Review: "Pitch Black" Near Pitch Perfect Horror

TRASH IN MY EYE No. 94 (of 2004) by Leroy Douresseaux

Pitch Black (2000)
Running time:  109 minutes (1 hour, 49 minutes)
MPAA – R for sci-fi violence and gore, and for language
DIRECTOR:  David Twohy
WRITERS:  Ken Wheat & Jim Wheat and David Twohy (from a story by Ken Wheat and Jim Wheat)
PRODUCER:  Tom Engelman
CINEMATOGRAPHER:  David Eggby
EDITOR:  Rick Shaine
COMPOSER:  Graeme Revell

SCI-FI/HORROR/THRILLER

Starring:  Vin Diesel, Radha Mitchell, Cole Hauser, Keith David, Claudia Black, Rhiana Griffith, John Moore, Simon Burke, Les Chantery, Sam Sari, and Firass Dirani

The subject of this movie review is Pitch Black, a 2000 horror thriller and science fiction film from director David Twohy.  The film puts the survivors of a cargo spacecraft on a desert planet, where they must survive an onslaught of murderous creatures, and their hope for survival rests in a dangerous criminal.

Before The Chronicles of Riddick, the character Richard B. Riddick first appeared in the movie, Pitch Black.  The film by screenwriter turned director David Twohy (Warlock, Waterworld) was a surprise, modest hit in early 2000, and is about a group of space travelers marooned on a seemingly lifeless sun-scorched world where the glaring sunlight hides a dark secret.

Riddick (Vin Diesel) is a convicted murder being transported by a bounty hunter (Cole Hauser) masquerading as a law officer.  When the space ship carrying them crashes, the two men have to temporarily put outside their conflict.  They and the rest of the ragtag band of survivors are slowly finding signs of hope that they may endure the harsh world and maybe even escape, when something begins to skitter around the shadowy edges and the dark beneath the lit surface – something vicious and hungry.

Pitch Black is a very pleasant and entertaining sci-fi, horror film.  Wrought with thrills and fraught with perilous obstacles for the characters, the film has a quick setup before rapidly plunging into non-stop frights and tension.  Though the acting isn’t noteworthy, it’s quite serviceable to the meat the story.  Twohy does an exceptional job taking what was B-movie material no more special than most “original” TV movies on the Sci-Fi Channel and turning it into a fairly entertaining B-movie film experience.  It’s not great, but when the film kick starts the humans’ battle for survival, Pitch Black becomes quite good.

The film also loses none of its potency on the small screen.  Pitch Black should please viewers who like a mixture of sci-fi and horror in the tradition of Aliens or John Carpenter’s The Thing.

7 of 10
B+

Updated:  Monday, August 19, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: Halle Berry is Good in "The Call"

TRASH IN MY EYE No. 60 (of 2013) by Leroy Douresseaux

The Call (2013)
Running time:  94 minutes (1 hour, 34 minutes)
MPAA – R for violence, disturbing content and some language
DIRECTOR:  Brad Anderson
WRITERS:  Richard D'Ovidio; from a story by Richard D'Ovidio, Nicole D'Ovidio, and Jon Bokenkamp
PRODUCERS:  Bradley Gallo, Jeffrey Graup, Michael A. Helfant, Michael Luisi, and Robert Stein
CINEMATOGRAPHER:  Tom Yatsko
EDITOR:  Avi Youabian
COMPOSER:  John Debney

THRILLER/CRIME with elements of action

Starring:  Halle Berry, Abigail Breslin, Morris Chestnut, Michael Eklund, David Otunga, Michael Imperioli, Justina Machado, Jose Zuniga, Roma Maffia, Evie Louise Thompson, Denise Dowse, Ella Rae Peck, Jenna Lamia, and Ross Gallo

The Call is a 2013 thriller and crime film starring Halle Berry and Abigail Breslin.  The film follows a veteran 911 operator who takes an emergency call from a teenaged girl who has just been abducted.

The film focuses on Jordan Turner (Halle Berry), a Los Angeles Police Department (LAPD) veteran 9-1-1 operator.  One evening, Jordan takes a 911 call from Leah Templeton (Evie Louise Thompson), a frightened teenager, when tragedy strikes.  Six months later, Jordan is now a trainer of new 911 operators, when she is forced to become an operator again after an inexperienced operator takes a 911 call she cannot handle.  Back in a situation she had hoped to avoid, Jordan must help Casey Weldon (Abigail Breslin), a teen girl who has just been abducted.  As Jordan tries to work with Casey, she realizes that a terror from her past has unexpectedly returned.

