Review: "Mystic River" is Really Good, But is Too Damn Bleak (Happy B'day, Laurence Fishburne)

TRASH IN MY EYE No. 92 (of 2004) by Leroy Douresseaux

Mystic River (2003)
Running time:  138 minutes (2 hours, 18 minutes)
MPAA – R for language and violence
DIRECTOR:  Clint Eastwood
WRITER:  Brian Helgeland (from the novel by Dennis Lehane)
PRODUCERS:  Clint Eastwood, Judie G. Hoyt, and Robert Lorenz
CINEMATOGRAPHER:  Tom Stern (D.o.P.)
EDITOR:  Joel Cox
COMPOSER:  Clint Eastwood
Academy Award winner

DRAMA/CRIME

Starring:  Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, Laura Linney, Kevin Chapman, Thomas Guiry, Emmy Rossum, Spencer Treat Clark, Andrew Mackin, Adam Nelson, and Robert Wahlberg

The subject of this movie review is Mystic River, a 2003 crime drama from director Clint Eastwood.  The film is based on Mystic River, the 2001 novel from author Dennis Lehane.  Mystic River focuses on three men who are reunited by circumstance after the daughter of one of the men is murdered.

Clint Eastwood’s film Mystic River was one of the most acclaimed films of 2003, and it earned several Oscar nominations including Best Picture and Best Director.  However, thanks to the onslaught that was The Lord of the Rings: The Return of the King at the 2004 Academy Awards, Mystic River only picked up the two “Best Actor” awards:  Leading Role (Sean Penn) and Supporting Role (Tim Robbins).

Jimmy Markum (Sean Penn), Dave Boyle (Tim Robbins), and Sean Devine (Kevin Bacon) are three childhood friends reunited after Markum’s daughter, Katie (Emmy Rossum), is found brutally murdered.  Their reunion is at cross-purposes, however.  Markum is small time hood, Devine is the investigator with the State Police investigating Katie’s murder, and Boyle survived being kidnapped and sexually assaulted when the three men were boys.  When Boyle becomes the lead suspect, the reunion spirals towards tragedy.

Mystic River is a very good film, but ultimately it’s a bit too cold for too long.  At times, I could have sworn that I was watching Clint Eastwood directing a drama as a formal dinner party.  Mystic River is professional and slick, as well as being raw and gritty.  The film has weight and gravity, but it all seems so laid back and cool.  Not until the last 20 minutes does the film really begin to unleash a tour de force of film drama, but those closing scenes are alien to the rest of the film.

Mystic River really plays with the idea that people are interconnected; the action or inaction of one has inevitable, although unseen, consequences upon another – neat but pat.  Besides, the award winning performances of Penn and Robbins, Kevin Bacon and especially Laurence Fishburne have the roles that anchor the film and they almost steal the show.  In the end Mystic River is all good, but waits for the closing act to show how really good it can be.  If you like dour dramas with good acting, this one is for you, but it’s not an exceptional work of movie art.

7 of 10
A-

NOTES:
2004 Academy Awards, USA:  2 wins: “Best Actor in a Leading Role” (Sean Penn) and “Best Actor in a Supporting Role” (Tim Robbins); 4 nominations: “Best Actress in a Supporting Role” (Marcia Gay Harden), “Best Director” (Clint Eastwood), “Best Picture” (Robert Lorenz, Judie Hoyt, and Clint Eastwood), and “Best Writing, Adapted Screenplay” (Brian Helgeland)

2004 BAFTA Awards:  4 nominations: “Best Performance by an Actor in a Leading Role” (Sean Penn), “Best Performance by an Actor in a Supporting Role” (Tim Robbins), “Best Performance by an Actress in a Supporting Role” (Laura Linney), and “Best Screenplay – Adapted” (Brian Helgeland)

2004 Golden Globes, USA:  2 wins: “Best Performance by an Actor in a Motion Picture – Drama” (Sean Penn) and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Tim Robbins); 3 nominations: “Best Director - Motion Picture” (Clint Eastwood), “Best Motion Picture – Drama” (Best Screenplay - Motion Picture” (Brian Helgeland)

Updated: Monday, July 08, 2013

----------------------------------

Review: "Belle de jour" is Trippy and Dream-Like (Remembering Luis Buñuel)

