NEGROMANCER 2.0: 2022

Showing posts with label 2022. Show all posts

Sunday, February 11, 2024

Review: Pixar's "TURNING RED" is Universal and Unique

TRASH IN MY EYE No. 8 of 2024 (No. 1952) by Leroy Douresseaux

Turning Red (2022)

Running time: 100 minutes (1 hour, 40 minutes)

MPA – PG for thematic material, suggestive content and language

DIRECTOR: Domee Shi

WRITERS: Domee Shi and Julie Cho; from a story by Domee Shi, Julie Cho, and Sarah Streicher

PRODUCER: Lindsey Collins

CINEMATOGRAPHERS: Mahyar Abousaeedi and Jonathan Pytko

EDITORS: Nicholas C. Smith with Steve Bloom

COMPOSER: Ludwig Goransson

SONGS: Billie Eilish and Finneas O'Connell

Academy Award nominee

ANIMATION/FANTASY/COMEDY/DRAMA

Starring: (voices) Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, Tristan Allerick Chen, Jordan Fisher, Finneas O'Connell, and James Hong

Turning Red is a 2022 animated fantasy and comedy-drama film directed by Domee Shi and produced by Pixar Animation Studios. It is Pixar's 25th full-length animated feature film, and it is the first to be solely directed by a woman. Turning Red focuses on a teen girl who is dealing with her demanding mother and the changes of adolescence when she suddenly discovers that becoming really excited causes her to turn into a giant red panda.

Turning Red opens in Toronto, Ontario, Canada in 2002. It introduces a Chinese-Canadian girl, 13-year-old Meilin “Mei” Lee (Rosalie Chiang). She lives with her parents, mother Ming (Sandra Oh) and father Jin (Orion Lee). Mei is a dutiful daughter to her mother who calls her “Mei-Mei,” and she helps take care of the family's temple, “the Lee Family Temple,” one of the the oldest temples in Toronto. The temple honors the Lee family ancestors instead of gods, and it is dedicated to Mei's maternal ancestor Sun Yee.

Mei is also dedicated to a trio of girl friends: Miriam (Ava Morse), Priya (Maitreyi Ramakrishnan), and Abby (Hyein Park), and all three of them are dedicated fans of the boy band, “4*Town.” Life is busy, but it's about to get complicated. The morning after a night of humiliation, Mei wakes up to discover that she has been transformed into a giant red panda. This is a condition that happens when Mei is overly excited, but it can be cured. But what does Mei really want?

In the early days of the Disney+ streaming service and in the COVID-19 pandemic, the Walt Disney Company released three Pixar feature films as direct-to-streaming releases: Soul (2020), Luca (2021), and Turning Red, declining wide theatrical releases for the films. These were and still are three of Pixar's greatest films, but they are finally getting belated theatrical releases in early 2024. [Soul in January 2024; Turning Red in February 2024; and Luca in March 2024.]

Turning Red is an incredible coming-of-age story, and like Pixar's Oscar-winning Brave (2012), it is a story of transformations and of mother-daughter relationships and all the love and support and trials and tribulations that come with it. Its beautiful, terracotta-like colors amplify the film's sense of magic and magical realism. The variety of faces, body types, skin colors, hair styles, and clothes and costumes are a testament of how culturally expansive Pixar's films set in the human world are. Everything about Turning Red invites the entire world of moviegoers to come along on this timeless, universal tale of a child coming into her own and learning to love herself as she is becoming and to love her parents for what they were, are, and can be.

Domee Shi and her co-writers, Julie Cho and Sarah Streicher, have created a character, a world, and a scenario of which I believe I can be a part. I am an old-ass Black man, a million miles away from a 13-year-old Canadian girl of Chinese descent, but Turning Red makes me understand that what the girl experiences are in some ways similar to what I've experienced. In a way, I am jealous of Turning Red and of Meilin Lee because I could never embrace the messy strangeness in me to the extent that she does. I definitely did not want my freak flag fluttering in the wind too much.

There is so much to like in this film. As usual, the animation is up to Pixar's astronomical standards, and Ludwig Goransson's score infuses itself into the film so much that it seems as if the animation is performing a concert. Speaking of music, I'm embarrassed to admit that I like 4*Town, the band, and its three songs performed in the movie, which are written by the sister-brother team of Billie Eilish and Finneas O'Connell. And I couldn't love the movie if I wasn't crazy about actress Rosalie Chiang's multi-layered and energetic voice performance as Mei. Chiang makes Mei feel like a real girl, genuine child in the throes of change and transformation.

Some have said that Turning Red's setting and its lead character, Mei, make the film not timeless and universal like Pixar's other films. They can go screw themselves. Turning Red is universal like other Pixar films and also unlike other Pixar films. Turning Red is Pixar high art and Disney magic, and it is a truly great film that I plan on watching again and again.

10 of 10

Sunday, February 11, 2024

NOTES:

2023 Academy Awards, USA: 1 nomination: “Best Animated Feature Film” (Domee Shi and Lindsey Collins)

2023 BAFTA Film Awards: 1 nominee: “Best Animated Feature Film” (Domee Shi and Lindsey Collins)

2023 Golden Globes, USA: 1 nominee: “Best Motion Picture – Animated”

2023 Image Awards (NAACP): 1 nominee: “Outstanding Animated Motion Picture”

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Friday, February 9, 2024

Review: "A MADEA HOMECOMING" Doesn't Come Out Quite Right

TRASH IN MY EYE No. 6 of 2024 (No. 1950) by Leroy Douresseaux

A Madea Homecoming (2022)

Running time: 105 minutes (1 hour, 45 minutes)

MPA – PG-13 for crude sexual content, language, and drug references throughout

WRITER/DIRECTOR: Tyler Perry

PRODUCERS: Will Areu and Mark E. Swinton

CINEMATOGRAPHER: Taylor Randall (D.o.P.)

EDITOR: Larry Sexton

COMPOSER: Philip White

COMEDY/DRAMA

Starring: Tyler Perry, Cassi Davis, David Mann, Tamela J. Mann, Gabrielle Dennis, Brendan O'Carroll, Jennifer Gibney, Brandon Black, Isha Blaaker, Candace Maxwell, Geneva Maccarone, and Amani Atkinson

A Madea Homecoming is a 2022 African-American comedy-drama from writer-director Tyler Perry. It is the 12th film in the Madea film series. The film is a Netflix original and was released to the streaming service on February 25, 2022. In A Madea Homecoming, family drama erupts and secrets are revealed during the celebration of Madea's great-grandson's college graduation.

A Madea Homecoming opens in Atlanta, Georgia. Mabel “Madea” Simmons (Tyler Perry) is preparing for the arrival of her extended family. Uncle Joe (Tyler Perry) is criticizing people, and Mr. Brown (David Mann) is about to set himself afire while preparing the barbecue pit. It is a special time for Madea's daughter, Cora Simmons (Tamela J. Mann), because of the impending arrival of her daughters, Laura (Gabrielle Dennis) and Ellie (Candace Maxwell). Laura's son, Timothy “Tim” Marshall (Brandon Black), is graduating from college. He is traveling to Madea's house with his best friend and fellow graduate, Davi O'Malley (Isha Blaaker), for a large family dinner before graduation day.

But there are some surprises arriving, also. Tim has a secret to tell his family. Laura has a secret. Laura's divorce attorney, Sylvia (Geneva Maccarone), has a secret. Richard (Amani Atkinson), Laura's ex and Tim's father, has a secret to tell, although Madea doesn't want him at her house. Davi has a secret. Davi's great-aunt, Agnes Brown (Brendan O'Carroll), and Agnes' daughter and David's cousin, Cathy Brown (Jennifer Gibney), have a secret. They're coming to Madea's, but they weren't invited. And it isn't a secret that Betty Ann Murphy a.k.a. “Aunt Bam” (Cassi Davis) is usually high, and everyone else may have to get high to make it through the family drama that is about to erupt.

2019's A Madea Family Funeral was supposed to be the final film in the Madea film series, but I ain't complaining. A Madea Homecoming is similar to A Madea Family Funeral in that it features a large cast of new extended family members that many of us didn't know that Madea had. Unfortunately, the 2019 film is better put together than A Madea Homecoming.

