Review: "The Matrix Revolutions" is the Good with the Bad

TRASH IN MY EYE No. 164 (of 2003) by Leroy Douresseaux

The Matrix Revolutions (2003)
Running time:  129 minutes (2 hours, nine minutes)
MPAA – R for sci-fi violence and brief sexual content
WRITERS/DIRECTORS:  The Wachowski Brothers
PRODUCER:  Joel Silver
CINEMATOGRAPHER:  Bill Pope (D.o.P.)
EDITOR:  Zach Staenberg
COMPOSER:  Don Davis

SCI-FI/ACTION/THRILLER

Starring:  Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett-Smith, Collin Chou, Mary Alice, Tanveer Atwal, Helmut Bakaitas, Monica Bellucci, Nona M. Gaye, Nathaniel Lees, Harold Perrineau, Bruce Spense, Lambert Wilson, and Anthony Zerbe

The subject of this movie review is The Matrix Revolutions, a 2003 science fiction action movie from filmmaker siblings Andy and Larry (now Lana) Wachowski.  It is the third film in The Matrix film franchise, and it is both a direct sequel and continuation of The Matrix Reloaded, which was released six months earlier.  The Matrix Revolutions focuses on two main plots:  the attempt by the human city of Zion to defend itself against a massive invasion of machines and also Neo’s fight to end the human-machine war by battling the rogue Agent Smith.

The Matrix Revolutions end The Matrix trilogy not with a bang but with a whimper, a dud, and a plop.  It’s largely a bore, and, while not as talky as the first, the film drags like a wet rag when it does try to be all philosophical.  Like Once Upon a Time in Mexico, The Matrix Revolutions is an average, meandering, dull film made by very talented filmmakers who know how to use all kinds of gadgets to make movies, but can’t tell a good story.  TMR tries to resolve all the plotlines, while cheekily leaving just enough unresolved to suggest that it is a never-ending story or, at least, that there will be more movies born of this immense cash cow.

The machines finally invade Zion, and human inhabitants of the underground sanctuary are wildly overmatched.  Meanwhile, Neo (Keanu Reeves) not only has to battle Agent Smith (Hugo Weaving), who has become a self-replicating virus that is rapidly taking over the Matrix, but Neo also has to travel to the Machine City and make a peace deal with the machine central intelligence.  The Oracle (played by Mary Alice, as the original, Gloria Foster, died during filming of the second film), an important (but minor character), plays a larger role in Revolutions as she tries to save the Matrix from all the various rival programs that are attempting to have their own way in the artificial construct into which most of humanity is jacked.

Press for the film is telling audiences that The Matrix Reloaded was about life and that this last film Revolutions is about death.  There is death here, but it’s mostly in a lame script and poorly executed concept.  The ideas behind The Matrix are grand and interesting.  The writer/directors Larry and Andy Wachowski, however, just don’t always know quite how to find that straight line that goes from concept to final product.

Revolutions is dry and slow, and the mish mash stew of Eastern philosophy and computer jargon is tasteless.  The cinematography by Bill Pope is lush a landscape of rich and sexy, dark watercolors.  The battle between the humans and sentinels in Zion is a spectacular blend of CGI, bravura editing, and human emoting that might not have viewers comparing it to the battles in Braveheart or Saving Private Ryan, but those familiar with video games will recognize this as the most awesome sci-fi battle put on film to date.  The leather bar segment and the final duel between Neo and Agent Smith are also fairly spectacular.

If anything, we can always remember The Matrix films for their groundbreaking and mind bending visual effects.  There truly is no doubt that these films are three of the most important movies films in advancing the technology and craft of movie making.

If you’ve seen the other two, there’s no point in not finishing this.  The Matrix Revolutions, however, is a mediocre movie.  The surface pyrotechnics are just fine, but the meat and bones of the film – the story, is weak and lousy; in the end, this is not a tale, but a collection of cool scenes that would be right at home in a video game.

This is the film result of two indulgent filmmakers who needed to be reigned in before their egos and unchecked imaginations went wild and made crap.  Sometimes, someone, even a studio executive – a suit, needs to harness the madness of young filmmakers.  They owe the audience that much.  It’s not at all acceptable that the price of admission buys the messy product of two directors who needed to take their fantasy back to the drawing board one more time.

