Review: "RESIDENT EVIL: Welcome to Raccoon City" is Scary as Hell

TRASH IN MY EYE No. 13 of 2022 (No. 1825) by Leroy Douresseaux

Resident Evil: Welcome to Raccoon City (2021)
COUNTRY OF ORIGIN: Canada/Germany
Running time:  107 minutes (1 hour, 47 minutes)
MPAA – R for strong violence and gore, and language throughout
DIRECTOR:  Johannes Roberts
WRITER:  Johannes Roberts (based upon the video game, Resident Evil)
PRODUCERS:  Hartley Gorenstein, James Harris, and Robert Kulzer
CINEMATOGRAPHER:  Maxime Alexandre
EDITOR:  Dev Singh
COMPOSER:  Mark Korven

HORROR/SCI-FI/ACTION

Starring:  Kaya Scodelario, Robbie Amell, Hannah John-Kamen, Tom Hopper, Avan Jogia, Donal Logue, Neal McDonough, Marina Mazepa. Janet Porter, Holly De Barros, Chad Rook, Nathan Dales, Daxton Grey Gujral, and Lily Gail Reid

Resident Evil: Welcome to Raccoon City is a 2021 science fiction, action, and horror film from writer-director Johannes Roberts.  It is the seventh installment in the Resident Evil film franchise and a reboot of the franchise, which is based upon the Capcom survival horror video game series, Resident Evil.  Welcome to Raccoon City is set in 1998 and focuses on a small group of people trying to survive a zombie outbreak in a small town.

Resident Evil: Welcome to Raccoon City opens sometime in the 1980s in the small town of Raccoon City.  The Raccoon City Orphanage is the current home of orphaned siblings, Claire Redfield (Lily Gail Reid), and her brother, Chris (Daxton Grey Gujral).  The children are subject to being experimented on by Dr. William Birkin (Neal McDonough), an employee of the Umbrella Corporation, the world's largest pharmaceutical company.  Eventually, Claire manages to run away.

On the rainy night of September 30, 1998, an adult Claire (Kaya Scodelario) returns to Raccoon City.  She hopes to convince her estranged brother, Chris (Robbie Amell), who is now an officer of the Raccoon City Police Department (RPD), that Umbrella is experimenting on the people of the city.  However, Chris is not happy to see his sister, nor does he believe what she tells him about Umbrella's activities.

In fact, Umbrella Corp. has pulled out of Raccoon City, turning it into a ghost town.  The only people still in town are a skeleton crew of the corporation's last employees and those who are too poor to leave.  Before Claire can convince anyone of anything, Raccoon City's remaining citizens start getting sick and eventually, they begin turning into hungry zombies.  Soon, Claire and Chris are each leading a small group of police officers on a quest to escape the city with neither knowing that they are rapidly running out of time.

Resident Evil: Welcome to Raccoon City was not a success at the box office, which is a shame.  As the first entry in a new series of films, it is superior to Resident Evil, the 2002 film that kicked off the franchise.  I will be honest.  The characters are shallow, but character development and motivation are not the most important things in Welcome to Raccoon City.  The scares are.

To that end, it is very successful.  Writer-director Johannes Roberts turns in a film that makes superb use of nighttime settings, shadows, darkness, and a rainy night.  With film editor, Dev Singh, Roberts strangles his audience with fearsome sequences of zombies and monsters jumping out of every darkness.  There is a scene in which Chris Redfield has to ward off zombies with very little light.  Every time, he fires his weapon, there is a flash that briefly illuminates an attacking zombie.  In fact, Welcome to Raccoon City's zombies may be twenty-first century's scariest.  I felt that with every bump and thump in the night my blood was freezing.

I hope that Johannes Roberts gets a shot at making a sequel to Welcome to Raccoon City.  Online and especially on social media, I have come across complaints about this film, but these complainers must be jaded.  In the blended genre of survival horror and zombie films, Resident Evil: Welcome to Raccoon City is quite an achievement.

7 of 10
A-

Thursday, March 10, 2022


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Netflix's "The Lost Daughter" and Hulu's "Dopesick" Top 2022 Scripter Awards

“The Lost Daughter,” “Dopesick” Win USC Libraries Scripter Awards

LOS ANGELES--(BUSINESS WIRE)--The writers behind the feature film “The Lost Daughter” and series “Dopesick” won the 34th-annual USC Libraries Scripter Awards at an online ceremony on the evening of Feb. 26, 2022.

“Adaptation from a book to film or book to series is a dialogue, a murmuring, and adaptation is a translation from one language into another”

The Scripter Awards honor each year’s most accomplished adaptations of the written word for the screen and, uniquely, recognize the screenwriters and the authors of the source material.

This year, screenwriter Maggie Gyllenhaal and author Elena Ferrante won in the feature film category for Netflix’s “The Lost Daughter,” based on Ferrante’s 2006 book (published in English in 2008). Gyllenhaal, who directed, wrote, and produced “The Lost Daughter,” acknowledged the deep connection between screenwriters and the original authors in her acceptance speech.

“I think only writers know how intimately a screenwriter is connected to the work they’re adapting,” Gyllenhaal said. Describing her relationship with Ferrante’s work, “She and I have made something new together. It’s like a love affair of the mind.”

In the episodic series category, writer/director Danny Strong and author Beth Macy won for Hulu’s “Dopesick,” based on Macy’s nonfiction book “Dopesick: Dealers, Doctors, and the Drug Company that Addicted America.”

“A third of all American families have been touched by addiction,” Macy said. “My biggest thanks to all the families who helped us tell this story, and there are thousands of them.”

Strong acknowledged the impact of the book in shining “a light on this crisis and the people who were most affected by it on the ground in a way that really captured the nation in such a powerful, beautiful way.”

The Scripter Awards are usually presented at a black-tie gala in USC’s Doheny Memorial Library. However, both this year and last year, due to the ongoing COVID-19 pandemic, the ceremony was streamed online. USC Libraries Dean Catherine Quinlan referenced the extraordinary year in her opening remarks.

“I truly hoped that we’d be celebrating the 34th year of Scripter where we celebrated its first—in the beautiful Doheny Memorial Library,” Quinlan said. “While it didn’t quite work out that way, I’m delighted to be with all of you online. We are so fortunate to be able to connect this way, to come together as a community in support of writers, storytelling, and our excellent Trojan libraries.”

A selection committee comprising 52 writers, producers, journalists, and other distinguished members—including several past winners—determined this year’s awards.

Howard Rodman, a professor at the USC School of Cinematic Arts and a former president of the Writers Guild of America West, chairs the committee. In his remarks, Rodman noted that the art of adaptation requires the screenwriter to strike a delicate balance.

“Adaptation from a book to film or book to series is a dialogue, a murmuring, and adaptation is a translation from one language into another,” Rodman said. “It’s no accident that in so many languages, the words for ‘translator’ and ‘traitor’ are so similar. And the person who adapts a work of fact or fiction always has to balance, with poise and finesse, an opposing set of obligations.”

Earlier in the evening, Rodman presented Barry Jenkins with the Literary Achievement Award. Jenkins, a nominee this year for “The Underground Railroad,” previously won the 2017 Scripter for “Moonlight” and was a finalist in 2019 for “If Beale Street Could Talk.”

In accepting the award, Jenkins thanked the authors whose works he’s adapted and described the importance of cinema in reaching audiences with their language. “We’re living in a time right now when people are watching more than they are reading,” Jenkins said. “I think in a way, translating these works from the medium of literature or playwriting into the screenplay format and ultimately into feature films and television is very crucial, very vital to continuing the spread of this language these authors have put into their works.”

The 2022 Scripter Award was presented by the USC Libraries Board of Councilors, with sponsorship support from Apple Original Films, Amazon, Disney+, HBO, Hulu, Netflix, and Warner Bros.

For more information about Scripter, visit scripter.usc.edu.

