Review: "Broken City" Well Put Together

TRASH IN MY EYE No. 56 (of 2013) by Leroy Douresseaux

Broken City (2013)
Running time:  109 minutes (1 hour, 49 minutes)
MPAA – R for pervasive language, some sexual content and violence
DIRECTOR:  Allen Hughes
WRITER:  Brian Tucker
PRODUCERS:  Remington Chase, Randall Emmett, Allen Hughes, Stephen Levinson, Arnon Milchan, Teddy Schwarzman, and Mark Wahlberg
CINEMATOGRAPHER:  Ben Seresin (D.o.P.)
EDITOR:  Cindy Mollo
COMPOSERS:  Atticus Ross, Leopold Ross, and Claudia Sarne

CRIME/DRAMA with elements of a thriller

Starring:  Mark Wahlberg, Russell Crowe, Catherine Zeta-Jones, Jeffrey Wright, Barry Pepper, Alona Tal, Natalie Martinez, Michael Beach, Kyle Chandler, James Ransone, Griffin Dunne, Justin Chambers, and Chance Kelly

Broken City is a 2013 big-city crime drama from director Allen Hughes.  Starring Mark Wahlberg and Russell Crowe, the film follows an ex-cop seeking to unravel a complex political mystery involving a powerful mayor.

Broken City opens by revealing a controversial police shooting.  Seven years later, ex-cop Billy Taggart (Mark Wahlberg) owns a private detective agency that is on the verge of bankruptcy.  Taggart gets a big break when New York City Mayor Nicholas Hostetler (Russell Crowe) offers him $50,000 to learn the identity of the man with whom his wife, Cathleen (Catherine Zeta-Jones), is having an affair.

When the suspected adulterer is found shot to death, Taggart thinks that he may have been double-crossed.  However, Taggart’s path to payback takes him into a complicated political conspiracy involving many elements, including a controversial real estate deal, a contentious mayoral election, and police Commissioner Carl Fairbanks (Jeffrey Wright) who despises Mayor Hostetler.

If you found my summary or synopsis of Broken City unusually vague (compared to what I normally offer), it is because I am trying to reveal as little of this film’s plot and story as possible.  I really enjoyed Broken City.  It reminds me of a smoky old Film-Noir movie from the 1950s that focuses on “the city” (such as John Huston’s The Asphalt Jungle).  Broken City is also the first feature film that Allen Hughes has directed without his twin brother, Albert, with whom he has collaborated on such gems as Menace II Society and The Book of Eli.  Allen rarely falters in this solo effort.

Hughes works from an excellent screenplay by Brian Tucker, although I think Broken City would work even better as a novel or television series.  However, Hughes manages to squeeze every subplot, relationship, conflict, and bit of motivation onto the screen.  The result is a cynical tale of big city politics, cronyism, and murder that delivers surprises as if they were mean left hooks.

Broken City is something of an ensemble film.  The viewer enters the world of the film through Mark Wahlberg’s Billy Taggart.  While this isn’t his best performance, Wahlberg proves once again that he is both a fine actor and a true movie star because he will make you want to follow both Taggart’s investigation and his personal journey.

The rest of the cast takes what they are good at doing and distills it into powerful supporting performances.  For Russell Crowe, that means a meaty, masculine, and menacing turn as the powerful Mayor Nicholas Hostetler, a character which feels like a co-lead, but is more of a supporting player.  There is not enough Catherine Zeta-Jones who is smoky and husky as the bordering-on-fatale First Lady Cathleen Hostetler.  The always-superb Jeffrey Wright makes a pugnacious turn as the police commissioner, but the story also needs more of his character.

So that is the glaring flaw of Broken City.  It needs to be bigger in terms of its scope, and it needs to be longer in terms of length.  If any crime drama deserves to run at least three hours, Broken City is it.  Still, this movie was one of 2013’s first really good dramas, and it is hugely entertaining with a killer last act.

