Bruce Willis and Mos Def a Good Pairing in "16 Blocks"

TRASH IN MY EYE No. 140 (of 2006) by Leroy Douresseaux

16 Blocks (2006)
Running time:  102 minutes (1 hour, 42 minutes)
MPAA – PG-13 for violence, intense sequences of action, and some strong language
DIRECTOR:  Richard Donner
WRITER:  Richard Wenk
PRODUCERS:  Randall Emmett, Avi Lerner, Arnold Rifkin, John Thompson, Jim Van Wyck, and Bruce Willis
CINEMATOGRAPHER:  Glen MacPherson (D.o.P.)
EDITOR:  Steve Mirkovich
COMPOSER:  Klaus Badelt

CRIME/DRAMA/ACTION/THRILLER

Starring:  Bruce Willis, Mos Def, David Morse, Jenna Stern, Casey Sander, Cylk Cozart, David Zayas, Robert Racki, and Brenda Pressley

The subject of this movie review is 16 Blocks, a 2006 crime thriller from director Richard Donner.  The film stars Bruce Willis and Mos Def in the story of an aging cop escorting a fast-talking witness from police custody to a courthouse, while unknown forces try to stop them from making it to the courthouse.

Aging and alcoholic New York City detective, Jack Mosley (Bruce Willis), finds himself stuck with the task of escorting loquacious prosecution witness, Eddie Bunker (Mos Def), from police custody to a nearby courthouse.  However, the 16 block trek becomes perilous when a gang of corrupt cops, led by Mosley’s former partner, Frank Nugent (David Morse), attempt to kill the talkative Bunker.  With less than two hours to get Bunker before a jury, Mosley takes on the power of the police force in a small war that might find Mosley and Bunker dead before they get to their destination.

Director Richard Donner has had one of the longest and most versatile careers as a Hollywood filmmaker.  Working in television and film as both a producer and director, he helmed episodes of such TV series as “The Twilight Zone,” “Gilligan’s Island,” and “The Wild Wild West.”  He’s directed such films as The Omen (1976), Superman (1978), all four movies in the Lethal Weapon franchise, and the recent underrated sci-fi flick, Timeline.  Because of this I shouldn’t be surprised that his recent corrupt cop crime drama, 16 Blocks, is so good, but I am.  This film reveals what a fine director can do – take all the elements that go into making a movie and shape them into a quality flick without one element dominating the others.  A great director doesn’t even need all the ingredients to be the best available to turn them into a good movie.

16 Blocks isn’t Bruce Willis’ best performance, but he creates an off-beat cop that’s hard to read and that makes Jack Mosley intriguing.  The viewer might not necessarily know where the guy is coming from or where he’s going, but we know that he fits the part in the film.  Mosley is doing a job he doesn’t want to do, and that’s a perfect setup for a film in which the lead undergoes the heroic change.  Willis gives a lot of the performance in his demeanor and how he carries himself.  He doesn’t need to say a lot or make speeches, but a great physical actor, he can reveal the character in body language as much as he can with dialogue or facial expressions.

Mos Def continues to prove himself an actor, breaking away from the rapper/actor label.  In fact, he’s way better as an actor than he is as a rapper (and with his inimitable style, he is good at that).  With a robust whine in his voice, Mos creates an Eddie Bunker who gives 16 Blocks a distinctive New York flavor.  David Morse is also robustly menacing as the vile and bullying corrupt detective, Frank Nugent, another particular New York touch.

While getting solid performances from his leads and supporting players, Donner brings it all together in a taught thriller that truly brings one to the edge of his seat.  It’s not that the concept behind 16 Blocks in new.  It’s that everyone involved was determined to make a gritty urban drama with the explosiveness of an action thriller, and that determination shows in a high-quality end product.  16 Blocks is a heart stopper and a thrill ride.

7 of 10
B+

Thursday, June 29, 2006

Updated, Friday, July 19, 2013

Review: "Charlie’s Angels: Full Throttle" Sputters

TRASH IN MY EYE No. 100 (of 2003) by Leroy Douresseaux


Charlie’s Angels: Full Throttle (2003)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for action violence, sensuality and language/innuendo
DIRECTOR: McG
WRITERS: John August and Cormac Wibberley and Marianne Wibberley, from a story by John August (from the television program created by Ivan Goff and Ben Roberts)
PRODUCERS: Drew Barrymore, Leonard Goldberg, and Nancy Juvonen
CINEMATOGRAPHER: Russell Carpenter (D.o.P.)
EDITOR: Wayne Wahrman
COMPOSER: Edward Shearmur
Razzie Award winner

ACTION/ADVENTURE/COMEDY/MYSTERY

Starring: Cameron Diaz, Drew Barrymore, Lucy Lui, Demi Moore, Bernie Mac, Justin Theroux, Robert Patrick, Luke Wilson, Matt LeBlanc, Crispin Glover, John Cleese, Shia LaBeouf, Ashley Olsen, Mary-Kate Olsen, Pink, Jaclyn Smith, Bruce Willis (no screen credit), and John Forsythe (voice)

The subject of this movie review is Charlie’s Angels: Full Throttle, a 2003 action comedy from director McG. This movie is a direct sequel to the 2000 film, Charlie’s Angels. Both films are based on the television series, “Charlie’s Angels,” which was originally broadcast on ABC from 1976 to 1981. As in the first film, Full Throttle stars Cameron Diaz, Drew Barrymore, and Lucy Liu as three women employed by a private investigation agency and working for the voice known as “Charlie.”

Charlie’s Angels, the 2000 film remake of the 70-80’s TV show of the same name, was a hoot, a delightful and highly entertaining action/comedy with the guile of a cool Frank Miller comic book. Charlie’s Angels: Full Throttle, the 2003 sequel, is an overblown, way over-the-top Hollywood production that’s way too full of crap, and miraculously, it still manages to be somewhat entertaining.

It’s pointless to even attempt to describe the plot, as it’s muddled nonsense. The real plot involves the indelicate manner in which the filmmakers place Charlie’s Angels in positions and situations that create mondo opportunities for shots of tits and ass. Natalie Cook (Cameron Diaz), Dylan Sanders (Drew Barrymore), and Alex Munday (Lucy Lui) return as Charlie Townsend’s (voice of John Forsythe) high tech-trained, super-powered, manga-like cuties. This time the grrrrls have to retrieve two encrypted rings, which when combined give up the locations of people in the FBI witness relocation program, and wouldn’t the bad guys love to have that info.

McG, the director of the first film, returns to helm this gigantic, flatulent cartoon that is Full Throttle. The script is lame, but all McG has to do is make the pictures look good, and, as a music video director, he knows how to do that. Imagine The Matrix on drain cleaner, Japanese cartoons (anime) on fast forward, soft porn on the rag, and comic books conceived by horny, high school upper classmen and dull-witted sorority boys and you have the Charlie’s Angel's sequel. Don’t get me wrong; there are lots of laughs. It’s difficult to tell if the filmmakers were trying to be clever or if they were cynical enough to believe that audiences really would take it ‘tween the cheeks. The end result is this dumb as a low-rent retard movie.

Charlie's Angels: Full Throttle parodies action movie clichés…badly, and also throws in a stiff riff from Martin Scorcese’s Cape Fear. It’s just too over the top and too much of a crack-addled cartoon. I did like the way the filmmakers tried to created the vibe of a family extended around the Angels; that actually gave me warm feelings. Still, I was half enthralled and half bored out of my mind. For all the fun I had, there were as many moments when I wondered why the experience of seeing this felt so wasteful. This is simply too much candy, and frankly, unless you really crave an empty movie experience, you can wait for the tape. Someone might tell you that this is a sly, wink-wink, nudge-nudge movie and you have to take it for what it is. If he tries to spin trash as something smart, he is a way-too-easy ho for the big, movie making machine in la-dee-da land.