5 of 10
C+

NOTES:
2004 Black Reel Awards:  1 nomination: “Film: Best Supporting Actress” (Mary Alice)

2004 Image Awards:  3 nominations: “Outstanding Actor in a Motion Picture” (Laurence Fishburne), “Outstanding Supporting Actress in a Motion Picture” (Nona Gaye), and “Outstanding Supporting Actress in a Motion Picture” (Jada Pinkett Smith)

2004 Razzie Awards:  1 nomination: “Worst Director” (Andy Wachowski and Larry Wachowski for The Matrix Reloaded)

Updated:  Thursday, November 07, 2013

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

19 Films Compete for "Best Animated Feature" 2014 Oscar Nods

19 Animated Features Submitted For 2013 Oscar® Race

BEVERLY HILLS, CA — Nineteen features have been submitted for consideration in the Animated Feature Film category for the 86th Academy Awards®.

The 19 submitted features, listed in alphabetical order, are:

“Cloudy with a Chance of Meatballs 2”
“The Croods”
“Despicable Me 2”
“Epic”
“Ernest and Celestine”
“The Fake”
“Free Birds“
“Frozen”
“Khumba”
“The Legend of Sarila”
“A Letter to Momo”
“Monsters University”
“O Apóstolo”
“Planes”
“Puella Magi Madoka Magica the Movie – Rebellion”
“Rio: 2096 A Story of Love and Fury”
“The Smurfs 2”
“Turbo”
“The Wind Rises”

Several of the films have not yet had their required Los Angeles qualifying runs. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated.

Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.

The 86th Academy Awards nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network. The presentation also will be televised live in more than 225 countries and territories worldwide.

Review: Suspenseful "Taking Lives" is Also Predictable (Happy B'day, Ethan Hawke)

TRASH IN MY EYE No. 36 (of 2004) by Leroy Douresseaux

Taking Lives (2004)
Running time:  103 minutes (1 hour, 43 minutes)
MPAA – R for strong violence including disturbing images, language and some sexuality
DIRECTOR:  D.J. Caruso
WRITER:  Jon Bokenkamp, from a screenstory by Jon Bokenkamp (based upon the novel by Michael Pye)
PRODUCER:  Mark Canton and Bernie Goldmann
CINEMATOGRAPHER:  Amir Mokri (D.o.P.)
EDITOR:  Anne V. Coates
COMPOSER:  Philip Glass

CRIME/MYSTERY/THRILLER with elements of action and drama

Starring:  Angelina Jolie, Ethan Hawke, Kiefer Sutherland, Gena Rowlands, Olivier Martinez, Tchéky Karyo, Jean-Hughes Anglade, and Paul Dano

The subject of this movie review is Taking Lives, a 2004 psychological thriller from director D.J. Caruso.  The film is loosely based on the novel, Taking Lives, a thriller written by Michael Pye and first published in 1999.  Taking Lives the movie focuses on an FBI profiler who is called in by French Canadian police in order to help them catch a serial killer that takes on the identity of each new victim.

Have modern film audiences seen everything?  Are they too jaded?  Sometimes I think they are, and sometimes I don’t.  Still, if films like Taking Lives are any indication, someone thinks film audiences, if they haven’t seen it all, have seen a lot.  Perhaps, a directors and screenwriters feel impelled to employ every twist and turn of a plot or story to shock the audiences into thinking, “Gee, I’ve never seen that before!”

In Taking Lives, Angelina Jolie is Illeana, an FBI profiler on loan to the French Canadian police in Montreal.  She is trying to track a serial killer who takes on the identity of each new victim.  When the police turn up Costa (Ethan Hawke), an alleged witness to one of the killer’s crimes, Illeana has an important lead in finding the illusive murderer, but when she begins to have strong feelings for Costa, she ends up getting dangerously closer to the mystery killer than she ever intended.

The film is competently directed, enough so to make it a standard and maybe a bit clunky, by-the-book thriller.  The acting is somewhat suspect.  In some scenes, Ms. Jolie hits her stride and without a word of dialogue, she’s able to transform Illeana from the typical, cardboard cutout FBI girl detective into a serious investigator with creepy insight into the mind of a psycho killer.  At other moments, her performance is pedestrian, and the only thing left for the viewer is to enjoy her beauty and admire those magical lips.

Taking Lives has some genuinely suspenseful and terrifying moments, but early in the film it starts to be a little too obvious who the killer really is and everything else becomes poorly disguised red herrings.  Taking Lives isn’t all that bad; it’s actually quite intriguing in a few places.  However, it’s not necessarily worth a trip to the theatre, but it’ll probably make a fairly decent rental.

