Review: "Starsky and Hutch" is Average Entertainment (Happy B'day, Snoop Dogg)

TRASH IN MY EYE No. 27 (of 2004) by Leroy Douresseaux

Starsky & Hutch (2004)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – PR-13 for drug content, sexual situations, partial nudity, language and some violence
DIRECTOR:  Todd Phillips
WRITERS:  John O’Brien, Scot Armstrong and Todd Phillips, from a story Steve Long and John O’Brien (based upon characters created by William Blinn)
PRODUCERS:  William Blinn, Stuart Cornfeld, Akiva Goldsman, Tony Ludwig, and Alan Riche
CINEMATOGRAPHER:  Barry Peterson (D.o.P.)
EDITOR:  Leslie Jones
COMPOSER:  Theodore Shapiro

COMEDY/CRIME with some elements of action

Starring:  Ben Stiller, Owen Wilson, Snoop Dogg, Fred Williamson, Vince Vaughn, Juliette Lewis, Jason Bateman, Amy Smart, Carmen Electra, George Cheung, Chris Penn, Patton Oswalt, Jenard Burks, The Bishop Don Magic Juan, and Paul Michael Glaser and David Soul

The subject of this movie review is Starsky & Hutch, a 2004 crime comedy from director Todd Phillips.  The film is based on the 1970s television series, Starsky & Hutch, a police drama-thriller that was created by William Blinn and was originally broadcast on the ABC television network from 1975 to 1979.  The film is a kind of prequel to the original television series.  Starsky & Hutch the movie follows two streetwise cops who fight crime in their red-and-white Ford Torino.

With my refined tastes, I should technically be repulsed by film remakes of 70’s television programs, but repulsed or otherwise, I’ll generally see them.  Still, I’d planned on seeing the controversial Mel Gibson Jesus movie, but it was sold out, and there was the poster for Starsky & Hutch staring me in the face.  Though I had to settle on something I hadn’t planned on seeing at the time, it didn’t really affect my enjoyment of Starsky and Hutch.  It’s a fairly funny film, but you wouldn’t have missed a cinematic event that must be seen on the big screen if you’d waited for home video or TV.

Set in a sort of anachronistic version of the 1970’s, S&H is the story of two streetwise detectives who form an unlikely partnership.  David Starsky (Ben Stiller) is an anal by-the-books guy, who actually does nothing but screw up, despite his attention to rules.  Ken “Hutch” Hutchinson (Owen Wilson) is a genial kind of guy, always hanging loose, but he is also the kind of cop who breaks the law when it suits him.  Hutch robs bookies for their loot, and he uses illegal drugs.  The mismatched pair gets on the nerves of their boss, Captain Dobey (Fred Williamson), relies on tips from an omniscient street informer, Huggy Bear (Snoop Dogg), and busts crime in Starksy’s 1974 red-and-white, souped-up Ford Torino.  Their first big case together involves a respectable businessman, Reese Feldman (Vince Vaughn), who may be a big time cocaine dealer.  However, Starsky and Hutch’s bumbling and lack of hard evidence dog their case every step of the way.

Starsky & Hutch has some extremely hilarious moments, not as many as, say, Scary Movie 3.  S&H is structured like SM3 in that S&H’s plot, story, and script are basically an elaborate, but dumb, blueprint to layout jokes.  S&H’s script is, however, nothing like the disaster of that was SM3’s script.  S&H also reminds me of another of director Todd Phillip’s hits, Old School (2003): lots of funny scenes, but ultimately a lame, by-the-book, Hollywood yuck fest that plays it way too safe.

This is also one of the times that Ben Stiller’s shtick, that of the angry, quick-tempered nerd, works for the film.  Owen Wilson is a great screen presence; the camera loves him, and the role of the amiable Hutch easily fits Owen’s usually warm and generous film persona.

I generally enjoyed this film’s deep tongue in the tongue-in-cheek mode.  Starsky and Hutch is not to be taken seriously, nor does the film try to make you do so.  The quasi-70’s setting is a hoot, at least early on, but the film’s period atmosphere eventually dissolves into mere background noise.  There should have been much more Snoop Dogg because he surprisingly has good screen presence.  Also, Will Ferrell’s (who doesn’t get a screen credit) riotous turn as Big Earl, a man in the county lockup with serious man crush issues, is certainly a reason to see this film, at home or in a theatre.

