The Empty Calories of "Into the Blue" are Surprisingly Tasty

TRASH IN MY EYE No. 150 (of 2005) by Leroy Douresseaux


Into the Blue (2005)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for intense sequences of action violence, drug material, some sexual content, and language
DIECTOR: John Stockwell
WRITER: Matt Johnson
PRODUCER: David Zelon
CINEMATOGRAPHERS: Shane Hurlbut with Peter Zuccarini (underwater)
EDITORS: Nicolas De Toth and Dennis Virkler

ACTION/ADVENTURE/CRIME/THRILLER

Starring: Paul Walker, Jessica Alba, Scott Caan, Ashley Scott, Josh Brolin, James Frain, Tyson Beckford, and Dwayne Adway

The subject of this movie review is Into the Blue, an underwater action movie and crime thriller starring Paul Walker and Jessica Alba. The film follows a group of friends who find both a sunken treasure and trouble from drug smugglers.

Recently fired from his job as a guide on scuba diving tour boat, Jared (Paul Walker) decides to pursue his dream of salvaging for lost treasure galleys in the deep, shark-infested waters of the Bahamas. His girlfriend, Sam (Jessica Alba), believes in him, of course, and is along for the ride, and so are his best friend, Bryce (Scott Caan), a young hotshot lawyer from New York City, and his latest conquest, Amanda (Ashley Scott), a young woman he just met a few days before. When the four young divers discover what may be a legendary shipwreck containing untold millions in gold, Jared believes his dream of finding buried treasure has come true.

However, near their salvage is a sunken plane containing the dead crew… and a large cargo of cocaine that may have a street value in the hundreds of millions. The friends make a vow to keep silent about both discoveries so that they can excavate the shipwreck and file a claim on it before rival treasure hunters (namely a challenger named Bates played by Josh Brolin) learn of their find and beat them to the gold. When two of the divers make a fatal decision regarding the cargo plane, drug smugglers looking for the plane turn the young treasure hunters into the hunted.

Into the Blue is the Sport’s Illustrated swimsuit issue version of a hard-edge action movie, but it has a campy edge that would make it suitable for the CBS Sunday Night Movie or a made-for-TV USA cable network action thriller; plus its PG-13 rating makes Into the Blue safe for all but those… well, 13-year olds. Director John Stockwell doesn’t turn Matt Johnson’s screenplay into a hyper-kinetic video game, but instead makes the film into a kind of crime film, imagine a R-rated, dumbed-down heist or caper film like Out of Sight for teens or for those who can’t stomach R-movie violence. Another good thing about Matt Johnson’s screenplay is that it emphasizes characters over action. Put a competent cast and crew behind a script like this and the audience gets a nice character-driven piece that makes the audience invest itself in the players – that’s Into the Blue. The script’s glaring error is that it seems stretched out, thus giving it a few huge dry patches in which the narrative is literally spinning its wheels or drowning.

Paul Walker (The Fast and the Furious franchise) and Jessica Alba aren’t close to being good actors. Walker comes from the Keanu Reeves school of acting, which means awkward and stiff dialogue delivery, but quite frankly, he’s beautiful and looks good on screen. His face can express more emotion that he ever could through speaking, and Walker’s eyes are indeed the windows into the soul of his characters. You learn just as much about what kind of man Jared is by watching Walker’s physical acting as you could by listening to Paul struggle with lines. Alba tries to be a serious actress, but her body is the Gromit to her acting’s Wallace. You don’t want her off screen; you want to see her, whether you’re a man or woman.

The setting and beautiful locations really sell this flick. I never thought I’d enjoy seeing people diving in and jumping out of the water so much (about 60 to 70 percent of the film); this is truly an underwater action/adventure. Add Josh Brolin’s Mephisto-like turn to the mix of lithe young bodies in motion, in danger, and in the water, and Into the Blue is a very entertaining thriller – fun in the water, the movie theatre, or at home.

6 of 10
B

Review: "Hitch" is Funny and Sweet (Happy B'day, Eva Mendes)

TRASH IN MY EYE No. 22 (of 2005) by Leroy Douresseaux

Hitch (2005)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – PG-13 for language and some strong sexual references
DIRECTOR: Andy Tennant
WRITER: Kevin Bisch
PRODUCERS: Will Smith and Teddy Zee
CINEMATOGRAPHER: Andrew Dunn
EDITOR: Troy Takaki and Tracey Wadmore-Smith

COMEDY/ROMANCE

Starring: Will Smith, Eva Mendes, Kevin James, Amber Valletta, Julie Ann Emery, Robinne Lee, Nathan Lee Graham, Adam Arkin, Michael Rapaport, Jeffrey Donovan, and Matt Malloy

The subject of this movie review is Hitch, the 2005 romantic comedy starring Will Smith. In the film, directed by Andy Tennant, Smith plays a professional matchmaker.

Alex “Hitch” Hitchens (Will Smith) is a professional “date doctor,” who helps mostly shy, insecure, and nervous men learn to be confident enough to date the woman they just can’t get out their minds. His biggest project is to help a pleasantly plumb accountant named Albert (Kevin James) find his confidence so that he can woo his employer’s biggest client, wealthy playgirl, Allegra Cole (Amber Valletta). Hitch runs into his own complications when he becomes smitten with Sara (Eva Mendes), a New York gossip columnist. Both Hitch and Sara have dating issues, especially Sara, who usually erects an impenetrable wall whenever a man attempts to be friendly with her. However, Sara is determined to discover and publicize the identity of the mysterious “date doctor” about whom she’s been hearing in relation to the Allegra-Albert romance, even if it costs her personally.

Early reviews of the film suggest that Hitch is a trifle and a bit a fluff that Will Smith manages to save with his endearing film personality. Hitch is lightweight subject matter, but Will Smith and his co-conspirators make this a winning romantic comedy and comic romance. It’s not as good as When Harry Met Sally, but there is a lot more meat on Hitch’s film bones than on most romantic comedies about mismatches and misunderstandings. Will Smith does give this film vibrant life because he is a fine actor and a radiant movie star. He is comfortable and super confident on the big screen, and the camera loves him. If Denzel Washington is the heir to Sidney Portier, then, Smith is the black Cary Grant.

The rest of the cast, however, does it part. Eva Mendes is more like a co-star than supporting player. She carries this film, and there is an air about her that suggests she can go toe to toe with a man in the vein of Katherine Hepburn. No, Ms. Mendes isn’t yet as good as Ms. Hepburn, but she seems headed in the direction of being a movie star because in this film, she shows that she can carry a lead role by making her end of the story as engaging as that of the central character.

Kevin James is surprisingly delightful. I like him, but I’ve never quite enjoyed his CBS television comedy series, “The King of Queens.” James usually plays charming, fat guys, and everyone seems to love a fat guy who can make fun of himself. James is also witty and sarcastic; his self-effacing tendency and smart alec cool serves him well in Hitch, making him a scene-stealer.

After spending years directing episodic TV, director Andy Tennant has worked mostly on romantic comedies, Sweet Home Alabama being his biggest hit to date. At present, Hitch may be his best work as he took Kevin Bisch’s funny script and made it into a high-energy comic romp of misunderstandings and dating chess matches. Some might see this as a “chick flick,” but Hitch is simply funny. Like many films, the ending is too sweet by a mile. Still, it works, and Will Smith has another winner.

7 of 10
A-

NOTES:
2006 Black Reel Awards: 3 nominations: “Best Actor” (Will Smith), “Best Film” (Will Smith, Teddy Zee, and James Lassiter), and “Best Original Soundtrack”

2006 Image Awards: 2 nominations: “Outstanding Actor in a Motion Picture” (Will Smith) and “Outstanding Motion Picture”

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"Be Cool" Never Heats Up

TRASH IN MY EYE No. 33 (of 2005) by Leroy Douresseaux


Be Cool (2005)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for violence, sensuality, and language including sexual references
DIRECTOR: F. Gary Gray
WRITER: Peter Steinfeld (from the novel by Elmore Leonard)
PRODUCERS: Danny DeVito, David Nicksay, Michael Shamberg, and Stacey Sher
CINEMATOGRAPHER: Jeffrey L. Kimball
EDITOR: Sheldon Kahn

CRIME/COMEDY

Starring: John Travolta, Uma Thurman, Vince Vaughn, Cedric the Entertainer, André (3000) Benjamin, Steven Tyler, Christina Milian, Harvey Keitel, Dwayne “The Rock” Johnson, Paul Adelstein, Danny DeVito, Robert Pastorelli, James Woods, and Debi Mazar with Joe Perry and Aerosmith, The Black Eye Peas with Sergio Mendes, The RZA, Kobe Bryant, and Seth Green

Be Cool is a 2005 crime comedy and is also a sequel to the 1995 film, Get Shorty. It is adapted from the 1999 novel of the same name by Elmore Leonard.

Ten years after Get Shorty, the sequel, Be Cool, shows up at theatres. Both films are based upon novels by Elmore Leonard, whose books have long been a source of film materials for Hollywood. Be Cool is not as witty and as sharp as Get Shorty, but it certainly tries to be the same blunt comic crime caper that the latter was. It has the characters, the cast, and some truly sidesplitting comedy, but ultimately, a faulty script and clunky directing mar a film that was so close to being a really fine crime comedy.

