Showing posts with label Brendan Gleeson. Show all posts
Showing posts with label Brendan Gleeson. Show all posts

Tuesday, July 11, 2023

Review: "MISSION: IMPOSSIBLE 2" is Still on Fire

TRASH IN MY EYE No. 31 of 2023 (No. 1920) by Leroy Douresseaux

Mission: Impossible 2 (2000)
Running time: 123 minutes (2 hours, 3 minutes)
MPAA – PG-13 for intense sequences of violent action and some sensuality
DIRECTOR:  John Woo
WRITERS:  Robert Towne; from a story by Ronald D. Moore and Brannon Barga (based upon the television series created by Bruce Geller)
PRODUCERS: Tom Cruise and Paula Wagner
CINEMATOGRAPHER: Jeffrey L. Kimball (D.o.P.)
EDITORS:  Steven Kemper and Christian Wagner
COMPOSER: Hans Zimmer

ACTION/ADVENTURE/SPY/THRILLER

Starring: Tom Cruise, Dougray Scott, Thandie Newton, Richard Roxburgh, John Polson, Brendan Gleeson, Rade Serbedzija, William Mapother, Dominic Purcell, Nicholas Bell, Kee Chan, Antonio Vargas, and Ving Rhames with Anthony Hopkins

Mission: Impossible 2 is a 2000 action-thriller and espionage film directed by John Woo and starring Tom Cruise.  It is a sequel to the 1996 film, Mission: Impossible, and is based on the American television series, “Mission: Impossible” (CBS, 1966-73), that was created by Bruce Geller.  In Mission: Impossible 2 (also known as M:I-2), Ethan Hunt battles a rogue fellow agent in a bid to obtain a genetically modified virus.

Mission: Impossible 2 opens in a lab at Australia's Biocyte Pharmaceuticals.  There, Dr. Vladimir Nekhorvich (Rade Serbedzija), a bio-genetics scientist, sends a message to his old friend, “Dimitri,” which is the cover name for Impossible Mission Force (IMF) agent Ethan Hunt (Tom Cruise).  Nekhorvich's employer, Biocyte Pharmaceuticals, has forced him to create a biological weapon, which he calls “Chimera,” and a cure for it, which he names “Bellerophon.”  Biocyte's CEO, John C. McCloy (Brendan Gleeson), plans to profit from Bellerophon as cure for Chimera after the virus is released into the unsuspecting world.

Nekhorvich injects himself with Chimera and carries Bellerophon with him and heads to the U.S., where he hopes to meet “Dimitri.”  However, he is intercepted by IMF agent Sean Ambrose (Dougray Scott), who is, in some ways, Ethan Hunt's equal and opposite.  Ambrose and his men steal Bellerophon and begin their hunt to obtain Chimera, not knowing that it was inside Nekhorvich.

IMF Mission Commander Swanbeck (Anthony Hopkins) orders Hunt to lead his team – computer hacker, IMF agent Luther Stickwell (Ving Rhames), and helicopter pilot, William “Billy” Baird (John Polson), on a mission to get Chimera before Ambrose does.  Swanbeck also orders Hunt to add to his team a professional thief named Nyah Nordoff-Hall (Thandie Newton), who was, until recently, Ambrose's girlfriend.  Can Ethan trust Nyah, or has he gotten to close to her?  And is Ambrose more than a match for Ethan?

I divide the six Mission: Impossible movies into two trilogies.  Mission: Impossible (1996), Mission: Impossible 2 (2000), and Mission: Impossible III (2006) make up the first trilogy.  Mission: Impossible – Ghost Protocol (2011),  Mission: Impossible – Rogue Nation (2015), and Mission: Impossible – Fallout (2018) form the second trilogy.

That's just my personal thing.  M:I-2 is its own thing.  Directed by Hong Kong auteur, John Woo, the film features the hallmarks of Woo's directorial style, including his “bullet ballet” action sequences, stylized imagery, slow motion action and character drama scenes, Mexican standoffs, and fight sequences that recall the Chinese martial arts sub-genres “wuxia” and “wire-fu.”  However, the film doesn't really kick into high gear with some of Woo's best flourishes until its second half.

The first half of the film focuses on Ethan Hunt's obsession with Nyah Nordoff-Hall, which mirrors Sean Ambrose's obsession with her.  This “love triangle” allows Woo and his screenwriters to build tension between Hunt and Ambrose that explodes with jealousy and rage and eventually leads to a fight to the death.  M:I-2 may be the film in this franchise in which Tom Cruise's Ethan Hunt shares the most screen time with other characters, especially Newton's Nyah and Scott's Ambrose.

Anyway, the film really begins to rumble in the second half.  The last half-hour or so is a masterpiece of directing, film editing, cinematography, and stunt coordinators and stuntmen.  My high rating is mainly because of this exhilarating last act, which makes me want to see this movie again.

Tom Cruise was in his late 30s when Mission: Impossible 2 began filming, yet he looks much younger onscreen, about a decade or so (at least to me).  His long hair, that boyish grin, his immature and petulant anger and jealousy would be largely gone 19 months later when his trippy drama, Vanilla Sky (2001), arrived in December 2001.  So for me, Mission: Impossible 2 is a good-bye to the Mission: Impossible film franchise's beginnings.  The series would rapidly begin to morph with the third entry, and boyish Tom Cruise would finally give way to adult Tom Cruise.  At least, I now remember why I loved this film so much 23 years ago, and now, I want to see it again.

8 of 10
A
★★★★ out of 4 stars

Tuesday, July 11, 2023


NOTES:
2001 Image Awards (NAACP):  2 nominations: “Outstanding Supporting Actor in a Motion Picture” (Ving Rhames) and “Outstanding Supporting Actress in a Motion Picture” (Thandie Newton)


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Thursday, January 26, 2023

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

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

The Banshees of Inisherin (2022)
Running time:  114 minutes (1 hour, 54 minutes)
MPA – R for language throughout, some violent content and brief graphic nudity
WRITER/DIRECTOR:  Martin McDonagh
PRODUCERS:  Graham Broadbent, Pete Czernin, and Martin McDonagh
CINEMATOGRAPHER:  Ben Davis (D.o.P.)
EDITORS:  Mikkel E.G. Nielsen
COMPOSER:  Carter Burwell

DRAMA/COMEDY

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

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

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

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

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

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

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

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

7 of 10
B+
★★★½ out of 4 stars

Thursday, January 26, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Thursday, December 14, 2017

Warner Bros to Release "Paddington 2" in North America January 2018

Warner Bros. Pictures to Distribute “Paddington 2” in North America

- Sequel to the worldwide hit “Paddington,” directed by Paul King, opens January 12, 2018 -

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures will usher in the new year with the big-screen return of one of the world’s most beloved characters in a delightful new adventure. Following its overwhelmingly successful UK opening in November and #1 reign at the UK box office, “Paddington 2”—fully financed by STUDIOCANAL and produced by multi award-winning producer David Heyman (the “Harry Potter” and “Fantastic Beasts” films, “Paddington,” “Gravity”)—is set to debut in theatres across North America on January 12, 2018. The Studio has acquired distribution rights for the film in the U.S. and Canada from STUDIOCANAL and TWC/Dimension Films, it was jointly announced today by STUDIOCANAL, Sue Kroll, President of Worldwide Marketing and Distribution, Warner Bros. Pictures, and Toby Emmerich, President and Chief Content Officer, Warner Bros. Pictures Group.

“Paddington 2” continues the story of the enduringly popular little bear in the trademark blue coat and red hat that touched audiences worldwide. It opened November 10th in the UK to enthusiastic audiences and universally positive reviews, outpacing its predecessor’s opening weekend numbers by over 60%.

Based on the best-selling and internationally adored series of children’s stories by Michael Bond, the film is once again directed by BAFTA nominee Paul King, from a script by King and Simon Farnaby.

Golden Globe and BAFTA winner Hugh Grant and three-time Golden Globe nominee Brendan Gleeson join the all-star returning cast of Golden Globe nominee Hugh Bonneville, Oscar nominee Sally Hawkins, Oscar nominee Julie Walters, Oscar winner Jim Broadbent, Oscar winner Peter Capaldi, Madeleine Harris, and Samuel Joslin, with BAFTA winner Ben Whishaw as the voice of Paddington and Oscar nominee Imelda Staunton as the voice of Aunt Lucy.