5 of 10
B-

NOTES:
2005 Razzie Awards:  2 nominations: “Worst Actor” (Ben Stiller) and “Worst Supporting Actress” (Carmen Electra)

Updated:  Sunday, October 20, 2013

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Review: "Team America: World Police" is Crazy, Smart and True (Happy B'day, Trey Parker)

TRASH IN MY EYE No. 209 (of 2004) by Leroy Douresseaux

Team America: World Police (2004)
Running time:  100 minutes (1 hour, 40 minutes)
MPAA – R for graphic, crude & sexual humor, violent images and strong language; all involving puppets
DIRECTOR:  Trey Parker
WRITERS:  Pam Brady, Matt Stone and Trey Parker
PRODUCERS:  Scott Rudin, Matt Stone, and Trey Parker
CINEMATOGRAPHER:  Bill Pope, A.S.C. (D.o.P.)
EDITOR:  Thomas M. Vogt
COMPOSER:  Harry Gregson-Williams

COMEDY/ACTION/ADVENTURE

Starring:  (voices) Trey Parker, Matt Stone, Kristen Miller, Masasa, Daran Norris, Phil Hendrie, Maurice LaMarche, and Paul Louis

The subject of this movie review is Team America: World Police, a 2004 satirical comedy film from the team of Trey Parker and Matt Stone, the creators of the long-running animated series, “South Park.”  The film’s cast is composed of marionettes (puppets) instead of live actors.  Team America: World Police follows a popular Broadway actor who is recruited by an elite counter-terrorism organization to help stop a dictator who is plotting global terror attacks.

Team America: World Police may be 2004’s funniest film.  Some may consider it the most obnoxious and crass movie of the year, especially after viewing the graphic puppet “sex scene.”  It will certainly go down as one of the most outrageous movies not made by John Waters.  It’s a wonderful send up of action movies, especially as those made by super-producer Jerry Bruckheimer, and the hilarious characters that populate them.  Even the musical scores to Bruckheimer films get it up the butt and in the mouth from this movie.  It’s also a wicked satire of American military aggression and the celebrities who protest it.  However, as good as the film is (and it’s quite good), Team America: World Police frequently falls on its own spear.

Team America is an international police force dedicated to maintaining global security.  And they’re also marionettes; you may best remember marionettes as those puppets on the venerable British TV children’s series, “Thunderbirds.”  Team America’s latest mission takes them to Paris, France, where they fight a handful of terrorists with WMD’s, also known as weapons of mass destruction.  Team America also manages to destroy Paris’ most famous landmarks, and also loose a team member to a terrorist’s bullets.

Team America’s leader, Spottswoode, a gray-headed, older, distinguished gentleman, recruits a young Broadway actor named Gary to replace the fallen comrade.  Spottswoode thinks that Gary will make the perfect spy because in college he was a double major in theatre and world languages.  The other Team America members:  Lisa, Sarah, Chris, and Joe, are wary at first, but they back him up on their first mission to Cairo to infiltrate a band of Islamic fundamentalists with WMD’s.

There is however a larger crisis looming.  Power-mad dictator Kim Jong Il of North Korea has planned a series of simultaneous global terror attacks – imagine 9/11 times 2356.  He’s convinced the Hollywood Film Actors Guild, or F.A.G., and their leader, actor Alec Baldwin, to support a conference in North Korea in which all world leaders will attend.  The conference is merely a cover for the launch of the worldwide terror strikes, which will occur while Baldwin gives his peacenik keynote speech.  Can Team America stop Kim Jong Il…and the actors?

Team America: World Police is the second major studio film from Trey Parker and Matt Stone, the creators of the uproarious and bawdy animated program, “South Park,” on Comedy Central.  Team America, on one hand, is a delightful and loving send up of “Thunderbirds” and the other puppet marionette shows produced by England’s Century 21.  On the other hand, the film is mostly a vicious and brutal satire of the contemporary American political landscape and American self-righteousness.  The use of marionettes instead of actors greatly takes the sense of people getting made fun of to a level that human actors couldn’t go.

Parker/Stone use clever dialogue, over-the-top violence, and hyper-patriotic songs to skewer heavy-handed U.S. military offenses, strikes, and pre-emptive attacks on international locales.  They also use marionettes that closely resemble well known Hollywood and celebrities that protest U.S. military action.  The marionettes, in some cases, barely look like the stars that they’re supposed to resemble; in some cases the resemblance is just close enough not to get the filmmakers sued.  Still, it works enough so that such stars as Alec Baldwin, Tim Robbins, Michael Moore, Susan Sarandon, Matt Damon, Helen Hunt and others are mercilessly lampooned.

