Review: "The Hangover" is Simply Fantastic

TRASH IN MY EYE No. 4 (of 2009) by Leroy Douresseaux

The Hangover (2009)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for pervasive language, sexual content including nudity, and some drug material
DIRECTOR: Todd Phillips
WRITERS: Jon Lucas and Scott Moore
PRODUCERS: Daniel Goldberg and Todd Phillips
CINEMATOGRAPHER: Lawrence Sher
EDITOR: Debra Neil-Fisher
Golden Globe winner

COMEDY/MYSTERY

Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Heather Graham, Mike Epps, Sasha Barrese, Jeffrey Tambor, Ken Jeong, Rachel Harris, Mike Tyson, Jernard Burks, Rob Riggle, and Cleo King

It may be a cliché in movies and television series to send characters to Las Vegas for a bit of hedonism. Now, it is also a city where families can have fun and where businessmen can get down to business. Still, Las Vegas has long been the go-to place for many pleasure-seeking men.

The new film, The Hangover, from director Todd Phillips (Old School), takes a quartet of middleclass guys to Vegas for a bachelor party. While their plan for an evening of nightmarish debauchery eventually becomes a waking nightmare, their distress and torment are comedy gold for movie audiences.

Two days before his wedding to his bride-to-be, Tracy Garner (Sasha Barrese), Doug Billings (Justin Bartha) and three pals leave Los Angeles and drive to Las Vegas for a blow-out bachelor party that will be so crazy (they hope) they’ll never forget it. Doug’s friends are Phil Wenneck (Bradley Cooper), a good-looking, junior high school teacher, who puts on that married life is killing him. Dentist Stu Price (Ed Helms) is an uptight dweeb, who is made all the more anxious by his controlling girlfriend, Melissa (Rachel Harris). Melissa treats Stu like a slave, and he has to lie to her about the Vegas trip. Finally, there’s Tracy’s deranged brother, Alan Garner (Zach Galifianakis); pudgy, bearded, and dumber than a bag of hammers, Alan may be as dangerous as he is clueless.

After offering a toast to their diabolical plans on the roof of their Caesar’s Palace, the guys head out for an evening of ritualized Vegas fun (gambling, drinking, whoring, etc.). But the next morning, Phil, Stu, and Alan wake up and discover they can’t remember the events of the previous evening. For unknown reasons, they now share their Caesar’s Palace suite with a tiger (in the bathroom) and a six-month-old baby (in the closet). And they can’t find Doug. With no memories of what transpired and only a day before the wedding, the three hung-over men must retrace their hazy steps, follow a handful of clues, and sift through all their bad decisions in order to find Doug and get him back to L.A. in time for his wedding.

In The Hangover, the surprises are everything, and those surprises are the strange people with which our heroes interacted, the shocking places they’ve been, and the outrageous things they’ve done. Some of those specific surprises involve Mike Tyson, a Vegas wedding chapel, and flamboyantly gay Asian gangster (Ken Jeong), and delightful performances given by Heather Graham and Mike Epps in small roles. That’s to say nothing about the riot that is the end-credit montage.

A lot of the fun in this movie is recognizing that the boys, especially Phil, Stu, and Alan, are types as much as they are characters, and that while each often acts as we would expect him to, it’s when they do something out of character that The Hangover hits a high point. Still, it would have been good to have richer character interplay, but there’s isn’t much time for soul searching when all a scene requires is that the character put his face in a hooker’s lap. It’s satisfying that Cooper, Helms, and Galifianakis are so good at making these character types at least seem like great characters.

The fun in this movie is getting the surprises, and The Hangover is all about shocking the viewer. Considering that one expects shocking things to happen when four ordinary guys go to Vegas for a bachelor party, the genius of The Hangover is that it finds a way to make the predictable always unpredictable.

8 of 10
A

Friday, June 19, 2009

NOTES:
2010 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Jon Lucas and Scott Moore)

2010 Golden Globes: 1 win: “Best Motion Picture - Musical or Comedy”

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"Capitalism: A Love Story" Shows No Love for Greed

TRASH IN MY EYE No. 88 (of 2010) by Leroy Douresseaux

Capitalism: A Love Story (2009)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – R for some language
WRITER/DIRECTOR: Michael Moore
PRODUCERS: Anne Moore and Michael Moore
CINEMATOGRAPHER: Daniel Marracino and Jayme Roy
EDITORS: Jessica Brunetto, Alex Meillier, Tanya Meillier, Conor O'Neill, Pablo Proenza, T. Woody Richman, and John Walter

DOCUMENTARY

Starring: Michael Moore, William Black, US Congressman Elijah Cummings, Sheriff Warren Evans, Bishop Thomas Gumbleton, Wallace Shawn, and Elizabeth Warren

Capitalism: A Love Story is a 2009 documentary film by author and director, Michael Moore. The film focuses on the financial crisis that began in 2007 (and continued into 2010) and indicts capitalism and the current economic order of the United States. Moore details how capitalism via corporations dominates the lives of Americans and the rest of the world (by default).

Moore’s film travels around the country, especially Middle America, detailing how the excesses of capitalism and corporate greed have damaged, even destroyed the lives of some Americans. Moore attempts to enter the halls of power in Washington D.C. and the global financial epicenter in Manhattan, specifically Wall Street, to discuss greed and government bailouts. Capitalism: A Love Story’s topics include corporate-owned life insurance (called “dead peasants insurance), for-profit prisons, home foreclosures and evictions, the influence of Goldman Sachs in Washington D.C., modern worker strikes, Wall Street’s “casino mentality,” and more. The film asks several questions, but the most prominent being, what is the price that America pays for its love of capitalism? The film also has a religious component in which Moore wonders if capitalism is a sin and if Jesus would have been a capitalist.

Obviously the title, Capitalism: A Love Story, is a misnomer, but this isn’t a hate story. Moore examines “unfettered and unregulated” capitalism and also how modern capitalism is defined by greed, an insatiable lust for money, and the tendency to view everything and everyone as a commodity – all subject to exploitation. Moore is more than just a documentary filmmaker; he is also a crusader. As such he presents evidence and information specifically designed to prove his point – in this case that capitalism is destructive and evil – and also to get his audience politically aware and socially active.

Sometimes, Moore’s own actions in his movies come across as stunts – like his antics on Wall Street and near Congress in this movie. In Capitalism: A Love Story, this only serves to hurt the movie’s credibility and also makes him look more like a prankster than a documentary filmmaker. Like Fahrenheit 9/11, Capitalism: A Love Story avoids perfection because of its creator’s tendency to clown.

Still, Moore dazzles with his ability to tell stories about the struggles and suffering of ordinary working Americans. He is also one of the best American filmmakers working today. Impressive storytelling and exceptional technical skills are the calling cards of this brilliant movie director. When such a director tackles our nation’s most pressing issues, we should pay attention because it matters.

8 of 10
A

NOTES:
2010 Image Awards: 1 nomination: “Award Outstanding Documentary (Theatrical or Television)”

Sunday, October 31, 2010

Review: First "Paranormal Activity" Flick a Goose Flesh Generator

TRASH IN MY EYE No. 11 (of 2009) by Leroy Douresseaux

Paranormal Activity (2007/2009)
Running time: 86 minutes (1 hour, 26 minutes)
MPAA – R for language
EDITOR/WRITER/DIRECTOR: Oren Peli
PRODUCERS: Oren Peli and Jason Blue

HORROR

Starring: Katie Featherston, Micah Sloat, Mark Fredrichs, Ashley Palmer, and Amber Armstrong

Late summer, 10 years ago, The Blair Witch Project, a very low-budget horror flick, hit movie theatres after several months of buzz about it being one of the scariest movies ever. Ten years later, another micro-budget, handmade horror film hit theatres. Made for $11,000 and shot in the director’s house, Paranormal Activity, a thoroughly modern haunted house thriller, delivers more chills than Blair Witch – at least for me.

