Review: "Thunderbirds" is a Good Family Film (Happy B'day, Jonathan Frakes)

TRASH IN MY EYE No. 13 (of 2005) by Leroy Douresseaux

Thunderbirds (2004)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG for intense action sequences and language
DIRECTOR:  Jonathan Frakes
WRITERS:  William Osborne and Michael McCullers; from a story by Peter Hewitt and William Osborne (based upon the television series by Gerry Anderson and Sylvia Anderson)
PRODUCERS:  Tim Bevan, Eric Fellner, and Mark Huffman
CINEMATOGRAPHER:  Brendan Galvin
EDITOR:  Martin Walsh
COMPOSERS: Ramin Djawadi and Hans Zimmer

ACTION/ADVENTURE/FAMILY and FANTASY/SCI-FI with elements of comedy

Starring:  Brady Corbet, Soren Fulton, Bill Paxton, Ben Kingsley, Vanessa Anne Hudgens, Anthony Edwards, Sophia Myles, Ron Cook, Deobia (Dhobi) Oparei, Rose Keegan, Phillip Winchester, Dominic Colenso, Ben Torgersen, Lex Shrapnel, Harvey Virdi, Bhasker Patel, Demetri Goritsas, Genie Francis, and Andy Smart

The subject of this movie review is Thunderbirds, a 2004 science fiction and action-adventure film from director Jonathan Frakes (best known as “Commander William T. Riker” of “Star Trek: The Next Generation”).  This film is loosely based on the 1960s British science fiction television series, “Thunderbirds” (1965-66), created by Gerry and Sylvia Anderson.  This Thunderbirds movie features live-action, human actors portraying the characters, while the television series used “Supermarionation” marionettes (a kind of puppet) as the characters.

Thunderbirds 2004 finds the Thunderbirds’ trapped and their secret base invaded by their arch-nemesis, and only the youngest Thunderbird is free to save the day.  I like this film’s story, but I would have preferred marionettes playing the characters.  However, I was shocked to find that I really enjoyed this movie, which owes as much to the Spy Kids franchise as it does to the Thunderbirds TV series.

After narrowly averting an oil rig disaster and rescuing a small group of rig workers, the Thunderbirds, led by papa Jeff Tracy (Bill Paxton), return home to their secret headquarters, Tracy Island, a lush patch of land that hides a giant secret base, the home of the Thunderbirds’ organization, International Rescue.  What the Thunderbirds don’t know is that a tracking device was placed on their rescue vehicle by a henchman of long-time Thunderbird adversary, The Hood (Ben Kingsley).

The Hood launches an attack on Thunderbird 5, IR’s secret space station.  Jeff Tracy and three of the older boys rush off to TB5 to rescue eldest son John (Lex Shrapnel), who operates the station.  The Hood invades Tracy Island and takes over Thunderbird headquarters from where he launches another attack that traps Jeff and his fours sons on TB5.  Now, it’s up to youngest son and headstrong troublemaker, Alan Tracy (Brady Corbet), to gain maturity beyond his years if he’s going to rescue his father and brothers and stop The Hood’s diabolical plan to rob the biggest banks in the world.  Luckily he has his friends Fermat (Soren Fulton) and Tin Tin (Vanessa Anne Hudgens) to help him, and here comes Lady Penelope (Sophia Myles) and her driver/butler Parker (Ron Cook) on the way.

Of course, Thunderbirds is the live-action update of the hit 1960’s British TV series and cult favorite, “Thunderbirds,” created by Gerry Anderson and his wife, Sylvia.  Obviously some people are going to have a difficult time accepting human actors in place of the series original “actors,” marionettes.  However, this is a fun family movie in the vein of the Spy Kids and Agent Cody Banks franchises.  The focus is not on the Thunderbirds as a team, but more on Alan Tracy and his friends Fermat and Tin Tin as a sort of makeshift young Thunderbirds.

That aside, Thunderbirds is a great kids action movie, superbly directed by Jonathan Frakes, best known as Commander William T. Riker of “Star Trek: The Next Generation,” but Frakes has also directed several episodes of various TV series and a few feature films.  Frakes and the screenwriters deftly keep the action exciting without being intense, and they flirt with bawdy humor via verbal gags, taking advantage of Fermat and his father, Brains’ (Anthony Edwards) stuttering.

Bill Paxton seems to need half the film to warm up to playing Jeff Tracy, and Ben Kingsley is simply having fun, although he’s always a regal presence.  Nevertheless, the stars are the young trio of Alan Tracy, Fermat, and Tin Tin, and the young actors, who give striking performances, gamely carry this nice family thrill ride.

7 of 10
B+

Updated:  Monday, August 19, 2013

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Review: "Lucky Number Slevin" a Crime Film Treat

TRASH IN MY EYE No. 235 (of 2006) by Leroy Douresseaux

Lucky Number Slevin (2006)
Running time:  110 minutes (1 hour, 50 minutes)
MPAA – R for strong violence, sexuality, and language
DIRECTOR:  Paul McGuigan
WRITER:  Jason Smilovic
PRODUCERS:  Chris Roberts, Christopher Eberts, Kia Jam, Anthony Rhulen, Robert Kravis, and Tyler Mitchell
CINEMATOGRAPHER:  Peter Sova, ASC
EDITOR:  Andrew Hulme
COMPOSER:  J. Ralph

CRIME with elements of mystery and thriller

Starring:  Josh Hartnett, Morgan Freeman, Sir Ben Kingsley, Lucy Lui, Stanley Tucci, Bruce Willis, Dorian Missick, Mykelti Williamson, and Peter Outerbridge

The subject of this movie review is Lucky Number Slevin, a 2006 crime thriller.  The film is about a young man trapped by a case of mistaken identity that lands him in the middle of a brewing gang war between two rival crime bosses and also makes him the target of an infamous assassin.

Slevin Kelevra (Josh Hartnett) arrives at his friend, Nick Fisher’s New York City apartment only to find him missing, but Slevin does strike up a friendship with Nick’s chatty neighbor, Lindsey (Lucy Lui).  Later, two thugs looking for Nick arrive at the apartment and mistake Slevin for his missing friend.  It turns out that Nick owes a lot of money to two crime bosses:  $96,000 to The Boss (Morgan Freeman) and $33,000 to The Rabbi (Sir Ben Kingsley).

The Boss and The Rabbi, once partners, are now bitter, deadly enemies.  Before long, The Boss wants Slevin to perform a high-profile hit against The Rabbi’s son as a way to pay off his $96,000 debt.  The Rabbi just wants his money, and he gives Slevin a few days to come up with the cash.  And it doesn’t matter to them that Slevin isn’t Nick – that’s just his hard luck.  How unlucky is Slevin?  The infamous assassin, Mr. Goodkat (Bruce Willis), is also gunning for Slevin, or is he?  Slevin suddenly has to hatch an ingenious plot to win this game of death.  And what is the Kansas City Shuffle?

Paul McGuigan (GANGSTER Number 1) mixes sub-genres in his crime flick, Lucky Number Slevin.  It blends noir, gangster flicks, and the con game into a violent little tale of betrayal, crass brutality, and revenge.  The viewer that doesn’t figure out the trick early on will find himself rewarded for having waded through this often slow moving and gabby flick.  Even figuring out the surprise midway through the movie makes the waiting pay off.  Figure out the secrets early on, and you might have to enjoy Lucky Number Slevin’s execution and style.  (Strangely, the direction and writing on this film seem at their best during the flashbacks.)

The performances are good, but not great.  It’s these actors’ status as movie stars – whether it be A-list, B-list, or lower – and their ability to sell a character they’re playing that makes what they’re doing look good and convincing (although Sir Ben Kingsley seems an automatic for the most part).  Meanwhile, Josh Hartnett is a “face.”  He’s handsome and has movie idol written all over him, but he still hasn’t found enough good material to make him iconic.  Lucky Number Slevin isn’t that kind of great material, but it’s good enough for the time being.  Sexy, vulnerable, and utterly sympathetic, Hartnett makes this odd and sometimes uneven tale a sweet treat for fans of crime cinema.

7 of 10
B+

Updated: Friday, July 19, 2013

Review: Shohreh Aghdashloo's Dazzling Memoir

THE ALLEY OF LOVE AND YELLOW JASMINES
HARPERCOLLINS – @HarperCollins

AUTHOR: Shohreh Aghdashloo
ISBN: 978-0-06-200980-7; hardcover (June 4, 2013)
288pp, B&W with 8-page color photo insert, $26.99 U.S.