But is the movie good?  The answer is a resounding yes; it’s one of the funniest films I’ve seen in years.  However, it is mean-spirited, graphic, obnoxious, brutal, vicious, vulgar, filthy, foul, nasty, rank, etc.  Sometimes, I had a hard time believing that Parker and Stone were going so far in their satire and humor.  Still, they’re not frat boys out of control; every joke and satirical comment and farcical moment seems well conceived.

Team America: World Police, in the end, takes the side of the “good guys,” but Parker and Stone obviously only trust them a little more than the “bad guys.”  They insist that even the protagonists be viewed with a wary eye, so in the end, it’s as if they question that anyone can be trusted.  Fighting assholes who want to kill everyone is a dirty job, and the heroes and their charges may not be “all that” themselves.  Team America: World Police is not perfect, but it’s the work of frankly honest and only barely inhibited filmmakers.  That’s refreshing when “looking good” is so important these days.

8 of 10
A

Updated:  Saturday, October 19, 2013

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

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Review: "Idiocracy" is Brilliant and Prophetic (Happy B'day, Mike Judge)

TRASH IN MY EYE No. 16 (of 2007) by Leroy Douresseaux

Idiocracy (2006)
Running time:  84 minutes (1 hour, 24 minutes)
MPAA – R for language and sex-related humor
DIRECTOR:  Mike Judge
WRITERS:  Mike Judge and Etan Cohen; from a story by Mike Judge
PRODUCERS:  Mike Judge and Elysa Koplovitz
CINEMATOGRAPHER:  Tim Suhrstedt
EDITOR:  David Rennie
COMPOSER:  Theodore Shapiro

COMEDY/SCI-FI

Starring:  Luke Wilson, Maya Rudolph, Dax Shepard, Terry Alan Crews, Anthony Campos, David Herman, and Brad “Scarface” Jordan

The subject of this movie review is Idiocracy, a 2006 science fiction and satirical comedy film from writer-director, Mike Judge (Office Space).  The film focuses on an “average American” who awakens from a hibernation project five centuries in the future, where he discovers a society that is so incredibly dumbed-down that he is easily the most intelligent person alive.

Idiocracy was essentially produced and abandoned.  20th Century Fox released the film to an estimated 130 theatres – much less than 600 theatres, the number that is usually considered the minimum for a film to be in wide release.  Fox also did little in the way of promotion, and did not screen the movie for film critics.

To test its top secret Human Hibernation Project, U.S. Army officials chose the most average American male they can find, an Army private named Joe Bauers (Luke Wilson).  The most average woman they find is Rita (Maya Rudolph), a prostitute.  Joe and Rita are only supposed to stay in hibernation for one year, but they are forgotten and reawaken 500 years later.  They find civilization so incredibly dumbed-down that they are the smartest people on earth.  The President of the United States of Uhh-merica, Dwayne Elizondo Camacho (Terry Alan Crews), a former professional wrestler, wants Joe to solve the country’s problems (chiefly crop failures), or Camacho will have him rehabilitated – meaning killed.

Idiocracy is director Mike Judge’s long-awaited follow up to his cult hit, Office Space.  Judge is also the creator of the popular animated television series “Beavis and Butt-head” (for MTV) and, co-creator with Greg Daniels of  “King of the Hill” (for FOX).  In this comic sci-fi flick, Judge and his co-screenwriter Etan Cohen transport the audience to a satirical future populated by dumb humans who do nothing but watch TV and who are too dumb to irrigate their crops with water (using instead a sports drink).

Watching this movie, it would not be hard to get the idea that Judge and his creative staff are being unnecessarily cynical, especially when one of the film’s tenets is that dumb people (rednecks, trailer trash, hood rats, etc.) breed too much, while smart people don’t have enough babies.  An underemployed man who lives in poverty and has many children with two or more baby mamas isn’t necessarily dumb, nor are his offspring destined to be big dummies.  To fixate on this, however, would be to take an anal view of the film.  Besides, like much satire, Judge’s Idiocracy is preaching to the choir.