Paranormal Activity takes place in the two-story San Diego home of day trader, Micah (Micah Sloat), and his college student, live-in girlfriend, Katie (Katie Featherston). Katie claims that she has been plagued by a demonic spirit, on and off, since she was a child. Lately, this spirit seems to have returned, so Micah decides to use a video camera to record evidence that this spirit is real. The couple joke and bicker, but as we watch them sleep, via the camera mounted at a fixed angle in their sparsely lit bedroom, we see that something is wrong in that house. The time-code on the camera races by, except when it stops to a crawl and records freaky disturbances.

In a slow-building, but relentless way, director Oren Peli makes sure the viewer sees more than audiences ever saw in Blair Witch. Of course, Paranormal Activity is shot on a video camera (sometimes hand-held and other times stationary). Unlike other movies shot with hand-held cameras carried by the actors, the jerky movement is not distracting. The camera always seems to capture the environment in a way that makes it interesting. To make things chilling, creepy, freaky, and terrifying, Peli dabs his little-film-that-could with troublesome light switches and are-they-really-there shadows. He layers that with a clever use of sound – creeks, bumps, footsteps, and mumbling – which recalls two 1973 fear flicks, The Exorcist and The Legend of Hell House.

This narrative, however, is not executed with perfection. Without giving away the story, some of the action is implausible, not the supernatural elements, but the way the characters react to the supernatural. Sometimes Micah and Katie are incomprehensibly blasé about things that should have them running for the hills.

On the other hand, I found Micah and Katie to be extremely likable characters (something I didn’t find with the Blair Witch characters). Micah, obnoxious in an endearing way, is supremely confident both in his ability to find out things and in the decisions he makes. Katie is both sweet and bristly, but seems like a young woman who is used to getting by the bumps in life. Micah seems like a bump in her life, and because she’s gotten by his less attractive traits, the two actually seem to work as a couple. Those who buy into this two will certainly buy into their struggle with the paranormal that has come into their normal.

So a novice director with a shoestring of a shoestring budget and two semi-pro actors have given us one of the best scary movies in recent years. The atmosphere of fear is so real, and Paranormal Activity is so the real deal.

7 of 10
B+

Sunday, November 15, 2009

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Michael Jai White Kicks "Blood and Bone" into High Gear

TRASH IN MY EYE No. 83 (of 2010) by Leroy Douresseaux

Blood and Bone (2009)
Running time: 93 minutes (1 hour, 43 minutes)
MPAA – R for violence, pervasive language and brief drug use
DIRECTOR: Ben Ramsey
WRITER: Michael Andrews
PRODUCERS: Matthew Binns, Michael Mailer, and Nick Simunek
CINEMATOGRAPHER: Roy H. Wagner
EDITOR: Dean Goodhill

DRAMA/CRIME/MARTIAL ARTS

Starring: Michael Jai White, Julian Sands, Eammon Walker, Dante Basco, Nona Gaye, Michele Belegrin, Bob Sapp, Ron Yuan, Kimbo Slice, Stuart Wilson, and Kevin Phillips

For all intents and purposes, the martial arts movie, Blood and Bone is a straight-to-video action movie. According to the website, IMDb, Blood and Bone only received a theatrical release in Lebanon. Some may think that this says something negative about the movie’s quality, but Blood and Bone is absolutely thrilling. The movie also says that Michael Jai White should be a big time action movie star.

When he gets out of prison, Bone (Michael Jai White) heads for Los Angeles with a plan for revenge. He enters LA’s underground fight scene with the help of a scrappy manager named Pinball (Dante Basco). Bone made a promise to Danny (Kevin Phillips), his prison cellmate who was murdered, that he would take care of Danny’s girlfriend and son. This promise brings him into conflict with James (Eammon Walker), an ambitious gangster, who has the most feared fighter in LA’s underground scene, the massive Hammerman (Bob Sapp).

In Blood and Bone, Michael Jai White reveals himself as a charismatic action star who is as cool and stoic as he is an ass-kickin’ superhero. Bone is similar to one of those characters that Clint Eastwood plays in Westerns – the mysterious stranger who suddenly appears on the scene specifically to deliver justice/revenge. Mix that with some Bruce Lee, and we have Isaiah Bone. White as Bone, however, is better as a martial arts hero than either Steven Seagal or Jean-Claude Van Damme. Over the course of his career, White’s acting has also improved, and he is much less stiff than he was in his first leading role in a movie, as the title character in Spawn (1997).

In Blood and Bone, White is smooth, funny, and occasionally, even droll and witty. He really comes alive as a martial artist in the film’s numerous fight scenes, and White is so exciting to watch that it may seem to some (like me) that there aren’t enough fight scenes and duels in Blood and Bone. White is electric when he is going up against prison thugs, street fighters, gangsters, and the film’s lead villain, James.

By the way, Eammon Walker is excellent as James, full of pathos and urgent ambition. This is one of several quality performances from actors who make the best of the awkward sounding dialogue given to them. Director Ben Ramsey not only gets the best out of many of his actors; he also paces the film so that it is always making the viewer anticipate something good.

It would be good to see the character Bone come back for a sequel. If he doesn’t bring him back, Michael Jai White has certainly given him a memorable one-shot at stardom in the surprisingly exciting, low-budget fight movie, Blood and Bone.

7 of 10
B+

Thursday, October 07, 2010

Review: "My Bloody Valentine" Remake is the Bloody Bee's Knees

TRASH IN MY EYE No. 2 (of 2009) by Leroy Douresseaux

My Bloody Valentine 3D (2009)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for graphic brutal horror violence and grisly images throughout, some strong sexuality, graphic nudity and language
DIRECTOR: Patrick Lussier
WRITERS: Todd Farmer and Zane Smith (based upon the 1981 screenplay by John Beaird and 1981 story by Stephen Miller)
PRODUCER: Jack L. Murray
CINEMATOGRAPHER: Brian Pearson
EDITORS: Cynthia Ludwig and Patrick Lussier

HORRO/DRAMA/MYSTERY

Starring: Jensen Ackles, Jaime King, Kerr Smith, Betsy Rue, Edi Gathegi, Tom Atkins, Kevin Tighe, Megan Boone, and Karen Baum

The 3D movie had a golden era in the 1950s, especially the mid-50s with such films as House of Wax (1953) and Creature from the Black Lagoon (1954). Another peak from 1980 to 1984 saw the release of films like Friday the 13th Part III (1982) and Jaws 3-D (1983). With the technological improvement in cameras and projectors, the 3D movie now has the popular RealD system. While RealD has been used prominently in computer animated films (Chicken Little, Meet the Robinsons), Lionsgate has used the process for its new film My Bloody Valentine 3D.

The story begins with a tragedy. There’s a cave in at the north side of the mine belonging to the Hanniger Mining Co., and only one man, Harry Warden, survives. After a year in a coma, Harry awakens on Valentine’s Day and unleashes a killing spree, a bloody massacre that takes the lives of 22 people. Tom Hanniger (Jensen Ackles), the boss’ son whose actions were responsible for the cave-in, barely survives Warden’s killing rampage.

Ten years later, Tom returns to his hometown in order to sell the mine. He discovers that his former girlfriend is now Sarah Palmer (Jamie King) and is married to the new Sheriff Alex Palmer (Kerr Smith). The townsfolk are not happy to see Tom, neither is his late father’s business partner, Ben Foley (Kevin Tighe), who doesn’t want the mine sold. They will all learn that they have bigger problems than old lovers, cheating spouses, and losing the mine. The killings have begun again. Has Harry Warden returned to take the heart out of Valentine’s Day?

My Bloody Valentine 3D is a remake of the 1981 Canadian slasher film, My Bloody Valentine. I’ve never seen the original movie [Since writing this review, I have seen the original - LD]; nor did I see the new movie in a theatre with RealD capabilities. Watching the movie in 2D, I was still able to identify many of the sequences in the film that were meant to take advantage of 3D to scare the audience, so I can’t consider myself deprived of anything. Even in 2D, My Bloody Valentine 3D had me frozen in my seat.