The new story finds Paddington happily settled with the Brown family in Windsor Gardens, where he has become a popular member of the community, spreading joy and marmalade wherever he goes. While searching for the perfect present for his beloved Aunt Lucy’s hundredth birthday, Paddington spots a unique pop-up book in Mr. Gruber’s antique shop, and embarks upon a series of odd jobs to buy it. But when the book is stolen, it’s up to Paddington and the Browns to unmask the thief.

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Monday, December 7, 2015

"Ex Machina" Dominates 2015 British Independent Film Awards

In 1998, Raindance created the British Independent Film Awards to celebrate merit and achievement in independently funded British filmmaking.  The awards also honor new talent and promote British films and filmmaking to a wider public.

The 2015/18th Moët British Independent Film Awards were announced in London.  The winners were announced in a ceremony on Sunday, December 6, 2015 at Old Billingsgate. The event was live streamed on www.bifa.film.

The 2015 Moët British Independent Film Awards winners:

Best British Independent Film sponsored by Moët & Chandon
EX MACHINA - Andrew Macdonald, Allon Reich, Alex Garland

Best Director
EX MACHINA - Alex Garland

Best Screenplay sponsored by BBC Films
EX MACHINA - Alex Garland

Best Actress sponsored by MAC
SAOIRSE RONAN - Brooklyn

Best Actor sponsored by Movado
TOM HARDY - Legend

Best Supporting Actress
OLIVIA COLMAN - The Lobster

Best Supporting Actor
BRENDAN GLEESON - Suffragette

Most Promising Newcomer sponsored by The London Edition
MIA GOTH - The Survivalist

The Douglas Hickox Award (Best Debut Director) sponsored by 3 Mills Studios
THE SURVIVALIST - Stephen Fingleton

The Discovery Award sponsored by Raindance
ORION: THE MAN WHO WOULD BE KING - Jeanie Finlay

Best Documentary
DARK HORSE: THE INCREDIBLE TRUE STORY OF DREAM ALLIANCE - Judith Dawson, Louise Osmond

Producer of the Year
PAUL KATIS, ANDREW DE LOTBINIERE - Kajaki: The True Story

Outstanding Achievement in Craft
ANDREW WHITEHURST - Visual Effects, Ex Machina

Best British Short Film:
EDMOND - Emilie Jouffroy, Nina Gantz

Best International Independent Film:
ROOM (Canada, Ireland) - Ed Guiney, David Gross, Emma Donoghue, Lenny Abrahamson

The Variety Award:
Kate Winslet
(The Variety Award recognises a director, actor, writer or producer who has made a global impact and helped to focus the international spotlight on the UK.)

The Richard Harris Award:
Chiwetel Ejiofor
(The Richard Harris Award was introduced in 2002 in honour of Richard Harris and recognizes outstanding contribution to British film by an actor.)

Special Jury Prize:
Chris Collins
(A BFI executive who died late last year.)

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Tuesday, December 9, 2014

British Independent Film Awards Name Beresford and Warchus' "Pride" Best Indie Film

In 1998, Raindance created the British Independent Film Awards to celebrate merit and achievement in independently funded British filmmaking.  The awards also honor new talent and promote British films and filmmaking to a wider public.

On Sunday, December 7, 2014, the winners for the 17th Annual Moët British Independent Film Awards were announced at the Old Billingsgate in London.

The 2014/17th Annual Moët British Independent Film Awards winners:

BEST BRITISH INDEPENDENT FILM -Sponsored by Moët & Chandon
Pride

BEST DIRECTOR - Sponsored by AllCity & Intermission
Yann Demange  – '71

THE DOUGLAS HICKOX AWARD [BEST DEBUT DIRECTOR] - Sponsored by 3 Mills Studios
Iain Forsyth, Jane Pollard – 20,000 Days on Earth

BEST SCREENPLAY - Sponsored by BBC Films
Jon Ronson, Peter Straughan – Frank

BEST ACTRESS - Sponsored by M.A.C Cosmetics
Gugu Mbatha-Raw – Belle

BEST ACTOR - Sponsored by Movado
Brendan Gleeson – Calvary

BEST SUPPORTING ACTRESS
Imelda Staunton – Pride

BEST SUPPORTING ACTOR - Sponsored by St Martins Lane
Andrew Scott – Pride

MOST PROMISING NEWCOMER
Sameena Jabeen Ahmed – Catch Me Daddy

BEST ACHIEVEMENT IN PRODUCTION
The Goob

BEST TECHNICAL ACHIEVEMENT
Stephen Rennicks - Music – Frank

BEST DOCUMENTARY
Next Goal Wins

BEST BRITISH SHORT
The Kármán Line

BEST INTERNATIONAL INDEPENDENT FILM
Boyhood

THE RAINDANCE AWARD
Luna

THE RICHARD HARRIS AWARD (for outstanding contribution by an actor to British Film):
Emma Thompson

THE VARIETY AWARD
Benedict Cumberbatch

THE SPECIAL JURY PRIZE
Announced at the Moët British Independent Film Awards on Sunday 7th December
John Boorman

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Sunday, November 9, 2014

2014 European Film Award Nominations Announced - Complete List

by Leroy Douresseaux

The European Film Awards recognize excellence in European cinematic achievements.  The awards are are presented annually since 1988 by the European Film Academy (EFA) and are given in over ten categories, of which the most important is “European Film,” the best film of the year award.  The European Film Awards are restricted to European cinema and European producers, directors, and actors.

The European Film Academy and EFA Productions announced the nominations for the 27th European Film Awards at the Seville European Film Festival.  The more than 3,000 EFA members will vote for the winners.  The awards ceremony will be held on December 13, 2014 in Riga, European Capital of Culture 2014.  The 27th European Film Awards will be streamed live on europeanfilmawards.eu.

Leading the nominations is Ida, director Pawel Pawlikowski’s Polish postwar drama, with five nominations.  Director Andrey Zvyagintsev's Russian satire, Leviathan (Leviafan), has four nominations.  The winners in six categories were revealed with the announcement of the nominations.

The 2014/27th European Film Awards nominations:

EUROPEAN FILM
“Force Majeure”
“Ida”
“Leviathan”
“Nymphomaniac Director's Cut – Volume I & II”
“Winter Sleep”

EUROPEAN COMEDY
“Carmina & Amen”
“Le Week-End”
“The Mafia Only Kills in the Summer”

EUROPEAN DIRECTOR
Nuri Bilge Ceylan, “Winter Sleep”
Steven Knight, “Locke”
Ruben Ostlund, “Force Majeure”
Paweł Pawlikowski, “Ida”
Paolo Virzì, “Human Capital”
Andrey Zvyagintsev, “Leviathan”

EUROPEAN ACTRESS
Marian Alvarez, “Wounded”
Valeria Bruni Tedeschi, “Human Capital”
Marion Cotillard, “Two Days, One Night”
Charlotte Gainsbourg, “Nymphomaniac Director's Cut – Volumes I & II”
Agata Kulesza, “Ida”
Agata Trzebuchowska, “Ida”

EUROPEAN ACTOR
Brendan Gleeson, “Calvary”
Tom Hardy, “Locke”
Alexey Serebryakov, “Leviathan”
Stellan Skarsgard, “Nymphomaniac Director's Cut – Volume I & II”
Timothy Spall, “Mr. Turner”

EUROPEAN SCREENWRITER
Ebru Ceylan & Nuri Bilge Ceylan, “Winter Sleep”
Jean-Pierre & Luc Dardenne, “Two Days, One Night”
Steven Knight, “Locke”
Oleg Negin & Andrey Zvyagintsev, “Leviathan”
Paweł Pawlikowski & Rebecca Lenkiewicz, “Ida”

NOTE:  The 2014 winners in the following categories were announced the same day the 2014 nominations were announced:

EUROPEAN CINEMATOGRAPHER
Łukasz Żal & Ryszard Lenczewski, “Ida”

EUROPEAN EDITOR
Justine Wright, “Locke”

EUROPEAN PRODUCTION DESIGNER
Claus-Rudolf Amler, “The Dark Valley”

EUROPEAN COSTUME DESIGNER
Natascha Curtius-Noss, “The Dark Valley”

EUROPEAN COMPOSER
Mica Levi, “Under the Skin”

EUROPEAN SOUND DESIGNER
Joakim Sundström, “Starred Up”

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Saturday, November 8, 2014

2014 British Independent Film Award Nominations Announced - Complete List

In 1998, Raindance created the British Independent Film Awards to celebrate merit and achievement in independently funded British filmmaking.  The awards also honor new talent and promote British films and filmmaking to a wider public.