First, it should be noted that A Madea Homecoming is a crossover with British-Irish sitcom, “Mrs. Brown's Boys,” which is headlined by the character, “Agnes Brown,” played by Irish actor, Brendan O'Carroll. Agnes Brown has been called the “Irish Madea,” but because this is my first encounter with O'Carroll and his character, I can't say otherwise. Truthfully, neither the Agnes nor Cathy characters really add that much to A Madea Homecoming, but they are a pleasant addition, at least.

A Madea Homecoming has many, many very funny moments, but the film seems too long and too much of a rehash of scandals that have appeared in earlier films in the series. The main plot and subplot feel more flat and dry than lively and funny. The most consistently funny part of this movie is Madea Beyoncé parody that runs over the end credits, and Madea in a blonde Beyoncé wig singing off-key with the “Marcella Band” is delightful.

When I reviewed A Madea Family Funeral in 2021, I said that if it were indeed the final Madea film, I could say that the series went out on a relatively high note. Madea returns on an off-key note with A Madea Homecoming, and it isn't the final Madea film. Coming sometime in the future is Madea's Destination Wedding.

5 of 10

C+

★★½ out of 4 stars

Friday, February 9, 2024

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Wednesday, December 20, 2023

Review: "PREY" is the Best "Predator" Sequel to Date

TRASH IN MY EYE No. 55 of 2023 (No. 1944) by Leroy Douresseaux

Prey (2022)

Running time: 100 minutes (1 hour, 40 minutes)

MPAA – R for strong bloody violence

DIRECTOR: Dan Trachtenberg

WRITERS: Patrick Aison; from a story by Patrick Aison and Dan Trachtenberg (based on the characters created by Jim Thomas and John Thomas)

PRODUCERS: John Davis, Marty Ewing, and Jhane Myers,

CINEMATOGRAPHER: Jeff Cutter (D.o.P.)

EDITORS: Claudia Castello and Angela M. Catanzaro

COMPOSER: Sarah Schachner

SCI-FI/THRILLER

Starring: Amber Midthunder, Dakota Beavers, Dane DiLiegro, Stormee Kipp, Michelle Thrush, Julian Black Antelope, Stefany Mathias, Bennett Taylor, and Mike Paterson

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REVIEW SUMMARY:

--Prey is by far the best Predator sequel, and it is one of 2022's best films.

--The Canadian landscape where this movie was filmed is an equal character in the story while offering magnificent vistas and breathtaking beauty.

--The first half of the film is a tense suspense thriller that builds a sense of mystery similar to that of the original Predator film.

--The second half of the film is an explosion of brutal violence and heart-stopping duels that leads to a showstopping finale. I highly-recommend it.

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Prey is a 2022 science fiction thriller film directed by Dan Trachtenberg. It is the fifth film in the main Predator film franchise, which began with the 1987 film, Predator, and the seventh in the overall franchise (when the “AvP” films are counted). Prey is a prequel to the four main Predator movies, and it is a direct-to-streaming film that was released as a “Hulu original film.” Prey is set in the early 18th century and pits a young Comanche woman who wants to prove that she is a warrior by taking on a mysterious creature that slaughters everything in its path.

Prey opens in the Northern Great Plains in September 1719. Naru (Amber Midthunder), a young Comanche woman, has trained as a healer, but she wants to be a hunter like her older brother, Taabe (Dakota Beavers). To that end, Naru wants to embark on a “kühtaamia,” which requires her to hunt something that is hunting her.

While tracking deer, Naru witnesses strange lights in the sky, which she believes to be a “Thunderbird,” the legendary creature of Native American folklore. However, the strange lights are actually an alien ship dropping a Predator (Dane DiLiegro), something her people have never encountered. Now, Naru, Taabe, and their tribe's other hunters must take on a Predator that is the ultimate hunter. If she cannot defeat the Predator, she will lose her life and her tribe will fall as well.

I have been interested in seeing Prey since I first heard about it, but I wasn't subscribing to Hulu when it debuted, nor do I currently subscribe to it. However, my friend and collaborator, Carter Allen, an illustrator, concept designer, and comic book creator, sent me a copy of the 4K Ultra HD/Blu-ray edition via Amazon.

Now, having seen it, I think it is a shame that Prey did not receive a theatrical release. It's cinematography captures the beautiful vast forest locations outside Calgary, Alberta, Canada, where this movie was shot, in a way that should be seen on a big screen. The landscape is an equal character in the film, even more so than it has been in previous Predator films. Prey's director, Dan Trachtenberg, uses the landscape to make his film feel real and to have weight and depth and not come across as if it were some kind of action or video game fantasy.

Prey is the best sequel to 1987's Predator, easily surpassing what I think is the previous best sequel, 2010's Predators. In some ways, the combatants in Prey seem more authentic and the action more visceral than in the first film. The fights are brutal and up-close-and-personal. Flesh is slashed and chopped into raw meat, and bodies are pierced, penetrated, and ruptured with artistic precision. Heads are lopped off, and limbs aren't far behind. The Predator of Prey does not kill from on high, shooting death rays as the original Predator did. In Prey, the Predator moves in for the kill in a way that is similar to what Logan/Wolverine did to the mercenaries in the X-Men film, X2 (2003). Also, the costume and creature design for Prey's Predator is as much horror movie killer as it is sci-fi monster. In some ways, he seems garbed as a super-villain.

Amber Midthunder as Naru and Dakota Beavers as Taabe give outstanding performances. Their characters are well written, and Patrick Aison's script is ambitious enough to give the actors the opportunity to explore their characters, which they do. Midthunder is mesmerizing and fierce as Naru, and she makes me care about her journey every step of the way.

I'm surprised. Prey easily exceeded my expectations. I hope that future Predator films are as ambitious as this one. In the meantime, I pray for a sequel to Prey.

9 of 10

A+

Wednesday, December 20, 2023

You can buy a copy of the PREY Blu-ray at AMAZON.

Discover Carter Allen's latest graphic novel, Ectyron vs. Des Moines here.

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Wednesday, May 17, 2023

Review: Entertaining "TRIANGLE OF SADNESS" is Not as Clever or as Sharp As it Thinks It Is

TRASH IN MY EYE No. 21 of 2023 (No. 1910) by Leroy Douresseaux

Triangle of Sadness (2022)

Running time: 147 minutes (2 hour, 27 minutes)

MPA – R for language and some sexual content

WRITER/DIRECTOR: Rubin Östlund

PRODUCERS: Philippe Bober and Erik Hemmendorff

CINEMATOGRAPHER: Fredrik Wenzel (D.o.P.)

EDITORS: Mikel Cee Karlsson and Rubin Östlund

Academy Award nominee

DRAMA

Starring: Harris Dickinson, Charlbi Dean, Vicki Berlin, Dolly De Leon, Zlatko Buric, Sunnyi Melles, Iris Berben, Amanda Walker, Oliver Ford Davies, Ralph Schicha, Henrik Dorsin, Jean-Christophe Folly, Alicia Eriksson, and Woody Harrelson

Triangle of Sadness is a 2022 satirical film and black comedy from writer-director Ruben Östlund. It is the Swedish Östlund's first English-language film, and it is an international co-production between four nations: Sweden, France, Germany, and the United Kingdom. The film follows a celebrity couple, who are both fashion models, as they join a doomed luxury cruse for the super-rich.

Triangle of Sadness introduces Carl (Harris Dickinson) and Yaya (Charlbi Dean). Yaya is a successful fashion model, and Carl is male model, who is not as successful as Yaya. Yaya expects Carl to pay for their meals, although she makes more money than him, and her ambition is to be a trophy wife. Yaya is an “influencer,” and she is in a relationship with Carl for the social media engagement it earns them.

Carl and Yaya are invited on a luxury cruise aboard a super-yacht in exchange for its social media promotion. Among the wealthy guests are the Russian oligarch, Dimitry (Zlatko Buric), and his wife, Vera (Sunnyi Melles), and Jarmo (Henrik Dorsin), a lonely tech millionaire who flirts with Yaya. Paula (Vicki Berlin), the tightly wound head of the ship's staff, demands that the staff obey the guests' every request, even the absurd ones. The ship's Captain (Woody Harrelson) will not leave his room and seems to be drunk all the time. The captain's neglect of his duties, Paula's insistence on placating the super-wealthy guests, and the guests crazy demands culminate in a single disastrous evening.

