Negromancer News Bits and Bites from June 26th to 30th, 2022 - Update #18

by Leroy Douresseaux a.k.a. "I Reads You"

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ENTERTAINMENT AND CULTURE NEWS:

NETFLIX - From Deadline:  Cameron Diaz retired from acting in 2018, but now she is coming out of retirement to star with Jamie Foxx in the Netflix action-comedy, "Back in Action."

JAMES BOND - From Deadline:  "James Bond" producer Barbara Broccoli has revealed that it will be “at least two years“ before the next 007 movie begins filming and that the task of finding an actor to replace Daniel Craig hasn’t begun “because it’s a reinvention of Bond.”

SCANDAL - From Deadline:  The Grammy-winning recording artist, R. Kelly, was sentenced at a Brooklyn, NYC federal court to 30 years on nine counts of sex trafficking and racketeering.

CELEBRITY - From ScreenGeek:  "Jurassic World" star Chris Pratt says that some online commentary about him has made him cry.

CHADWICK BOSEMAN - From RadarOnline:  "Black Panther" star Chadwick Boseman died without a will.  His widow, Simone Ledward Boseman, has asked that the late actor's estate be divided evenly betweeen her and Boseman's parents.

MOVIES - From Deadline:  An array of British acting talent will appear in the period thriller, "The Critic," including Ian McKellen, Gemma Arterton, and Mark Strong, to name a few.

TELEVISION - From Deadline:  Alex Wagner will take over Rachel Maddow's coveted 9 p.m. spot on MSNBC beginning Aug. 16th.  "The Rachel Maddow Show" is currently only appearing on Monday nights.  The name for Wagner's show is to be determined.

CELEBRITY - From Variety:  Controversial Oscar-nominee Alec Baldwin will interview controversial multiple Oscar winner Woody Allen.  The interview will appear on Instagram live Tues., June 28th at 10:30 a.m. EST.

BOX OFFICE - From Variety:  As the final numbers role in, "Elvis" is the winner of the 6/24 to 6/26/2022 weekend box office with a take of 31.1 million dollars over 29.6 million dollars for "Top Gun: Maverick."

From BoxOfficePro:  The winner of the 6/24 to 6/26/2022 weekend box office is thus far a tie, according to early estimates.  New film, Elvis, and former champ, "Top Gun: Maverick," have both grossed 30.5 million dollars.

From TheWrap:  "Top Gun: Maverick" has become the first Tom Cruise movie to surpass the billion dollar mark at the worldwide box office office.

From Variety: The box office is back, and movie theaters are feeling confident.

AWARDS - From Deadline: The winners of at the BET Awards 2022 were announced last night, Sun., June 26th.  "Silk Sonic" (Bruno Mars and Anderson.Paak) let all winners.

POLITICS - From YahooHuffPost:  Actor and international movie star, Samuel L. Jackson, rips Supreme Coon ... I mean ... Court Justice Clarence Thomas over his hypocrisy on Roe v. Wade and interracial marriage.

EMMYS - From Deadline:  The winners at the 2022 / 49th Annual Daytime Emmy Awards were announced Fri., June 24th, streaming on Paramount+.  ABC's "General Hospital" won "Outstanding Daytime Drama."

From Deadline:  Mishael Morgan becomes the first Black woman to win win "Outstand Lead Actress" at the Daytime Emmys by winning  "Outstanding Lead Performance in a Daytime Drama, Actress" at the 49th Daytime Emmy Awards (Fri., June 24th) for her role as "Amanda Sinclair" on "The Young and the Restless."

MOVIES - From BBC:   "'Full Metal Jacket' and Kubrick: The Ultimate Anti-War Films" - a look the anti-war themes in the films of the late director, Stanley Kubrick.

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ROE V. WADE - From NPR:  The Supreme Court of the United States (SCOTUS) has overturned "Roe v. Wade."  It's gone, boo.

From TheRoot:  During a re-election really with Donald Trump, Congresswoman Mary Miller said that the overturning of "Roe v. Wade" a "historic victory for white life." [Sometimes, they tell you who they are - Leroy]

From GoogleDocs:  "Roe v. Wade": What you can do.

From RSNNewYorker:  We're not going back to the time before Roe. We're going somewhere worse.