4 of 10
C

NOTES:
2004 Razzie Awards: 2 wins: “Worst Remake or Sequel” and “Worst Supporting Actress” (Demi Moore); 5 nominations: “Worst Actress” (Drew Barrymore, also for Duplex-2003), “Worst Actress” (Cameron Diaz), “Worst Excuse for an Actual Movie” (All Concept/No Content!), “Worst Picture” (Columbia), and “Worst Screenplay” (John August-also story, Cormac Wibberley, and Marianne Wibberley)

Updated: Thursday, June 27, 2013

Review: Halle Berry Needs the Call in "Perfect Stranger"

TRASH IN MY EYE No. 120 (of 2007) by Leroy Douresseaux


Perfect Stranger (2007)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for sexual content, nudity, some disturbing violent images and language
DIRECTOR: James Foley
WRITERS: Todd Komarnicki; from a story by Jon Bokenkamp
PRODUCER: Elaine Goldsmith-Thomas
CINEMATROGRAPHER: Anastas N. Michos (D.o.P.)
EDITOR: Christopher Tellefsen
COMPOSER: Antonio Pinto

DRAMA/MYSTERY/THRILLER

Starring: Halle Berry, Bruce Willis, Giovanni Ribisi, Richard Portnow, Gary Dourdan, Florencia Lozano, Daniella Van Graas, and Nicki Aycox

The subject of this movie review is Perfect Stranger, a 2007 psychological thriller from director James Foley. The film star Halle Berry and Bruce Willis, respectively, as an undercover journalist and a shady businessman in a cat-and-mouse game.

Playing the role of the abused woman of African-American descent has served Halle Berry quite well. In 2002, Berry won an Oscar for playing just such a character in the film, Monster’s Ball. She portrays another put upon woman or sufferin’ sistah type in the film, Perfect Stranger, with Bruce Willis playing the apparent central bully. But this time, Berry’s loyal audience is the victim of a truly bad movie.

After her friend, Grace Clayton (Nicki Aycox) is found murdered, investigative reporter Rowena “Ro” Price (Halle Berry) is determined to find the murderer. She believes that Grace’s death is connected to a powerful advertising executive, Harrison Hill (Bruce Willis), who seduces women in the online dating world of chat rooms, although he is married. Rowena infiltrates Hill’s advertising agency, H2A, as a temp worker named Katherine Pogue, and she also secretly teases him online under the moniker, Veronica. With the help of newspaper colleague and friend, Miles Haley (Giovanni Ribisi), Rowena pries into all facets of Hill’s life. The closer she gets to the truth, the more Ro learns how far people will go to protect it, and she finds herself struggling to protect her own secrets.

Perfect Stranger is vile, vulgar, cheap, and tawdry in the way the director and writers portray sexual relationships and in the coarse manner in which characters speak to each other. What makes this film really bad, however, isn’t the sex, nudity, crude language, explicit violence or even the woefully bad acting. It’s that Perfect Stranger is a poorly conceived mystery thriller. Perhaps, the writers knew how the story would end, and they were clear about who the victims would be and when they would be victimized. Beyond that, this narrative is full of holes.

Even viewers who normally find both obvious and none-too-subtle clues flying over their heads (that includes me), will find themselves scratching their heads at how easily and early this story disintegrates. The central murder doesn’t make sense when one considers that the killer is supposed to be so clever. The subsequent police investigation would certainly break up this film’s story within the first half hour. Sure, we’re supposed to suspend disbelief in the movie theatre, but what about verisimilitude? Since Perfect Stranger is set in a world like ours, it should also work logically in the real world.

Without Halle Berry and Bruce Willis, who both gave poor, poor performances, Perfect Strangers would have been a direct-to-DVD film… that not many people would rent. Only my love for Berry prohibits me from giving this an “F.”

1 of 10
D-

Friday, August 24, 2007

Paramount and WWE Unite to Promote Two Dwayne Johnson Films

PARAMOUNT PICTURES AND WWE® TEAM UP FOR “G.I. JOE: RETALIATION” AND “PAIN & GAIN” PROMOTION

Hollywood, CA AND Stamford, Conn. – February 19, 2013 – Paramount Pictures and WWE (NYSE: WWE) today announced a promotional partnership to support Paramount’s upcoming feature film releases, G.I. JOE: RETALIATION and PAIN & GAIN. The cross-platform partnership includes integration opportunities on WWE programming at the Elimination Chamber pay-per-view event as well as appearances by film star and WWE Champion Dwayne “The Rock®” Johnson on Monday Night Raw® and WrestleMania® 29. In addition to storyline integration on its TV broadcasts, WWE will utilize all of its assets, including live events, digital and social media to promote the films and engage millions of fans each week.

G.I. JOE: RETALIATION is a co-presenting partner of Elimination Chamber with integration during the pay-per-view as well as storyline integration with stars D.J. Cotrona and Adrianne Palicki on Monday Night Raw on USA Network, leading up to the film’s release on March 29.

In the sequel to the 2009 release of G.I. JOE: THE RISE OF COBRA, which grossed more than $300 million worldwide, the G.I. Joes are not only fighting their mortal enemy Cobra, they are forced to contend with threats from within the government that jeopardize their very existence. Paramount Pictures, Metro-Goldwyn-Mayer Studios (MGM) and Skydance Productions present in association with Hasbro. G.I. JOE: RETALIATION stars D.J. Cotrona, Byung-hun Lee, Adrianne Palicki, Ray Park, Jonathan Pryce, Ray Stevenson, Elodie Yung, Channing Tatum with Bruce Willis and Dwayne Johnson. Produced by Lorenzo di Bonaventura and Brian Goldner. Based on Hasbro’s G.I. Joe® characters. Written by Rhett Reese & Paul Wernick and directed by Jon M. Chu. G.I. JOE: RETALIATION is in theaters everywhere March 29.

PAIN & GAIN will have a major presence at WrestleMania 29 at MetLife Stadium on Sunday, April 7, and at WrestleMania Axxess, a four-day interactive WWE fan experience at the IZOD Center in East Rutherford, N.J., from Thursday, April 4 to Sunday, April 7.

From acclaimed director Michael Bay comes PAIN & GAIN, a new action comedy starring Mark Wahlberg, Dwayne Johnson and Anthony Mackie, based on the unbelievable true story of three personal trainers in 1990s Miami, who, in pursuit of the American Dream, get caught up in a criminal enterprise that goes horribly wrong. Ed Harris, Tony Shalhoub, Rob Corddry, Rebel Wilson and Bar Paly also star. Produced by Donald De Line, Michael Bay and Ian Bryce. Based on the Magazine Articles by Pete Collins. Screenplay by Christopher Markus & Stephen McFeely. Directed by Michael Bay. PAIN & GAIN opens in theaters everywhere April 26.


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, ParamountVantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, ParamountHome Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About WWE
WWE, a publicly traded company (NYSE: WWE), is an integrated media organization and recognized leader in global entertainment. The company consists of a portfolio of businesses that create and deliver original content 52 weeks a year to a global audience. WWE is committed to family friendly entertainment on its television programming, pay-per-view, digital media and publishing platforms. WWE programming is broadcast in more than 145 countries and 30 languages and reaches more than 600 million homes worldwide. The company is headquartered in Stamford, Conn., with offices in New York, Los Angeles, Miami, London, Mumbai, Shanghai, Singapore, Istanbul and Tokyo.

Additional information on WWE (NYSE: WWE) can be found at wwe.com and corporate.wwe.com. For information on our global activities, go to http://www.wwe.com/worldwide/.

Review: "Live Free or Die Hard" - I Really Liked It, Didn't I?

TRASH IN MY EYE No. 102 (of 2007) by Leroy Douresseaux


Live Free or Die Hard (2007)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for intense sequences of violence and action, language, and a brief sexual situation
DIRECTOR: Len Wiseman
WRITERS: Mark Bomback; from a story by Bomback and David Marconi (based upon the article “A Farewell to Arms” by John Carlin and certain original characters by Roderick Thorp)
PRODUCERS: Michael Fottrell, John McTiernan, Arnold Rifkin, and Bruce Willis
CINEMATOGRAPHER: Simon Duggan (D.o.P.)
EDITOR: Nicolas de Toth
COMPOSER: Marco Beltrami

ACTION/THRILLER/SCI-FI

Starring: Bruce Willis, Timothy Olyphant, Justin Long, Mary Elizabeth Winstead, Maggie Q, Cliff Curtis, Jonathan Sadowski, Andrew Friedman, Tim Russ, and Kevin Smith

The subject of this movie review is Live Free or Die Hard, the fourth film in the Die Hard movie franchise. Bruce Willis returns as John McClane, a character created by the late novelist, Roderick Thorp, for his 1979 novel, Nothing Lasts Forever.

According to pop culture magazine Entertainment Weekly, after watching Underworld: Evolution with his daughters, Bruce Willis knew that’d he found in Underworld franchise director, Len Wiseman, the man to helm the long in gestation fourth Die Hard film. Willis’ Die Hard character John McClane is perhaps the actor’s signature role, and in the new film, Live Free or Die Hard, Willis proves that he and McClane are great in these movies. Meanwhile, Wiseman doesn’t just make a good movie. He makes damn great movie.