5 of 10
C+

Updated:  Wednesday, November 06, 2013

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

Review: "Free Angela and All Political Prisoners" Reveals Angela Davis

TRASH IN MY EYE No. 74 (of 2013) by Leroy Douresseaux

Free Angela and All Political Prisoners (2012)
Running time:  102 minutes (1 hour, 42 minutes)
WRITER/DIRECTOR:  Shola Lynch
PRODUCERS:  Carole Lambert, Shola Lynch, Carine Ruszniewski, and Sidra Smith
CINEMATOGRAPHERS:  Sandi Sissel and Bradford Young
EDITORS:  Lewis Erskine and Marion Monnier with Sheila Shirazi
COMPOSER:  Vernon Reid

DOCUMENTARY – History, Politics, Crime

Starring:  Angela Davis, Leo Branton, Deacon Alexander, Bettina Apthecker, Judge Richard E. Arnason, Lowell Berman, Margaret Burnham, Earl Caldwell, Elisabeth Coleman, Fania Davis, Robert McCartin, Stephen Shames, and Doris Walker

Free Angela and All Political Prisoners is a 2012 documentary film from writer-director Shola Lynch.  The film focuses on a young college professor named Angela Davis and how her social activism led to her being implicated in a botched kidnapping and being placed on the FBI’s 10 most wanted list.

The film opened at the 2012 Toronto International Film Festival, and made its theatrical debut in the United States in April 2013.  Free Angela and All Political Prisoners gained some notice because director Shola Lynch received financial backing to make the movie from actress Jada Pinkett Smith, who later brought in her husband, actor Will Smith, and recording artist and businessman, Jay-Z, as additional backers.  Oscar-winning filmmaker, Paul Haggis, was also a supporter of the film.

Born January 26, 1944, Angela Yvonne Davis, best known as simply “Angela Davis,” is an American political activist, scholar, and author.  During the 1960s, Davis returned to the United States after spending time in Germany.  She became a nationally known activist and radical; she was also a leader in the Communist Party USA.  It was her close relations with the Black Panther Party (although she was never an official member of the party) and her work for prisoner rights that brought her to prominence and earned her notoriety in establishment circles.

On August 7, 1970, at the Marin County court house, a botched kidnapping attempt ended with a shootout that left four people, including a judge, dead.  Davis was a close associate of one of the dead kidnappers, so the state of California brought conspiracy, kidnapping, and murder charges against her – all of which were punishable by the death penalty.  Davis became a fugitive and, at the time, the third woman to have her name appear on the FBI’s Ten Most Wanted Fugitive List.

Free Angela and All Political Prisoners gives an account of the kidnapping, Davis’ flight from arrest, the FBI manhunt for her, her arrest and imprisonment, and the subsequent trial.  The film also chronicles Angela Davis’ life as a youth, a young scholar, and as a controversial young college professor at the University of California, Los Angeles (UCLA).

The pivotal events of Free Angela and All Political Prisoners begin with events that took place in 1969, when Davis was hired by UCLA.  Her time as a professor is not the film’s central narrative, although this is not to say that the film is dry and boring for a time.  However, this documentary does not really come to life, in a way that reflects the fiery young radical that Angela Davis was, until it starts to recount the various events related to Davis that occurred in 1972.

In early 1972, Caruthers, California dairy farmer, Rodger McAfee (or Roger McAfee), with the help of a wealthy businessman, paid just over $100,000 in bail money to get Davis released from the county jail, while she awaited trial for the Marin County courthouse incident.  For me, this is when Free Angela and All Political Prisoners becomes energized as a narrative.

The elements of which director Shola Lynch makes best use in her film are the interviews, both new and archival.  As by chance or by destiny, the subjects of the new interviews are either good storytellers or are exceptionally good at conveying information.  I could listen to many of these interviewees for hours.

Archival interviews and news footage are also illuminating.  Then California governor (and future President), Ronald Reagan, does not come out looking like a good guy in this film.  He comes across as a pro-segregation-pro apartheid type who believes that Black people are second class citizens who don’t have full citizenship, and that outspoken people of color deserve imprisonment or even death.  As for President Richard Nixon, the side of him that is an authoritarian, paranoid psycho is fully in evidence.

Simply because of the story it tells and the incidents it recounts, Free Angela and All Political Prisoners should be treated like an important book – available in every public library in the United States.  All African-American parents should make sure that their children see this film.  Even conservative Black people whose Uncle Tom tendencies might make them act as if what happened to Angela Davis never happens to black people should show this film to their children.