After watching The Call, which I greatly enjoyed, I realized that Halle Berry is at her best as an actress when the characters she is playing are in a bad place.  When Halle’s characters are being menaced (Gothika) or when they are living life on the edge (Monster’s Ball), Halle has a hit movie or critically acclaimed film.  Well, The Call features Halle played both – a tormented woman seemingly living on the edge of sanity.  Jordan Turner is menaced by the fact that a teen girl has been abducted by a terrible human being, and she is living on the edge as guilt eats away at her professional life.

The Call received what can be described as mixed reviews, but it was a hit.  I am giving it a very good review, and it is a hit with me.  I can see myself watching this again – in its entirety or in parts – whenever it starts appearing on basic cable channels or on local over-the-air television.

Abigail Breslin is quite good as the victim, Casey Weldon, being hysterically frightened or righteously angry, whichever a particular scene requires.  Breslin does not come across as the typical “missing white girl,” pure fluffy innocence and absolute virginal whiteness.

The Call has some holes in the plot.  The characters make some wrongheaded decisions, even when not under duress.  You have to really suspend disbelief because you know real people might have made smarter choices.  The big hole, however, is the villain.  He’s like a crystal meth-addled version of Hannibal Lector, which makes The Call’s last act sometimes seem like a cheesy copy of the last act of Silence of the Lambs.

Still, this is mostly good stuff.  Like Taken, The Call is a compact and mean little thriller that is determined to punch the audience to attention.  Halle Berry needs to do movies like The Call more often.

7 of 10
B+

Sunday, September 01, 2013


The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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"We're the Millers" Crosses the $100 Million Mark

New Line Cinema’s “We’re the Millers” Cruises Past $100 Million at the Domestic Box Office

BURBANK, Calif.--(BUSINESS WIRE)--One of the most talked about hits of the summer, New Line Cinema’s “We’re the Millers” has surpassed $100 million at the domestic box office, it was announced today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures. The movie crossed the $100 million mark on Friday, August 30, and is still climbing.

The film has a staggered release pattern internationally, and the performance in the few early markets has been quite strong. Cumulative international box office is an estimated $33 million, with many territories yet to release, including such key markets as France, Italy, Spain, Mexico and Brazil.

In making the announcement, Fellman stated, “‘We’re the Millers’’ fake family is a genuine hit, and their hilarious road trip, combined with strong word of mouth, have been driving audiences to theaters across the country since its release. We expect this incredibly funny cast, led by Jennifer Aniston and Jason Sudeikis, to continue providing moviegoers with big laughs in the weeks to come.”

From New Line Cinema comes the action comedy “We’re the Millers,” starring Jennifer Aniston and Jason Sudeikis. The film is directed by Rawson Marshall Thurber.

David Clark (Sudeikis) is a small-time pot dealer whose clientele includes chefs and soccer moms, but no kids—after all, he has his scruples. So what could go wrong? Plenty. Preferring to keep a low profile for obvious reasons, he learns the hard way that no good deed goes unpunished when he tries to help out some local teens and winds up getting jumped by a trio of gutter punks. Stealing his stash and his cash, they leave him in major debt to his supplier, Brad (Ed Helms).

In order to wipe the slate clean—and maintain a clean bill of health—David must now become a big-time drug smuggler by bringing Brad’s latest shipment in from Mexico. Twisting the arms of his neighbors, cynical stripper Rose (Aniston) and wannabe customer Kenny (Will Poulter), as well as streetwise teen Casey (Emma Roberts), he devises a foolproof plan. One fake wife, two pretend kids and a huge, shiny RV later, the “Millers” are headed south of the border for a Fourth of July weekend that is sure to end with a bang.

Thurber directed “We’re the Millers” from a screenplay by Bob Fisher & Steve Faber and Sean Anders & John Morris, story by Fisher & Faber.

The film also stars Emma Roberts, Nick Offerman, Kathryn Hahn, Will Poulter and Ed Helms.

Vincent Newman, Tucker Tooley, Happy Walters and Chris Bender produced, with David Heyman, J.C. Spink, Marcus Viscidi, Toby Emmerich, Richard Brener and David Neustadter serving as executive producers.

Thurber’s behind-the-scenes creative team included director of photography Barry Peterson; production designer Clayton Hartley; editor Mike Sale; and costume designer Shay Cunliffe. The music is by Theodore Shapiro and Ludwig Goransson.