On the July 4th holiday, a mysterious figure attacks the United States digital infrastructure, and he’s figured out every angle, except old school, tough guy cop, John McClane (Bruce Willis). When’s he’s asked to escort Matt Farrell (Justin Long), a talented young hacker, into FBI custody, New York Police Detective McClane thinks of it as just another pain-in-the-butt favor keeping him enjoying his time off. When heavily armed and highly-trained killers come gunning for Matt and literally obliterate the young man’s apartment with gunfire, McClane knows Matt is part of something really big. Soon, McClane is dragging Matt across Washington DC, simultaneously trying to save his life and hunt down the cyber-terrorist who has brought America to a standstill.

Live Free or Die Hard practically hits the ground running, giving the viewer very little time to take a deep breath before diving into this smorgasbord of chase scenes, gun fights, and hand-to-hand combat that is a buffet of international fighting techniques. Of course, this is pretty much the way Underworld: Evolution opened – throw gasoline on the fire and then, throw that in the viewer’s face. Wiseman, however, does stay true to Die Hard’s roots. This is the kind of macho, big budget, special effects laden action filmmaking that thrived from the late 1980’s and into the 90’s. The 1988 Die Hard helped to give birth not only to sequels but to films that relied on gargantuan sound and complicated stunts like Bad Boys, Con Air, Face/Off, The Long Kiss Goodnight, and The Rock among others.

Willis is so good here that I hope he not only gives us more Die Hard flicks, but I also hope that he makes more action films just like this. Here, he certainly satisfied even the die-hardest Die Hard fan, but he does this with a good supporting cast. Justin Long is the perfect tag-along as Matt Farrell, who is basically a hand-held device – giving macho, blue collar McClane the lay of the geek-techie land, and Long seems perfectly happy to play that part. Timothy Olyphant’s brilliant smart bad guy, Thomas Gabriel, is the perfect foil for Willis’ comin’-to-kick-your-ass hero. Mary Elizabeth Winstead hits the right note as Lucy McClane, the fruit of John McClane’s loins.

Live Free or Die Hard may not seem like a great work of film art, but when McClane uses a car to “kill” a helicopter, you know that this is more than just another action movie. When a fighter jet takes on an 18-wheeler with McClane behind the wheel, you know Live Free or Die Hard is extra-special, and that’s not even the climax.

9 of 10
A+

Sunday, July 08, 2007

"Hansel and Gretel" Has Preview of G.I. Joe Sequel

EXCLUSIVE 3D FOOTAGE OF “G.I. JOE: RETALIATION” TO PLAY IN ADVANCE OF “HANSEL & GRETEL: WITCH HUNTERS” IN THEATERS ACROSS THE GLOBE

THE 4-MINUTE PREVIEW WILL BEGIN PLAYING JANUARY 24TH IN IMAX 3D, REALD 3D AND DIGITAL 3D LOCATIONS AROUND THE WORLD

Paramount Pictures, MGM and Skydance Productions, in association with Hasbro, will release a 4-minute preview of the highly anticipated “G.I. JOE: RETALIATION” in IMAX 3D, RealD 3D and digital 3D theaters in advance of Paramount and MGM’s “HANSEL & GRETEL: WITCH HUNTERS.”

This first-look at the film will play across the globe beginning January 24th and run throughout “HANSEL & GRETEL: WITCH HUNTER’S” theatrical engagement.

Based on the best-selling HASBRO characters, this follow-up to the 2009 release of “G.I. JOE: THE RISE OF COBRA,” which grossed more than $300 million worldwide, is di Bonaventura production and is presented by Paramount Pictures, MGM and Skydance Productions, in association with Hasbro.

In this sequel, the G.I. Joes are not only fighting their mortal enemy Cobra, they are forced to contend with threats from within the government that jeopardize their very existence. The film stars D.J. Cotrona, Byung-hun Lee, Adrianne Palicki, Ray Park, Jonathan Pryce, Ray Stevenson, Elodie Yung, Channing Tatum with Bruce Willis and Dwayne Johnson. Directed by Jon M. Chu, and produced by Lorenzo di Bonaventura and Brian Goldner of Hasbro, from a screenplay by Rhett Reese & Paul Wernick, based on Hasbro’s G.I. Joe® characters.

“G.I. JOE: RETALIATION” is in theaters everywhere March 29th, 2013.

“HANSEL & GRETEL: WITCH HUNTERS” stars Jeremy Renner and Gemma Arterton as Hansel and Gretel, who, after getting a taste for blood as children, become the ultimate vigilantes, hell bent on retribution. Now, unbeknownst to them, Hansel and Gretel have become the hunted, and must face an evil far greater than witches... their past. In addition to Renner and Arterton, the film stars Famke Janssen and Peter Stormare. Written and directed by Tommy Wirkola and produced by Will Ferrell, Adam McKay, Kevin Messick and Beau Flynn.

“HANSEL & GRETEL: WITCH HUNTERS” opens in the U.S. and Canada on January 24, 2013 with show times beginning at 10 p.m.


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Metro-Goldwyn-Mayer Studios Inc.
Metro-Goldwyn-Mayer Studios Inc. (“MGM”) is a leading entertainment company focused on the production and distribution of films and television content globally. The company owns one of the world’s deepest libraries of premium film and television programming. In addition, MGM has ownership interests in domestic and international television channels, including MGM-branded channels. For more information, visit www.mgm.com.

Review: "Looper" the Coop-o-Loop of Time Travel Films

TRASH IN MY EYE No. 6 (of 2013) by Leroy Douresseaux


Looper (2012)
Running time: 119 minutes (1 hour, 59 minutes)
MPAA – R for strong violence, language, some sexuality/nudity and drug content
WRITER/DIRECTOR: Rian Johnson
PRODUCERS: Ram Bergman and James D. Stern
CINEMATOGRAPHER: Steve Yedlin (D.o.P.)
EDITOR: Bob Ducsay
COMPOSER: Nathan Johnson

SCI-FI/DRAMA/THRILLER

Starring: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Paul Dano, Noah Segan, Piper Perabo, Jeff Daniels, Pierce Gagnon, Summer Qing, Tracie Thoms, Garret Dillahunt, Frank Brennan, and Nick Gomez

Looper is a 2012 science fiction-thriller from writer-director, Rian Johnson. The film stars Joseph Gordon-Levitt, who was also the lead in Johnson’s debut feature film, Brick (2005).

Looper opens in the year 2044, in a Kansas cornfield. We watch 25-year-old Joseph “Joe” Simmons (Joseph Gordon-Levitt) shoot a man who suddenly appears in front of him. In the year 2074, when the mob wants to get rid of someone, it sends the target 30 years into the past, where a hired gun, called a “looper,” awaits to do the killing. When the crime bosses want to end a looper’s contract, they send him back so that his younger self can do the killing. It’s called “closing the loop.”

One day, “Young Joe” (Joseph Gordon-Levitt) learns that it is time to close his loop when “Old Joe” (Bruce Willis) suddenly appears in front of him. After Old Joe escapes, Young Joe becomes the target of his boss, Abe (Jeff Daniels), leader of a Kansas City mafia company.

When I first saw Rian Johnson’s Brick several years ago, I was impressed. The film was basically a classic detective movie set in a modern, suburban high school with dysfunctional kids and juvenile delinquents playing the roles of the detective, the femme fatale, and the criminals. Looper is more than just a clever time travel story. For one thing, it is probably the most imaginative time travel film since 12 Monkeys (in which Bruce Willis played the lead).

I don’t want to give away any more of Looper’s delightful surprises, shocking twists, and stunning turns. I will say that Looper is not just about the affect of time travel on the characters. It is also about what time, chance, and opportunity mean to the lives of the characters. Thus, Looper is a character drama as much as it is a science fiction film. Of course, there is action; after all, this is a movie in which Bruce Willis plays a major part. His character, “Old Joe,” is so desperate, however, that he is despicable, and that allows Willis to show a range of emotions and to suggest the complicated thought processes going on behind his eyes in ways that Willis rarely gets to do.

Besides Willis, there are good performances all around. Joseph Gordon-Levitt proves himself (once again) as a leading man, and Noah Segan shines (and steals a few scenes) as the anxious-to-prove-himself, Kid Blue. My only complaints about Looper are that it is a bit too long, and it stumbles in places because of that. Still, Looper is thought-provoking and thrilling, and it is something rare, a truly imaginative time travel movie.