Combine genetic devolution with a populace enslaved to crass media that sells rampant commercialism and entertainment that emphasizes hypersexuality, and you might have a primary ingredient for a dystopian future, even if it isn’t as comically inept as the one presented here.  Judge is trying to make a point about an America where so many people are stubbornly uncurious about their world, the people who live in it, and how their actions affect anyone beyond themselves and maybe the small circle of people around them.  Yet those same people slavishly fixate on the habits and lifestyles of celebrities and assorted public figures.  Judge smartly makes his point with outrageous humor, and truthfully, the film isn’t elitist, it’s just relentlessly and unapologetically funny about making fun of and satirizing its targets.

Luke Wilson is great as a sort of nobody everyman.  He’s the kind of average Joe who tends his little patch of green earth while the rest of the world is engaged in a rat race.  In Wilson’s quiet but well-played role as someone who just doesn’t want to make waves, Judge has the perfect character by which to offer as a contrast to a world of people who are nothing but spoiled dumb children.  They want to be fed, entertained, and pleasured, but they don’t care to clean up after themselves and are too lazy to earn their treats.  Before I make Idiocracy sound like a school lesson, it’s easily one of the year’s funniest flicks.  Referencing Mad Max, 1984, Planet of the Apes, Soylent Green, and other classic cautionary speculative, science fiction, this is the gold standard in satirical comedies.

9 of 10
A+

Sunday, January 21, 2007

Updated:  Thursday, October 17, 2013

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

Fourth Season Debut of "The Walking Dead" Sets Series Record

AMC’s The Walking Dead Returns with Highest-Rated Episode in Series History, 16.1 Million Viewers and 10.4 Million Adults 18-49

Premiere Ratings Confirm The Walking Dead Continues to Be the #1 Show on Television across All Cable and Broadcast Networks

Last Night’s Premiere of The Walking Dead is the #1 Telecast among Adults 18-49 This Broadcast Season Including Sports

Talking Dead Aftershow Also Hits Premiere High, with 5.1 Million Total Viewers and 3.3 Million Adults 18-49

NEW YORK--(BUSINESS WIRE)--AMC’s The Walking Dead returned last night for its fourth season, delivering the highest ratings of any episode in series history. The season four premiere was watched by 16.1 million total viewers and 10.4 million adults aged 18-49. Last night’s ratings confirm The Walking Dead continues to be the #1 show on all of television among the coveted 18-49 demographic. 2013/14 season to date, last night’s premiere ranks as the #1 telecast in adults 18-49, outperforming all programs including primetime NFL football. With time-shifted playback, last night's premiere should exceed 20 million viewers.

“Sincere thanks to the fans, who have welcomed The Walking Dead back for its fourth season with the highest-rated episode in the show's history,” said AMC President Charlie Collier. “We could not be more proud of this show and everyone on both sides of the camera who work so hard to give life to this story of character, leadership and survival. It starts with series creator, writer and executive producer Robert Kirkman, show runner and executive producer Scott Gimple and the director of last night’s episode (and the man behind the make-up) executive producer Greg Nicotero, their fellow executive producers and an extraordinary cast and crew who are giving their all every day. So clearly, thanks to them, the dead have never been more alive.”

The previous record for an episode of The Walking Dead was 12.4 million total viewers and 8.1 million viewers 18-49 for the season three finale.

Following the 9 pm premiere of The Walking Dead, AMC premiered the third season of Talking Dead at 10 pm, it became the most viewed premiere in series history with 5.1 million viewers, including 3.3 million adults aged 18-49. Hosted by Chris Hardwick, Talking Dead features Hardwick and fans, actors, producers and other TV enthusiasts, discussing and dissecting that night’s Dead premiere. The premiere episode featured guests including executive producer and showrunner Scott Gimple and Nathan Fillion of Castle.

Key Nielsen Highlights for the season four premiere of The Walking Dead

9 pm airing – 8.1 HH rating with 16.1 million viewers
9 pm airing – 8.2 HH rating with 10.4 million Adults 18-49
9 pm airing – 7.3 HH rating with 8.8 million Adults 25-54
Key Nielsen Highlights for the season three premiere of Talking Dead

10 pm airing – 2.7 HH rating with 5.1 million viewers
10 pm airing – 2.6 HH rating with 3.3 million Adults 18-49
10 pm airing – 2.5 HH rating with 3.0 million Adults 25-54
Source: Nielsen Media Research fast nationals (US ratings), L+SD 10/13/13, broadcast season 9/23/13 – current.