Eventually, a small group of the yacht's guests, including Carl and Yaya, find themselves on what seems to be a deserted island. Now, the balance of power has shifted from the wealthy and powerful to a rather skillful cleaning woman, Abigail (Dolly De Leon). Will the guests adjust to this new status, and how well will they adjust?

There are some fun, outrageous, and outrageously funny material, moments, and scenes in Triangle of Sadness. The film critiques and mocks the obscenely wealthy, but I think that its strongest points are made when it takes swipes at how some people get rich and famous. Some are wealthy because they sell things that are destructive to humanity (things used in war), and some are rich and famous … for being rich and famous. Some people's wealth does not make their lives better, such as the lonely Jarmo. Some, like the Russian, Dimitry, merely happened to be in the right place at the right time with the right stuff to sell.

For all his film's political commentary and moral lessons, writer-director Ruben Östlund seems to be a tad too mannered. It's as if he doesn't know that while his film is edgy, he seems to be dulling the sharp edges that would really go after his social and political targets. Is Östlund saying that the super-rich and famous are obscene and that they need to be brought down to the level of ordinary people in order to regain their humanity? By the end of the film, it seems that way.

I would recommend Triangle of Sadness (which takes its title from a modeling term used in the film) to fans of foreign movies. Most movie fans can get a similar message, more or less, from the classic Eddie Murphy-Dan Aykroyd film, Trading Places (1983). I like Triangle of Sadness because it is a genuinely good film, but it feels like Ruben Östlund left the hardness of its allegories and metaphors on the cutting room floor.

7 of 10

A-

★★★½ out of 4 stars

Wednesday, May 17, 2023

NOTES:

2023 Academy Awards, USA: 3 nominations: “Best Motion Picture of the Year” (Erik Hemmendorff and Philippe Bober), “Best Original Screenplay” (Ruben Östlund), and “Best Achievement in Directing” (Ruben Östlund)

2023 BAFTA Awards: 3 nominations: “Best Supporting Actress” (Dolly De Leon), “Best Casting” (Pauline Hansson), and “Best Screenplay-Original” (Ruben Östlund)

2023 Golden Globes, USA: 2 nominations: “Best Motion Picture - Musical or Comedy” and “Best Performance by an Actress in a Supporting Role in Any Motion Picture” (Dolly De Leon)

2022 Cannes Film Festival: 2 wins: “Palme d'Or” (Ruben Östlund) and “CST Artist-Technician Prize” (Andreas Franck, Bent Holm, Jacob Ilgner, and Jonas Rudels)

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Thursday, May 4, 2023

Review: Riveting "WOMEN TALKING" is a Film That Speaks Directly, Even to Us

TRASH IN MY EYE No. 19 of 2023 (No. 1908) by Leroy Douresseaux

Women Talking (2022)

Running time: 104 minutes (1 hour, 44 minutes)

MPA – PG-13 for mature thematic content including sexual assault, bloody images, and some strong language

DIRECTOR: Sarah Polley

WRITER: Sarah Polley (based upon the book by Miriam Toews)

PRODUCERS: Dede Gardner, Jeremy Kleiner, and Frances McDormand

CINEMATOGRAPHER: Luc Montpellier

EDITORS: Christopher Donaldson and Roslyn Kalloo

COMPOSER: Hildur Guðnadottir

Academy Award winner

DRAMA/RELIGION

Starring: Rooney Mara, Claire Foy, Jessie Buckley, France McDormand, Judith Ivey, Emily Mitchell, Kate Hallet, Liv McNeil, Shelia McCarthy, Michelle McLeod, Kira Guloien, Shayla Brown, Vivien Endicott-Douglas, August Winter, and Ben Whishaw

Women Talking is a 2022 drama film from writer-director Sarah Polley. The film is based on Miriam Towes' 2018 Canadian novel, Women Talking. Both the film and the novel are inspired by real-life events. Women Talking the film focuses on a group of women who must decide if they should do nothing, stay and fight, or leave their isolated religious community where sexual abuse of girls and women is common.

Women Talking opens in the year 2010 in an unnamed, isolated Mennonite colony. The colony's women and girls have discovered that some of the men in the colony have been using livestock tranquilizer to subdue them in order to rape them. Although other men in the colony have had these attackers arrested and imprisoned in a nearby city, they are also seeking bail for the attackers.

The men have left the women by themselves for two days in order for the women to determine what they will do going forward. However, the men expect the women to forgive their attackers or be expelled from the colony. The women gather in a barn to discuss and to vote. They have a young man named August (Ben Whishaw) sit in the meeting in order to take the minutes. When he was a boy, Ben's mother was expelled from the colony. Ben returned to become the colony's sole teacher, but he only teaches the boys because women are not allowed to attend school.

Elders like Agata (Judith Ivey) and Greta (Sheila McCarthy) lead the discussion, but young women like Ona (Rooney Mara), Salome (Claire Foy), Mariche (Jessie Buckley), and Mejal (Michelle McLeod) have strong opinions. Should the women do nothing... forgive... stay and fight... or leave the colony? As they grapple with the brutal reality of their faith, the time to decide is running out.

Almost four days out from watching Women Talking, and I find myself still thinking about it, dear readers. In the wake of the of the U.S. Supreme Court's ruling in the case of Dobbs v. Jackson Women's Health Organization, it feels like a supernaturally timely film. The “Dobbs decision” held that the Constitution of the United States did not confer a right to abortion. It is just the latest in a more than three-decade assault on women's rights to reproductive freedom and choice.

Women Talking effectively delivers a valuable message. The women of the Mennonite colony that this film depicts must confront not only the violence against them, but also a religion designed down to its bones to give men all the power over women. Their faith essentially renders women and girls indentured servants and non-citizens.

I quibble that writer-director Sarah Polley's direction and Oscar-winning screenplay bury the actresses of Women Talking beneath the scenario and story. There is a lot of genuine talent here, and I wanted to see more of them, in a broader sense, although no one can really keep Rooney Mara from shining. In a way, however, that is good thing. The way Polley presents this makes Women Talking as timeless as it is timely.

Women Talking is truly an exceptional and spectacular film because the women at the heart of its story are talking. What they say crosses over into our real world. Because what is depicted in this film is real, it matters. Women Talking is based on something that happened not that long ago, in this century, so women struggling for equality and human rights must keep talking. And this movie, Women Talking, is entertainment, educational, and hopefully, inspiration for future generations.

9 of 10

A+

★★★★+ out of 4 stars

Thursday, May 4, 2023

NOTES:

2023 Academy Awards, USA: 1 win: “Best Adapted Screenplay” (Sarah Polley) and 1 nomination: “Best Motion Picture of the Year” (Jeremy Kleiner, Dede Gardner, and Frances McDormand – producers)

2023 Golden Globes, USA: 2 nominations: “Best Original Score - Motion Picture” (Hildur Guðnadóttir) and “Best Screenplay-Motion Picture” (Sarah Polley)

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Sunday, April 30, 2023

Review: Mesmerizing "BABYLON" Sings and F**ks in the Rain

TRASH IN MY EYE No. 18 of 2023 (No. 1907) by Leroy Douresseaux

Babylon (2022)

Running time: 189 minutes (3 hours, 9 minutes)

MPA – R for strong and crude sexual content, graphic nudity, bloody violence, drug use, and pervasive language.

WRITER/DIRECTOR: Damien Chazelle

PRODUCERS: Olivia Hamilton, Marc Platt, and Matthew Plouffe

CINEMATOGRAPHER: Linus Sandgren (D.o.P.)

EDITOR: Tom Cross

COMPOSER: Justin Hurwitz

Academy Award nominee

DRAMA/HISTORICAL

Starring: Brad Pitt, Margot Robbie, Diego Calva, Jovan Adepo, Jean Smart, Li Jun Li, Olivia Wilde, Telvin Griffin, Flea, Eric Roberts, Max Minghella, Jeff Garlin, Ethan Suplee, and Tobey Maguire

Babylon is a 2022 period film, drama, and black comedy from writer-director Damien Chazelle. The film chronicles the rise and fall of several Hollywood characters as the film industry transitions from silent films to sound films in the late 1920s and early 1930s.