Director Patrick Lussier is known for his two decades as a film editor of movies and episodes of TV series. His previous directorial efforts, flicks like Dracula III: Legacy and White Noise 2, were straight-to-DVD efforts. His first theatrical feature, Dracula 2000, was pretty bad, and like many stylish horror flicks, it was laughable and cheesy. Lussier delivers the lovely guts of good horror flick, this time around. This film is scary and aggressive. My Bloody Valentine 3D goes after your ass. Lussier lets it all hang out, not afraid to show the killer’s pickaxe doing some gnarly digging in human heads and torsos. There’s even a fine sequence early in the film of a curvy, large-breasted, young woman running around completely naked except for her high heel shoes.

This is a return to the kind of slasher films of the late 1970s and early 1980s that offered a little gratuitous sex and four times the bloody mayhem. What about the acting in this movie? Well, it’s horror movie acting. What about the script? It focuses on creating scenes that are simply opportunities for graphic violence. One of the co-writers of this movie, Todd Farmer, even gets to play a small part, complete with a sex scene. No, this movie is not an insightful character drama, but it’s a blood chilling, senses-shattering horror flick. There is blood splatter throughout, with enough sangre to cover up the holes in the narrative. My Bloody Valentine 3D is a bloody good time, and Mr. Director, it’s all on you. Cheers!

6 of 10
B

Monday, January 19, 2009

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Review: "AVATAR" is the Best Picture of 2009

TRASH IN MY EYE No. 14 (of 2009) by Leroy Douresseaux

Avatar (2009)
COUNTRY OF ORIGIN: USA/Germany/France
Running time: 162 minutes (2 hours, 42 minutes)
MPAA – PG-13 for intense epic battle sequences and warfare, sensuality, language, and some smoking
WRITER/DIRECTOR: James Cameron
PRODUCERS: James Cameron and Jon Landau
CINEMATOGRAPHER: Mauro Fiore (D.o.P.)
EDITORS: James Cameron, John Refoua, and Stephen Rivkin
Academy Award winner

SCI-FI/FANTASY/ACTION/ADVENTURE/DRAMA/WAR with elements or romance

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel David Moore, CCH Pounder, Wes Studi, Laz Alonzo, Dileep Rao, and Matt Gerald

Because he has directed such Oscar-winning films as The Abyss (1989), Terminator 2: Judgment Day (1991), and Titanic (1997), I believe that James Cameron is one of the few directors who, using whatever advances in film technology available, can make any kind of movie and always make it a good movie. [Steven Spielberg and Peter Jackson are the other two.] Cameron has even developed advancements in film technology, and that makes me wonder if anyone other than he could have created the new film, Avatar.

Avatar is everything good that you have heard about it and more. Cameron has cast a titanic spell of movie magic that will immerse the viewer in an adventure that pits eco-harmonious blue warriors against a mechanized, imperial war machine. The center of Avatar, however, is a surprisingly simply story about an alien warrior who fights not for his own world, but for the world of the woman he loves.

Avatar takes place in 2154, a time when Earth has run out of oil. A moon called Pandora (one of many moons orbiting a giant gas planet) has a rare mineral called Unobtainium, which is the key to solving Earth’s energy problems. This alien world materializes through the eyes of Jake Sully (Sam Worthington), a paraplegic former Marine. Even with his body broken and being confined to a wheelchair, Jake’s DNA makes him useful.

The RDA corporation recruits Jake to travel light years to the human outpost on Pandora, where it is mining Unobtainium. Because humans cannot breathe Pandora’s atmosphere, a group of scientists and researchers, led by Dr. Grace Augustine (Sigourney Weaver), have created the Avatar Program, in which human “drivers” have their consciousness linked to Avatars. An Avatar is a remotely-controlled biological body that can breathe the lethal air. These Avatars are genetically engineered hybrids of human DNA mixed with DNA from the natives of Pandora, a humanoid race called the Na'vi. The Na’vi are 10-feet tall, with tails, bones reinforced with naturally occurring carbon fiber, and bioluminescent blue skin. They live in Hometree, a gigantic tree that sits on top of the largest deposit of Unobtainium on Pandora. RDA Administrator Parker Selfridge (Giovanni Ribisi) wants the Na’vi to relocate, but they have fiercely resisted.

Reborn in his Avatar form, Jake can walk again. He is given a mission to infiltrate the Na'vi. A beautiful Na'vi female, Neytiri (Zoe Saldana), saves Jake’s life and also witnesses a sign that makes her think that Jake is special. Neytiri convinces her clan to take Jake into the tribe, the Omaticaya. However, the chief charges Neytiri with teaching Jake to become one of them, which involves many tests and adventures. Jake’s relationship with his reluctant teacher deepens, and he learns to respect the Na'vi’s way of life. When Selfridge becomes impatient and moves to force the Na’vi out, Jake must decide whose side he will take.

Watching Avatar, with its world of phantasmagorical creatures and plants, one cannot help but marvel at the technology used to create this film, but the audience shouldn’t be fooled by this panorama of color and movement into focusing solely on the marvels of scientific cinema. Avatar is indeed an extraordinary story, one that recalls Kevin Costner’s Dances with Wolves. In Wolves, a solider wounded in spirit finds healing amongst a Native American Indian tribe, and then sheds his skin (his military uniform), becoming one of the tribe. In Avatar, a marine wounded in body, Sam Worthington’s Jake Sully, sheds his body for a new one, but it is his soul that is transformed.

Like Dances with Wolves, Avatar has a romance that is the heart of the story. Behind the CGI that created so many of the things we see on screen and past the motion-capture and performance capture that created the Na’vi, Jake Sully meets Zoe Saldana’s Neytiri and practically everything that is Avatar hinges on their love story. The narrative offers messages in support of environmental conservation and biodiversity against the cold, insatiable hunger of imperialism. This gives Avatar plenty of dramatic conflict, but as usual, Cameron finds the human center of his own technological, cinematic spectaculars. There was the mother-daughter bond in Aliens and the star-crossed lovers of Titanic. Now, warrior boy meets sexy tribal princess and technical virtuosity has a heart. Cameron makes you feel what his characters feel – the joy, the anger, the sorrow, the chills, and, when the battle begins, all the thrills. Avatar may be a monumental achievement, but it is also a fantastic tale.

10 of 10

Monday, December 28, 2009

NOTES:
2010 Academy Awards: 3 wins: “Best Achievement in Art Direction” (Rick Carter-art director, Robert Stromberg-art director, and Kim Sinclair-set decorator), “Best Achievement in Cinematography” (Mauro Fiore), and “Best Achievement in Visual Effects” (Joe Letteri, Stephen Rosenbaum, and Richard Baneham, and Andy Jones); 6 nominations: “Best Motion Picture of the Year” (James Cameron and Jon Landau), “Best Achievement in Directing” (James Cameron) “Best Achievement in Editing” (Stephen E. Rivkin, John Refoua, and James Cameron), “Best Achievement in Music Written for Motion Pictures, Original Score” (James Horner), “Best Achievement in Sound” (Christopher Boyes, Gary Summers, Andy Nelson, and Tony Johnson), and “Best Achievement in Sound Editing” (Christopher Boyes and Gwendolyn Yates Whittle)

2010 BAFTA Awards: 2 wins: “Best Production Design” (Rick Carter, Robert Stromberg, and Kim Sinclair) and “Best Special Visual Effects” (Joe Letteri, Stephen Rosenbaum, Richard Baneham, and Andy Jones); 6 nominations: “Best Cinematography” (Mauro Fiore), “Best Director” (James Cameron), “Best Editing” (Stephen E. Rivkin, John Refoua, and James Cameron), “Best Film” (James Cameron and Jon Landau), “Best Music” (James Horner), and “Best Sound” (Christopher Boyes, Gary Summers, Andy Nelson, Tony Johnson, and Addison Teague)

2010 Black Reel Awards: 1 nomination: “Best Supporting Actress: (Zoe Saldana)

2010 Golden Globes: 2 wins: “Best Director - Motion Picture” (James Cameron) and “Best Motion Picture – Drama;” 2 nominations: “Best Original Score - Motion Picture” (James Horner) and “Best Original Song - Motion Picture” (James Horner, Simon Franglen, and Kuk Harrell for the song "I See You")

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The Daze of Love in (500) Days of Summer

TRASH IN MY EYE No. 59 (of 2010) by Leroy Douresseaux


(500) Days of Summer (2009)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – PG-13 for sexual material and dialogue
DIRECTOR: Marc Webb
WRITERS: Scott Neustadter and Michael H. Weber
PRODUCERS: Mason Novick, Jessica Tuchinsky, Mark Waters, and Steven J. Wolfe
CINEMATOGRAHER: Eric Steelberg (D.o.P.)
EDITOR: Alan Edward Bell
Golden Globe nominee

ROMANCE/DRAMA/COMEDY

Starring: Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler, Clark Gregg, Patricia Belcher, Rachel Boston, Minka Kelly, Yvette Nicole Brown, and Richard McGonagle (narrator)

(500) Days of Summer is an uncommon romance. It is certainly sweet, whimsical, and charming, but not in a syrupy way. (500) Days of Summer isn’t a “chick flick.” It’s the kind of unique love story that crosses age and gender lines0 to capture imaginations and maybe even hearts.

