NEGROMANCER 2.0: 20th Century Fox

Showing posts with label 20th Century Fox. Show all posts

Thursday, May 9, 2024

Review: "WAR FOR THE PLANET OF THE APES" Gets Personal

TRASH IN MY EYE No. 22 of 2024 (No. 1966) by Leroy Douresseaux

War for the Planet of the Apes (2017)

Running time: 140 minutes (2 hours, 20 minutes)

MPAA – PG-13 for sequences of sci-fi violence and action, thematic elements, and some disturbing images

DIRECTOR: Matt Reeves

WRITERS: Matt Reeves and Mark Bomback (based upon characters created by Rick Jaffa and Amanda Silver)

PRODUCERS: Peter Chernin, Dylan Clark, Rick Jaffa, and Amanda Silver

CINEMATOGRAPHER: Michael Seresin (D.o.P.)

EDITORS: William Hoy and Stan Salfas

COMPOSER: Michael Giacchino

Academy Award nominee

SCI-FI/DRAMA/MILITARY

Starring: Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval, Terry Notary, Ty Olsson, Michael Adamthwaite, Toby Kebbell, Judy Greer, Devyn Dalton, Max Lloyd-Jones, and Amiah Miller

War for the Planet of the Apes is a 2017 American science fiction film and military drama directed by Matt Reeves. It is a direct sequel to Dawn of the Planet of the Apes (2014) and is also the third installment in the Planet of the Apes reboot film series.

It is the ninth entry in the overall Planet of the Apes film series, which began as an adaptation of the 1963 French science fiction novel, La planète des singes, by Pierre Boulle. In War for the Planet of the Apes, Caesar goes on a quest for revenge as a mentally unstable military leader escalates the war between apes and humans.

Fifteen years earlier, the birth of “The Simian Flu” pandemic (as seen in 2011's Rise of the Planet of the Apes) proved deadly to humans. The flu reduced the worldwide human population, and only 1 in 500 humans (.20 percent) are genetically immune to it. Human civilization has been destroyed after societal collapse. Five years earlier, the apes of the Muir Woods National Monument colony, led by the chimpanzee, Caesar (Andy Serkis), clashed with the humans living in the ruins of San Francisco (as seen in Dawn of the Planet of the Apes). The humans contacted the last remaining U.S. Army unit.

As War for the Planet of the Apes opens, “The Colonel” (Woody Harrelson), a ruthless leader of a paramilitary faction, has been hunting Caesar, whom he calls “Kong,” and his ape colony in the two years following the battle in the ruins of San Francisco. The colony is betrayed by turncoat apes that the humans call “donkeys,” and tragedy strikes close to Caesar. He sets his colony on a journey to reach a recently discovered oasis, while he begins his mythic quest for revenge.

Caesar's lieutenants: Luca (Michael Adamthwaite), Maurice (Karin Konoval), and Rocket (Terry Notary) insist on accompanying him. Along the way, they meet a mute human girl (Amiah Miller) and a lonely chimpanzee who can speak and calls himself “Bad Ape” (Steve Zahn). Will Caesar's quest, however, endanger all his people instead of saving them? And is he dangerously ignorant of the true nature of the conflicts within the remaining groups of humans?

I have been a fan of the Planet of the Apes film ever since I saw the original film, Planet of the Apes (1968), back in the day when CBS broadcast it on a regular basis. Its sequel, Beneath the Planet of the Apes (1970), thrilled and chilled me. I also enjoyed Tim Burton's 2001 Planet of the Apes, a remake and re-imagining of the original film

In preparation for the new film in the franchise, Kingdom of the Planet of the Apes (2024), I decided to review the two films in the reboot franchise that I had not seen, Dawn of the Planet of the Apes and War for the Planet of the Apes. I have previously seen and reviewed Rise of the Planet of the Apes (2011).

I found Dawn of the Planet of the Apes to be a really entertaining film, with its director Matt Reeves spearheading a pulpy, post-apocalyptic drama that thrives on inter-tribal conflict. However, I didn't find Dawn's drama to be quite as substantive as its predecessor, mainly because this film focuses so much on the apes that the film glosses over the human characters that have the most potential.

In War for the Planet of the Apes, it is much the same, but this film is the pinnacle of the first three films in ape acting via motion-capture and voice performances. Here, Reeves wrings much more emotion from the characters, story, and settings. Andy Serkis hits the heights as Caesar, his best performance of the first three films. There are also numerous other fine supporting ape performances. Through these characters, Reeves presents a film in which the emotion is raw and real and drives the drama to be more powerful than even this film's best action scenes.

On the other hand, there is only one exceptional human character, that would be the mute orphan girl, and Amiah Miller gives an exceptional physical performance as the child. Using facial expressions and hand movements, she gives the girl such personality that the audience will come to buy her as a legitimate member of Caesar's tribe rather than as a random human. Woody Harrelson has played so many kooky characters, and The Colonel is not one of the better ones. It is as if Harrelson has done the crazy dude thing so much that he didn't know where to take that kind of character for this film.

War for the Planet of the Apes improves on the plots, characters, elements and ideas introduced in Dawn of the Planet of the Apes. It is a fine end to what we might call “the Caesar trilogy.” Dear readers, you can't go forward in the Planet of the Apes franchise without seeing War for the Planet of the Apes.

8 of 10

★★★★ out of 4 stars

Thursday, May 9, 2024

NOTES:

2018 Academy Awards: 1 nomination: “Best Achievement in Visual Effects” (Joe Letteri, Dan Lemmon, Daniel Barrett, and Joel Whist)

2015 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (Joe Letteri, Dan Lemmon, Erik Winquist, and Joel Whist)

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Sunday, May 5, 2024

Review: "DAWN OF THE PLANET OF THE APES" Goes Ape Sh*t

TRASH IN MY EYE No. 21 of 2024 (No. 1965) by Leroy Douresseaux

Dawn of the Planet of the Apes (2014)

Running time: 130 minutes (2 hours, 10 minutes)

MPAA – PG-13 for intense sequences of sci-fi violence and action, and brief strong language

DIRECTOR: Matt Reeves

WRITERS: Mark Bomback and Rick Jaffa & Amanda Silver (based upon characters created by Rick Jaffa and Amanda Silver)

PRODUCERS: Peter Chernin, Dylan Clark, Rick Jaffa, and Amanda Silver

CINEMATOGRAPHER: Michael Seresin (D.o.P.)

EDITORS: William Hoy and Stan Salfas

COMPOSER: Michael Giacchino

Academy Award nominee

SCI-FI/ACTION/DRAMA/THRILLER

Starring: Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Kodi Smit-McPhee, Kirk Acevedo, Toby Kebbell, Nick Thurston, Karin Konoval, and Judy Greer

Dawn of the Planet of the Apes is a 2014 American science fiction-thriller, action, and drama film directed by Matt Reeves. It is a direct sequel to Rise of the Planet of the Apes (2011) and is also the second installment in the Planet of the Apes reboot film series.