Chili Palmer (John Travolta), the Miami-based shylock who came to Hollywood and charmed and bullied his way into filmmaking, is now tired of the movie business. He’s interested in music, and when Tommy Athens (James Woods), a friend who owns a record label, is murdered by Russian mobsters before Chili’s eyes, that homicide opens the door for him. Chili meets Linda Moon (Christina Milian), a struggling singer stuck with a wannabe Negro named Raji (Vince Vaughn) for a manager. Chili, in his usual way, relieves Raji of Linda’s contract with him, and becomes her new manager.

Chili makes his next connection with Tommy’s widow, Edie Athens (Uma Thurman), who after some convincing is ready to take on Chili and Linda. However, there is the issue of Linda contract with Raji, and Raji’s partner, Nick Carr (Harvey Keitel) who isn’t crazy about letting go off a potential star. Edie also has another big problem: Tommy owed $300,000 to Sin LaSalle (Cedric Entertainer), a very successful, but violently inclined record producer. Raji, Nick, and Sin all see Chili as their problem; as they angle towards him, he’ll try to make Linda a star, woo Edie, and get his way, always dealing with violence and pressure by his motto, be cool.

There are probably a lot more belly laughs in Be Cool than Get Shorty, and that makes it worth seeing. The cast is littered with star turns and novel and hilarious supporting performances, especially Vaughn as Raji and The Rock as his gay, wannabe actor bodyguard, Elliot Wilhelm. Christina Milian holds her own; she works in this movie because her confidence makes her come across as a fine singer and actress, even if there might be stronger singing voices and better young actresses than her.

Travolta reportedly suggested Uma Thurman as his leading lady for Be Cool because they could recapture their screen chemistry from Pulp Fiction, which restarted Travolta’s career and boosted Ms. Thurman’s, but they don’t. Yes, a rapport and friendliness exist between them, but they are sluggish here. Travolta is Chili Palmer, but he’s on automatic here, older and heavier. Even Thurman looks strained, only managing about half the time to have the perkiness, determination, and raw magnetism that show themselves in her collaborations with Quentin Tarantino.

The lion’s share of the blame from this go to writer Paul Steinfeld and director F. Gary Gray. They never seem to be able to integrate the music business element into this plot (after all it’s about Chili getting in the music business), and the film’s musical numbers (except the Aerosmith/Christina Milian performance) and music videos ring hollow. This is a gangster film with laughs, lots of them, but these hilarious and likeable characters don’t seem to be in music because the music industry isn’t in this film the way the movie business was clearly and strongly a part of Get Shorty. Still, Travolta, Ms. Thurman, and a supporting cast of wacky players make this a crime comedy worth seeing, even if you can’t make it to the theatre.

5 of 10
B-

"The Fog" Remake Lost in a Fog

TRASH IN MY EYE No. 155 (of 2005) by Leroy Douresseaux


The Fog (2005)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for violence, disturbing images, and brief sexuality
DIRECTOR: Rupert Wainwright
WRITER: Cooper Layne (based upon the 1980 screenplay by John Carpenter and Debra Hill)
PRODUCERS: David Foster, John Carpenter, and Debra Hill
CINEMATOGRAPHERS: Nathan Hope with Ian Seabrook (underwater)
EDITOR: Dennis Virkler

HORROR/THRILLER/MYSTERY with elements of fantasy

Starring: Tom Welling, Maggie Grace, Selma Blair, DeRay Davis, Kenneth Welsh, Adrian Hough, Sara Botsford, Cole Heppell, Mary Black, Jonathon Young, R. Nelson Brown, and Rade Sherbedgia

In the new horror flick, The Fog, Antonio Bay, a small community on Antonio Island, is about to celebrate the dedication of a monument to its four founding fathers. However, a thick fog, with seemingly mystical powers, engulfs the seaside town bringing with it a curse tied to the founding of Antonio Bay. Nick Castle (Tom Welling, Clark Kent of “Smallville”) and his girlfriend, Elizabeth Williams (Maggie Grace), must solve the mystery of the fog and the malevolent, vengeful spirits it hides if they are going to save Antonio Bay.

Apparently, famed horror movie director John Carpenter (Halloween, Ghosts of Mars) currently struggles to get financing in order to make new films. The irony of this is that 2005 has seen the release of two remakes of earlier films. In January, audiences got an interesting re-imagining of Carpenter’s Assault on Precinct 13, and now two weeks before Halloween, we get a remake of Carpenter’s well-regarded 1980 film, The Fog. This new film has a bigger budget and something else that the original film didn’t have, computer generated special effects. The result is an entertaining ghost story/thriller that is the fast food equivalent of a horror movie – a favorable respite one is just as likely to forget as to remember.

The film has something absolutely necessary for even a half-decent horror flick, creepy atmosphere, and on a few occasions in the film, that creepy atmosphere can be described by using phrases like “heart pounding” and “spine-tingling.” The film’s problems are the directing, script, and cast. The Fog drags and lists like director Rupert Wainwright’s previous effort at making a mediocre horror film, Stigmata (1999). One has to wonder what Wainwright did to get the assignment to direct this film. The only thing that he has directed since Stigmata is a failed TV series, “Wolf Lake,” in 2001. His claim to fame before Stigmata was directing seminal rap group N.W.A.’s video for “Straight Outta Compton” and directing videos for MC Hammer. You don’t need a cooking school graduate to make Big Mac’s, so the producers or the studio might as well have hired a film school student and given him class credit to make the same run-of-the-mill scary movie that Wainwright did.

The script is a re-imagining if one considers arbitrarily making changes to the source material as a sign of imagination; in fact, most of what is changed from the original film seems to have been done for the sake of change or because it, when combined with CGI, would make a cool scene, although cool doesn’t equal logical here. The characters are underdeveloped and treated in such an offhanded way that they don’t even make sympathetic victims. There is so little to so many of the characters that literally every one except maybe three seems like extras.

The cast leaves something to be desired. Tom Welling is sort of a cute beau-hunk, but his acting talent only goes as far as the material. He doesn’t have the chops to rise above the watery tale Cooper Layne wrote for this film. Maggie Grace is good at showing anxiety or pouting on cue when another character is so unfair to hers; that’s pretty much what she does on the hit TV show, “Lost,” and it serves her well here. DeRay Davis’ Spooner is a token; I don’t think the studio and filmmakers fooled the audience in that regard. Spooner has one really great line near the end of the film, and gets a few chuckles early in the flick. Lately, horror movies have become just like The WB TV network – all white, as in television shows full of pretty young white actors.

The Fog 2005 will make a fine cheesy horror rental. Unlike 2005’s Boogeyman, The Fog 2005 doesn’t totally screw up the excellent frightful atmosphere it establishes in the first act with a dreadful second and third act. Even Wainwright, Layne, and a weak cast can’t take the bite out of a ghost story that mixes in the mysteries of the deep seas. Try as they might, incompetence and mediocrity can’t outright destroy one of horror master John Carpenter’s better blueprints.

5 of 10
C+

Saturday, October 15, 2005

Review: "Memoirs of a Geisha" is a Beautiful Film with a Beautiful Heroine (Happy B'day, Gong Li)

TRASH IN MY EYE No. 102 (of 2006) by Leroy Douresseaux

Memoirs of a Geisha (2005)
Running time: 145 minutes (2 hours, 25 minutes)
MPAA – PG-13 for mature subject matter and some sexual content
DIRECTOR: Rob Marshall
WRITER: Robin Swicord (from the book by Arthur Golden)
PRODUCERS: Lucy Fisher, Steven Spielberg, and Douglas Wick
CINEMATOGRAPHER: Dion Beebe
EDITOR: Pietro Scalia
Academy Award winner

DRAMA/HISTORICAL/ROMANCE

Starring: Ziyi Zhang, Ken Watanabe, Michelle Yeoh, Kôji Yakusho, Gong Li, Suzuka Ohgo, Youki Kudoh, Kaori Momoi, Tsai Chin, Cary-Hiroyuki Tagawa, Kenneth Tsang, Randall Duk Kim, Ted Levine, and Samantha Futerman

Memoirs of a Geisha is a 2005 historical and costume drama set in Japan during the Showa Era (1926-1989). The Academy Award-winning film is based upon Arthur Golden’s 1997 novel of the same name.

With her mother ailing in the years before World War II, a Japanese girl, 9-year-old Chiyo (Suzuka Ohgo), finds herself torn from her family when her penniless father sells her and her sister, Satsu (Samantha Futerman), to two Kyoto geisha houses. Chiyo endures harsh treatment from the owners of the okiya (geisha house) that buys her, and the okiya’s head geisha, Hatsumomo (Gong Li), who is envious of the nine-year-old’s stunning beauty and lovely eyes, is especially nasty. Hatsumomo’s chief rival, a geisha named Mameha (Michelle Yeoh), takes Chiyo under wing as a maiko (apprentice geisha).

In time, Mameha renames Chiyo, Sayuri (Ziyi Zhang), and she becomes Kyoto’s most famous geisha. Beautiful and accomplished in her profession, Sayuri charms some of the most powerful men of the day, but she loves one in particular, a man she met as a child and who is called The Chairman (Ken Watanabe). She hopes that one day The Chairman will chose to be her danna, the wealthy patron supports the geisha’s expensive profession. However, World War II and the post-war American Occupation threaten to take away her privileged lifestyle and make the burden of the secret love that haunts her even harder to bear.