Shohreh Aghdashloo is an Iranian-American actress. She is probably best known for the Oscar nomination she earned as “Best Actress in a Supporting Role” for portraying Nadereh “Nadi” Behrani, the wife of Ben Kingsley’s Colonel Behrani in the 2003 film, House of Sand and Fog (76th Academy Awards). In 2009, Aghdashloo won the Primetime Emmy Award for “Outstanding Supporting Actress in a Miniseries or a Movie” for portraying Sajida Khairallah Talfah in the BBC/HBO miniseries, House of Saddam (2008).

Superhero fans may remember Aghdashloo for portraying Dr. Kavita Rao in X-Men: The Last Stand (2006). In the film, Dr. Rao is a scientist working at Worthington Labs on the “mutant cure,” an inoculation (or shot) that will suppress the X-gene that gives mutants their abilities and makes them different from other humans.

Now, Shohreh Aghdashloo is sharing her journey from a childhood in Iran to the red carpets of Hollywood in her new memoir, The Alley of Love and Yellow Jasmines. The actress tells stories of family, faith, revolution, and hope.

She was born Shohreh Vaziri-Tabar on May 11, 1952 and grew up in affluent Tehran in the 1950s and 60s. However, Shohreh begins her story on Sunday, February 29, 2004 – the day of the 76th Academy Award ceremony. That day and the beginning of the night take up the first chapter, in which Shohreh even tells us about the two big Hollywood stars that snubbed her.

Afterwards, Shohreh, the author and storyteller, returns to her youth. Shohreh dreamed of becoming an actress, despite her parents’ more practical plans that she study to become a doctor. Shohreh was enchanted by the movies she watched while growing up in affluent Tehran in the 1950s and 60s. She fell in love and married her husband, Aydin Aghdashloo, a painter twelve years her senior and from whom she got her professional name. Shohreh made him promise he’d allow her to follow her passion.

The first years of their marriage were magical, as Shohreh began to build a promising acting career on screen and stage. Meanwhile, Aydin worked at the royal offices as an art director, exhibited his paintings in Tehran, and collected calligraphy. However, in 1979, revolution swept Iran, toppling the Shah Mohammed Reza Pahlavi’s regime and installing an Islamic republic ruled by the former exiled cleric, Ayatollah Khomeini. Shohreh, alarmed by the stifling new restrictions on women and art, decided to escape the new regime and her home country. She began a journey that would eventually lead her to Los Angeles, to a new home, to a new family, and finally to the Hollywood career of which she’d always dreamed.

The most surprising thing about The Alley of Love and Yellow Jasmines is how well-written it is, and I say that because the tale Shohreh Aghdashloo tells is occasionally mesmerizing. Shohreh the acclaimed actress becomes Shohreh the acclaimed author with this dazzling effort. Not every celebrity can pull off a well-written opinion piece, let alone an entire book. Is there anything that has come out of Charles Barkley and Bill O’Reilly’s mouths that makes you think they are actually articulate and literate enough to have written the books credited to them?

Shohreh’s prose is impressive and especially vivid. Readers will imagine that they are experiencing the sights, sounds, and sensations Shohreh describes, as if her memories are also their memories. Speaking personally, when Shohreh wrote of her time as a young fashion model, her words made my imagination work to envision the clothes and fashions she wore so many decades ago.

Iran comes to life for me as it never has before, because I was seeing a place where people lived and not as an enemy state, which is how Iran is so often portrayed in Western media. I think the most important thing, however, is that the reader comes to feel and to understand Shohreh Aghdashloo’s desire to be an artist and an actor.

I do think that Shohreh is vague in some spots. She really only scratches at the surface of her political and social activism. It is almost as if it is something she does not want to hide, yet is forced to leave out details in some instances.

Shohreh is relatively unknown to American audience, even with her success. The Alley of Love and Yellow Jasmines, this book written in such a dazzling and colorful manner, will make you want to know her. This is one book written by an actor about her life that is certainly worth reading.

Readers of actors’ memoirs must have The Alley of Love and Yellow Jasmines.

A-

Reviewed by Leroy Douresseaux

Review: "Iron Man 3" About the Man in the Iron

TRASH IN MY EYE No. 31 (of 2013) by Leroy Douresseaux


Iron Man 3 (2013)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for sequences of intense sci-fi action and violence throughout, and brief suggestive content
DIRECTOR: Shane Black
WRITERS: Drew Pearce and Shane Black (based on the characters and stories created by Stan Lee, Don Heck, Larry Lieber, and Jack Kirby)
PRODUCER: Kevin Feige
CINEMATOGRAPHER: John Toll (director of photography)
EDITORS: Peter S. Elliot and Jeffrey Ford
COMPOSER: Brian Tyler

SUPERHERO/SCI-FI/ACTION

Starring: Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Ty Simpkins, Ben Kingsley, James Badge Dale, Stephanie Szostak, William Sadler, Miguel Ferrer, Jon Favreau, and Paul Bettany (voice)

Iron Man 3 is a 2013 superhero film co-written and directed by Shane Black and starring Robert Downey, Jr. in the title role. It is the third movie in the Iron Man film franchise and the seventh installment in the Marvel Cinematic Universe (which began with the first Iron Man movie in 2008). In Iron Man 3, Tony Stark/Iron Man is forced to rebuild his world after it is torn apart by a formidable terrorist.

Iron Man 3 finds billionaire inventor Tony Stark (Robert Downey, Jr.) suffering from anxiety after his experiences with The Avengers. He has built several new Iron Man suits, which causes friction with his girlfriend and current CEO of Stark Industries, Pepper Potts (Gwyneth Paltrow). Also, Tony’s friend, James “Rhodey” Rhodes (Don Cheadle), is now the U.S. government’s go-to-guy when it needs Iron Man-type help. Rhodes in his War Machine armor has also been re-branded as the Iron Patriot.

Tony has been working non-stop for months, but one thing that does catch his attention is the global tension caused by a mysterious terrorist known as The Mandarin (Ben Kingsley). After his friend, Happy Hogan (Jon Favreau), is gravely wounded in one of The Mandarin’s terrorist attacks, Tony vows revenge, but The Mandarin strikes first. Tony begins a journey of rebuilding and retribution, which is complicated by a cast of characters that includes friends and foes and even people whose allegiances are suspect.

Iron Man 3 is spectacular. Destruction is rendered in vivid colors and in awesome visual effects generated by computer software with the god-like ability to create new realities. But I was buying it the way I did for the first two Iron Man films. Don’t get me wrong, Iron Man 3 is good, and I enjoyed it – for the most part. For all its superhero action pageantry and its out of this world combat between demigods and demigod wannabes, I was only somewhat titillated.

There is one glaring thing that dampened my enthusiasm for Iron Man 3, and it is the entire Tony Stark anxiety, panic attack, quasi-PTSD, crisis of faith/conscience factor that is at the heart of Iron Man 3. To me, Tony’s angst comes across as contrived. I just wasn’t buying it. Didn’t we already litigate Tony Stark’s mental demons, relationship shortcomings, and personality glitches in Iron Man 2?

I did enjoy Gwyneth Paltrow as Pepper Potts, and the actress shows that if the filmmakers did more than just scratch the surface of this character, they’d have something super. In addition, Don Cheadle easily moves past being the replacement actor (as Terrence Howard played Rhodes in the first Iron Man), as he fully comes into his own as James Rhodes. Here, Cheadle is funny and engaging, and he clearly has the film personality to be an action-movie star – certainly in superhero movies. Also, Ty Simpkins is surprisingly good as the Harley, a non-annoying, forthright boy.

In terms of tone, attitude, and spirit, Iron Man 3 is different from its predecessors. In fact, it seems odd, and The Mandarin subplot keeps things weird – perhaps too much. So Iron Man 3… maybe I’ll like it more when I see it again, on DVD or television. It is a good movie, but I can only be generous enough to give it a grade of “B.”

6 of 10
B

Sunday, May 5, 2013

"Iron Man 3" Opens Early in IMAX

Marvel's Iron Man 3 Flies Into IMAX® Theatres Worldwide Starting April 25

LOS ANGELES, Jan. 22, 2013 /PRNewswire/ -- IMAX Corporation (NYSE:IMAX; TSX:IMX), and Marvel Entertainment, a division of The Walt Disney Company (NYSE: DIS), today announced that Marvel's Iron Man 3(TM), the latest installment of the film franchise that has grossed more than $1.2 billion at the global box office, will be digitally re-mastered into the immersive IMAX(®) 3D format and released to IMAX(®) theatres internationally starting April 25 and domestically on May 3.