The film focuses on Tom Hansen (Joseph Gordon-Levitt), a trained architect who works as a writer at a Los Angeles greeting card company. He is also a young man who believes in that one-of-a-kind love – the soul mate – that person destined to be his one and only. So when this hopeless romantic meets his boss’ new assistant, Summer Finn (Zooey Deschanel), the fuse is lit and it’s Day 1 of Summer. Tom is so certain that he has found the woman with whom he will spend the rest of his life.

Problem is, Summer doesn’t believe in destiny – not at all, which doesn’t stop Tom from going after this lovely, witty, intelligent woman. Still, Tom and Summer begin to date, although she tells him that she does not believe in true love and does not want a boyfriend. When Summer suddenly dumps him, around Day 290, Tom begins to sift through the days they spent together, looking for clues as to what went wrong as he heads towards Day 500 and a revelation.

(500) Days of Summer uses a nonlinear narrative to tell the story, jumping backward and forward over the 500-day span of Tom and Summer’s relationship. I don’t know if that really does anything for the film. It feels more like a gimmick than a storytelling structure that would actually benefit the story. In fact, moving about in time so much causes the middle of this film to dry up to the point of being catastrophically dull.

What sets (500) Days of Summer apart from standard movie love stories is the role reversal. This time it is the male character, Tom, who is clingy and smitten and believes in true love, a role usually assigned to the female character. Summer is more like the guy character found in the typical romantic comedy (or rom-com). She’s doesn’t buy into destiny and the boyfriend-girlfriend dating game. Summer just wants to have fun with no strings attached and no commitment – a trait usually applied to shallow male characters.

I think that having the guy character be so lovelorn and infatuated is a novel idea, but having that character performed by a talented actor like Joseph Gordon-Levitt makes him more than just a novelty. Gordon-Levitt gives Tom richness and depth so that he is more than just charming and sweet. A love-struck fool, he is determined to grapple with the issues of love and romance in a way that will not always give him a satisfactory outcome.

Sadly, Summer is not as well developed as Tom, and the character is more of a supporting player. Luckily Zooey Deschanel is pitch perfect in her usual deadpan way, and her brooding turn as Summer makes the character more than the shallow creature that the screenplay seems to think Summer she should be. Deschanel has a way of surprising us in the way she makes Summer’s emotional displays, her smiles and frowns, seem unexpected and… well, delightfully surprising.

I cannot really call (500) Days of Summer a romantic comedy because, for one thing, it is even more a drama than it is a comedy. Secondly, because Tom’s relationship with Summer is also an arc in which Tom learns a lot, (500) Days of Summer is like a coming-of-age story. Its unique spin on love-at-first-sight is presented in a way that will appeal even to audiences who avoid romantic comedies and love stories. Any way you look at it, (500) Days of Summer may just leave a smile on your face.

7 of 10
B+

NOTES:
2010 Golden Globes: 2 nominations: “Best Motion Picture - Musical or Comedy” and “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Joseph Gordon-Levitt)

Saturday, July 31, 2010

"Black Dynamite" is Dy-No-Mite!

TRASH IN MY EYE No. 55 (of 2010) by Leroy Douresseaux

Black Dynamite (2009)
Running time: 84 minutes (1 hour, 24 minutes)
MPAA – R for sexuality/nudity, language, some violence and drug content
DIRECTOR: Scott Sanders
WRITERS: Michael Jai White, Byron Minns, and Scott Sanders; from a story by Michael Jai White and Byron Minns
PRODUCERS: Jenny Wiener Steingart and Jon Steingart
CINEMATOGRAPHER: Shawn Maurer
COMPOSER/EDITOR: Adrian Younge

ACTION/MARTIAL ARTS

Starring: Michael Jai White, Salli Richardson-Whitfield, Tommy Davidson, Kevin Chapman, Byron Minns, Richard Edson, Myketli Williamson, Kim Whitley, Tucker Smallwood, Cedric Yarbrough, John Salley, Brian McKnight, Bokeem Woodbine, Miguel Nunez, Roger Yuan, James McManus, Nicole Sullivan, and Arsenio Hall

Mel Brook’s 1974 comedy, Blazing Saddles, was a successful spoof of Hollywood Westerns because it looked and acted like a real Western. Black Dynamite, the recent parody of blaxploitation movies, ends up being brilliant because it acts like a blaxploitation movie and still manages to skewer every convention of the violent action movies featuring African-American anti-heroes that appeared in the 1970s.

The film focuses on the title character, Black Dynamite (Michael Jai White), a gun-toting, nunchuck-wielding street hero. This self-styled ladies man and soul brother is also a Vietnam veteran and former CIA agent. After his brother Jimmy is murdered, Black Dynamite is reinstated into the CIA to keep him from seeking revenge by himself. After learning that local orphanages for black children are being filled with heroin, he goes after the drug dealers to clean up the streets. However, Black Dynamite discovers a more diabolical conspiracy against the Black man that will take Black Dynamite from the ghetto streets to Kung Fu Island and finally to the Honky House (the White House).

Like Keenen Ivory Wayan’s I’m Gonna Get You Sucka (1988), Black Dynamite is a mock blaxploitation movie that also works as a black action movie, although Black Dynamite is the more convincing of the two as an action movie. Because he is apparently a professional martial artist and has a big muscular body, Michael Jai White can pull off the moves, attitude, and looks of an ass-kicking black superhero. Using his pumped up star, Black Dynamite director Scott Sanders constructs an action movie built on the physicality of his star, and it works. Black Dynamite is like Shaft meets Bruce Lee.

Comedy is Black Dynamite’s calling card. It minds blaxploitation films for laughs more than it makes fun of genre. The filmmakers are nostalgic for those black action movies of the 1970s. How else could they and Michael Jai White capture the language and the feel of blaxploitation so well? Plus, there are several appearances by comic actors in small and cameo roles (Arsenio Hall, Reno 911’s Cedric Yarbrough, MadTV’s Nicole Parker, among them) that add to this movie’s many delights.

Black Dynamite has also given me a new appreciation of Michael Jai White. This actor, who had the title role in the comic book movie, Spawn, and a flashy small part as a crime boss in The Dark Knight, has genuine screen charisma. Hopefully, we’ll see him more often. In the meantime, we have Black Dynamite. Maybe, many people won’t get this flick if they aren’t well versed in the characteristics of black exploitation films, which is unfortunate for them. Those of us who get it get a really good time.