Geisha means “art person” or “person of the arts.” Geisha skillfully entertainment men with music, dance, and conversation (which the do artfully), but geisha aren’t necessarily prostitutes, although after WWII, some young women called themselves “geisha” and prostituted themselves to American troops. Geisha were perhaps most common in the 18th and 19th centuries, and have become less common since.

The 2005 film Memoirs of a Geisha is based upon the 1997 Arthur Golden novel, Memoirs of a Geisha. The book is historical fiction, although Golden interviewed an actual geisha about her experiences for use in his book. The film earned high praise for its stunningly beautiful visuals, but many critics disliked the film’s supposed lack of narrative, slow story, and lack of substance. The film is indeed a visual feast. Cinematographer Dion Beebe’s (Chicago, Collateral) photography is supernaturally beautiful, and Beebe won an Oscar for making Memoirs look like enchanted eye-candy painted by an Old Master. The costumes, clothing, and uniforms are impeccable in their design as they are functional in their use, and some of them are super duper beautiful. Art, production, and sets do what the best of their kind do, transport the viewer to a world in which they can believe – a world that rings true, and one in which they might want to visit if not live. The candy coating is John Williams’ highly evocative and moving score that moves the narrative and provides the appropriate mood indicators.

On the other hand the narrative and story are not weak. Yes, the first 35 minutes of this film are so dull and slow, and the cinematography is so dreary, dank, and dark that to watch the movie is like doing a chore – mowing the lawn, cleaning the toilet, scrubbing scum, etc. It’s around the 35 minute mark that Ken Watanabe’s The Chairman enters the film, and Memoirs comes to life, allow the cast and crew to show their best talents in the glorious light of Beebe’s photography. Perhaps, many viewers are turned off by a story that focuses on the spiteful interpersonal politics of desperate and competitive women – cat fights, disputes over men, territorial pissing matches, etc. But it all rings true; all the fighting is genuine and captivating. The characters have depth and their struggles have meaning, and that’s why we can believe and empathize with the motivations of even the characters that are villains.

Something else that many reviewers may miss is that it is the cast through the characters not the script that carries this film. Of the many fine performances that mark this film (and it’s a shame that Ken Watanabe will likely be regulated to playing the Asian token in many American films), the trio of Ziyi Zhang, Michelle Yeoh, and Gong Li is Memoirs of a Geisha’s holy trinity. Li actually makes the malicious and spiteful force of nature, Hatsumomo, into a three-dimensional character worthy of study and sympathy. Michelle Yeoh is splendid as the motherly sage Mameha, and Ziyi is the top of the pyramid.

Oscar seems to have made a habit of ignoring Ziyi's luminous performances in such films as Crouching Tiger, Hidden Dragon and Hero (2002), and the Academy clearly wronged her here. With grace and subtlety, often with a facial expression and emotion more than with words, she shows us Chiyo/Sayuri as a resourceful hero who goes on a journey to claim her prize. It isn’t the ultimate prize, but it is the best for which she could hope in her position. By showing us a young woman finding happiness within the limits forced upon her, Ziyi shows us the face of Memoirs of a Geisha. Kept from being a near-perfect gem because its first half hour is garbage, the film recovers and makes the very best of what it has left, giving us two hours of the movie as a beautiful picture book containing a story about a heroine worth championing.

8 of 10
A

NOTES:
2006 Academy Awards: 3 wins: “Best Achievement in Art Direction” (John Myhre-art director and Gretchen Rau-set decorator), “Best Achievement in Cinematography” (Dion Beebe), and “Best Achievement in Costume Design” (Colleen Atwood); 3 nominations: “Best Achievement in Music Written for Motion Pictures, Original Score” (John Williams), “Best Achievement in Sound Editing” (Wylie Stateman), and “Best Achievement in Sound Mixing” (Kevin O'Connell, Greg P. Russell, Rick Kline, and John Pritchett)

2006 BAFTA Awards: 3 wins: “Anthony Asquith Award for Film Music” (John Williams), “Best Cinematography” (Dion Beebe), and “Best Costume Design” (Colleen Atwood); 3 nominations: “Best Make Up/Hair” (Noriko Watanabe, Kate Biscoe, Lyndell Quiyou, and Kelvin R. Trahan), “Best Performance by an Actress in a Leading Role” (Ziyi Zhang) and “Best Production Design” (John Myhre)

2006 Golden Globes: 1 win: “Best Original Score - Motion Picture” (John Williams) and 1 nomination:“Best Performance by an Actress in a Motion Picture – Drama” (Ziyi Zhang)

2006 Image Awards: 1 nomination: “Outstanding Actress in a Motion Picture” (Ziyi Zhang)

Sunday, May 14, 2006

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"Joyeux Noel" or "Merry Christmas" a Great Film by Any Name

TRASH IN MY EYE No. 244 (of 2006) by Leroy Douresseaux


Joyeux Noël (2005)
COUNTRY OF ORIGIN: Belgium/France/Germany/UK/Romania; Language: French, Germany, English, and Latin
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – PG-13 for war violence and a brief scene of sexuality/nudity
WRITER/DIRECTOR: Christian Carion
PRODUCER: Christophe Rossignon
CINEMATOGRAPHER: Walther Vanden Ende
EDITOR: Andrea Sedlackova
Academy Award nominee

WAR/DRAMA/HISTORICAL

Starring: Diane Kruger, Benno Fürmann, Guillaume Canet, Gary Lewis, Dany Boon, and Daniel Bruhl, Lucas Belvaux, Alex Ferns, Bernard, Lo Coq, and Steven Robertson

Joyeux Noël (Merry Christmas) is based upon a true story, on an event that occurred during World War I on Christmas Eve 1914. That night, soldiers walked out onto the “no man’s land” between their entrenchments and shared songs and friendship. Joyeux Noël (Merry Christmas), nominated for a 2006 “Best Foreign Language Film of the Year” Oscar as a representative of France, is a fictionalized account of that momentous event.

The outbreak of war during the lull of summer 1914 surprised millions of men, especially as the conflict pulled them in its wake. The first Christmas arrives, but the snow and multitude of parcels and presents from their families and their armies can’t really lift the men’s spirits. However, on Christmas Eve, a momentous event begins with songs and Christmas lights. Anna Sörenson (Diane Kruger), a soprano, and her singing partner, Nikolaus Sprink (Benno Fürmann), an exceptional German tenor; Palmer (Gary Lewis), an Anglican priest from Scotland who followed the men of his parish into the war; and Audebert (Guillaume Canet), a French lieutenant who left behind his pregnant wife when he went to war, become the major players in a miraculous event that changes their own lives and destinies.

On December 24, 1914, French, German, and Scottish soldiers come out of their trenches for an impromptu concert of Christmas carols and also for a Christmas Eve mass. For a few days, their hellish existence stops, and the soldiers swap food, wine, and stories and even play football (soccer). Not everyone, however, likes this strange turn of events.

Joyeux Noël is, make no doubt about it, an anti-war film, but director Christian Carion helms his film with such grace and subtlety. He makes his point by telling a story of the brotherhood of man, removing nationality and whatever divides humanity and going towards what made these soldiers alike. These men long for their families and homes, and amidst all the carnage, death, and destruction, they find an eye in the storm where they can relax, at least a little. For a while, they’re carefree boys again. Carion also juxtaposes these grunts in the trenches with the fat cat politicians, rulers, and officers who dine and entertain in warmth and comfort for in the rear.

Carion’s cast is as earnest as he is, but their determinism carries over to the story, revealing the characters to be people merely determined to have at least a little control over their lives and to be able to object to their situation even if they must ultimately submit. Scottish actor Gary Lewis is a standout as the brave and devout Anglican priest, Palmer, who calmly takes on that which tests his faith. Diane Kruger and Benno Fürmann as the opera singers give the film a humanizing romantic subplot that actually works. Guillaume Canet as Audebert and Dany Boon as Audebert’s valet, Ponchel, provide a nice subplot about a friendship that grows stronger once the men go to war. It’s these small stories that Carion weaves so well together that makes Joyeux Noël a Great War movie, and an ever greater Christmas film.

9 of 10
A+

NOTES
2006 Academy Awards: 1 nomination: “Best Foreign Language Film of the Year” (France)

2006 BAFTA Awards: 1 nomination for “Best Film not in the English Language” (Christophe Rossignon and Christian Carion)

2006 Golden Globes: 1 nomination for “Best Foreign Language Film” (France)

Review: Judi Dench is Fun in "Mrs. Henderson Presents" (Happy B'day, Judi Dench)

TRASH IN MY EYE No. 82 (of 2006) by Leroy Douresseaux


Mrs. Henderson Presents (2005)
COUNTRY OF ORIGIN: UK
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for nudity and brief language
DIRECTOR: Stephen Frears
WRITER: Martin Sherman
PRODUCER: Norma Heyman
CINEMATOGRAPHER: Andrew Dunn
EDITOR: Lucia Zucchetti
Academy Award nominee

COMEDY/DRAMA/MUSIC/HISTORICAL

Starring: Judi Dench, Bob Hoskins, Will Young, Kelly Reilly, Thelma Barlow, Michael Culkin, and Christopher Guest

After her husband Robert dies in 1937, Laura Henderson (Judi Dench) struggles to find a hobby to occupy her time, and one day, chance affords an opportunity when she passes by an old movie theatre on London’s West End. She buys the theatre and rebuilds it as The Windmill, a venue for musical theatre. Mrs. Henderson takes on a salty theatre manager and showman, Vivian Van Damm (Bob Hoskins), and together they make their show, a kind of musical theatre they call “Revudeville,” a hit, even if they are occasionally at odds with one another.