7 of 10
A-

Saturday, August 17, 2013

"Cutie and the Boxer" Opens August 16, 2013

TWC/Radius Presents

CUTIE AND THE BOXER

Written & Directed By Zachary Heinzerling

Download the CUTIE AND THE BOXER trailer here: https://dl.dropboxusercontent.com/u/669959/CUTIEandtheBOXER_Trailer_1080p.mp4.zip

IN THEATERS AUGUST 16th

SYNOPSIS:  A reflection on love, sacrifice, and the creative spirit, this candid New York story explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife, Noriko. As a rowdy, confrontational young artist in Tokyo, Ushio seemed destined for fame, but met with little commercial success after he moved to New York City in 1969, seeking international recognition. When 19-year-old Noriko moved to New York to study art, she fell in love with Ushio—abandoning her education to become the wife and assistant to an unruly, husband. Over the course of their marriage, the roles have shifted. Now 80, Ushio struggles to establish his artistic legacy, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie,” depicting her challenging past with Ushio. Spanning four decades, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice, disappointment and aging, against a background of lives dedicated to art.

Review: "The Black Cat" Offers First Pairing of Karloff and Lugosi (Remembering Bela Lugosi)

TRASH IN MY EYE No. 213 (of 2004) by Leroy Douresseaux

The Black Cat (1934)
Also known as: The Vanishing Body (1953)
Running time:  65 minutes (1 hour, 5 minutes)
DIRECTOR:  Edgar G. Ulmer
WRITERS:  Peter Ruric; from a screen story by Peter Ruric and Edgar G. Ulmer (based upon a story by Edgar Allen Poe)
CINEMATOGRAPHER:  John J. Mescall
EDITOR:  Ray Curtiss

HORROR/MYSTERY/CRIME

Starring:  Boris Karloff, Bela Lugosi, David Manners, Jacqueline Wells, Lucille Lund, Egon Brecher, and Harry Cording

The subject of this movie review is The Black Cat, a 1934 film that blends the genres of crime, horror, and mystery.  The film was released by Universal Pictures and produced by Carl Laemmle, Jr.  The Black Cat was re-released in 1953 as The Vanishing Body.  This was the first of eight movies that paired actors, Bela Lugosi and Boris Karloff.  This is apparently one of the first movies to have an almost continuous movie score, which was composed by Heinz Roemheld.

The Black Cat takes its name from the Edgar Allen Poe short story, “The Black Cat” (first published in 1843), but little else.  Television and screenwriter Tom Kilpatrick contributed to the writing of this movie’s screenplay, but did not receive a screen credit.  The Black Cat the movie follows an American couple, honeymooning in Hungary, who becomes trapped in the home of a Satan- worshiping priest.

Peter Alison (David Manners) and his wife Joan (Jacqueline Wells) are American honeymooners vacationing in Hungary when they encounter a peculiar psychiatrist, Dr. Vitus Werdegast (Bela Lugosi) on a passenger train.  Later, the couple shares a taxi with him.  After the taxi accident is involved in an accident, the trio is trapped in the home of a Satan-worshipping priest, Hjalmar Poelzig (Boris Karloff).  Poelzig, an accomplished architect, desires Joan for a satanic ritual.  Unbeknownst to Peter and Joan, Poelzig and Dr. Werdegast are old acquaintances with a bitter history together.

I love gorgeous black and white movies, especially the beautiful horror films Universal produced in the 1930’s and 40’s.  The Black Cat is a superb example; the photography is excellent and the film has an eerie, but handsome dream-like quality.  A hip hop artist once commented on how films from Hollywood’s golden era of studio films had such class because everyone dressed so well, even the characters who weren’t wealthy.  The cast of this film wear the finest suits, in particular Lugosi’s Werdegast and Manners’ Peter Alison.  Lugosi’s ultra sharp suits add some kind of peculiar quality to his character that I just can’t explain; he looks so good in them that I can call him a mack.  Lugosi’s lounge attire:  smoking jackets, bathrobes, and top quality pajamas defy reason; they fit him like a tuxedo and would seem quite appropriate as formal dinner wear.