8 of 10
A

Sunday, January 20, 2013

New "G.I.: Retaliation" Poster" - December 7 , 2012

Review: Wes Anderson's "MOONRISE KINGDOM" is Simply Fantastic

TRASH IN MY EYE No. 90 (of 2012) by Leroy Douresseaux

Moonrise Kingdom (2012)
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – PG-13 for sexuality content and smoking
DIRECTOR: Wes Anderson
WRITERS: Roman Coppola and Wes Anderson
PRODUCERS: Wes Anderson, Jeremy Dawson, Steven M. Rales and Scott Rudin
CINEMATOGRAPHER: Robert D. Yeoman (D.o.P.)
EDITOR: Andrew Weisblum
COMPOSER: Alexandre Desplat

ROMANCE/COMEDY/DRAMA

Starring: Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Marianna Bassham, Charlie Kilgore, Jason Schwartzman, Tilda Swinton, Harvey Keitel, and Bob Balaban

Moonrise Kingdom is a 2011 romance film from director Wes Anderson. Co-written by Anderson and Roman Coppola, the film follows a pair of young lovers on the run from the local search parties out to find them.

Moonrise Kingdom opens in the late summer of 1965 and is set on the idyllic New England locale of New Penzance Island. Sam Shakusky (Jared Gilman) is a 12-year-old orphan attending a “Khaki Scout” summer camp. Suzy Bishop (Kara Hayward) is a local girl who lives with her parents, Walt (Bill Murray) and Laura Bishop (Frances McDormand), and her three younger brothers. After meeting during a local church play, Sam and Suzy run away together.

Captain Duffy Sharp (Bruce Willis) of the Island Police and Khaki Scout Master Ward (Edward Norton) launch a search for the missing children. However, adult dysfunction and the approaching Hurricane Mabeline constantly hamper the various search efforts. Meanwhile, young love remains storm-proof.

When I reviewed the Coen Bros. remake of True Grit about two years ago, I said (more or less) that the film, while quite good, seemed like an exercise of the filmmaking brothers’ directorial trademarks and flourishes. I pretty much think the same of Wes Anderson’s Moonrise Kingdom. This movie is the quirky style and visual eccentricities of Anderson distilled into a fragrant essence that will entice his admirers, both old and new, for ages.

It’s all here. The primary colors have never been this primary, and the deliberate, methodical cinematography captures the intensity of those colors with such clarity that it could leave the viewer in a stupor (which it did to me early on in the movie). Anderson gets good performances that take the screenplay’s flat, one-dimensional characters and transforms them into poignant humans – flawed, but graceful.

Regardless of how quirky it all seems, Moonrise Kingdom is a love story like no other. Rarely do films capture stubborn youth in love as well as this film does. Jared Gilman as Sam and Kara Hayward as Suzy give inimitable performances, and without them, this movie would be nothing but an oddity that was shot in vivid color. Instead, Moonrise Kingdom is a rare romance in which the romantic comedy and drama elements cannot hide the fact that this is a pure love story.

8 of 10
A

Monday, November 26, 2012

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Review: "The Expendables 2" is Darker, But Still Fun

TRASH IN MY EYE No. 88 (of 2012) by Leroy Douresseaux - support on Patreon.

The Expendables 2 (2012)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for strong bloody violence throughout
DIRECTOR: Simon West
WRITERS: Richard Wenk and Sylvester Stallone; from a story by Ken Kaufman & David Agosto and Richard Wenk (based on characters created by David Callaham)
PRODUCERS: David Lerner, Avi Lerner, Kevin King Templeton, John Thompson, and Les Weldon
CINEMATOGRAPHER: Shelly Johnson
EDITOR: Todd E. Miller
COMPOSER: Brian Tyler

ACTION

Starring: Sylvester Stallone, Jason Statham, Jean-Claude Van Damme, Jet Li, Dolph Lundgren, Randy Couture, Liam Hemsworth, Scott Adkins, Nan Yu, Charisma Carpenter, Chuck Connors, and Terry Crews with Bruce Willis and Arnold Schwarzenegger

The Summer 2010 movie season offered an unexpected treat, The Expendables, an explosive action film co-written, directed, and starring Sylvester Stallone. It was a throwback to the macho, testosterone-fueled, action flicks of the 1980s.

The subject of this movie review is its sequel, The Expendables 2, a 2012 action movie from director Simon West. Like its predecessor, The Expendables 2 is not an homage to or parody of action movie days-gone-by. It is an authentic ass-kicking, ass-stabbing, cap-popped-in-ass action movie, but it is a little darker and more downbeat than the original.

Barney Ross (Sylvester Stallone) is still the leader of the Expendables, an elite band of mercenaries. Ross and his right-hand man/knife specialist, Lee Christmas (Jason Statham); martial artist Yin Yang (Jet Li); unstable Gunner Jensen (Dolph Lundgren); demolitions expert Toll Road (Randy Couture); weapons specialist Hale Caesar (Terry Crews); and the new guy, sniper Billy the Kid (Liam Hemsworth), charge into Nepal on a rescue mission. It is a success, of course, but Ross and the Expendables have a debt to pay. So says secretive CIA agent, “Mr. Church” (Bruce Willis).

Soon, the Expendables are escorting one of Church’s operatives, Maggie Chan (Nan Yu), to a crash site in the Gasak Mountains, Albania. The item that the Expendables are trying to retrieve is also the target of Jean Vilain (Jean-Claude Van Damme), the leader of a large mercenary band called the Sangs. After one of the Expendables is brutally murdered, Ross leads his team into hostile territory on a mission of revenge.

Early in The Expendables 2, even with the crazy opening in Nepal, it is obvious that this is a darker movie. This sequel replaces the cartoonish and stylish violence with more grit. It seems that just as many, if not more people are casually shot and also shot to pieces, but there is something meaner here. Perhaps, it is this film’s chilly shooting locations in Bulgaria, or maybe it’s the story.

More than the original film, The Expendables 2 is a Sylvester Stallone movie, and the theme, or at least emphasis, is that his character, Barney Ross, has come to a morbid conclusion about his life. He’s a tired, old soldier, but this dog still has a lot of fight in him. But Ross is simply determined not to drag any new people into the meat grinder that is his place of work and profession. The other Expendables are largely in the background compared to the first movie, which is hugely disappointing to me. Still, wise-ass Jason Statham gets many opportunities to spread his wings of sarcasm, and he has some cool, solo martial arts fight scenes. That’s worth the price of admission.

Stallone and some of his costars are starting to look real hoary because of plastic surgery. In fact, there is enough plastic surgery between some of them that it would not be too snarky to say that they are starting to look like action figure toys. Anyway, if you liked the first movie, you’ll likely like the second. The Expendables 2 is good enough to make me ready to go on a third mission with Ross and company.

6 of 10
B

Friday, November 23, 2012

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Actor Michael Clarke Duncan Dies at 54

Earlier this evening, I was saddened to hear about the passing of actor Michael Clarke Duncan.  Duncan apparently suffered a myocardial infarction on July 13 and never fully recovered, dying Monday morning at a hospital in Los Angeles.

CNN.com and The Wrap have obituaries.

Duncan is probably best known for his appearance in the 1999 Frank Darabont film, The Green Mile, for which he earned Oscar and Golden Globe nominations.  Duncan played John Coffey, a man wrongly convicted of rape and murder. Coffey had supernatural powers in his hands that allowed him to heal and to even bring back the dead, and he strikes up a friendship with the character played by Tom Hanks, Paul Edgecomb.  Duncan also appeared in four films starring Bruce Willis, who became Duncan's friend after the two appeared in the 1998 blockbuster, Armageddon.

Negromancer offers ours condolences to Michael Clarke Duncan's family and friends.  Rest in peace, Mr. Duncan.