On Monday, November 3, 2014, the nominations for the 17th Annual Moët British Independent Film Awards were announced in London, at St Martins Lane.  London actor, Jared Harris, presented the nominations.  The winners will be announced at the 17th awards ceremony on Sunday, December 7, 2014 at the Old Billingsgate in London.

The 2014/17th Annual Moët British Independent Film Awards nominees:

BEST BRITISH INDEPENDENT FILM -Sponsored by Moët & Chandon
'71
Calvary
Mr Turner
Pride
The Imitation Game

BEST DIRECTOR - Sponsored by AllCity & Intermission
John Michael McDonagh – Calvary
Lenny Abrahamson – Frank
Matthew Warchus – Pride
Mike Leigh – Mr Turner
Yann Demange  – '71

THE DOUGLAS HICKOX AWARD [BEST DEBUT DIRECTOR] - Sponsored by 3 Mills Studios
Daniel Wolfe, Matthew Wolfe – Catch Me Daddy
Hong Khaou – Lilting
Iain Forsyth, Jane Pollard – 20,000 Days on Earth
Morgan Matthews – X+Y
Yann Demange –  '71

BEST SCREENPLAY - Sponsored by BBC Films
Graham Moore – The Imitation Game
Gregory Burke  – '71
John Michael McDonagh – Calvary
Jon Ronson, Peter Straughan – Frank
Stephen Beresford – Pride

BEST ACTRESS - Sponsored by M.A.C Cosmetics
Alicia Vikander – Testament of Youth
Cheng Pei Pei – Lilting
Gugu Mbatha-Raw – Belle
Keira Knightley – The Imitation Game
Sameena Jabeen Ahmed – Catch Me Daddy

BEST ACTOR - Sponsored by Movado
Asa Butterfield  – X+Y
Benedict Cumberbatch – The Imitation Game
Brendan Gleeson – Calvary
Jack O'Connell – '71
Timothy Spall – Mr Turner

BEST SUPPORTING ACTRESS
Dorothy Atkinson – Mr Turner
Imelda Staunton – Pride
Maggie Gyllenhaal – Frank
Sally Hawkins – X+Y
Sienna Guillory – The Goob

BEST SUPPORTING ACTOR - Sponsored by St Martins Lane
Andrew Scott – Pride
Ben Schnetzer – Pride
Michael Fassbender – Frank
Rafe Spall – X+Y
Sean Harris – ‘71

MOST PROMISING NEWCOMER
Ben Schnetzer – Pride
Cara Delevingne – The Face of An Angel
Gugu Mbatha-Raw – Belle
Liam Walpole – The Goob
Sameena Jabeen Ahmed – Catch Me Daddy

BEST ACHIEVEMENT IN PRODUCTION
'71
20,000 Days on Earth
Catch Me Daddy
Lilting
The Goob

BEST TECHNICAL ACHIEVEMENT
Chris Wyatt - Editing - '71
Dick Pope - Cinematography - Mr Turner
Robbie Ryan - Cinematography - Catch Me Daddy
Stephen Rennicks - Music – Frank
Tat Radcliffe - Cinematography - '71

BEST DOCUMENTARY
20,000 Days on Earth
Next Goal Wins
Night Will Fall
The Possibilities Are Endless
Virunga

BEST BRITISH SHORT
Crocodile
Emotional Fusebox
Keeping Up With The Joneses
Slap
The Kármán Line

BEST INTERNATIONAL INDEPENDENT FILM
Blue Ruin
Boyhood
Fruitvale Station
Ida
The Badadook

THE RAINDANCE AWARD
Flim: The Movie...
Gregor
Luna
Keeping Rosy
The Beat Beneath My Feet

THE RICHARD HARRIS AWARD (for outstanding contribution by an actor to British Film)
To Be Announced

THE VARIETY AWARD
To Be Announced

THE SPECIAL JURY PRIZE
Announced at the Moët British Independent Film Awards on Sunday 7th December


For further information on MBIFA, visit www.bifa.org.uk

For further information on Moët & Chandon, visit http://moet.com

For further information on Raindance, visit www.raindance.org


Monday, June 9, 2014

"Edge of Tomorrow" #1 at the Worldwide Box Office

“Edge of Tomorrow” Clocks in as the Weekend’s #1 Film Worldwide

Doug Liman’s Critically Acclaimed Sci-fi Thriller, Starring Tom Cruise and Emily Blunt, Takes in $111.1 Million For the Weekend

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Edge of Tomorrow” grossed $111.1 million, making it the weekend’s #1 film internationally and worldwide. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

Internationally, the film has been in limited release for 12 days, including Wednesday openings, and debuted in an additional 36 countries over the weekend, earning an impressive $82 million, including outstanding returns in Russia with $8.6 million, China with $25 million, and Korea at $16.6 million. The international cumulative gross now stands at $111 million. On the domestic side, in its first three days of release, “Edge of Tomorrow” has grossed $29.1 million, bringing the worldwide total to $140.1 million and counting.

In making the announcement, Fellman stated, “‘Edge of Tomorrow’ has received terrific critical acclaim, which has been echoed by audiences who have responded to the film and the fantastic performances of Tom Cruise and Emily Blunt. Word-of-mouth is extremely strong, which should continue to drive moviegoers to the theatre, either for the first time or to enjoy the film again.”

Kwan Vandenberg stated, “‘Edge of Tomorrow’ has risen above the crowded summer marketplace and continues to gain momentum, from our massive opening in Korea to the incredible results we’ve seen in Russia and China. We congratulate Doug Liman, Tom Cruise, Emily Blunt and the remarkable filmmakers, cast and crew on reaching this terrific benchmark.”

Oscar® nominee Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller “Edge of Tomorrow,” under the direction of Doug Liman.

The epic action of “Edge of Tomorrow” unfolds in a near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.

Major William Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop—forcing him to live out the same brutal combat over and over, fighting and dying again…and again.

But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.

The international cast also includes Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Masayoshi Haneda and Tony Way.

Liman directed “Edge of Tomorrow” from a screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the novel entitled All You Need is Kill by Hiroshi Sakurazaka. Erwin Stoff produced, along with Tom Lassally, Jeffrey Silver, Gregory Jacobs and Jason Hoffs. The executive producers are Doug Liman, David Bartis, Joby Harold, Hidemi Fukuhara and Bruce Berman, with Tim Lewis and Kim Winther serving as co-producers.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a 3 Arts Production, in association with Viz Productions, a Doug Liman Film, “Edge of Tomorrow.” The film is distributed in 2D and 3D in select theatres and IMAX by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow. www.edgeoftomorrowmovie.com

This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.


Friday, June 6, 2014

"Edge of Tomorrow" Earns Big in Early International Openings

“Edge of Tomorrow” Rises Early in International Openings

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Edge of Tomorrow,” starring Oscar® nominee Tom Cruise and Emily Blunt and directed by Doug Liman, has earned an outstanding $33 million at the box office in early international openings ahead of its June 6 worldwide debut. The announcement was made today by Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

    “The sensational results on Wednesday, coupled with the film’s excellent playability in territories where it debuted last weekend, give us great momentum as we launch in 36 additional countries this weekend, including such major markets as Russia, Australia, Mexico and China.”

“Edge of Tomorrow” had a spectacular opening in Korea, with an estimated KRW 3.9b ($3.8m) on 681 screens, including sneak preview showings. Its Wednesday debut marked the biggest opening of all time for Warner Bros. Pictures in Korea, as well as the fourth biggest opening industry-wide, for that market. The film also opened yesterday at #1 in Denmark and Norway, as well as France, where it was #1 in both admissions and box office even amid strong competition from U.S. product and a popular local comedy.