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Review: "THE ADDAMS FAMILY 2" is a Truly Disappointing Sequel

TRASH IN MY EYE No. 9 of 2022 (No. 1821) by Leroy Douresseaux

The Addams Family 2 (2021)
Running time:  93 minutes (1 hour, 33 minutes)
MPAA – PG for macabre and rude humor, violence and language
DIRECTORS:  Greg Tiernan and Conrad Vernon
WRITERS:  Dan Hernandez, Benji Samit, Ben Queen, and Susanna Fogel; from a story by Dan Hernandez and Benji Samit (based on the characters created by Charles Addams)
PRODUCERS:  Gail Berman, Alison O'Brien, Danielle Sterling, and Conrad Vernon
EDITOR:  Ryan Folsey
COMPOSERS: Jeff Danna and Mychael Danna

ANIMATION/FANTASY/COMEDY/FAMILY

Starring:  (voices) Oscar Isaac, Charlize Theron, Chloe Grace Moretz, Javon “Wanna” Walton, Nick Kroll, Snoop Dogg, Bette Midler, Conrad Vernon, Bill Hader, Wallace Shawn, Brian Sommer, Cherami Leigh, and Ted Evans

The Addams Family 2 is a 2021 computer-animated supernatural comedy from directors Conrad Vernon and Greg Tiernan.  The film is a sequel to the 2019 animated film, The Addams Family.  Both films are based on the characters created by The New Yorker cartoonist, the late Charles Addams (1912-1988).  The Addams Family 2 focuses on the Addams Family as take a road trip, during which a scientist pursues Wednesday.

The Addams Family 2 opens at a school science fair.  There, Wednesday Addams (Chloe Grace Moretz) presents her experiment, in which she uses DNA from her pet squid, Socrates, on her Uncle Fester (Nick Kroll) to show how humans can be improved.  Wednesday is somewhat put off that her family:  father, Gomez Addams (Oscar Isaac); mother, Morticia (Charlize Theron); and her brother, Pugsley (Javon “Wanna” Walton) have decided to attend the science fair, which is sponsored by the Cyrus Strange Foundation.  Cyrus Strange (Bill Hader) himself appears at the fair as a 3D hologram, and he is instantly drawn to Wednesday experiment and hopes to recruit her to work for him.

Back at home, Gomez Addams worries that the children are drifting apart from him and Morticia.  He decides that a family vacation is just what is needed to keep the family together, so he declares that they are going on a road trip across the United States.  Uncle Fester, Thing (the sentient hand), and Lurch (the butler) join them on the vacation, with everyone packing into an huge, odd-looking camper.  Gomez even takes the family to Miami where he hopes Cousin Itt (Snoop Dogg) can help with the family dilemma.

There is a complication in these vacation plans, however.  Cyrus Strange is determined to have Wednesday, and sends a shady lawyer, Mr. Mustela (Wallace Shawn), and a brutish henchman, Pongo (Ted Evans) to trick Gomez and Morticia into believing that Wednesday might be Cyrus' child.  Wednesday is already having doubts about her connections to the Addams Family, so which family will she decide to choose, the Addams or Cyrus Strange?

Charles Addams' macabre cartoon characters first became “The Addams Family” in the former ABC television series, “The Addams Family” (1964-66).  I have been a fan of that series since I was a child.  As a child, I was also a fan of NBC's former Saturday morning cartoon series, “The Addams Family” (Hanna-Barbera, 1973).  That series depicts the Addams Family on a cross-country road trip, exploring the United States in their “Creepy Camper” that resembles their Victorian-style mansion home.  The Addams Family 2 is not a remake of that old cartoon series, but it does borrow a few elements from it.

The Addams Family 2019 was enough of a hit that producing a sequel probably seemed obvious to MGM, which holds the rights to produce Addams Family film and television series.  The end result is something that looks and feels like a sequel that was rushed into production.  The idea of Wednesday not being an Addams is a ridiculous plot.  I can certainly accept the notion of a precocious child wondering about her parentage and lineage.  However, if she is different from the rest of her family, it is because each member of the Addams Family is different from all others.  That is the point this film makes at end of the story, but we didn't need an entire mediocre movie to tell us that.  Raising questions about Wednesday's family is just a lame plot line.

So, it goes without saying that I did not like this film.  The Addams Family 2 ends up being the latest in a long line of pitiful Hollywood road trip movies.  I will say that the last 17 minutes of the film – before the end credits – are actually good.  It is the only time that the film has any real conflict, melodrama, or action, and what happens in these seventeen minutes is actually consequential to the both the Addams Family and a few other supporting characters.

The Addams Family 2019 is my favorite media adaptation of “The Addams Family” characters outside of the 1960s and 1970s.  It manages to be sweet, charming, heartwarming, and, of course, macabre – the way it should be.  I gave it a B+, but The Addams Family 2 bored the hell outta me until the last seventeen minutes.  I'm being generous giving it a C.

4 of 10
C

Wednesday, February 23, 2022


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Review: "HALLOWEEN KILLS" is the Best "Halloween" Sequel in Decades

TRASH IN MY EYE No. 3 of 2022 (No. 1815) by Leroy Douresseaux

Halloween Kills (2021)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA – R for strong bloody violence throughout, grisly images, language and some drug use
DIRECTOR:  David Gordon Green
WRITERS:  David Gordon Green, Danny McBride, and Scott Teems (based on the characters created by John Carpenter and Debra Hill)
PRODUCERS:  Malek Akkad, Bill Block, and Jason Blum
CINEMATOGRAPHER:  Michael Simmonds (D.o.P.)
EDITOR:  Tim Alverson
COMPOSERS:  Cody Carpenter, John Carpenter, and Daniel Davies

HORROR/THRILLER

Starring:  Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Nick Castle, Will Patton, Thomas Mann, Jim Cummings, Dylan Arnold, Robert Longstreet, Anthony Michael Hall, Charles Cyphers, Scott MacArthur, Michael McDonald, Kyle Richards, Nancy Stephens, Diva Tyler, Lenny Clarke, Brian Mays, Sr., Michael Smallwood, Carmela McNeal, Jibrail Nantambu, and Omar Dorsey

Halloween Kills is a 2021 slasher-horror film from director David Gordon Green.  It is the twelfth installment in the Halloween film series and is a direct sequel to the 2018 film, Halloween, and to the original Halloween, the 1978 film that was the first in the series.  

Halloween Kills opens on October 31, 1978 in Haddonfield just after the events depicted in the original Halloween (1978) film.  Michael Myers failed to kill Laurie Strode, but he survived being shot by Dr. Samuel Loomis.  Now, the sheriff's department is desperately searching for Michael.  While searching for him in the ruins of his childhood home, Deputy Frank Hawkins (Thomas Mann) accidentally shoots his partner, Peter McCabe (Jim Cummings), dead while trying to save him from Michael.  Hawkins also prevents Dr. Loomis from executing Michael.

Forty years later, on October 31, 2018, Laurie Strode (Jamie Lee Curtis); her adult daughter, Karen Nelson (Judy Greer), and Karen's daughter, Allyson (Andi Matichak), have escaped Laurie's fortified house.  They believe that they have defeated Michael Myers who had returned to do what he had not forty years earlier – kill Laurie Strode.  They believe that Michael will die in Laurie's now-burning house, even as they see firefighters responding to the blaze.

While the medical staff of Haddonfield Memorial Hospital try to save the badly injured Laurie's life, survivors of Michael original rampage celebrate the 40th anniversary of Michael's imprisonment.  Two of them are the adult Tommy Doyle (Michael Anthony Hall) and the adult Lindsey Wallace (Kyle Richards), the two children Laurie Strode was babysitting back in 1978 the night Michael attacked.   When Tommy learns that Michael Myers has returned to Haddonfield, Tommy forms an every-growing mob of vengeful Haddonfield residents to hunt down and kill Michael.  Meanwhile, back at the hospital, Laurie and an older Deputy Frank Hawkins (Will Patton) wonder if Michael can really every be stopped.

Halloween Kills is the sequel to Halloween 2018, which is both a direct sequel to Halloween 1978 and a reboot of the entire franchise.  Halloween 2018 literally made all the sequel films to the 1978 film irrelevant.  Halloween Kills, however, takes elements from one of those sequels, the excellent Halloween II (1980), and rewrites them to explain what happened to Michael immediately after the events of the 1978 film.  In Halloween II, Michael escapes the police and stalks Laurie to Haddonfield Memorial Hospital.  In Halloween Kills, the sheriff and his deputies and Dr. Loomis capture Michael before he ever makes his way to the hospital to attack Laurie again.

In fact, Halloween Kills pretty much keeps the now-elderly Laurie Strode in the hospital and out of the fight this time around.  Halloween Kills is the first Halloween film that pits Michael Myers against the residents of Haddonfield rather than having him stalk Laurie Strode, a version of her, or a descendant, while killing anyone who happens to be connected directly or indirectly to his target.