Review: "Over the Hedge" is a Surprising Delight

TRASH IN MY EYE No. 107 (of 2006) by Leroy Douresseaux

Over the Hedge (2006)
Running time: 90 minutes (1 hour, 30 minutes)
MPAA – PG for some rude humor and mild comic action
DIRECTORS: Tim Johnson and Karey Kirkpatrick
WRITERS: Len Blum, Lorne Cameron and David Hoselton, and Karey Kirkpatrick with Chris Poche (based upon characters created by Michael Fry and T. Lewis)
PRODUCER: Bonnie Arnold
EDITOR: John K. Carr
COMPOSER: Rupert Gregson-Williams
SONGS: Ben Folds

ANIMATION/COMEDY/ACTION/FAMILY

Starring: (voices) Bruce Willis, Gary Shandling, Steve Carell, Wanda Sykes, William Shatner, Nick Nolte, Thomas Haden Church, Allison Janney, Eugene Levy, Catherine O’Hara, Avril Lavigne, Omid Djalili, Sami Kirkpatrick, Shane Baumel, and Madison Davenport

The subject of this movie review is Over the Hedge, a 2006 computer-animated film from DreamWorks Animation. This action comedy is based upon the syndicated newspaper comic strip, Over the Hedge, created by Michael Fry and T. Lewis. The film focuses on a raccoon who uses his friends to help him repay a debt.

RJ (Bruce Willis) is an opportunistic raccoon, and his greed causes him to destroy the treasure trove of a dangerous bear named Vincent (Nick Nolte). Vincent gives RJ less than a week to replace his loot. Fortune leads RJ to a sprawling new suburban neighborhood, where he figures he can replace all of Vincent’s things (such as potato chips, a red wagon, a blue ice cooler, etc.).

Meanwhile, Verne (Gary Shandling), a turtle, and the woodland friends that make up his family: a hyperactive squirrel named Hammy (Steve Carell); a sassy, but low on self esteem skunk named Stella (Wanda Sykes); a melodramatic possum named Ozzie (William Shatner) and his daughter, Heather (Avril Lavigne); Lou & Penny (Eugene Levy and Catherine O’Hara), a porcupine couple with three little ones, wake up from their long winter’s nap only to discover that a tall green thing has cropped up in the middle of their forest home. RJ arrives just in time to inform Verne and his group that the “thing” is actually a hedge, and over the hedge is the “gateway to the good life” – a neighborhood full of humans. Humans live to eat (where as the animals eat to live), and they have lots of food and lots of stuff, he tells them – stuff they can take for themselves.

Verne is suspicious and a little jealous of RJ’s assertive nature, but Verne’s woodland band is ready to follow the manipulative raccoon into the domain of their over-indulgent human neighbors. Verne believes that they have more to fear than to gain from humans, and he is right. Gladys (Allison Janney), the president of the neighborhood association, hires a murderous pest exterminator, Dwayne (Thomas Haden Church), to get rid or RJ, Verne, and the rest of the animals. Can RJ and Verne put aside their differences in time to save the group? Will RJ be able to replace Vincent’s things before he shows up to kill the poor raccoon?

Although there were times in DreamWorks Animation’s latest computer animated film, Over the Hedge, when I was sure the filmmakers were simply trying to make another middle of the road, easily digestible family film, there were many more times when I was shocked at how genuinely sly, witty, smart, and lightly subversive this cartoon movie is. The narrative takes the side of the group over the individual, in this case because the group survives best as a unit and not on the whims of an individual prone to always look out for number one. There’s lots of clever commentary on American consumerism and also on how much people waste, and class division comes up in the form of the woodland animals being poor people who are conservative and gather to live, while the humans over the hedge in suburbia are more about gathering things for status. The movie also takes several digs at junk food.

The quality of the computer animation in DreamWorks Animation’s films (produced by PDI) continues to improve with each film, and that’s evident in Over the Hedge. The texture of the animals’ fur, the reflective surfaces, and the sets (the neighborhood lawn grass is good enough to call attention to itself) are all quite impressive. The surface consistency looks more real; it’s as if the animals’ skins, fur, quills, etc are authentic and not rubber suits. Character movement, which took a leap forward for DreamWorks in last year’s Madagascar, improved here. RJ, Hammy, Ozzie & Heather, and the porcupine triplets move with such grace and fluidity. There is a subtlety to their facial expressions that gives a sincere feel to their emotional displays, and when combined with smooth physical movement, makes their performances feel genuine.

If Pixar (now officially owned by the Walt Disney Company, just a few weeks prior to this review) is like Disney in that the studio create animated feature films that focus on story and the art of animation, DreamWorks is like Warner Bros.’ Looney Tunes in that it emphasizes broad comedy (sketch, slapstick, situation, etc.) of varying appeal to adults, and it stresses caricature and cartoon-style drawing in the design of its characters. PDI also goes for the “squash and stretch” animation that marked the work of cartoon short directors like Tex Avery and Chuck Jones, so in many ways DreamWorks’ computer animated films are like Bugs Bunny, Daffy Duck, Road Runner, and Droopy cartoons.

While Over the Hedge occasionally drags in its first half, the voice acting comes together to strengthen both the film’s narrative and its message of family. The acting also makes for some surprisingly strong comedy. Bruce Willis, well known as an action movie hero, first came to fame in the romantic, detective comedy television series, “Moonlighting.” Audiences tend to forget his boyish charm and wit, his sharp sarcasm, and a sense of humor that make him a very good comic actor. It takes a bit of warming up, but he makes a great foil for Gary Shandling’s über-responsible family patriarch. Shandling also takes a bit of warming up to, but that’s true of most of the cast. The film’s writers play well to the actors’ strengths.

Who knew it was possible to get such excellent comedy out of the perception that William Shatner overacted in the original Star Trek TV series and films? Here, his penchant for over dramatizing or melodrama is turned into pure comedy gold. The writers also make good use of Wanda Sykes’ saucy personality and constant sarcasm, as well as her ability create characters that ingratiate themselves to others while still being a smart ass. By the end of the film, my favorite character by far was Steve Carell’s Hammy the squirrel. Carell can do manic, panic, and hyperactivity and can babble with the best. When combined with the superb character animation done on Hammy, Carell creates a memorable cartoon animal character – one worth seeing again.

Over the Hedge is also a good action comedy. The chase that closes its last act is almost as good as the kind of slam-bam showdowns in the Toy Story franchise and could rival a car chase in a Lethal Weapon movie. It’s this facility for action comedy and funny characters that makes Over the Hedge DreamWorks’ best non-Shrek film to date.

7 of 10
A-

Sunday, May 21, 2006

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Review: "The Whole Nine Yards" Surprises (Happy B'day, Bruce Willis)

TRASH IN MY EYE No. 54 (of 2004) by Leroy Douresseaux

The Whole Nine Yards (2000)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – R
DIRECTOR: Jonathan Lynn
WRITER: Mitchell Kapner
PRODUCERS: Allan Kaufman and David Willis
CINEMATOGRAPHER: David Franco
EDITOR: Tom Lewis
COMPOSERS: Randy Edelman and Gary Gold

CRIME/COMEDY

Starring: Bruce Willis, Matthew Perry, Rosanna Arquette, Michael Clarke Duncan, Natasha Henstridge, Amanda Peet, Kevin Pollack, Harland Williams, and Carmen Ferland

The Whole Nine Yards is a 2000 crime comedy starring Bruce Willis and Matthew Perry. The film focuses on a struggling dentist living in Montreal and his neighbor, a former mob hitman living under an assumed name.

Nicholas “Nick” or “Oz” Oseransky (Matthew Perry) is an American dentist living in Canada, struggling with his practice and suffering his monstrously selfish wife Sophie (Rosanna Arquette) and her tiresome mother (Carmen Ferland). His troubles start to pile when a hit man, Jimmy “The Tulip” Tudeski (Bruce Willis), moves into the neighborhood under the witness protection program.

Sophie figures Jimmy has a bounty placed on his head by whatever group he betrayed to the authorities. She forces Nick to go to Chicago and rat out Jimmy to Janni Pytor Gogolak (Kevin Pollack), a mob boss who has a score to settle with The Tulip. Sophie assumes that Gogolak will pay her husband a finder’s fee for locating The Tulip. But things are never so easy as one, two, three. Everyone, from Sophie to Jimmy and from Janni to Jimmy’s sexy wife, Cynthia (Natasha Henstridge), has a plan of his own, and poor Nick’s just a pawn. Will he survive them?

The Whole Nine Yards is both surprisingly funny and good; in fact, it’s probably one of the best crime comedies since Get Shorty. The film’s strength and quality lies in two things: the cast and the writing. Most of the stars are pretty good character actors, and they usually don’t get credit for being so, Bruce Willis especially. He’s a big time movie star and can generally carry a quality action flick. Put him in a quality ensemble piece, and he soars because he can play well off his colleagues. Amanda Peet has a sexy energy that livens the film, but the big surprise is Matthew Perry. He’s a funny guy, an expert at mixing sarcastic asides and pratfalls. He’s also quite good at playing the ordinary joe barely making it in extraordinary circumstances.