Kwan Vandenberg said, “The sensational results on Wednesday, coupled with the film’s excellent playability in territories where it debuted last weekend, give us great momentum as we launch in 36 additional countries this weekend, including such major markets as Russia, Australia, Mexico and China.”

The early box office results come on the heels of the film’s groundbreaking worldwide event when, for the first time ever, three fan premieres were held in three different cities—London, Paris and New York—in just one day, “resetting” the red carpet as Tom Cruise and Emily Blunt raced the clock to make each event before time ran out.

Sue Kroll, Warner Bros. Pictures President, Worldwide Marketing and International Distribution, noted, “Tom is a huge star globally and has been a phenomenal partner as we’ve introduced this exciting and original adventure to audiences everywhere. The film has been enthusiastically embraced by critics and consumers alike. Tom has gone above and beyond to support the film, traveling all over the world to share it with fans, and these incredible efforts have made a tremendous impact as we gear up to release ‘Edge of Tomorrow’ worldwide.”

Oscar® nominee Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller “Edge of Tomorrow,” under the direction of Doug Liman.

The epic action of “Edge of Tomorrow” unfolds in a near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.

Major William Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop—forcing him to live out the same brutal combat over and over, fighting and dying again…and again.

But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.

The international cast also includes Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Masayoshi Haneda and Tony Way.

Liman directed “Edge of Tomorrow” from a screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the novel entitled All You Need is Kill by Hiroshi Sakurazaka. Erwin Stoff produced, along with Tom Lassally, Jeffrey Silver, Gregory Jacobs and Jason Hoffs. The executive producers are Doug Liman, David Bartis, Joby Harold, Hidemi Fukuhara and Bruce Berman, with Tim Lewis and Kim Winther serving as co-producers.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a 3 Arts Production, in association with Viz Productions, a Doug Liman Film, “Edge of Tomorrow.” The film is distributed in 2D and 3D in select theatres and IMAX by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow. www.edgeoftomorrowmovie.com

This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.

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Saturday, May 10, 2014

Tom Cruise and Emily Blunt Race Around the World for "Edge of Tomorrow"


"Edge of Tomorrow" -- Tom Cruise and Emily Blunt Chase Tomorrow Right to the Edge: Three Premieres / Three Countries / One Day

Stars race against time to meet fans in London, Paris and New York on an unprecedented Red Carpet Repeat tour

BURBANK, Calif.--(BUSINESS WIRE)--On May 28, the stars of “Edge of Tomorrow” will take part in a groundbreaking worldwide event when, for the first time ever, three fan premieres will be held in three different countries in just one day, “resetting” the red carpet as Tom Cruise and Emily Blunt race the clock to make each event before time runs out.

In “Edge of Tomorrow,” Cruise’s character relives the events of one day over and over in an epic battle to save the world. The story begins as he arrives in London, making that city the perfect place to kick off this global event.

All times are local:

  •     7:00 a.m. inaugural premiere kicks off on the carpet in London, with a 9:00 a.m. screening.

The film takes both characters to France, where they face off against an insurmountable army of alien invaders.

  •     2:00 p.m. red carpet in Paris, screening at 4:00 p.m.

The final premiere will take the stars back to the U.S.

  •     10:00 p.m. red carpet in New York City, with the final screening—on the edge of tomorrow—at 11:59 p.m.

Between cities, Cruise, Blunt and the film’s director, Doug Liman, will interact with fans via social media as they jet from country to country. A contingent of select press will travel to each premiere, covering the events as they unfold.

There will be live stream components for each of the three events. Those fans on the ground can network via social media using #EOTLive.

Oscar® nominee Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller “Edge of Tomorrow,” under the direction of Doug Liman.

The epic action of “Edge of Tomorrow” unfolds in a near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.

Major William Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop—forcing him to live out the same brutal combat over and over, fighting and dying again…and again.

But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.

The international cast also includes Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Masayoshi Haneda and Tony Way.

Liman directed “Edge of Tomorrow” from a screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the novel entitled All You Need is Kill by Hiroshi Sakurazaka. Erwin Stoff produced, along with Tom Lassally, Jeffrey Silver, Gregory Jacobs and Jason Hoffs. The executive producers are Doug Liman, David Bartis, Joby Harold, Hidemi Fukuhara and Bruce Berman, with Tim Lewis and Kim Winther serving as co-producers.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a 3 Arts Production, in association with Viz Productions, a Doug Liman Film, “Edge of Tomorrow.” Opening domestically on June 6, 2014, the film will be distributed in 2D and 3D in select theatres and IMAX by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow.

This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.

edgeoftomorrowmovie.com


Wednesday, September 25, 2013

Production Begins on Ron Howard's "Heart of the Sea"

Director Ron Howard Takes the Helm of Maritime Action Adventure “Heart of the Sea”

Chris Hemsworth, Benjamin Walker, Cillian Murphy, Ben Whishaw, Tom Holland and Brendan Gleeson Star

BURBANK, Calif.--(BUSINESS WIRE)--Production is now underway in the UK on the action adventure “Heart of the Sea.” Oscar® winner Ron Howard (“A Beautiful Mind”) directs from a script by Rick Jaffa & Amanda Silver (“Rise of the Planet of the Apes”) and Charles Leavitt (“Blood Diamond”), based on Nathaniel Philbrick’s best-selling novel about the dramatic true journey of the whaling ship Essex. The film is a co-production between COTT Productions and Enelmar Productions, A.I.E. for Warner Bros. Pictures and Village Roadshow Pictures.

“Heart of the Sea” stars Chris Hemsworth (Marvel’s “The Avengers,” upcoming “Rush”) as the vessel’s veteran first mate Owen Chase; Benjamin Walker (“Abraham Lincoln: Vampire Hunter”) as its inexperienced Captain, George Pollard; Cillian Murphy (“The Dark Knight Rises”) as second mate Matthew Joy; and Ben Whishaw (“Skyfall”) as novelist Herman Melville, whose inquiries into the event 30 years later helped bring the story to light.

In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Melville’s Moby-Dick. But that told only half the story. “Heart of the Sea” reveals the encounter’s harrowing aftermath, as the ship’s surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.

The film also stars Tom Holland (“The Impossible”) as young seaman Tom Nickerson, and Brendan Gleeson (“Harry Potter and the Deathly Hallows: Part 1”) as the same man, 30 years later. Spanish actor Jordi Mollà (“Riddick”) is the captain of another ship, the Archimedes, who tries to warn the Essex of what may lie ahead.

“Heart of the Sea” is produced by Paula Weinstein (“Blood Diamond”), Joe Roth (“Oz the Great and Powerful”), William Ward, Brian Grazer (“J. Edgar”) and Ron Howard. Serving as executive producers are Sarah Bradshaw, Palak Patel and Bruce Berman. William M. Connor is co-producer. The film is based on the novel In the Heart of the Sea, by Nathaniel Philbrick.

Production, which began September 10th, will shoot at Warner Bros. Studios Leavesden in Herfordshire, UK, and on location in the Canary Islands.

“Heart of the Sea” is a Warner Bros. Pictures presentation, in association with Village Roadshow Pictures, a COTT Productions-Enelmar Productions, A.I.E. co-production, a Roth Films/Spring Creek/Imagine Entertainment Production. The film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.



Friday, March 22, 2013

Review: "Dark Blue" Dark Indeed

TRASH IN MY EYE No. 22 (of 2003) by Leroy Douresseaux


Dark Blue (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for violence, language and brief sexuality
DIRECTOR: Ron Shelton
WRITERS: David Ayer; from a story James Ellroy
PRODUCERS: David Blocker, Caldecot Chubb, Sean Daniel, and James Jacks
CINEMATOGRAPHER: Barry Peterson
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Terence Blanchard

CRIME/DRAMA with elements of action and thriller

Starring: Kurt Russell, Scott Speedman, Michael Michele, Brendan Gleeson, Ving Rhames, Kurupt, Lolita Davidovich, Dash Mihok, Master P, and Khandi Alexander

The subject of this movie review is Dark Blue, a 2002 crime drama from director Ron Shelton (Bull Durham) and writer David Ayer and based on an original story by James Ellroy. The film was released to theatres in February 2003.