Marvel's Iron Man 3 marks the fourth Marvel Entertainment film to be presented in IMAX theatres, following the releases of Iron Man 2 in 2010, Thor in 2011 and Marvel's The Avengers in 2012 - which all delivered record breaking performances in IMAX theatres.

"Marvel and IMAX are a perfect one-two punch and the Iron Man franchise has become a global phenomenon that resonates with fans around the world," said Greg Foster, Chairman and President of IMAX Filmed Entertainment. "We look forward to moviegoers experiencing this highly-anticipated next installment of Tony Stark's latest adventures in IMAX 3D."

"With Iron Man 3 building on the events of Marvel'sThe Avengers, audiences are in for yet another incredible moviegoing experience from Marvel Studios," said Dave Hollis, Executive Vice President of Motion Picture Distribution for The Walt Disney Studios. "We're thrilled to be able to offer that to fans in the larger-than-life action of IMAX 3D."

The IMAX 3D release of Marvel's Iron Man 3 will be digitally re-mastered into the image and sound quality of The IMAX Experience(®) with proprietary IMAX DMR(®) (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie. You can learn more about Marvel's Iron Man 3 by visiting Marvel's official site at http://marvel.com/ironman3.


About Iron Man 3
Marvel's Iron Man 3 pits brash-but-brilliant industrialist Tony Stark/Iron Man against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy's hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man?

Starring Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Stephanie Szostak, James Badge Dale with Jon Favreau and Ben Kingsley, Marvel's Iron Man 3 is directed by Shane Black from a screenplay by Drew Pearce & Shane Black and is based on Marvel's iconic super hero Iron Man, who first appeared in the pages of Tales of Suspense #39 in 1963 and had his solo comic book debut with The Invincible Iron Man # in May of 1968.

Marvel's Iron Man 3 is presented by Marvel Studios in association with Paramount Pictures and DMG Entertainment. Marvel Studios' President Kevin Feige is producing and Jon Favreau, Louis D'Esposito, Charles Newirth, Victoria Alonso, Stephen Broussard, Alan Fine, Stan Lee and Dan Mintz are executive producers. The film releases May 3, 2013, and is distributed by Walt Disney Studios Motion Pictures.

About Marvel Entertainment, LLC
Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world's most prominent character-based entertainment companies, built on a proven library of over 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information, visit http://www.marvel.com/.

About IMAX Corporation
IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you've never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX's network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing. As of Sept. 30, 2012, there were 689 IMAX theatres (556 commercial multiplex, 20 commercial destination and 113 institutional) in 52 countries.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®, The IMAX Experience® and IMAX Is Believing® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).

This press release contains forward looking statements that are based on IMAX management's assumptions and existing information and involve certain risks and uncertainties which could cause actual results to differ materially from future results expressed or implied by such forward looking statements. These risks and uncertainties are discussed in IMAX's most recent Annual Report on Form 10-K and most recent Quarterly Reports on Form 10-Q.

Review: "Species" is Kooky and Entertaining (Happy B'day, Natasha Henstridge)

TRASH IN MY EYE No. 10 (of 2004) by Leroy Douresseaux


Species (1995)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – R for sci-fi violence, strong sexuality and some language
DIRECTOR: Roger Donaldson
WRITER: Dennis Feldman
PRODUCERS: Dennis Feldman and Frank Mancuso Jr.
CINEMATOGRAPHER: Andrzej Bartkowiak (D.o.P.)
EDITOR: Conrad Buff
COMPOSER: Christopher Young

DRAMA/SCI-FI/THRILLER with elements of action and horror

Starring: Ben Kingsley, Michael Madsen, Alfred Molina, Forest Whitaker, Marg Helgenberger, Natasha Henstridge, and Michelle Williams

The subject of this movie review is Species, a 1995 science fiction and horror film from director Roger Donaldson. The film follows a group of scientists who are trying to track down an alien killer that looks like a human female. The alien’s creature form (which is a bipedal being with tentacles on her shoulders and back) was created by Swiss artist, H.R. Giger, who also created the creature in the original, 1979 Alien film.

In 1979, the scientist at S.E.T.I., (the giant radio telescope that searches outer space for signals from intelligent extraterrestrial life) sends out a message that includes a map of human DNA. They get the message back with instructions on how to modify DNA. Human scientists use that information to create a genetically modified human child named Sil (Michelle Williams). Sil later escapes when the scientists decide to abort the project by killing her, and due to her incredible rate of growth, she morphs into a sexy, adult blonde bombshell. The head scientist, Xavier Finch (Ben Kingsley), leads a team of experts in their respective fields that tracks Sil to Los Angeles as she seeks a human male with whom she will mate.

When this film was first released, the film’s production company tried to sell Species as some kind of creature flick featuring a sexy monster who could arouse a man as easily as she could kill him. Species is actually a very entertaining movie that is as much a dramatic thriller as it is a sci-fi horror flick. The eroticism is mostly non-existent, other than the fact that the actress playing the “creature,” Natasha Henstridge is a very beautiful woman with the an athletic build and the kind of long legs that turn men on like a light switch.

The cast is made up of a group of fine character actors, including a personal favorite, the incomparable Ben Kingsley (Ghandi), who makes any role he plays something special. Although Marg Helgenberger seems slightly out of place with all these male players, she holds her own with the always-delightful Michael Madsen, the oddly charming Forest Whitaker, and the chameleonic Alfred Molina.

Director Roger Donaldson (Cocktail) does a fine job assembling his cast and getting them to make a passable sci-fi concept into a really good thriller that maintains its quality even through some bad CGI at the end.

6 of 10
B

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Review: "A Sound of Thunder" isn't Too Bad

TRASH IN MY EYE No. 95 (of 2006) by Leroy Douresseaux


A Sound of Thunder (2005)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – PG-13 for sci-fi violence, partial nudity, and language
CINEMATOGRAPHER/DIRECTOR: Peter Hyams
WRITERS: Thomas Dean Donnelly & Joshua Oppenheimer and Gregory Poirier; screen story by Thomas Dean Donnelly and Joshua Oppenheimer (based upon the short story by Ray Bradbury)
PRODUCERS: Moshe Diamant and Karen Baldwin
EDITORS: Sylvia Landra
COMPOSER: Nick Glennie-Smith

SCI-FI/FANTASY/ACTION/THRILLER with elements of horror

Starring: Edward Burns, Catherine McCormack, Ben Kingsley, Jemima Rooper, David Oyelowo, William Armstrong, and Corey Johnson

The subject of this movie review is A Sound of Thunder, a 2005 science fiction and time travel movie from director Peter Hyams. The film is based upon a Ray Bradbury short story of the same title that was first published in 1952 (in Collier’s magazine). The film follows the efforts of a scientist who tries to save his world after a group of “time tourists” accidentally change the present by interfering with the past.

In the year 2055, a company based in downtown, Chicago, Time Safari, Inc., is an elite time travel agency. The corporation’s owner, Charles Hatton (Ben Kingsley), has cornered the lucrative time-travel market with something called a “prehistoric hunting package.” For a very high price, rich adventurers can travel back to the Prehistoric age and hunt a real life dinosaur. The trip has only three essential rules: (1) Don’t change anything in the past; (2) Don’t leave anything behind; and most of all (3) Don’t bring anything back – because the slightest alteration of anything that existed in the past could alter the existing course of evolution in unimaginable ways. But someone breaks the rules…

Before long, a series of time waves is rippling across the world. The change is slow at first – just the climate and weather. Within 24 hours, the major changes begin. Plant life grows to monstrous proportions, busting through concrete and pavement, overturning cars, engulfing entire building inside and out, and covering the city. Soon voracious insects are running amok in the city, and then come the hostile new creatures – primates in reptilian form that can move with blazing speed and that feed on humans.

The two people who have an idea of what is happening are Dr. Travis Ryer (Edward Burns), a scientist who leads the Time Safari expeditions so that he can further his genetic research, and Dr. Sonia Rand (Catherine McCormack), the brilliant physicist who developed much of the technology that Time Safari, Inc. uses to make its expeditions into the past possible. Now, Ryer needs Rand’s help if he is going to figure out exactly what went wrong on one of his expeditions that is causing the time waves. With the world collapsing into pandemonium around them, as deadly plants and monstrous new animal life forms attack humans, Ryer and Rand have to figure out a way to go back into the past and correct the error that will save themselves and the human race from extinction.

