim Curry, Crispin Glover, Luke Wilson, Matt LeBlanc, Tom Green, LL Cool J, and John Forsythe (voice)

The subject of this movie review is Charlie’s Angels, a 2000 action comedy from director McG (the stage name of Joseph McGinty Nichol). The film is an adaptation of the television series, “Charlie’s Angels,” which was originally broadcast on ABC from 1976 to 1981. The film stars Cameron Diaz, Drew Barrymore, and Lucy Liu as three women employed by a private investigation agency and working for the voice known as “Charlie.”

When I first saw Charlie’s Angels, the big-screen adaptation of the late 70’s television series of the same name, I was sure that it was the best action/comedy that I’d seen in years, if ever. Having seen it again in anticipation of the 2003 sequel, I’m sure that it is one of the best action movies I’ve ever seen and one of the best action/comedies ever made. Although the film’s tongue is firmly planted in the Angel’s cheeks and the film is geared towards men, it’s so very entertaining that everyone should get the joke.

The mysterious Charles “Charlie” Townsend (voice of John Forsythe) has three very special little ladies in his employ: Natalie Cook (Cameron Diaz), Dylan Sanders (Drew Barrymore), and Alex Munday (Lucy Liu). Under the supervision of John Bosley (Bill Murray), Charlie’s Angels use martial arts, high tech skills, and sex appeal in their investigation work for clients who can afford Charlie’s agency. This time the client is kidnap victim Eric Knox (Sam Rockwell) who runs a giant software company. The girls not only have to rescue him, but also have to retrieve Knox’s revolutionary voice-ID software. However, the girls run into more than they were told to expect, including a sleazy billionaire (Tim Curry) and his mysterious, tall, thin, ass-kickin’ bodyguard (Crispin Glover).

Directed by music video maestro McG (videos for Korn and Sugar Ray, among others), Charlie's Angels is a high-octane, comic book-styled, action movie parody and farce. None of it should be taken seriously, least of all its conspiracy-within-a-conspiracy script. This is played for fun, recalling the best action movie scenes and clichés: car chases, exploding buildings, pumping soundtrack, quick-cut editing, and Matrix-style “wire-fu” martial arts. Maybe the funniest thing about this film is that this time women do the butt stomping. Usually in action movies, the girls are just the hang-ons of the male stars, following them around and screaming at the appropriate moments during gun fights, fist fights, car chases, aircraft falling out the sky, explosions, etc. This time the girls are in control. This time their sex appeal rules the story instead of just being sex used to decorate the violence. The ladies kick the butts and leave the men panting.

It’s all done so stylishly, and it’s all good and so cool. The vapid material gets inspired performances from the cast, but the actors really make this fun to watch. Bill Murray is tired though. His Bosley is just him doing his shtick, but it is so uninspired that he should have been embarrassed to see himself in the finished product. He was wrong, wrong, wrong, wrong, and wrong again.

But don’t let that keep you from watching this funny, exciting, and very wild action cartoon. Come on. Pull the stick out. Sit back and be entertained by this delicious serving of popcorn movie.

7 or 10
B+

NOTES:
2001 Black Reel Awards: 1 nomination: “Best Song” (Jean Claude Olivier-Writer, Samuel Barnes-Writer, Cory Rooney-Writer, Beyoncé Knowles-Writer, and Destiny’s Child-Performers for the song “Independent Women Part 1”)

Updated: Thursday, June 27, 2013

New "Transformers 4" Car - June 25, 2013

Another new car from Michael Bay's Transformers 4!

Considered a masterpiece of design and engineering, this fierce, 2013 blood red Pagani Huayra, is named after an ancient Andean God of Wind.

Review: "Hansel and Gretel: Witch Hunters" Surprisingly Good

TRASH IN MY EYE No. 45 (of 2013) by Leroy Douresseaux

Hansel & Gretel: Witch Hunters (2013)
Running time: 88 minutes (1 hour, 28 minutes)
MPAA – R for strong fantasy horror violence and gore, brief sexuality/nudity and language
WRITER/DIRECTOR: Tommy Wirkola
PRODUCERS: Will Ferrell, Beau Flynn, Chris Henchy, and Adam McKay
CINEMATOGRAPHER: Michael Bonvillain (director of photography)
EDITOR: Jim Page
COMPOSER: Atli Örvarsson

FANTASY/HORROR/ACTION with elements of comedy

Starring: Jeremy Renner, Gemma Arterton, Famke Janssen, Pihla Viitala, Derek Mears, Robin Atkin Downes, Thomas Mann, Peter Stormare, Rainer Bock, Bjorn Sundquist, Thomas Scharff, Kathrin Kuhnel, Cedric Eich, and Alea Sophia Boudodimos

Hansel & Gretel: Witch Hunters is a 2013 action, horror, and dark fantasy film from director Tommy Wirkola. The American-German co-production was presented in 3D during its theatrical release. The film follows a brother and sister team of bounty hunters that tracks and kills witches all over the world.