From RSNVanityFair:  Justices Elena Kagan, Sonia Sotomayor, and Stephen Breyer's wrote a withering dissent to the court's conservative majority. Their conclusion: this opinion is "the curtailment of women's rights, and of their status as free and equal citizens."

From Truthout:  Rep. Ayanna Pressley (D-Mass) led a group of 20 Black Congresswomen who urged President Biden to to take urgent action to protect abortion rights.

From GuardianUK:  "'Fewer Rights Than Their Grandmothers': Read Three Justices' Searing Abortion Dissent"

UVALDE, TEXAS MASS SHOOTING:

From YahooAP:  An 18-year-old gunman slaughtered 19 children and two teachers on Tues., May 24th, 2022 in Uvalde, Texas.  All 21 victims were in the same 4th grade classroom at Robb Elementary.

From TheDailyBeast:  Texas's top law enforcement official, Department of Public Safety Director Steve McGraw, has said that the school shooter in Uvalde, Texas could have been taken down in three minutes.

From TheDailyBeast:  Police officers responding to last month’s mass shooting at an Uvalde, Texas, elementary school never even tried to open the door to the classroom where young children were trapped with the gunman, according to a new report. 

From Jacobin:  "The Uvalde Massacre has exposed the lies that once justified police militarization" by Branko Marcetic

From Truthout:  We don’t need more evidence that police can’t be trusted.

From Truthout:   44 percent of GOP voters view mass shootings as part of living in “Free Society”

From ABCNews:  Arnulfo Reyes, a teacher who survived the school massacre in Uvalde, Texas, calls the local police "cowards" because of slow response to an active shooter at his school, Robb Elementary.  All of 11 students in his class were killed.

From DallasNews:  Joe Garcia, the husband of Irma Garcia, one of the two teachers killed at Robb Elementary in Uvalde, Texas, has died of a heart attack two days after the murder of his wife.  They had been married for 24 years and had been high school sweethearts.

From Axios:  Texas gubernatorial candidate, Beto O'Rourke, interrupted Texas Gov. Greg Abbott's gaslighting press conference on the Uvalde elementary school mass shooting.

From USAToday:  Beto O'Rourke's outburst at Gov. Greg Abbott's Uvalde news conference shows the spine Democrats need.

From BostonGlobe:  Steve Kerr, head coach of the NBA's Golden State Warriors, asks "When are we going to do something?"

From NBCNews:  A Robb Elementary teacher describes "the longest 35 minutes of my life" and the terror she now feels.

From NBCNews:  The Uvalde school district had an extensive safety plan, but 19 children were killed at Robb Elementary anyway.  Even security plans that appear to be up to the latest research-based standards may have gaps and fall short of preventing the worst-case scenario, experts said.

From MSN:  Angeli Rose Gomez, the mother who was handcuffed outside Robb Elementary in Uvalde, Texas, was able to get inside the school and rescue her two children.

From YahooNews:   Daniel Defense, the maker of the rifles used by the Uvalde massacre killer, has used "incendiary ads" in the past, including one in which a toddler holds one of its rifles.

From TheIntercept:  The police aren't obligated to protect anyone NOT in their custody, as the Supreme Court has ruled twice.

From RollingStone:  Right wing lies about the Second Amendment and why they tell them are killing America's childrne.

From Vice:  The law enforcement personnel in Texas that arrived at Robb Elementary in Uvalde, Texas on Tues., May 24th did the opposite of what their own training documentary videos show.

From Vox:  Uvalde police keep changing their story.

From TheDailyBeast:  The families in Uvalde, Texas who lost loved one in the Robb Elementary massacre say that the cops there are "Nothing more than cowards" and that they need to pay for doing nothing while a gunman rampaged through the school last Tues, May 24th.

From TheNewYorker:  Thoughts and prayers, Uvalde, Texas. This is the America that Republicans and the right wing have being thinking about and praying for all these decades.

From ABC:  Sources say that Uvalde police and school district no longer cooperating with Texas probe of shooting of the May 24th massacre of 19 children and two teachers at Robb Elementary in Uvalde, Texas.

From GuardianUK:  Canada plans to freeze all handgun ownership.

From RSNWashPost:  Is it time to show the true horror of mass shooting - in pictures?

From MSN:  Angeli Gomez, the Uvalde mother who rescued her two children from the Robb Elementary shooting massacre, says that a police officer threatened to arrest her if she did not stop telling her story.