Describing Ron Shelton’s Dark Blue is not an easy task. Even if I only dealt with the surface issues, I’d still have a hard time defining the film. What I can say is that it is brutal and unflinching in its display of violence, corruption, and human frailty. Shelton, who usually writes his own screenplays, has a devil of script in this one with which to work. James Ellroy, the mack daddy of American crime fiction and the novelist of L.A. Confidential, wrote the story and David Ayer, the writer of Training Day and The Fast and the Furious, wrote the script; thus, the pedigree of the story is one of immense power and frank honesty when dealing with the Los Angeles on a street level and in its darkest corners.

Set in the Los Angeles Police Department (LAPD) on the eve of the 1992 riots after the “Rodney King Beating Trial” verdict, the film focuses on a hardnosed cop with a penchant for shooting suspects, Sgt. Eldon Perry, Jr. (Kurt Russell) and his youthful partner Bobby Keough (Scott Speedman), whom Perry is training to follow in his tough footsteps. Perry is sometimes a kind of hit man and troubleshooter for his boss Jack Van Meter (Brendan Gleeson), who is also Bobby’s uncle. Van Meter’s web of deceit has drawn the attention of an ambitious deputy chief (Ving Rhames), who closes in on the corruption as the city awaits the verdict of King trial.

Dark Blue isn’t just about police corruption although that seems to be its central focus. The film has so much going on around the central character Perry that it’s hard to zero in on any particular issue. It’s about how people get drawn into the darker side of the law and remain there despite their misgivings. It’s about the ends justifying the means and about doing whatever you want to do or believe you have to do regardless of the cost to others.

More than anything, Dark Blue reveals how a select group of men treat the LAPD like their own personal boy’s club where they can live the most selfish and hedonistic lifestyle they want to live and the public pays the their club dues. Dark Blue makes it quite plain and matter of fact that quite a few cops look the other way when it comes to corruption and that some “officers of the law” are as bad or worse then the criminals they supposedly fight. Even the good guys are tainted. In fact, after seeing this, I have my doubts that bad cops actually only make up a very small percentage of police departments. Corruption is the cancer, but material gain is the alluring scent that draws them to the sickness. Of course, a lot of policemen look the other way because they know how easy it is to cross the line.

It takes a good cast to carry off a film like this, one that deals with difficult and angry subject matter in such a frank manner. Kurt Russell continues to affirm his status as a great male star in the tradition of the great tough guys, and he can act. I could read the drama in his face and see the character’s turmoil and conflict; Russell didn’t have to say a word. He only had to act. Scott Speedman plays the youthful and slowly corrupted Bobby with a charm that engages us to him especially when he’s trying to be a bad boy. Ving Rhames and Brendan Gleeson are fine character actors; they always bring something of themselves, their own personal style, to their characters, which gives those characters flavor.

Dark Blue may be an L.A. story, but its elements and themes are universal. The same issues that plagued the men and the bureaucracy of law enforcement in 1992 before the riots still bother them today. It’s good that Ellroy, Ayers, and Shelton can turn this disease into a big messy film full of ugliness, making us confront the mean streets and the even meaner men who play on it.

Dark Blue isn’t slick entertainment, and it does drag at times. Like Michael Mann’s Heat, it takes its time building up steam before it blows up in our faces. Good. Some things about “the law” need to gut punch America if the country’s going to pay attention. Shelton builds the tension slowly, but the audience needs the set up to get the payoff. If the ending seems confused, it’s the only appropriate one for a movie so deeply involved in the drama of life. I like having an important movie be this rough, crime drama (heck, I just like a good crime drama) that craps on the gloss of Hollywood. The art of drama doesn’t have to be pretty.

7 of 10
B+

NOTES:
2004 Black Reel Awards: 2 nominations: “Best Supporting Actor” (Ving Rhames) and “Best Supporting Actress” (Michael Michele)

Friday, November 16, 2012

Review: "The Raven," Nevermore? How 'Bout Nevermind

TRASH IN MY EYE No. 86 (of 2012) by Leroy Douresseaux

The Raven (2012)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – R for bloody violence and grisly images
DIRECTOR: James McTeigue
WRITERS: Ben Livingston and Hannah Shakespeare
PRODUCERS: Marc D. Evans, Trevor Macy, and Aaron Ryder
CINEMATOGRAPHER: Danny Ruhlmann
EDITOR: Niven Howie
COMPOSER: Lucas Vidal

MYSTERY/THRILLER

Starring: John Cusack, Luke Evans, Alice Eve, Brendan Gleeson, Oliver Jackson-Cohen, Dave Legeno, and Sam Hazeldine

The Raven is a 2012 mystery-thriller from director James McTeigue. This film is the most recent one to take its name from the Edgar Allen Poe poem, “The Raven” (first published in 1845). The Raven stars John Cusack as Poe, who is trying to solve a series of horrific murders that are seemingly inspired by his stories.

The film opens in 1849, and Edgar Allen Poe (John Cusack) has just returned to Baltimore, Maryland. Broke and drunk, Poe is hoping to get some funds from the newspaper, the Baltimore Patriot, for publishing one of his reviews. What he finds instead is a general disinterest in him and his recent work. Poe also hopes to marry a young socialite, Emily Hamilton (Alice Eve), but her father, Captain Hamilton (Brendan Gleeson), would rather just kill Poe.

Things can’t get worse, can they? But they do when police Inspector Emmett Fields (Luke Evans) confronts Poe. Baltimore is rotten with unsolved murders, and the latest are two ghastly slayings that Fields believes is connected to Poe’s writings. Taunted by an unknown madman, Poe and Fields are forced into a cruel game of wits in which they must uncover the killer’s identity or more people will die.

When I first started reading about movies, I came across the term “high-concept.” It was used to describe a movie premise that could be pitched briefly and concisely. Imagine a movie that can be described in 20 words or less. The Raven is basically a high-concept: Edgar Allen Poe has to uncover the identity of a murderer who gets his ideas from Poe’s stories. That sound’s clever especially when you consider that Poe basically invented the genre of detective fiction as we know it with his stories starring the character, “C. Auguste Dupin.” Poe also died under mysterious circumstances, and this film’s story offers a fanciful version of events during Poe’s last days.

The Raven the movie is not clever. It’s just a bad movie. There were times while I was watching this that I could even convince myself that the filmmakers tried hard to make a good movie, but I just as often found myself thinking that at some point, the people involved with The Raven knew they had a really bad movie on their hands.

This movie is clumsy, but even worse, it’s ridiculous – from preposterous concept to silly ending. The whole thing is just a procession of absurdities. I like John Cusack, but he is awful in this, and the (dis)credit cannot go to the screenplay alone, which is amateurish (to put it mildly). Sometimes, Cusack seems disinterested and bored and other times lost. Poe deserves better.

1 of 10
D-

Friday, November 16, 2012

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Sunday, October 28, 2012

Review: "28 Days Later" is Just Short of Being Great

TRASH IN MY EYE No. 97 (of 2003) by Leroy Douresseaux

28 Days Later (2002)
COUNTRY OF ORIGIN: United Kingdom
(U.S. release: June 2003)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for strong violence and gore, language and nudity
DIRECTOR: Danny Boyle
WRITER: Alex Garland
PRODUCER: Andrew Macdonald
CINEMATOGRAPHER: Anthony Dod Mantle
EDITOR: Chris Gill
COMPOSER: John Murphy

HORROR/SCI-FI/DRAMA

Starring: Cillian Murphy, Naomi Harris, Brendan Gleeson, Megan Burns, Noah Huntley, and Christopher Eccleston

What if the Danny Boyle, the director of the sublime Trainspotting and The Beach (hey, I really like that movie), decided to make a zombie movie? If you’re like me, you were excited the first time you heard about this project. Well, we got it…sort of. Released in the United Kingdom in 2002, 28 Days Later was a big hit, but we had to wait until the summer of 2003 before Americans saw it. It’s not quite the zombie gore fest that I expected, but it’s a very creepy post-apocalyptic drama.

A group of do-gooder animal rights activists (the road to Hell…) break into an animal research facility with a lab full of monkeys that are, a captured scientist tells them, “infected with rage.” An infected monkey attacks one of the activists and unleashes an epidemic that destroys the U.K. Whenever a human is exposed to even one drop of blood or saliva from the infected, he becomes locked into a permanent state of murderous rage. In 28 days, Great Britain is a dead civilization.