The most prominent element of The Black Cat is the art deco flavored art direction.  It does seem out of place in rural Hungary, but the mansion’s interiors add a special quality to movie.  Watching the story unfold in this art deco museum reminded me of a black and white version of a David Lynch creation like “Twin Peaks”.  It’s surreal, real, and dreamy, an atmosphere that I couldn’t ignore.  This is wonderful work by art director Charles D. Hall and set designer, director Edgar G. Ulmer.

Yes, the acting is a bit forced at times, but this kind of movie is special.  No one makes this kind of film anymore.  A kooky story, two famed, cult horror movie stars doing their shtick, exquisite costume design and the sleek designs of an art deco set are things too good to be miss.  This is perfect for Halloween, or just whenever you’re in the mood to see a kind of movie lost in time to us – gone, but not forgotten because quite a few gems like this still exist.  The Black Cat is also the first of eight screen parings of Karloff and Lugosi.

6 of 10
B

Updated:  Friday, August 16, 2013

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Spike Jonze's "Her" Goes Nationwide January 10, 2014

Warner Bros. Pictures Shifts Release for Spike Jonze’s “Her”

“Her” to open in limited release on December 18, 2013 in New York, Los Angeles and Toronto, and wide on January 10, 2014

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures has moved the release date of Spike Jonze’s already much anticipated romantic drama “Her.” The film will now open in limited release in New York, Los Angeles and Toronto on December 18, 2013, and wide on January 10, 2014. The announcement was made today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures.

The move comes on the heels of strong positive reactions coming out of early screenings. “Her” has also just been announced by the New York Film Festival as its selection for the prestigious Closing Night Gala slot. The date change allows the studio to take full advantage of word of mouth resulting from the Festival screening, placing the film in the key awards consideration corridor and positioning it for its December opening and wider launch in January.

In making the announcement, Fellman stated, “Spike Jonze has created an unconventional love story that is thought-provoking and reflective of our modern age. Based on the responses we’ve seen thus far, we have confidence that ‘Her’ will be embraced by both critics and audiences and look forward to sharing it with them, beginning in the holiday season.”

Set in Los Angeles, in the near future, “Her” follows Theodore Twombly (Joaquin Phoenix), a complex, soulful man who makes his living writing touching, personal letters for other people. Heartbroken after the end of a long relationship, he becomes intrigued with a new, advanced operating system, which promises to be an intuitive and unique entity in its own right. Upon initiating it, he is delighted to meet “Samantha,” a bright, female voice (Scarlett Johansson) who is insightful, sensitive and surprisingly funny. As her needs and desires grow in tandem with his own, their friendship deepens into an eventual love for each other.

From the singular perspective of Oscar®-nominated filmmaker Spike Jonze (“Being John Malkovich”) comes “Her,” an original love story that explores the evolving nature—and the risks—of intimacy in the modern world.

Written and directed by Jonze, the romantic drama stars Oscar® nominees Joaquin Phoenix (“The Master,” “Walk the Line”), Amy Adams (“The Master,” “Doubt”) and Rooney Mara (“The Girl With the Dragon Tattoo”); Olivia Wilde (upcoming “Rush”); and Scarlett Johansson (“Lost in Translation”).

“Her” is produced by Megan Ellison, Spike Jonze and Vincent Landay. Daniel Lupi, Natalie Farrey and Chelsea Barnard served as executive producers.