I like that.  It refreshes the franchise in a way that Halloween 2018 did not.  Halloween Kills is honest, in a way.  Michael Myers won't be killed off because, as a movie character and as intellectual property, he is a cash cow.  In the world of the film, Michael suffered injuries in Halloween 1978 and 2018 that should have caused his death.  The very nature of his violence creates the atmosphere and conditions that keep him alive and returning to kill more.  Michael can't be killed, even in the world of these films.

I like Halloween Kills much more than I liked Halloween 2018.  The inventive script and David Gordon Green's aggressive and confrontational directing style result in two good things.  First, the actors' performances are individualized, so no one is the same.  Thus, when Michael kills a character, it feels like he is killing a real resident of Haddonfield rather than a generic victim in a horror film's typically high body count.  Let's be honest, dear readers, the main problem with the Friday the 13th horror film franchise is that the vast majority of the victims seem like the same people.

Secondly, Green and company offer some of the most creatively brutal kills that the audience will find in a slasher horror film.  No one killing is the same, and they all seem well thought out even when they happen quickly.  I really enjoyed Halloween Kills, and several times, I caught myself cheering and whooping it up.  I will say that Halloween Kills is a near-masterpiece of the genre, and it is a more worthy successor to Halloween 1978 that Halloween 2018 is.

8 of 10
A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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Review: "THE CONJURING: The Devil Made Me Do It" is Crazy and Scary as Hell

TRASH IN MY EYE No. 1 of 2022 (No. 1813) by Leroy Douresseaux

The Conjuring: The Devil Made Me Do It (2021)
Running time:  112 minutes (1 hour, 52 minutes)
MPAA – R for terror, violence and some disturbing images
DIRECTOR:  Michael Chaves
WRITERS:  David Leslie Johnson-McGoldrick; from a story by David Leslie Johnson-McGoldrick and James Wan (based on characters created by Chad Hayes and Carey W. Hayes)
PRODUCERS:  Peter Safran and James Wan
CINEMATOGRAPHER:  Michael Burgess (D.o.P.)
EDITORS:  Peter Gvozdas and Christian Wagner
COMPOSER:  Joseph Bishara

HORROR

Starring:  Vera Farmiga, Patrick Wilson, Ruairi O'Connor, Sarah Catherine Hook, Julian Hilliard, John Noble, Eugenie Bondurant, Shannon Kook, Ronnie Gene Blevins, Keith Arthur Bolden, and Sterling Jerins

The Conjuring: The Devil Made Me Do It is a 2021 supernatural horror film from director Michael Chaves.  The film is a direct sequel to 2016's The Conjuring 2 and is the third film in The Conjuring series and also the eighth film in “The Conjuring Universe.”  Once again, actors Patrick Wilson and Vera Farmiga play fictional versions of real life, American paranormal investigators, Ed and Lorraine Warren.  In The Devil Made Me Do It, the Warrens investigate a murder linked to demonic possession.

The Conjuring: The Devil Made Me Do It opens on July 18, 1981 in Brookfield, Connecticut.  Noted paranormal investigators, Ed Warren (Patrick Wilson) and Lorraine Warren (Vera Farmiga), are assisting in and documenting in the exorcism of eight-year-old David Glatzel (Julian Hilliard), which is being performed a Catholic priest.  The exorcism is also attended by David's parents; his sister, Debbie (Sarah Catherine Hook), her boyfriend, Arne Johnson (Ruairi O'Connor).  During the exorcism, the demon transports itself into Arne.  Ed witnesses this, but suffers a heart attack and falls into an unconscious state before he can warn anyone.

The following month, Ed wakes up at the hospital and reveals to Lorraine that he witnessed the demon enter Arne's body.  Meanwhile, Arne and Debbie have returned to their apartment located above Brookfield Boarding Kennels where Debbie works.  After feeling unwell, Arne murders the kennel's owner, Bruno Sauls (Ronnie Gene Blevins).  Arne is facing a capitol murder charge that could earn him the death sentence.  The Warrens insist that Arne's attorney defend him by claiming demonic possession as a defense.  Meanwhile, the Warrens have to find evidence that helps prove that Arne was possessed when he killed Bruno.  However, Ed and Lorraine are about to discover that in this investigation, they have both a human and a demonic adversary.

The Conjuring: The Devil Made Me Do It is based on the events surrounding the real life murder trial of Arne Cheyenne Johnson in Connecticut in 1981.  The film's narrative may also correspond with The Devil in Connecticut, a 1983 book about the trial written by Gerald Brittle.  Brittle is currently suing Warner Bros. and other parties, claiming they infringed upon his 1980 book about the Warrens, The Demonologist.

One thing that I have found is that The Conjuring film series is super-scary even when I don't focus on the Warrens' real-life investigations in which these film are supposedly based.  And The Conjuring: The Devil Made Me Do It is no less scary than the previous films in the series.  In fact, The Devil Made Me Do It may be the darkest entry in the series because it deals with horrendous human evil.  Director Michael Chaves wrings bone-chilling, heart-stopping terror from the horrific set pieces that make up The Devil Made Me Do It's narrative.  There is a sequence in a funeral home that had me glued to my chair, but I won't say more.  The fewer spoilers I offer, the more terror you will feel, dear readers.

Once again, Vera Farmiga and Patrick Wilson give excellent performances as the Warrens.  They have the gift of making the Warrens seem like two eccentrics who are not only a loving couple, but are also ass-kicking demon fighters.  The Conjuring: The Devil Made Me Do It is the kind of supernatural horror film that is as frightening as the best slasher horror films – with less bloodshed.  I hope The Conjuring series returns for a fourth time... and many more after that.

8 of 10
A

Tuesday, January 11, 2022


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94th Oscars Announces Shortlists in Documentary Film Categories

The Academy of Motion Picture Arts and Sciences announced shortlists in the "Documentary Feature" and "Documentary Short Subject" categories for the 94th Academy Awards®.

DOCUMENTARY FEATURE

Fifteen films will advance in the Documentary Feature category for the 94th Academy Awards.  One hundred thirty-eight films were eligible in the category.  Members of the Documentary Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“Ascension” 

“Attica”

“Billie Eilish: The World’s a Little Blurry”

“Faya Dayi”

“The First Wave”

“Flee”

“In the Same Breath”

“Julia”

“President”

“Procession”

“The Rescue”

“Simple as Water” 

“Summer of Soul (…Or, When the Revolution Could Not Be Televised)”

“The Velvet Underground”

“Writing with Fire”

DOCUMENTARY SHORT SUBJECT:

Fifteen films will advance in the Documentary Short Subject category for the 94th Academy Awards.  Eighty-two films qualified in the category.  Members of the Documentary Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“Águilas”

“Audible”

“A Broken House”

“Camp Confidential: America’s Secret Nazis”

“Coded: The Hidden Love of J. C. Leyendecker”

“Day of Rage”

“The Facility”

“Lead Me Home”

“Lynching Postcards: “Token of a Great Day””

“The Queen of Basketball”

“Sophie & the Baron”

“Takeover”

“Terror Contagion”

“Three Songs for Benazir”

“When We Were Bullies”

Nominations voting begins on Thursday, January 27, 2022, and concludes on Tuesday, February 1, 2022.

Nominations for the 94th Academy Awards will be announced on Tuesday, February 8, 2022.

The 94th Oscars® will be held on Sunday, March 27, 2022, at the Dolby® Theatre at Hollywood & Highland® in Hollywood and will be televised live on ABC and in more than 200 territories worldwide.

ABOUT THE ACADEMY:

The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures.

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93 Countries Competing for Five International Feature Film Oscar Nominations at 94th Oscars

INTERNATIONAL FEATURE FILMS ELIGIBLE FOR 94TH OSCARS® ANNOUNCED

The Academy of Motion Picture Arts and Sciences announced feature films eligible for consideration in the International Feature Film category for the 94th Academy Awards®.  Eligibility lists by category can be viewed at Oscars.org/94thFeatureEligibility.  Complete 94th Academy Awards rules can be found at Oscars.org/rules.

INTERNATIONAL FEATURE FILM

Ninety-three countries have submitted films that are eligible for consideration in the International Feature Film category for the 94th Academy Awards.  Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

An international feature film is defined as a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly (more than 50%) non-English dialogue track.  Somalia is a first-time entrant.

Academy members from all branches are invited to opt in to participate in the preliminary round of voting and must meet a minimum viewing requirement to be eligible to vote in the category.  The shortlist of 15 films will be announced on Tuesday, December 21, 2021.