It is the eighth entry in the overall Planet of the Apes film series, which began as an adaptation of the 1963 French science fiction novel, La planète des singes, by Pierre Boulle. In Dawn of the Planet of the Apes, apes and humans are thrown together for the first time in years, and a fragile peace is threatened by mistrust and betrayal.

Dawn of the Planet of the Apes opens ten years after the birth of “The Simian Flu” pandemic (as seen in Rise of the Planet of the Apes). Deadly to humans, the flu has reduced the worldwide human population, and only 1 in 500 humans (.20 percent) are genetically immune to it. Human civilization has been destroyed after societal collapse.

There was a large group of apes that were all bestowed with genetically enhanced intelligence by the virus. They established a colony in the Muir Woods National Monument near San Francisco. Their leader is the chimpanzee, Caesar (Andy Serkis), who protects the colony with his lieutenants. Among them is the sinister and treacherous bonobo, Koba (Toby Kebbell).

One day, for the first time in years, apes and humans meet. A group of humans, led by Malcolm (Jason Clarke), unknowingly enters the apes' territory in search of a hydroelectric dam that could restore power to a rag tag human community living in the ruins of San Francisco. As level-headed as Malcolm is, there are hotheads among the humans, like their leader Dreyfus (Gary Oldman), an ex-police officer. Among the apes, Koba is the hothead, but a fragile peace develops between the two tribes. However, mistrust and betrayal threaten to plunge both humans and apes in a terrible war for control of the San Francisco area and ultimately, for dominance over the Earth.

I was skeptical of Rise of the Planet of the Apes when it was first release, but I thoroughly enjoyed it when I first saw it. I could not believe how exceptionally well made it was. As we all prepare for the impending release of the franchise's latest film, 2024's Kingdom of the Planets of the Apes, I am going back to watch and review, Dawn of the Planet of the Apes and War for the Planet of the Apes (2017).

Dawn of the Planet of the Apes is a really entertaining film. Director Matt Reeves has spearheaded a pulpy, post-apocalyptic drama that thrives on inter-tribal conflict. However, I don't think Dawn's drama is quite as substantive as its predecessor, mainly because this film focuses so much on the apes that, except for Malcolm, the film glosses over the human characters that have the most potential.

Dawn of the Planet of the Apes is a true Planet of the Apes film. The apes are more important, and the humans exist mainly to cause conflict among the apes. Rise of the Planet of the Apes's drama was more grounded in reality, and its subplots mattered beyond being fuel to light the flames of conflict. Dawn of the Planet of the Apes is very well made and is fun to watch. Still, I feel like I'm waiting for a bigger and more important film.

7 of 10

B+

★★★½ out of 4 stars

Sunday, May 5, 2024

NOTES:

2015 Academy Awards: 1 nomination: “Best Achievement in Visual Effects” (Joe Letteri, Dan Lemmon, Daniel Barrett, and Erik Winquist)

2015 BAFTA Awards: 1 nomination: “Best Special Visual Effects” (Joe Letteri, Dan Lemmon, Erik Winquist, and Daniel Barrett)

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Thursday, June 15, 2023

Review: "THE ROCKY HORROR PICTURE SHOW" is Always Waiting For Us

TRASH IN MY EYE No. 25 of 2023 (No. 1914) by Leroy Douresseaux

The Rocky Horror Picture Show (1975)

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

MPAA – R

DIRECTOR: Jim Sharman

WRITERS: Jim Sharman and Richard O'Brien (based on the original musical play by Richard O'Brien)

PRODUCER: Michael White

CINEMATOGRAPHER: Peter Suschitsky (D.o.P.)

EDITORS: Graeme Clifford

COMPOSER: Richard Hartley

SONGS: Richard O'Brien

MUSICAL/COMEDY/SCI-FI and FANTASY/HORROR

Starring: Tim Curry, Susan Sarandon, Barry Bostwick, Richard O'Brien, Patricia Quinn, Nell Campbell, Peter Hinwood, Jonathan Adams, Meat Load, and Charles Gray

The Rocky Horror Picture Show is a 1975 comedy-horror and musical fantasy film directed by Jim Sharman. The film is written by Sharman and Richard O'Brien and is based based on the 1973 musical stage production, The Rocky Horror Show, for which O'Brien wrote the music, lyrics, and book. Both the film and stage musical pay tribute to the science fiction and B-movie horror films that appeared in theaters from the 1930s to the 1960s. The Rocky Horror Picture Show follows a newly-engaged couple who, because of car trouble, seeks shelter at a castle-like country home that is populated by bizarre guests and an even more bizarre host.

The Rocky Horror Picture Show introduces a naive young couple, Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon). It is late November, and the couple are attending the wedding of their friends, Ralph Haphschatt (Jeremy Newson) and Betty Monroe (Hilary Labow), at Denton Episcopalian Church. Brad and Janet get engaged after the wedding and decide to celebrate with their high school science teacher, Dr. Everett Scott (Jonathan Adams).

In Brad's car, the duo are en route to Scott's house on a dark and rainy night when they get lost and then get a flat tire. Needing a telephone to call for help, the couple walk to a nearby castle. There, they find the place in the throes of a rowdy party. The guests are both flamboyantly dressed and bizarre. What is even more bizarre however, is the host, the transvestite scientist, Dr. Frank-N-Furter (Tim Curry), who is about to unveil his latest creation. There are two things of which Brad and Janet are unaware. The first is Frank-N-Furter is from the planet “Transsexual,” located in the galaxy “Transylvania.” The second is that at some point in the future, their story will be narrated by a noted criminologist (Charles Gray).

When The Rocky Horror Picture Show was initially released in the United States in the early fall of 1975, it was not well-received by either critics or audiences. However, by the spring of 1976, the film's infamous cult following began, thanks to midnight showings, first in and around New York City, and then, spreading throughout the U.S. Soon, fans in costume were performing alongside the film.

Dear readers, I must admit that I have never seen The Rocky Horror Picture Show in a theater. I first saw it in the late 1980s via a Japanese import or bootleg copy at the science fiction, fantasy, and gaming convention, CoastCon (I believe), in Biloxi, Mississippi. It was a wild screening, and I freaked out when audience members jumped out of their seats and started performing bits from the film.

As some of you may know, Netflix is shutting down its DVD-by-mail service – currently known as DVDNetflix or DVD.com. I decided to spend some of these final months on this beloved service re-watching favorite films and well as trying some older films that I have never seen. Watching The Rocky Horror Picture Show seemed like the right thing to do as a sendoff to the service that I used to build my movie review blog, Negromancer.

The Rocky Horror Picture Show is indeed a tribute to science fiction, B-movie, and monster films. There are references to such films as Universal Pictures' Frankenstein (1931) and Bride of Frankenstein (1935), RKO's King Kong (1933), Hammer Films' The Revenge of Frankenstein (1958), Fox's The Day the Earth Stood Still (1951), and MGM's Forbidden Planet (1956), to name a few.