TRASH IN MY EYE No. 29 (of 2003) by Leroy Douresseaux

Belle de Jour (1967)
COUNTRY OF ORIGIN:  France/Italy; Language:  French
Running time:  101 minutes (1 hour, 41 minutes)
DIRECTOR:  Luis Bunuel
WRITERS:  Jean-Claude Carriere and Luis Bunuel (from the novel by Joseph Kessel)
PRODUCERS:  Henri Baum, Raymond Hakim, and Robert Hakim
CINEMATOGRAPHER:  Sacha Vierny
EDITOR:  Louisette Hautecoeur
BAFTA Awards nominee

DRAMA

Starring:  Catherine Deneuve, Jean Sorel, Michel Piccoli, Geneviève Page, Pierre Clémenti, and Francoise Fabian

The subject of this movie review is Belle de jour, a 1967 film from director Luis Buñuel.  A co-production of France and Italy, this film is based on the 1928 novel, Belle de jour, written by French journalist and novelist, Joseph Kessel.  The film focuses on a sexually frigid young housewife who decides (or is compelled) to spend her midweek afternoons working as a prostitute.

Severine Serizy (Catherine Deneuve) really loves her husband Pierre (Jean Sorel).  However, he doesn’t arouse her, so she can’t be intimate with him.  She entertains numerous, vivid erotic fantasies to satisfy herself.  One day she happens upon the intriguing notion of prostitution.  Before long, she is working as prostitute, named “Belle de Jour,” at a brothel in the afternoons entertaining all manner of weird and unusual clientele.  She remains chaste in her marriage, but one of her clients, who falls madly in lust with her, becomes a danger to her tranquil domesticity.

Some may find Belle de jour’s eroticism dry.  Director Luis Bunuel (The Discreet Charm of the Bourgeoisie) shows Severine’s fantasies to us as surrealistic plays, and Bunuel is considered the father of cinematic surrealism.  It’s an interesting method in that it forces us to pay close attention to the film, mostly in the hopes that we might catch a flashing image of Ms. Deneuve’s beautiful flesh, anything to satisfy our desires to possess Severine.  Certainly, Belle de jour doesn’t blind us with the blunt images of raw sexuality early 21st audiences have not only come to expect in their movies, but often demand.  Bunuel and his screenwriting partner Jean-Claude Carriere fashioned the story so that we can truly understand Severine’s sexual frustrations.  She’s obsessed with being satisfied, and she driven to find ways to satisfy herself, and in a cathartic fashion we become anxious that she find satisfaction.

In the hands of a lesser talent, this movie would bore us to tears, but Ms. Deneuve encompasses her character’s unrequited lusts.  While her character can’t be physically intimate with her husband, Ms. Deneuve’s performance is spiritually intimate with her audience.  She takes us in and makes us part of her; we feel everything she feels, desires what she seeks, and feel all the danger, confusion, and strangeness her job as a prostitute create in her.  Ms. Deneuve makes Severine more than just a character; Severine is our adventure into the border world between real, physical sex and surrealistic and fantastic longing.

Bunuel creates a film that has a rich and vivid dream world, one that is both undeniably real and suddenly ethereal.  He makes Severine’s escapades through the myriad worlds of lust and longing an adventure as interesting as Alice’s through Wonderland.  It’s a strange film; sometimes, I couldn’t help but wonder what was happening.  I was confused when some of Severine’s fantasies went from episodes of titillation to scenes of harsh punishment.  Belle de jour both frustrated and intrigued me.  I won’t call the film perfect, but it’s certainly an enjoyable example of how powerful and confusing film images can be.  Like a dream, a movie sometimes has a way of not giving you what you saw and thought you were getting.  Both a movie and a dream can stay with you even when you’re unsatisfied them.  You wonder about them and dry to decipher them.  Any movie that can be so like a dream deserves to be seen.

8 of 10
A

NOTES:
1969 BAFTA Awards:  1 nomination: “Best Actress” (Catherine Deneuve)

Updated:  Monday, July 29, 2013

"X-Men: Days of Future Past" Teaser #2 - The Magnetos

Here's Magneto, both as a young mutant rebel and as a stately mutant terrorist. Thanks to Box Office Mojo for both X-Men teaser posters.