On the 28th day, bike courier Jim (Cillian Murphy) wakes from a coma he suffered after a car hit him and finds himself in a completely empty hospital. Not long after that he runs into group of infected humans, now murderous “zombies.” These “rage” creatures aren’t like the traditional foot-shuffling zombies we’ve come to love, especially in George A. Romero’s Night of the Living Dead and its sequels. They’ll chase a healthy human down with the speed of a track star and the single-minded zeal of a crackhead. Jim meets a handful of survivors including tough girl Selena (Naomi Harris) and father-daughter team Frank (Brendan Gleeson) and Hannah (Megan Burns). Jim and a few of the survivors eventually end up at a military compound where they discover that their most desperate struggle for survival might not be against the ghouls.

28 Days Later taps into two of post-9/11 biggest worries, the threat of terrorism and lethal contagion. Arriving in America on the heels of the SARS scare, the film has dreary and sort of dreadful sense of realism. I found the “rage” disease and the speedy, raspy, blood-vomited monsters a bit farfetched (but still scary), so the entire horror genre angle of the film was mildly retarded; it simply just didn’t have the blow-to-the-gut immediacy and terror of something like Day of the Dead. The scariest thing about this film is the idea of how much harm humanity can do itself. The most potent violence in this film is simple man vs. man bloodletting, be it from sudden bloodlust or from cold, calculated murder.

If the characters appear thin, it’s because of the weight of their troubles. The audience is more focused on the both the film’s setting and concept than the characters. Besides, in a horror movie, characters of depth are largely a waste since the sole reason of characters in horror movies is to be acted upon violently. Still, I like what I saw. Brendan Gleeson always brings a strong dramatic presence to any film in which he appears. He’s the solid, archetypical father figure struggling to save his charges from the chaos of a mad world. I like Cillian Murphy’s gangly Jim, but it’s a bit hard to buy him as a hero. However, he works as a believable everyman who shows up out of the blue; at least one of that kind survives every the apocalypse in a post-apocalypse film. I really dug Naomi Harris’s Selena; she’s a warrior and the best genre heroine since The Matrix’s Trinity.

It would have been simpler just to make a cool-looking MTV-style zombie movie, but Boyle and screenwriter Alex Garland went and got all-artful on us. In the film, the threat of a sudden and bloody-vicious zombie attack is a quite palatable fear that you can feel in your soul, but genre considerations apparently had to give way to a bit of social commentary. The film speaks with a lot of hopelessness concerning the state of human affairs with just enough of hopeful resolution to make it a Hollywood ending. I have mixed feelings about this film, mostly because I didn’t get what I wanted.

Still, I can’t get the ominous and grainy images of 28 Days Later out of my head. Boyle shot the film on digital video reportedly for budgetary reasons; if this is true (others say the choice was artistic), it is a happy accident for sure. The “docu-realism” look of the film will make it a memorable movie about the end of the world, as we know it.

6 of 10
B

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Monday, August 6, 2012

Review: "The Village" is Great ... Until it Isn't (Happy B'day, M. Night Shyamalan)

TRASH IN MY EYE No. 135 (of 2004) by Leroy Douresseaux

The Village (2004)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – PG-13 for scene of violence and frightening situations
WRITER/DIRECTOR: M. Night Shyamalan
PRODUCERS: Sam Mercer, Scott Rudin, and M. Night Shyamalan
CINEMATOGRAPHER: Roger Deakins (D.o.P.)
EDITOR: Christopher Tellefsen
COMPOSER: James Newton Howard
Academy Award nominee

DRAMA/FANTASY/THRILLER with elements of horror

Starring: Bryce Dallas Howard, Joaquin Phoenix, Adrien Brody, William Hurt, Sigourney Weaver, Brendan Gleeson, Cherry Jones, Celia Weston, John Christopher Jones, Frank Collison, Jayne Atkinson, Judy Greer, Michael Pitt, and Jesse Eisenberg

The subject of this movie review is The Village, a 2004 fantasy thriller and mystery film from writer-director, M. Night Shyamalan. The film is set in a late 19th century village built in a forest supposedly filled with dangerous creatures.

Circa 1897, Covington, Pennsylvania is a nice, quiet town surrounded by a beautiful, but haunting forest where strange, apparently dangerous, and unseen creatures live. For ages, there has been a truce between the citizens of Covington and the mysterious denizens of the woods. The people of Covington do not go into the woods, and the creatures (or monsters) do not come into the village.

But when quiet, almost sullen, young townsmen Lucius Hunt (Joaquin Phoenix) crosses the border from the town into the woods, the truce is broken, and the monsters start visiting the town. Soon, the villagers find an increasing number of their livestock slaughtered and skinned. In the midst of the fear, happiness blooms, but before long the scourge of the faraway towns comes to the village. Village elder Edward Walker’s (William Hurt) blind daughter, Ivy (Bryce Dallas Howard) must pass through the woods to find aid. But will the monsters dine on her beautiful flesh?

M. Night Shyamalan’s The Village is probably the least accomplished of his films since his worldwide blockbuster, The Sixth Sense. However, like his best-known films, the journey of watching the film is usually more important than the destination, which is the flick’s finale. Like Signs, the supernatural element is a red herring, and the most important element of The Village is its theme of dealing with heart-rending loss. The film also tackles the ideas of locking oneself off from the world to avoid devastating pain and of living in paranoid fear of the other, which is quite relevant in an America where “gated communities” seem to spring up everywhere on a daily basis.

As a work of movie art, The Village is an ambitious stumble. The ideas are good, but muddled, lost, and poorly considered, or at least poorly presented in the structure of this story. As big studio entertainment, The Village has a small numbers of genuinely frightening bumps in the dark, but the suspense is tepid and the thrills are exhausted half way through the film. The movie also takes such an idealized view of utopias, that it sometimes seems to take wild flights of fancy. However, Shyamalan just might be making a sly comment about the upper middle class and upper class’ fear of violence at the hand of the lower classes.

The delight in this film is the debut of Academy Award winning director Ron Howard’s daughter, Bryce Dallas Howard. Her performance is luminous, so much so that it lights the way for this occasionally befuddled mess. Ms. Howard is spunky and rebellious when she needs to be, and the sheer terror she displays is practically the only thing that sells this film’s horror thriller aspects. She also portrays moments of bravery with openness in her performance that invites us into her life; she is the one through whom we live vicariously. She is The Village’s champion.

5 of 10
B-

NOTES:
2005 Academy Awards: 1 nomination: “Best Achievement in Music Written for Motion Pictures, Original Score” (James Newton Howard)

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Wednesday, July 11, 2012

Review: "Safe House" is Full of Thrill Rides

TRASH IN MY EYE No. 56 (of 2012) by Leroy Douresseaux

Safe House (2012)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – R for strong violence throughout and some language
DIRECTOR: Daniel Espinosa
WRITER: David Guggenheim
PRODUCER: Scott Stuber
CINEMATOGRAPHER: Oliver Wood (D.o.P.)
EDITOR: Richard Pearson
COMPOSER: Ramin Djawadi

ACTION/THRILLER

Starring: Denzel Washington, Ryan Reynolds, Vera Farmiga, Brendan Gleeson, Sam Shepard, Rubén Blades, Nora Arnezeder, Robert Patrick, and Liam Cunningham

Safe House is a 2012 action thriller and espionage film from Dutch director Daniel Espinosa. Starring Denzel Washington and Ryan Reynolds, the film follows a young CIA agent and a former CIA agent turned criminal on the run after their safe house is attacked. Safe House is an excellent action thriller, but that’s all it is.

Safe House is set in South Africa, where Matthew James “Matt” Weston (Ryan Reynolds) is a low-level CIA agent. He is the “housekeeper” (essentially the manager) of a CIA safe house in Cape Town, South Africa. Matt is about to have his biggest guest, Tobin Frost (Denzel Washington), an ex-CIA agent turned international criminal. Not long after Frost is brought to Matt’s safe house by a CIA special operations unit, mercenaries attack the house. Matt manages to escape with Frost in his custody, but things only get worse. Matt suspects that there is a security leak at the CIA from someone who wants something that Frost apparently has. Now, Matt has to keep one eye on Frost and the other on the people trying to kill them both.