From RSNTheAtlantic:  The Uvalde police chose dishonor. Where was there courage?

From RSNWashPost:  Brenda Bell:  I hid from the Texas Tower sniper (Charles Joseph Whitman) in 1966. His successors have found us all.

From RSNTheIntercept:  "AR-15s Were Made to Explode Human Bodies. In Uvalde, the Bodies Belonged to Children" by Murtaza Hussain

From RSNNPR:  The tragic history of police responding too late to active shooters.

From VICE:  There is likely bodycam footage of the school shooting in Uvalde, TX, but the public may never see it.

BLM-BUFFALO:

From ABCNews:  A 18-year-old white MAN shot 13 people, killing 10 at a Buffalo, New York Tops Friendly Markets supermarket on Saturday, May 14, 2021.

From RSNAP:  The white male suspect in the Buffalo Tops Supermarket shooting, Payton Gendron, was charged with federal hate crimes on Wed., June 15th and could face the death penalty if convicted.

From Truthout:  The racist attack in Buffalo at the Tops Friendly supermarket was crafted to terrorize us.  We can fight back, and here’s how we fight back.

From WGRZ:  Who are the victims of the Buffalo Tops Friendly Markets grocery store shooting. This comes from local station WGRZ Channel 2 and includes video and some victim photos.

From BuffaloNews:  One of the 10 Black murder victims of the Buffalo massacre was Katherine "Kat" Massey.  She was a leader in her community and civil rights activist and advocate for education.

From NewYorkPost:  One of the 10 Black murder victims of the Buffalo massacre was Andre Mackniel. He was at TOPS Supermaket to pick up a birthday cake for his son.

From Truthout:  The racist attack in Buffalo, NY at the Tops supermarket was crafted to terrorize us, so here is how we fight back.

From CNN:  What is known about the 18-year-old MAN, Payton Gendron.

From NPR:  198 mass shooting this year ... so far.

From Truthout:  White supremacist massacre of 10 people in Buffalo, NY shows that the “Alt-Right” ideology leads to murder.

From RollingStone:  Buffalo rampage killing is "Straight Up Racially Motivated Hate Crime."

From InformedComment:  Rene Binet, the originator the "great replacement" was a French Nazi, and he saw all American as "Negroes," an "impure mestizo 'race'."

From WashPost:  Only 22 people saw the live-stream of a white terrorist kill Black shoppers at the Buffalo Tops Friendly Markets supermarket, but millions have seen it since...

From GuardianUK:  Buffalo Tops Friendly Markets shooter may have been motivated by "eco-fascism," a focus on overpopulation and environmental degradation.

From RSN:  "What Lessons Have We Learned From the Buffalo Shooting?" by Kareem Abdul-Jabbar.

From Truthout:  “Innocent” White People Are Also Complicit in the Anti-Black Murders in Buffalo by George Yancy.

From Truthout:  "Black Lives Matter" cofounder discovered that Alicia Garza has learned that her name is mentioned in the Buffalo Tops supermarket killer's manifesto.

From GuardianUK:   Cornell West says, "Trump isn't out there with a gun, but he's enabled this war against Black people.

From Slate:  From the Tulsa Race Massacre to the Buffalo Tops Friendly Markets shootings: the legacy of anti-Black violence.

From Truthout:  After mass shootings, Republicans shield white supremacists from scrutiny

From MSN:  Angeli Gomez, the Uvalde mom who rescued her children from the school shooting at Robb Elementary, says that local police have threatened to have her arrested if she does not stop telling her story.

UKRAINE:

From TheDailyBeast:  Russian soldiers allegedly raped and killed a 1-year-old Ukrainian boy and have reportedly raped or sexually abused children as young as 9 months old.

HATE WATCH:

From NPR:  31 members of the white nationalist Patriot Front arrested near a "Pride Month" event in Coeur d'Alene, Idaho.  They are believed to have been planning to riot held at a local before moving on to rioting downtown.  They were not the only haters trying to sour the "Pride in the Park" event, which included families with children.

From SpokesmanReview:  The Kootenai County Sheriff’s Office released the names and photos of all 31 "Patriot Front" members who are suspects in a planned riot at the "Pride Month" event in Coeur d'Alene, Idaho.