However, Rocky Horror's punk rock fashions, colorfully dyed hair, corsets, torn fishnet stockings, glitter, androgyny, and sex and violence are more important than its haunted mansion, secret labs, rival scientists, and sci-fi angles. For me, this film is about having a good time and being liberated. Sometimes, the film may seem like it is being outrageous for the sake of being outrageous, but one of its final songs personifies the film for me, “Fanfare/Don't Dream It, Be It.” It's okay to look like you want to and to be what you want to. And yes, it's okay to be turned on by both Susan Sarandon in her unmentionables and Barry Bostwick in his Jockey classic Y-front briefs.

I can certainly point to Tim Curry's legendary performance as Dr. Frank-N-Furter, but everyone, from the filmmakers, cast, and crew to the artisans, craftsman, and technicians that brought the sets and costumes to life, made The Rocky Horror Picture Show memorable and, for many, unforgettable. I can't forget the songs, so I need a soundtrack album. Meat Loaf makes the most of his short time on screen. The narrator turns out to be hoot. Even the passing of DVDNetflix won't stop me from seeing this show again. The music, the songs, the cast, and the setting seem as if they will never let me forget that part of me belongs, at least for a little while, at The Rocky Horror Picture Show.

8 of 10

★★★★ out of 4 stars

Thursday, June 15, 2023

NOTES:

2005 National Film Preservation Board, USA: National Film Registry

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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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Sunday, January 1, 2023

Review: "AVATAR: The Way of Water" is Indeed Too Long, But it is Never Boring

TRASH IN MY EYE No. 1 of 2023 (No. 1890) by Leroy Douresseaux

Avatar: The Way of Water (2022)

Running time: 192 minutes (3 hours, 12 minutes)

MPAA – PG-13 for sequences of strong violence and intense action, partial nudity and some strong language

DIRECTOR: James Cameron

WRITERS: James Cameron and Rick Jaffa & Amanda Silver; from a story by James Cameron, Rick Jaffa & Amanda Silver, and Josh Friedman and Shane Salerno

PRODUCERS: James Cameron and Jon Landau

CINEMATOGRAPHER: Russell Carpenter (D.o.P.)

EDITORS: James Cameron, John Refoua, Stephen Rivkin, and David Brenner

COMPOSER: Simon Franglen

SCI-FI/FANTASY, ADVENTURE, DRAMA/WAR

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Kate Winslet, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Brendan Cowell, Jemaine Clement, Jamie Flatters, Britain Dalton, Trinity Jo-Li Bliss, Jack Champion, Bailey Bass, Filip Geljo, Duane Evans Jr., Dileep Rao, and Matt Gerald

Avatar: The Way of Water is a 2022 science fiction-fantasy, action-adventure, drama and war film from director James Cameron. It is a direct sequel to the 2009 film, Avatar. In The Way of Water, the world of Pandora is under renewed threat from human invaders, forcing Na'vi Jake Sully to seek refuge for his family with a new tribe.

Avatar: The Way of Water opens on the habitable moon, Pandora (one of several moons orbiting a gas giant planet), a decade after the events of the original film. The former human who led the Na'vi fight that expelled the humans, Na'vi Jake Sulley (Sam Worthington), is now chief of the Na'vi “Omaticaya” clan. He raises a family with his mate, Neytiri (Zoe Saldana), that includes sons, Neteyam (Jamie Flatters) and Lo'ak (Britain Dalton); daughter, Tuk (Trinity Jo-Li Bliss); and two adopted children. They are a human boy named “Spider” (Jack Champion) and Kiri (Sigourney Weaver), a girl who was born from the inert avatar of Grace Augustine (Sigourney Weaver), the late scientist who sided with Jake Sulley in his first battle with the humans.

However, to the dismay of the Na'vi, the human corporation, Resources Development Administration (RDA), has returned to Pandora. This time, RDA wants to prepare Pandora as a new home for humanity because the Earth is dying. RDA has even created new combatants, called “recombinants,” which are Na'vi avatars implanted with the minds and memories of human soldiers killed in the first conflict with the Na'vi. One of them is Colonel Miles Quaritch (Stephen Lang), Jake and Neytiri's greatest human enemy and now leaders of the recombinants.

A year after the return, there is a confrontation between Jake's forces and Quaritch's forces. Jake realizes that the RDA has made him, as a former human soldier and traitor, the focus of their mission. To protect the Omaticaya clan, Jake and his family go into exile and retreat to the sea islands in hope of finding refuge with the “Metkayina” reef people. The family struggles to adjust to the new home, especially the children who are coming of age. And recombinant Quaritch and his squad are still hunting Jake, and they are willing to do anything to capture him.

When I reviewed the first Avatar film, I wrote that “Avatar is everything good that you have heard about it and more.” I can say the same for Avatar: The Way of Water, although I will not say it with the same intensity as other film critics and film reviewers. Some people seem to enter a kind of state of ecstasy when they talk about The Way of Water. I am not that crazy about it. Let us see how simply I can explain this.

When I first saw the original Avatar in theaters, I was blown away. It was like nothing that I'd ever seen before then. It was an epic science fiction film set on a strange new world, full of incredible creatures and environments. Plus, Avatar has a great group of villains in the form of the invading humans. However, as crazy as I was about it then, I have never watched the film in its entirety since. I can't make myself interested in even watching sections of the film.

Avatar: The Way of Water is full of wonderful new characters, new environments, and a strange new tribe, living in a water world of amazing creatures. I am impressed by how many intriguing new characters James Cameron and his co-writers have created for this film. But, as good as the film is, I am not “blown away” by it. I don't find it remotely as interesting as I found the first Avatar. However, like the first film, James Cameron does quite a bit of skewering of colonialism and militarism and of toxic wealth and capitalism.

Avatar: The Way of Water is a great, big science fiction epic full of fantastic visual special effects and CGI (computer-generated images). The motion-capture CGI that creates the Na'vi still makes the characters look and move awkwardly in some instances, but that does not ruin the characters. Also, despite what some are saying, I did not find the first two hours of this three-hour plus film boring. Yes, the last third of this movie is at least an hour of great, great action, but the first two hours also offer some thrilling and riveting action, engaging character drama, and eye-popping exploration of the reef world of the Metkayina.

Still, for me, the Avatar thrill left a long time ago, and Avatar: The Way of Water does not make it return. I think it is a really good film, but not a great film. But, hey, it might “blow you away,” dear readers.