Mitchell Kapner’s script is light and breezy, but tightly written. It goes by quickly and smoothly, but it gives the cast a lot of room to play to their strengths. The sarcasm is nice, but Kapner’s feat is that he uses ugly violent crime and murderous characters to make a good comedy – a farce about mobsters, hit men, and cops, who despite the obvious differences in their respective professions, often act like the same people.

7 of 10
B+

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As a Sequel, "The Whole Ten Yards" is an Incomplete Pass

TRASH IN MY EYE No. 55 (of 2004) by Leroy Douresseaux


The Whole Ten Yards (2004)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13
DIRECTOR: Howard Deutch
WRITERS: George Gallo; from a story Mitchell Kapner (based upon characters created by Mitchell Kapner)
PRODUCERS: Allan Kaufman, Arnold Rifkin, Elie Samaha, and David Willis
CINEMATOGRAPHER: Neil Roach (D.o.P.)
EDITOR: Seth Flaum
COMPOSER: John Debney

CRIME/COMEDY

Starring: Bruce Willis, Matthew Perry, Amanda Peet, Kevin Pollack, Natasha Henstridge, Frank Collison, Johnny Messner, Silas Weir Mitchell, Tasha Smith, and Ellisa Gallay

The Whole Ten Yards is a 2004 crime comedy. It is also a sequel to the 2000 film, The Whole Nine Yards, a title derived from the popular expression that means completely and everything.

Many critics have already asked, “Why is there a sequel to 2000’s The Whole Nine Yards?” It’s a legitimate question. Nine Yards was a nice crime comedy and caper film with some really neat characters, but half the really good ones bit the bullet or were looking at jail time by the end of the film. Who knows why The Whole Ten Yards exists, but it’s a fairly decent film with a lot of belly laughs, although its plot is almost nonexistent and the script lumbers around like a shooting victim on weak legs.

Lazlo Gogolak (Kevin Pollack) is just out of prison, and he’s looking for his son Yanni’s killer. Yanni (also played by Pollack in the first film) was one of those funny characters that got whacked in Nine Yards. Lazlo knows the killer is Jimmy “The Tulip” Tudeski (Bruce Willis), but he also knows Jimmy is hiding somewhere. So Lazlo finds the next best thing, Jimmy’s former neighbor and the second husband of Jimmy’s ex-wife Cynthia (Natasha Henstridge). That would be hapless fall guy Nick Oseransky or Oz (Matthew Perry), as his friends call him.

When Lazlo kidnaps Cynthia, Oz runs to Jimmy for help and inadvertently leads Lazlo and his band of merry killer idiots to Jimmy’s hideaway in Mexico where he lives with his wife Jill (Amanda Peet), Oz’s former assistant and a budding contract killer. Things aren’t going well for Jimmy and Jill. They’re trying to have a baby, but Jimmy may be shooting blanks. Jimmy also has something Lazlo wants, and Lazlo has something Jimmy wants. Everyone’s playing everyone, and poor Oz, just like the last time, is caught in the middle.

There are numerous hilarious, laugh-out-loud scenes in The Whole Ten Yards. Ten Yards, however, is totally a character driven piece. The plot and story are crippled and confusing, and the story has too much subterfuge for its own good. Even as a character piece, this film feels stretched thin. The actors have to be “on” all the time, or the film will fall apart; thus, a lot of the comedy routines and scenes feel like they go on too long or they’re too over the top. Perry frantically bounces off the walls, but he mostly succeeds in making both his character endearing and the film viewable. Amanda Peet maintains the sexy energy she had the first time. Willis is good, but a lot of his scenes are poorly written and/or staged.

Poor Natasha Henstridge is wasted, as is Kevin Pollack. The Whole Ten Yards is not so much a wasted opportunity as it is a wasted effort. As funny as it can be in moments, it’s largely forgettable and you do have to wonder why it’s here. Still, it’ll make a good rental when you “just want something to watch.”

5 of 10
C+

Review: "The Last Boy Scout" is Still Cool (Happy B'day, Tony Scott)

TRASH IN MY EYE No. 13 (of 2006) by Leroy Douresseaux

The Last Boy Scout (1991)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – R
DIRECTOR: Tony Scott
WRITERS: Shane Black; from a story by Shane Black and Greg Hicks
PRODUCERS: Joel Silver and Michael Levy
CINEMATOGRAPHER: Ward Russell
EDITORS: Stuart Baird, Mark Goldblatt, and Mark Helfrich

ACTION/CRIME/DRAMA with elements of comedy

Starring: Bruce Willis, Damon Wayans, Noble Willingham, Chelsea Field, Taylor Negron, Danielle Harris, Halle Berry, Bruce McGill, Chelcie Ross, Joe Santos, Bill Medley, Verne Lundquist, Dick Butkus, Lynn Swann, Billy Blanks, Morris Chestnut, Badja Djola, and Eddie Griffin

As the 1990’s opened, the skyrocketing budget of Hollywood film productions was the story about which the entertainment news media couldn’t stop talking. The Bruce Willis headliner, The Last Boy Scout, was the talk of the town from the moment screenwriter, Shane Black, became the first person to sell a script for one million dollars, which he did with The Last Boy Scout Script. After the Hudson Hawk debacle, which saw that super expensive flick, also starring Willis, become a box office dud (although it’s one of my favorite movies), The Last Boy Scout looked like another over-priced dud. However, released during the 1991 holiday season, it became a modest hit, grossing just under $60 million against an estimated production budget of about that much.

Willis is Joseph Cornelius Hallenbeck, Joe for short, a disgraced Secret Service agent who now moonlights as a private detective – a down and out, cynical private dick. Damon Wayans is James Alexander Dix, Jimmy Dix for short, a disgraced former MVP quarterback for the pro football team, the L.A. Stallions, thrown out of the league because he gambled. They meet when Joe accepts a job acting as a bodyguard for Jimmy’s girl friend Cory (Halle Berry), a stripper who dates rich men.

When Cory is murdered in a gangland style hit and a friend of Joe’s is killed by a car bomb, the two come together to solve the murders. What they discover is that both their former employers: Senator Calvin Baynard (Chelcie Ross) who got Joe fired and Sheldon “Shelly” Marcone (Noble Willingham) who owns the Stallions, are united in a shady and deadly deal to legalize gambling on professional football. What Joe and Jimmy find themselves in is a deadly game of life and death that is as bone-crushing and bruising as any football game, and it’s a game that also comes with bullets flying.

The script by Shane Black, who reinvented the cop-buddy action flick with his script for Lethal Weapon, penned a script for The Last Boy Scout that is all over the place. Set in Los Angeles, it shows his love for Raymond Chandler’s private eye stories, but this is more a crime drama than a film noir-ish detective tale. It’s a violent action comedy, and buddy action flick like 48 Hours, in which two men are forced into the situation of being partners and have a hard time warming up to one another.

Besides, it’s genre pedigree, the script is mostly haphazard, as it tries to shoehorn serious human drama into a violent detective/conspiracy framework. The movie jumps around a lot. Sometimes, it’s a melodramatic tale of a broken family. Sometimes, it’s a high-octane action comedy. Sometimes, it’s a shootout picture. Then, it’s a drama again, but a few minutes later, someone has to be shot in the head. A few minutes later, everyone has jokes.

What makes this movie work, ultimately, is director Tony Scott. Riding high off such late 80’s action hits as Top Gun and Beverly Hills Cop II, he was one of Hollywood’s very top action directors, but he was (and still is) an all-around, very skilled filmmaker. Scott is the one who makes just about every one of Black’s genre conventions work. The film comes together slowly, but when it does, it’s with a bang. By the end, The Last Boy Scout is fun and exciting, with a lot of tongue-in-cheek humor because Black is somewhat spoofing the sub-genre he helped to create. Shamelessly and gratuitously violent, it’s the gun violence that keeps this from being an exceptional film.

Willis and Wayans have tolerable film chemistry, and like the film, it takes a bit for them to warm up to each other and get in synch. When all comes together, it’s a doozy – rollicking, hilarious fun for men who love movies. Their performances, like this movie, aren’t worthy of a long-cinematic memory, but when the appetite calls for an action flick, there are worse choices… much worse.