7 of 10
A-

Tuesday, November 05, 2013


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

Review: "Reign of Fire" is a Hot Popcorn Thriller (Happy B'day, Matthew McConaughey)

TRASH IN MY EYE No. 125 (of 2003) by Leroy Douresseaux

Reign of Fire (2002)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for intense action violence
DIRECTOR:  Rob Bowman
WRITERS:  Gregg Chabot, Kevin Peterka, and Matt Greenberg from a story by Gregg Chabot and Kevin Peterka
PRODUCERS:  Gary Barber, Roger Birnbaum, Lili Fini Zanuck, and Richard D. Zanuck
CINEMATOGRAPHER:  Adrian Biddle (D.o.P.)
EDITORS:  Declan McGrath and Thom Noble
COMPOSERS:  Ed Shearmur and Brad Wagner

SCI-FI/FANTASY/ACTION/THRILLER

Starring:  Christian Bale, Matthew McConaughey, Izabella Scorupco, Gerard Butler, Scott James Moutter, Ben Thorton, and Alice Krige

The subject of this movie review is Reign of Fire, a 2002 post-apocalyptic, science fiction and fantasy-action film from director Rob Bowman.  The film takes place in a time after fire-breathing dragons emerged from beneath Earth’s surface and began setting fire to everything, on their way to establishing their dominance over the planet.

Director Rob Bowman’s Reign of Fire is a beautiful, amped-up B-movie with the gloss and sheen of serious A-list action movie.  Bowman is known for his work on the television series, “The X-Files”.

Set a few decades into the 21st Century, it’s the tale of band of humans led by two rivals Quinn Abercromby (the sexy Christian Bale) and Denton Van Zan (the sexy Matthew McConaughey) who fight a brood of dragons that have destroyed civilization and hunt what’s left of mankind.  After the dragons deliver to huge setbacks to the humans, Quinn, Abercrombie, and the beautiful Alex (Izabella Scorupco), the action movie girl de rigueur, travel to London for a last stand against the mightiest of the dragons.

Bowman, who directed many episodes of “The X-Files” television series, as well as the feature film based upon the series, is very good at putting his cast and crew through the paces to create this fantastic and fun film.  It doesn’t have to make much sense (and it doesn’t) to be entertaining, but Bowman takes the B-movie to new cinematic heights.  Yes, I will wonder why everyone is filthy and grimy in this burnt-out world while Alex manages to look freshly washed every scene – a little thing compared to some others.  However, I enjoyed Reign of Fire’s intense portrayal of humans barely holding on, yet fighting for their lives in this post-apocalyptic thriller.  If you like fantasy and action, I’m sure you’ll have a good time with this tasty popcorn thriller.

7 of 10
B+

Updated:  Monday, November 04, 2013

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

"Zetman: The Complete Series" Now Uncut on DVD and Blu-ray

VIZ MEDIA RELEASES SUPERHERO ANIME ACTION SERIES ZETMAN IN UNCUT BLU-RAY AND DVD EDITIONS

A Super-Powered Killer Turns A Boy Into An Unlikely Hero In A Visceral Sci-Fi Anime Adventure Inspired By The Manga Series By Acclaimed Creator Masakazu Katsura

VIZ Media, LLC (VIZ Media), the largest distributor and licensor of anime and manga in North America, expands its substantial anime catalog with the addition of the dark sci-fi action series ZETMAN on November 5th. The 13-episode series is rated ‘TV-MA’ for Mature Audiences and will be offered Uncut in DVD and Blu-ray editions. The DVD MSRP is $44.82 U.S. / $43.24 CAN and Blu-ray MSRP is $54.97 U.S. / $66.15 CAN.

ZETMAN is based on a popular manga (graphic novel) series by Masakazu Katsura, who also created VIDEO GIRL AI and I”S (both published in North America by VIZ Media) and was the character designer for the hit anime series, TIGER & BUNNY (also available on Blu-ray and DVD at North American retailers).

Features for the Blu-ray and DVD editions include English dubbed or original Japanese audio selections (with English Subtitles), clean opening and ending segments, the original Japanese broadcast trailer, marathon play option, and an exclusive interview with ZETMAN manga series creator Masakazu Katsura taken during his recent appearance at New York Comic Con.

Jin and Kouga may come from very different walks of life, but both boys are searching for the real meaning of justice and what it means to be a hero! Jin may be poor, but he lives a happy life with his grandfather, until the day tragedy strikes and changes his life forever. Kouga, born into a wealthy family, is in line to inherit his family’s power and fortune. But what is true strength? What does it really mean to be human? Jin and Kouga’s fates intertwine in their struggle to harness the power that lies within each of them!