7 of 10
A-

NOTES:
2010 Black Reel Awards: 2 nominations: “Best Director” (Scott Sanders) and “Best Screenplay, Original or Adapted” (Scott Sanders, Michael Jai White, and Byron Minns

2010 Image Awards: 1 nomination: “Outstanding Directing in a Motion Picture (Theatrical or Television)” (Scott Sanders)

Wednesday, July 21, 2010

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Review: "Good Hair" Hilarious, But Fairly Empty

TRASH IN MY EYE No. 49 (of 2010) by Leroy Douresseaux

Good Hair (2009)
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – PG-13 for some language including sex and drug references, and brief partial nudity
DIRECTOR: Jeff Stilson
WRITERS: Lance Crouther, Chris Rock, Chuck Sklar, and Jeff Stilson with Paul Marchand
PRODUCERS: Jenny Hunter, Kevin O'Donnell, Nelson George, and Jeff Stilson
CINEMATOGRAPHERS: Cliff Charles (director of photography) and Mark Henderson
EDITORS: Paul Marchand and Greg Nash
COMPOSER: Marcus Miller

DOCUMENTARY

Starring: Chris Rock, Maya Angelou, Eve, Melyssa Ford, Megan Goode Ice-T, Nia Long, Paul Mooney, Cheryl “Salt” James and Sandra “Pepa” Denton, Rev. Al Sharpton, Raven-Symoné, and Traci Thoms

At the beginning of his documentary, Good Hair, Chris Rock says that his daughter, Lola, came up to him crying and asked, “Daddy, how come I don't have good hair?” Bewildered, the Emmy-winning comedian, talk show host, and actor decided to find out what in African-American culture would put such a question in his little girl’s mind. To find answers, Rock, the film’s star and narrator, crosses continents and oceans. Traveling from New York to Atlanta and from India to Los Angeles, Rock visits a hair show, a scientific lab, a hair products manufacturer, and an Indian temple. Rock also visits numerous hair salons.

Along the way, he explores the way Black hairstyles impact Black people’s lifestyles and activities, pocketbooks, and sexual relationships. He even gets African-American women to talk about how their hair affects their self-esteem. A number of celebrities, entertainment industry figures, and public figures (from Maya Angelou and Rev. Al Sharpton to Ice-T and Salt-N-Pepa) candidly offer their stories and observations about Black hair. He may not get his answers, but Rock will discover that Black hair is a big business that doesn't always benefit the Black community.

The truth is that Good Hair, directed by Jeff Stilson, is less a documentary than it is like a feature news piece one might see on “20/20” or "Dateline NBC." There is a lot of funny stuff here, some of it quite shocking, but most of this movie really lacks a social or historical context. Rock and his co-writers certainly get close enough. For instance, the film reveals the fact that a large segment of the “black hair industry” is controlled by Asian-Americans who shut out African-American entrepreneurs. Rock touches upon it, but never really delves into that. He just skims the fact that in the 1980s, white-owned corporations like Revlon set out to remove Black-owned companies and corporations from the hair care business, where over 80 percent of the money comes from African-American customers.

No, rather than really examine the lack of Black ownership, Good Hair brings it up and then, it’s on to the next freak show. And that’s what this movie is – a freak show. It is very entertaining – often hugely entertaining, and I’d highly recommend it to anyone who is African-American or is interested in African-American culture. There is even a touch of sadness here, as if the filmmakers were recording an on-going tragedy. Good Hair, sadly, is a documentary that touches upon greatness, but ultimately decides to be little more than a delightful and hilarious puff piece.

7 of 10
B+

NOTES:
2010 Black Reel Awards: 1 win: “Black Reel Best Documentary”

2010 Image Awards: 1 win: “Outstanding Documentary (Theatrical or Television)”

Saturday, July 03, 2010

Review: "The Twilight Saga: New Moon" is Down with Love

TRASH IN MY EYE No. 12 (of 2009) by Leroy Douresseaux

The Twilight Saga: New Moon (2009)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for some violence and action
DIRECTOR: Chris Weitz
WRITER: Melissa Rosenberg (based upon Stephenie Meyer)
PRODUCERS: Wyck Godfrey and Mark Morgan
CINEMATOGRAHER: Javier Aquirrearobe
EDITOR: Peter Lambert

DRAMA/FANTASY/ROMANCE with elements of action and horror

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Ashley Greene, Jackson Rathbone, Peter Facinelli, Elizabeth Reaser, Kellan Lutz, Nikki Reed, Sam Uley, Michael Sheen, Dakota Fanning, Anna Kendrick, Michael Welch, Rachelle Lefevre, Justin Chon, Christian Serratos, and Edi Gathegi

In the 2008 smash hit film, Twilight, movie audiences saw romance bloom between high school student Bella Swan and her vampire boyfriend, Edward Cullen. Now, in the follow-up, The Twilight Saga: New Moon, Bella and Edward’s star-crossed romance crashes to earth.

New Moon opens on Bella’s (Kristen Stewart) 18th birthday, a day about which she is not particularly crazy. That evening, Edward’s (Robert Pattinson) family, also vampires, throws a birthday party for Bella, which starts nicely, but takes a shocking turn. Following Bella’s ill-fated birthday party, the Cullens abandon the town of Forks, Washington, in an effort to protect Bella from the dangers inherent in their world. The most shocking blow: Edward breaks up with Bella.

Heartbroken and depressed, Bella sleepwalks through the first half of her senior year of high school, totally shutting out her other friends. When her father, Forks Police Chief Charlie Swan (Billy Burke) demands that his daughter make a change, Bella goes on a date night with a girlfriend. It is on that night that Bella discovers that Edward’s image comes to her whenever she puts herself in jeopardy. Determined to see this vision more often, Bella begins to concoct ways that will put her life at greater and greater risk.

Bella seeks out childhood friend, Jacob Black (Taylor Lautner), a member of the local Quileute Native American Indian tribe. A gifted mechanic, Jacob refurbishes an old motorbike that Bella will secretly use to put herself in danger. Something else surprising happens when Bella finds herself drawn to Jacob, a formerly scrawny boy. He is literally growing taller and more muscular (with killer washboard abs) every day and right before Bella’s very eyes. Jacob, however, also has a shocking supernatural secret of his own, which causes a rift to grow between him and Bella. Then, Edward’s sister, Alice (Ashley Greene), returns, seeking Bella’s help in saving Edward’s life, and the rift grows wider.

Like Twilight, New Moon is based upon a novel by Stephenie Meyer (The Host). Obviously, in the translation from novel to film, plot elements and scenes from the book are left out or changed in the film. However, screenwriter Melissa Rosenberg (who also adapted Twilight) retains the central themes, as well as the spirit, of the source material. The novel asks probing questions, such as: after the euphoria of new love, what is real about this relationship? What do Bella and Edward want of each other? What are their motivations, and how much are they willing to fight for their relationship? Just how deep and strong are Bella’s feelings for Jacob? The screenplay keeps those questions at the forefront of the narrative.

And speaking of fight, director Chris Weitz, an established Hollywood filmmaker (About a Boy, The Golden Compass), doesn’t fight the love story at the core of this franchise. New Moon may be filled with thrilling chases and riveting hunts in the forests around Forks. It may carry viewers breathlessly across the world, only to drop them in the mysterious world beneath a rustic Italian town. Weitz still manages to emphasize the ache and yearning of a young love blazing so brightly that it threatens to burn itself out.

The reported increase in the production budget for New Moon (as compared to Twilight), is evident in the flashy visual special effects. The werewolves are in a word – awesome. The spectacular cinematography is pitch-perfect in capturing the right mood and look for every setting in the film: from the forests surround Forks to the murky nights of Port Angeles. An improvement in the art direction also makes even the Swans’ humble home seem cosmopolitan.

New Moon is not perfect. Under Weitz’s direction and Peter Lambert’s editing, the film often moves too fast, sometimes hopping around like someone high on stimulants. Still, this film works. In the intimate moments when the actors, especially Stewart, Pattinson, and Lautner, convince us that they know these characters and that they are going to make the story real for us, New Moon seems less like a fantasy and more like a real love story.