The film reunites many of Jonze’s longtime creative collaborators, including production designer KK Barrett, editor Eric Zumbrunnen and costume designer Casey Storm, who worked together on “Where the Wild Things Are,” “Adaptation.” and “Being John Malkovich.” Joining them is director of photography Hoyte Van Hoytema (“Tinker Tailor Soldier Spy”), and editor Jeff Buchanan (HBO’s “Tell Them Anything You Want: A Portrait of Maurice Sendak,” which Jonze co-directed). The music is composed by Arcade Fire.

A Warner Bros. Pictures presentation of an Annapurna Pictures Production, “Her” will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

herthemovie.com

Review: "King's Ransom" is Funnier Than I Expected (Happy B'day, Anthony Anderson)

TRASH IN MY EYE No. 138 (of 2005) by Leroy Douresseaux

King’s Ransom (2005)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG-13 for crude and sexual humor and language
DIRECTOR:  Jeff Byrd
WRITER:  Wayne Conley
PRODUCER:  Darryl Taja
CINEMATOGRAPHERS:  Robert McLachlan with Daniel Villeneuve
EDITOR:  Jeffrey Cooper
COMPOSERS:  Luce Gordon and Marcus Miller

COMEDY/CRIME

Starring:  Anthony Anderson, Jay Mohr, Kellita Smith, Nicole Ari Parker, Regina Hall, Loretta Devine, Donald Faison, Leila Arcieri, Brooke D’Orsay, Jackie Burroughs, Lisa Marcos, and Charlie Murphy

The subject of this movie review is King’s Ransom, a 2005 comedy from New Line Cinema.  Starring Anthony Anderson, the film follows a despicable businessman who arranges his own kidnapping as a way to trump his gold-digging wife’s plans for his money, only to see the plot go awry.  King’s Ransom was poorly received by professional film critics, but I like it anyway.

In King’s Ransom (a kind of loose take on the 80’s comedy hit, Ruthless People), Malcolm King (Anthony Anderson), the owner of King Enterprises, is a successful and wealthy man, worth millions of dollars, but he’s also an A-#1-asshole and jerk.  He’s made a lot of enemies, from overworked and under-appreciated employees to his soon-to-be ex-wife, Renee King (Kellita Smith).  He is very concerned about his messy and likely expensive divorce, in which he may have to give up at least half of his wealth to Renee, so he devises a plan to keep his money out of her hands.  With the help of his mistress, Peaches Clarke (Regina Hall), Malcolm plots his own kidnapping in order to secure a fictitious ransom of $10 million – money he can keep away from his wife.

Malcolm, however, isn’t the only one with kidnapping him in mind.  Bitter that she wasn’t made a vice-president at King Enterprises, long-suffering employee, Angela Drake (Nicole Parker), cooks up a half-baked kidnap plot, but a dimwitted, down-on-his-luck, local bumpkin named Corey (Jay Mohr) is also plotting to kidnap Malcolm.  And it wouldn’t be a three-ring circus if Renee, with the help of her tongue-tied lover, didn’t have her own snatch and grab Malcolm plan go awry.

King’s Ransom was nearly dead on arrival when it opened in theatres this past spring, and it, of course, received awful reviews from movie reviewers.  However, the film is a comical and occasionally side-splitting laugher full of dumb jokes, bawdy humor, and low brow comedy, which is was likely deliberately written to be.  King’s Ransom is not great slapstick (and the timing seems a little off), but it works because the cast tries like heck to make it funny.  They succeeded; King’s Ransom is funny as hell.  I must repeat: it’s dumb, dumb, dumb again, but it’s supposed to be dumb, but funny, and it’s hilarious.  An urban comedy, it’s three times better than Soul Plane, but not as good as the Barbershop movies or Malibu’s Most Wanted.

Anthony Anderson is a great comic actor.  He’s as good as members of the so-called Frat Pack like Vince Vaughn and Jack Black, and is way better than Owen and Luke Wilson, but he won’t get the kind of primo movie parts they do.  He’s just a funny guy, and his acting credentials show even in a simple-minded film like this.  Almost all the cast shines, particularly Charlie Murphy (Eddie’s brother and a supporting player on “The Chappelle Show”), but Regina Hall stands out amongst the supporting players.  She is superb at playing character roles in comedies.  I hope that like Anderson, her skin color doesn’t keep her from getting at least one meaty comedy role per year.