Babylon opens in the Bel Air neighborhood of Los Angeles, 1926. Manuel “Manny” Torres (Diego Calva), a Mexican immigrant, helps transport an elephant. It's destination is a debauched bacchanal (party) at the lavish mansion of Don Wallach (Jeff Garlin), chief of Hollywood's Kinoscope Studios, which produces silent films. It is there that Manny meets a young woman who has given herself the name, Nellie LaRoy (Margot Robbie). She is brash, ambitious, and declares that she is a “star” from New Jersey, and Manny is quickly smitten with her.

Manny and Nellie soon cross paths with the party's other colorful attendees, including the Chinese-American, lesbian, cabaret singer, Lady Fay Zhu (Li Jun Li), and the Black American jazz trumpeter, Sidney Palmer (Jovan Adepo). All four of them are going to find a place in the ecosystem of Hollywood, playing an important part in making silent films. None of them will be as big as one of Hollywood's greatest silent film stars, Jack Conrad (Brad Pitt), who seems to be married as often as he is starring in a new silent film epic.

But just a year later, in 1927, the first sound film, The Jazz Singer, arrives, and everything begins to change – rapidly. A world of out-sized ambition and outrageous excess starts pretending to be a tad bit more conservative. So will any of the stars of silent film transition to the new world of sound film, also known as “talkies?” Will Jack Conrad remain a star? Is there still a place for Fay Zhu? And what of the newcomers, Nellie, Manny, and Sidney?

For me, Babylon is the film that delivers the way I was told Damien Chazelle's earlier film, La La Land (2016), would, but did not. What some critics saw as overwhelming in Babylon, I see as exhilarating spectacle. In a way, Babylon isn't so much about the end of the silent film era and the beginning of sound films as it is a celebration of Hollywood's glitz and glamour, which has enthralled audiences around the world for over a century. Chazelle treats Hollywood's excess as a wonderful, magical thing. Debauchery is loud, proud, and colorful. Why be conservative and safe when the audience for Hollywood's films want the opposite. Even as silence gives way to sound, films remain weird, wild, and wonderful, even if the people behind them pretend to have cleaned up their act and grown up.

The film's production values: cinematography, costume and production design, sound, lighting, and editing play up the fun part – the hedonism and the revelry. Babylon is one of the best-looking films of this still young century, and when I currently think of the word “cinematic,” I think of it.

The film has a number of good performances, but I will fault Chazelle for a screenplay that doesn't really immerse itself into the characters. This film isn't into the characters the way it dives into the spectacle and the darkness behind the Hollywood film industry and the lifestyle of the people in front of and behind the cameras. As much as they try, Brad Pitt and especially Margot Robbie and Diego Calva cannot really raise their characters above the sound and fury of Babylon. Speaking of sound and fury, Justin Hurwitz's score for Babylon is a thing of magic; it never lets Babylon's narrative, drama, or action fall.

I know that Babylon is a polarizing film among film critics, movie reviewers and audiences. I see it, however, as the work of a highly skilled writer-director, Damien Chazelle, who can do great things in movies. But will he? As far as I'm concerned, he has delivered with Babylon.

9 of 10

A+

★★★★+ out of 4 stars

Sunday, April 30, 2023

NOTES:

2023 Academy Awards, USA: 3 nominations: “Best Achievement in Production Design” (Florencia Martin and Anthony Carlino), “Best Achievement in Music Written for Motion Pictures-Original Score (Justin Hurwitz), and “Best Achievement in Costume Design: (Mary Zophres)

2023 BAFTA Awards: 1 win: “Best Production Design” (Florencia Martin and Anthony Carlino); 2 nominations: “Best Costume Design” (Mary Zophres), and “Original Score” (Justin Hurwitz)

2023 Golden Globes, USA: 1 win: “Best Original Score – Motion Picture” (Justin Hurwitz); 4 nominations: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actor in a Supporting Role in Any Motion Picture” (Brad Pitt), “Best Performance by an Actor in a Motion Picture-Musical or Comedy” (Diego Calva), and “Best Performance by an Actress in a Motion Picture-Musical or Comedy” (Margot Robbie)

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Sunday, April 16, 2023

Review: "PUSS IN BOOTS: The Last Wish" is a Delightful Surprise

TRASH IN MY EYE No. 17 of 2023 (No. 1906) by Leroy Douresseaux

Puss in Boots: The Last Wish (2022)

Running time: 102 minutes (1 hour, 42 minutes)

MPA – PG for action/violence, rude humor/language, and some scary moments

DIRECTOR: Joel Crawford with Januel Mercado

WRITERS: Paul Fisher and Tommy Swerdlow; from a story by Tom Wheeler and Tommy Swerdlow

PRODUCER: Mark Swift

EDITOR: James Ryan

COMPOSER: Heitor Pereira

Academy Award nominee

ANIMATION/FANTASY/ADVENTURE/COMEDY

Starring: (voices) Antonio Banderas, Salma Hayek, Harvey Guillén, Florence Pugh, Olivia Coleman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da'Vine Joy Randolph, Kevin McCann, Anthony Mendez, and Bernardo De Paula

Puss in Boots: The Last Wish is a 2022 computer-animated fantasy-adventure film directed by Joel Crawford and produced by DreamWorks Animation. The film is a sequel to Puss in Boots (2011) and is also the sixth installment in the Shrek film franchise. The Last Wish focuses on Puss in Boots' epic journey to gain the wish that will restore the eight of his nine lives that he has lost.

Puss in Boots: The Last Wish opens in the town of Del Mar. There, the renowned hero and outlaw, Puss in Boots (Antionio Banderas), hosts a party and later, saves the town from a giant. After being injured during his battle with a giant, Puss sees a local doctor (Anthony Mendez) who informs him that he has used eight of his nine lives. [I'm assuming that you, dear readers, are familiar with the superstitious belief that cats have nine lives]. The doctor urges Puss to retire from adventuring before he loses his ninth and final life.

Puss refuses to retire, but then, he has an unfortunate encounter with a menacing, bounty-hunting. Known as Wolf (Wagner Moura), he is garbed in a black robe and hood and wields twin sickles, and he is so fearsome that Puss has to flee. While on the run, Puss learns of the magical “Wishing Star,” which can grant a single wish to someone bearing the map to its location. Puss begins his journey to the Star's location, the “Dark Forest.” Joining him on his journey is Kitty Softpaws (Salma Hayek), the savvy Tuxedo cat he apparently betrayed, and also a small dog that Puss and Kitty call “Perrito” (Harvey Guillén). But they aren't the only ones looking for the Wishing Star.

I was happy to hear about Puss in Boots: The Last Wish. When I first saw the original, Puss in Boots, I was surprised that I enjoyed it as much as I did.

Puss in Boots: The Last Wish is like its fellow DreamWorks Animation 2022 stablemate, The Bad Guys. Both films take inspiration for their production design from Sony Pictures Animation's 2018, Oscar-winning film, Spider-Man: Into the Spider-Verse, which mixes both a 3D and a 2D aesthetic in its design. I think The Last Wish looks closer to Into the Spider-Verse than The Bad Guys does, but neither film electrifies the screen the way the Spider-Man film did.

Like its predecessor, The Last Wish has a lead character who is part Zorro and part Valentino. Puss in Boots is a charming rogue, the kind of character that can drive a swashbuckling adventure film to success. However, The Last Wish requires a character to not only undergo a character arc, but also to evolve. To that end, Antonio Banderas gives a performance with more humor and pathos than most actors give in live-action roles. By the time The Last Wish ends, Banderas has me wishing real hard for a third film in this series.

As Kitty Softpaws, Salma Hayek makes the most of her moments. The character doesn't get the space to roam dramatically that Puss does, but Hayek makes Kitty seem like a character that could carry her own movie. Actor Harvey Guillén keeps Perrito the dog perfectly cute for this film, because he is just the kind of character that can quickly go from lovable to annoying.

The rest of the characters in Puss in Boots: The Last Wish come across as extraneous. The “Three Bears Crime Family,” which includes Goldilocks (Florence Pugh), Mama Bear (Olivia Colman), Papa Bear (Ray Winstone), and Baby Bear (Samson Kayo), and also the crime lord, “Big” Jack Horner (John Mulaney), don't feel so important to the story that they could not be replaced with other famous fairy tale characters. They aren't bad characters, but they seem to exist in The Last Wish for no other reason than to be part of this film's big action set pieces. But Wagner Moura is awesome as the magnificent “Wolf.” The film could have used more of him and less of the other “criminals.”