The return of The Walking Dead dominated TV-related social media activity. In the opening minute of the East coast premiere, viewers posted 39,994 Tweets about the show, representing 88% of all television-related Tweets. The premiere telecast garnered a total of 1,171,994 Tweets from 570,148 unique authors. The Walking Dead was also the #1 program for the day in TV-related social media activity, including the premiere and seven previous episodes that ran during a catch-up marathon on AMC, with the most unique authors. On Facebook, more than 5 million users had more than 9.3 million interactions related to The Walking Dead premiere. Twitter data from SocialGuide, Facebook data from Facebook.

About AMC
Whether commemorating favorite films from every genre and decade or creating acclaimed original programming, AMC brings to its audience something deeper, something richer, Something More. The network reigns as the only cable network in history ever to win the Emmy® Award for Outstanding Drama Series four years in a row, five out of the last six years, and boasts the most-watched drama series in basic cable history with The Walking Dead. AMC’s original drama series include Mad Men, Breaking Bad, Hell on Wheels and Low Winter Sun. The network recent greenlit two new drama series, working titles Halt & Catch Fire and Turn, both of which will be premiering in 2014. AMC also explores authentic worlds with bold characters through its slate of unscripted original series like Comic Book Men, Small Town Security, Talking Dead, Talking Bad and Freakshow. AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, Sundance Channel, and WE tv. AMC is available across all platforms, including on-air, online, on demand and mobile. AMC: Something More.

Review: "After Earth" Offers a World of Thrilling Adventure

TRASH IN MY EYE No. 70 (of 2013) by Leroy Douresseaux

After Earth (2013)
Running time:  100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for sci-fi action violence and some disturbing images
DIRECTOR:  M. Night Shyamalan
WRITERS:  Gary Whitta and M. Night Shyamalan; from a story by Will Smith
PRODUCERS:  James Lassiter, Jada Pinkett Smith, Caleeb Pinkett, and Will Smith
CINEMATOGRAPHER:  Peter Suschitzky
EDITOR:  Steven Rosenblum
COMPOSER:  James Newton Howard

SCI-FI/ADVENTURE/DRAMA/THRILLER

Starring:  Jaden Smith, Will Smith, Sophie Okonedo, Zoe Isabella Kravitz, Glenn Morshower, and Jaden Martin

It was panned by critics, and it was a box office disappointment – some would even say a box office bomb.  However, I liked it.  I liked it a lot more than I thought I would.  It is about as good as I had hoped it would be when I first heard about it.

I am talking about After Earth, the 2013 futuristic science fiction adventure-survival film from director M. Night Shyamalan.  The film follows a teen boy who must embark on a perilous journey across a hostile future Earth in order to save himself and his father.

After Earth takes place 1,000 years after the human race had to abandon Earth because of an environmental cataclysm.  Humanity eventually settles on a new world called Nova Prime.  That settlement brings humanity into conflict with the S’krell, an alien race that wants to conquer Nova Prime.  The S’krell’s secret weapon are the Ursa, large, blind, predatory creatures that hunts humanity by “smelling” human fear.  Humanity is saved by The Ranger Corps, in particular, the legendary General Cypher Raige (Will Smith), who developed the technique that allows humans to successfully fight the Ursa.

The heroic Cypher, however, does not have a successful relationship with his son, Kitai Raige (Jaden Smith).  They plan a trip together, but an unexpected event strands them on Earth, a now-quarantined planet.  With Cypher gravely wounded, Kitai must locate a distress signal beacon, but to do that, he must travel cross terrain in which many plants, animals, and the climate are lethal to humans.

There are moments in After Earth, when Will and Jaden’s acting is suspect, but for the most part, they make their respective characters’ bonds and conflicts seem genuine.  As Kitai, Jaden’s fear is palatable, and his anger, grief, and disappointed are authentic within the context of his story.  I think some critics’ complaints of nepotism regarding this father-son acting team, specifically as it relates to After Earth, are dishonest.  Fathers and sons have been appearing together in film for decades.  What makes the Smiths so different that they are the target of such derision and resentment?

I also think that the way some critics are always out to attack director M. Night Shyamalan has gotten out of hand.  He does an excellent job with After Earth, especially with a young actor like Jaden.  Shyamalan creates a taut, riveting journey that begins generating a sense of impending doom from the time the Raiges leave Nova Prime to the final frames of the film.  Whatever people might say about him, Shyamalan is the master of the gripping narrative, and he does some gripping with After Earth.