94TH ACADEMY AWARDS® ELIGIBLE FOR CONSIDERATION IN THE INTERNATIONAL FEATURE FILM CATEGORY:

Listed in alphabetical order by country:

Albania, “Two Lions to Venice”

Algeria, “Heliopolis”

Argentina, “The Intruder”

Armenia, “Should the Wind Drop”

Australia, “When Pomegranates Howl”

Austria, “Great Freedom”

Azerbaijan, “The Island Within”

Bangladesh, “Rehana”

Belgium, “Playground”

Bhutan, “Lunana: A Yak in the Classroom”

Bolivia, “The Great Movement”

Bosnia and Herzegovina, “The White Fortress”

Brazil, “Private Desert”

Bulgaria, “Fear”

Cambodia, “White Building”

Cameroon, “Hidden Dreams”

Canada, “Drunken Birds”

Chad, “Lingui, The Sacred Bonds”

Chile, “White on White”

China, “Cliff Walkers”

Colombia, “Memoria”

Costa Rica, “Clara Sola”

Croatia, “Tereza37”

Czech Republic, “Zátopek”

Denmark, “Flee”

Dominican Republic, “Holy Beasts”

Ecuador, “Submersible”

Egypt, “Souad”

Estonia, “On the Water”

Finland, “Compartment No. 6”

France, “Titane”

Georgia, “Brighton 4th”

Germany, “I’m Your Man”

Greece, “Digger”

Haiti, “Freda”

Hong Kong, “Zero to Hero”

Hungary, “Post Mortem”

Iceland, “Lamb”

India, “Pebbles”

Indonesia, “Yuni”

Iran, “A Hero”

Iraq, “Europa”

Ireland, “Shelter”

Israel, “Let It Be Morning”

Italy, “The Hand of God”

Japan, “Drive My Car”

Jordan, “Amira”

Kazakhstan, “Yellow Cat”

Kenya, “Mission to Rescue”

Kosovo, “Hive”

Kyrgyzstan, “Shambala”

Latvia, “The Pit”

Lebanon, “Costa Brava, Lebanon”

Lithuania, “Isaac”

Luxembourg, “Io Sto Bene”

Malawi, “Fatsani: A Tale of Survival”

Malaysia, “Hail, Driver!”

Malta, “Luzzu”

Mexico, “Prayers for the Stolen”

Montenegro, “After the Winter”

Morocco, “Casablanca Beats”

Netherlands, “Do Not Hesitate”

North Macedonia, “Sisterhood”

Norway, “The Worst Person in the World”

Palestine, “The Stranger”

Panama, “Plaza Catedral”

Paraguay, “Nothing but the Sun”

Peru, “Powerful Chief”

Poland, “Leave No Traces”

Portugal, “The Metamorphosis of Birds”

Romania, “Bad Luck Banging or Loony Porn”

Russia, “Unclenching the Fists”

Saudi Arabia, “The Tambour of Retribution”

Serbia, “Oasis”

Singapore, “Precious Is the Night”

Slovakia, “107 Mothers”

Slovenia, “Sanremo”

Somalia, “The Gravedigger’s Wife”

South Africa, “Barakat”

South Korea, “Escape from Mogadishu”

Spain, “The Good Boss”

Sweden, “Tigers”

Switzerland, “Olga”

Taiwan, “The Falls”

Thailand, “The Medium”

Tunisia, “Golden Butterfly”

Turkey, “Commitment Hasan”

Ukraine, “Bad Roads”

United Kingdom, “Dying to Divorce”

Uruguay, “The Broken Glass Theory”

Uzbekistan, “2000 Songs of Farida”

Venezuela, “The Inner Glow”

Vietnam, “Dad, I’m Sorry”

Nominations for the 94th Academy Awards will be announced on Tuesday, February 8, 2022.

The 94th Oscars® will be held on Sunday, March 27, 2022, at the Dolby® Theatre at Hollywood & Highland® in Hollywood and will be televised live on ABC and in more than 200 territories worldwide.

ABOUT THE ACADEMY:

The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the Academy Museum of Motion Pictures.

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Review: "SPIDER-MAN: No Way Home" Brings it on Home

TRASH IN MY EYE No. 72 of 2021 (No. 1810) by Leroy Douresseaux

Spider-Man: No Way Home (2021)
Running time: 148 minutes (2 hours, 28 minutes)
MPAA – PG-13 for sequences of action/violence, some language and brief suggestive comments
DIRECTOR: Jon Watts
WRITERS: Chris McKenna and Erik Sommers (based upon the Marvel comic book by Stan Lee and Steve Ditko)
PRODUCERS: Amy Pascal and Kevin Feige
CINEMATOGRAPHER: Mauro Fiore (D.o.P.)
EDITORS: Leigh Folsom Boyd and Jeffrey Ford
COMPOSER: Michael Giacchino

SUPERHERO/DRAMA/ACTION/ROMANCE

Starring:  Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Jamie Foxx,Willem DaFoe, Alfred Molina, Tony Revolori, Marisa Tomei, Angourie Rice, Arian Moayed, Hannibal Buress, Martin Starr, J.B. Smoove, J.K. Simmons, Thomas Hayden Church, Rhys Ifans, Charlie Cox, Andrew Garfield, and Tobey Maguire

Spider-Man: No Way Home is a 2021 superhero film and drama from director Jon Watts.  It is the eighth film in Columbia Picture's Spider-Man film franchise, and it is the third entry in a film trilogy that began with 2017's Spider-Man: Homecoming.  No Way Home is also a co-production between Columbia and Marvel Studios, making it the 27th film in the Marvel Cinematic Universe.  In No Way Home, Peter Parker turns to fellow Avenger, Doctor Strange, for help in making the world forget that he is Spider-Man, with disastrous results.

Spider-Man: No Way Home opens one week after the events depicted in Spider-Man: Far From Home (2019).  Peter Parker's (Tom Holland) identity as Spider-Man has been revealed to the world, and Spider-Man has been framed for the murder of Mysterio/Quentin Beck, whom some in the public see as a hero and a warrior.  Although his Aunt May (Marisa Tomei) takes the news better than expected, Peter is stilled concerned with how the news is affecting the lives of his girlfriend, Michelle “MJ” Jones-Watson (Zendaya), and his best friend, Ned Leeds (Jacob Batalon).

Peter turns to Dr. Stephen Strange (Benedict Cumberbatch) for help.  He asks Doctor Strange to cast a mystic spell that will make the world forget that he is Spider-Man, but Strange's mentor and friend, Wong (Benedict Wong), warns him about casting such a spell.  Strange casts the spell anyway, but Peter damages it by constantly asking for changes in who can remember him, which destabilizes the magic.  That in turn destabilizes the multiverse, causing cracks in reality.  Yes, the multiverse is real, and now, people from other universes who know that Peter is Spider-Man start showing up in Peter's world.  And that includes some dangerous villains who have previously engaged Spider-Man in death matches.  Peter does not know any of them, but he is determined to save them from their fates.  Is our young hero willing to pay the costs and make the sacrifices that it will take to make everything right in this world and in the wider multiverse?

Sony Pictures is determined to keep social media and media in general from spoiling the many surprises contained in its film, Spider-Man: No Way Home.  The film does a number of things very well, but it does two things particularly well.  Talking about the first could reveal spoilers, so what I will say is that this film gives us the appearances by certain characters and actors that many of us have wanted since we first heard the rumors that this film would deal with the multiverse.  Most of the character appearances are not cameos, and they contribute significantly to No Way Home.  The audience which with I saw No Way Home this past evening cheered with gusto for each special appearance.  They cheered as much as I ever heard an audience cheer during a superhero film.

Spider-Man: No Way Home is a joint production between Sony Pictures and Walt Disney Pictures' Marvel Studios.  One of the many things that Marvel's films do well is character development and drama.  No Way Home is the first film in the Sony/Marvel Spider-Man trilogy in which Peter Parker is confronted with the high costs of being Spider-Man.  Until this film, he has been relatively unscathed., but now, he learns that the decisions he makes can have ruinous consequences.  He suffers humiliations, setbacks, and heartbreaking loss.  He learns that with great power there must come great responsibility, and he learns that true heroes often make tremendous personal sacrifices for the benefit of others.  In No Way Home, Spider-Man becomes a man.

Don't get me wrong.  Spider-Man: No Way Home is certainly a true crowd-pleaser, and it is also one of the best films that I have seen this year.  As Peter Parker/Spider-Man, Tom Holland gives a wonderful performance in a film that requires him to express a wide range of emotions, sometimes from one extreme to another.  Holland, in layers, with textures, and with art, shows us the evolution of Spider-Man and especially of Peter Parker.  Spider-Man: No Way Home is one for the ages, and it is a great way to end one Spider-Man trilogy … so that the next one can come home.