Once A Sound of Thunder missed its release date of March 2005, it was clear to fans that the distributor, Warner Bros. Pictures, probably thought the film was a bust. Without much advertising and little fanfare, the film finally appeared in early September of 2005, and failed at the box office (grossing less than $2 million domestically). The film was beset by production delays (the great floods of Prague in 2002 damaged the set), causing the film to miss its original release date of 2003. The original director, Renny Harlin, left in 2004 to helm another film (Mindhunters), and the production company went bankrupt, and there was no money to finish the film.

Still, what finally emerges is a rather entertaining, above average, B-movie; in fact, this is a glorified B-movie, a big budget version of the sci-fi monster movies that show up on the Sci-Fi Channel on Saturday nights. Some of the special effects are poor, especially some of the street scenes, which look phony and cheap; the viewer can practically see the “seems” between where the actors and real environment end and the CGI begins. The dinosaur that is the object of Time Safari’s hunts is so poorly animated, especially when compared to the kind of CGI dinos we get in mega productions like Jurassic Park. Part of that is because when the production company went bankrupt, the filmmakers hadn’t begun such post-production work computer animation. When money was finally received to finish A Sound of Thunder, the effects had to be cheaply done.

The script also takes great liberties with its source material, a classic Ray Bradbury science fiction short story, in order to become a full-length film. In the original story, the death of an insect changed an election’s outcome. Here, so much padding had to be added to turn a short story into a feature length film.

Otherwise, I liked the execution of the film’s plot, and its visual choices in terms of set design and art direction. The film’s monsters are also enjoyable even though they look more fake and plastic than the old-time movie monsters that were handmade. And A Sound of Thunder really is a monster movie, except it is set in the milieu of science fiction rather than of horror. In many ways, A Sound of Thunder is the kind of action oriented, sci-fi/horror thriller that director Peter Hyams delivers every blue moon – The Relic being a good example of one of his enjoyable B-movie, sci-fi/horror, action flicks. In Hyams’ films, the genre, be it sci-fi or horror, is just a setting for an action movie starring a solid, macho, can-do male hero. As simple entertainment, they work if you don’t think too much about the flaws and holes.

This flick likes the audience rather than take them for stupid, and it wants to give you a good time. The ending is too abrupt, unsatisfying, and doesn’t really resolve the story. However, A Sound of Thunder is fun, meant to be enjoyable even when the mistakes are right in front of your eyes.

5 of 10
B-

Sunday, May 7, 2006

Review: "Schindler's List" is Fine Art

TRASH IN MY EYE No. 19 (of 2005) by Leroy Douresseaux

Schindler’s List (1993) – B&W with color segments
Running time: 194 minutes (3 hour, 14 minutes)
MPAA – R for language, some sexuality and actuality violence
DIRECTOR: Steven Spielberg
WRITER: Steven Zaillian (from the novel by Thomas Keneally)
PRODUCERS: Gerald R. Molen, Branko Lustig, and Spielberg
CINEMATOGRAPHER: Janusz Kaminski
EDITOR: Michael Kahn, A.C.E.
Academy Award winner

DRAMA/WAR with elements of thriller

Starring: Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagalle, and Embeth Davidtz

When Steven Spielberg finally won his Oscar for “Best Director,” he also picked up an additional statue as a producer when Schindler’s List won the “Best Picture” of 1993. Schindler’s List is without a doubt one of the greatest films of the last quarter of the 20th century, and it is also truly film as art.

The film’s title character is the real life Oskar Schindler (Liam Neeson), a member of the Nazi Party and a war profiteer. The Czech-born, German businessman made his fortune exploiting cheap Jewish labor in German-occupied Poland. As World War II progresses, Schindler grows more horrified as the Nazi’s step up the process of exterminating Jews, especially after he witnesses the liquidation of the Krakow ghetto in 1943. He convinces a barbaric German commander, Amon Goeth (Ralph Fiennes), to let him have the 1100 Polish Jews he has on a list he created with his longtime partner and Jewish prisoner, Itzhak Stern (Ben Kingsley). This group of Jews are scheduled to be gassed at Auschwitz, but he is allowed to use them to operate a munitions factory at Brinnlitz. The second half of the film follows Schindler as he lavishly spends his fortune on bribes, parties, and gifts on important German officials who will tolerate him using Jewish workers. Schindler’s Jews and their benefactor struggle to stay alive as Germany steadily loses the war because it is at this point that Germany begins to try to hide evidence of the Holocaust.

Although many have criticized the film for being overly-sentimental, propagandistic, and historically inaccurate (Oskar Schindler may have been less charitable and more opportunistic in his quest to save the Jews, and Jewish prisoners may have had to pay their way onto the list, according to some), Schindler’s List is nevertheless a very powerful film. It resonates more than just emotionally and is also a very well made film. In fact, Spielberg’s mixture of classic Hollywood style, black and white photography, and a documentary-like directing technique make for a inimitable and distinctive film. Whenever the film narrative turns to Liam Neeson’s Schindler, Spielberg frames the character as if Schindler were in an archetypal 1940’s Hollywood film noir. When chronicling the Germans’ brutality against the Jews, Spielberg creates a raw, visceral, and immediate art splashed on the wide canvas of a world simultaneously real and dreamlike.

It’s a bravura effort from one of the great film helmsmen. Spielberg makes a compelling film that you can’t help but watch even as he brazenly displays the monstrous cruelty of Germans. Still, that is the way Spielberg emphasizes that the Germans considered their Jewish slaves and prisoners to have no future, that they were merely the tattered remains of a history already forgotten.

It’s a shame Neeson did not win the “Best Actor in a Leading Role” Oscar that year, losing to Tom Hanks. In many ways, Neeson is as important to the film as Spielberg. Schindler is both the foundation upon which this story is built and the axis upon which it turns. Neeson recognizes the faults of the man and subtly pushes Schindler’s less than savory attributes to the surface. He makes him more human than hero. Neeson conveys the sense that there is always something else going on in Schindler’s mind, something quite different from what he tells his friends and adversaries. An actor giving a character that much verisimilitude is rare. That Neeson can make the sly, sneaky, and recklessly flawed Schindler so engaging and intriguing is itself a work of art.

10 of 10

NOTES:
1994 Academy Awards: 7 wins: “Best Picture” (Steven Spielberg, Gerald R. Molen, and Branko Lustig), “Best Director” (Steven Spielberg), “Best Writing, Screenplay Based on Material Previously Produced or Published” (Steven Zaillian), “Best Art Direction-Set Decoration” (Allan Starski and Ewa Braun), “Best Cinematography” (Janusz Kaminski), and “Best Film Editing” (Michael Kahn), “Best Music, Original Score” (John Williams); 5 nominations: “Best Actor in a Leading Role” (Liam Neeson), “Best Actor in a Supporting Role” (Ralph Fiennes), “Best Costume Design” (Anna B. Sheppard), “Best Makeup” (Christina Smith, Matthew W. Mungle, and Judith A. Cory), “Best Sound” (Andy Nelson, Steve Pederson, Scott Millan, and Ron Judkins)

1994 BAFTA Awards: 7 wins: Best Actor in a Supporting Role” (Ralph Fiennes), “Best Cinematography” (Janusz Kaminski), “Best Editing” (Michael Kahn), “Best Film” (Steven Spielberg, Gerald R. Molen, and Branko Lustig), “Best Score” (John Williams), “Best Screenplay – Adapted” (Steven Zaillian), and “David Lean Award for Direction” (Steven Spielberg); 6 nominations: “Best Actor” (Liam Neeson), “Best Actor in a Supporting Role” (Ben Kingsley), “Best Costume Design” (Anna B. Sheppard), “Best Make Up Artist” (Christina Smith, Matthew W. Mungle, Waldemar Pokromski, and Pauline Heys), “Best Production Design” (Allan Starski), and “Best Sound” (Charles L. Campbell, Louis L. Edemann, Robert Jackson, Ron Judkins, Andy Nelson, Steve Pederson, and Scott Millan)

1994 Golden Globes: 3 wins: Best Director - Motion Picture (Steven Spielberg), “Best Motion Picture – Drama,” and “Best Screenplay - Motion Picture” (Steven Zaillian); 3 nominations: “Best Original Score - Motion Picture” (John Williams), “Best Performance by an Actor in a Motion Picture – Drama” (Liam Neeson), and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Ralph Fiennes)

2004 National Film Preservation Board: National Film Registry

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Review: "Hugo" Captures the Magic of Movies

TRASH IN MY EYE No. 23 (of 2012) by Leroy Douresseaux

Hugo (2011)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – PG for mild thematic material, some action/peril and smoking
DIRECTOR: Martin Scorsese
WRITER: John Logan (based on Brian Selznick’s book, The Invention of Hugo Cabret)
PRODUCERS: Johnny Depp, Tim Headington, Graham King, and Martin Scorsese
CINEMATOGRAPHER: Robert Richardson
EDITOR: Thelma Schoonmaker
COMPOSER: Howard Shore
Academy Award winner

HISTORICAL/DRAMA/FAMILY with elements of fantasy

Starring: Asa Butterfield, Ben Kingsley, Sacha Baron Cohen, Chloë Grace Moretz, Ray Winstone, Emily Mortimer, Christopher Lee, Helen McCrory, Michael Stuhlbarg, Frances de la Tour, Richard Griffiths, and Jude Law

Hugo is a 2011 Oscar-winning historical drama and 3D adventure film directed by Martin Scorsese. The film is based upon The Invention of Hugo Cabret, a 2007 historical fiction novel by Brian Selznick. The film is about a boy who lives in the walls of a Paris train station and how he meets Georges Méliès, the real-life French film pioneer.