Review: Fight Scenes Cut Nicely in "The Wolverine"

TRASH IN MY EYE No. 50 (of 2013) by Leroy Douresseaux

The Wolverine (2013)
Running time:  126 minutes (2 hours, 6 minutes)
MPAA – PG-13 for sequences of intense sci-fi action and violence, some sexuality and language
DIRECTOR:  James Mangold
WRITERS:  Mark Bomback and Scott Frank (based on the characters and stories appearing in Marvel Comics)
PRODUCERS:  Hugh Jackman, Hutch Parker, and Lauren Shuler Donner
CINEMATOGRAHER: Ross Emery (D.o.P.)
EDITOR:  Michael McCusker
COMPOSER:  Marco Beltrami

SUPERHERO/ACTION/MARTIAL ARTS

Starring:  Hugh Jackman, Tao Okamoto, Rila Fukushima, Hiroyuki Sanada, Svetlana Khodchenkova, Brian Tee, Haruhiko Yamanouchi, Will Yun Lee, Ken Yamamura, and Famke Janssen

The Wolverine is a 2013 superhero movie from director James Mangold.  Starring Hugh Jackman in the title role, it is also the sixth film in the X-Men franchise.  This film is not a sequel to the previous Wolverine solo movie, X-Men Origins: Wolverine (2009).  In the new movie, an old acquaintance summons Wolverine to Japan, where the hero becomes embroiled in a conflict involving family, gangsters, and ninja.

Following the events depicted in X-Men: The Last Stand (2006), Logan/Wolverine (Hugh Jackman) lives as recluse in an isolated forest outside a small town in the Yukon.  He is haunted by the death of Jean Grey (Famke Janssen), whom he was forced to kill (in X-Men: The Last Stand).

A young Japanese woman named Yukio (Rila Fukushima) has been tracking Logan.  She tells him that an old friend who was once the young soldier he saved decades earlier during World War II wants to see Logan before he dies.  Once in Japan, Logan meets Ichiro Yashida (Haruhiko Yamanouchi), now a dying old man who is the head of a Japanese technology empire.  He makes Logan a shocking offer, one that forces Logan to confront his demons.  Logan considers himself through with being a soldier and a hero, until he is forced to protect Yashida’s granddaughter, Mariko (Tao Okamoto), from several kidnapping conspiracies.  Although weakened and ailing, Logan is determined to show his adversaries that he is still the animal known as The Wolverine.

Hugh Jackman has come to embody Logan/Wolverine the way Christopher Reeve embodied Clark Kent/Superman, beginning over 30 years ago in Superman: The Movie (1978).  Jackman carries The Wolverine on his broad, muscular shoulders, but given the hoopla leading up to The Wolverine’s release, one would think the film would be an all-time great superhero movie, but it is not.

Don’t get me wrong.  The Wolverine has some superb and exhilarating action sequences and fight scenes – the kind for which fans of Wolverine in comic books have been waiting.  The fight on top of a moving bullet train recalls the great battle at the end of the first Mission: Impossible movie in 1996.  This is solid entertainment, but much of the character drama seems contrived.  The screenplay by Mark Bomback and Scott Frank, who rewrote the original version written by Oscar-winning screenwriter Christopher McQuarrie (who does not receive a screen credit), turns the good female supporting characters into mere accessories to Wolverine.  The mutant known as Viper (Svetlana Khodchenkova) is under-utilized, so she is ultimately wasted.  Many of the male supporting characters are just caricatures of Japanese men or stock bad guys.

But Jackman saves the day.  With the help of the action stuff, Jackman makes The Wolverine the best superhero movie of Summer 2013.  Just getting a chance to see him in action makes me forget about the things in this movie that bother me.  Jackman takes what could have been merely entertaining and gives it that extra-something that only true movie stars can give.

7 of 10
B+

Saturday, July 27, 2013

"X-Men: Days of the Future Past" Teaser Poster #1 - Professor X Times 2

Crazy cool image of Professor Charles Xavier as a young mutant savior and as a venerable mutant survivor.