However, other theatres are soon copying The Windmill’s winning formula. It is then that Mrs. Henderson proposes an idea that has been in her heart for a long time – have nude actresses on stage (similar to what the Moulin Rouge in Paris does). That raises eyebrows, but the nude musical revue is an even bigger hit. But all isn’t happiness and sunshine; the show that Mrs. Henderson presents must struggle to go on as World War II arrives and the Germans bomb London.

Mrs. Henderson Presents, based on a true story, is a movie of two minds. The first 50 minutes or so of the film is a delightful comedy of manners, class divisions, creative differences, and musical theatre. The fest of the film is a dour, World War II drama that clunks about as if the filmmakers weren’t sure just what kind of “Masterpiece Theatre” movie this picture should be. Mrs. Henderson Presents is indicative of director Stephen Frears work – when he’s on (High Fidelity and Dirty Pretty Things), he’s really on, but when he stumbles, his films are uneven (The Grifters and Hero), and there’s a bit of both here.

A few things make this a good movie. There is a scene of full frontal nudity featuring Bob Hoskins. Sandy Powell’s colorful costumes are eye-catching, and I found myself always waiting to see what she’d give us next. The musical theatre (the songs more than the acting and dancing, although both are good) is fun and bubbly. Finally, Judi Dench delivers her usual stellar work. She’s witty and delightful and wields screenwriter Martin Sherman’s dialogue and character of Mrs. Henderson with the assurance of a master fencer. She’s just fun to watch, and her fans shouldn’t miss Mrs. Henderson Presents.

6 of 10
B

NOTES:
2006 Academy Awards: 2 nominations: “Best Achievement in Costume Design” (Sandy Powell) and “Best Performance by an Actress in a Leading Role” (Judi Dench)

2006 BAFTA Awards: 4 nominations: “Anthony Asquith Award for Film Music” (George Fenton), “Best Costume Design” (Sandy Powell), “Best Performance by an Actress in a Leading Role” (Judi Dench), and “Best Screenplay – Original” (Martin Sherman)

2006 Golden Globes: 3 nominations: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Bob Hoskins), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Judi Dench)

Wednesday, April 19, 2006

Review: "Chicken Little" Has Big Action

TRASH IN MY EYE No. 169 (of 2005) by Leroy Douresseaux


Chicken Little (2005) – computer animated
Running time: 81 minutes (1 hour, 21 minutes)
MPAA – G
DIRECTOR: Mark Dindal
WRITERS: Steve Bencich and Ron J. Friedman and Ron Anderson; from a story by Mark Kennedy and Mark Dindal (with additional story material by Robert L. Baird and Dan Gerson)
PRODUCER: Randy Fullmer
EDITOR: Dan Molina

ANIMATION/SCI-FI/FANTASY and COMEDY/ACTION/FAMILY

Starring: (voices) Zach Braff, Garry Marshall, Steve Zahn, Joan Cusack, Don Knotts, Patrick Stewart, Amy Sedaris, Harry Shearer, Wallace Shawn, Fred Willard, Catherine O’Hara, Adam West, Patrick Warburton, Mark Dindal, and Dan Molina

One day a piece of the sky falls to earth and hits Chicken Little (Zach Braff) on the head. The sky is falling her warns, but the townsfolk of Oakey Oaks, including his father, Buck Cluck (Garry Marshall), conclude that an acorn hit the boy chick on the head. The incident swiftly turns Chicken Little into the town joke and embarrasses his father. However, the plucky chicken joins the local baseball team with the hopes of reviving his reputation and earning his father’s respect. Chicken Little does indeed lead the team to an upset victory, and he and his pops are on good terms again.

All is well, but another “piece of the sky” hits Chicken Little on the head. Still, he’s reluctant to cause another scene and once again be labeled crazy. Instead, he enlists the help of his friends: Abby Mallard (Joan Cusack), who is also known as the Ugly Duckling because she is so… unpretty; Runt of the Litter (Steve Zahn), a tall, obese pig; and Fish Out of Water (“voice” created by film editor Dan Molina), a fish who wears a water-filled helmet, and the gang embark on an adventure to stop an alien invasion without sending the town into another panic.

Walt Disney’s Chicken Little, of course, spoofs of 17th century, rural English fable, “Chicken Little.” Disney’s new film is also their first fully computer animated film (2000’s Dinosaur combined computer generated characters with live-action background imagery), and also signals the famed movie company’s move away from hand-drawn (2D) animation to computer animated (3D) animation. Clearly aimed at children 12 and under, Chicken Little is filled with clever gags. The script is a hodge podge of sketch comedy, after school special storylines, and the kind of family psychology that would find its way on the “Dr. Phil” and “Oprah.”

The script is Chicken Little’s big problem. The animation is fine, sometimes even outstanding. There are a few moments when it has the quality of the first Shrek, but there are also times when it has the texture and quality of Disney/Pixar’s The Incredibles. However, the film is basically pretty pictures over an ugly story. The script bludgeons the audience with the notion that at this movie’s heart (which it doesn’t have) is the story of a father and son coming together. The father, in this case, Buck Cluck, must learn to accept his son’s physical shortcomings and love him for the plucky fella he is. But unlike Finding Nemo, where the parent/child dynamic seemed so natural, Chicken Little takes that relationship and drapes a cheesy action movie cartoon for children over it.

Chicken Little looks, feels, and sounds like the kind of action movies that have been so popular over the last decade, but tamed for children. Anyone who has seen Independence Day will recognize it in this flick. Chicken Little’s setting, Oakey Oaks, is the same old idealized Midwestern small town that Hollywood has been shoving at audiences for decades. That place is a fairy tale really, but it’s a good setting for War of the Worlds, which is another source reference for this flick. Chicken Little is as noisy and/or as busy as The Rock, Armageddon, Bad Boys II, etc. This is director Mark Dindal’s (The Emperor’s New Groove) Steven Spielberg/Michael Bay movie.

Chicken Little, as voiced by Zach Braff, is actually an endearing character – this movie’s saving grace, in fact. The character itself is a cutey, sort of a riff on “Egghead, Jr.” from those “Foghorn Leghorn” Looney Tunes cartoons. He’s a plucky little fella and the animators lovingly rendered and animated him.

The rest of the cast is mostly trash. The characters aren’t really characters so much as they are stereotypes that get to do stand up routines at different times in the film narrative. I immensely disliked Abby Mallard – nothing more to say about it here – and Runt of the Litter is pathetic. Steve Zahn can play quirky characters whose humor comes through even in crime dramas (Out of Sight), but his comedic gifts are lost because we don’t him here; all we get is his voice in the annoying Runt. Fish Out of Water provides nice slapstick, but the jokes come across as desperation on the writers’ parts. Garry Marshall’s Brooklyn accent is out of place in this film, and as a father, Buck Cluck is like an overbearing mother in his demands on his son, Chicken Little.

I guess the shortest and perhaps best way to describe Disney’s Chicken Little is as Jimmy Neutron: Boy Genius with much better computer animation.

4 of 10
C

Saturday, November 5, 2005

Review: Great Performances "Walk the Line" (Happy B'day, Joaquin Phoenix)

TRASH IN MY EYE No. 177 (of 2005) by Leroy Douresseaux

Walk the Line (2005)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for some language, thematic material, and depiction of drug dependency
DIRECTOR: James Mangold
WRITERS: Gill Dennis and James Mangold (based upon the books The Man in Black by Johnny Cash and Cash: An Autobiography by Johnny Cash and Patrick Carr)
PRODUCERS: James Keach and Cathy Konrad
CINEMATOGRAPHER: Phedon Papamichael
EDITOR: Michael McCusker

DRAMA/BIOGRAPHY/MUSIC-SONGS with elements of romance

Starring: Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick, Dallas Roberts, Dan John Miller, Larry Bagby, Shelby Lynne, Tyler Hilton, Waylon Malloy Payne, Shooter Jennings, Sandra Ellis Lafferty, and Dan Beene

Walk the Line, the Johnny Cash biopic, chronicles Cash’s beginnings as the son of Ray Cash, (Robert Patrick), a poor Arkansas cotton farmer, his rise to fame with Sun Records in Memphis, and his early status as a rock and country music star with Columbia Records. Along the way, Johnny Cash (Joaquin Phoenix) battles an addiction to pills, struggles with his first marriage to Vivian Cash (Ginnifer Goodwin), and meets the true love of his life and his soul mate, June Carter (Reese Witherspoon), a singer Cash admired when he was a poor Arkansas boy and she was a child star singer on the country music circuit of the 1940’s.

Joaquin Phoenix as Johnny Cash is the primary reason Walk the Line succeeds. He plays Cash with equal parts mad abandon and quiet intensity. His Cash is one moment a wild man and the next moment a vulnerable soul desiring an intimate connection with June Carter or perhaps seeking reconciliation with the past. A film biography usually can’t give us the interior substance of the man a book could. However, a film biography can give us some kind of emotional and visual approximation of Cash. That’s what Joaquin does in Walk the Line.