7 of 10

B+

★★★½ out of 4 stars

Sunday, January 1, 2023

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Saturday, May 14, 2022

Review: 2022 Version of "DEATH ON THE NILE" Is Dark and Edgy on the Nile

TRASH IN MY EYE No. 31 of 2022 (No. 1843) by Leroy Douresseaux

Death on the Nile (2022)
Running time: 127 minutes (2 hours, 7 minutes)
MPA – PG-13 for violence, some bloody images, and sexual material
DIRECTOR: Kenneth Branagh
WRITER: Michael Green (based on the novel by Agathie Christie)
PRODUCERS: Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Kevin J. Walsh, and Ridley Scott
CINEMATOGRAPHER: Haris Zambarloukos (D.o.P.)
EDITOR: Una Ni Dhonghaile
COMPOSER: Patrick Doyle

MYSTERY

Starring: Kenneth Branagh, Gal Gadot, Armie Hammer, Tom Bateman, Annette Bening, Russell Brand, Letitia Wright, Sophie Okonedo, Emma Mackey, Rose Leslie, Ali Fazal, Rose Leslie, Jennifer Saunders, Dawn French, and Naveed Kahn

Death on the Nile is a 2022 mystery film directed by Kenneth Branagh. It is based on the 1937 novel, Death on the Nile, written by Agatha Christie (1890-1976). In Death on the Nile the movie, Hercule Poirot investigates the murder of a young heiress that occurs on a ship sailing the Nile

Death on the Nile finds famous detective, Hercule Poirot (Kenneth Branagh), embarking on a luxurious cruise on the Nile River in Egypt. Poirot is delighted to discover that his friend, Bouc (Tom Bateman), will also be aboard the ship named the “Karnak.”

Also aboard are the newlyweds: wealthy heiress, Linnet Ridgeway (Gal Gadot), and her husband, Simon Doyle (Armie Hammer). While in Egypt on their honeymoon, they are being stalked and hounded by Simon's former fiancé, Jacqueline “Jackie” de Bellefort (Emma Mackey), who was also Linnet's close friend.

When Linnet is found shot to death aboard the Karnak, Jackie is the most obvious culprit, but there are others on board who have reason to want Linnet dead. There is Linnet's maid, Louise Bourget (Rose Leslie), who was bitter because her mistress sabotaged her engagement. Linnet's attorney and estate trustee, Andrew Katchadourian (Ali Fazal), was stealing from her, although they were cousins. Linnet's godmother, Maria van Schuyler (Jennifer Saunders), is a socialist who gave away her wealth, but stands to inherit some of Linnet's estate. Bowers (Dawn French), van Schuyler's nurse, blamed Linnet's father for financially ruining her family.

Salome Otterbourne (Sophie Okonedo), a brassy blues and jazz singer and guitarist, and Rosalie (Letitia Wright), her niece and manager, were once the target of a racist complaint by Linnet. However, Rosalie became Linnet's friend in boarding school and admits that there are reasons to both hate and love Linnet. Dr. Windlesham (Russell Brand) was once engaged to Linnet, but she left him for Simon. Bouc's mother, Euphemia (Annette Bening), resented Linnet for introducing Bouc to Rosalie.

Poirot must uncover the identity of the killer. He better hurry because the bodies are starting to pile up.

In this new version of Death on the Nile, there is an attention to detail. The audience can see it in the lighting, the hair and make-up, the costumes, the art direction, the editing, and the score. This is also to create Hercule Poirot's world of light and much darkness and shadows. Early in the film, writer Michael Green and director Kenneth Branagh take us to the World War I life of Poirot, tragedy on the battlefield and off sets the stage for what would become the future great detective's world. Shadowy nightclubs filled with earthy blues and showy jazz music; sumptuous desserts; lavishly appointed night people; sunny paradises; and exotic locales – everything has a dark side. It does not matter how golden hued anything is; there is darkness. Even the dark side has a darker side.

All the performances are topnotch; Branagh even gets a showy transformation from comedian Russell Brand, here, being his best PBS Masterpiece self. Good acting sells Death on the Nile's central theme that envy, greed, lust, and pride will destroy friends and lovers. They will even lead to murder most foul, of course.

Branagh takes the cynicism of post-war American Film-Noir and pours it all over Dame Agatha Christie's storytelling. Rarely has such cinematic beauty dressed so much evil and darkness. The lovely meets the lethal.

Death on the Nile 2022 starts slow and drags for some time. For a time, it takes Sophie Okonedo lip-syncing Sister Rosetta Tharpe to give the film early heat. Linnet Ridgeway's murder, however, lights a fire under Death on the Nile as it moves to its ending of triumphant tragedy. There is no victory in the resolution of this case – only hurt and grief. Maybe, hurt and grief are the victors. The viewers are also victors, as Branagh orchestrates another unique and winning take on the cozy, old mysteries of Agatha Christie.

8 out of 10
A
★★★★ out of 4 stars

Saturday, May 14, 2022

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Friday, April 15, 2022

Review: "THE KING'S MAN" is the Best "Kingsman" Yet

TRASH IN MY EYE No. 23 of 2022 (No. 1835) by Leroy Douresseaux

The King's Man (2021)
Running time: 131 minutes (2 hours, 11 minutes)
MPA – R for sequences of strong/bloody violence, language, and some sexual material
DIRECTOR: Matthew Vaughn
WRITERS: Matthew Vaughn and Karl Gajdusek; from a story by Matthew Vaughn (based on on the comic book, The Secret Service, by Mark Millar and Dave Gibbons)
PRODUCERS: Adam Bohling, David Reid, and Matthew Vaughn
CINEMATOGRAPHER: Ben Davis (D.o.P.)
EDITOR: Jason Ballantine and Rob Hall
COMPOSERS: Dominic Lewis and Matthew Margeson

FANTASY/ACTION/SPY/WAR with some elements of comedy

Starring: Ralph Fiennes, Gemma Arterton, Djimon Hounsou, Rhys Ifans, Harris Dickinson, Matthew Goode, Tom Hollander, Daniel Brühl, Charles Dance, Aaron Taylor-Johnson, and Stanley Tucci

The King's Man is a 2021 spy and action movie and war drama from director Matthew Vaughn. It is the third film in the Kingsman film series, and it is a “prequel” to the previous two films, Kingsman: The Secret Service (2015) and Kingsman: The Golden Circle (2017). All three films are based on characters and elements from the 2012 comic book miniseries, The Secret Service, by Mark Millar and Dave Gibbons. The King's Man focuses on an aristocrat and his spy network as they try to stop a plot to pit the British, German, and Russian empires against each other in a war that will wipe out millions of lives.

The King's Man introduces British aristocrat Orlando, Duke of Oxford (Ralph Fiennes). In 1914, Orlando has formed a private spy network consisting of domestic servants employed by the world's most powerful dignitaries. His own servants, his butler, Shola (Djimon Hounsou), and his maid/nanny, Polly Watkins (Gemma Arterton), are his closest aides and confidants. The primary objective of Orlando's network is to protect the United Kingdom and the British Empire from the conflagration of the approaching “Great War.”

Orlando's only son, Conrad (Harris Dickinson), is eager to fight, but Orlando forbids him from joining the British Army and uses his connections to keep him from entering service. Besides, there are other things to keep father, son, and the spy network busy. Orlando's friend, the Archduke Franz Ferdinand (Ron Cook), and his wife are assassinated. Orlando learns that the assassin is part of “The Flock,” a group plotting to pit the German, Russian, and British empires against each other in the Great War.