7 of 10
B+

Monday, November 30, 2009

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Solid Performances, Excellent Directing Shape "Up in the Air"

TRASH IN MY EYE No. 45 (of 2010) by Leroy Douresseaux


Up in the Air (2009)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for language and some sexual content
DIRECTOR: Jason Reitman
WRITERS: Jason Reitman and Sheldon Turner (based on the novel by Walter Kirn)
PRODUCERS: Jeffrey Clifford, Daniel Dubiecki, Ivan Reitman, and Jason Reitman
CINEMATOGRAPHER: Eric Steelberg (director of photography)
EDITOR: Dana E. Glauberman
Academy Award nominee

DRAMA/COMEDY

Starring: George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Amy Morton, Melanie Lynskey, Danny McBride, J.K. Simmons, Sam Elliot, Zach Galifianakis, and Marvin Young (Young MC)

When I first heard all the praise for the 2009 film, Up in the Air, from director Jason Reitman (Juno), I was skeptical. Now, I have finally seen the film, and I like it. I like it a lot. Up in the Air is one of those “movies of the moment” that speak to our times, but this one works because it has excellent actors creating characters the audience will like and some may even love.

Up in the Air focuses on Ryan Bingham (George Clooney), who works for Career Transition Counseling out of Omaha, Nebraska. The job requires him to travel around the country and visit companies where he fires employees so that their bosses don’t have to do it. Ryan loves his life up in the air, and he is on the cusp of reaching ten million frequent flyer miles. Ryan is also a motivational speaker who encourages people to live a life free of relationships and without attachments to things. But change is coming.

First, Ryan’s boss, Craig Gregory (Jason Bateman), hires a new employee, an ambitious recent college grad, Natalie Keener (Anna Kendrick). Natalie proposes that the company ground the employees and conduct layoffs (firings) over the Internet. Secondly, Ryan meets another frequent flyer, Alex Goran (Vera Farmiga), and they begin a casual sexual relationship. Ryan’s younger sister, Julie Bingham (Melanie Lynskey), is getting married, and Ryan’s been invited, although he isn’t really part of his family’s life anymore. Now, Ryan is starting to make connections, but will that be enough to make him give up living a life with nothing and with nobody?

Whatever Up in the Air’s philosophy may be, it relies on good performances and engaging characters to sell it, especially the three major characters: Ryan, Natalie, and Alex. George Clooney is one of the few modern actors who remind me of movie stars from Hollywood’s Golden Age. Like Humphrey Bogart, Clooney seems to be playing himself, but he is so good as an actor that he makes us believe that he can be any character, from a fisherman (The Perfect Storm) to a brilliant con man (Ocean’s Eleven). Clooney sells us Ryan Bingham, and instead of coming across as shallow, Ryan comes across as a solid guy with real motivation and personality.

Vera Farmiga usually delivers deceptively smooth performances that, combined with her unique, not-cookie cutter beauty, make for attractive, even alluring characters. Alex Goran is a mysterious, rich with many layers, and Farmiga makes us want to peel back all those layers. Anna Kendrick also turns Natalie, who could have been an annoyance, into someone charming and engaging. Whenever Natalie walks away from the camera, the movie seems lonesome without her.

Perhaps, the lion’s share of the credit should go to director Jason Reitman, a major new talent. Everything about this movie works, and the director is the one who has to bring out the best in his cast and crew. Up in the Air, with its themes of loneliness, disconnected people, shallow relationships, and corporate callousness could have been a downer. When it depicts people getting fired, the movie seems too close to home, but that is a testament the sense of verisimilitude here. The truth is that Up in the Air is timeless because it tells us a story we recognize, in one way or another, and gives us characters with which we identify, in part or in whole.

9 of 10
A+

NOTES:
2010 Academy Awards: 6 nominations: “Best Motion Picture of the Year” (Daniel Dubiecki, Ivan Reitman, and Jason Reitman), “Best Achievement in Directing” (Jason Reitman), “Best Performance by an Actor in a Leading Role” (George Clooney), “Best Performance by an Actress in a Supporting Role” (Vera Farmiga), “Best Performance by an Actress in a Supporting Role” (Anna Kendrick), “Best Writing, Screenplay Based on Material Previously Produced or Published: (Jason Reitman and Sheldon Turner)

2010 BAFTA Awards: 1 win: “Best Screenplay – Adapted” (Jason Reitman and Sheldon Turner); 5 nominations: “Best Editing” (Dana E. Glauberman), “Best Film” (Ivan Reitman, Jason Reitman, and Daniel Dubiecki), “Best Leading Actor” (George Clooney), “Best Supporting Actress” (Vera Farmiga), “Best Supporting Actress” (Anna Kendrick)

2010 Golden Globes: 1 win: “Best Screenplay - Motion Picture” (Jason Reitman and Sheldon Turner); 5 nominations: “Best Director - Motion Picture” (Jason Reitman), “Best Motion Picture – Drama,” “Best Performance by an Actor in a Motion Picture – Drama” (George Clooney), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Vera Farmiga), and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Anna Kendrick)

Review: "Fast & Furious" Faster and More Furious

TRASH IN MY EYE No. 44 (of 2010) by Leroy Douresseaux

Fast & Furious (2009)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG-13 for intense sequences of violence and action, some sexual content, language and drug references
DIRECTOR: Justin Lin
WRITER: Chris Morgan (based upon characters created by Gary Scott Thompson)
PRODUCERS: Vin Diesel, Michael Fottrell, and Neal H. Moritz
CINEMATOGRAPHER: Amir Mokri (director of photography)
EDITORS: Fred Raskin and Christian Wagner

ACTION/CRIME

Starring: Vin Diesel, Paul Walker, Jordana Brewster, Michelle Rodriguez, John Ortiz, Laz Alonso, Gal Gadot, John Conley, Shea Whigham, Liza Lapira, Tego Calderon, Don Omar, Greg Cipes, Brandon T. Jackson, and Sung Kang

Fast & Furious is the fourth film in The Fast and the Furious franchise, but it is set before the events of the third film, The Fast and the Furious: Tokyo Drift. The plot of Fast & Furious connects with the original 2001 film and actors Vin Diesel, Paul Walker, Jordana Brewster, and Michelle Rodriguez reprise their roles from the first movie. Having them return makes it feel as if this franchise got its mojo back.

Fast & Furious opens with Dominic “Dom” Toretto (Vin Diesel) and his new crew, which includes Letty Ortiz (Michelle Rodriguez), hijacking fuel tankers in the Dominican Republic. A shocking murder brings the fugitive ex-con Dom back to Los Angeles looking for payback against a mysterious drug lord named Arturo Braga. Meanwhile, Brian O'Conner (Paul Walker), the FBI agent who 5 years earlier infiltrated L.A.’s illegal street racing underground, of which Dom was part, is also after Braga. Although he is still feuding with Brian, Dom will have to forge a new trust with the lawman if they are to have a hope of outmaneuvering the wily Braga. As they cross international lines to foil Braga, Dom and Brian are also forced to do what they do best – push the limits of what is possible behind the wheel of an American muscle car.

Even with its explosive beginning and shocking turn of events, Fast & Furious starts off slow. The character drama and set up of the plot are clunky, but the stars rise to the occasion. Fast & Furious, for the most part, is exactly that – fast and furious, so viewers will get what they expect from this franchise, but not exactly. The car chases and races are so fast and crazy that computer generated images obviously played a part in making them. The story is, overall, darker and edgier than ever before. However, Fast & Furious doesn’t seem derivative, even as part of a franchise, and in spite of some occasionally uninspired character moments, it is just plain fun to watch.

I thought I knew how much I missed Vin Diesel and Paul Walker, but I really had no idea. When they’re blazing, these two stars show us why Fast & Furious had to be and why there will be more.

6 of 10
B

Wednesday, June 16, 2010

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Review: "A Serious Man" for Serious Coen Fans

TRASH IN MY EYE No. 42 (of 2010) by Leroy Douresseaux

A Serious Man (2009)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – R for language, some sexuality/nudity and brief violence
DIRECTORS: The Coen Brothers
WRITERS/PRODUCERS: Ethan Coen & Joel Coen
CINEMATOGRAPHER: Roger Deakins (director of photography)
EDITORS: Roderick Jaynes (Ethan Coen & Joel Coen)
COMPOSER: Carter Burwell
Academy Award nominee

DRAMA/COMEDY

Starring: Michael Stuhlbarg, Richard Kind, Fred Melamed, Sari Lennick, Aaron Wolff, Jessica McManus, and Peter Breitmayer

The most recent Academy Award-nominated film from the Coen Brothers (Joel and Ethan) is A Serious Man. This drama and black comedy centers on a Midwestern professor whose constant and unchanging life begins to unravel during a series of unfortunate events.