Hansel & Gretel: Witch Hunters introduces a young brother and young sister who enter a gingerbread house and end up fighting horrid old witch for their lives. Many years after surviving that incident, Hansel (Jeremy Renner) and Gretel (Gemma Arterton) are famed bounty hunters who merciless eradicate witches for payment.

One day, they arrive in the town of Augsburgh just in time to stop Sheriff Berringer (Peter Stormare) from killing Mina (Pihla Viitala), a young woman accused of witchcraft. While the Sheriff disdains them, Mayor Engleman (Rainer Bock) welcomes Hansel and Gretel, because he hopes they will find and rescue several children that were abducted by witches and their troll ally, Edward (Derek Mears and Robin Atkin Downes). This will be the siblings’ biggest challenge yet. Muriel (Famke Janssen), a powerful witch, has plans for a special Sabbath known as the Blood Moon. Those plans have huge implications for Hansel and Gretel and will reveal the deepest secrets of the sibling’ past.

Hansel & Gretel: Witch Hunters has a strong current of black comedy running throughout the film. The filmmakers didn’t pretend that their movie should be for children, so the movie is violent and gleefully gory, in ways both shocking and funny. Hansel & Gretel: Witch Hunters mixes the weird Western sub-genre with the hard-charging action-horror film. It’s like Django Unchained meets Army of Darkness.

Jeremy Renner and Gemma Arterton are odd as Hansel and Gretel. They really don’t seem to have screen chemistry, which somehow makes them have a peculiar kind of screen bond. Renner is sullen and grim as Hansel, while Arterton often has her nose in the air, like an upper class bratty girl. Whenever they deviate from that, it ends up being a welcomed surprise and twist, giving the characters a little depth.

Hansel & Gretel: Witch Hunters is by no means a great film. For one thing, Muriel is under-utilized or under-developed as a villain. Still, like a Sam Raimi horror film (The Evil Dead franchise), Hansel & Gretel: Witch Hunters is a good time. How can I tell? When the movie ended, I wanted more. I even want a sequel.

6 of 10
B

Wednesday, June 26, 2013

"Evangelion 3.0" Premieres at 2013 Japan Film Festival

The 2013 JAPAN FILM FESTIVAL OF SAN FRANCISCO TEAMS WITH FUNIMATION ENTERTAINMENT TO OFFER THE EXCLUSIVE U.S. PREMIERE OF EVANGELION 3.0 YOU CAN (NOT) REDO AT NEW PEOPLE CINEMA

The First-Ever Dedicated Japanese Film Festival For The S.F. Bay Area Premieres The Latest Anime Sci-Fi Feature In Director Hideki Anno’s Rebuild Of Evangelion Saga During The 2013 J-POP Summit

The 2013 Japan Film Festival of San Francisco (JFFSF), the first fully-dedicated annual Japanese film event for the S.F. Bay Area, has just announced an exciting new addition to its programming as it partners with leading anime distributor FUNimation Entertainment to present the exclusive U.S. premiere of Evangelion 3.0: You Can (Not) Redo. This new, high octane anime sci-fi thriller will be seen for the first time by U.S. audiences exclusively at NEW PEOPLE Cinema on Saturday, July 27th at 11:00am, and also presented as part of programming for the 2013 J-POP Summit Festival. The film will be presented with original Japanese dialogue featuring English subtitles.

Evangelion 3.0: You Can (Not) Redo will have two encore screenings, on Monday, July 29th at 7:00pm, and again on Sunday, August 4th at 11:00am. Tickets are $13.00 each. NEW PEOPLE Cinema is located at 1746 Post St. (cross street is Webster St.) in the heart of San Francisco’s Japantown. A complete schedule and advance ticket information are available on www.jffsf.org.