Still, Antonio Banderas once again makes Puss in Boots an animated character worthy of headlining his own films. Hopefully, Puss in Boots: The Last Wish is not the last Puss in Boots film.

7 of 10

A-

★★★½ out of 4 stars

Sunday, April 16, 2023

NOTES:

2023 Academy Awards, USA: 1nomination: “Best Animated Feature Film” (Joel Crawford and Mark Swift)

2023 BAFTA Awards: 1 nomination: “Best Animated Feature Film” (Joel Crawford and Mark Swift)

2023 Golden Globes, USA: 1 nomination: “Best Motion Picture – Animated”

2023 Image Awards (NAACP): 1 nomination: “Outstanding Animated Motion Picture”

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Saturday, April 1, 2023

Review: "THE BAD GUYS" is A.C.E. (Average, Cute & Entertaining)

TRASH IN MY EYE No. 16 of 2023 (No. 1905) by Leroy Douresseaux

The Bad Guys (2022)

Running time: 100 minutes (1 hour, 40 minutes)

MPAA – PG for action and rude humor

DIRECTOR: Pierre Perifel

WRITERS: Etan Cohen (based on the books by Aaron Blabey)

PRODUCERS: Rebecca Huntley and Damon Ross

EDITOR: John Venzon

COMPOSER: Daniel Pemberton

ANIMATION/FANTASY/ADVENTURE and COMEDY/CRIME

Starring: (voices): Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Richard Ayoade, Zazie Beetz, Alex Borstein, and Lilly Singh

The Bad Guys is a 2022 computer-animated crime comedy and adventure fantasy film directed by Pierre Perifel and produced by DreamWorks Animation. The film is loosely based on the children's book series, The Bad Guys, by Aaron Blabey. The Bad Guys the movie focuses on a gang of notorious animal criminals pretending to want to be rehabilitated until circumstances force them to really attempt to do something good.

The Bad Guys is set in a world in which humans co-exist with anthropomorphic animals (animals that talk and act like humans). The film introduces “The Bad Guys,” a gang of five infamous criminal animals known for their numerous thefts and their uncanny ability to evade authorities. The Bad Guys are Mr. Wolf (Sam Rockwell), a cool and slick pickpocket who is the team's leader; Mr. Snake (Marc Maron), a safe-cracking snake who is Wolf's second-in-command and best friend; Ms. Tarantula (Awkwafina), a sarcastic hacker also known as “Webs;” Mr. Shark (Craig Robinson), a sensitive and child-like master of disguise; and Mr. Piranha (Anthony Ramos), the sharp-tongued tough guy and muscle of the group.

Their latest target is the “Golden Dolphin,” a trophy to be handed out at the “Annual Good Samaritan Awards” being held at the Museum of Fine Arts. The Golden Dolphin will be awarded to Professor Rupert Marmalade IV, a wealthy guinea pig philanthropist whose generosity is almost as good as that of Mother Teresa. The event will also be attended by Governor Diane Foxington (Zazie Beetz) and Police Chief Misty Luggins (Alex Borstein), a husky female law enforcement who is determined to nab the Bad Guys.

When the Bad Guys are nabbed, Mr. Wolf accepts an offer from Professor Marmalade, with Gov. Foxington's approval, to reform and rehabilitate the Bad Guys. There are problems with that. Mr. Snake is reluctant to be reformed. Not everyone is truthful about their roles in this plan or honest about their identity. But a part of Mr. Wolf secretly really wants to change his ways.

I created a new acronym for big studio, computer-animated (or CG animated) feature films aimed at the family audience. It is “A.C.E.,” which means “Average, Cute & Entertaining.” According to an April 2022 feature in the Los Angeles Times about The Bad Guys, the film's design is inspired by Sony Pictures Animation's 2018, Oscar-winning film, Spider-Man: Into the Spider-Verse, which mixed both a 3D and a 2D aesthetic in its design. Honestly, I can't tell that just by watching the film. I can tell that The Bad Guys also mixes 2D and 3D graphics and design elements, but The Bad Guys' animation lacks the spark of the highly-acclaimed Spider-Man film.

The characters are mildly amusing and interesting, but they seem more like types than actual characters. The only character that I really liked is a kitten that is not anthropomorphic and does not talk. Just as Disney/Pixar's Lightyear was uplifted by the robotic cat, “Sox,” The Bad Guys receive a jolt when this unnamed kitten appears.

Even the voice acting in The Bad Guys seems only kind of inspired. Sam Rockwell is too cool for his character, Mr. Wolf's own good. I can't believe that Zazie Beetz provides the voice for Governor Foxington because this distinctive performer sounds like a generic female voice performer.

So there it is. The Bad Guys is average entertainment, but cute average entertainment. There is a good chance that young audiences will adore it, but I kinda wish I hadn't bothered with it – except I would have missed the adorable kitty.

5 of 10

B-

★★½ out of 4 stars

Friday, March 31, 2023

NOTES:

2023 Black Reel Awards: 1 nomination: “Outstanding Voice Performance” (Zazie Beetz)

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Tuesday, March 28, 2023

Review: Terrific and Amazing "ARMAGEDDON TIME" Doesn't Have Time for Sentimentality

TRASH IN MY EYE No. 15 of 2023 (No. 1904) by Leroy Douresseaux

Armageddon Time (2022)

Running time: 114 minutes (1 hour, 54 minutes)

MPA – R for language and some drug use involving minors

WRITER/DIRECTOR: James Gray

PRODUCERS: Marc Butan, James Gray, Anthony Katagas, and Rodrigo Teixeira

CINEMATOGRAPHER: Darius Khondji

EDITOR: Scott Morris

COMPOSER: Christopher Spelman

DRAMA

Starring: Anne Hathaway, Jeremy Strong, Banks Repeta, Jaylin Webb, Anthony Hopkins, Ryan Sell, Andrew Polk, Tovah Feldshuh, Marcia Haufrecht, Teddy Coluca, Richard Bekins, Dane West, Landon James Forlenza, John Diehl, and Jessica Chastain

Armageddon Time is a 2022 coming-of-age drama film from writer-director James Gray. The film is inspired by Gray's childhood experiences growing up in Queens, New York. Armageddon Time is a coming-of-age story about family and about the American Dream and who can have it.

Armageddon Time opens in Queens, New York City, 1980. It introduces Paul Graff (Banks Repeta), a Jewish-American boy who is entering sixth grade at Public School (P.S.) 173. He befriends Johnny (Jaylin Webb), a rebellious African-American classmate. Johnny was held back a year and gets harsher treatment from their teacher, a white man named Mr. Turkeltaub (Andrew Polk), when they both joke around in class. Paul is interested in becoming an artist, and he often disassociates from his schoolwork and draws pictures instead.

Paul lives with his somewhat financially stable family of Jewish heritage. His parents, mother Esther (Anne Hathaway), and father Irving Graff (Jeremy Strong), are well-meaning, but are strict. His older brother, Ted (Ryan Sell), teases him. Irving has a temper and is prone to hit his children, especially Paul, who exasperates him. Esther and Irving discourage Paul's artistic ambitions, but his maternal grandfather, Aaron Rabinowitz (Anthony Hopkins), encourages him.

However, Paul begins to discover the harsh reality of life. Aaron tells Paul of how his own mother escaped antisemitic persecution and pogroms in Ukraine, eventually landing in London before coming to the United States. Paul gets into trouble with Johnny and ends up at the private school, Forest Manor Prep School, while Johnny quits school and deals with the foster care officials who are looking for him. Although Paul lives in a world privilege, he is forced to confront family troubles and a world of inequality and privilege.

I am totally in love with Armageddon Time, although I'm not as in love with its title. This is also the first film directed by James Gray that I have watched. The film takes its title from a 1979 single by the British band, “The Clash,” entitled “Armagideon Time.” It is a cover version of the same song by Jamaican reggae musician, William Williams, that was also released in 1979. Armageddon Time also includes a few scenes featuring a fictional version of Fred J. Trump, Donald Trump's father, and one scene featuring Maryanne Trump, Donald's sister. Character actor John Diehl plays Fred, who is a famous businessman and financier/patron of Forest Manor in this film, in all his real-life sleazy glory.