Safe House is an expertly directed action thriller. Every chase scene is riveting; each one will hold onto your attention with a steely grip. But that’s it. You don’t really get to know the characters, although many have interesting back stories. Characters are either good guys or bad guys, and many are also corpses-to-be. Denzel doesn’t do anything that you haven’t seen him do before, but Ryan Reynolds really sells the idea that he is a young man dealing with something way beyond his pay grade. He shows fear, desperation, and desperate determination in his eyes. He does this with enough intensity to make you believe that he is a serious actor and not just the latest lucky young white guy in Hollywood.

I really enjoyed Safe House. It’s like the Jason Bourne movies, but more meat-and-potatoes action than smart (which the Bourne movies are). I think Safe House should also be noticed for a small role by Rubén Blades, the fine actor, singer/songwriter, and Latin jazz musician. He should be in more movies. In spite of a thin script, that’s what Safe House does: offer surprises and thrills that make you glad you watched it. If you are looking for more, you will need to watch another movie.

7 of 10
B+

Monday, July 09, 2012

Sunday, May 20, 2012

Review: Close, McTeer Do the Damn Thing in "Albert Nobbs"

TRASH IN MY EYE No. 39 (of 2012) by Leroy Douresseaux

Albert Nobbs (2011)
COUNTRY OF ORIGIN: Ireland, U.K.
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for some sexuality, brief nudity and language
DIRECTOR: Rodrigo García
WRITERS: Glenn Close, John Banville, and Gabriella Prekop; from a story by István Szabó (based upon the novella, “The Singular Life of Albert Nobbs” by George Moore)
PRODUCERS: Glenn Close, Bonnie Curtis, Julie Lynn, and Alan Moloney
CINEMATOGRAPHER: Michael McDonough (D.o.P.)
EDITOR: Steven Weisberg
COMPOSER: Brian Byrne
Academy Award nominee

DRAMA/HISTORICAL

Starring: Glenn Close, Janet McTeer, Mia Wasikowska, Aaron Johnson, Jonathan Rhys Meyers, Pauline Collins, Brenda Fricker, Mark Williams, Phyllida Law, Bronagh Gallagher, and Brendan Gleeson

Albert Nobbs is a 2011 Irish period drama from director Rodrigo Garcia (Mother and Child). The film is based upon the 1918 short story “The Singular Life of Albert Nobbs” by the late Irish novelist, George Augustus Moore. The film stars Glenn Close as a woman who poses as a man in order to work at a motel in late 19th century Ireland,

Albert Nobbs (Glenn Close) was born a female in London. He has been posing as a man for 30 years in order to survive the harsh environment of the impoverished working class in the late 19th century. Albert works as a waiter in Morrison’s Hotel in Dublin, Ireland, and is known for his extreme dedication to his job. However, Albert begins to reconsider how he has lived when he meets Hubert Page (Janet McTeer), a strapping painter who is doing some work at the hotel.

With its lesbian, gay, bisexual, and transgender themes, Albert Nobbs is certainly one of the most intoxicating period dramas that I have ever seen. Even when I enjoy a period or costume drama, I often forget about them not long after watching them (like The King’s Speech), but I can’t stop thinking about Albert Nobbs. I think that this is because Albert Nobbs has a screenplay which is determined to keep the audience guessing about the actions and motivations of the characters, and this is true from the main characters down to the supporting characters with small speaking roles. The movie engages the viewer in a guessing game of why and how. Why does she do that? How does she do it? How does she get away with it?

Albert Nobbs is marked by excellent performances and two great performances: Glenn Close as Albert Nobbs and Janet McTeer as Hubert Page. Close creates a compelling character in Nobbs by making the character’s fear that he will be caught a character itself. It is almost as if there are two characters: one is a waiter, and the other is a man whose secret-keeping is his life. As for McTeer, I don’t know if I have the words to describe her performance, which is a work of high art. I’ll just call it mega-awesome and leave it at that.

Albert Nobbs is a bit slow, but only a bit. I find that sometimes director Rodrigo García allows things to get too aloof and stiff, but he extracts passion and conflict from the kind of characters that like to keep things hidden and to act detached. However, the performances by Close and McTeer burn brightly enough to draw our attention to this unique film that depicts the diversity of relationships between women.

8 of 10
A

NOTES:
2012 Academy Awards: 3 nominations: “Best Performance by an Actress in a Leading Role” (Glenn Close), “Best Performance by an Actress in a Supporting Role” (Janet McTeer), and “Best Achievement in Makeup” (Martial Corneville, Lynn Johnson, and Matthew W. Mungle)

2012 Golden Globes, USA: 3 nominations: “Best Performance by an Actress in a Motion Picture – Drama” (Glenn Close), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Janet McTeer), and “Best Original Song - Motion Picture” (Brian Byrne-music and Glenn Close-lyrics for the song "Lay Your Head Down")

Saturday, May 19, 2012

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Sunday, March 11, 2012

Brendan Gleeson Shines in "The Guard"

TRASH IN MY EYE No. 20 (of 2012) by Leroy Douresseaux


The Guard (2011)
COUNTRY OF ORIGIN: Ireland
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – R for pervasive language, some violence, drug material and sexual content
WRITER/DIRECTOR: John Michael McDonagh
PRODUCERS: Chris Clark, Flora Fernandez-Marengo, Ed Guiney, and Andrew Lowe
CINEMATOGRAPHER: Larry Smith
EDITOR: Chris Gill
COMPOSER: Calexico
BAFTA nominee

CRIME/COMEDY

Starring: Brendan Gleeson, Don Cheadle, Liam Cunningham, David Wilmot, Rory Keenan, Mark Strong, Fionnula Flanagan, Katarina Cas, Laurence Kinlan, Pat Shortt, Darren Healy, Gary Lydon, Wale Ojo, and Michael Og Lane

The Guard is a 2011 Irish crime comedy starring Brendan Gleeson and Don Cheadle (who is also one of the film’s executive producers). Written and directed by John Michael McDonagh (Ned Kelly), the film focuses on an unorthodox Garda (Irish policeman) and a tightly wound FBI agent in pursuit of international drug dealers.

Straight-laced FBI Special Agent Wendell Everett (Don Cheadle) arrives in Ireland on the trail of international drug dealers, specifically four suspects. Everett meets Sergeant Gerry Boyle (Brendan Gleeson), a wisecracking and confrontational local Garda from the village of Galway. Boyle may already have a lead on the drug smugglers, but he chooses to annoy the American instead of helping him. When the drug-related violence and murder get close to him, however, Boyle suddenly finds himself doing police work way beyond anything he has ever done before.

The Guard is a weird film. Perhaps, I did not expect an Irish film to be so quirky as to seem like a movie from Wes Anderson (Rushmore, The Royal Tennenbaums). This film is both a crime comedy and a black comedy, so it is violent and twisted. Also, every moment in the film that attempts to be poignant are sabotaged by the profane and scabrous.

Writer/director John Michael McDonagh gives the film satirical flourishes by poking fun at the Irish city of Dublin and also at the miscues of the highest law enforcement agencies in both the U.S. and the U.K. He defiantly fills his film with so many odd characters, like Eugene Moloney (Michael Og Lane), the weird kid obsessed with the Irish Republican Army (IRA), and a young odd duck who photographs crime scenes in loving, gruesome detail. That many eccentrics could ruin a movie, but McDonagh deftly keeps these characters and their strangeness in check.

He has to keep these characters under control so that they don’t stand in the way of Brendan Gleeson’s fragrantly pungent turn as Gerry Boyle. The verbally adroit Gleeson spits out the dialogue McDonagh wrote for him as if he were battling Eminem. It is a showy performance on the part of Gleeson, but he does it with such veteran ease that his seems natural. Boyle may be a loser living a crude life of lust and drink, but he isn’t doing it half-assed.

What keeps the film from being great is that it does not give us what its premise promises – a warped version of the buddy-cop movie. Gleeson and Don Cheadle are not together enough – for me, at least. When Cheadle’s Wendell Everett is with Gleeson’s Boyle, they seem perfectly matched for some mismatched comedy duo gold. The Guard only gives us Boyle/Everett in chopped up bits that never last that long, until the last act, which is a shame.