Orlando and his network then engage in a series of adventures to foil the Flock's plans, that includes killing Grigori Rasputin (Rhys Ifans), the priest and mystic who serves the Flock's mysterious leader, “The Shepherd.” As his personal physician, Rasputin practically controls Tsar Nicholas (Tom Hollander) of Russia. And if Nicholas does as Rasputin wants, Great Britain may be doomed. Can Orlando and his network stop The Shepherd and save the British Empire? And will Conrad remain with his father's network or will he force his way into military service in a war in which young men like him are dying by the thousands?

The King's Man is easily the best of the Kingsman series, thus far. The villain, “The Shepherd,” is ridiculous, but his motivations will make more sense and is more likely to appeal to British audiences. For me, The Shepherd is what keeps The King's Man from being a truly great film.

The film's remix of the history of the “Great War” (World War I) seems inappropriate, but the film's inclusion of WWI is what makes it stand out from other films based on comic books. In fact, The King's Man is grounded in a darker take on that war than another comic book movie, Wonder Woman (2017), which is also largely set during the first World War. In a way, The King's Man seems like a salute to the men who served and the ones who died in the muck and mud of Europe during “the war to end all wars.”

Ralph Fiennes brings a touch of class and some serious dramatic chops to this film. It seems as if director Matthew Vaughn and his co-writer, Karl Gajdusek, take this film more seriously than Vaughn did with the previous two films, which were action-spy movies with a strong comic overtone. The King's Man is a war drama, spy serial, and action-thriller, and Fiennes, as Orlando, the Duke of Oxford, sells this film's seriousness.

Gemma Arterton and Djimon Hounsou are also quite good as Orlando's top lieutenants, Polly and Shola, respectively. As Rasputin, Rhys Ifans offers a performance that is off-beat, over-the-top, and colorful. Tom Hollander, with the help of the make-up and hairstyling crew of The King's Man, is credible in three roles, but makes his most potent turn as Britain's King George. Harris Dickinson as Orlando's son, Conrad, gives the film's most hot-blooded and nuanced performance.

The best way I can describe The King's Man is as being like a serial adventure. The film's plot is comprised of multiple missions and subplots, which keeps the film's narrative hopping. The film moves fast, fast enough to keep audiences from focusing on the film's inconsistencies and flaws in logic, but also fast enough to make the story seem like a non-stop, breathtaking adventure. Like Matthew Vaughn himself, I want to see a fourth film in the series, one that focuses on the characters that make it to the end of this film and on their first decade as the “Kingsman.” I highly recommend The King's Man to audiences that have watched either of the first two films or both. They were really a build up to the best of their lot, The King's Man.

7 of 10
A-

Thursday, April 14, 2022

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Thursday, April 14, 2022

Review: "KINGSMAN: The Golden Circle" Improves on the First Film

TRASH IN MY EYE No. 22 of 2022 (No. 1834) by Leroy Douresseaux

Kingsman: The Golden Circle (2017)
Running time: 141 minutes (2 hours, 21 minutes)
MPAA – R for sequences of strong violence, drug content, language throughout and some sexual content
DIRECTOR: Matthew Vaughn
WRITERS: Jane Goldman and Matthew Vaughn (based on on the comic book, The Secret Service, by Mark Millar and Dave Gibbons)
PRODUCERS: Adam Bohling, David Reid, and Matthew Vaughn
CINEMATOGRAPHER: George Richmond (D.o.P.)
EDITOR: Eddie Hamilton
COMPOSERS: Henry Jackman and Matthew Margeson

COMEDY/ACTION/SPY/SCI-FI

Starring: Taron Egerton, Colin Firth, Julianne Moore, Mark Strong, Halle Berry, Pedro Pascal, Channing Tatum, Jeff Bridges, Edward Holcroft, Hanna Alström, Calvin Demba, Thomas Turgoose, Tobi Bakare, Bruce Greenwood, Emily Watson, Elton John, Sophie Cookson, and Michael Gambon

Kingsman: The Golden Circle is a 2017 spy movie and action-comedy from director Matthew Vaughn. It is a direct sequel to the 2015 film, Kingsman: The Secret Service. Both films are based on characters and elements from the 2012 comic book, The Secret Service, by Mark Millar and Dave Gibbons. The Golden Circle focuses on two elite secret organizations that must band together to defeat a common enemy that is holding the world hostage.

Kingsman: The Golden Circle opens a year after Gary “Eggsy” Unwin (Taron Egerton) defeated and killed the diabolical Internet billionaire, Richmond Valentine. Eggsy has officially joined the independent intelligence agency, Kingsman, and has taken his late mentor. Harry Hart's (Colin Firth) position as agent “Galahad.” Eggsy is also dating Tilde (Hanna Alström), Crown Princess of Sweden, whom he saved from Valentine.

One night in London, Eggsy is ambushed by Charlie Hesketh (Edward Holcroft), a rejected Kingsman applicant. Eggsy defeats Charlie, who escapes. However, Charlie has a new employer, a mysterious organization known as “The Golden Circle.” Its leader, Poppy Adams (Julianne Moore), the world's largest manufacturer and distributor of illegal drugs and narcotics, launches an attack against the Kingsman that leaves the agency devastated. The survivors, Eggsy and Merlin (Mark Strong), make contact with “Statesman,” the American counterpart of Kingsman, which uses a Kentucky-based bourbon whiskey business as a front. [The Kingsman's front is as a Savile Row tailor.]

With the help of the Statesman, Agent Whiskey (Pedro Pascal) and Ginger Ale (Halle Berry), Eggsy tries to stop Poppy Adams' plot to use a toxin in the drugs and narcotics she sells to hold the world for ransom. She wants her demands met or she will withhold an antidote to the toxin, which means hundreds of millions of people will die. In order to stop her, Eggsy will have to face many challenges … and a number of surprising reveals.

I enjoyed Kingsman: The Secret Service quite a bit, but it was mostly a substance-free past-time. As much as I enjoyed the film, I had mostly forgotten about it a few hours after seeing it. Kingsman: The Golden Circle isn't quite as substance-free as its predecessor. The bonds and obligations of friendship and love weigh on the characters, especially Eggsy. He can no longer just live for the job, not when there is a serious relationship commitment in front of him.

I found some of the Statesman characters to be either superfluous or simply boring, with the exception of Halle Berry's Ginger Ale. I am a longtime fan of Berry's, and she makes the casually smart and calm Ginger an endearing character. Elton John also makes a surprising and shocking turn as something of a fun and offbeat action hero.

The film also has a wacky-ass and fun soundtrack. It uses John Denver's 1971 hit, “Take Me Home, Country Roads,” including a poignant version sung by Mark Strong's Merlin. There are a few Elton John hits, of course, some performed in the film by Elton. The best song on the soundtrack may be a funky, country rock version of Cameo's “Word Up” by the German musical act “The BossHoss.”

Taron Egerton as Eggsy has star appeal and leading man quality, which is a surprise to me. I wish the film had given some of the narrative time devoted to the Statesman characters back to Eggsy. Egerton takes the Kingsman film franchise to the next level. Kingsman: The Golden Circle is an improvement over the original film, enough of an improvement that I hope to see another sequel.