9 of 10
A+

Friday, December 17, 2021


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Twenty-Six Animated Films Compete for Five Oscar Nominations at the 94th Academy Awards

ANIMATED FEATURE FILMS ELIGIBLE FOR 94TH OSCARS® ANNOUNCED

The Academy of Motion Picture Arts and Sciences announced feature films eligible for consideration in the Animated Feature Film category for the 94th Academy Awards®.  Eligibility lists by category can be viewed at Oscars.org/94thFeatureEligibility.  Complete 94th Academy Awards rules can be found at Oscars.org/rules.

ANIMATED FEATURE FILM

Twenty-six features are eligible for consideration in the Animated Feature Film category for the 94th Academy Awards.  Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

To determine the five nominees, members of the Short Films and Feature Animation Branch are automatically eligible to vote in the category.  Academy members outside of the Short Films and Feature Animation Branch are invited to opt in to participate and must meet a minimum viewing requirement to be eligible to vote in the category.  Films submitted in the Animated Feature Film category also qualify for Academy Awards in other categories, including Best Picture.

94TH ACADEMY AWARDS® ELIGIBLE FOR CONSIDERATION IN THE ANIMATED FEATURE FILM CATEGORY:

“The Addams Family 2”

“The Ape Star”

“Back to the Outback”

“Belle”

“Bob Spit – We Do Not Like People”

“The Boss Baby: Family Business”

“Cryptozoo”

“Encanto”

“Flee”

“Fortune Favors Lady Nikuko”

“Josee, the Tiger and the Fish”

“The Laws of the Universe – The Age of Elohim”

“Luca”

“The Mitchells vs. the Machines”

“My Sunny Maad”

“Paw Patrol The Movie”

“Pompo the Cinephile”

“Poupelle of Chimney Town”

“Raya and the Last Dragon”

“Ron’s Gone Wrong”

“Sing 2”

“The Spine of Night”

“Spirit Untamed”

“The Summit of the Gods”

“Vivo”

“Wish Dragon

Nominations for the 94th Academy Awards will be announced on Tuesday, February 8, 2022.

The 94th Oscars® will be held on Sunday, March 27, 2022, at the Dolby® Theatre at Hollywood & Highland® in Hollywood and will be televised live on ABC and in more than 200 territories worldwide.

ABOUT THE ACADEMY:

The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the Academy Museum of Motion Pictures.

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Review "OLD" is a Crazy, Entertaining, Thrilling Movie

TRASH IN MY EYE No. 69 of 2021 (No. 1807) by Leroy Douresseaux

Old (2021)
Running time:  108 minutes (1 hour, 48 minutes)
MPAA – PG-13 for strong violence, disturbing images, suggestive content, partial nudity and brief strong language
DIRECTOR:  M. Night Shyamalan
WRITER:  M. Night Shyamalan (based on the graphic novel, Château de sable, by Pierre-Oscar Lévy and Frederik Peeters)
PRODUCERS:  Marc Bienstock, Ashwin Rajan, and M. Night Shyamalan
CINEMATOGRAPHER:  Micheal Gioulakis (D.o.P.)
EDITOR:  Brett M. Reed
COMPOSER:  Trevor Gureckis

FANTASY/THRILLER/HORROR

Starring:  Gael García Bernal, Vicky Krieps, Rufus Sewell, Abbey Lee, Nikki Amuka-Bird, Ken Leung, Aaron Pierre, Kathleen Chalfant, M. Night Shyamalan, Alexa Swinton, Thomasin McKenzie, Embeth Davidtz, Nolan River, Alex Wolff, Emun Elliot, and Kylie Begley, Mikaya Fisher, and Eliza Scanlen

Old is a 2021 horror-thriller and fantasy film from director, M. Night Shyamalan.  The film is based on the 2010 French-language, Swiss graphic novel, Château de sable (2010) by Pierre Oscar Levy and Frederik Peeters, which was published in English as “Sandcastle” in 2011.  Old the movie focuses on a group of people trapped on a secluded beach where they age rapidly, reducing their entire lives into a single day.

Old introduces husband, Guy Cappa (Gael Garcia Bernal), and his wife, Prisca Cappa (Vicky Krieps).  They are going through a difficult time and decide to take their two children, 11-year-old daughter, Maddox (Alexa Swinton), and six-year-old son, Trent (Nolan River), on a family vacation to a tropical resort.  On their second morning at the resort, the Cappas get an offer from the resort's manager for a trip to a secluded beach.

Although the Cappas initially believe that they will have the beach to themselves, they soon learn they will not.  They meet a surgeon, Charles (Rufus Sewell); his wife, Chrystal (Abbey Lee); their six-year-old daughter, Kara (Kylie Begley); and Charles's elderly mother, Agnes (Kathleen Chalfant).  The late arrivals are the close-knit couple, Jarin Carmichael (Ken Leung) and his, wife Patricia Carmichael (Nikki Amuka-Bird).  Trouble starts when they meet someone who was on the beach before them, the recording artist and rapper, Mid-Sized Sedan (Aaron Pierre), and then, discover the corpse of his female companion.  Accusations fly, but no one is really paying attention to the fact that the three children are changing … rapidly.

The film's of writer-director M. Night Shyamalan can be both sublime, such as his Oscar-nominated breakthrough, The Sixth Sense (1999), or ridiculous like 2004's eye-rolling The Village.  Sometimes, his films can be both, to varying degrees, such as 2000's Unbreakable.  Or his films can be surprisingly inventive and mostly entertaining, such as 2013's After Earth, 2016's Split, and now Old.

People once called Shyamalan the next Steven Spielberg, although his films seem closer to Alfred Hitchcock's.  At the heart of most Shyamalan films is a mystery, and that mystery holds the audience in suspense.  The problem can be that when the mystery is solved in one of his films, sometimes the suspense turns to befuddlement, but that doesn't really happen with Old.

After the first twenty minutes or so of introduction, Old offers about forty minutes of the best mystery and suspense that audiences have gotten in the last two years or so of American films.  Shyamalan builds this killer thriller by depicting his characters' varied reactions to their crazy and increasingly unbelievable situation.  Watching some of them revert to their old melodramas, others fall into to their mental challenges, and some approach their situation with a sense of curiosity and wonder can be invigorating.  Through these characters, Shyamalan offers so many intriguing points of view.

The film's last forty minutes is a mixture of science fiction and horror that is captivating, even when it seems a bit over-the-top.  At this point, Shyamalan turns to the Cappas' domestic drama in a way that bounces between being poignant or edgy or stock melodrama.  There is a happy ending, but it is best, in order to avoid spoilers, that I allow you to decide whether that happy ending is plausible or appropriate, dear readers.

I have never read the comic book, Sandcastle, that inspired Old, but from what I understand, the comic's narrative is a bit more ruthless with its characters.  Still, I found Old satisfying because of Shyamalan's seamless filmmaking and because of the way his uses the characters' aging to keep things hopping in the narrative.  I don't know if M. Night Shyamalan's Old will age well, but I do believe that it will always find an audience willing to be enraptured by its mystery and thrilled by its suspense … to one extent or another … like me.

7 of 10
B+

Thursday, December 9, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: Young Stars Bring "GHOSTBUSTERS: Afterlife" to Life

TRASH IN MY EYE No. 66 of 2021 (No. 1804) by Leroy Douresseaux

Ghostbusters: Afterlife (2021)
Running time:  124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for supernatural action and some suggestive references
DIRECTOR:  Jason Reitman
WRITERS:  Gil Kenan and Jason Reitman (based on the film, Ghost Busters, written by Dan Aykroyd and Harold Ramis)
PRODUCER:  Ivan Reitman
CINEMATOGRAPHER:  Eric Steelberg
EDITORS:  Dana E. Glauberman and Nathan Orloff
COMPOSER:  Rob Simonsen

FANTASY/MYSTERY/ACTION/COMEDY

Starring:  Mckenna Grace, Finn Wolfhard, Carrie Coon, Paul Rudd, Logan Kim, Celeste O'Connor, and Bokeem Woodbine with Bill Murray, Dan Aykroyd, Ernie Hudson, Sigourney Weaver, and Annie Potts

Ghostbusters: Afterlife is a 2021 supernatural comedy, action and mystery film from director Jason Reitman.  It is the fourth entry in the Ghostbusters film franchise and is a kind of sequel to the original film, 1984's Ghost Busters (now known as “Ghostbusters”), which was directed by Jason's father, Ivan Reitman.  In Afterlife, a single mother and her two children arrive in small town Oklahoma, and the children discover their grandfather's amazing and secret legacy.