It is 1931, and 12-year-old Hugo Cabret (Asa Butterfield) takes care of the clocks at the Gare Montparnasse railway station in Paris. He lives in the walls of the station with his uncle, Claude Cabret (Ray Winstone), an alcoholic watchmaker who is responsible for maintaining the clocks at the station and who teaches the craft to Hugo. After his uncle disappears, Hugo fends for himself, stealing food and maintaining the clocks. Hugo has also taken on a project of his late father (Jude Law), repairing a broken automaton, a mechanical man that is supposed to write after he is wound.

To repair the automaton, Hugo steals mechanical parts from an elderly toy store owner. One day, the owner, Georges Méliès (Ben Kingsley), catches Hugo and takes the boy’s notebook, which has notes and drawings for fixing the automaton. To get his notebook back, Hugo begins working for Méliès and also befriends the old man’s goddaughter, Isabelle (Chloë Grace Moretz). The children’s friendship and curiosity lead to a shocking revelation that might restore the spirit of a forgotten artist.

I guess that I should not be surprised that Martin Scorsese could pull off a film like Hugo – what is basically a family movie. I know that not all Scorsese’s films involve mobsters and violence, for instance, The Last Temptation of Christ and The Aviator, but his films are generally edgy adult dramas. With Hugo, however, Scorsese drives this film not only with a child’s sense of wonder and curiosity, but also with a child’s grit and determination to do what they believe is the right thing.

Scorsese’s films are successful because he gets great performances from his actors, and these performances are sometimes what make his films special (Robert De Niro in Raging Bull), or memorable (Joe Pesci in Goodfellas), or legendary (De Niro in Taxi Driver). In Hugo, the actors are so upfront emotionally that their intentions are clear to the audience. This makes the characters honest and vulnerable, in a childlike way that makes them endearing. That is why Chloë Grace Moretz’s Isabelle comes across as refreshing and intriguing rather than just being the girl character intruding in a boy’s tale.

While Ben Kingsley’s name is listed first in the credits, Asa Butterfield is the film’s star and Hugo Cabret is the lead character. Unlike some child actors who pretend more than they act, Butterfield plays Hugo with a veteran movie actor’s chops. He makes Hugo whole and believable, so much so that I lied to myself that Hugo was real boy.

Speaking of Ben Kingsley: after decades of great performances, I should not be surprised at how good he is as Georges Méliès, but I am. Kingsley is shockingly intense, even in the scenes that are relatively quiet and low key. In the scene in which Méliès tells the story of his past, Kingsley’s voice takes on a life of its own and magically transports us to Georges Méliès’ golden age.

And Hugo is magical. It is a trip into our dreams, in which the past comes to life. Most of all, Hugo reminds us of why movies are so special.

9 of 10
A+

NOTES:
2012 Academy Awards: 5 wins: “Best Achievement in Art Direction” (Francesca Lo Schiavo-set decorator and Dante Ferretti-production designer), “Best Achievement in Cinematography” (Robert Richardson), “Best Achievement in Sound Editing” (Philip Stockton and Eugene Gearty), “Best Achievement in Sound Mixing” (Tom Fleischman and John Midgley), and “Best Achievement in Visual Effects” (Robert Legato, Joss Williams, Ben Grossmann, Alex Henning); 6 nominations: “Best Achievement in Costume Design” (Sandy Powell), “Best Achievement in Directing” (Martin Scorsese), “Best Achievement in Film Editing” (Thelma Schoonmaker), “Best Achievement in Music Written for Motion Pictures, Original Score” (Howard Shore), “Best Motion Picture of the Year” (Graham King and Martin Scorsese), “Best Writing, Adapted Screenplay” (John Logan)

2012 BAFTA Awards: 2 wins: “Best Production Design” (Dante Ferretti and Francesca Lo Schiavo) and “Best Sound” (Tom Fleischman, Philip Stockton, John Midgley, and Eugene Gearty); 7 nominations: “Best Cinematography” (Robert Richardson), “Best Costume Design” (Sandy Powell), “Best Director” (Martin Scorsese), “Best Editing” (Thelma Schoonmaker), “Best Make Up & Hair” (Morag Ross and Jan Archibald), “Best Original Music” (Howard Shore), “Best Special Visual Effects” (Alex Henning, Robert Legato, Ben Grossmann, and Joss Williams)

2012 Golden Globes: 1 win: “Best Director - Motion Picture” (Martin Scorsese); 2 nominations: “Best Motion Picture – Drama” and “Best Original Score - Motion Picture” (Howard Shore)

Tuesday, March 20, 2012

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Review: "Sneakers" Has a Winning Ensemble Cast (Happy B'day, Sidney Poitier)

TRASH IN MY EYE No. 113 (of 2005) by Leroy Douresseaux


Sneakers (1992)
Running time: 125 minutes (2 hours, 5 minutes)
MPAA – PG-13
DIRECTOR: Phil Alden Robinson
WRITERS: Phil Alden Robinson and Lawrence Lasker and Walter E. Parkes
PRODUCERS: Lawrence Lasker and Walter E. Parkes
CINEMATOGRAPHER: John Lindley
EDITOR: Tom Rolf, A.C.E.

CRIME/COMEDY/THRILLER with elements of action and drama

Starring: Robert Redford, Dan Aykroyd, Ben Kingsley, Mary McDonnell, River Phoenix, Sidney Poitier, David Strathairn, Timothy Busfield, Eddie Jones, Donal Logue, and James Earl Jones

Computer expert Martin Bishop (Robert Redford) heads a team of renegade hackers: a former CIA employee, Donald Crease (Sidney Poitier); a gadgets wizard who goes by the name "Mother" (Dan Aykroyd); a young genius named Carl Arbegast (River Phoenix); and a blind soundman, Erwin Emory, who goes by the name “Whistler” (David Strathairn); they are “sneakers,” routinely hired to test security systems for places that don’t need to get broken into or hacked into, such as a bank. Bishop’s past comes back to haunt him when two men claiming to represent the NSA (National Security Agency) blackmail him into helping them retrieve a “black box.” Along with his former girlfriend, Liz (Mary McDonnell), Bishop’s team steals the box and discovers that it may be able to break into any computer system in the world. Now, Bishop and his team are caught between dangerous factions who would kill for the box, so they must embark on their most dangerous assignment to date.

A combination caper film, mystery, espionage thriller and comedy, Sneakers featured an all-star cast when it debuted in late summer of 1992. The blend of star names (Robert Redford and Dan Aykroyd), legendary film figures (Redford again and Sidney Poitier), acclaimed character actors (Mary McDonnell and David Strathairn), and a young gun (the late River Phoenix) gave something for everyone in the audience. The subject matter may have been a bit over the head of much of the audience at the time. The home computer had not yet come into widespread use, and hackers remained a fringe news item, as most people yet did not realize the growing part computers were playing in their lives, so they didn’t understand the dangers of hackers who could break the encryption codes of security networks. Also, Sneakers is an action-thriller with no hyper-kinetic action scenes, but the film was a hit. It’s an espionage and (ostensible) spy thriller without that razor’s edge of tension a film such as Patriot Games gives the audience.

For me, Sneakers remains a personal favorite. It’s a brilliant (seriously) caper film that uncannily has the perfect mixture of comedy, action, and suspense with all the ingredients measured correctly to a fraction. No one actor really shines; in fact, Redford’s Bishop is an odd action lead, but somehow this works. Chemistry exists here, although it seems that the cast and characters occasionally rub each other the wrong way.

Something else about the film that always stands out for me is James Horner’s score, with Branford Marsalis on alto saxophone (I think). Horner’s sweet compositions with Marsalis delectable sax playing are perfect for comic caper flick. This was another feather in the hat for a unique and highly imaginative film composer who always seemed to create film music that perfectly captured a movie’s tone. A little more than six years later, Horner would finally win two long-deserved Oscars for writing a theme song and scoring Titanic.