6 of 10
B

Updated:  Thursday, August 15, 2013

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Christopher Nolan Begins Shooting "Interstellar"

PARAMOUNT PICTURES AND WARNER BROS. PICTURES ANNOUNCE THE START OF PRINCIPAL PHOTOGRAPHY ON CHRISTOPHER NOLAN’S “INTERSTELLAR”

HOLLYWOOD, CA (August 13, 2013) – Paramount Pictures, a division of Viacom, Inc., and Warner Bros. Pictures announced today that principal photography on “INTERSTELLAR” is officially underway in Alberta, Canada. The film will be released in IMAX® and 35mm theaters on November 7, 2014.  Paramount Pictures will distribute domestically, Warner Bros. Pictures internationally.

Directed and co-written by Christopher Nolan (“Inception,” “The Dark Knight” Trilogy), the production will travel the globe and utilize a mixture of 35mm anamorphic and IMAX film photography to bring to the screen a script based on the combination of an original idea by Nolan and an existing script by Jonathan Nolan, originally developed for Paramount Pictures and producer Lynda Obst.  The new script chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

“Interstellar” features a prestigious cast that includes Matthew McConaughey (“Magic Mike,” “Mud”), Academy Award® winner Anne Hathaway (“Les Miserables,” “The Dark Knight Rises”), Academy Award® nominee Jessica Chastain (“Zero Dark Thirty,” “The Tree of Life”), Bill Irwin (“Rachel Getting Married,” TV’s “CSI: Crime Scene Investigation”) Academy Award® nominee John Lithgow (“Terms of Endearment,” “Rise of the Planet of the Apes”) Academy Award® nominee Casey Affleck (“The Assassination of Jesse James by the Coward Robert Ford,” Gone Baby Gone”), David Gyasi (“Cloud Atlas”), Wes Bentley (“The Hunger Games”), Mackenzie Foy (“The Twilight Saga: Breaking Dawn – Parts 1 and 2”) Timothée Chalamet (TV’s “Homeland”), Topher Grace (“Spider-Man 3”), David Oyelowo (“Jack Reacher,” “Rise of the Planet of the Apes”), Academy Award® winner Ellen Burstyn (“The Last Picture Show,” “The Exorcist”), and Academy Award® winner Michael Caine (“The Cider House Rules,” “The Dark Knight” Trilogy).

The film is being produced by Academy Award® nominee Emma Thomas (“Inception,” “The Dark Knight” Trilogy) and Lynda Obst (“How to Lose a Guy in 10 Days,” “The Siege”).  Renowned theoretical physicist Kip Thorne is consulting on the film as well as serving as executive producer, along with Jake Myers (“Jack Reacher,” “RED,” “RED 2”) and Jordan Goldberg (“Inception,” “The Dark Knight” Trilogy).

The behind-the-scenes creative team includes director of photography Hoyte van Hoytema (“Tinker Tailor Soldier Spy,” “The Fighter”), Academy Award®-nominated production designer Nathan Crowley (“The Dark Knight” Trilogy), Academy Award®-nominated costume designer Mary Zophres (“Gangster Squad,” “True Grit”) Academy Award®-nominated editor Lee Smith “The Dark Knight” Trilogy,” “Elysium,”, Academy Award®-winning composer Hans Zimmer (“The Lion King,” “The Dark Knight” Trilogy), and Academy Award®-winning visual effects supervisor Paul Franklin (“Inception,” “The Dark Knight” Trilogy).
 