A Serious Man is set in 1967 in an unnamed Midwestern town. Professor Lawrence “Larry” Gopnik (Michael Stuhlbarg) is a physics professor at a quiet Midwestern university. One day his wife, Judith (Sari Lennick), bluntly informs Larry that she wants a divorce because she has fallen in love with a pompous acquaintance, Sy Ableman (Fred Melamed). In truth, Larry seems to be having problems with all his family: his unemployable brother Arthur (Richard Kind), who sleeps on his sofa; his son Danny (Aaron Wolff) a pot-smoking, discipline problem who shirks Hebrew school; and his vain daughter Sarah (Jessica McManus), who steals money from his wallet in order to save up for a nose job. With all these torments, Larry struggles to be a righteous man – loyal to his family and his faith – a serious man, so he turns to his Jewish faith for answers… with wildly mixed results.

A Serious Man is an odd comedy; at times bleak and at other times surreal, the narrative is thoughtful and philosophical. With humor, both grim and sparkling, Joel and Ethan tackle life’s big questions about family and morality and also about the role of faith as a place to find answers.

A loose take on the story of Job (the Old Testament figure from the Book of Job). A Serious Man sometimes seems like a torture chamber, contrived by the Coens to allow themselves to experiment. They want to speculate about how a successful middle class man might react when everything goes wrong and it seems as if the world, existence, and God have turned against him. To that end, they get a magnificent performance from Michael Stuhlbarg as Larry Gopnick, who turns what could have been a caricature into a mesmerizing everyman who crosses racial, ethnic, and religious boundaries. If this film has a long life, it will be because of Stuhlbarg who made this Jewish intellectual from another era seem like a universal figure.

Sometimes, this movie can be almost too bleak and too belittling of its characters to sit through. Like most movies from the team of Joel Coen and Ethan Coen, however, A Serious Man is beguiling even when it seems intolerable, but worth seeing.

7 of 10
B+

NOTES:
2010 Academy Awards: 2 nominations: “Best Motion Picture of the Year” (Joel Coen and Ethan Coen) and “Best Writing, Screenplay Written Directly for the Screen” (Joel Coen and Ethan Coen)

2010 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Joel Coen and Ethan Coen)

2010 Golden Globes: 1 nomination: “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Michael Stuhlbarg)

Wednesday, June 09, 2010

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The Hurt Locker: Do Believe the Hype

TRASH IN MY EYE No. 40 (of 2010) by Leroy Douresseaux


The Hurt Locker (2008/2009)
Running time: 131 minutes (2 hours, 11 minutes)
MPAA – R for war violence and language
DIRECTOR: Kathryn Bigelow
WRITER: Mark Boal
PRODUCERS: Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro
CINEMATOGRAPHER: Barry Ackroyd
EDITORS: Chris Innis and Bob Murawski
COMPOSERS: Marco Beltrami and Buck Sanders
Academy Award winner

WAR/DRAMA/ACTION

Starring: Jeremy Renner, Anthony Mackie, Brian Geraghty, Christian Camargo, Guy Pearce, Ralph Fiennes, David Morse, and Evangeline Lilly

When the 2010 Academy Awards ceremony was over, The Hurt Locker, an independently produced war movie set in Iraq, was named “Best Picture” of 2009. The film’s director, Kathryn Bigelow, became the first woman to win the Oscar for “Best Director.” That would have seem unlikely just two years earlier because films about the war in Iraq were failing at the box office and getting mostly mixed reviews from film critics. The Hurt Locker is special, however; it is truly a great film.

The Hurt Locker is set in the summer of 2004. Sergeant JT Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) of Bravo Company are part of a small counterforce specifically trained to deal with the homemade bombs know as IEDs (Improvised Explosive Devices), and they’ve just lost their team leader. The officer who takes over the team, Sergeant First Class William James (Jeremy Renner), shocks Sanborn and Eldridge with how he simply disregards military protocol and basic safety measures. Depending upon one’s perspective, James is either a swaggering cowboy looking for kicks even when the margin of error is zero, or he is the consummate professional, meticulous in the mastery of his treacherous craft.

Sanborn and Eldridge have only 38 days left in their tour of Iraq, and if they are to survive that remaining time, they must learn to understand James and to work with him, even if they cannot contain him or control his behavior. With each mission seemingly more dangerous than the last, James blurs the line between inspiring bravery and reckless bravado, and for Sanborn and Eldridge, it seems as if it is only a matter of time before disaster strikes.

If someone asked me if I were surprised at how good The Hurt Locker is, I would say yes. If someone asked me if I were surprised that Kathryn Bigelow could make a film as good as The Hurt Locker, I would say no. Prior to this film, Bigelow had shown a penchant for tense thrillers (Near Dark) and evocative character drama (The Weight of Water), and The Hurt Locker is a taut, riveting, psychological thriller, rich with resonant character drama. This film is a confluence of events, in which a great script needed a skilled and talented director to turn it into an incredible film.

In fact, everything about The Hurt Locker is superbly done. The script by Mark Boal, who was an imbedded journalist in Iraq in 2004, is one of those screenplays that is a memorable story of war because it is also an incredible story not about the war, but about the young men on the ground fighting it. Bigelow transforms the power of Boal’s screenplay (which eventually won an Oscar) into a film that captures Boal’s spellbinding story of unique warriors.

This film feels explosively real because Bigelow gets great performances of her characters, especially the Bravo company trio of James, Sanborn, and Eldridge. Jeremy Renner makes James’ addiction to his job and the way he does it a beautiful, mesmerizing thing. The underrated and underappreciated Anthony Mackie is consummate in his depiction of the by-the-book Sanborn. Brian Geraghty is a delight as the conflicted, boyish Eldridge.

Kathryn Bigelow and her creative crew and collaborators turned the war film into art. Bigelow’s actors made The Hurt Locker the great modern war film about modern war. In their performances, they say everything about war and about the kind of war that is Iraq without being political.

10 of 10

NOTES:
2010 Academy Awards: 6 wins: “Best Motion Picture of the Year” (Kathryn Bigelow. Mark Boal, Nicolas Chartier, and Greg Shapiro), “Best Achievement in Directing” (Kathryn Bigelow), “Best Achievement in Editing” (Bob Murawski and Chris Innis), “Best Achievement in Sound” (Paul N.J. Ottosson and Ray Beckett), “Best Achievement in Sound Editing” (Paul N.J. Ottosson), “Best Writing, Screenplay Written Directly for the Screen” (Mark Boal); 3 nominations: “Best Achievement in Cinematography” (Barry Ackroyd), “Best Achievement in Music Written for Motion Pictures, Original Score” (Marco Beltrami and Buck Sanders), and “Best Performance by an Actor in a Leading Role” (Jeremy Renner)

2010 BAFTA Awards: 6 wins: “Best Film” (Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro), “Best Cinematography” (Barry Ackroyd), “Best Director” (Kathryn Bigelow), “Best Editing” (Bob Murawski and Chris Innis), “Best Screenplay – Original” (Mark Boal), “Best Sound” (Ray Beckett, Paul N.J. Ottosson, and Craig Stauffer); 2 nominations: “Best Leading Actor” (Jeremy Renner) and “Best Special Visual Effects” (Richard Stutsman)

2010 Golden Globes: 3 nominations: “Best Director - Motion Picture” (Kathryn Bigelow), “Best Motion Picture – Drama, and “Best Screenplay - Motion Picture” (Mark Boal)

Friday, June 04, 2010

"It's Complicated" is Complicated

TRASH IN MY EYE No. 39 (of 2010) by Leroy Douresseaux


It’s Complicated (2009)
Running time: 120 minutes (2 hours)
MPAA – R for some drug content and sexuality
WRITER/DIRECTOR: Nancy Meyers
PRODUCERS: Nancy Meyers and Scott Rudin
CINEMATOGRAPHER: John Toll
EDITORS: Joe Hutshing and David Moritz
COMPOSERS: Heitor Pereira and Hans Zimmer

COMEDY/DRAMA/ROMANCE

Starring: Meryl Streep, Steve Martin, Alec Baldwin, John Krasinski, Lake Bell, Mary Kay Place, Rita Wilson, Alexandra Wentworth, Hunter Parrish, Zoe Kazan, Caitlin Fitzgerald, and Emjay Anthony

Whatever it may have seemed like in the commercials and trailers, It’s Complicated, a film from writer/director Nancy Meyers (Something’s Gotta Give), is not simply a bubbly comedy about a divorced woman having sex on the side with her ex-husband, while her new boyfriend is caught in the middle. This movie is a family melodrama, romantic comedy, relationship drama, soap opera… well, it actually is complicated.