Thirty-two years after the events of Ghostbusters II (1989), Callie Spengler (Carrie Coon) and her two children, son Trevor (Finn Wolfhard) and daughter Phoebe (Mckenna Grace), arrive in Summerville, Oklahoma.  Currently homeless, they will try to make a new home in the rundown farmhouse owned by Callie's late father, Egon Spengler.  While rooting through some of Egon's belongings, Phoebe discovers a P.K.G. Meter (a ghost-tracking device).  While digging around, Trevor finds a beat-up old car that sports the “Ghostbusters” logo.

Phoebe, who does not believe in the supernatural, makes a friend, a boy named “Podcast” (Logan Kim), who believes in the strange and unusual and discusses it in his podcast.  Trevor makes a friend in a local, a teen girl named Lucky Domingo (Celeste O'Connor).  Eventually, the children discover that Phoebe's summer school teacher, Gary Grooberson (Paul Rudd), is quite familiar with their grandfather, Egon's legacy as a scientist, an inventor, and a member of “Ghostbusters,” the ghost-catching organization that was famous for its activities in 1980s New York City.  Now, the four youngsters and Callie and Gary must face the same great evil that once confronted the original Ghostbusters.

I was a huge fan of the original Ghostbusters films.  When I first saw Ghost Busters in a movie theater in 1984, I laughed so much that the other people in the theater were giving me the side eye.  I enjoyed the sequel, Ghostbusters II (1989), although many people I knew at the time did not like it all that much.  Still, I was happy, but over the years, Ghostbusters became a fond memory that I sometimes relived via my cable TV package.  In the years that followed Ghostbusters II, there was always talk of a third Ghostbusters film, but I was only mildly interested.

For some people, however, the Ghostbuster films and the related merchandise became a lifestyle choice, something to which they dedicated themselves as if it were hobby, a second career, and maybe even a quasi-religion.  Those were the people who claimed to have been traumatized by the 2016 franchise reboot, Ghostbusters, which featured an all-female cast as the Ghostbusters (and which may have since been re-titled “Ghostbusters: Answer the Call”).  I was only mildly interested in that film, and have seen most of it via cable TV.

Ghostbusters: Afterlife is supposed to remedy the trauma of Ghostbusters 2016.  Afterlife director Jason Reitman once said that his film was giving Ghostbusters “back to the fans.”  I never felt like something had been taken from me.  After all, as I've said, I can see the original films at least a few times a week on television.  That said, I do like Afterlife.

Reitman offers an exciting film that is as much a mystery film as it is a comedy, and the secrets of the town of Summerville and its surroundings are quite intriguing and provide a nice setting for the story.  I do wish that the film had given us more on the town and its inhabitants.  However, there is much focus on the darkness at the edge of town – the big bad supernatural being.  Reitman and his co-writer, Gil Kenan, work overtime to make sure everyone understands that the villain is connected to the events of the original film.  I didn't find that connection necessary, but I understand why Reitman and Sony Pictures felt that it was very important to make a hard connection between the events of 1984 and the events of 2021.

Ghostbusters: Afterlife's shining light isn't the desperation to connect to a 37-year-old movie.  Afterlife's true treasures are its young stars:  Mckenna Grace as Phoebe, Finn Wolfhard as Trevor, Celeste O'Connor as Lucky, and Logan Kim as Podcast.  As Phoebe, Grace is totally capable of carrying this film's emotional center and of stabilizing its subplots and narrative threads until they come together.  When Jason Reitman focuses on his young cast, turning them into young supernatural investigators and Ghostbusters, Afterlife explodes with life and has all the magic of an old-fashioned summer blockbuster movie in spite of its November release date.

Yes, it was good to see the original cast members.  No, Paul Rudd is not the star of Afterlife, as the film's trailers and commercials suggest, but he is important to the development of the story.  Yes, Carrie Coon is good as the kid's mother, Callie.  However, it is time for this franchise to move on from nostalgia and fanservice if it is going to have a future.  These four young actors and four new characters are why Ghostbusters: Afterlife can be a true resurrection story.

7 out of 10
B+

Friday, November 19, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "ETERNALS" is Endlessly Fascinating

TRASH IN MY EYE No. 65 of 2021 (No. 1803) by Leroy Douresseaux

Eternals (2021)
Running time: 157 minutes (2 hours, 37 minutes)
MPAA – PG-13 for fantasy violence and action, some language and brief sexuality
DIRECTOR: Chloé Zhao
WRITERS:  Chloé Zhao, Chloé Zhao & Patrick Burleigh and Ryan Firpo & Kaz Firpo; from a screen story by Ryan Firpo & Kaz Firpo (based upon the Marvel Comics by Jack Kirby)
PRODUCERS: Kevin Feige and Nate Moore
CINEMATOGRAPHER: Ben Davis (D.o.P.)
EDITORS:  Dylan Tichenor and Craig Wood
COMPOSER: Ramin Djawadi

SUPERHERO/DRAMA/ACTION

Starring:  Gemma Chan, Richard Madden, Kumail Nanjiani, Barry Keoghan, Lia McHugh, Bryan Tyree Henry, Lauren Ridloff, Don Lee, Harish Patel, Haaz Sleiman, Esai Daniel Cross, and David Kaye (voice) with Salma Hayek, Kit Harringston, and Angelina Jolie

Eternals is a 2021 superhero film directed by Chloé Zhao and produced by Marvel Studios and Walt Disney Studios Motion Pictures.  It is the 26th film in the Marvel Cinematic Universe (MCU) series.  The film is based on the Marvel Comics stories and characters created by Jack Kirby and first appearing in the comic book, The Eternals #1 (cover dated: July 1976).  Eternals the movie focuses on a race of immortal beings who have lived on Earth for millennia, protecting and shaping its people.

Eternals begins with the story of the “Celestials,” the great beings that created the universe.  They also created a race of immortals, known as “Eternals,” to do their bidding.  Seven thousand years before the present day (5000 BC), ten of these Eternals arrive on Earth from their home planet, Olympia.  They are Sersi (Gemma Chan), Ikaris (Richard Madden), Kingo (Kumail Nanjiani), Sprite (Lia McHugh), Phastos (Brian Tyree Henry), Makkari (Lauren Ridloff), Druig (Barry Keoghan), Gilgamesh (Don Lee), Thena (Angelina Jolie), and Ajak (Salma Hayek), their leader.  They are human-like and have super-powers.

The most powerful Celestial, Arishem (David Kaye), has sent these Eternals to Earth to protect humanity from monsters known as “Deviants.”  Over several millennia, the Eternals protect humanity from the dangers posed by Deviants, but they are not allowed to interfere in the development of the humans and their civilizations.  In 1500, after believing that they have killed off the last Deviants, the Eternals break apart as a group because they have different opinions on what their responsibility is towards humans going forward.

In the present day, Sersi and Sprite live together in London.  One night, they are attacked by a Deviant, but the powerful Eternal, Ikaris, arrives to drive the creature away.  Sersi, Sprite, and Ikaris decide to reunite their group in order to be prepared for the renewed threat of the Deviants.  However, not all the members are willing to reunite as some have new lives and others hold old grudges.  Meanwhile, dark secrets from their past and about their future hinder the Eternals ability to deal with “The Emergence,” an event that threatens to destroy the world.

Eternals is Marvel Studios most unique film to date.  For all the talk of there being a formula to Marvel's films, Eternals is like nothing else that Marvel has done and like no other superhero film, for that matter.  The costumes, special effects, technology, art direction, and graphic design are key to creating a film that is part of the Marvel Cinematic Universe, but also feels separate from it, in a way.

Eternals co-writer and director Chloé Zhao won two Oscars for her work on the 2020 film, Nomadland, a film filled with characters that are fiercely independent, unique, and contrary.  Eternals is a film about a group of ten people who essentially form a family, but these ten are individually disparate people.  After their mission is complete, the Eternals discover that they have very little in common.  They know enough, however, as they saying goes, to hurt the ones they love.

Zhao deals with the ramifications of being a hero confronted by the question of which is more important in a mission – the orders or doing the right thing.  Zhao reveals that it is not so easy because individuals have differing views on the mission and what it means to “do the right thing.”  Zhao also delves into the complicated nature of a family unit, how the bittersweet can become downright sour when there are secrets and lies and also betrayal.  Eternals is a film about difficult relationships and about the heartache and pain that can come when differences cannot be bridged.