Sneakers is a nice look back at what was then new technologies, and it boggles the mind how that new tech inspired three men to make such a film as this. While Sneakers is more an exercise in the caper/heist genre than it is a treatise on the consequences of certain people having unlimited access to private information and the ability to manipulate that info, Sneakers remains a pleasant little treat for those who want something different in their high tech thrillers.

7 of 10
B+

Review: "House of Sand and Fog" is Filled with Conflict (Happy B'day, Jennifer Connelly)

TRASH IN MY EYE No. 101 (of 2004) by Leroy Douresseaux


House of Sand and Fog (2003)
Running time: 126 minutes (2 hour, 6 minutes)
MPAA – R for some violence/disturbing images, language and a scene of sexuality
DIRECTOR: Vadim Perelman
WRITER: Shawn Otto and Vadim Perelman (from a novel by Andre Dubus III)
PRODUCERS: Michael London and Vadim Perelman
CINEMATOGRAPHER: Roger Deakins
EDITOR: Lisa Zeno Churgin
COMPOSER: James Horner
Academy Award nominee

DRAMA

Starring: Jennifer Connelly, Ben Kingsley, Ron Eldard, Frances Fisher, Kim Dickens, Shohreh Aghdashloo, and Jonathan Ahdout

After being abandoned by her husband, Kathy Nicolo (Jennifer Connelly), an alcoholic, discovers that the county has foreclosed her home and put it up for auction. After the county discovers that the foreclosure was an error on their part, they try to buy the home back from the new owner, Colonel Behrani (Ben Kingsley), an Iranian military officer under the Shah (who was deposed by the Islamic revolution in the late 70’s). However, Behrani bought the house with the intention of selling it again at a profit, and he will not sell it back to the county unless he gets his asking price, which is four times what he paid for it. Thus, begins a conflict between Kathy and the colonel that has tragic consequences for all involved.

House of Sand and Fog is a well-acted mega-tragedy that switches from being harrowing and riveting to depressing and boring. The film is a brilliant rumination on how living in the past and failing to move on with one’s life can lead to both a figurative and literal death. However, it is also a painfully obvious, artsy movie drama racing down the slippery slope to film tragedy.

The film received three Academy Award nominations: Ben Kingsley for “Best Actor in a Leading Role,” Shohreh Aghdashloo for “Best Actress in a Supporting Role” for her part as Behrani’s wife, and one for James Horner’s gorgeous score. Although Kingsley and Ms. Aghdashloo did not win, they were clearly robbed. The rest of the cast stands out quite well (even prior Academy Award winner Jennifer Connelly), but Kingsley and Ms. Aghdashloo give impeccable performances in this relentlessly morose drama. In fact Kingsley is not only clearly a great film actor; he is also an artist, and when he’s in a film, his filmmaking collaborators’ efforts sometime end of up merely being the canvas upon which he paints his brilliant work.

I’ll recommend House of Sand and Fog to people who love to see good acting, if they can stomach this film’s heartache and misfortune. At least we can give director Vadim Perelman credit for so convincingly making sadness eye candy the way pop directors make action sequences so appealing.

7 of 10
B+

NOTES:
2004 Academy Awards: 3 nominations: “Best Actor in a Leading Role” (Ben Kingsley), “Best Actress in a Supporting Role” (Shohreh Aghdashloo), and “Best Music, Original Score” (James Horner)

2004 Golden Globes: “Best Performance by an Actor in a Motion Picture – Drama” (Ben Kingsley)

Review: Ben Kingsley a Beast in "Sexy Beast" (Happy B'day, Ben Kingsley)

TRASH IN MY EYE No. 22 (of 2002) by Leroy Douresseaux

Sexy Beast (2000)
COUNTRY OF ORIGIN: UK
U.S. Opening date: June 15, 2001
Running time: 89 minute (1 hour, 29 minutes)
MPAA – R for pervasive language, strong violence, and some sexuality
DIRECTOR: Jonathan Glazer
WRITERS: Louis Mellis and David Scinto; from a story by Andrew Michael Jolley
PRODUCER: Jeremy Thomas
CINEMATOGRAPHERS: Ivan Bird with Dan Landin
EDITORS: John Scott and Sam Sneade
Academy Award nominee

CRIME/DRAMA with elements of comedy

Starring: Ray Winstone, Ben Kingsley, Ian McShane, Amanda Redman, James Fox, Cavan Kendall, and Julianne White

Gal (Ray Winstone) is a retired safecracker living in Spain with his wife, Deedee (Amanda Redman). Don Logan (Ben Kingsley), an old London acquaintance, comes calling to recruit Gal into a gang of hoods to pull off a major heist for a big time gangster, Teddy Bass (Ian McShane). Gal wants to say “no,” but Don isn’t likely to take “no” for an answer. When Don and his quirky personality arrive at Gal’s Spanish villa, all bloody hell ensues.

Helmed by first time director Jonathan Glazer, Sexy Beast is a brutal British crime comedy/drama similar in vein to Guy Ritchie’s Snatch. Unlike the ensemble Snatch, Beast’s focus is primarily on Gal, his dilemma and Don Logan’s startling personality. Until the actual heist begins, the tension focuses on the possibility of Logan turning violent and weird on Gal when Gal refuses to join the crew Logan is recruiting for Bass.

Ray Winstone is very convincing as Gal, grown lazy, soft, and complacent in his retirement; so comfortable is he that Gal nearly goes to pieces when informed that Don is reentering his world. You can taste Gal’s turmoil and fear; he really doesn’t want any part of his old life. The film’s focus is really the tightrope upon which he walks from beginning to end, and he sells the audience his troubles, his fear, and his anxiety.

Tension and dilemmas aside, the best reason to watch this film is Ben Kingsley. Don Logan is one of those roles in which a talented actor can chew up the screen, but Kingsley doesn’t just chew scenery; he owns this movie. Don is actually royalty, the king of man-to-man talks, the invading conqueror of any situation. He talks so fast in some kind of cockney that you can barely understand what he says, but you get the gist of what he saying - trouble. Don means to get his way. Kingsley is a subtle show off in this part; he’s natural and smooth. His performance is unobtrusive, and his Don is indeed kind of sexy.

Sexy Beast is a slightly dressed meat and potatoes movie – nothing special at all except if anything British appeals to you because a British hood flick is better than an American gangster movie, of course. Sexy Beast can’t touch Reservoir Dogs or Pulp Fiction. It’s a quiet, but frantic look at a man’s dilemma with some gangster hoo-hah thrown in. The unequivocal delight here is Ben Kingsley. This one of those great performances you read about in film texts that you should really see.

6 of 10
B

NOTES:
2002 Academy Awards: 1 nomination: “Best Actor in a Supporting Role” (Ben Kingsley)

2001 BAFTA Awards: 1 nomination “Alexander Korda Award for Best British Film” (Jeremy Thomas and Jonathan Glazer)

2002 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Ben Kingsley)

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Review: "Prince of Persia: The Sands of Time" is a Very Good Time at the Movies

TRASH IN MY EYE No. 97 (of 2010) by Leroy Douresseaux

Prince of Persia: The Sand of Time (2010)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – PG-13 for intense sequences of violence and action
DIRECTOR: Mike Newell
WRITERS: Boaz Yakin, Doug Miro, and Carlo Bernard; from a screen story by Jordan Mechner (based upon the video game series "Prince of Persia" created by Jordan Mechner)
PRODUCER: Jerry Bruckheimer
CINEMATOGRAPHER: John Seale
EDITORS: Mick Audsley, Michael Kahn, and Martin Walsh
COMPOSER: Harry Gregson-Williams

FANTASY/ADVENTURE/ACTION

Starring: Jake Gyllenhaal, Gemma Arterton, Ben Kingsley, Alfred Molina, Steve Toussaint, Toby Kebbell, Richard Coyle, Ronald Pickup, Reece Ritchie, Gísli Orn Garðarsson, and William Foster

Prince of Persia: The Sands of Time is a film based upon the video game series, Prince of Persia, especially the 2003 video game, Prince of Persia: The Sands of Time. Set in a mystical and mythical version of the Persian Empire, the film focuses on a fugitive prince and a young princess trying to stop a villain from unleashing a force that can change time and even destroy the world. And this is actually a very entertaining film that is part Raiders of the Lost Ark and part Robin Hood with a bit of The Mummy (1999) thrown into the happy mix.