A divorced mother of three grown children, Jane (Meryl Streep) doesn’t date much. Self-reliant, she focuses her attention on her thriving Santa Barbara bakery and restaurant. After a decade of divorce, Jane has an amicable relationship with her ex-husband, attorney Jake (Alec Baldwin), although Jane still feels uncomfortable in the presence of Jake’s hot young wife, Agness (Lake Bell). For her son’s college graduation in New York City, Jane finds herself staying at the same hotel as Jake, and an innocent meal with him ends with the two having sex.

Thus, begins an unimaginable affair between ex-wife and ex-husband that features frequent sexual encounters. Jake is cheating on Agness, and Jane is sort of cheating on Adam (Steve Martin), an architect hired to remodel Jane’s home. Adam is also healing from a divorce, and he is starting to fall in love with Jane. Jane finds herself forced to confront a number of issues, including if she really is in love with Jake, again.

Early on in It’s Complicated, in particularly the scenes that detail the beginning of Jane and Jake’s “affair,” the movie tries to come across as a bubbly romantic/screwball comedy. I say try because everything seems forced. Early in the movie, Meryl Streep, who hasn’t starred in many comedies, makes a vain attempt at playing the flighty heroine. Streep’s attempts at playing someone caught in comically awkward situations look ridiculous – all that laughing makes her sound like a horse. It is as if the only thing she can think to do with her character is laugh.

Alec Baldwin is usually next to Streep, also forcing it just as hard, doing his schtick. In this film, he just looks like a fat, middle-aged guy desperately trying to pass a reluctant turd. At this point, I have probably made It’s Complicated seem like an awful movie, but it really isn’t.

When the story leaves New York and returns to Santa Barbara, It’s Complicated seems to mature, leaving the silliness behind. The comic tone turns lighter, and the story gets serious about the implications of Jane and Jake’s affair. That is when Streep and Baldwin seem more like themselves, and the better parts of their talents show themselves. Suddenly, the NYC sequence seems like a bad dream, and the real story begins.

Once she makes the other major characters aware of the affair, Nancy Meyers really begins to play with the complications and story angles and situations such an almost taboo romance as depicted here offers. At that point, the audience can do more than just “Ooh” and “Ah” at the scandalous and embarrassing moments. They will feel engaged, because when Meyers really gets to the heart of this complicated matter, she forces the viewer to do more than just be a voyeur looking for easy chuckles. Meyers makes the viewer think: How do Jane and Jake get out of this? Should they do this? How does this affect everyone else? Whom should Jane choose?

It’s Complicated isn’t anyone’s best work – not Meyers, Streep, Baldwin, or even the passive Steve Martin. Still, it is good to see a thoughtful romantic comedy and love story in which the love interests are all over 50.

6 of 10
B

NOTES:
2010 BAFTA Awards: 1 nomination: “Best Supporting Actor” (Alec Baldwin)

2010 Golden Globes: 3 nominations: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Meryl Streep), and “Best Screenplay - Motion Picture” (Nancy Meyers)

Saturday, May 29, 2010

Review: Emily Blunt Powers Tasty "Young Victoria"

TRASH IN MY EYE No. 38 (of 2010) by Leroy Douresseaux

The Young Victoria (2009)
COUNTRY OF ORIGIN: UK/USA
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG for some mild sensuality, a scene of violence, and brief incidental language and smoking
DIRECTOR: Jean-Marc Vallée
WRITER: Julian Fellowes
PRODUCER: Sarah Ferguson, Tim Headington, Graham King, and Martin Scorsese
CINEMATOGRAPHER: Hagen Bogdanski (director of photography)
EDITOR: Jill Bilcock and Matt Garner
Academy Award winner

DRAMA/HISTORICAL/ROMANCE

Starring: Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson, Jim Broadbent, Thomas Kretschmann, Mark Strong, Jesper Christensen, Harriet Walter, Jeanette Hain, Julian Glover, Michael Maloney, and Michiel Huisman

Some period dramas are classy affairs. They are pretty to look at because of the lush production values, from sumptuous costumes to lavish sets. They can also be quite boring. Then, there are period dramas like the Oscar-winning Dangerous Liaisons and Shakespeare in Love, which are beautiful and lavish productions. They are also highly entertaining. Seeing them is to understand why some critics and reviewers sometimes describe movies as “delicious.”

The Young Victoria is one of those tasty period dramas. This film boasts an impressive list of producers, including Martin Scorsese, Graham King, and Sarah, Duchess of York (among others). It is a romantic dramatization and partly fictional account of the events preceding and following the coronation of Queen Victoria.

The 18-year old British royal, Victoria (Emily Blunt), is destined to ascend to the throne because her three uncles, the sons of King George III, do not have any surviving legitimate children. As her uncle, King William IV (Jim Broadbent), nears death, people plot to control Victoria. Victoria’s mother, Duchess of Kent (Miranda Richardson), and her private secretary, Sir John Conroy (Mark Strong), bully Victoria to allow them to form a regency government, which would put them in control, but she resists.

Meanwhile, her uncle, King Leopold I of Belgium (Thomas Kretschmann), plots to influence the future queen by marrying her to one of his nephews, Prince Albert (Rupert Friend), who is also Victoria’s cousin. Albert is willing to court Victoria solely for political motives, but he soon finds himself falling for her. However, Victoria is determined to rule as her own woman, but a constitutional crisis forces her to reconsider her feelings for Albert.

When Emily Blunt delivered her acclaimed performance as “Emily Charlton,” the snide assistant to Miranda Priestly in The Devil Wears Prada, many thought she was a star in the making. Blunt, certainly a fine actress, delivers on that promise in The Young Victoria, and she depicts all sides of the young Queen with aplomb and skill. Blunt’s performance is rich, and she gives Victoria such depth, presenting the young royal as playful, petulantly, brave, grim, and even romantic as Victoria finds her heart ensnared by Prince Albert.

Director Jean-Marc Vallée relies on Blunt because it is her performance that sells the political intrigue. Although the romance between Victoria and Albert is nice, The Young Victoria is really about palace intrigue, political machinations, and the lust for power. Vallée deftly uses all the scheming offered by Julian Fellowes’ screenplay to transform what could have been a staid period drama into a rollicking costume drama. Laugh at the scandal; gasp at the political scheming, and cry at the romance and reconciliation.

Marked by good performances throughout – especially Paul Bettany as Lord Melbourne and Miranda Richardson as Duchess of Kent, The Young Victoria relies less on subtlety and more on power – the power of the darker side of human nature – lust and wanting after power and control. The Young Victoria reveals that royalty is just like rabble. Both will stab you in the back; the royals are just better dressed. Yes, being bad looks so good on film.

8 of 10
A

NOTES:
2010 Academy Awards: 1 win: “Best Achievement in Costume Design” (Sandy Powell); 2 wins: “Best Achievement in Art Direction” (Patrice Vermette-art director and Maggie Gray-set decorator) and “Best Achievement in Makeup” (John Henry Gordon and Jenny Shircore)

2010 BAFTA Awards: 2 win: “Best Costume Design” (Sandy Powell) and “Best Make Up & Hair” (Jenny Shircore)

2010 Golden Globes: 1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Emily Blunt)

Wednesday, May 26, 2010

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Review: Woody Allen's "Whatever Works" Doesn't Always Work

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