Review: "The Lake House" is a Good House (Happy B'day, Sandra Bullock)

TRASH IN MY EYE No. 208 (of 2006) by Leroy Douresseaux

The Lake House (2006)
Running time:  98 minutes (1 hour, 38 minutes)
MPAA – PG for some language and a disturbing image
DIRECTOR:  Alejandro Agresti
WRITER:  David Auburn (based upon the film Il Mare by Eun-Jeong Kim and Ji-na Yeo and produced by Sidus)
PRODUCERS:  Doug Davidson and Roy Lee
CINEMATOGRAPHER:  Alar Kivilo, A.S.C. C.S.C.
EDITORS:  Lynzee Klingman, A.C.E. and Alejandro Brodersohn
COMPOSER:  Rachel Portman (with contributions from Paul M. van Brugge)

FANTASY/ROMANCE

Starring:  Keanu Reeves, Sandra Bullock, Dylan Walsh, Shohreh Aghdashloo, Christopher Plummer, Ebon Moss-Bachrach, and Willeke van Ammelrooy

The subject of this movie review is The Lake House, a 2006 fantasy romance movie starring Keanu Reeves and Sandra Bullock.  In the film, a lonely doctor, who lives in 2006, begins a time-spanning romance with a frustrated architect, who lives in 2004, by exchanging letters through the mailbox at an unusual lakeside home.

Improbable and peculiar it may be, but The Lake House is the kind of romantic movie that deserves to have the adjective, “magical” describe it.  Having an enchanted mailbox bring the film’s lovers together is strange.  Never mind that the movie’s time travel hook is illogical, and ignore that the two leads communicate in a way that even the film admits is impossible.  This is about love.  Based upon the Korean film, Siworae (Il Mare is its international title.), The Lake House is an old-fashioned tale of star-crossed lovers who, like Romeo and Juliet, romance against all odds – even against the laws of science.

After moving away from her peaceful lakeside home – a glass house built on stilts over a lake north of Chicago, a lonely physician, Dr. Kate Forster (Sandra Bullock) mails a letter back to the lake house asking whoever will be the next tenant to forward any of her stray mail to her.  It is a winter morning in 2006.  That next tenant seems to be a frustrated architect, Alex Wyler (Keanu Reeves), who is confused that someone claims to have lived in the lake house before him since he is the first person to ever live in it.  After several more letters back and forth, Kate, on a lark, asks Alex, “What day is it there?”  Alex responds, April 14, 2004.

They discover that they occupy the lake house, but two years apart – Alex in the past and Kate in the present.  The mailbox at the lake house allows them to communicate across two years difference in time.  Now, they must unravel the mysteries of this wrinkle in time that allows their extraordinary romance to live before its too late, but if they meet and try to join their separate worlds, they may lose each other forever.

The acting isn’t great, and sometimes it’s, at best, lamely professional.  Reeves, best known for his stiff speaking style, spends much of the film looking pained, as if constantly on cue from director Alejandro Agresti (an Argentinean known for his film, Valentin).  Bullock’s contribution is to spend the film looking forlorn, lonely, or winsome.  Still, the two are movie stars, and they know how to work the camera, which loves them and makes them look good on the big screen.

Over a decade ago, Reeves and Bullock were a hot screen pair in the hit action film, Speed, an edge-of-your-seat thriller that appealed to the adrenaline junkie in moviegoers.  Back then, many of us ignored any of Speed’s flaws in logic because we had a good time watching it.  This time, with The Lake House, Reeves and Bullock try to get us to ignore logic again.  If the viewer responds favorably to that fundamental romantic impulse – our love affair with the love story, we’ll ignore how things about this film nag us and enjoy the romance.

7 of 10
B+

Saturday, October 07, 2006

Updated:  Friday, July 26, 2013

Naruto Movie, "The Lost Tower," to Premiere at Japan Film Festival

MOVIE: LOST TOWER U.S. THEATRICAL PREMIERE AT JAPAN FILM FESTIVAL OF SAN FRANCISCO

First-Ever Dedicated Japanese Live-Action And Anime Film Festival For The S.F. Bay Area Also Presents An Encore Screening Of BERSERK THE GOLDEN AGE ARC II – THE BATTLE FOR DOLDREY And TIGER & BUNNY: THE BEGINNING