Sadly, the film’s (almost) fatal flaw is the script because it’s shallow. The writers, Gill Dennis and director James Mangold, rely on several elements to give the film its emotional impact. One of them is Cash’s drug use, but the film takes a very surface look at it. Cash uses drugs; he becomes addicted, acts like an ass to his friends and family, and breaks things. That entire sub-plot comes across as what it is – old hat. It’s more annoying than interesting.

Two other important sub-plots are Johnny’s relationship with his father, Ray, and his wife Vivian. Robert Patrick gives a good performance as Ray Cash, but Mangold and Dennis mishandle the relationship (or misunderstood it while doing research for the film). It’s a clunky bit of writing that usually has a strung-out Cash staring oh-so-intensely staring at Papa Cash while Ray simply acts like a mean sumbitch. The film doesn’t need the father-son dynamic to be touchy-feely, but that relationship has no heart, is paper-thin, and the resolution is tacked on for a feel-good ending.

Vivian Cash, expertly played by the stunningly gorgeous Ginnifer Goodwin, gets the same dismissal. Mangold and Dennis once again rely on an old film stereotype, one especially big in biopics – that of the shrewish wife. Vivian is more whiny than happy, and the marriage is more or less played as being misbegotten from the get-go. That’s inaccurate (certainly by the accounts of Cash’s four children by Vivian), and if the filmmakers intended to play the marital strife for dramatic effect, they failed, instead ruining a good character.

The biggest waste in Walk the Line is Reese Witherspoon’s June Carter. As written here, the part isn’t a co-lead; it’s a glorified supporting role. Ms. Witherspoon and Phoenix certainly have some serious screen chemistry. They butt heads, stare deeply at one another, and bicker like siblings – or like longtime lovers. Ultimately, however, the story plays June Carter as being only important because she is something Johnny has to have. Of course, this isn’t really June’s story, but it’s obvious to anyone who sees Walk the Line how important June was to Johnny, though we only get a tantalizing piece here and there.

In Ray, the Ray Charles biopic, actor playing important supporting characters get at least one scene to define his characters both as an individual and as a larger part of the narrative. Walk the Line doesn’t allow this except for June Carter’s part. We also get very little of Johnny Cash’s backup band and or of his industry collaborators and acquaintances. Ray also gave the viewer numerous looks at Ray Charles’ creative process of songwriting, performing, and producing. Other than the concert scenes, Walk the Line gives us very little of Johnny Cash’s creative process.

Still, I found myself getting emotional during much of Walk the Line. There are some powerfully emotional scenes here (for instance, when Johnny first performs for Sam Phillips, founder of Sun Records). Add such magical moments to Joaquin Phoenix and, to a lesser degree, Reese Witherspoon’s performances, and Walk the Line is a special biographical movie.

7 of 10
B+

Monday, November 28, 2005

NOTES:
2006 Academy Awards: 1 win: “Best Performance by an Actress in a Leading Role” (Reese Witherspoon); 4 nominations: “Best Achievement in Costume Design” (Arianne Phillips), “Best Achievement in Film Editing” (Michael McCusker), and “Best Achievement in Sound Mixing” (Paul Massey, Doug Hemphill, Peter F. Kurland), and “Best Performance by an Actor in a Leading Role” (Joaquin Phoenix)

2006 BAFTA Awards: 2 wins: “Best Performance by an Actress in a Leading Role” (Reese Witherspoon) and “Best Sound” (Paul Massey, Doug Hemphill, Peter F. Kurland, and Donald Sylvester); 2 nominations: “Anthony Asquith Award for Film Music” (T-Bone Burnett) and “Best Performance by an Actor in a Leading Role” (Joaquin Phoenix)

2006 Golden Globes: 3 wins: “Best Motion Picture - Musical or Comedy” (Cathy Konrad and James Keach), “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Joaquin Phoenix), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Reese Witherspoon)

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"Hustle & Flow" Finds a Real Groove

TRASH IN MY EYE No. 122 (of 2005) by Leroy Douresseaux


Hustle & Flow (2005)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – R for sex and drug content, pervasive language, and some violence
WRITER/DIRECTOR: Craig Brewer
PRODUCERS: Stephanie Allain and John Singleton
CINEMATOGRAPHER: Amy Vincent
EDITOR: Billy Fox
Academy Award winner

DRAMA/MUSIC

Starring: Terrence Dashon Howard, Anthony Anderson, Taryn Manning, Taraji P. Henson, Paula Jai Parker, Elise Neal, DJ Qualls, Ludacris, and Isaac Hayes

DJay (Terrence Dashon Howard) seems like the typical philosopher-hustler – misusing his gift for words as a streetwise pimp living a dead end life on the fringes of Memphis society. Hearing that a former Memphis deejay named Skinny Black (Ludacris) has an album that went platinum makes DJay wonder what happened to all the big dreams he had for his life.

DJay has a chance encounter with Key (Anthony Anderson), an old friend who is a sound engineer. Key also has dreams of being in the music business, and that spurs DJay, who realizes that if he’s going to make his mark, this might be his last chance. He begins writing freestyle raps, and Shelby (DJ Qualls), a church musician with a beat machine, joins DJay and Key to lay down some bass crunching tracks. His housemates, Shug (Taraji P. Henson), an expectant mother, and Nola (Taryn Manning), a young woman DJay pimps out of his car to johns, join him in the creative process as DJay works this new hustle to create the flow that will take him to a better life.

Craig Brewer’s Hustle & Flow feels so real that the Memphis heat radiates off the screen and made me feel uncomfortable. Simply put, Hustle & Flow is a gritty and grimy drama that captures the desperate essence of hustlers, would-be artists, and struggling artists. Brewer who won the Sundance Film Festival Award in the category “Dramatic” for this film that recreates the real world of low level street pimps and drug dealers; this isn’t the prettified, “super fly,” rap version of pimping and dealing. Brewer’s film is so authentic that it, at times, seems like a documentary that has overdone keeping things real. Still, Brewer uses the first scene in which DJay, Key, and Shelby create a musical track to shock the film into a vibrant life that forces us to focus on this creative trio.

Terence Dashon Howard is a star on the rise, and this performance affirms that. His DJay is an earthy guy who is so common that he barely registers to anyone outside the few women in his life. Howard creates a character that is desperate and hungry, but even more resigned to a life that will soon finish him. Watch Howard bring him to new life as DJay realizes he has a goal; Howard modulates the performance so that neither DJay nor the story every come across as inauthentic to the audience.

Howard and Brewer aren’t alone in their efforts at make this a winning film. Taraji P. Henson’s Shug is so genuinely needy, and as Nola, Taryn Manning molds her performance to give it a contour that perfectly fits the ebbs and flows of Howard’s DJay. Anthony Anderson gives a quiet, but surprisingly nimble dramatic turn that tells us that Hollywood has barely tapped his talents. DJ Qualls also adds a small, but different flavor as the beat maker who is uncannily in sync with everyone else.

Hustle & Flow is not only one of the best dramas set amongst the black folks who live in squalor and deep poverty in a long time, but it rings with truth as few urban dramas have since Boyz N’ the Hood, the directorial debut of John Singleton, who is this film’s co-producer and the man who self-financed the film. I can only hope that Craig Brewer keeps bringing us back to this kind of real thing.

8 of 10
A

NOTES:
2006 Academy Awards: 1 win: “Best Achievement in Music Written for Motion Pictures, Original Song” (Jordan Houston, Cedric Coleman, and Paul Beauregard for the song "It's Hard Out Here for a Pimp"); 1 nomination: “Best Performance by an Actor in a Leading Role” (Terrence Howard)

2006 Black Reel Awards: 3 wins: “Best Actor” (Terrence Howard), “Best Original Soundtrack,” and “Best Supporting Actress” (Taraji P. Henson); 3 nominations: “Best Ensemble” (Ludacris, Terrence Howard, DJ Qualls, Taraji P. Henson, Anthony Anderson, Paula Jai Parker, Taryn Manning, and Elise Neal), “Best Film,” and “Best Supporting Actor” (Anthony Anderson)

2006 Golden Globes: 1 nomination: “Best Performance by an Actor in a Motion Picture – Drama” (Terrence Howard)

Review: John Singleton Shepherds "Four Brothers"

TRASH IN MY EYE No. 144 (of 2005) by Leroy Douresseaux

Four Brothers (2005)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – R for strong violence, pervasive language, and some sexual content
DIRECTOR: John Singleton
WRITERS: David Elliot & Paul Lovett
PRODUCER: Lorenzo De Bonaventura
CINEMATOGRAPHER: Peter Menzier, Jr. A.C.S.
EDITOR: Bruce Cannon, A.C.E. and Billy Fox, A.C.E.

DRAMA/ACTION/CRIME/MYSTERY

Starring: Mark Wahlberg, Tyrese Gibson, André Benjamin, Garrett Hedlund, Terrence Howard, Josh Charles, and Chiwetel Ejiofor, Sofia Vergara, Fionnula Flanagan, Taraji P. Henson, Barry Shabaka Henley, and Jernard Burks

The Mercer Brothers – hotheaded ex-con Bobby (Mark Wahlberg), ladies’ man Angel (Tyrese Gibson), family man and businessman Jeremiah (André Benjamin), and rock musician Jack (Garrett Hedlund) – return to the mean streets of Detroit after their adoptive mother Evelyn Mercer (Fionnula Flanagan) is murdered during the holdup of a corner grocery store. They take the matter of her murder into their own hands in spite of assurances from police Lt. Green (Terrence Howard) and Detective Fowler (Josh Charles) that they are working on the case.

