Wednesday, September 6, 2023

Review: "JOHN WICK: Chapter 4" is Too Long, But Keanu is Still Hot

TRASH IN MY EYE No. 42 of 2023 (No. 1931) by Leroy Douresseaux

John Wick: Chapter 4 (2023)
Running time:  169 minutes (2 hours, 49 minutes)
MPA – R for pervasive strong violence and some language
DIRECTOR:  Chad Stahelski
WRITERS:  Shay Hatten and Michael Finch (based on characters created by Derek Kolstad)
PRODUCERS:  Basil Iwanyk and Erica Lee
CINEMATOGRAPHER:  Dan Lausten (D.o.P.)
EDITOR:  Nathan Orloff
COMPOSERS:  Tyler Bates and Joel J. Richard

ACTION/THRILLER/CRIME

Starring:  Keanu Reeves, Bill Skarsgard, Donnie Yen, Shamier Anderson, Ian McShane, Clancy Brown, Marko Zaror, Hiroyuki Sanada, Rina Sawayama, Scott Adkins, Aimée Kwan, George Georgiou, and Laurence Fishburne and Lance Reddick

John Wick: Chapter 4 is a 2023 action and crime-thriller starring Keanu Reeves and directed by Chad Stahelski.  It is a direct sequel to 2019's John Wick: Chapter 3 – Parabellum and is the fourth film in the John Wick film series.  Chapter 4 finds John Wick facing off against a new enemy who has powerful alliances around the world and who can turn John's friends into John enemies.

John Wick: Chapter 4 finds the legendary assassin and hitman, John Wick (Keanu Reeves), hiding in the underground lair of the crime lord known as “The Bowery King” (Laurence Fishburne).  Wick prepares to unleash his revenge against the High Table (the entity that rules the assassins guild) and its current “Elder.”  In response, the High Table tasks one of its members, the Marquis Vincent Bisset de Gramont (Bill Skarsgard), to kill John Wick.  The Table gives the Marquis unlimited resources to kill John, and the first thing he does is punish Winston (Ian McShane), the manager of the New York Continental hotel, for failing to kill Wick.

The Marquis puts a twenty-million dollar bounty on John Wick's head, and then, enlists Caine (Donnie Yen), a blind, retired High Table assassin, to kill his Wick, who is an old friend of John's.  Despite all the Marquis' machinations, John Wick has devised a plan to defeat him and to be freed of the High Table.  To do that, John will need help from a number of erstwhile friends and allies and also from one strange new friend or enemy, The Tracker a.k.a. “Mr. Nobody” (Shamier Anderson), and his resourceful dog.

I have been a long time fan of actor Keanu Reeves.  I have enjoyed and even loved Reeves in films like the original Point Break (1991) and in The Matrix film trilogy, beginning with The Matrix (1999).

Thus, I was very interested in seeing the original John Wick (2014), but I didn't see it in a theater.  I was interested in John Wick: Chapter 2 (2017) and John Wick: Chapter 3 – Parabellum (2019), but I didn't see those in a theater, either.  I was very interested in seeing John Wick: Chapter 4, but I was put off by its runtime.  So I didn't see it in a movie theater.

Now, I've seen it, and I'm glad I waited.  I would have been pissed to sit in an uncomfortable movie theater seat for almost three hours for the way-too-long John Wick: Chapter 4.  Most of the film's narrative is story padding, and the filmmakers could have easily shaved an hour from this film's runtime without really changing the story.  I will say that Chapter 4 is a beautiful-looking film.  The cinematography, production design, locations, and lighting are museum quality.  Yes, the action and fight scenes are spectacular, but some of them, like the entire “Arc de Triomphe” car chase and fight, went on for far too long – for all their inventiveness.

But I love me some Keanu Reeves, and because he dominates this film, I can enjoy it.  I couldn't stop watching him.  If just about anyone else were the star, I would have stopped watching John Wick: Chapter 4 after an hour.  The supporting cast also helped me enjoy a movie that I basically did not find as enjoyable as the series' previous entries.  I can never get enough of the great Hong Kong actor and martial artist, Donnie Yen, and I'm always down for more Laurence Fishburne.  Shamier Anderson and the dog that is his co-star add some nice new flavors to this series.  Bill Skarsgard is magnetic as the Marquis, and a spoonful of Clancy Brown (as “the Harbinger”) helps the average movie go down.  Also, it was great to see the late Lance Reddick (1962-2023) as Charon one last time.