Review: "The Sweetest Thing" is a Funny Thing (Happy B'day, Christina Applegate)

TRASH IN MY EYE No. 39 (of 2002) by Leroy Douresseaux

The Sweetest Thing (2002)
Running time:  88 minutes (1 hour, 28 minutes)
MPAA – R for strong sexual content and language
DIRECTOR:  Roger Kumble
WRITER:  Nancy M. Pimental
PRODUCER:  Cathy Konrad
CINEMATOGRAPHER:  Anthony B. Richmond
EDITORS:  Wendy Greene Bricmont and David Rennie
COMPOSER:  Edward Shearmur

COMEDY/ROMANCE

Starring:  Cameron Diaz, Christina Applegate, Selma Blair, Jason Bateman, Thomas Jane, James Mangold, and Parker Posey

The subject of this movie review is The Sweetest Thing, a 2002 romantic comedy and chick flick.  The film stars Cameron Diaz as a woman forced to pursue Mr. Right, after missing an opportunity the first time she meets him.  I have to say that this is one those movie that I enjoyed watching so much that it made me “feel good,” so it is a true feel good movie.

Some of her critics and embittered fellow professionals have accused Cameron Diaz of getting by on her looks.  She is a very talented actress, but I’d be lying if denied that one of the reasons I like to watch her movies because of her dazzling beauty and super fine ass.

She unleashes her talent and gorgeous body in director Roger Kumble (Cruel Intentions) and writer Nancy Pimental’s The Sweetest Thing.  Mistakenly sold has a romantic comedy, it is actually raunchy comedic romp through a fantastic vision of the millennial dating scene.  The Sweetest Thing is more in the vein of There’s Something About Mary than say Autumn in New York, and it’s easily one of the funniest movies I’ve seen since Mary.  Some of the credit has to go to Kumble’s sense of timing, important for someone who directs comedy, especially something as farcical as this, and especially Ms. Pimental, who was a series writer for television’s “South Park,” of which The Sweetest Thing shares a sense of over-the-top, gross out comedy.

Cameron Diaz plays the lead character, Christina Walker, simultaneously with bold confidence and sexual power juxtaposed with a painful lack of confidence and romantic confusion.  By doing this, Ms. Diaz makes Walker human; without that she’d merely be a raunchy boob worthy of a few belly laughs.  She can pull it off because she’s so beautiful and likeable.  The cold truth of the matter is that, while art depicts any number of topics, ideas, and subjects, it often executes that depiction in an idealized form.  Artist paint good looking people; even the ugly subjects are stylized ugly.  Pretty people look good on the big screen, and, frankly, many of us would simply think of Christina Walker as a trailer trash ‘ho if she wasn’t played by someone as attractive as Ms. Diaz.  Her looks make us give a pass to some of the unsavory aspects of Christina’s character.

Sadly, the script doesn’t do justice to Christina’s sidekicks:  divorce lawyer Courtney Rockcliffe (Christina Applegate) and the recently dumped Jane Burns (Selma Blair, Legally Blonde).  Courtney starts off with such promise.  She’s a funny partner in crime, but, by the end of the film, she’s reduced to being in scenes merely to feel sorry for her friend.  The breakup of Jane’s romance is the element that begins the film’s story.  Ms. Pimental ignores Jane’s plight and turns her into pincushion for crude sex scenes – hilarious, but still crude.

Reservations aside, The Sweetest Thing is just too funny not to see.  It would take a lot of laughs to make me ignore the fact that the filmmakers throw the story and characterization out the window in favor of raw humor, and, by Jove, the movie has that many laughs and more.

7 of 10
A-

Updated:  Monday, November 25, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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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: "Charlie’s Angels" Pure Pop Pleasure

TRASH IN MY EYE No. 99 (of 2003) by Leroy Douresseaux


Charlie’s Angels (2000)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13 for action violence, innuendo and some sensuality/nudity
DIRECTOR: McG
WRITERS: Ryan Rowe, Ed Solomon, and John August (from the television series by Ivan Goff and Ben Roberts)
PRODUCERS: Drew Barrymore, Leonard Goldberg, and Nancy Juvonen
CINEMATOGRAPHER: Russell Carpenter (D.o.P.)
EDITORS: Peter Teschner and Wayne Wahrman
COMPOSER: Edward Shearmur

ACTION/COMEDY

Starring: Cameron Diaz, Drew Barrymore, Lucy Liu, Bill Murray, Sam Rockwell, Kelly Lynch, Tim Curry, Crispin Glover, Luke Wilson, Matt LeBlanc, Tom Green, LL Cool J, and John Forsythe (voice)

The subject of this movie review is Charlie’s Angels, a 2000 action comedy from director McG (the stage name of Joseph McGinty Nichol). The film is an adaptation of the television series, “Charlie’s Angels,” which was originally broadcast on ABC from 1976 to 1981. The film 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.”