Soon the Mercer boys realize that their mother’s death wasn’t just the tragic result of a simple store holdup. Bobby and Angel use their rough old ways of handling business to track their mother’s killers, but these aren’t the same Detroit neighborhoods they left and their old ways have new consequences. Whatever the result of their own private investigation, the Mercer brothers discover that their brotherly bonds, first forged by adoption, are as thick as those of brothers by birth.

I expected John Singleton’s new film, Four Brothers, to be a very well made action drama, but it turned out to be one of the best films I have seen thus far this year. It has the cool intensity of a 70’s action movie or blaxtiploitation film. While Four Brothers is certainly a straight genre piece, it is also a character-driven film with a lot of action and drama. First credit should go to the script by screenwriters David Elliot & Paul Lovett, long time collaborators. They not only pounded on story structure, but they made very engaging characters out of the protagonists for the most part.

The villains, however, come out on the short end. Some are very interesting, like Chwetel Ejiofor’s Victor Sweet, but in the end he emerges as nothing more than a really evil dude; there’s no The Godfather-like examination of evil here. All the “bad guys” seem to be interesting characters worth developing, but the script never gets that far. That’s one of the things here that keeps Four Brothers just short of being a truly great film.

On the other hand, Singleton’s intense, block-by-block building of this film’s narrative and the frenetic pace he gives it glosses over any script and performance shortcomings (I found Fionnula Flanagan’s Evelyn Mercer to be as creepy as she was sympathetic.), and John Singleton’s masterful directorial performance makes Four Brothers as good as the kind of memorable crime films like Out of Sight. Four Brothers doesn’t miss a beat, and this is one of the year’s best directing jobs.

The four leads really drive this film. All are good: Andre Benjamin, known to many as Andre 3000 of the Grammy-winning musical act OutKast, is a natural acting talent, and here, he doesn’t come across like a fish out of water as is the problem with so many something-else’s-turned-actor. Garrett Hedlund, barely out of high school when he captured the juicy role of Patroclus opposite Brad Pitt’s Achilles in Troy (a film by Wolfgang Peterson), comes across as an affable and energetic co-star. He’s sort of the odd-man-out, but he makes do with the lesser part the story hands him.

The driving force of the brotherly quartet is Mark Wahlberg and Tyrese Gibson. Wahlberg is a very good actor who is rushing towards greatness. He’s a movie star, and his presence can make you want to see the movies in which he stars, regardless of genre. He’s got Hollywood star cool, yet there is a bit of an edge to him – part tough guy, but loner/rebel. Hey, it works on the big screen. Who’d a thunk it? Tyrese Gibson is a damn good actor, and has movie star appeal. He’s the other piece in a matching set with Wahlberg, being every bit the handsome tough guy, but with a bit of softie in him. In this film, he doesn’t come across at all as a supporting player. He plays Angel Mercer so naturally that you’d think he’d been doing the acting thing for at least twice as long as he actually has.

The cast, writers, directors, and crew come together to make this urban action/exploitation film into the consummate gritty Hollywood action drama. Four Brothers might come across at first glance as junk, but it’s really a hamburger recipe turned into a fine steak. Enjoy it on the big screen or make a must-keep date for it on home video and DVD.

8 of 10
A

NOTES:
2006 Black Reel Awards: 4 nominations: “Black Reel Best Director” (John Singleton), “Best Ensemble” (André Benjamin, Tyrese Gibson, Mark Wahlberg, Sofía Vergara, Garrett Hedlund, Terrence Howard, Chiwetel Ejiofor, and Taraji P. Henson), “Best Film,” and “Best Original Soundtrack”

2006 Image Awards: 1 win: “Outstanding Directing in a Feature Film/Television Movie” (John Singleton)

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Felicity Huffman Moves "Transamerica"

TRASH IN MY EYE No. 128 (of 2006) by Leroy Douresseaux

Transamerica (2005)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for sexual content, nudity, language, and drug use
WRITER/DIRECTOR: Duncan Tucker
PRODUCERS: René Bastian, Sebastian Dungan, and Linda Moran
CINEMATOGRAPHER: Stephen Kazmierski (with Tom Camarda)
EDITOR: Pam Wise
Academy Award nominee

DRAMA

Starring: Felicity Huffman, Kevin Zegers, Elizabeth Peña, Fionnula Flanagan, Graham Greene, Burt Young, and Carrie Preston

Sabrina Osbourne or as she likes to be called, “Bree” (Felicity Huffman) is a pre-operative male-to-female transsexual woman who passes herself off as “G.G.,” meaning “genuine girl.” She lives in a poor section of Los Angeles, where she works two jobs (as a dishwasher at a small Mexican restaurant and as telemarketer from home) to make enough money so that she can afford the final sexual reassignment surgery that will make her wholly a woman. An unexpected complication in her plans arrives via a phone call from New York City.

Apparently, in her old life as a man named Stanley Schupack, she fathered a son, Toby (Kevin Zegers), a street hustler whom the police picked up for dealing drugs. Toby, who never met his father, is hoping that his dad will bail him out of jail. Forced by her therapist, Margaret (Elizabeth Peña), to confront her old past and tie up loose ends, Bree flies to New York and rescues the 17-year old Toby, but doesn’t tell the teen that she is his father and pretends to be a Christian missionary concerned about his well being. Toby begs Bree to follow her back to L.A. in hopes of becoming an actor in the adult entertainment industry and perhaps finding his father. Bree reluctantly agrees and buys a car so that the two can journey back to the West Coast. However, Bree is plotting to dump Toby off along the way, but circumstances have a way of helping them discover one another.

At its heart, Transamerica is an indie road movie, and like most road movies, it is a character-driven film in which (usually) two people from different worlds discover a common bond. The twist or hook in this case is that one of the travelers is one is a transgender and the other is the son. One would think that with a concept like this, writer/director, Duncan Tucker, would take the opportunity to make some potent and cogent observations about human nature, yet Tucker’s film spends most of its first half meandering, listlessly trying to find its way – a sure sign of a mediocre road movie. It isn’t until Bree visits the home of another transgender, who is entertaining like guests that the film takes off, allowing an eclectic mixture of characters to shine and give this film a pungent, but inviting flavor.

Transamerica has a lot of wonderful supporting performances, especially Kevin Zegers as the son, Toby. Zegers is spot on a wayward teenager who can’t right his ship, and he juggling numerous options for his future – most of which are simply flights of fancy. Zegers makes Toby a drug addict who is at least able to retain some sense of balance; his addictions don’t entirely ruin his ability to relate well to other people. Fionnula Flanagan (who played the murdered mother in Four Brothers) gives a nice turn as Bree’s frantically disappointed mother, Elizabeth, and Burt Young gives an unusual twist to Bree’s father, Murray, a patient and jovial, if not entirely understanding parent.

Of course, the showcase, the gem of this film, is Felicity Huffman as Bree. She worked on this film before her career received a huge boost from playing “Lynette Scavo,” one member of the star quartet on ABC’s hit comedy/drama TV series, “Desperate Housewives.” Huffman, a woman playing a man who wants to be a woman, gives a transcendent performance as Bree and seems to have absorbed the part in mind, body, and soul. Everything about Huffman as Bree rings with truth and honesty. She makes you believe that Bree knows she is a woman, but when Bree struggles with her past as a man, it’s fun to watch Huffman make the fight to right herself so real. Transamerica may not be anywhere near being a great movie, but Felicity Huffman’s performance is indeed great.

7 of 10
B+

NOTES:
2006 Academy Awards: 2 nominations: “Best Performance by an Actress in a Leading Role” (Felicity Huffman) and “Best Achievement in Music Written for Motion Pictures, Original Song” (“Travelin’ Thru” by Dolly Parton)

2006 Golden Globes: 1 win: “Best Performance by an Actress in a Motion Picture – Drama” (Felicity Huffman); 1 nomination: “Best Original Song - Motion Picture” (Dolly Parton for the song “Travelin’ Thru”)

Saturday, June 10, 2006

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Review: "Constantine" is No Hellblazer

TRASH IN MY EYE No. 26 (of 2005) by Leroy Douresseaux

Constantine (2005)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – R for violence and demonic images
DIRECTOR: Francis Lawrence
WRITERS: Kevin Brodbin and Frank Cappello; from a story by Kevin Brodbin (based upon the characters from the DC Comics/Vertigo Hellblazer graphic novels)
PRODUCERS: Lauren Shuler Donner, Benjamin Melniker, Michael Uslan, Erwin Stoff, Lorenzo di Bonaventura, and Akiva Goldsman
CINEMATOGRAPHER: Philippe Rousselot, A.F.C./A.S.C.
EDITOR: Wayne Wahrman, A.C.E.