7 of 10
B+

Wednesday, February 16, 2022

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Friday, March 4, 2022

Review: "MAKING LOVE" Can Still Knock Boots

TRASH IN MY EYE No. 11 of 2022 (No. 1823) by Leroy Douresseaux

Making Love (1982)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R
DIRECTOR: Arthur Hiller
WRITERS: Barry Sandler; from a story by A. Scott Berg
PRODUCERS: Alan J. Adler and Daniel Melnick
CINEMATOGRAPHER: David M. Walsh
EDITOR: William Reynolds
COMPOSER: Leonard Rosenman

LGBTQ/DRAMA/ROMANCE

Starring: Michael Ontkean, Kate Jackson, Harry Hamlin, Wendy Hiller, and Gary Swanson

Making Love is a 1982 romantic drama and LGBTQ film from director Arthur Hiller. Making Love focuses on a successful Los Angeles couple making big plans for their future when the husband finds himself unable to keep repressing his attraction for other men.

Making Love is set in the early 1980s and introduces three 30-something characters. The first is Dr. Zack Elliot (Michael Ontkean), a successful, Los Angeles-based oncologist. He is married to Claire Elliot (Kate Jackson), an equally successful television network executive. Claire and Zack have been married for eight years and are generally happy. They are talking about having a baby, so they buy a bigger house.

Unknown to Claire, however, Zack has been struggling with feelings of attraction for other men. He begins loosening these long-repressed feelings by cruising places where gay men congregate to pick up other men for sex. Enter the film's third main character, Bart McGuire (Harry Hamlin), a successful novelist and gay man. Bart goes in for a medical check-up, and Zack is temporarily seeing the patients of Bart's regular doctor.

Bart frequents gay bars and clubs and has multiple sexual partners, preferring one night stands to committed relationships. Zack and Bart are mutually attracted to each other, but there are complications. As gay men, each wants something different in intimate relationships. Meanwhile, Claire is having professional struggles, and she starts to suspect that Zack is cheating on her. However, she would never suspect that he is cheating on her with another man.

This is the fortieth anniversary of the theatrical release of the landmark gay film drama, Making Love, specifically February 12, 1982. While Making Love was not the first gay-themed film released by a major Hollywood studio, it was the first mainstream Hollywood film drama to address particular subjects related to homosexuality, such as the effect of a spouse coming out while being in a heterosexual marriage and also the toll of being closeted on a gay man.

Making Love is not a great film; at best, it is average or maybe a little above average. Apparently, it has been accused of dodging its core subject, which is that of a gay man not only coming out while being married to a woman, but also engaging in an affair with another man. Making Love does not actually duck or dodge any sensitive homosexual issues.

The problem is that the film addresses too many issues. Zack Elliot is having a midlife crisis. Repressed, Zack is horny and cruises for gay sex, but usually backs out before the sex can begin. Claire is having a career crisis. She wants her television executive bosses to utilize the talents for which she was hired, but they ignore her thoughtful programming pitches. She wants to take a year off so that she can have a baby. Her desire to have a better relationship with her estranged father also crops up. Bart treats each man that he wants to screw like he is the perfect guy for him. Yet as soon as the sex is over, Bart hops out of bed and heads home. He is always on the prowl, but seems to yearn for a little more.

This are enough subplots and melodramatic twists for a television series, but it is a bit much for a film. What also hampers the film is that with so much to talk about, a lot of the dialogue is stiff and sounds contrived when the actors speak it. The performances are well meaning, but the screenplay for Making Love does address what is at the heart of this film.

Making Love may be a gay drama, but the way I see it, the story is really about the dysfunction in Zack and Claire's relationship and in Zack and Bart's relationship. Making Love is really not about “making love,” but about people being honest about what they want from a partner and what they really want for themselves. Making Love only deals with that in a shallow way, but I do give the film, the filmmakers, and the cast the credit for making this kind of film. Making Love depicts homosexuality and being a man who wants to have sex with lots of other men seem like perfectly normal aspects of modern American life.

6 of 10
B

Friday, March 4, 2022

NOTES:
1983 Golden Globes, USA: 1 nomination: Best Original Song - Motion Picture (Burt Bacharach-music, Bruce Roberts-music/lyrics, and Carole Bayer Sager-lyrics for the song, “Making Love”)

The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Thursday, February 10, 2022

Review: "Murder on the Orient Express" 2017 is More Dark Than Cozy

TRASH IN MY EYE No. 6 of 2022 (No. 1818) by Leroy Douresseaux

Murder on the Orient Express (2017)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for violence and thematic elements
DIRECTOR: Kenneth Branagh
WRITER: Michael Green (based on the novel by Agathie Christie)
PRODUCERS: Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Michael Schaefer, and Ridley Scott
CINEMATOGRAPHER: Haris Zambarloukos
EDITOR: Mick Audsley
COMPOSER: Patrick Doyle

MYSTERY

Starring: Kenneth Branagh, Penelope Cruz, Willem Dafoe, Judi Dench, Olivia Colman, Daisy Ridley, Leslie Odom, Jr., Tom Bateman, Manuel Garcia-Rulfo, Josh Gad, Derek Jacobi, Sergei Polunin, Lucy Boynton, Marwan Kenzari, and Johnny Depp

Murder on the Orient Express is a 2017 mystery film directed by Kenneth Branagh. It is based on the 1934 novel, Murder on the Orient Express, written by Agatha Christie (1890-1976). Murder on the Orient Express the movie focuses on a celebrated detective who is recruited to solve a murder that occurs on a train in which he is traveling.

Murder on the Orient Express opens in 1934 and finds renowned Belgian detective, Hercule Poirot (Kenneth Branagh), in the midst of solving a case in Jerusalem. When Poirot is ready to return to London, his friend, Bouc (Tom Bateman), the nephew of the director of the luxury Orient Express train service, arranges a berth for him aboard the train.

Poirot boards the train with Bouc and thirteen other passengers. There is the talkative American widow, Caroline Hubbard (Lauren Bacall). The English governess, Mary Debenham (Daisy Ridley), and physician, Dr. John Arbuthnot (Leslie Odom, Jr.), seem to be previously acquainted. Spanish missionary, Pilar Estravado (Penelope Cruz), is prayerful. American businessman, Edward Ratchett (Johnny Depp), is on a business trip with with his secretary/translator, Hector McQueen (Josh Gad), and his English manservant, Edward Masterman (Derek Jacobi).

There is a Cuban-American car salesman, Biniamino Marquez (Manuel Garcia-Rulfo). Elderly Russian Princess Natalia Dragomiroff (Judi Dench) travels with her maid, Hildegarde Schmidt (Olivia Colman). Hungarian Count Rudolf Andrenyi (Sergei Polunin) and his wife, Elena (Lucy Boynton), are always together. Austrian university professor, Gerhard Hardman (Willem Dafoe), has theories about different “races” and nationalities. The train's French conductor, Pierre Michel (Marwan Kenzari), attends to the passengers' numerous needs.