Some may find Eternals too long and boring.  There may not be enough action for fans used to the humongous action set pieces of the Avengers films.  Also, the film's ostensible lead, Gemma Chan's Sersi, is a female superhero that is nuanced in ways not seen in superhero films, especially compared to Marvel heroines like Black Widow, The Wasp, and the Dora Milaje.  Chan creates a Sersi that is beautifully gentle and compassionate, while being vulnerable in a way that makes her a better hero.  Even Angelina Jolie's Thena, an elite warrior, is as vulnerable as she is fierce and violent.

That is not the formula for girl-hero kick-ass and that is fine by me.  I find Eternals endlessly fascinating, and while I watched it, I always wanted more of it.  After all, each Eternal has 7000 years worth of stories to tell, and that's just what happened before they arrived on Earth.  Whether there is another Eternals film or not, Eternals 2021 is important to the Marvel Cinematic Universe, simply because it is the kind of entry that will stand out and show that there can be truly different things in that cinematic universe.  Eternals is one of the year's best films.

9 of 10
A+

Friday, November 5, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Review: 2021 "DUNE " is Both Tremendous and Tedious

TRASH IN MY EYE No. 63 of 2021 (No. 1801) by Leroy Douresseaux

Dune (2021)
Running time:  155 minutes (2 hours, 35 minutes)
MPAA – PG-13 for sequences of strong violence, some disturbing images and suggestive material
DIRECTOR:  Denis Villeneuve
WRITERS:  Denis Villeneuve, Jon Spaihts, and Eric Roth (based on the novel by Frank Herbert)
PRODUCERS:  Denis Villeneuve, Cale Boyter, Joseph M. Caracciolo, and Mary Parent
CINEMATOGRAPHER:  Greg Fraser (D.o.P.)
EDITOR:  Joe Walker
COMPOSER: Hans Zimmer

SCI-FI

Starring:  Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgard, Stephen McKinley Henderson, Josh Brolin, Javier Bardem, Sharon Duncan-Brewster, Chen Chang, Dave Bautista, David Dastmalchian, Charlotte Rampling, Babs Olusanmokun, Benjamine Clementine, and Golda Rosheuvel

Dune is a 2021 science fiction film directed by Denis Villeneuve.  It is based on the 1965 novel, Dune, written by author Frank Herbert.  This the third screen adaptation of Herbert's novel after writer-director David Lynch's 1984 film and writer-director John Harrison's 2000 television miniseries.  Dune 2021 focuses on the male heir to a noble family who finds himself in the middle of conspiracy and prophecy on a desert planet where is found the most vital element in the universe.

Dune opens in the far future in the year 10,191.  The most valuable substance in the universe is “Spice,” which extends human vitality and life and is absolutely necessary for space travel.  Spice is only found on the desert planet, Arrakis.  For over eighty years, House Harkonnen, one of the noble houses of the “Landsraad,” has mined the planet for Spice.

Now, the Emperor of the Known Universe has ordered House Harkonnen to withdraw from the planet.  The Emperor has appointed Duke Leto I (Oscar Isaac) of House Atreides and ruler of the ocean planet, Caladan, as the new fief ruler of Arrakis and the one responsible for the mining of Spice.

However, Paul Atreides (Timothée Chalamet), the son of Leto and his concubine, Lady Jessica (Rebecca Ferguson), is the focus of the Bene Gesserit, a powerful sisterhood who wield advance mental and physical abilities, to which Jessica belongs.  The Bene Gesserit have a prophecy concerning a “superbeing,” called the  “Kwisatz Haderach,” and Paul may be this superbeing because of the machinations of his mother.  Meanwhile, Paul has dreams and visions, most of them set on Arrakis and involving the natives of Arrakis, the “Fremen.”  And of the Fremen, Paul dreams most of a mysterious young woman (Zendaya) with blue in her eyes.  Paul knows that his fate lies on Arrakis, and he will discover it if he survives the plot against his family.

Although the title of this film is “Dune,” when the movie starts the credits read “Dune: Part One.”  That's right, director Denis Villeneuve refused to adapt Frank Herbert's novel as one long film when he preferred to do it as two long films.  I have seen Herbert's novel referred to as “unwieldy” source material, but the truth is that like Robert A. Heinlein's novel, Starship Troopers (1959), which was adapted into a 1997 film, Dune is philosophical and thoughtful.  Much of the narrative takes place in the minds of its major characters, and I don't think that big-budget, event Hollywood films are really good at internal philosophical monologues.

Denis Villeneuve's Dune is visually ambitious.  It is pomp and circumstance.  It focuses on the rituals of the Landsraad (the empire's noble houses) and of the Fremen – to the point of being anthropological.  Dune is costumes, uniforms, makeup, hairdos, and lavish spectacle.  Dune offers some of the most imaginatively designed space crafts, flying contraptions, utility machines, and personal devices outside of the Star Wars films.  It leans towards opulence in its breathtaking landscapes and astonishing vistas.  This visual and design aesthetic creates the kind of overwhelming cinematic sensory experience that is exactly why we need to see some films in movie theaters.

Villeneuve apparently also said that Dune has “power in details,” and his obsession with details, both in terms of visuals and narratives, is a problem for Dune, much in the way it was a problem for his acclaimed 2016 film, The Arrival … to a lesser extent.  For Dune, he builds a big world in pictures and images, and then, he and his co-writers Jon Spaihts and Eric Roth (the ones who are credited onscreen), drag the movie out by drowning every key scene and sequence in detail.  There is no better example of this than the scene with the “Herald of the Change” (Benjamin Clementine), when Duke Leto formerly excepts his assignment to Arrakis.  It was pointless scene about the pointlessness of the Emperor and his rituals.

At one point while watching this film, I checked my phone and realized that there was still an hour to go.  I wasn't sure if I could make.  I could not understand how a film could be so visually dazzling as Dune is and have a story that frustratingly seems to be going somewhere … slowly.  And Dune's wonderful cast goes right along with this, delivering performances that are earnest in their grimness.  Still, the actors didn't make me want to connect with their characters, and Rebecca Ferguson's Lady Jessica is just fucking tiresome.

I am giving this film a B+ because of two things – the sometimes unbelievable visuals and, surprisingly, Hans Zimmer's amazing musical score, for which he supposedly created new musical instruments.  Without his constantly inventive score, this film would put people to sleep.  If I were focusing only on story, I'd give Dune a B- or a B, because there are some characters that are fascinating the few times they are on screen, such as Baron Harkonnen (Stellan Skarsgard) and his nephew, Rabban (Dave Bautista).  There are also a few scenes that resonate.  I really don't know how to recommend a film that will impress you almost as much as it will tire you, but that Denis Villeneuve's Dune in a nutshell.

7 of 10
B+

Friday, October 22, 2021


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Review: "NO TIME TO DIE," But Plenty of Time to Bore

TRASH IN MY EYE No. 60 of 2021 (No. 1798) by Leroy Douresseaux

No Time to Die (2021)
Running time:  163 minutes (2 hours, 43 minutes)
MPAA – PG-13 for sequences of violence and action, some disturbing images, brief strong language and some suggestive material
DIRECTOR:  Cary Joji Fukunaga
WRITERS:  Neal Purvis & Robert Wade and Cary Joji Fukunaga, and Phoebe Waller-Bridge; from a story by Cary Joji Fukunaga and Neal Purvis & Robert Wade (based on the characters created by Ian Fleming)
PRODUCERS:  Barbara Broccoli and Michael G. Wilson
CINEMATOGRAPHER:  Linus Sandgren (D.o.P.)
EDITORS:  Tom Smith and Elliot Graham
COMPOSER:  Hans Zimmer
SONG:  “No Time to Die,” sung by Billie Eilish; written by Billie Eilish and Finneas O'Connell

SPY/ACTION/ADVENTURE

Starring:  Daniel Craig, Rami Malek, Lea Seydoux, Lashana Lynch, Ralph Fiennes, Ben Whishaw, Naomie Harris, Rory Kinnear, Billy Magnussen, David Dencik, Dali Benssalah, and Jeffrey Wright with Christoph Waltz

No Time to Day is a 2021 spy and action-adventure film from director Cary Joji Fukunaga.  It is the 25th entry in EON Productions' James Bond film franchise, and it is also the fifth and (supposedly) final film in which actor Daniel Craig portrays Bond.  In No Time to Die, James Bond is attempting to enjoy life after having left active service when an old friend asks him to help the CIA secure a dangerous new weapon.