The hero of this story is Prince Dastan (Jake Gyllenhaal), the youngest of the three Princes of Persia. Dastan was actually adopted into the royal family when he was a boy by King Sharaman (Ronald Pickup), the ruler of Persia. Dastan, along with his foster brothers, heir-to-the-throne Tus (Richard Coyle) and Garsiv (Toby Kebbell), and their uncle, Nizam (Ben Kingsley), invade the sacred city of Alamut, because it is supposedly selling weapons to Persia’s enemies. The celebration of their successful conquest of Alamut quickly turns sour when Dastan is accused of murder.

Trying to clear his name, Dastan goes on the run with Princess Tamina (Gemma Arterton), the ruler of Alamut, and learns that the real murderer’s true goal is the Dagger of Time, which Tamina is supposed to protect. Dastan finds allies, of a sort, in a tax-averse, shady businessman named Sheik Amar (Alfred Molina) and his knife-throwing friend, an African named Seso (Steve Toussaint), and their men. The real murderer also has allies, a band of highly-skilled warriors and hired killers known as the Hassansins, and he orders them to slay Dastan.

Although I initially planned to see Prince of Persia: The Sands of Time, I decided to avoid it because all the movie trailers for it made the movie look like an empty CGI-extravaganza with little or no story and wooden characters. Well, the plot is indeed simple; the story amounts to a bunch of chase scenes, fights, and rescues; and the characters are pretty shallow. But it works. Just like The Mummy, which had a simple plot and story, Prince of Persia is a fun ride through the desert. Prince of Persia’s characters aren’t as endearing as the feature players are in The Mummy. Still, I’d follow Dastan, the chatterbox Tamina, Sheik Amar and Seso again, if they went on another breathtaking mission to stop a bad guy and save life as we know it (especially if their adventures featured another lush score by Harry Gregson-Williams).

This movie is also easy on the eyes with its beautiful desert cities, extravagant backdrops, and lavish sets. The cast seems to be made of every known skin color and body type, and the costumes are dazzling and eclectic. No performance really stands out, but somehow, Prince of Persia: The Sands of Times works and works really well. It’s just fun to watch. It’s the kind of movie some of us will watch again and again on television.

7 of 10
B+

Sunday, November 28, 2010

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Prince of Persia on DVD September 14th

Unlock the Secrets, Explore the Mystery

From the Producer of Pirates Of The Caribbean, Walt Disney Pictures and Jerry Bruckheimer Films Presents

PRINCE OF PERSIA: The Sands of Time

Starring Academy Award® Nominee Jake Gyllenhaal, Academy, Award® Winner Sir Ben Kingsley, Alfred Molina and Gemma Arterton

On Disney Blu-ray, DVD and Movie Download Tuesday September 14

Burbank, Calif., August 2, 2010— The mystery and legends of an ancient time will be experienced like never before when Prince of Persia: The Sands of Time arrives on 3-Disc Blu-ray™ Combo Pack (Blu-ray + DVD + Digital Copy), 1-Disc Blu-ray and 1- Disc DVD on September 14, 2010 from Walt Disney Studios Home Entertainment and Jerry Bruckheimer Films.

Prince of Persia: The Sands of Time is the perfect film to experience the cinematic magic of Blu-ray – the pristine 1080p picture and DTS-HD Master Audio sound quality enhance the explosive action and special effects – and contains more bonus features than the DVD.

Academy Award® nominee Jake Gyllenhaal (2005, Best Actor in a Supporting Role, Brokeback Mountain), Academy Award® winner Sir Ben Kingsley (1982, Best Actor in a Leading Role, Gandhi), Alfred Molina (Spider-Man 2, The Da Vinci Code) and Gemma Arterton (Clash of the Titans, Quantum of Solace) lead the international cast in this epic action-adventure film filled with spectacular visual effects, exotic locales and breathtaking action. Produced by Jerry Bruckheimer (Pirates of the Caribbean Trilogy, National Treasure) and directed by Mike Newell (Harry Potter and the Goblet of Fire), Prince of Persia: The Sands of Time boasts a sandstorm of bonus features that bring viewers deep into the mystical lands of Persia and unlock the secrets behind the scenes of this imaginative and entertaining adventure. The combo-pack exclusive ―Sands of Time‖ feature gives fans control of the Dagger of Time, allowing them to rewind time and uncover behind the scenes magic in over 40 spellbinding segments.

Prince of Persia: The Sands of Time is available in a 3-Disc Blu-ray Combo Pack (Blu-ray + DVD + Digital Copy), 1-Disc Blu-ray, and 1-Disc DVD and Movie Download.

Synopsis:
In the spirit of the Pirates of the Caribbean trilogy, Walt Disney Pictures and Jerry Bruckheimer Films transport you to the mystical lands of Persia for this wildly entertaining, epic action-adventure. It‘s a race against time when a rogue prince (Jake Gyllenhaal) reluctantly teams up with a rival princess (Gemma Arterton) to safeguard a magical dagger that gives its possessor the power to reverse time and rule the world. Filled with death-defying escapes and unexpected twists at every turn – Prince of Persia: The Sands of Time is a fun-filled adventure that will keep your pulse pounding long after the credits end.

DVD Bonus Feature:
An Unseen World: Making Prince of Persia – A look behind the scenes on the set of the film.

1-Disc Blu-ray Bonus Feature:
All of above DVD bonus plus Deleted Scene – The Banquet: Garsiv Presents Heads

3-Disc Combo Pack Bonus Features:
All of the above DVD and Blu-ray bonus features plus CineExplore: The Sands of Time – Take control of the dagger and use it to unlock secrets behind your favorite scenes! Turn back time and uncover over 40 spellbinding segments – including ―Walking Up Walls,‖ ―Filming in Morocco‖, and ―Ostrich Jockey Tryouts‖ – with this exclusive interactive feature. Blu-ray puts you in control!

Prince of Persia: The Sands of Time STREET DATE: September 14, 2010
Direct prebook: July 20, 2010
Distributor prebook: August 3, 2010
Suggested retail price: 1-Disc DVD - US: $29.99 Canada: $35.99
1-Disc Blu-ray Disc - US: $39.99 Canada: $44.99
3-Disc BD Combo Pack – US: $44.99 Canada: $51.99
Feature run time: Approx. 116 minutes
Rated: US ‗PG-13‘; Canada: ‘PG‘
Aspect ratio: 1 Disc DVD: 480i / Widescreen 2.40:1
Blu-ray Disc: 1080p High Definition Widescreen
Sound: 1 Disc DVD: Dolby Digital 5.1 English, French, Spanish,
English 2.0 DVS
Subtitles: English SDH, French, Spanish

Blu-ray Disc: English 5.1 DTS-HD Master Audio
(48kHz/24-bit), English 2.0 DVS, French and Spanish
Dolby Digital 5.1 Surround Sound
Subtitles: English SDH, French, Spanish


About Disney Combo Packs:
To provide consumers with unprecedented quality, value and portability of their favorite Disney classics, in 2008 WDSHE pioneered the Combo Pack – a Blu-ray Disc plus a DVD and in some cases a Digital Copy of the movie in a single package. Current 2010 Disney titles available as Combo Packs include Alice in Wonderland, Ponyo, Toy Story, Toy Story 2 and Princess and the Frog.

About Walt Disney Studios Home Entertainment:
Walt Disney Studios Home Entertainment, a recognized leader in the home entertainment industry, is the marketing, sales and distribution company for Walt Disney, Touchstone, Hollywood Pictures, Miramax and Buena Vista product, which includes DVD, Blu-ray Disc™ and electronic distribution. Walt Disney Studios Home Entertainment is a division of The Walt Disney Studios.

Review: "Artificial Intelligence: AI" is a Solemn Look at Humanity's Demise

TRASH IN MY EYE No. 21 (of 2001) by Leroy Douresseaux

Artificial Intelligence: AI (2001)
aka A.I.: Artificial Intelligence
Running time: 146 minutes (2 hours, 26 minutes)
Rating: MPAA – PG-13 for some sexual content and violent images
DIRECTOR: Steven Spielberg
WRITERS: Steven Spielberg; from a screen story by Ian Watson (based upon the short story by “Supertoys Last All Summer Long” by Brian W. Aldiss)
PRODUCERS: Steve Spielberg, Bonnie Curtis, and Kathleen Kennedy
CINEMATOGRAPHER: Janusz Kaminski (D.o.P.)
EDITOR: Michael Kahn
COMPOSER: John Williams
Academy Award nominee

SCI-FI with elements of adventure and drama

Starring: Haley Joel Osment, Jude Law, Frances O’Connor, Brendan Gleeson, Sam Robards, William Hurt, Jake Thomas, and the voices of Jack Angel, Meryl Streep, Robin Williams, Ben Kingsley, and Chris Rock

In the future, humans have become technologically (if not morally) advanced enough to build humanly realistic robots called mechas to serve humanity. The most advanced is a robot called David (Haley Joel Osment, The Sixth Sense), who can be programmed to have feelings of love for a human, a gift (or curse) no other robot has; he is, in a sense, an artificial kid. David moves in with Monica (Frances O’Connor) and Henry Swinton (Sam Robards), a couple whose own child, Martin (Jake Thomas) is in cryo-stasis, stricken with an incurable disease. After Martin is cured and comes home, Henry becomes angry that Monica still has strong feelings for David and wants David returned to his creators. Monica abandons David in the forest rather than return him to his creators for fear that they will destroy him.