I wouldn't be surprised to see a fifth John Wick movie down the line, and I won't see it in a theater either – if the runtime is around three hours.  But for John Wick fans, John Wick: Chapter 4 is a must-see for the main reason to see all of them – Keanu Reeves.

6 of 10
B
★★★ out of 4 stars

Wednesday, September 6, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Tuesday, September 5, 2023

Review: "LAPUTA: CASTLE IN THE SKY" is in the Sky with Diamonds

TRASH IN MY EYE No. 41 of 2023 (No. 1930) by Leroy Douresseaux

Laputa: Castle in the Sky (1986)
Tenkū no Shiro Rapyuta – original Japanese title
Running time:  125 minutes (2 hours, 5 minutes)
MPAA – PG
DIRECTOR:  Hayao Miyazaki
WRITER:  Hayao Miyazaki
PRODUCER:  Isao Takahata
CINEMATOGRAPHER: Hirokata Takahashi
EDITORS:  Hayao Miyazaki, Yoshihiro Kasahara, and Takeshi Seyama
COMPOSER:  Joe Hisaishi

ANIMATION/FANTASY and ACTION/ADVENTURE

Starring:  (voices) Mayumi Tanaka, Keiko Yokozawa, Kotoe Hatsui, Minori Terada, Fujio Tokita, Ichiro Nagai, and Hiroshi Ito

Laputa: Castle in the Sky is a 1986 Japanese animated, action-adventure fantasy film written and directed by Hayao Miyazaki.  Laputa is also the first film fully produced by the Japanese animation studio, Studio Ghibli.  In North America, the film is known simply as Castle in the Sky, the title by which I will refer to it in this review.  Castle in the Sky follows the adventures of a young boy and girl who must race against time, pirates, and foreign agents in a bid to find a legendary island that floats in the sky.

Castle in the Sky opens on an airship.  Aboard the aircraft is a young girl, Sheeta (Mayumi Tanaka), an orphan girl abducted by the government agent, Colonel Muska (Minori Terada).  The airship is attacked by Captain Dola (Kotoe Hatsui) and her gang, “the Dola Pirates” (all of whom are apparently her sons).  Dola is seeking Sheeta's necklace, which holds a small orb made of pure “etherium” crystal.  Attempting to escape, Sheeta falls from the airship, but is saved by the magic of etherium in the now-glowing crystal, which lowers her slowly to the ground.

On the ground, Sheeta is caught by a young boy, Pazu (Keiko Yokozawa).  Soon, Pazu is on a mission to protect Sheeta from both Dola and Muska.  Pazu and Sheeta's goal is to reach the mythical flying island, “Laputa,” which is connected to both children's past, but in different ways.  The mystery of Laputa is what exactly is it – a paradise, a treasure trove, or something dangerous.

I have previously reviewed the following Miyazaki-directed films:  The Castle of Cagliostro (1979), Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004), Ponyo (2008), and The Wind Rises (2013).  As Netflix is shutting down its DVD-by-mail division, I am hoping to get to the Miyazaki films that I have not previously watched.  This is the first time I've watched Castle in the Sky.

For me, the most wonderful thing about Castle in the Sky is that it is steeped in Hayao Miyazaki's affinity for flight, a theme that dominates many of his films.  He fills this film with wonderful flying contraptions, such as the government's flying fortress, “Goliath,” and the Dola pirates' airship, “Tiger Moth.”  Even the robots of Laputa can become wonderful flying machines.  As with many of Miyazaki's films, Castle in the Sky is breathtaking, visually stunning, and mind-blowing, especially when the narrative takes to the air.

One of the film's most dominant themes is the innocence of children, as seen through the eyes of Pazu and Sheeta.  That shows in the two characters' resilience and determination in the face of constant turmoil and ceaseless obstacles.  Their relationship is the counterbalance to the film's darker elements, especially its focus on on humanity's relationship with nature and with technology.  Most of the film displays technology in harmony with nature, taking place in a fantasy version of the nineteenth century.  There is a “retro-future” aesthetic that finds a balance between mankind's technological creations and the natural world at large.  Castle in the Sky would go on to have a strong influence on the then emerging science fiction sub-genre known as “steampunk.”