Jessica Chastain is superb in her one scene as Maryanne, who is portrayed in Armageddon Time as a United States Attorney and as one of Forest Manor's most famous alumni. [In reality, Maryanne Trump was an Assistant United States Attorney in 1980 and would go on to be a United States federal judge from 1983 to 2019.]

James Gray's inclusion of the Trumps, who were part of the world in which Gray grew up, his unflinching desire that Armageddon Time not be nostalgic or sentimental. Gray presents Paul Graff as a kid who lives inside a bubble – an idealized version of the world. Paul's estimation of his family's worth and social position are larger and more grand than they really are. The film's narrative acts not only to wise-up the naive Paul, but to also fill in the gaps of his knowledge of how the world operates – its unfair racial inequality and its propensity to hand out “raw deals.”

If Armageddon Time has a dominant theme, it is that one must survive to have a good life. If this film has one big fault, it is that Paul's black friend, Johnny, flits through the story as if he were a ghost or a wraith, when it seems obvious that he is very important to the narrative, the plot, and the resolution.

Gray's cast is a big part of why this film really works. First, Anne Hathaway is so beautiful that even as a harried mother and housewife and worried daughter, she is radiant. Jeremy Strong is Oscar-worthy as a hard-working, beat-his-kids-asses, Jewish dad. Ryan Sell strikes the right notes in a small role as Paul's brother, Ted. Banks Repeta as Paul and Jaylin Webb as Johnny really sell a friendship that, on the surface, seems like it could not, would not, and should not work. [I think this entire cast would soar even higher if this story were told as television series.]

I would be remiss if I did not mention Anthony Hopkins as Paul's grandfather, Aaron. This film would not work without him. Armageddon Time is one of the few coming-of-age films that I have seen that absolutely refuses to be sentimental and is zealously free of nostalgia. In Aaron, Gray embodies the film's desire to eschew good and evil in favor of depicting survival versus unfairness, inequality, and callousness. Hopkins conveys in Aaron the good sense that Paul lacks and must learn, which is to figure out when to fit in and when to fight.

I had not heard of Armageddon Time until I was perusing the “Charter on Demand” channel of my Spectrum cable account. The trailer for this film that Charter was showing was quite convincing, and I felt as if I had to see Armageddon Time because it was made for me. I hope that James Gray is able to go ahead with plans to direct a semi-sequel to this film, using much of the same cast. Even if that does not happen, Armageddon Time is a gem, a blunt and genuine coming-of-age story that willingly embraces the truth that growing pains are indeed painful.

9 of 10

A+

★★★★+ out of 4 stars

Monday, March 27, 2023

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Sunday, March 12, 2023

35th Annual Scripter Awards Honor Film "Women Talking" and Apple TV+'s "Slow Horses"

Writers of ‘Women Talking,’ ‘Slow Horses’ Win 35th-annual Scripter Awards

Scripter emcee Glenn Sonnenberg, screenwriter Will Smith, writer Miriam Toews, writer Mick Herron, screenwriter Sarah Polley (Photo: Business Wire)

LOS ANGELES--(BUSINESS WIRE)--The writers behind the film “Women Talking” and the series “Slow Horses” received the 35th-annual USC Libraries Scripter Awards at USC’s Doheny Memorial Library.

“You remained engaged, committed, and invested during a time of uncertainty and change, and I thank you for staying so connected to our libraries.”

The Scripter Awards recognize the year’s most accomplished adaptations of the written word for the big screen and episodic series.

Glenn Sonnenberg, who co-founded the Scripter Awards in 1988 with Marjorie Lord Volk, served as master of ceremonies. In his opening remarks, Sonnenberg acknowledged that this was the first year the Scripters were presented in person since January 2020, shortly before the COVID-19 pandemic upended normal life.

“I’m grateful for the support of the Scripter community, particularly since 2020,” Sonnenberg said. “You remained engaged, committed, and invested during a time of uncertainty and change, and I thank you for staying so connected to our libraries.”

In the episodic series category, novelist Mick Herron and screenwriter Will Smith took home Scripters for the episode “Failure’s Contagious,” from the Apple TV+ series “Slow Horses,” which Smith adapted from Herron’s book of the same name.

“It’s an absolute privilege to be on the short list tonight,” Mick Herron said, “these are some of the best books you’ll ever read, made into some of the best TV you’ll ever see.”

“The only real test for me in fiction is do I believe it,” Will Smith said, “I love it when I read a book and feel the characters have a life before and after, and I always feel that with Mick’s writing.”

In the film category, the winners were screenwriter Sarah Polley and novelist Miriam Toews for “Women Talking.”

“There’s not another person, another writer, another filmmaker, that I would entrust my book to other than Sarah Polley,” Toews said.

Sarah Polley described Toews’s work as “searing, uncompromising, funny, and wise,” commenting that “with this book she offered the world an offramp from grief and rage toward what true democracy might look like.”

Earlier in the evening, longtime USC Libraries Board of Councilors member Jim Childs received the Ex Libris Award, which honored his exceptional commitment to the libraries.

In-kind donors included Andrew Murray Vineyards, Bloomsbury Publishing and Penguin Random House.

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Sunday, February 5, 2023

35th Annual Script Awards Announces Nominations

USC Libraries Name Finalists for 35th-Annual Scripter Awards

LOS ANGELES--(BUSINESS WIRE)--The USC Libraries named the finalists for the 35th-annual USC Libraries Scripter Award, which honors the writers of the year’s most accomplished film and episodic series adaptations, as well as the writers of the works on which they are based.

The finalist writers for film adaptation are, in alphabetical order by film title:

-- Guillermo del Toro, Patrick McHale, and Matthew Robbins for “Guillermo del Toro’s Pinocchio” based on the fairy tale “The Adventures of Pinocchio” by Carlo Collodi

-- Kazuo Ishiguro for “Living” based on the novella “The Death of Ivan Ilyich” by Leo Tolstoy

-- Rebecca Lenkiewicz for “She Said” based on the nonfiction book “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement” by Jodi Kantor and Megan Twohey

-- Peter Craig, Ehren Kruger, Justin Marks, Christopher McQuarrie, and Eric Warren for “Top Gun: Maverick” based on characters from the 1983 “California” magazine article “Top Guns” by Ehud Yonay

-- Screenwriter Sarah Polley and novelist Miriam Toews for “Women Talking”

The finalist writers for episodic series are, in alphabetical order by series title:

-- Peter Morgan, for the episode “Couple 31,” from “The Crown,” based on his stage play “The Audience”

-- Taffy Brodesser-Akner for the episode “The Liver,” from “Fleishman Is in Trouble,” based on her book of the same name

-- Will Smith for the episode “Failure’s Contagious,” from “Slow Horses,” based on the novel by Mick Herron

-- J. T. Rogers for the episode “Yoshino” from “Tokyo Vice,” based on the memoir “Tokyo Vice: An American Reporter on the Police Beat in Japan” by Jake Adelstein

-- Dustin Lance Black for the episode “When God Was Love,” from “Under the Banner of Heaven” based on the nonfiction work by Jon Krakauer

The 2023 Scripter selection committee selected the finalists from a field of 101 film and 67 television adaptations. Howard Rodman, USC professor and past president of the Writers Guild of America, West, chairs the 2023 committee.

Serving on the selection committee, among many others, are film critics Leonard Maltin and Anne Thompson; authors Walter Mosley and Michael Ondaatje; and screenwriters Eric Roth and Erin Cressida Wilson.

The studios distributing the finalist films and current publishers of the printed works are:

“Guillermo del Toro's Pinocchio”—Netflix and Penguin Classics

“Living”—Sony Pictures Classics and Penguin Classics

“She Said”—Universal Pictures and Penguin Press

“Top Gun: Maverick”—Paramount Pictures and “California” magazine

“Women Talking”—Orion/MGM and Bloomsbury

The networks and streaming platforms broadcasting the finalist episodic series and current publishers of the printed works are:

“The Crown”—Netflix and Dramatists Play Service Inc.

“Fleishman Is in Trouble”—FX and Random House

“Slow Horses”—Apple TV+ and Soho Crime

“Tokyo Vice”—HBO Max and Knopf Doubleday

“Under the Banner of Heaven”—FX and Anchor Books

The USC Libraries will announce the winning authors and screenwriters at a black-tie ceremony on Saturday, Mar. 4, 2023, in the historic Edward L. Doheny Jr. Memorial Library at the University of Southern California. After being held in a virtual format the past two years amid the continuing coronavirus pandemic, the Scripter Awards are returning to an in-person event subject to up-to-date COVID-19 safety protocols.