When I first saw Charlie’s Angels, the big-screen adaptation of the late 70’s television series of the same name, I was sure that it was the best action/comedy that I’d seen in years, if ever. Having seen it again in anticipation of the 2003 sequel, I’m sure that it is one of the best action movies I’ve ever seen and one of the best action/comedies ever made. Although the film’s tongue is firmly planted in the Angel’s cheeks and the film is geared towards men, it’s so very entertaining that everyone should get the joke.

The mysterious Charles “Charlie” Townsend (voice of John Forsythe) has three very special little ladies in his employ: Natalie Cook (Cameron Diaz), Dylan Sanders (Drew Barrymore), and Alex Munday (Lucy Liu). Under the supervision of John Bosley (Bill Murray), Charlie’s Angels use martial arts, high tech skills, and sex appeal in their investigation work for clients who can afford Charlie’s agency. This time the client is kidnap victim Eric Knox (Sam Rockwell) who runs a giant software company. The girls not only have to rescue him, but also have to retrieve Knox’s revolutionary voice-ID software. However, the girls run into more than they were told to expect, including a sleazy billionaire (Tim Curry) and his mysterious, tall, thin, ass-kickin’ bodyguard (Crispin Glover).

Directed by music video maestro McG (videos for Korn and Sugar Ray, among others), Charlie's Angels is a high-octane, comic book-styled, action movie parody and farce. None of it should be taken seriously, least of all its conspiracy-within-a-conspiracy script. This is played for fun, recalling the best action movie scenes and clichés: car chases, exploding buildings, pumping soundtrack, quick-cut editing, and Matrix-style “wire-fu” martial arts. Maybe the funniest thing about this film is that this time women do the butt stomping. Usually in action movies, the girls are just the hang-ons of the male stars, following them around and screaming at the appropriate moments during gun fights, fist fights, car chases, aircraft falling out the sky, explosions, etc. This time the girls are in control. This time their sex appeal rules the story instead of just being sex used to decorate the violence. The ladies kick the butts and leave the men panting.

It’s all done so stylishly, and it’s all good and so cool. The vapid material gets inspired performances from the cast, but the actors really make this fun to watch. Bill Murray is tired though. His Bosley is just him doing his shtick, but it is so uninspired that he should have been embarrassed to see himself in the finished product. He was wrong, wrong, wrong, wrong, and wrong again.

But don’t let that keep you from watching this funny, exciting, and very wild action cartoon. Come on. Pull the stick out. Sit back and be entertained by this delicious serving of popcorn movie.

7 or 10
B+

NOTES:
2001 Black Reel Awards: 1 nomination: “Best Song” (Jean Claude Olivier-Writer, Samuel Barnes-Writer, Cory Rooney-Writer, Beyoncé Knowles-Writer, and Destiny’s Child-Performers for the song “Independent Women Part 1”)

Updated: Thursday, June 27, 2013

Review: "The Holiday" is So Lovable (Happy B'day, Nancy Meyers)

TRASH IN MY EYE No. 1 (of 2007) by Leroy Douresseaux


The Holiday (2006)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for sexual content and some strong language
WRITER/DIRECTOR: Nancy Meyers
PRODUCERS: Bruce A. Block and Nancy Meyers
CINEMATOGRAPHER: Dean Cundey (director of photography)
EDITOR: Joe Hutshing
COMPOSER: Hans Zimmer

ROMANCE/COMEDY/DRAMA

Starring: Cameron Diaz, Kate Winslet, Jude Law, Jack Black, Eli Wallach, Rufus Sewell, Edward Burns, and Shannyn Sossamon

The subject of this review is The Holiday, a 2006 romantic comedy film from writer-director, Nancy Meyers. This Christmas/Holiday-themed film focuses on two women who trade homes after each suffers some romantic heartbreak.