Evangelion 3.0: You Can (Not) Redo, aka “Evangelion: The New Movie: Q,” is the third of four films released in the Rebuild of Evangelion saga, directed by Hideaki Anno. Fourteen years after the third impact, Shinji awakens to a world he does not recognize and his body has not aged a single day. Earth lies in ruins and those he once fought valiantly to protect have cruelly turned against him. NERV is nothing but a distant memory. Trapped in a harrowing cycle of death and rebirth, Shinji continues to courageously battle the angels – even as the world spirals down towards what could be a tragic end.

“We’re extremely honored to make this U.S. premiere of Evangelion 3.0: You Can (Not) Redo a special part of the first-ever Japan Film Festival of San Francisco,” says Manami Iiboshi, the Executive Director of Japan Film Festival of San Francisco. “The film was one of the biggest recent movie blockbusters in Japan and its screening at the 2013 J-POP Summit will be a must-see for many anime fans! We know this show may sell-out so we have also announced a pair of encore showings the following week. Don’t miss the opportunity to catch the exciting latest chapter in one of Japan’s most celebrated sci-fi properties on the big screen at San Francisco’s one-and-only NEW PEOPLE Cinema!”

The Japan Film Festival of San Francisco takes place Saturday, July 27th thru Sunday, August 4th and will deliver vivid cross-section of the best in recent Japanese anime as well as live-action cinema and is presented in conjunction with the 2013 J-POP Summit. Marking its 5th Anniversary, the annual J-POP Summit takes place Saturday July 27th and Sunday July 28th across the city’s historic Japantown district and celebrates the phenomenon of Japanese pop culture with a colorful array of live bands and artists, panel discussions, film premieres, edgy fashion shows and DJ dance events, celebrity appearances and more.

The J-POP Summit Festival is hosted and organized by NEW PEOPLE in cooperation with the Japantown Merchants Association. In 2012, the two-day event attracted nearly 65,000 attendees. More information is available at www.J-POP.com.

NEW PEOPLE Cinema is a 143-seat cinema located in the underground floor of NEW PEOPLE in San Francisco. Equipped with a cutting-edge HD digital projection and THX®-certified sound system, NEW PEOPLE Cinema is home for local film festivals and entertaining events. www.newpeoplecinema.com


About J-POP SUMMIT FESTIVAL
The J-POP SUMMIT FESTIVAL is an annual Japanese Pop Culture celebration that features live bands and artists from Japan, pop culture panel discussions, film premieres, fashion and DJ dance events, and celebrity appearances. The Festival is hosted by NEW PEOPLE in cooperation with the Japantown Merchants Association. In 2012, the two-day event attracted 65,000 attendees.

More information about the J-POP Summit Festival is available at J-POP.com.

Review: "Parental Guidance" Good for Families

TRASH IN MY EYE No. 44 (of 2013) by Leroy Douresseaux


Parental Guidance (2012)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG for some rude humor
DIRECTOR: Andy Fickman
WRITERS: Lisa Addario and Joe Syracuse
PRODUCERS: Peter Chernin, Dylan Clark, and Billy Crystal
CINEMATOGRAPHER: Dean Semler (D.o.P.)
EDITOR: Kent Beyda
COMPOSER: Marc Shaiman

COMEDY/FAMILY

Starring: Billy Crystal, Bette Midler, Marisa Tomei, Tom Everett Scott, Bailee Madison, Joshua Rush, Kyle Harrison Breitkopf, Rhoda Griffis, and Gedde Watanabe

Parental Guidance is a 2012 comedy and family film from director Andy Fickman. The film stars Billy Crystal and Bette Midler as grandparents who agree to look after their three grandchildren whose modern kid attitudes clash with their old-school ways.

Artie and Diane Decker (Bette Midler and Billy Crystal) live in California. Artie is the announcer for the Fresno Grizzlies, until he is fired because he is not familiar with new technology and social media. Diane thinks this is the perfect opportunity to take their daughter, Alice (Marisa Tomei), and her husband, Phil Simmons (Tom Everett Scott), up on an offer to watch their three children, while they attend a conference in Hilton Head, South Carolina.

Artie and Diane fly to Atlanta where Alice and her family live, but they have a few misgivings about the week with the children. In recent years, they have not seen their grandchildren much, and are now practically “the other grandparents.” Plus, Artie and Diane are old school, while Alice and Phil are type-A helicopter parents who micromanage their children’s’ lives and overdo it on building self-esteem.