Since 1988, Scripter has honored the authors of printed works alongside the screenwriters who adapt their stories. In 2016, the USC Libraries inaugurated a new Scripter award, for episodic series adaptation. For more information about Scripter—including ticket availability, additional sponsorship opportunities, and an up-to-date list of sponsors—please email scripter@usc.edu or visit scripter.usc.edu.

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Thursday, January 26, 2023

Review: "THE BANSHEES OF INISHERIN" is Entertaining and Artsy, Until It Becomes Tiresome

TRASH IN MY EYE No. 5 of 2023 (No. 1894) by Leroy Douresseaux

The Banshees of Inisherin (2022)

Running time: 114 minutes (1 hour, 54 minutes)

MPA – R for language throughout, some violent content and brief graphic nudity

WRITER/DIRECTOR: Martin McDonagh

PRODUCERS: Graham Broadbent, Pete Czernin, and Martin McDonagh

CINEMATOGRAPHER: Ben Davis (D.o.P.)

EDITORS: Mikkel E.G. Nielsen

COMPOSER: Carter Burwell

DRAMA/COMEDY

Starring: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, Gary Lydon, Pat Shortt, Sheila Flitton, Bríd Ní Neachtain, Aaron Monaghan, and David Pearce

The Banshees of Inisherin is a 2022 black comedy and drama from writer-director Martin McDonagh. The film focuses on two longtime friends who come to an impasse when one abruptly ends their friendship, with alarming consequences for both of them.

The Banshees of Inisherin opens in 1923 on the fictional Irish isle of “Inisherin,” near the end of the Irish Civil War (1922-23). Small dairy milk producer, Pádraic Súilleabháin (Colin Farrell), and folk musician, Colm Doherty (Brendan Gleeson), are friends … until just this moment. Colm abruptly begins ignoring his longtime friend and drinking buddy, Pádraic. “I just don't like you no more,” Colm tells him.

Colm eventually clarifies, saying that he finds Pádraic to be too “dull” and does not want to waste any more time on him. Colm says that he would instead like to spend the remainder of his life composing music. Pádraic is crushed by the loss of Colm's friendship, and even his sister, Siobhán Súilleabháin (Kerry Condon), can't life his spirits. When Pádraic continues to make attempts to speak to him, Colm gives him a shocking ultimatum – one that could lead to tragic consequences.

A friend of my sister's once said of films like The Banshees of Inisherin, “What's the point?” What kind of film is The Banshees of Inisherin? It is a prestige drama, the kind to which some people refer as “Oscar bait.” The Banshees of Inisherin did recently (as of this writing) receive nine nominations at the 2023 / 95th Academy Awards. It is well-written by writer-director Martin McDonagh, and there are several nice characters.

But what's the point? I had had enough of Padraic and Colm's “war” before the film was over. I would say that I was done with them with about 40 minutes left. At first, I was willing to go along, and I was intrigued by the mysteries and complexities of this friendship gone wrong. Then, I found them tiresome, in spite of the good performances by Colin Farrell and Brendan Gleeson, especially the former. Their feud is contrived, and I get that storytelling is basically a contrivance. It's just not supposed to come across as so obviously contrived as this film's friendship turned sour.

The film has two outstanding supporting performances: Kerry Condon as Padraic's sister, Siobhan, and Barry Keoghan as a sweet, but simple young man, Dominic. I wanted to see more of those two actors and get to know their characters better.

One critic unfavorably compared The Banshees of Inisherin to early films of brothers, Joel and Ethan Coen. That is correct, right down to the fact that Carter Burwell has composed film scores for both the Coens and for Martin McDonagh. However, The Banshees of Inisherin lacks the wit, style, and purpose of any of the Coens' films. The Banshees of Inisherin is a very well made film about sadness and despair, seemingly for art's sake. I would never call it a bad film because it is a prestige drama that has indeed become prestigious. I like the prestige of The Banshees of Inisherin, but I'm just not willing to call it one of 2022's best films.

7 of 10

B+

★★★½ out of 4 stars

Thursday, January 26, 2023

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Saturday, January 21, 2023

Review: "AMSTERDAM" is a Movie That Follows the Right God Home

TRASH IN MY EYE No. 4 of 2023 (No. 1893) by Leroy Douresseaux

Amsterdam (2022)

Running time: 134 minutes (2 hours, 14 minutes)

MPA – R for brief violence and bloody images

WRITER/DIRECTOR: David O. Russell

PRODUCERS: David O. Russell, Christian Bale, Matthew Budman, Anthony Katagas, and Arnon Milchan

CINEMATOGRAPHER: Emmanuel Lubezki (D.o.P.)

EDITOR: Jay Cassidy

COMPOSER: Daniel Pemberton

DRAMA/COMEDY/HISTORICAL

Starring: Christian Bale, Margot Robbie, John David Washington, Alessandro Nivola, Andrea Riseborough, Anya Taylor-Joy, Chris Rock, Matthias Schoenaerts, Michael Shannon, Mike Myers, Taylor Swift, Timothy Olyphant, Zoe Saldana, Rami Malek, Ed Begley, Jr., Beth Grant, and Robert De Niro

Amsterdam is a 2022 comedy, period drama, and historical film from writer-director David O. Russell. The film is based on the 1933 United States political conspiracy “the Business Plot,” which involved a secret plan to overthrow the government of President Franklin D. Roosevelt and to install a dictator in its place. Amsterdam follows three friends who seek to uncover the truth behind the mysterious death and apparent murder of a retired U.S. general.

Amsterdam introduces Burt Berendsen M.D. (Christian Bale), a physician and surgeon. In 1918, his estranged wife, Beatrice Vandenheuvel (Andrea Riseborough) and her parents, who don't really care for Burt because he is “half-Jew,” bully him into enlisting to fight in World War I. While stationed in France, Burt befriends an African-American soldier, Harold Woodman (John David Washington).

Later, after being severely injured in battle, Burt and Harold are nursed back to health by Valerie Bandenberg (Margot Robbie), an eccentric American nurse and artist who makes art out of shrapnel removed from the soldiers. Burt and Harold befriend Valerie and follow her to Amsterdam, the capitol of the Netherlands. There, they live together and Harold and Valerie engage in a budding romance. First, Burt returns to New York City to be with his wife, and then, Harold returns to begin his career as an attorney.

In 1933, Burt owns his own medical practice that caters to veterans of WWI, and he still remains friends with Harold. Things begin to change for them when they discover that General Bill Meekins (Ed Begley, Jr.), who was important to Burt and Harold during the war, has died. His daughter, Elizabeth Meekins (Taylor Swift), believes that her father was murdered. Soon, Elizabeth herself is murdered, and Burt and Harold are blamed. Seeking to clear themselves, they begin to investigate the mystery surrounding General Meekins before his death, which leads to their reunion with Valerie. She had also returned to America and is living in seclusion with her wealthy brother, Tom Voze (Rami Malek) and his wife, Libby (Anya Taylor-Joy).

The three friends find themselves in a conspiracy involving another retired military officer, Marine Corps General Gil Dillenbeck (Robert De Niro). And everything is heading for a showdown at an event that is very important to Burt, the 14th Annual New York Veterans Reunion Gala.

Yeah, dear readers, the synopsis of the film's plot is a bit longer than I would like it to be. Although Amsterdam's narrative only runs a little under two hours and ten minutes, the film has enough subplots, characters, and settings to fill a television miniseries. Actually, a miniseries version of Amsterdam with the same cast would be orgasmic – well, at least for me it would.

Anyway, most of you, dear readers, are familiar (to one extent or another) with the event known as the “January 6 United States Capitol attack.” On Wednesday, January 6, 2021, a (mostly) white mob attacked the United States Capitol Building in Washington, D.C. The members of mob were comprised of supporters of then-President Donald Trump, and they were seeking to keep Trump in power by preventing a joint session of the U.S. Congress from counting the electoral college votes to formalize the victory of President-elect Joe Biden.