HORROR/FANTASY/ACTION with elements of thriller

Starring: Keanu Reeves, Rachel Weisz, Shia LaBeouf, Tilda Swinton, Pruitt Taylor Vince, Djimon Hounsou, Gavin (McGregor) Rossdale, Jessie Ramirez, Jose Zuniga, Laz Alonso, Quinn Buniel, and Peter Stormare

In the mid 1980’s famed comic book writer Alan Moore created, at the behest of his artist collaborators, a character for their comic book series, Swamp Thing (that changed the face of mainstream or superhero comics), that would look like Sting, front man of the rock group, The Police. Two decades later, Keanu Reeves, not Sting, has brought the character, John Constantine, to cinematic life in the film, Constantine.

Back story: John Constantine (Keanu Reeves) was born with a gift he didn’t want – the ability to recognize the half-breed angels and demons that walk the earth in human skin. Constantine took his own life to end the torment of his visions, but he was resuscitated against his will. Constantine returned with the ability to walk the earthly border between Heaven and Hell. He attempts to earn his salvation as an exorcist/supernatural detective sending the half-breed demons back to hell. Still, Constantine is no saint; he lives a hard life of drinking and smoking too much while he tries to buy his way into heaven.

Angela Dodson (Rachel Weisz) is a skeptical police detective, really not buying all this occult mumbo jumbo, but she needs Constantine. Her sister, Isabel (Ms. Weisz), may have committed suicide. Angela finds that hard to believe because her sister was a devout Catholic, and devout Catholics know that suicides go straight to the inferno of hell. Angela convinces Constantine to help her, but their investigation quickly clears away Angela’s skepticism as their examination of the crime takes them to the world of angels and demons just behind the walls, on the other side of the metaphorical windows, and beneath the landscape of Los Angeles. The duo is caught in a series of catastrophic occult and satanic events that may not only cost them their lives, but the souls of all human kind.

If Keanu Reeves were a better actor, Constantine would have been a better film. First, we, the people who are familiar with the comic book, have to get over the fact that there were better actors to play the part. We may have been willing to accept that the character was changed from a Brit to an American, but Keanu? He has his moments, but most of them are in the last act. It’s not as if he were out acted; the rest of the characters seem extraneous, even the ones that are supposed to be important to the plot.

The story, which borrows heavily from the work of two early writers on the Constantine comic book (called Hellblazer), Jamie Delano and Garth Ennis, is conceptually interesting. The execution leaves something to be desired. Sometimes, it’s just pretentious, and sometimes, the occult angle is as good and as intriguing as the occult was in Raiders of the Lost Ark. The visualization of Hell (as a still-burning post-apocalyptic cityscape) is nice, but ultimately the script is just a hodge podge of concepts and ideas that are poorly thought out and used. It’s as if some things were added because they’d seem cool, but they were poorly used or just didn’t make sense in the context of the script. The writers seemingly knew how they wanted the film to begin and end, but only threw crap against the wall in between that.

Actually, director Francis Lawrence (known for his music videos for acts such as Britney Spears and Will Smith) gives the film a good pace and a tense atmosphere of dread. He manages to make something out of a poor script and Keanu’s monotone and flat speaking/acting style. It’s enough to make this worth renting for fans of horror and fantasy.

5 of 10
C+

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Review: "The Three Burials of Melquiades Estrada" is a Good Neo-Western (Happy B'day, Tommy Lee Jones)

TRASH IN MY EYE No. 162 (of 2006) by Leroy Douresseaux

The Three Burials of Melquiades Estrada (2005)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – R for language, violence, and sexuality
DIRECTOR: Tommy Lee Jones
WRITER: Guillermo Arriaga
PRODUCERS: Luc Besson, Michael Fitzgerald, Tommy Lee Jones, and Pierre-Ange Le Pogam
CINEMATOGRAPHER: Chris Menges
EDITOR: Roberto Silvi

DRAMA with elements of comedy and western

Starring: Tommy Lee Jones, Barry Pepper, Julio Cesar Cedillo, January Jones, Dwight Yoakum, Melissa Leo, and Levon Helm

Ranch hand Pete Perkins (Tommy Lee Jones) found a treasured friend in an illegal (undocumented) Mexican worker, Melquiades Estrada (Julio Cesar Cedillo), who becomes a cowboy at the ranch Peter manages. However, a hot headed and ruthless border patrol officer, Mike Norton (Barry Pepper, who exquisitely channels bad vibes to play Norton), kills Melquiades and buries him in an unmarked grave to hide his crime or error (depends on how you look at it). When Pete learns of Melquiades’ death, he kidnaps Mike and has him dig the body out of the pauper’s grave in which it was buried. Then, Pete drags Mike and Melquiades’ corpse on a harrowing journey by horseback across the border to Mexico in order to bury Melquiades in his hometown.

The Three Burials of Melquiades Estrada has all the trappings of a western and the narrative is ripe with scenes of black humor. Like a western, it deals with revenge and justice, and the black comedy comes through the macabre situations involving Estrada’s increasingly gruesome corpse (not to mention a drolly humorous love/sex triangle). Still, The Three Burials of Melquiades Estrada is a story of friendship and obligation. As a famous talk show host recently said of her close relationship with a female friend, perhaps, we don’t have a term to describe the familiarity and understanding that defines the bond between Pete Perkins and Melquiades Estrada. Tommy Lee Jones unadorned and simple, yet masterful direction helps us to understand that a friendship means so much that a man would risk his standing and his professional life to do right by what’s left of his friend on this earth.

Jones, who seems to wear the western well – even quasi ones such as this, also deals with the themes of alienation and the search for meaning in life and love, and in this case the love between two men, as well as between women and men. In his film, souls seem as sparse as much of the landscape that surrounds them. Jones’ characters grasp at connectivity, and Jones uses the subtleties to enrich the film. He shows that even the most lonesome souls find partnerships – even for a little while. It makes The Three Burials of Melquiades Estrada a work that eagerly reflects humanity in all its unattractiveness and its most desperately hopeful light.

7 of 10
B+

NOTES:
2005 Cannes Film Festival: 2 wins: “Best Actor” (Tommy Lee Jones) and “Best Screenplay” (Guillermo Arriaga); 1 nominations for the Palme d'Or (Tommy Lee Jones)

Saturday, July 29, 2006

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Review: "Junebug" is a Jewel on an Indie Film (Happy B'day, Amy Adams)

TRASH IN MY EYE No. 49 (of 2006) by Leroy Douresseaux

Junebug (2005)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for sexual content and language
DIRECTOR: Phil Morrison
WRITER: Angus MacLachlan
PRODUCERS: Mindy Goldberg and Mike S. Ryan
CINEMATOGRAPHER: Peter Donahue
EDITOR: Joe Klotz
Academy Award nominee

DRAMA

Starring: Embeth Davidtz, Alessandro Nivola, Amy Adams, Celia Weston, Scott Wilson, Ben McKenzie, Frank Hoyt Taylor, and Joanne Pankow

Madeleine (Embeth Davidtz), a Chicago art dealer who specializes in “outsider art,” takes a trip to rural North Carolina with her husband, George (Alessandro Nivola), to convince David Wark (Frank Hoyt Taylor, whose small part is the film’s most memorable), a highly-eccentric folk artist to allow her gallery to show his art. George is not only from North Carolina, but his family lives not too far from Wark’s home.

Madeleine convinces George to finally allow her to meet his small-town family: his bristly mother, Peg (Celia Weston); his reserved father, Eugene (Scott Wilson); his crabby brother, Johnny (Ben McKenzie); and Johnny’s pregnant wife, the sweet and naïve Ashley (Amy Adams). Madeleine has a hard time fitting in, and Peg doesn’t try very hard to hide her dislike or suspicion of Madeleine. Johnny holds grudges against George and is taciturn with Madeleine. To make matters worse, George spends much of the day away from Madeleine, visiting his old haunts and friends, and he begins to revert to his hymn-singing, church-going ways – somewhat to the detriment of his marriage.

Junebug isn’t a great film (it misses that by a lot), but it’s quite good, mostly because of the efforts of director, Phil Morrison. Writer Angus MacLachlan gives us four familiar characters as George’s family, the bitter brother Johnny and the prickly mother Peg being the worse. It’s not so much that they’re stereotypes; it’s what MacLachlan does with them that makes them come across as old hat. Other than in Madeleine, there is no variety in the behavior of the characters. For the most part, they’re stuck in the mud and boring. Every time that there is some glimmer of hope that some breakthrough of depth is about to occur, it turns out to be nothing – stuck in “park.” Poor Celia Weston is like a record that skips, but the script doesn’t give her room to actually perform.

Junebug has three people that make it standout: the aforementioned director and also actresses Embeth Davidtz and Amy Adams. Adams gives one of those splashy performances as a peculiar or unconventional character in Ashley that gets the notice of the critics, and several critics associations and festival awards did indeed honor her for her performance. Ashley is likeable in her frantic need to be liked and in her poor desperation to get husband Johnny’s attention. When Ashley tries to create a bond with Madeleine, Adams makes it feel so real, not phony and desperate, although it initially comes across that way.

However, Junebug is really Madeleine’s story, and if awards must be given for acting in this film, they should have gone to Embeth Davidtz, or at least she should have shared in the glory. As Madeleine, Davidtz (who played a suffering Jewish servant in Schlindler’s List), embodies the film’s themes of family ties and outsiders. Davidtz’s character has to perform the balancing act of dealing with becoming a part of George’s family and dealing with the fact that George is a part of a family outside of her. It’s a culture and a lifestyle that is alien to her. In doing that Embeth gives a warm and poignant performance that guides the viewer through Junebug.