That first night, an avalanche derails the train. The next morning, Poirot discovers that Edward Ratchett has been murdered and stabbed 12 times. Poirot and Bouc begin investigating the passengers in order to discover Ratchett's killer, but this case will be quite trying for the esteemed Monsieur Poirot. He does not lie, and this case may force him to do just that.

The first film adaptation of Agatha Christie's novel, Murder on the Orient Express (1974), was one of only two films adapted from her work that she liked. [The other was the 1957 film, Witness for the Prosecution, which was based on Christie's 1953 play, The Witness for the Prosecution.] In the first film, the late actor Albert Finney gives a tremendous performance as Hercule Poirot, one that earned him an Oscar nomination. The 1974 film is a classic murder mystery film made classier and more artful by its stellar cast of stars from Hollywood films and international cinema.

Murder on the Orient Express 2017 is stylish and modern with plenty of production values created by computers. Its cast is a mix of established stars, Oscar-winning actors, and up-and-coming talent. The 2017 film is so stylish that it often comes across as too cold and too determined to be an Oscar-worthy period piece and costume drama. Kenneth Branagh, as the film's director and as its leading star (playing Hercule Poirot), sometimes seems lost in the technical details of directing his showy, award-winning cast and in creating an eccentric, OCD, smarter-than-everyone-else detective.

However, Murder on the Orient Express 2017 really shows its power in the last thirty minutes of the film. The 1974 film offered a tidy happy ending. The 2017 offers a thoroughly messy happy ending that is more befitting of these troubled, modern times. Branagh and writer Michael Green turn the last act's revelation of whodunit into an edgy, dark exercise. Truth be told, dammit! But it will be done so with all the rawness of grief and the bitterness and hatred of revenge. No one gets out of this resolution unscathed, and the healing will likely leave painful scabs.

I like Murder on the Orient Express 2017. I like that the ethnicity and national origins of the cast are more diverse than what is in the 1974 film and in the original novel. I like that it plainly leaves us with the message that murder is murder – no matter how good the intentions are – and that pain will temporarily make killers of those who are not really killers at heart. I wonder what Agathie Christie would think of this take on Murder on the Orient Express.

I like Murder on the Orient Express 2017 mainly because it decides not to be cozy about the murder mystery. I hope the follow up to this film, the just released Death on the Nile, is also this aggressive.

7 out of 10
A-

Thursday, February 10, 2022

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Wednesday, December 15, 2021

Review: Tyrone Power Struts Through Original "NIGHTMARE ALLEY"

TRASH IN MY EYE No. 71 of 2021 (No. 1809) by Leroy Douresseaux

Nightmare Alley (1947)
Running time: 111 minutes (1 hour, 51 minutes)
DIRECTOR: Edmund Goulding
WRITER: Jules Furthman (based on the novel by William Lindsay Gresham)
PRODUCER: George Jessel
CINEMATOGRAPHER: Lee Garmes (D.o.P.)
EDITOR: Barbara McLean
COMPOSER: Cyril Mockridge

DRAMA/FILM-NOIR

Starring: Tyrone Power, Joan Blondell, Coleen Gray, Helen Walker, Taylor Holmes, Mike Mazurki, and Ian Keith

Nightmare Alley is a 1947 American film noir drama directed by Edmund Goulding and starring Tyrone Power. The film is an adaptation of the 1946 novel, Nightmare Alley, which was written by William Lindsay Gresham. Nightmare Alley the film focuses on the rise and fall of a con man.

Nightmare Alley opens at a seedy traveling carnival and introduces the carnival's barker, Stanton “Stan” Carlisle (Tyrone Power), who is fascinated by everything at this place where he works. Stan works with Zeena Krumbein (Joan Blondell), who performs as the mentalist, “Mademoiselle Zeena,” with her alcoholic husband, Peter “Pete” Krumbein (Ian Keith). At one time, Zeena and Pete were a top-billed vaudeville act, and the two of them used an ingenious code to make it appear that she had extraordinary mental powers. However, the duo has been reduced to working in carnivals, and Pete is a severe alcoholic.

When Stan learns that many people want to buy the code that Zeena and Pete once used, he wants it, too. Zeena rebuffs Stan's attempts to get the code, but one night, while the carnival is in Burly, Texas, a terrible accident provides Stan with the opportunity to get the code. With Molly (Collen Gray), a young carnival worker by his side, Stan becomes “The Great Stanton” the acclaimed mentalist. But can this “uncommonly shrewd young trickster” (as one character refers to him) escape his troubled past, his guilt, and his fate?

I became interested in Nightmare Alley when I heard that Oscar-winning director Guillermo del Toro was going to remake it. Actually, del Toro's film is less a remake and more a new adaptation of William Lindsay Gresham's novel.

Regarding the 1947 film: apparently, Tyrone Power (1914-1958) wanted to play the role of Stanton Carlisle in order to expand his career beyond playing romantic leads and swashbucklers. These were the roles that made him a matinee idol in Hollywood in the mid-1930s and early 1940s, his star being born with 1936's Lloyd's of London. Stan is a good character to play. He is complicated and complex because he is not one thing. Stan can be ruthless and cruel and kind and considerate from one moment to another. He is highly skilled at the things in which he endeavors, but his greatest skill is his ability to con even the most skeptical people.

Stan is the kind of character who is perfect for a story of the “rise and fall” of an ambitious person, and this film is about the rise and fall of Stanton Carlisle, except that isn't a plot. The film follows Stan around, but the movie does not have a hook that really captures the audience's interest. It is not until an hour into the film when the narrative finally engages a conflict, which involves a psychiatrist, Lilith Ritter (Helen Walker), who is also Nightmare Alley's “femme fatale.” That's when we get the hook in the form of con job that is brilliant if it is successful and disastrous if even one thing goes wrong.

Upon its initial release, Nightmare Alley proved to be scandalous, in part because of the way religion plays a part in Stan's cons, and it was not a box office success. Over time, the film has apparently gained a following and is considered a classic of the film noir genre. Whether or not it is classic film noir is up to the viewer, although I don't consider it a classic. Nightmare Alley is not a great film, but there are times when it is really good.

However, I cannot help but find myself impressed by Tyrone Power's layered performance. Power really does make Stanton Carlisle feel like a genuine person, and he conveys Stan's dark side in a way that makes me pity him rather than dislike him. I am certain that over the years, other viewers felt the same way. I think that film noir fans will want to see this, and if there are any Tyrone Power fans still out there, they will want to see Nightmare Alley.