6 of 10
B

Wednesday, January 18, 2006

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Review: Too Much Nancy Drew in "Nancy Drew" (Happy B'day, Emma Roberts)

TRASH IN MY EYE No. 14 (of 2008) by Leroy Douresseaux

Nancy Drew (2007)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – PG-13 for mild violence, thematic elements, and brief language
DIRECTOR: Andrew Fleming
WRITERS: Andrew Fleming and Tiffany Paulsen; from a story by Tiffany Paulsen (based upon the characters created by Mildred Wirt Benson writing as Carolyn Keene)
PRODUCER: Jerry Weintraub
CINEMATOGRAPHER: Alexander Gruszynski (D.o.P.)
EDITOR: Jeff Freeman

MYSTERY/FAMILY

Starring: Emma Roberts, Josh Flitter, Max Thieriot, Rachael Leigh Cook, Tate Donovan, Marshall Bell, Daniella Monet, Kelly Vitz, Krystle Hernandez, Barry Bostwick, Adam Clark, and Laura Harring (Screen appearances with no screen credit: Bruce Willis, Chris Kattan, and Eddie Jemison)

The 2007 film, Nancy Drew, is a return to the big screen by the famous girl detective.

When her father Carson Drew (Tate Donovan) heads to Los Angeles to take on some high paying temporary legal work, Nancy Drew (Emma Roberts, Julia Roberts’ niece), the resourceful teen detective, is right behind him. She’s leaving her friendly hometown of River Heights for life at Hollywood High School. Nancy’s uncanny intelligence and smarts, as well as her retro manners (including her perfect picnic lunches and penny loafers), earn her some enemies. The less-than-warm reception from reigning fashionistas Inga (Daniella Monet) and Trish (Kelly Vitz) might bother the average new girl, but not Nancy, who has more important things to think about, in particular a brand new mystery.

Nancy promised her worried Dad that she'd quit “sleuthing,” but it isn't long before she gets a lead on one of Hollywood’s greatest unsolved cases of all time: the mysterious circumstances surrounding the death of famous actress Dehlia Draycott (Laura Harring). Nancy happened to make sure that the Drews’ temporary L.A. home is the former Draycott mansion. With Inga’s little brother, Corky (Josh Flitter), tagging along, and a surprise appearance from her hometown sleuthing partner, Ned Nickerson (Max Thieriot), Nancy combs the long-reputed haunted mansion to solve the Draycott mystery, but some shadowy and dangerous figures aren’t happy about that.

The modernization of Nancy Drew took a character known mostly for existing in a rural, small town setting and placed her in the fast-paced and more dangerous big city. This is not necessarily a bad thing, nor is the movie bad. The script sets the supposedly unsophisticated Nancy against the Byzantine urban world, but Nancy ends up looking super sophisticated, while L.A./Hollywood seems to be a world full of narcissistic and selfish morons. It’s fun to watch Nancy basically run roughshod over a world determined to keep her in her place.

It’s a shame that the film has so many good supporting characters, but simply drops them here and there, some with no rhyme or reason. This is a Nancy Drew film that is just too Nancy-centric. Still, in spite of its limitations, Nancy Drew is likeable. It lacks the snappy freshness of the Bonita Granville Nancy Drew movie series made in the late 1930s, but this new Nancy Drew is fun on its own.

6 of 10
B

Saturday, March 15, 2008

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"Red" is Riotous, Entertaining and Damn-good

TRASH IN MY EYE No. 100 (of 2010) by Leroy Douresseaux

Red (2010)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for intense sequences of action violence and brief strong language
DIRECTOR: Robert Schwentke
WRITERS: Jon Hoeber and Erich Hoeber (based upon the graphic novel by Warren Ellis and Cully Hamner)
PRODUCERS: Lorenzo di Bonaventura and Mark Vahradian
CINEMATOGRAPHER: Florian Ballhaus
EDITOR: Thom Noble

ACTION/COMEDY with elements of drama and romance

Starring: Bruce Willis, Morgan Freeman, Mary-Louise Parker, John Malkovich, Helen Mirren, Karl Urban, Brian Cox, Richard Dreyfuss, Rebecca Pidgeon, Julian McMahon, Jacqueline Fleming, James Remar, and Ernest Borgnine

Bruce Willis is one of the world’s biggest movie stars of the last quarter century. Perhaps, that status makes people forget that not only is Willis a great action movie star, but he is also a fine actor, also comfortable with character drama and comedy. At least, I think so. In his recent, Fall-released action comedy, Red (based upon the comic book miniseries of the same name by Warren Ellis and Cully Hammer), Willis shows all his sides – subtle drama, deadpan humor, and action flick stud.

Red focuses on Frank Moses (Bruce Willis), a former black-ops CIA agent living a quite, idyllic life of retirement in the suburbs. When he feels lonely, he chats with Sarah Ross (Mary-Louise Parker), a customer service agent at the office that sends out Frank’s pension checks. When an assassin squad comes gunning for him, however, Frank is forced to go on the run, with Sarah in tow. Frank is RED – retired, extremely dangerous, and someone powerful wants him dead. Frank needs answers.

To survive, Frank tracks down members of his old black-ops squad. There is his old mentor, Joe Matheson (Morgan Freeman), living in a retirement home in New Orleans, someone who can give Frank information. Marvin Boggs (John Malkovich) is a paranoid conspiracy theorist, who can give him more information. Victoria (Helen Mirren), a wetwork agent (assassin), can give comfort and aid. Then, there is William Cooper (Karl Urban), who is the CIA agent assigned to hunt and kill Frank. Cooper is kind of like a younger version of Frank, and he won’t let anything stop him.

Red is one of those films that can be described as “a non-stop thrill ride,” which it is for the most part. The car chases, shootouts, fights, and other action scenes are quite good, and often funny, not because they are parody, but because the action always manages to embody the absurdity of this story.

The characters are okay, but the actors are the ones that make them better. Performers like Morgan Freeman, Helen Mirren, and John Malkovich are so good that they can both give life to flat characters and play up the comic aspects of a scene or situation with ease. They make the often-extremely violent Red seem witty and effervescent. Yes, even Bruce Willis has done this kind of character (the killer) in other movies (like The Whole Nine Yards), but here, he is cool like a movie star should be. This is the kind of movie that needs a movie star lead, and Willis provides that.

Red is not perfect. Sometimes, it doesn’t know if it wants to be extremely dangerous or extremely funny, but action comedies like this: more snarky than smart and filled with comic violence that actually looks like real action movie violence, don’t come around often enough. Red is probably the best action comedy of the year.

7 of 10
B+

Monday, December 06, 2010

Review: "The Expendables" is the Real Kick Ass

TRASH IN MY EYE No. 73 (of 2010) by Leroy Douresseaux -
The Expendables (2010)

Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for strong action and bloody violence throughout, and for some language
DIRECTOR: Sylvester Stallone
WRITERS: David Callaham and Sylvester Stallone; from a story by David Callaham
PRODUCERS: Kevin King, Avi Lerner, Kevin King Templeton, and John Thompson
CINEMATOGRAPHER: Jeffrey Kimball (director of photography)
EDITORS: Ken Blackwell and Paul Harb
COMPOSER: Brian Tyler

ACTION

Starring: Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Mickey Rourke, Eric Roberts, Randy Couture, Steve Austin, David Zayas, Giselle Itié, Charisma Carpenter, Gary Daniels, and Terry Crews with Bruce Willis and Arnold Schwarzenegger

The late summer 2010 box office season has offered one surprising gem, The Expendables, an explosive action film co-written, directed, and starring Sylvester Stallone. Much has been made of this film being a throwback to the old macho, testosterone-fueled action films of the 1980s. Indeed, this movie does have a First Blood and friends, Team Rambo vibe to it. In fact, 80s action stars, Arnold Schwarzenegger and Bruce Willis, swagger (and wheeze a bit) through cameo appearances.

The Expendables, however, isn’t some homage, parody, or sentimental recollection of action movie days gone by. The Expendables is an authentic ass-kicking, ass-stabbing, cap-popped-in-ass action movie, and boy, is it good. [No panty-waists allowed!]

The story focuses on the Expendables, an elite band of mercenaries led by an American named Barney Ross (Sylvester Stallone). The teams consists of Ross’ right-hand man, former Special Air Service soldier, Lee Christmas (Jason Statham); martial artist Yin Yang (Jet Li); sniper Gunner Jensen (Dolph Lundgren); demolitions expert Toll Road (Randy Couture); and weapons specialist Hale Caesar (Terry Crews).