Director Phil Morrison makes Junebug such a compelling film. It’s as if he insisted that the camera drink and drink deeply of the narrative’s setting, as much as it does of the central players. He creates a film the resonates of family, but set in a world that is authentic. It’s not like every small town, but it sure seems like a genuine one. I didn’t like how Morrison has the night scenes that occur inside the house filmed with so little light, but I guess there was a reason for that. We’ll never really know George’s family, but Morrison certainly makes them compelling. Morrison realizes that for the most part, we’re like Madeleine, or at least we’re going to see this world through her eyes. As curious as we are about them, Morrison understands that like Madeleine, as much as we like meeting the kinfolk – those by blood or by marriage, we’re always ready to go home. With Embeth and Amy’s performances, Morrison’s understanding of outsiders and strangers makes Junebug a jewel of an independent film.

7 of 10
B+

NOTES:
2006 Academy Awards: 1 nomination: “Best Performance by an Actress in a Supporting Role” (Amy Adams)

Sunday, March 05, 2006

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Review: "Wedding Crashers" Marries Raunch and Romance

TRASH IN MY EYE No. 115 (of 2005) by Leroy Douresseaux


Wedding Crashers (2005)
Running time: 119 minutes (1 hour, 59 minutes)
MPAA – R for sexual content and language
DIRECTOR: David Dobkin
WRITERS: Steve Faber and Bob Fisher
PRODUCERS: Peter Abrams, Robert L. Levy, and Andrew Panay
CINEMATOGRAPHER: Julio Macat
EDITOR: Mark Livolsi

COMEDY with elements of romance

Starring: Owen Wilson, Vince Vaughn, Rachel McAdams, Christopher Walken, Bradley Cooper, Isla Fisher, Jane Seymour, Ron Canada, Jenny Alden, Ellen Albertini Dow, and Will Ferrell with James Carville and John McCain

Flowing with raunchy and rich language, Wedding Crashers is hilarious counter programming in a Summer 2005 movie season filled with superhero, sci-fi, and horror special effects-flick madness. Vince Vaughn, who once upon a time Hollywood seemed to be grooming to play the leading man, has turned out to be a mad comic actor; he alternates his slacker-wiseguy between being sometimes overbearing and sometimes playing the big, old teddy bear, and we get a little of both here. Owen Wilson’s cool, slow burning, man of bliss doesn’t wear thin, even in bad movies, and Wedding Crashers is by no means bad. The reason is simple: Wilson and Vaughn fit together like a classic comedy duo, playing the best insincerity since Bill Murray and Chevy Chase charmed their way through adversaries, hapless partners, and beautiful gals back in the 70’s and 80’s.

John Beckwith (Owen Wilson) and Jeremy Klein (Vince Vaughn) are divorce mediators who spend a few weekends out of the year crashing weddings. At these weddings, they’re always on the lookout for Ms. Right, but only to bed her for the night before disappearing back to their straight lives. John convinces Jeremy to take on their biggest crash, the social event of the year, the wedding of the daughter of the U.S. Secretary of the Treasury, William Cleary (Christopher Walken), where they’ll pretend to be somewhat distant relatives of the family, the Ryan brothers, venture capitalists. There, John falls in love at first sight with Cleary’s already-engaged daughter, Claire (Rachel McAdams). The duo gets roped into spending a weekend at the Cleary family’s palatial waterfront estate, but soon find themselves over their heads. Jeremy has caught the eye of Claire’s loopy, sex-crazed sister, Gloria (Isla Fisher), and Owen has to compete with Claire’s rich, jerk fiancé, Sack (Bradley Cooper), who is determined to discover the “Ryan boys” real identities.

Wedding Crashers is both witty and fearless when it comes to taking on the idea of marriage. It’s not exactly cynical, but it’s far from treating marriage and family with reverence. Still, like Old School did a little more than two years ago, Wedding Crashers goes all mushy in the third act as Jeremy gets serious for the first time about a real and deep relationship and John pouts over true love lost. Wedding Crasher’s turn towards the profound doesn’t ring hollow like Old School’s did. The film seems to suggest in a natural and unforced fashion that the boys can’t keep up the ultra-immature routine for the rest of their lives; they must eventually become mature men. They’re too old to act so adolescent and unripe and so callously towards people for their own gratification – certainly not at an occasion where families come together for an event that (usually) unites two families and promises to enlarge them both and continue their lines into the future.

Besides Wilson and Vaughn, most of the rest of the cast is D.O.A. Bradley Cooper does a good turn as the “villain,” and his character begs the audience to know him more, but he’s ultimately tossed aside for the happy ending. Ron Canada as the butler, Randolph, and Ellen Albertini Dow as the harshly frank Grandma Mary are also shortchanged, which ultimately shortchanges the audience. There is a sorry streak in this film’s script that keeps the other madcap characters muzzled because the film must in due course affirm American family’s values. There’s nothing wrong with that, but it is OK for our entertainment and art to tear at our institutions as often as they enforce them.

Not that Wedding Crashers doesn’t remain a bit unhinged even to the end – Will Ferrell’s cameo appearance in the last act allows the film to retain a nice big chunk of its pitiless nature. That makes this flick more than just a guilty pleasure, it is knock down, sidesplitting, riotous, totally freaking funny movie.

7 of 10
B+

Movie Review: "G" is a Black Soap Opera

TRASH IN MY EYE No. 168 (of 2005) by Leroy Douresseaux

G (2002)
Opening date: September 16, 2005 (limited)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA - R for language, some sexuality and brief violence
DIRECTOR: Christopher Scott Cherot
WRITERS: Charles E. Drew, Jr. and Christopher Scott Cherot, from a story by Andrew Lauren and Charles E. Drew, Jr.
PRODUCERS: Judd Landon and Andrew Lauren
CINEMATOGRAPHER: Horacio Marquínez
EDITOR: Brad Lauren and Robert Reitano

DRAMA/ROMANCE

Starring: Richard T. Jones, Blair Underwood, Chenoa Maxwell, Andre Royo, Andrew Lauren, Laz Alonso, Lalanya Masters, Nicoye Banks, Jillian Lindsey, and Sonja Sohn

Shot in 2001 and traveling the film festival circuit since 2002, the film, G, took as its inspiration, F. Scott Fitzgerald’s great American novel, The Great Gatsby. In the film, a rap music mogul builds a hip hop record empire solely to win back the love of his life, whom he met in college.

Tre (Andre Royo), a writer for a New York hip hop magazine called True Flow, is visiting the Hamptons in hopes of landing an interview with the Sean “P. Diddy” Combs-like, Summer G (Richard T. Jones). While in the Hamptons, he stays with his cousin, Sky Hightower (Chenoa Maxwell), and her husband, Chip Hightower (Blair Underwood), a wealthy businessman, who are Summer G’s neighbors.

Sky and Chip’s marriage is in the dumpster because of Chip’s many infidelities. In fact, Chip, whose father owns True Flow magazine, coerces Tre into assisting him in one of his affairs with another woman. Tre and Sky later attend one of Summer’s hip hop house parties, where Tre is shocked to discover that Summer and Sky have a past. Angered by Chip’s earlier intimidation, Tre assists Summer in restarting his old relationship with Sky, something that has dire consequences for everyone around Summer G.

Although The Great Gatsby inspires G, it’s only on a surface level. The film is by no means an adaptation of the novel; G more or less uses Gatsby’s setting and some of its plot points and characters as a springboard. G isn’t really about anything, although it attempts in a small way to discuss how much, if any, heart hip hop has. If anything, G is an African-American soap opera. Part TV movie (think Black Entertainment Television’s (BET) arabesque romance/soap opera telefilms), G is about spouses and lovers cheating on one another and the subsequent about backstabbing.

The acting ranges from quite good to amateurish. Blair Underwood turns in a tight professional performance; his Chip Hightower is a sly, lying, firecracker of violence always on the verge of exploding, so that adds a nice sheen of suspense to the story. Andre Royo is weak as Tre, but the character still works as the one who introduces us to this “colored” part of the Hamptons. Chenoa Maxwell is about of equal skill to Royo, and does more preening and posing than acting. However, two superb supporting actors and their characters bless this film: Nicoye Banks as B. Mo Smoov and Jillian Lindsey as Daizy Duke. Banks’ B. Mo Smoov adds a touch of hip hop credibility, humor, and philosophy to the film, so it’s a shame his character didn’t have a larger part. Ms. Lindsey sparkles as the messy and conniving Daizy, always slinking around like a sneaky cat, trying to get into other people’s business. Once again, she is another character that needed a bigger and more substantial part, in terms of story and character, in G. As Summer G, the title character, Richard T. Jones has an imposing presence, but a combination of a slight script and some shaky decisions in his performance, make Summer G a supporting character rather than a title character.

If there is one thing that does make G stand out, it’s the script. The directing and acting are all a little raw around the edges. The script may not have a plot that rises above the soap opera theatrics or much characterization, but it does have is flashy and witty dialogue. Just listening to the characters speak, even the weak ones, is just the kind of treat we expect when buying a movie ticket – in G, people say the darndest things. G certainly aspires to be cultural and social commentary, and fails at that because the screenplay focuses more on gossipy, romantic entanglements. But the dialogue makes G a highly entertaining soap opera.

6 of 10
B

Friday, November 04, 2005

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