“ZETMAN delivers unique perspectives on being human and a hero and combines expressive characters and a thought-provoking story with plenty of uncut visceral action to make for a fast-paced and thrilling highlight of our winter anime release schedule,” says Charlene Ingram, Senior Marketing Manager, Animation. “With the start of the holiday season, the ZETMAN anime series also makes a cool gift for gritty action anime fans, and we look forward to fans catching all of the action with this new home video DVD and Blu-ray release.”

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

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

Review: "Firewall" is Not Memorable Harrison Ford Flick

TRASH IN MY EYE No. 145 (of 2006) by Leroy Douresseaux

Firewall (2006)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA – PG-13 for some intense sequences of violence
DIRECTOR:  Robert Loncraine
WRITER:  Joe Forte
PRODUCERS:  Armyan Bernstein, Basil Iwanyk, and Jonathan Shestack
CINEMATOGRAPHER:  Marco Pontecorvo
EDITOR:  Jim Page
COMPOSER:  Alexandre Desplat

CRIME/THRILLER/ACTION

Starring:  Harrison Ford, Paul Bettany, Virginia Madsen, Mary Lynn Rajskub, Robert Patrick, Robert Forster, Alan Arkin, Carly Schroeder, Jimmy Bennett, Kett Turton, Nikolaj Coster-Waldau, Vince Vieluf, and Vincent Gale

The subject of this movie review is Firewall, a 2006 British-American crime thriller starring Harrison Ford.  The film focuses on a security specialist who is forced into robbing the bank that he protects in order to pay a ransom for his family.

From 1990’s Presumed Innocent to 2000’s What Lies Beneath, Harrison Ford literally ruled the box office charts with a series of hit thriller flicks.  It didn’t matter if the film was set in a courtroom (like Presumed Innocent), in foreign countries (the Jack Ryan movies), a jet (Air Force One), or a haunted marriage (What Lies Beneath); Ford films were hits – some even blockbusters.  However, the new century has found Ford’s box office success largely diminished.  His 2006 film, Firewall, is a return to his 90’s form, but the film has only about a third of the scope and action thrills of his glory days.

Jack Stanfield (Harrison Ford) is the creator of Seattle-area Landrock Pacific Bank’s state-of-the-art-security system.  He has a reputation as being the man who’s thought of everything when it comes to protecting the bank from electronic theft, but Jack doesn’t know that he’s being watched.  A wily and vicious thief who says his name is Bill Cox (Paul Bettany) has hacked his way into Jack’s personal life and knows everything about Jack and his family:  wife, Beth (Virginia Madsen), his 14-year old daughter, Sarah (Carly Schroeder), and 8-year old son, Andy (Jimmy Bennett).

Now, Cox is holding Beth and the children hostage to force Jack to be their unwilling accomplice in a scheme to steal $100 million dollars from Landrock and the larger bank system with which Landrock recently merged.  Under constant surveillance, Jack must breach the very security system he created and siphon funds to several offshore accounts Cox and his accomplices own.  Jack, however, is sure that Cox will kill him and his family once Cox gets what he wants.  With only hours to accomplish his task, Jack must find, within Cox’s labyrinth of false identities, subterfuge, and plots Cox, an escape hatch through which he and his family can escape with their lives.

Firewall is an entertaining thriller, although it seems as if Ford is on automatic for this role.  Sure, he’s done this before.  He can turn on the grim intensity and growl on cue at the bad guys about what will happen if they hurt his family.  In fact, the script really plays up the hurt my family, protect the family, and family is all-important angles, as if the filmmakers were trying to hit some key red state demographic.  This family protection angle, like Ford’s performance, lacks spontaneity.

A thriller doesn’t have to be plausible to be thrilling, but Firewall stretches the limits of belief.  For every moment that I spent being thrilled, I spent two counting the times in this tale when some bank official, co-worker, or policeman would (or realistically should) have become so suspicious that he or she would have stepped in to stop this insane plot to rob a bank with the oh-so-formidable security system that the hero himself designed.  What?  Is there no oversight at this bank?

Other than Ford’s Jack Stanfield and Paul Bettany’s mechanical villain, Bill Cox, the script and the director ignore the rest of the characters, including several bank employees and officials.  The reason is simple:  the more you bring other people at the bank into this story, the more likely both the film’s plot and the villains’ plot would fall apart.  Still, Firewall is passable entertainment, especially for fans of Harrison Ford.  They won’t remember Firewall the way they do 1993’s The Fugitive, but it’s still something.

5 of 10
C+

Saturday, July 08, 2006

Updated:  Saturday, November 02, 2013

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