That event led journalists, historians, and writers to recall other insurrections and attempts to overthrow a democratically elected U.S. government. The Business Plot is one of them. It has also been referred to as “the Wall Street Putsch” because the people behind it were allegedly wealthy American businessmen. They hoped to overthrow the government of President Franklin D. Roosevelt by creating a fascist organization comprised of World War I veterans that would be led by Marine Corp General Smedley Butler, a hero of WWI and a veteran of several military conflicts. After this military led coup and overthrow of the government, the plotters would install Butler as a dictator.

Butler, upon whom Amsterdam's Gen. Dillenbeck is based, himself is the one who revealed the Business Plot. At the time, some of the press considered the Business Plot to be hoax, although a congressional committee investigating the plot believed that it was discussed and at least partially planned.

Amsterdam is a film that is kind of like a fairy tale version the Business Plot with Burt (ostensibly the story's lead character), Harold, and Valerie as the gallant trio fighting the mysterious bad guys. In this manner, the film is filled with conniving wizards (rich businessmen), evil knights (the killers of Gen. Meekins), and menagerie of oddball characters and creature-types, which is a good way to describe even Amsterdam's heroic trio. As I said earlier, I think that the manner in which writer-director David O. Russell tells this story, it needs to be done in a longer form.

Still, one thing at which Russell really excels is in creating ensemble films featuring a cast that delivers stellar performances which in turn creates the most interesting cinematic characters. He has done that with a large ensemble, as in the case of his highly-acclaimed 2013 film, American Hustle, and with an intimate small ensemble, such as in his Oscar-winning 2012 film, Silver Linings Playbook.

Christian Bale delivers another amazing performance as Burt Berendsen. Margot Robbie is eccentric and delightful as Valerie, and John David Washington is dashing, bold, and stalwart as Harold. Robbie and Washington have excellent chemistry and thus, are convincing as a couple. Anya Taylor-Joy, beautiful and radiant as always, effortlessly slays in her turn as the vain and insecure attention-seeker, Libby Voze. Of course, Robert De Niro, as Gen. Dillenbeck, turns up the heat in the film's most pivotal moments.

Rami Malek, Chris Rock, and Zoe Saldana also shine in key supporting roles, and Taylor Swift's quick spin as Bill Meekins' daughter, Elizabeth, gives the film an early jolt. So the smaller roles help to make Amsterdam that much better as a top notch ensemble film.

In the film, the city of Amsterdam seems to represent a place where people can be their authentic selves while accepting that others must also be allowed to be their authentic selves, even if that might lead to clashes of personality and belief. Amsterdam is not perfect, but it is lovable because of its idiosyncratic way, and that makes me look forward to the next large ensemble film from the inimitable David O. Russell.

8 of 10

★★★★ out of 4 stars

Saturday, January 21, 2023

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Tuesday, January 10, 2023

Review: "HONK FOR JESUS. SAVE YOUR SOUL." is Both Funny and Ruthless

TRASH IN MY EYE No. 2 of 2023 (No. 1891) by Leroy Douresseaux

Honk for Jesus. Save Your Soul (2022)

Running time: 102 minutes (1 hour, 42 minutes)

MPA – R for language and some sexual content

DIRECTOR: Adamma Ebo

WRITER: Adamma Ebo (based on her short film)

PRODUCERS: Sterling K. Brown, Jessamine Burgum, Matthew R. Cooper, Amandla Crichlow, Kara Durrett, Adanne Ebo, Regina Hall, Daniel Kaluuya, and Rowan Riley

CINEMATOGRAPHER: Alan Gwizdowski

EDITORS: Ali Greer and Stacy Moon

COMPOSER: Marcus Norris

COMEDY/RELIGION

Starring: Regina Hall, Sterling K. Brown, Nicole Beharie, Conphidance, Austin Crute, Dever Rogers, Robert Yatta, Greta Glenn, and Selah Kimbro Jones

Honk for Jesus. Save Your Soul. is a 2022 comedy-drama and mockumentary (mock documentary) film from writer-director Adamma Ebo. The film is Ebo's directorial debut and is also a feature-length adaptation of Honk for Jesus. Save Your Soul, her 2018 short film. Oscar-winner Jordan Peele is one of the film's executive producers. Honk for Jesus. Save Your Soul. the film focuses on the first lady of a megachurch as she attempts to help the pastor of the church rebuild his congregation in the wake of a scandal.

Honk for Jesus. Save Your Soul. is largely set in and around Wander to Greater Paths Baptist Church in Atlanta, Georgia. The film introduces Pastor Lee-Curtis Childs (Sterling K. Brown) and his wife, the church's “First Lady,” Trinitie Childs (Regina Hall). Lee-Curtis preaches the “prosperity gospel,” and he and his wife live a lavish lifestyle that is a big as their megachurch.

Once upon a time, Wander to Greater Paths (WGP) had about 25,000 congregants, but Pastor Lee-Curtis became embroiled in a notorious scandal that involves multiple sexual misconduct allegations. Lee-Curtis and Trinitie were forced to close the church after backlash and a mass exodus of congregants.

Now, a year later, the Childs plan to reopen the church in one month on Easter Sunday. They have also hired a documentary film crew to chronicle their lives and the preparation during the run-up to the reopening. However, Trinitie finds the crew and its director, Anita Bonet, to be intrusive. Also, the Childs struggle to get people interested in their return, so Lee-Curtis comes up with an idea for a roadside ministry, entitled “Honk for Jesus.” Will that scheme save the church … and the couple's marriage?

Some of you, dear readers, are familiar Pentecostal televangelist (television evangelist), Jimmy Swaggart. Beginning in 1988, a series of scandals, two of them involving Swaggart's relationship with prostitutes, caused him to lose a significant number of congregants at his megachurch, Family Worship Center, in Baton Rouge, Louisiana. His Jimmy Swaggart Bible College also saw a drastic drop in enrollment, largely in part to his 1988 sex scandal.

A former coworker of mine was a devout Christian, and he considered Swaggart to be a hypocrite because of his scandals. I told him that I did not quite see it that way. I argued that the most successful evangelical preachers were probably intimately familiar with sin, especially related to sexual activity. I said that what made Swaggart a hypocrite wasn't him sneaking around for some kind of sexual contact with a prostitute, but rather that he frequently condemned people who were engaged in sexual activity of which he did not approve. He insisted that other sinners pay a price for sexual improprieties that he clearly did not expect to pay himself.

Honk for Jesus. Save Your Soul. is not the greatest mockumentary (which is still This is Spinal Tap), but it is a very good comedy about characters that are difficult when laid bare. Honk for Jesus. Save You Soul. makes it clear that the Childs, especially Pastor Lee-Curtis, are oblivious and lack self-awareness. Lee-Curtis condemns those engaged in the same kind of sexual activity which brought him down, and his behavior is also predatory. It is not just the nature of his sin; it is also that he betrayed the trust of the people who relied on him for help.

Sterling K. Brown shines as Pastor Lee-Curtis, depicting him not as evil, but as narcissistic, vain, and material. His faith, God, the Bible, and his success are about himself and not about salvation or about “saving souls.” He collects “saving souls” and congregants seemingly the same way he collects Italian suits and clothing, jewelry, and cars. Brown deftly conveys to the audience that the reopening of Wander to Great Paths is all about shining on Lee-Curtis and not necessarily on God.

I think the film really turns on Regina Hall's performance, a mixture of comedy, drama, and pathos. From start to finish, Hall's performance chronicles the difficulty that is Trinitie's mission to save their church. Although she is known for comedy, Hall shows serious dramatic chops in conveying the ultimate futility of the couple's quest, especially in those painful scenes in which she faces either their detractors or Lee-Curtis' victims.

Mock or faux documentary films are generally comedies, although they have dramatic and poignant moments. Writer-director Adamma Ebo pulls off the trick of producing a mockumentary that is more drama than comedy. Getting a great performance from her cast, especially Regina Hall, is what makes Ebo's film highly original and even more substantive than mockumentary films generally are. My take is that Honk for Jesus. Save Your Soul. is both a portrayal of a corrupted megachurch pastor and first lady and also a commentary on the megachurches that pedal the prosperity gospel.

Mockumentary films generally always seem to be a tad bit longer than they need to be, and they are at their best in their first acts. The best energy in Honk for Jesus. Save Your Soul. is in its second half, especially its last act.

7 of 10

B+

★★★½ out of 4 stars

Tuesday, January 10, 2023

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