Ross accepts a high-paying assignment from the mysterious “Mr. Church” (Bruce Willis) to assassinate General Garza (David Zayas), the brutal dictator of (fictional) Vilena, a small Caribbean island nation. On a reconnaissance mission, Ross and Christmas learn that Garza is being backed by James Munroe (Eric Roberts) a corrupt ex-CIA agent. With his henchmen, Paine (Steve Austin) and The Brit (Gary Daniels), Munroe manipulates Garza and his military into terrorizing the island’s inhabitants, while Munroe seeks to control the drug trade he once fought as CIA. Inspired by Sandra (Giselle Itié), a beautiful islander, Ross becomes determined to stop Munroe and Garza, even if he has to do it alone – although his Expendables obviously won’t let him.

I don’t remember 80s action movies being quite as violent and as gory as The Expendables, although Die Hard 2 had an equally high body count. The violence, however, is not a problem for me. Movies like the Jason Bourne franchise and the recent Live Free or Die Hard offer so much high-tech gloss that the low-tech, bloody mayhem of The Expendables is like cool, sweet lemonade on a scorching hot summer day. This is a meat and potatoes action movie in which brute force does the ass kicking without computerized weapons.

Of course, the acting is mostly mediocre, but still surprisingly sincere. Watching The Expendables, you might get the idea that these guys had fun making this movie, but still took their work very seriously. Jason Statham is the standout here, and Terry Crews’ Hale Caesar should have had more screen time, while Jet Li’s Yin Yang felt extraneous.

Stallone has surprised everyone and made a real action movie, a man’s man action movie. At his age and after plastic surgery, Stallone is starting to look like Boris Korloff’s Frankenstein. Still, by sticking to his old guns, he and his cinematic kitchen staff have made an action movie meal that sticks to the ribs. Hollywood should ask for The Expendables’ recipe.

7 of 10
B+

Monday, September 06, 2010

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Review: "Cop Out" Loves the 80s

TRASH IN MY EYE No. 69 (of 2010) by Leroy Douresseaux

Cop Out (2010)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for pervasive language including sexual references, violence, and brief sexuality
EDITOR/DIRECTOR: Kevin Smith
WRITERS: Robb Cullen and Mark Cullen
PRODUCERS: Polly Cohen Johnsen, Marc Platt, and Michael Tadross
CINEMATOGRAHER: David Klein (D.o.P.)
COMPOSER: Harold Faltermeyer

COMEDY/ACTION/CRIME

Starring: Bruce Will, Tracy Morgan, Seann William Scott, Rashida Jones, Guillermo Diaz, Cory Fernandez, Jason Lee, Kevin Pollack, Adam Brody, Michelle Trachtenberg, Ana de la Reguera, and Sean Cullen

The combination of international box office star, Bruce Willis, outrageous jigaboo comedian, Tracy Morgan, and indie director, Kevin Smith (Clerks.), seems too odd to work. There recent buddy cop movie, Cop Out, however, is funny – surprisingly, shockingly funny.

Cop Out focuses on James “Jimmy” Monroe (Bruce Willis) and Paul Hodges (Tracy Morgan), two longtime NYPD cops who have been partners for nine years. Their investigation of a drug ring goes bad when a bad-ass supplier named Juan Diaz (Cory Fernandez) shoots up a neighborhood and escapes. After getting suspended, Jimmy and Paul end up playing cops again after an eccentric thief named Dave (Seann William Scott) steals a rare, mint-condition baseball card that belongs to Jimmy. The hunt for the card leads them back to Juan Diaz and his older brother, Poh Boy (Guillermo Diaz), a merciless, baseball memorabilia-obsessed gangster. Poh Boy will return the card if Jimmy and Paul retrieve a stolen car, but it is what’s inside the car the changes everything.

In a way, Cop Out is an homage or send-up of 1980s buddy cop movies like 48 Hrs. and Lethal Weapon and also cop action comedies like the Beverly Hills Cop franchise. Even the musical score for Cop Out is composed by Harold Faltermeyer, who composed music for the first Beverly Hills Cop film and Top Gun. And Cop Out works… in a sort of off-kilter way. Kevin Smith, whose films are often steeped in pop culture, creates the right mood and squeezes all the right essences and flavors from his cast and from this story until he has a 1980s throwback cop action/comedy that is thoroughly entertaining.

I find Bruce Willis to be so cool, and his resourceful, tough guy screen persona is pitch-perfect to play a cop – even a cop in a peculiar comedy like Cop Out. Tracy Morgan isn’t just another black comedian. His act stays fresh because of his ability to freestyle peculiar and absurd behavior, mannerisms, and dialogue. That’s why he’s more shocking than annoying.

Cop Out’s screenplay does waste a few good characters: the oddly lovable Poh Boy, his delightfully evil brother, Juan Diaz, and the kooky thief Dave. There are some other characters in this story that should have been dropped from the screenplay in order to give this trio more screen time.

Anyway, Cop Out is not just another standard, idiotic, buddy cop movie. The unusual and peculiar pairing of Bruce Willis and Tracy Morgan, plus a few good supporting characters make this profanity-laden comedy a joy to watch over and over again. I wish for a sequel.

7 of 10
B+

Saturday, August 21, 2010

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Review: "Tears of the Sun" Offers Sentiment with Military Action

TRASH IN MY EYE No. 30 (of 2003) by Leroy Douresseaux

Tears of the Sun (2003)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – R for strong war violence, some brutality and language
DIRECTOR: Antoine Fuqua
WRITERS: Alex Lasker and Patrick Cirillo
PRODUCERS: Ian Bryce, Mike Lobell, and Arnold Rifkin
CINEMATOGRAPHER: Mauro Fiore
EDITOR: Conrad Buff IV
COMPOSER: Lisa Gerrard and Hans Zimmer

WAR/ACTION/DRAMA with elements of a thriller

Starring: Bruce Willis, Monica Bellucci, Cole Hauser, Eamonn Walker, Charles Ingram, Tom Skerritt, and Malick Bowens

Is Tears of the Sun a good movie? Well, the boy parts: the action, the blood and guts, the special ops intrigue, the shootouts, the male camaraderie, etc. are good There’s lots of that and it’s as good, in that respect as, say, Black Hawk Down. The parts of the film that’s supposed to pass for girl stuff: concerned foreign doctors, martyred priests and nuns, and defenseless refugees are negligible. It’s not that you won’t feel sympathetic to the plight of natives being hunted by genocidal soldiers because there are some touching moments and some very riveting, frightening moments, but they get in the way of a very good movie about a group of brave soldiers.

A special operations commander, A.K. Waters (Bruce Willis), leads his team into remote Nigeria to rescue an American doctor (Monica Bellucci). However, Dr. Lena Hendricks refuses to leave without her village friends whom she calls “my people.” When Waters gets to feeling that he can’t leave Lena’s people behind to be slaughtered by vicious rebel troops, he puts himself and his men on a perilous journey through the thick Nigerian jungles to bring the doctor and her people to safe harbor. Not only does escorting civilians slow the team down, but there’s a horde of vicious killers on their trail.

Director Antoine Fuqua has a deft touch with the military scenes. They’re exciting and invigorating; he has the infinite patience to let his camera soak in the special operatives stealth work and also the vigor to grasp the sudden and rapid violence of a firefight. In Training Day, Fuqua wasn’t good with the film’s few sentimental and romantic moments. They might have been important in establishing Training Day’s characters, but the sentiment took a back seat to the conflict between the lead characters.

Here, the soft moments, those moments when the film focuses on the plight of the refugees and the hideous, soul wrenching horror of post-colonial Africa, are boring and they hamper the film. Unlike Training Day, sentiment is important to Tears. I just didn’t care about that in this film, although I do care when I’m not busy demanding blood and gore from my entertainment. The special ops guys mesmerized me: their camaraderie, their bravery, their sense of humanity and kindness even in the face of long odds, and their believe in the team that makes them do even the things upon which individuals disagree. All this machismo in a movie makes for effective war propaganda.

The quality of the acting ranges from very good to average. Willis is himself, a bit of ham at the most inopportune moments, and Ms. Bellucci’s succeeds in making an annoying character quite annoying and self-righteous. The actors who make up Waters team including Cole Hauser are excellent; they carry the film and make it worth seeing. And that’s the recommendation, Tears of the Sun is an entertaining film with edge of your seat action and scenes that skirt your nerves along the razor’s edge, very similar to Black Hawk Down, albeit a lower rent version, but still a good film.

6 of 10
B

NOTES:
2004 Black Reel Awards: 1 nomination: “Film: Best Director” (Antoine Fuqua)

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