Artie and Diane are quickly reacquainted with the grandchildren: eldest child and daughter, 12-year-old Harper (Bailee Madison); the middle child, 8-year-old Turner (Joshua Rush), who has a stutter; and 5-year-old Barker (Kyle Harrison Breitkopf), who has an imaginary friend, a kangaroo he’s named Carl. The children think their grandparents are weird, and Barker calls Artie, “Farty.” Now, Artie and Diane have a week to get to really know their only three grandchildren, but that means they’ll have to earn these youngsters’ trust and love.

Parental Guidance starts off as one of those movies created by people who criticize the way other people rear their children. People see sports leagues that give every participating child a trophy simply for participating as a sign of the apocalypse. I have to admit that I find parents that won’t tell their children “No” or “Don’t” in order not to inhibit their creativity, ridiculous. But the republic will survive parents that don’t set boundaries for their children… I hope.

The movie, however, is really about the grandparents, Artie and Diane Decker, and their relationship-building with their grandchildren. The movie follows the struggle of the old school grandparents versus the modern, excessively tolerant parents to a lesser extent. And Parental Guidance is better for it. Who wants to see a movie about two people and their daughter and son-in-law exchanging harsh, snide comments about parenting? I don’t, although I don’t know about you, dear reader.

In some ways, Parental Guidance is mediocre, which is most obvious when Crystal and Midler have to over-act and over-react to make up for flimsy character development. Andy Fickman’s direction is professional and functional, but is also colorless and sometimes uneven.

But the magic in Parental Guidance is watching two grandparents bond with their lovely grandchildren. This film is more sweet than sentimental, and there are moments when the interaction between a grandparent and child seems genuine and honest. The kick-the-can and Turner calls the Giants game scenes make this movie a winner in spite of any blemishes. Talk about a feel good movie: Parental Guidance might be a frothy take on the grandparents and grandchildren dynamic, but it is an irresistible treat.

6 of 10
B

Tuesday, June 18, 2013

Have a "K Day" for "K" at 2013 Anime Expo

VIZ MEDIA CELEBRATES THE ANIME SERIES “K” DURING A SPECIAL “K DAY” AT 2013 ANIME EXPO

Hit Action Anime Series Comes To The Nation’s Largest Anime Convention With Exclusive Episodes Premiere And Appearances by Special Guest KANAME☆ And English-Language Cast

VIZ Media, LLC (VIZ Media), the largest distributor and licensor of anime and manga in North America, celebrates the action and kinetic storyline of one of its newest anime properties – K – at the 2013 Anime Expo, taking place July 4th–7th at the Los Angeles Convention Center in Los Angeles, CA. Now celebrating its 22nd consecutive year, Anime Expo is sponsored by the SPJA and is the nation’s largest anime convention. VIZ Media will host a variety of special activities and panels throughout “K Day,” on Friday July 5th.

Anime Expo Industry Guest and official Fushimi cosplayer from Japan KANAME☆ (appearing courtesy of King Records) will be a special guest for the day. English-language voice actors Patrick Seitz (voice of Reisi Munakata), Stephanie Sheh (voice of Neko), Matt Mercer (voice of Kuroh Yatogami) and Keith Silverstein (voice of Mikoto Suoh) will also be in attendance.

Join the English language staff and cast at the celebration, beginning with the exclusive K Episodes 1 & 2 English Language World Premiere at 11:15am in Room LP1. At 12:15PM, directly following the premiere and held in the same room, Josh Lopez, VIZ Media Dub Producer for K, will join the staff and cast in a Behind the Scenes Q&A on the process of bringing K to North America. At the end of the panel, fans will receive an exclusive commemorative Neko character fan.

The celebration continues with a special autograph session with the K English language dub cast from 2:30-3:30pm in the Anime Expo Autograph Area. Each attendee will receive an premium poster to get signed by the guests. The autograph session will be followed by a photo opportunity at the VIZ Media booth (#1501) with K cast and staff, including Johnny Yong Bosch (English voice of Fushimi), and the K cosplayers of ACParadise.com. Attendees that show up in K Project cosplay will receive a special gift. Finally, end the day with a photo op with KANAME☆ at the VIZ Media booth K wall at 5:30pm. Meet this legendary cosplay idol as he brings the cool and suave Fushimi to life.