New Line Cinema presents a Newman/Tooley Films, Slap Happy Productions/Heyday Films and Benderspink production, “We’re the Millers.” The film is distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

“We’re the Millers” is rated R for “crude sexual content, pervasive language, drug material and brief graphic nudity.”

www.werethemillers.com

Negromancer (Won't Be) Labor (the) Day September 2013

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Review: "Rush Hour 2" Improves on the Original (Happy B'day, Chris Tucker)

TRASH IN MY EYE No. 113 (of 2007) by Leroy Douresseaux

Rush Hour 2 (2001)
Running time:  90 minutes (1 hour, 30 minutes)
MPAA – PG-13 for action violence, language, and some sexual content
DIRECTOR:  Brett Ratner
WRITER:  Jeff Nathanson (based upon the characters created by Ross LaManna)
PRODUCERS:  Roger Birnbaum, Jonathan Glickman, Arthur Sarkissian, and Jay Stern
CINEMATOGRAPHER:  Matthew F. Leonetti
EDITORS:  Mark Helfrich and Robert K. Lambert
COMPOSER:  Lalo Schifrin

COMEDY/ACTION/CRIME

Starring:  Jackie Chan, Chris Tucker, John Lone, Ziyi Zhang, Roselyn Sanchez, Harris Yulin, Alan King, Jeremy Piven, Saul Rubinek, and Gianni Russo with Don Cheadle

The subject of this movie review is Rush Hour 2, a crime comedy and action film from director Brett Ratner and starring Jackie Chan and Chris Tucker.  The film is a sequel to the 1998 film, Rush Hour.  In the new film, Chan’s Lee and Tucker’s Carter are on vacation in Hong Kong when they get caught up in a counterfeit money scam.

Chief Inspector Lee (Jackie Chan) is once again the foil for Detective James Carter (Chris Tucker) as Carter comes to Hong Kong on vacation and spends much time subjecting Lee to verbal barbs.  The rest and relaxation is cut short when an explosion kills two American agents.  Lee learns that this case may be tied to crime boss Ricky Tan (John Lone).

Tan is a former policeman and was the partner of Lee’s father until Tan betrayed him.  Lee and Carter follow the case back to Los Angeles, where they meet Isabella Molina (Roselyn Sanchez), a sexy customs agent.  Isabella informs them that Tan is part of an international scheme to launder 100 million dollars in counterfeit U.S. currency.  Lee and Carter head to Las Vegas, the epicenter of Tan’s scheme, for an explosive showdown.

Rush Hour 2 is Rush Hour, but with some improvements.  The screen chemistry between Jackie Chan and Chris Tucker, which was quite good in the first film, is even better this time around.  It’s as if three years haven’t passed between the first film and this one.  They have a near-flawless rhythm and flow, and their performances turn this flimsy joke of a crime plot into action/comedy gold.  Rush Hour 2 does have one big problem – there’s not enough of it.

7 of 10
B+

Thursday, August 09, 2007

Updated:  Saturday, August 31, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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"Pacific Rim" Has Over $400 Million in Worldwide Box Office

Warner Bros. Pictures and Legendary Pictures Pacific Rim Crosses $400 Million Worldwide

BURBANK, Calif.--(BUSINESS WIRE)--Guillermo del Toro’s widely praised action adventure “Pacific Rim” has crossed $400 million dollars at the worldwide box office, becoming the director’s highest grossing film ever. The announcement was made today by Veronika Kwan Vandenberg, President, International Distribution and Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures; and Legendary Pictures.

Internationally, “Pacific Rim” is still in release in a number of territories and has grossed $302 million thus far. In China alone, the film is the biggest of any Warner Bros. Pictures release ever and the fifth-biggest MPA film gross in China’s cinema history. The film’s record-breaking release in China also furthers Legendary’s growing presence in the territory.

“The worldwide performance of ‘Pacific Rim’ is a clear testament to the quality and originality of Guillermo’s world-building,” said Jon Jashni, President and Chief Creative Officer, Legendary Entertainment. “We are pleased that audiences continue to respond so passionately.”

“From Moscow to Beijing, ‘Pacific Rim’ has captivated critics and audiences alike in markets all over the world, and become a box office juggernaut,” Kwan Vandenberg said. “Congratulations to Guillermo, his cast and crew, and our partners at Legendary for this exciting benchmark.”

Fellman added, “Critics and early screening audiences were the first to love ‘Pacific Rim’ and it’s exciting to watch the whole world follow suit. We congratulate Guillermo and his team on both sides of the camera, as well as Legendary, for the tremendous success of this film around the globe.”

From acclaimed filmmaker Guillermo del Toro comes the sci-fi action adventure “Warner Bros. Pictures and Legendary Pictures Pacific Rim.”