No Time to Die finds former M16 agent, James Bond-007 (Daniel Craig), enjoying life after leaving active service with his lover, Dr. Madeleine Swann (Lea Seydoux).  While vacationing in Matera, Italy, Spectre assassins ambush Bond, and although he survives that attempt, he believes that he has been betrayed.  Bond blames Madeleine and leaves her.

Five years later, MI6 scientist, Valdo Obruchev (David Dencik), is kidnapped from an MI6 laboratory.  Obruchev was working on a bio-weapons project, “Project Heracles,” at the behest of Gareth Mallory (Ralph Fiennes), also known as “M,” the head of MI6.  In Jamaica, Bond's friend, CIA agent Felix Leiter (Jeffrey Wright), asks Bond to help him track Obruchev, but Bond refuses.  Later, Bond encounters Nomi (Lashana Lynch), the MI6 agent who has succeeded him as the new “007.”  After discovering more about “Project Heracles” via Nomi, Bond agrees to help Leiter find Obruchev.

Bond discovers that his old nemesis, Ernst Stavro Blofeld (Christoph Waltz), the founder and head of the criminal syndicate, Spectre, is somehow involved with Obruchev.  However, the true mastermind behind Obruchev's activities is a mysterious terrorist leader (Rami Malek) on a mission of revenge and harboring plans to kill untold millions of people.

Of the previous Daniel Craig James Bond films:  Casino Royale (2006), Quantum of Solace (2008), Skyfall (2012) and Spectre (2015), the last two join No Time to Die to form some kind of Daniel Craig as James Bond life cycle.  When it comes to James Bond, I am not interested in s life story, origin tale, or death story of 007.  Craig is the first actor to play Bond who gets a swan song film.  All the other Bond actors did not get a goodbye movie; they simply left.

Although it has some good moments and some exceptional set pieces – in the form of extended action scenes – No Time to Die gets old and listless, especially after the action that takes place in Matera.  This film is also too long and too tired, especially wants the drama moves to Japan.  Even Daniel Craig, who is only 53-years-old, seems to be much older than he really his.  His body is tight, but his face is Beetlejuice.  It is as if everything about this film inadvertently says that both Craig and Bond are way past their expiration date.  In fact, both seem like spoiled milk.

No Time to Die has other problems.  Ray Fiennes, with his dour faced portrayal of “M,” only makes things seem more rundown.  Naomie Harris is utterly wasted as Eve Moneypenny.  Lashana Lynch cannot do much to save her utterly wasted and woefully underdeveloped character, Nomi, the new 007.  Jeffrey Wright seems like an out-of-gas old car as Felix Leiter.  As for Rami Malek: what could have been is so obvious in how much he gets out of so little.

On the other hand, Rory Kinnear brings some quiet energy as M's chief of staff, Bill Tanner.  As usual Ben Whishaw is top notch as “Q,” and I hope the Bond bosses bring him back in the next iteration of the franchise.  Also, Bill Magnussen provides an expected pretty boy, watermelon sugar rush as the bright-eyed CIA agent, Logan Ash.

In the final analysis, if I had to do it again, I would not go to a movie theater to see No Time to Die.  Don't get me wrong.  I am a huge James Bond fan and would see this movie anyway.  I will always find a lot to like even in Bond movies about which I have mixed feelings.  However, No Time to Die is the kind of Bond movie that I could have waited to see at home.  It is sad that Daniel Craig's tenure as James Bond did not so much end as it simply petered out.

6 of 10
B

Friday, October 8, 2021


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Review: Entertaining "VENOM: Let There Be Carnage" Offers Some Crazy Love

TRASH IN MY EYE No. 59 of 2021 (No. 1797) by Leroy Douresseaux

Venom: Let There Be Carnage (2021)
Running time:  97 minutes (1 hour, 37 minutes)
MPAA – PG-13 for intense sequences of violence and action, some strong language, disturbing material and suggestive references
DIRECTOR:  Andy Serkis
WRITERS:  Kelly Marcel; from a story by Kelly Marcel and Tom Hardy (based on the Marvel Comics)
PRODUCERS:  Avi Arad, Amy Pascal, Matt Tolmach, Tom Hardy, Kelly Marcel, and Hutch Parker
CINEMATOGRAPHER:  Robert Richardson (D.o.P.)
EDITORS:  Maryann Brandon and Stan Salfas
COMPOSER:  Marco Beltrami

SUPERHERO/FANTASY/ACTION

Starring:  Tom Hardy, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Peggy Lu, Little Simz, Jack Bandeira, Olumide Olorunfemi, and Woody Harrelson

Venom: Let There Be Carnage is a 2021 superhero fantasy-action film directed by Andy Serkis.  The film is based on the Marvel Comics super-villain/anti-hero characters, Eddie Brock/Venom, to which several comic book writers, artists, and editors contributed in the creation, most especially artist Todd McFarlane and writer David Michelinie.  This film is a direct sequel to the 2018 film, Venom, and it is also the second film in “Sony's Spider-Man Universe” series.  In Venom: Let There Be Carnage, Eddie Brock and Venom face a new symbiote, a violent monster more powerful than Venom.

Venom: Let There Be Carnage opens in “St. Estes Home for Unwanted Children,” circa 1996.  There, young Cletus Kasady (Jack Bandeira) watches helplessly as his love, young Frances Barrison (Olumide Olorunfemi), is taken away.  She will be placed at the “Ravencroft Institute,” where she will be experimented upon because of her special power, her ability to emit a sonic scream.

In the present day, police Detective Patrick Mulligan (Stephen Graham) contacts Eddie Brock (Tom Hardy), who is attempting to revive his journalism career.  Mulligan asks Brock to speak to Cletus Kasady (Woody Harrelson), now a serial killer who sits on death row and awaits execution.  Kasady refuses to talk to anyone other than Brock.  Kasady invites Brock to attend his execution, but Brock uses the visit to benefit himself.  Kasady sees Brock's actions as betrayal.

Meanwhile, Brock and the symbiote, Venom, have hit a wall in their relationship.  Each believes that the other does not really appreciate what he brings to the relationship.  Plus, Brock's ex-fiancée, Anne Weying (Michelle Williams), tells him that she is now engaged to Dr. Dan Lewis (Reid Scott).  This news and his cantankerous relationship with Venom lead Brock into being careless when he visits Kasady a second time, which leads to the creation of a monstrous new symbiote named “Carnage.”  Meanwhile, the adult Frances Barrison (Naomie Harris) is still imprisoned and, in her new identity as “Shriek, she still pines for her man, Cletus.

From what information I have gathered, the general consensus seems to be that the sequel, Venom: Let There Be Carnage, is better than the first film, Venom.  As entertaining as I found the sequel, I think the original is the better film.  Yes, Venom: Let There Be Carnage has a lot going for it.  Its main cast:  Tom Hardy, Michelle Williams, Naomie Harris, and Woody Harrelson have all received Academy Award nominations for their acting – Williams and Harrelson more than once.

Yes, the sequel's special effects are excellent.  It is quite an achievement to create multiple scenes featuring not one but two shape-shifting, morphing CGI characters.  Venom and Carnage transmute at the same speed and frequency with which the late actor and comic legend, Robin Williams, blabbed and babbled – every chance he got.

Yes, I will give Venom: Let There Be Carnage credit for attempting to be something more than just a superhero film.  [Venom considers himself a hero.]  The film offers themes related to romance, fractured relationships, troubled friendships, jealousy, unrequited love, and love triangles.  In fact, I have to credit Tom Hardy for sharing so much of what is essentially his film with another actor.  Much of this film is about the story of Woody Harrelson's character, Cletus Kasady.

However, the first film seemed more sure of its plots and story points.  As eye-popping as Carnage is in this sequel, I think the original film's human/symbiote villains, Carlton Drake (played by Riz Ahmed) and Riot, were … deliciously evil.  Carnage is needlessly homicidal, and the character takes away from the subtle notes that Woody Harrelson tries to play as Cletus Kasady.

So, in the end, Venom: Let There Be Carnage is entertaining and often funny.  The supporting characters get to play, even fifth wheel Dr. Dan, and I'm always happy to see Naomi Harris, who makes the most of her time as Shriek.  But Venom: Let There Be Carnage feels like a placeholder.  It is as if Sony Pictures offered this sequel in order to satisfy demand while it takes time to develop a really good follow-up to the original Venom, instead of this merely good one.

6 of 10
B

Tuesday, October 5, 2021


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