Official Site: www.InterstellarMovie.com

About Paramount Pictures Corporation 
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB, VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Warner Bros. Pictures
Warner Bros. Pictures meets worldwide tastes and demands with a diverse mix of filmed entertainment and is a global leader in the marketing and distribution of feature films.  The International Division operates offices in 24 countries and releases films in over 125 international territories, either directly to theaters or in conjunction with partner companies and co-ventures.  Internationally, the Studio has been the market leader in six of the last 13 years, having surpassed $1 billion in grosses a total of 15 years, 12 of which were consecutive years, and crossed $2 billion five times, including 2004, 2007, 2010, 2011 and 2012.

Review: "The Forgotten" - Good Premise, Poor Execution (Happy B'day, James Horner)

TRASH IN MY EYE No. 193 (of 2004) by Leroy Douresseaux

The Forgotten (2004)
Running time:  96 minutes (1 hour, 36 minutes)
MPAA – PG-13 for intense thematic material, some violence, and brief language
DIRECTOR:  Joseph Ruben
WRITER:  Gerald Di Pego
PRODUCERS:  Bruce Cohen, Dan Jinks, and Joe Roth
CINEMATOGRAPHER:  Anastas N. Michos
EDITOR:  Richard Francis-Bruce
COMPOSER:  James Horner

MYSTERY/THRILLER with elements of sci-fi and horror

Starring:  Julianne Moore, Dominic West, Christopher Kovaleski, Anthony Edwards, Gary Sinise, Alfre Woodard, Kathryn Faughnan, Linus Roache, and Robert Wisdom with J. Tucker Smith

The subject of this movie review is The Forgotten, a 2004 mystery and psychological thriller starring Julianne Moore.  The film follows a woman who delves into a strange conspiracy after being told that her son never existed.

The Forgotten is a riveting mystery thriller, but as the films moves through its plot, the film becomes ever more fantastical and, at time, eye-rolling ridiculous.  Still, the film has it’s moments, enough to earn it a recommendation as something to watch at home, either via DVD, video, or television.

The Forgotten begins with wife and mother Telly Paretta (Julianne Moore) grieving over the loss of her eight-year old son, Sam (Christopher Kovaleski), in a plane accident 14 months prior.  However, of the course of a few days, evidence of Sam’s existence starts to disappear, and before long, even Telly’s husband, Jim (Anthony Edwards), claims that they never had a son.  But Telly is damn sure she had a boy.

She meets Ash Correll (Dominic West), the father of one of Sam’s best friends, but Ash doesn’t remember having a daughter.  Telly eventually convinces Ash to remember his child, and that’s about the time agents from the National Security Agency (NSA) and the police start coming around looking for Telly and Ash.  That not only convinces Telly that she did have a son, but that Sam might still be alive.  As she delves deeper into the mystery, she discovers that hugely powerful and ominous forces may be behind the abduction of her son.

The premise of a mother fighting to convince other people that the memories of her dead son are the recollections of a real child and not the delusions of a psychotic is actually good.  If only The Forgotten had stuck with that.  The basic premise becomes an abduction story, a government conspiracy tale, and way-out-there sci-fi trick, and though The Forgotten has its moments, the film is ultimately a warmed over rehash of themes from “The Twilight Zone,” “Outer Limits,” and “The X-Files.”  In addition to that, The Forgotten wouldn’t stand out as a “best of” in any of those TV series.  The ploy is too make you think you’re getting a good mystery about a woman fighting for her memories of her deceased child, and you’re ultimately getting something else.  The “abduction” special effects are admittedly quite neat and a good reason to see the film.

The performances are flimsy, with Moore being the most effective and most annoying.  Her Telly Paretta is sometimes sympathetic, but mostly the character does come across as a whiny, obsessed, paranoid delusional.  For all that you might want her to find her child, you’d really like her to shut up sometimes.  The film also features a few other actors wasted in small, trashy parts including Gary Sinise, Alfre Woodard, and Linus Roache.

5 of 10
C+

Updated:  Wednesday, August 14, 2013

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