When legions of monstrous creatures, known as Kaiju, started rising from the sea, a war began that would take millions of lives and consume humanity’s resources for years on end. To combat the giant Kaiju, a special type of weapon was devised: massive robots, called Jaegers, which are controlled simultaneously by two pilots whose minds are synched via a neural bridge, called “The Drift.” But as the enemy grows more powerful with each attack, even the Jaegers are proving nearly defenseless in the face of the relentless Kaiju.

On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes—a washed up former pilot (Charlie Hunnam) and an untested trainee (Rinko Kikuchi)—who are teamed to drive a seemingly obsolete Jaeger. Together, they stand as mankind’s last hope against the mounting apocalypse.

“Pacific Rim” stars Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Rob Kazinsky, Max Martini, Clifton Collins, Jr., Burn Gorman, and Ron Perlman.

Oscar® nominee Guillermo del Toro (“Pan’s Labyrinth”) directed the film from a screenplay by Travis Beacham and del Toro, story by Beacham. Thomas Tull, Jon Jashni, del Toro and Mary Parent produced the film, with Callum Greene serving as executive producer and Jillian Share Zaks co-producing.

Warner Bros. Pictures and Legendary Pictures present a Legendary Pictures/DDY Production, a Guillermo del Toro film. The film has been released in 2D and 3D in select theaters and IMAX®, and is being distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company. This film has been rated PG-13 for sequences of intense sci-fi action and violence throughout, and brief language.

pacificrimmovie.com

Review: Morgan Spurlock Made a Star Turn in "Super Size Me"

TRASH IN MY EYE No. 195 (of 2004) by Leroy Douresseaux

Super Size Me (2004)
Running time:  96 minutes (1 hour, 36 minutes)
MPAA – PG-13 for language, sex and drug references, and a graphic medical procedure
PRODUCER/WRITER/DIRECTOR:  Morgan Spurlock
CINEMATOGRAPHER:  Scott Ambrozy
EDITORS:  Stela Georgieva and Julie Bob Lombardi
Academy Award nominee

DOCUMENTARY - Food

Starring:  Morgan Spurlock, Bridget Bennett, Dr.Lisa Ganjhu, Dr. Daryl Isaacs, Alexandra Jamieson, and Dr. Stephen Siegel

Morgan Spurlock’s documentary Super Size Me dips into a controversial issue:  how much does the fast food industry contribute to America’s obesity “epidemic?”  The question is a national debate that usually centers on the personal responsibility of consumers versus the omnipresent advertising of producers and marketers of convenience foods and of fast food chains, in particular McDonald’s.

In the Super Size Me, Morgan Spurlock is the star, writer, producer, and director.  He, as the lead character (and he is indeed that in this film), eats McDonald’s food products three times a day for 30 days.  The experiment is more like a dangerous stunt, but it sheds more light on an important matter.  Over the course of the film, we get to watch Spurlock’s body and mental fitness literally change as he eats more and more of the poisonous (but surprisingly tasty) slop that is McDonald’s food products.

McDonald’s is an obvious choice, being that they are the biggest fast food chain in the world.  Many people automatically associate the corporation’s name with the term “fast food,” and the corporation is a lightening rod for media attention, something a documentary sorely needs.  Truthfully, few people eat three meals a day at McDonald’s, but many people eat there at least once a day (to which I can personally attest to knowing some) or at least once a week, which many nutritionists consider too often.  However, by going overboard by eating McDonald’s so often, Spurlock makes his point.

Super Size Me isn’t anti-McDonald’s, so much as Spurlock is speaking against the overwhelming marketing presence of the giant corporations that spend over a billion dollars a year in advertising.  His argument is partly that if adults must exercise personal responsibility, don’t fast food companies have any responsibility in selling food they know to be (to put it mildly) unhealthy.

In the end, the most important thing is whether or not Super Size Me works as a documentary.  The film takes an irreverent look at both obesity and at one of the main causes of obesity, fast food chains.  However, the film is a little light on expert testimony.  For all the doctors and nutritionists that appeared, it would be better if Spurlock had interviewed more historians and specialists on the effects of advertising on both adults and children.

Still, Spurlock made a very entertaining, a very informative, and ultimately very convincing film.  He’s is a great lead, very open and giving to both the camera and audience, and that helps to sell his Super Size Me.  If he didn’t give a lot of hard science, he certainly gave a hard reminder about how bad it is to eat too much crappy food.  Super Size Me does that in an engaging, informative, and hilarious way; that counts for a lot.

8 of 10
A

NOTES:
2004 Academy Awards:  1 nomination: “Best Documentary, Features” (Morgan Spurlock)

Updated:  Friday, August 30, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.