I must also note that I wish Mark Strong, Liam Cunningham, and David Wilmot’s villainous characters were more developed, as they could be the stars of their own movie. There is nothing wrong with The Guard focusing on Gleeson’s Boyle, but as the film’s final moments focus on Cheadle’s Everett, it becomes obvious that The Guard misses out on being a buddy-cop classic.

7 of 10
A-

NOTES:
2012 BAFTA Awards: 1 nomination: “Best Original Screenplay” (John Michael McDonagh)

2012 Golden Globes: 1 nomination: “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Brendan Gleeson)

2012 Black Reel Awards: 1 win: “Outstanding Supporting Actor” (Don Cheadle)

2012 Image Awards: 1 nomination: “Outstanding Supporting Actor in a Motion Picture” (Don Cheadle)

Friday, February 10, 2012

9th Annual Irish Film and Television Awards Takes Place Feb. 11th

IRISH FILM & TELEVISION AWARDS - ALL EYES ON THE EMERALD ISLE - 11th February 2012

Michael Fassbender, Brendan Gleeson, Chris O’Dowd, Dana Delany, AJ Buckley, Armand Assante, Stephen Rea, Brenda Fricker, Maria Doyle Kennedy and more at the Irish Film & Television Awards

(Dublin Ireland) – February 10, 2012: Ireland’s finest screen creative talent descend this weekend on Dublin, Saturday 11th of February 2012, for the 9th Annual Irish Film & Television Awards celebrations, taking place at the spectacular Convention Centre Dublin (CCD).

The President of Ireland Michael D. Higgins leads the celebrations, showcasing Ireland’s screen talent with IFTA Awards presented in categories across film and television. IFTA 2012 will see Ireland’s directors, writers, actors, craftspeople and television programme makers in attendance.

Guests scheduled to attend include Brendan Gleeson (The Guard), Michael Fassbender (Shame), Chris O’Dowd (Bridesmaids), Brenda Fricker (Albert Nobbs), Brían F. O'Byrne (Mildred Pierce, Prime Suspect), Stephen Rea (Underworld Awakening), Ruth Negga (Shirley, Misfits), Maria Doyle Kennedy (The Tudors, Albert Nobbs), Liam Cunningham (The Guard), Emmett J. Scanlan (Charlie Casanova), Amy Huberman (Threesome, Stella Days), Brendan O’Carroll (Mrs Brown’s Boys), Antonia Campbell Hughes (Lead Balloon), Colin Morgan (Merlin), Martin McCann (The Pacific), Charlene McKenna (RAW), Olivia Tracey (Agnes Browne), Allen Leech (Downton Abbey), Pat Shortt (Garage), Marcella Plunkett (Stella Days), Bronagh Gallagher (Albert Nobbs).

Veteran Irish actress Fionnula Flanagan (Some Mother’s Son, The Divine Secrets of the Ya Ya Sisterhood, LOST) is to receive Lifetime Achievement Award from the Irish Academy on the night and international guests presenting top Awards include Dana Delany (Desperate Housewives), Armand Assante (Gotti) and AJ Buckley (CSI NY).

Hosted by Simon Delaney (The Good Wife) the Irish Film & Television Awards show will broadcast primetime on Irish television RTÉ One at 9.40pm GMT.

Speaking ahead of the 9th Annual Irish Film & Television Awards this weekend, IFTA Chief Executive Áine Moriarty said: “Despite economic setbacks, Ireland can be proud of its creative talent who continue to deliver world class production, entertaining audiences both at home and around the world. The 9th Annual Irish Film & Television Awards promises to be a terrific evening of entertainment for the viewers at home, and a very special night of celebration for the 2012 nominees and Ireland’s film and television industry.”

Tuesday, November 1, 2011

British Independent Film Awards Nominations List

The Moët British Independent Film Awards nominees for 2011:

BEST BRITISH INDEPENDENT FILM Sponsored by Moët & Chandon
SENNA
SHAME
TINKER TAILOR SOLDIER SPY
TYRANNOSAUR
WE NEED TO TALK ABOUT KEVIN

BEST DIRECTOR Sponsored by The Creative Partnership
Ben Wheatley – KILL LIST
Steve McQueen – SHAME
Tomas Alfredson – TINKER TAILOR SOLDIER SPY
Paddy Considine – TYRANNOSAUR
Lynne Ramsay – WE NEED TO TALK ABOUT KEVIN

THE DOUGLAS HICKOX AWARD [BEST DEBUT DIRECTOR] Sponsored by 3 Mills Studios
Joe Cornish – ATTACK THE BLOCK
Ralph Fiennes – CORIOLANUS
John Michael McDonagh – THE GUARD
Richard Ayoade – SUBMARINE
Paddy Considine – TYRANNOSAUR

BEST SCREENPLAY Sponsored by BBC Films
John Michael McDonagh – THE GUARD
Ben Wheatley, Amy Jump – KILL LIST
Abi Morgan, Steve McQueen – SHAME
Richard Ayoade – SUBMARINE
Lynne Ramsay, Rory Kinnear – WE NEED TO TALK ABOUT KEVIN

BEST ACTRESS Sponsored by M.A.C
Rebecca Hall – THE AWAKENING
Mia Wasikowska – JANE EYRE
MyAnna Buring – KILL LIST
Olivia Colman – TYRANNOSAUR
Tilda Swinton – WE NEED TO TALK ABOUT KEVIN

BEST ACTOR
Brendan Gleeson – THE GUARD
Neil Maskell – KILL LIST
Michael Fassbender – SHAME
Gary Oldman – TINKER TAILOR SOLDIER SPY
Peter Mullan – TYRANNOSAUR

BEST SUPPORTING ACTRESS
Felicity Jones – ALBATROSS
Vanessa Redgrave – CORIOLANUS
Carey Mulligan – SHAME
Sally Hawkins – SUBMARINE
Kathy Burke – TINKER TAILOR SOLDIER SPY

BEST SUPPORTING ACTOR
Michael Smiley – KILL LIST
Tom Hardy – TINKER TAILOR SOLDIER SPY
Benedict Cumberbatch – TINKER TAILOR SOLDIER SPY
Eddie Marsan – TYRANNOSAUR
Ezra Miller – WE NEED TO TALK ABOUT KEVIN

MOST PROMISING NEWCOMER Sponsored by STUDIOCANAL
Jessica Brown Findlay – ALBATROSS
John Boyega – ATTACK THE BLOCK
Craig Roberts – SUBMARINE
Yasmin Paige – SUBMARINE
Tom Cullen – WEEKEND

BEST ACHIEVEMENT IN PRODUCTION Sponsored by Deluxe142
KILL LIST
TYRANNOSAUR
WEEKEND
WILD BILL
YOU INSTEAD

BEST TECHNICAL ACHIEVEMENT
Chris King, Gregers Sall – Editing – SENNA
Sean Bobbitt – Cinematography – SHAME
Joe Walker – Editing – SHAME
Maria Djurkovic – Production Design – TINKER TAILOR SOLDIER SPY
Seamus McGarvey – Cinematography – WE NEED TO TALK ABOUT KEVIN

BEST DOCUMENTARY
HELL AND BACK AGAIN
LIFE IN A DAY
PROJECT NIM
SENNA
TT3D: CLOSER TO THE EDGE

BEST BRITISH SHORT
0507
CHALK
LOVE AT FIRST SIGHT
RITE
ROUGH SKIN

BEST FOREIGN INDEPENDENT FILM
ANIMAL KINGDOM
DRIVE
PINA
A SEPARATION
THE SKIN I LIVE IN

THE RAINDANCE AWARD Sponsored by Exile Media
ACTS OF GODFREY
BLACK POND
HOLLOW
LEAVING BAGHDAD
A THOUSAND KISSES DEEP

THE RICHARD HARRIS AWARD (for outstanding contribution by an actor to British Film) Sponsored by Working Title
To Be Announced

THE VARIETY AWARD
To Be Announced

THE SPECIAL JURY PRIZE
Announced at the Moët British Independent Film Awards on Sunday 4 December.