Worthy of note are two excellent supporting performances by Sophie Okonedo and Zoe Isabella Kravitz, especially the latter.  Zoe is award-nomination worthy in her After Earth part, and it is a shame she does not appear in more films.

Visually, After Earth is a beautiful film, and its science fiction and futuristic concepts (such as the dialect spoken in the film) are inventive and interesting.  James Newton Howard’s score is soaring and emotional; the perfect music for a film that is both an epic adventure and a tale of a ragged relationship between an estranged father and his son.

Bravo!  I understand that After Earth is the first of a planned trilogy.  If the second and third movies could be as good as the first, I hope that they are produced, despite this film’s box office results.  Regardless of hyped box office expectations and of the politics of film critics and their resentments and prejudices, After Earth is a movie spectacular.  This is a classic tale of man vs. nature, of man vs. himself, and of man vs. his dad who has way-high expectations.  After Earth will stand the test of time.

8 of 10
A

Monday, October 14, 2013

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

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"Gravity" Soars Past $100 Mil in Worldwide Box Office

Warner Bros. Pictures’ “Gravity” Has Fast Climb to $100 Million Worldwide

Alfonso Cuarón’s dramatic thriller, starring Sandra Bullock and George Clooney, soars with critics and audiences around the world

BURBANK, Calif.--(BUSINESS WIRE)--Only five days after its record-breaking launch, Warner Bros. Pictures’ “Gravity” has flown past $100 million at the worldwide box office. The film has earned an estimated $68.5 million domestically and $35.8 internationally for a global total to date of $104.3 million. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

Following weeks of enthusiastic critical acclaim and huge anticipation from moviegoers, the Alfonso Cuarón-directed dramatic thriller exceeded all expectations on its opening weekend. Taking in $55.8 million domestically, “Gravity” broke a number of box office records, including those for the biggest October opening for any film, the largest IMAX opening in October ($11.8 million), and the highest opening weekend ever for stars Sandra Bullock and George Clooney.

In making the announcement, Fellman stated, “We are all thrilled by this start—from the tremendous critical acclaim to the fantastic response from audiences. Alfonso Cuarón and his brilliant collaborators crafted a groundbreaking film that succeeds on every level, both creatively and commercially. Word of mouth has been amazing and we expect it only to grow, keeping ‘Gravity’ strong at the box office in the weeks and months ahead.”

Kwan Vandenberg noted, “‘Gravity’ is a riveting and relatable human drama that has struck a chord with moviegoers in countries around the globe. We are excited by these numbers and know this is just the beginning, with much-anticipated openings coming up in major markets such as the UK, France, Japan, Korea, Brazil and Mexico.”

Sue Kroll, Warner Bros. Pictures President, Worldwide Marketing and International Distribution, said, “The buzz on ‘Gravity’ began building when we unveiled the film at the Venice and Toronto Film Festivals. Critical raves and screening audience reactions reinforced what we already knew—that the combination of thrilling drama, breathtaking visuals, and powerful performances made this a film that had to be experienced on the big screen.” President of Worldwide Production Greg Silverman added, “Sue and I join everyone at Warner Bros. in congratulating Alfonso Cuarón, producer David Heyman, screenwriter Jonás Cuarón, Sandra Bullock and George Clooney, and all the other talented artists who worked to make ‘Gravity’ an unequivocal cinematic achievement.”

Academy Award® winners Sandra Bullock (“The Blind Side”) and George Clooney (“Syriana”) star in “Gravity,” a heart-pounding thriller that pulls you into the infinite and unforgiving realm of deep space. The film was directed by Oscar® nominee Alfonso Cuarón (“Children of Men”).

Dr. Ryan Stone (Bullock) is a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalski (Clooney) in command. But on a seemingly routine mission, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalski completely alone—tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth…and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left.

But the only way home may be to go further out into the terrifying expanse of space.

“Gravity” was written by Alfonso Cuarón & Jonás Cuarón, and produced by Alfonso Cuarón and David Heyman (the “Harry Potter” films). Chris deFaria, Nikki Penny and Stephen Jones served as executive producers.

The behind-the-scenes team includes multiple Oscar®-nominated director of photography Emmanuel Lubezki (“Children of Men,” “The New World”); production designer Andy Nicholson (art director “Alice in Wonderland”); editors Alfonso Cuarón and Mark Sanger (VFX editor “Children of Men”); and costume designer Jany Temime (the “Harry Potter” films). The visual effects were handled by Oscar®-nominated visual effects supervisor Tim Webber (“The Dark Knight”). The music was composed by Steven Price (“Attack the Block”).