"K is such a gorgeous and action packed series, we knew it was an excellent choice for a special event at Anime Expo,” says Charlene Ingram, Senior Manager, Animation Marketing. “K makes its Neon Alley broadcast premiere on July 12th, and we're thrilled to give AX attendees an opportunity to meet some of the staff and cast that helped bring K to North America. We are also honored that one of the most renowned male cosplayers in the world, KANAME☆, will be joining us! "

For those who can’t attend K Day on Friday July 5th, the festivities continue throughout the show. KANAME☆ will appear at the VIZ Media booth on Saturday July 6th at 2PM for a special autograph session and photo opportunity, and will appear at the booth for additional photo ops through the show (please check the daily booth schedule). All days of the show, attendees can find the special ACParadise NEKO cosplayer around the show floor to receive an exclusive NEKO bell (while supplies last). Attendees can also stop by the VIZ Media booth to play the King’s Game for prizes – check the daily booth schedule for game times.

K is set in a world where history has taken a slightly different course from the one we’re familiar with and follows the story of a young boy whose life is caught in a psychic war between seven kings. Yashiro Isana, also known as Shiro, is wanted for a crime he has no recollection of committing. He finds himself being hunted by the groups Homura, led by Mikoto Suoh, “The Red King,” and Scepter 4, led by Reisi Munakata, “The Blue King.” While on the run, another young man named Kuroh Yatogami helps him. Will this fated encounter change Shiro’s life forever?

For more information on K and other animated titles from VIZ Media please visit www.VIZAnime.com/k.


About VIZ Media, LLC
Headquartered in San Francisco, California, VIZ Media distributes, markets and licenses the best anime and manga titles direct from Japan. Owned by three of Japan's largest manga and animation companies, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media has the most extensive library of anime and manga for English speaking audiences in North America, the United Kingdom, Ireland and South Africa. With its popular digital manga anthology WEEKLY SHONEN JUMP and blockbuster properties like NARUTO, BLEACH and INUYASHA, VIZ Media offers cutting-edge action, romance and family friendly properties for anime, manga, science fiction and fantasy fans of all ages. VIZ Media properties are available as graphic novels, DVDs, animated television series, feature films, downloadable and streaming video and a variety of consumer products. Learn more about VIZ Media, anime and manga at www.VIZ.com.

Review: "Who Framed Roger Rabbit" Retains its Magic (Happy Anniversary)

TRASH IN MY EYE No. 67 (of 2005) by Leroy Douresseaux

Who Framed Roger Rabbit (1988)
Running time: 104 minutes (1 hour, 44 minutes)
MPAA – PG
DIRECTOR: Robert Zemeckis with Richard Williams
WRITERS: Jeffrey Price and Peter S. Seaman (based upon the novel Who Censored Roger Rabbit? by Gary K. Wolf)
PRODUCERS: Robert Watts and Frank Marshall
CINEMATOGRAPHER: Dean Cundey (D.o.P.)
EDITOR: Arthur Schmidt
COMPOSER: Alan Silvestri
Academy Award winner

ANIMATION/COMEDY/MYSTERY/FANTASY/ACTION

Starring: Bob Hoskins, Christopher Lloyd, Joanna Cassidy, (voice) Charles Fleischer, Stubby Kaye, Alan Tilvern, Richard Le Parmentier, (voice) Lou Hirsch, Joel Silver, Paul Springer, Richard Ridings, Edwin Craig, and Lindsay Holiday with the voices of Mel Blanc, Mae Questel and Tony Anselmo, with Kathleen Turner

The subject of this movie review is Who Framed Roger Rabbit, a 1988 fantasy and crime comedy from directors Robert Zemeckis and Richard Williams. The film is a mixture of live action (directed by Robert Zemeckis) and animation (directed by Richard Williams). The film is based on the 1981 mystery novel, Who Censored Roger Rabbit?, by author Gary K. Wolf. The film’s initial release renewed interest in the “Golden Age of American animation” (late 1920s to the early 1960s). It also led the modern era of American animation, in particularly the “Disney Renaissance” (which began with Little Mermaid in 1989).

Who Framed Roger Rabbit focuses on a detective who hates “toons” (animated cartoon characters), but who ends up being a cartoon rabbit's only hope to prove his innocence when the rabbit is accused of murder. I have seen Who Framed Roger Rabbit countless times, and it remains one of my all-time favorite films. I also still think that it is a great film, and is arguably the best film of 1988.

Seventeen years ago, Who Framed Roger Rabbit was considered a revolutionary film with its landmark mixture of live-action film and animated characters. Who FramedRoger Rabbit wasn’t the first time that human actors and cartoon characters had mingled, but Who Framed Roger Rabbit was, at the time, the best achievement in live-action/animated film. However, by the time Jurassic Park, which featured the seamless blend of live-action sets and real characters with computer-generated images (or computer rendered characters), appeared, Who Framed Roger Rabbit seemed like an afterthought. After seeing this film for the first time in about 15 years, I’m still impressed by how well this movie’s conceit, that famous animated cartoon characters like Bugs Bunny, Mickey Mouse, Droopy, and others, are real and live side-by-side with us in the real world, still rings true.