I believe that if you, dear readers, have never seen a Miyazaki film, the first one you watch will validate the great things you may have heard about him.  When you see your second Miyazaki, you will certainly become a true believer.  Castle in the Sky is the kind of animated film that will make just about any movie fan a true believer in Hayao Miyazaki.  It is one of the greatest adventure films ever made, and one of the greatest animated films of all time.  Castle in the Sky mixes vivid imagination, eye-popping inventiveness, and stunning beauty in a way only the best animated films do.  Every frame of this film belongs on a wall in a museum.  If it were a Disney animated feature, Disney would call Laputa: Castle in the Sky an instant classic.  It certainly is a classic.

10 of 10

Tuesday, September 5, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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Monday, September 4, 2023

Review: "THE BARBARIAN INVASIONS" is a Masterpiece

TRASH IN MY EYE No. 125 (of 2004) by Leroy Douresseaux

Les Invasion Barbares (2003)
The Barbarian Invasions (2003) – U.S. title
COUNTRY OF ORIGIN:  Canada/France; Language:  French/English
Running time:  99 minutes (1 hour, 33 minutes)
MPAA – R for language, sexual dialogue, and content
WRITER/DIRECTOR:  Denys Arcand
PRODUCERS: Daniel Louis and Denise Robert
CINEMATOGRAPHER:  Guy Dufaux
EDITOR: Isabelle Dedieu
COMPOSER: Pierre Aviat
Academy Award winner

DRAMA/COMEDY

Starring:  Rémy Girard, Stéphane Rousseau, Dorothée Berryman, Louise Portal, Dominique Michel, Yves Jacques, Pierre Curzi, Marie-Josée Croze, Marina Hands, Toni Cecchinato, and Mitsou Gélinas

Les Invasions barbares is a 2003 comedy and drama written and directed by Denys Arcand.  A Canadian and French co-production, the film was released in the U.S. under the title, The Barbarian Invasions, the title I will used for this review.  The Barbarian Invasions focuses on a dying man, who during his final days, is reunited with old friends, former lovers, his ex-wife, and his estranged son.

Arcand’s The Barbarian Invasion won the Academy Award for “Best Foreign Language Film” at the 76th Academy Awards in 2004.  A sequel to Arcand's 1986 film, The Decline of the American Empire, The Barbarian Invasions received only one other Oscar nomination, which was for best original screenplay (written by Arcand), and that was and still is ridiculous.  Considering the performances and Arcand’s direction, the film should have received at least a few more.

The Barbarian Invasions is the story of 50-ish Rémy (Rémy Girard) and his family.  He is dying of cancer and is laid up in a Montreal hospital.  His ex-wife, Louise (Dorothée Berryman), summons home their son, Sébastien (Stéphane Rousseau), who is estranged from his father and is living in London.  Sébastien, a rich oil trader for a huge British firm, is, in a sense, a disappointment to his father.  The son is a wealthy capitalist and the father was an arm chair, leftist, radical type.

Soon after he arrives, Sébastien uses his money and connections to fight the entrenched Canadian nationalized health system, and he gets Rémy a private room and other amenities.  But the most difficult part of the prodigal son’s return home is the reconciliation between father and son.

The most amazing thing about this thoroughly beautiful film is that Arcand is able to tell the story of a father trying to redeem himself, of a son trying to put aside his anger at this father, and of a man trying to find meaning in a life he believes that he lazily kept so modest and have still more sub-plots, philosophies, and ideas.  The film also deals with mother/daughter relationships, the drug war, drug addiction, personal and professional failure, the Canadian health system, socialism, infidelity, friendship, politics, religion, genocide, and barbarian invasions of civilization.  Arcand does all of this without losing the central, human focus of his lovely movie.  Filled with rich performances, subtle humor, and endearing characters, The Barbarian Invasions is the best film of the year.

10 of 10

Re-edited:  Saturday, September 2, 2023

NOTES:
2004 Academy Awards, USA:  1 win: “Best Foreign Language Film” (Canada); 1 nomination: “Best Writing, Original Screenplay” (Denys Arcand)

2004 BAFTA Awards:  2 nominations: “Best Screenplay-Original” (Denys Arcand) and “Best Film not in the English Language” (Denise Robert, Daniel Louis, and Denys Arcand)

2004 Golden Globes, USA:  1 nomination: “Best Foreign Language Film” (Canada)


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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