David, who once heard Monica read Pinocchio to Martin, goes on a quest to find the Blue Fairy (voice of Meryl Streep) who made Pinocchio into a real boy, hoping that she will do the same for him. Joining him on his quest are Teddy (voice of Jack Angel), a supertoy that once belonged to Martin (and acts as a kind of Jiminy Cricket to David’s Pinocchio) and Gigolo Joe (Jude Law), a love mecha designed to provide romantic and erotic pleasures to women.

Directed by Steven Spielberg, A. I. Artificial Intelligence was a project that director Stanley Kubrick had planned helm, but turned to Spielberg feeling that he could better served the potentially effects laden film. Some film aficionados still consider Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, and E. T. the Extra-Terrestrial, Spielberg’s early works to be his best films. Those movies were filled with a sense of wonder, awe, magic, terror, curiosity – basic emotions and feelings. Other people considered these films too manipulative and too sentimental. What the latter misunderstood was those films’ powerful visual storytelling; here, films worked the way they should. What we saw on the screen was supposed to move us, and the films certainly did. Alas, Spielberg grew up and started making serious grown up, big boy films that would be worthy of Oscar’s attention.

A. I. is a return of Spielberg the magician/storyteller, and the film’s screenplay is the first one written Spielberg has written without a collaborator since Close Encounters. He infuses A. I. with a sense of magic and wonder, but the film is about David’s determination to be a real boy. To that end, however, the film becomes a bit muddled as it nears the conclusion of that quest. At one point, David’s journey comes to an abrupt halt, and, in light of this, his determination seems pathetic, pitiable, and futile. On one hand, David obviously cannot be a “real boy,” in the sense of being an organic being. On the other hand, the issue is not the artificiality, but is whether are not his feelings for Monica are genuine. Upon that question does the movie hinge.

The performances are excellent. Osment has a natural gift to bring a character to life that is as rich and as uncanny as, say, that of Emily Watson. His hugely expressive eyes are, indeed, the windows to his soul. Unlike so many child actors, Osment can act rather than pretend; he literally takes on the identity of a fictional character. One has to see his work to truly believe how good he is. Jude Law is wonderful, charming, and has an air of danger about him as the confident mecha/dildo Gigolo Joe. Law transforms Joe into the perfect companion and very wise guide for David (although Teddy does his thing also), and Law seems perfectly at ease in his role next to Osment. Ms. O’Connor is the other gem in this film; she makes the evolution of Monica’s feelings for David natural and convincing, and she turns up the heat to make the scene of their parting quite tragic indeed.

The effects in A. I. are so prevalent, but like those in Spielberg’s Jurassic Park, they are natural and unobtrusive, integral to the feel of the film and it’s story. The playful colorful lights that fill the forest and the night sky reminds one of scenes from E.T. Frankly, the visual effects are beautiful; it’s just fun to see them.

Artificial Intelligence seems to reach a near perfect state, but then the film is marred by moments of forced sentiment. Some of the story in the film’s last half hour is cold and dry. Actually, the film is nearly ruined until its closing images sweetly dissolve. Don’t let that deter; it is still a special film. You can ignore most of the end. What you take from A. I.’s extraordinary first three quarters is magical: fine acting, engaging story, and a director who is still an accomplished magician who sometimes messes up when he lets his show linger on too long.

7 of 10
A-

NOTES:
2002 Academy Awards: 2 nominations: “Best Effects, Visual Effects” (Dennis Muren, Scott Farrar, Stan Winston, and Michael Lantieri) and “Best Music, Original Score” (John Williams)


2002 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (Dennis Muren, Scott Farrar, and Michael Lantieri)


2002 Golden Globe Awards: 3 nominations: “Best Director - Motion Picture” (Steven Spielberg), “Best Original Score - Motion Picture” (John Williams), and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Jude Law)

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Review: Leonardo DiCaprio Elevates "Shutter Island"

TRASH IN MY EYE No. 14 (of 2010) by Leroy Douresseaux

Shutter Island (2010)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – R for disturbing violent content, language and some nudity
DIRECTOR: Martin Scorsese
WRITER: Laeta Kalogridis (based on the novel by Dennis Lehane)
PRODUCERS: Mike Medavoy, Arnold W. Messer, Bradley J. Fischer and Martin Scorsese
CINEMATOGRAPHER: Robert Richardson, ASC (D.o.P)
EDITOR: Thelma Schoonmaker
DRAMA/MYSTERY/SUSPENSE/THRILLER

Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Emily Mortimer, Patricia Clarkson, Max von Sydow, Jackie Earle Haley, Ted Levine, John Carroll Lynch, Elias Koteas, and Curtiss Cook

Shutter Island is the fourth film uniting Oscar-winning director Martin Scorsese (The Departed) and multiple Oscar-nominated actor, Leonardo DiCaprio (The Aviator). Based on the best-selling novel by Dennis Lehane (Mystic River and Gone, Baby, Gone), Shutter Island is a psychological-mystery thriller set entirely on a fortress-like island housing a hospital for the criminally insane. As I watched this engaging, haunting tale, I certainly understood what the term, “riveting” means when applied to movies. I also watched an outstanding actor take a good film and make the story work on so many more levels than it could have without him.

Shutter Island is set in the year 1954. U.S. Marshal Teddy Daniels (Leonardo DiCaprio) and his new partner Chuck Aule (Mark Ruffalo) are summoned to Shutter Island to investigate the disappearance of Rachel Solando. Solando, who drowned her three children, disappeared from a locked room within the impenetrable Ashecliffe Hospital. Teddy and Chuck arrive at the remote, windswept isle and find the situation tense, and an eerie, volatile atmosphere suggests nothing is quite what it seems. Psychopathic patients surround them and the brilliant Dr. Cawley (Ben Kingsley) psychoanalyzes Teddy and Chuck’s every move, even as he presses them to find Solando.

As the investigation moves forward, a hurricane bearing down on the island escalates. Teddy’s suspicions about both the facility and the investigation begin to grow as he uncovers hints and rumors of sordid medical experiments and secret wards within the hospital. But the more he digs into this mystery, the more Teddy realizes that he may never leave Shutter Island alive.

Without giving too much more about Shutter Island, I can say that both Martin Scorsese and Leonardo DiCaprio deliver their usual high quality work. For Scorsese, Shutter Island is a chance to make an existential terror film in the tradition of the films of producer Val Lewton (Cat People). In a way, Shutter Island is less about story and more about genre. This movie is an exploration of the conventions of genres like Film-Noir and the detective thriller, and it also plays on the styles and themes of old Hollywood thrillers that focus on the psychology of the characters.

As good as Shutter Island is, what makes it a great film is Leonardo DiCaprio’s performance. DiCaprio sells the viewer on everything about Teddy Daniels, his habits, facial ticks, demeanor, belief system, conflicts, dilemmas, struggles, and even Teddy’s sharp, off-kilter sense of humor, founded in part on a world view shaped by his time as a serviceman during World War II. I am not trying to diminish Scorsese’s contribution; it is no coincidence that DiCaprio has delivered great performances in all four of the movies that he has made with Scorsese. Whatever one might say about Scorsese, he is an actor’s director, and he finds ways to get intense, terrific performances from all his actors – from the most talented to the ordinary.

But Shutter Island is ultimately all about Teddy Daniels. Its success as a taut, riveting thriller that grabs the viewer and holds him until the very end rests in DiCaprio. Because he has us enthralled by his performance, DiCaprio also has us as engrossed with this mystery and as we are absorbed with Teddy. Shutter Island’s resolution will no doubt leave many viewers with questions, but there is also no doubt that this is one of those occasions when the lead actor is so good that he makes even a terrific movie unforgettable and special.

9 of 10
A

Monday, March 15, 2010

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