The story: ‘Toons (what cartoon characters are called in this film) are real, and their job is to make animated cartoon films for human entertainment. ‘Toon star Roger Rabbit (voice of Charles Fleischer) is worried that his wife, Jessica Rabbit (voice Kathleen Turner), is cheating on him, and it’s affecting his work on the set of his films with his co-star Baby Herman (voice of Lou Hirsch). R.K. Maroon (Alan Tilvern) hires detective Eddie Valiant (Bob Hoskins) to learn the identity of Jessica’s sugar daddy, who turns out to me Marvin Acme (Stubby Kaye), the owner of ‘Toontown, the Los Angeles cartoon suburb where ‘Toons live.

Things get complicated when Acme is found dead, and Roger Rabbit is suspect number one. Roger goes to Valiant for help to clear his name and save him from a date with annihilation at the hands of the menacing Judge Doom (Christopher Lloyd), the dispenser of justice in ‘Toontown, but Valiant is reluctant. He actually took the job snooping on Jessica for money, but he’s hated taking ‘Toon cases since a mysterious ‘Toon killed his brother. However, Roger’s plight strikes a cord of sympathy with Valiant, and he takes Roger’s case. The more Valiant learns, the more intrigued he becomes, especially he learns of a larger and darker conspiracy that threatens not only Roger Rabbit’s life, but the very existence of ‘Toontown.

Beyond featuring the groundbreaking interaction of live and animated characters, Who Framed Roger Rabbit is simply a fine film and both a great technical and artistic achievement; it simply works. The script bears more than a passing resemblance to the municipal conspiracy in Chinatown, and the screenplay’s central mystery plotline develops in a way that keeps the viewer interested in whodunit.

The acting is excellent; from top to bottom the casts sells the idea that they’re interacting with animated characters. This is an especially impressive achievement because the live action was filmed before the animated characters and backgrounds were added. Talk about make-believe, pretend, and plain old acting talent. Christopher Lloyd is a treat to watch as the dark heavy, Judge Dredd-like justice giver – proof positive that he’s a great character actor, especially playing offbeat and wacky characters. Bob Hoskins, who more than anyone in the film, acted with non-existent co-stars, did yeoman’s work, and his performance is an underrated achievement among great comic performances.

The most credit goes to the films directors, and yes, there are two, although Who Framed Roger Rabbit may be listed as “A Robert Zemeckis Film.” True, Zemeckis does an incredible job filming sequences when many of his main actors and some of his sets would have to be added later by the animators. Still, he manages to get the most out of his actors and make the film’s comedy funny and mystery captivating – the best directorial effort of 1988. However, Richard Williams directed the animated sequences, and there aren’t many directors in the history of animated film who outdid his work here. Together Zemeckis and Williams made a classic of live-action and animation that is entertaining, technically brilliant, and a beautiful movie.

10 of 10

NOTES:
1989 Academy Awards, USA: 4 wins: “Best Effects, Sound Effects Editing” (Charles L. Campbell and Louis L. Edemann), “Best Effects, Visual Effects” (Ken Ralston, Richard Williams, Ed Jones, and George Gibbs), “Best Film Editing” (Arthur Schmidt), and “Special Achievement Award” (Richard Williams “for animation direction and creation of the cartoon characters”); 3 nominations: “Best Art Direction-Set Decoration” (Elliot Scott and Peter Howitt), “Best Cinematography” (Dean Cundey), “Best Sound” (Robert Knudson, John Boyd, Don Digirolamo, and Tony Dawe)

1989 BAFTA Awards: 1 win: “Best Special Effects” (George Gibbs, Richard Williams, Ken Ralston, and Ed Jones); 4 nominations: “Best Cinematography” (Dean Cundey), “Best Editing” (Arthur Schmidt), “Best Production Design” (Elliot Scott), and “Best Screenplay – Adapted” (Jeffrey Price and Peter S. Seaman)

1989 Golden Globes, USA: 2 nominations: “Best Motion Picture - Comedy/Musical” and “Best Performance by an Actor in a Motion Picture - Comedy/Musical” (Bob Hoskins)

Updated: Saturday, June 22, 2013