7 of 10
B+

Monday, December 13, 2021

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Sunday, December 12, 2021

Review: "THE CANNONBALL RUN" Can Still Run

TRASH IN MY EYE No. 70 of 2021 (No. 1808) by Leroy Douresseaux

The Cannonball Run (1981)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – PG
DIRECTOR: Hal Needham
WRITER: Brock Yates
PRODUCER: Albert S. Ruddy
CINEMATOGRAPHER: Michael Butler (D.o.P.)
EDITORS: Donn Cambern and William D. Gordean

COMEDY/ACTION/SPORTS

Starring: Burt Reynolds, Roger Moore, Farrah Fawcett, Dom DeLuise, Dean Martin, Sammy Davis, Jr., Jack Elam, Adrienne Barbeau, Tara Buckman, Terry Bradshaw, Jackie Chan, Bert Convy, Jamie Farr, Peter Fonda, George Furth, and Michael Hui

[I am working my way through the films that I first saw in a movie theater for which I have not previously written a movie review. The first time I saw a movie in an in-door theater (as opposed to a drive-in cinema) was in 1980 – likely The Empire Strikes Back. However, I am starting this process in the year 1981, and it turns out that there are only two movies left from that year that I saw in a theater for I which I have never written a formal review. The Cannonball Run is one of them.]

The Cannonball Run is a 1981 action-comedy and car-racing film from director Hal Needham. The film was produced by the Hong Kong film company, Golden Harvest, and distributed by 20th Century Fox. The movie's plot was based on the 1979 running of an actual cross-country, outlaw road race, the “Cannonball Baker Sea-to-Shining Sea Memorial Trophy Dash,” which was also known as the “Cannonball Run.”

The film features an all-star ensemble cast, led by Burt Reynolds and featuring Dom DeLuise, Roger Moore, Farrah Fawcett, Dean Martin, and Sammy Davis, Jr., to name a few. It was also the second Hollywood film appearance for Hong Kong martial arts legend and international movie star, Jackie Chan. The Cannonball Run movie focuses on an illegal cross-country race and its oddball contenders who will use every dirty-trick-in-the-book to evade the law and to screw over their opponents.

The Cannonball Run opens in Connecticut were several teams of racers have gathered for the latest running of the illegal, cross-country road race, the “Cannonball Run.” The goal of the racers, who are called “Cannonballers,” is to reach Portofino Inn in Redondo Beach, California. Some of them hope to break the Cannonball's speed race record of 32 hours and 51 minutes.

The race teams that have gathered in Connecticut are an odd lot. The most eccentric is the team of JJ McClure (Burt Reynolds), a famous racing driver and team owner, and Victor Prinzi (Dom DeLuise), his chief mechanic and co-driver. There racing vehicle is a “Transcon Medi-Vac” ambulance outfitted with a NASCAR engine. In order to convince any law enforcement officers that might stop them that they are a real ambulance and medical team, McClure and Prinzi draft a wacky physician, Doctor Nikolas Van Helsing (Jack Elam), into their plans. For a patient, they kidnap a beautiful young woman, a tree-loving photographer named Pamela Glover (Farrah Fawcett).

Their competitors are right behind them and are almost as weird. Scotch-swilling Jamie Blake (Dean Martin), an F1 racing icon, and his gambling-obsessed teammate, Morris Fenderbaum (Sammy Davis Jr.), dress as Catholic priests, and drive a red Ferrari. Jill (Tara Buckman) and Marcie (Adrienne Barbeau) are two attractive women who use their good looks and impressive cleavage against traffic officers while driving a black Lamborghini. Two Asian racers (Jackie Chan and Michael Hui) race in a high-tech, computer-laden Subaru hatchback. Seymour Goldfarb, Jr. (Roger Moore), the heir to the “Goldfarb Girdles fortune,” identifies himself as the actor Roger Moore, and he even drives a silver Aston Martin DB5.

Chasing after these teams and determined to stop the race because of its effects on the environment is Mr. Arthur J. Foyt (George Furth), an agent of the federal government's “Safety Enforcement Unit.” But can Mr. Foyt really stop all the racers, or will their dirty tricks stop each other?

I know why 15-year-old Leroy loved The Cannonball Run when he saw it in a theater in 1981 (the Vista Village Twin Cinema). He liked the fast cars, the cool-looking cars, the pretty White women with big boobs, and he was a fan of the actors and celebrities who appeared in the film, such as Burt Reynolds, Dom DeLuise, Farrah Fawcett, Mel Tillis, and Terry Bradshaw, to name a few. I was and still am a huge fan of the NFL team, the Pittsburgh Steelers, and legendary Steelers quarterback, Terry Bradshaw, was and still is my favorite NFL player, even though he is now a fat, old White man who supports Donald Trump.

But why did AARP Leroy, who recently watched The Cannonball Run again for the first time in 40 years (via Netflix's DVD.com), still find himself loving the movie? Maybe, it is because I like speedy, high-end, foreign sports cars. Maybe, it's because I still like amble breasts on White women. Maybe, it is because I still like many members of the film's cast, and I certainly appreciate Adrienne Barbeau, Sammy Davis, Jr., and Dean Martin more than I did back then. And maybe, it is because now I appreciate the way actor Alfie Wise and former NFL defensive lineman, Joe Klecko, who both appeared in The Cannonball Run, once looked in tight jeans.

I also noticed that some of the larger profile stars in this film are best known for what they did in the 1970s. Some continued to be star actors into the 1980s and beyond, such as Burt Reynolds. Others, like Terry Bradshaw, found new careers. Bradshaw has acted and appeared in numerous films and television shows, and he has had a four-decade career in sports broadcast that has earned him three Sports Emmy Awards, and he is still do that as of this writing.

Maybe, part of my enjoyment of this film is nostalgia. I am a fan of at least ten performers who appeared in The Cannonball Run and who are now deceased, including Burt Reynolds and Dom DeLuise.

That aside, the film is genuinely funny, at least I think so. It has a simple plot – win the race, trick the police, and lie-cheat-steal your opponents. The setting is also simple, the highway and byways of the United States. Sadly, because the film has a short-running time, it can only provide a cursory glance at the many unique places across the USA through which the Cannonballers have to travel. Honestly, I think this concept would make for a good television series, at least a miniseries.

The characters are actually interesting. Most of the actors are playing themselves or are playing character types, like Jack Elam's goony Dr. Van Helsing. I'm pretty sure that Dean Martin and Sammy Davis, Jr. were each playing a character they played many times before this film, both on television and in film. Farrah Fawcett's whispery-voiced Pamela Glover is a mostly pointless character, but Adrienne Barbeau and Tara Buckman make better use of their “sex appeal.”

In the case of Burt Reynolds and Dom DeLuise, their playing to type was and still is fine with me. Reynolds smile and his wit shine through in The Cannonball Run, which is by no means one of his better performances. Reynolds popularity lasted so long because he was a true movie star. As for DeLuise, if you liked what he usually did, well, he gave all of himself here. I have always found him likable, even when the material was not top notch, which it is not here.

I think what really sold The Cannonball Run, both to teenage me and to old me, is that everyone in this movie seems to be genuinely having fun. Back in 1981, those good feelings crossed over to the audience; The Cannonball Run was one of the year's biggest box office hits. In a way, those good feelings have crossed over through time to me, and I found myself really enjoying this movie all over again.

7 of 10
B+

Saturday, December 11, 2021

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