VIZ Media has announced its participation in the upcoming Japan Film Festival of San Francisco (JFFSF), the first annual dedicated Japanese film festival for Northern California and the S.F. Bay Area. The Festival, which is presented by the NEW PEOPLE Japanese pop culture entertainment venue at its NEW PEOPLE Cinema in conjunction with the 2013 J-POP Summit, will host the exclusive U.S. theatrical premiere of NARUTO SHIPPUDEN THE MOVIE: THE LOST TOWER on Saturday, July 28th as well as a special encore screening of TIGER & BUNNY: THE BEGINNING, on Friday, August 2nd, and also BERSERK THE GOLDEN AGE ARC II – THE BATTLE FOR DOLDREY on Sunday, July 28th at 3:50pm.  Films will be presented with original Japanese dialogue and English subtitles.

The Japan Film Festival of San Francisco’s week-long series of film screenings includes more than 16 acclaimed live-action and anime titles and will take place at the NEW PEOPLE Cinema beginning Saturday July 27th and running through Sunday August 4th. Tickets are $13.00 per film unless otherwise indicated. NEW PEOPLE Cinema is located at 1746 Post St. (cross street is Webster St.) in the heart of San Francisco’s Japantown.

NARUTO advance tickets are available at: http://jffsf.org/2013/naruto-shippuden-the-lost-tower/

BERSERK THE GOLDEN AGE ARC II – THE BATTLE FOR DOLDREY advance tickets are available at: http://jffsf.org/2013/berserk2/

TIGER & BUNNY advance tickets are available at:  http://jffsf.org/2013/naruto-shippuden-the-lost-tower/

Complete film schedules and advance ticket information for other screenings are available on www.jffsf.org.

VIZ Media will also offer free manga samplers that highlight a bevy of its top graphic novel series to each ticketholder. Each ticketholder will receive a bag and of full-color promo posters.

NARUTO SHIPPUDEN THE MOVIE: THE LOST TOWER - U.S. Premiere!
Saturday, July 28th, 1:30pm (During 2013 J-POP Summit Festival!)

Monday, July 29th, 4:30PM

The Rogue Ninja Mukade is about to be caught by Naruto's team when he summons forth the power of the LeyLine - an ancient underground channel of chakra. Naruto gets caught up in the chakra and is sent back in time to the city of Loran, known for its thousand towers. There he encounters the future Fourth Hokage, Minato Namikaze, on a top-secret mission, and the Queen of Loran, Sarah, whose rule is threatened by Mukade. Will Naruto be able to return to his own time, and can a chance encounter in the past save the future? Additional information on NARUTO and NARUTO SHIPPUDEN is available at www.Naruto.com.

BERSERK THE GOLDEN AGE ARC II – Special Encore Presentation!
Sunday, July 28th, 3:50pm (During 2013 J-POP Summit Festival!)

Wednesday, July 31st, 4:30pm

The exciting second film in the BERSERK GOLDEN AGE ARC TRILOGY, based on the bestselling manga series. For three years, Guts believed his mission was to pursue Griffith’s dream together with him. But in order to become Griffith’s equal and truly be called his friend, Guts realizes he will have to leave the Band of the Hawk. At the same time, a bloody battle to capture the impenetrable Fortress of Doldrey from the Empire of Chuder is about to begin. The Band of the Hawk will face an army 30,000 strong!

TIGER & BUNNY: THE BEGINNING – Special Encore Presentation!!!
Friday, August 2nd, 4:00pm

The hero-inspired big screen action of the smash hit anime property – Tiger & Bunny – returns to the Bay Area for one-night-only! The city of Sternbild is protected by corporate superheroes known as NEXT, who fight crime while promoting their sponsors on the popular show “HERO TV.” Veteran hero Wild Tiger relies on his years of experience and instincts to fight crime, but his tendency to destroy public property for the sake of protecting the lives of the innocent has earned him the nickname “Crusher for Justice.” Now, under orders from his new employer, Wild Tiger finds himself forced to team up with Barnaby Brooks Jr., a rookie with an attitude. Will the two unlikely new partners find a way to work together? Please visit the official TIGER & BUNNY Facebook page for more information http://www.facebook.com/TigerAndBunny.

The Japan Film Festival of San Francisco is presented in conjunction with the 2013 J-POP Summit, taking place Saturday July 27th and Sunday July 28th across the city’s historic Japantown district to celebrate 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.