Warner Bros. Pictures Presents an Esperanto Filmoj/Heyday Films Production, an Alfonso Cuarón Film, “Gravity.” The film will be released in 3D and 2D and IMAX®, and will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment company. This film has been rated PG-13 for intense perilous sequences, some disturbing images and brief strong language.

gravitymovie.com

Review: The "Candyman" Can... Still Scare

TRASH IN MY EYE No. 132 (of 2005) by Leroy Douresseaux

Candyman (1992)
Running time:  98 minutes (1 hour, 38 minutes)
MPAA – R
DIRECTOR:  Bernard Rose
WRITER:  Bernard Rose (based upon the story “The Forbidden” by Clive Barker)
PRODUCERS:  Steve Golin, Sigurjon Sighvatsson, and Alan Poul
CINEMATOGRAPHER:  Anthony B. Richmond, B.S.C.
EDITOR:  Dan Rae
COMPOSER:  Philip Glass

HORROR/THRILLER with elements of fantasy and mystery

Starring:  Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons, Vanessa Williams, and DeJuan Guy

The subject of this movie review is Candyman, a 1992 horror film from director Bernard Rose.  The film is an adaptation of “The Forbidden,” a short story by Clive Barker that first appeared in Barker’s short story collection, Books of Blood Volume 5 (published in the United States as In the Flesh).  Candyman tells the story of a grad student who is skeptical of stories about a local boogeyman until the boogeyman attacks her.

Stand in front of a mirror and say his name five times, and Candyman (Tony Todd) will appear behind you.  When someone calls his name, Candyman usually arrives to gut his caller from groin to gullet, but it’s all a children’s ghost story – an urban legend to scare the simpleminded.  That’s what Helen Lyle (Virginia Madsen), a Chicago-based graduate student, believes when she comes across the tale of Candyman while doing research for her thesis on modern folklore.

However, when she hears that Candyman haunts Chicago’s notorious Cabrini Green projects, Helen thinks that she has a new angle for the thesis upon which she is working with her partner, Bernadette “Bernie” Walsh (Kasi Lemmons).  Still, Helen can’t really accept that Candyman exists.  Her actions and investigations also lead to an arrest that seems to put the Candyman tales to rest… until the legend himself appears and ignites a series of gruesome and bloody murders for which Helen gets the blame.

Thirteen years before earning the Oscar nomination that would revive her career (for 2004’s Sideways), Virginia Madsen was a scream queen – the heroine in a now-cult favorite horror movie entitled Candyman.  Based upon legendary horror/fantasy writer, Clive Barker’s, tale “The Forbidden,” Candyman took the unusual narrative approach that the final result of the film had to be that the heroine, in this case Helen Lyle, die in order to save the day.  Not only is Helen fighting a monster, but she’s also fighting a story that wants her dead.  Madsen was perfect as the doe-eyed beauty who swoons from one scene to the next, her plump, semi-Rubenesque body awaiting the fearsome savagery of Candyman’s hook.

Writer/director Bernard Rose (who would go on to direct Immortal Beloved, with Gary Oldman) moved the action from the housing projects of Liverpool, the original setting of Barker’s tale, to Chicago’s then-40-year old, decaying housing projects, Cabrini Green.  Rose’s choice was an excellent one, as he was able to make Cabrini an even more darkly mysterious setting for chills and thrills as good as any haunted house.  Rose makes the first half of the film a quietly, chilling suspense thriller, but he transforms the second half of the film into a dreamy and trippy dark horror/fantasy that only stumbles a little as it waltzes to the end.

The film also features a small role by Kasi Lemmons, who would make a name for herself in Hollywood as both a script doctor and as a director with the acclaimed, independent film hit, Eve’s Bayou.  Tony Todd became something of a horror movie/sci-fi cult actor (kinda like Bruce Campbell) appearing in episodes of “Stargate:  SG-1,” “Star Trek: The Next Generation” and “Star Trek:  Deep Space Nine” and also in the Final Destination horror film franchise.  Here, Ms. Madsen, Ms. Lemmons, Todd, and Rose put together a small, mesmerizing horror treat that bears many repeat viewings.

7 of 10
B+

Monday, August 22, 2005

Updated:  Sunday, October 13, 2013

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