Two women who live 6000 miles apart and have never met find their lives in the same place. In Los Angeles, Amanda (Cameron Diaz), who directs movie trailers, realizes that her live-in lover, Ethan (Edward Burns), has been unfaithful. In London, newspaper writer Iris (Kate Winslet) has been in love with Jaspar (Rufus Sewell) for three years, and now he’s about to marry someone else. Amanda and Iris meet online at a home exchange website and impulsively switch homes for the (Christmas) holiday.

Iris moves into Amanda’s large house in sunny California. She befriends Amanda’s neighbor, Arthur Abbot (Eli Wallach), a legendary screenwriter, now retired, who peps up her spirit and encourages Iris to befriend Miles (Jack Black), a film composer and acquaintance of Amanda’s. Meanwhile, Amanda moves into Iris’ small cottage in the snow-covered English countryside where she finds herself charmed by Iris’ handsome brother, Graham (Jude Law). However, both women soon find old issues creeping into their holiday cheer.

Nancy Meyers, writer/director of the delightful chick flick Something’s Gotta Give, delivers The Holiday, another fluffy film confection best served on a holiday winter evening. After an awful start in which Kate Winslet babbles a dry opening narration, The Holiday rights itself with lovable characters. To that end, the four leads don’t so much deliver great performances as they deliver great big dollops of charm every time they appear on screen.

The Holiday plays to the female audience, but this is also the kind of pure gooey entertainment that, during the holidays, can ensnare the unsuspecting heart of any guy who is a romantic at heart.

7 of 10
B+

Wednesday, January 3, 2007

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"The Green Hornet" Stings Like a B-Movie

TRASH IN MY EYE No. 47 (of 2011) by Leroy Douresseaux


The Green Hornet (2011)
Running time: 119 minutes (1 hour, 59 minutes)
MPAA – PG-13 for sequences of violent action, language, sensuality and drug content
DIRECTOR: Michel Gondry
WRITERS: Seth Rogen and Evan Goldberg (based on the radio series “The Green Hornet” George W. Trendle)
PRODUCER: Neal H. Moritz
CINEMATOGRAPHER: John Schwartzman
EDITOR: Michael Tronick
COMPOSER: James Newton Howard

SUPERHERO/ACTION/CRIME

Starring: Seth Rogen, Jay Chou, Cameron Diaz, Tom Wilkinson, Christoph Waltz, David Harbour, Edward James Olmos, Jamie Harris, Chad Coleman, and Edward Furlong

A masked vigilante, crime-fighter, and superhero, the Green Hornet is a fictional character that first made his debut on radio in 1936. Created by radio station owner George W. Trendle and radio writer Fran Striker, the Green Hornet has also appeared over the years in comic books and movie serials. There was even a 1960s ABC television series probably best remembered for Bruce Lee playing the Green Hornet’s partner/sidekick, Kato.

Released in January 2011, The Green Hornet returned the character to the big screen in an over-the-top, superhero action-comedy movie. The movie is like a juvenile boy’s fantasy of what a superhero movie should have: plenty of explosions, numerous car-crushing car chases, and lots of gunfire, with a pretty girl thrown in for an occasional shot of eye candy. And sometimes, this movie is actually fun and entertaining.

The Green Hornet opens in present day Los Angeles and focuses on spoiled, rich, 20-something, Britt Reid (Seth Rogen). His father is James Reid (Tom Wilkinson), the wealthy and highly successful publisher of The Daily Sentinel newspaper. After James’ sudden death, Britt is trying to figure out what to do with his father’s business and his own life when he meets his father’s personal mechanic, Kato (Jay Chou). They hit it off, get drunk together, and pull a stupid stunt. It is that dangerous stunt that gives Britt the idea that he and Kato should become superheroes.

Britt believes that they should become crime-fighters who pose as criminals in order to infiltrate L.A.’s notoriously violent criminal underworld, so he becomes a masked man named the Green Hornet. Britt also decides to use the Sentinel to publish propaganda that will build up the Hornet’s reputation. Britt even hires Lenore “Casey” Case (Cameron Diaz), a sexy secretary to do criminal research that he can use as the Hornet. However, Britt’s activities as the Hornet bring him into direct conflict with Russian super bad-ass, Benjamin Chudnofsky (Christoph Waltz), a mobster who wants to control all crime in L.A. But Chudnofsky is willing to kill anyone and any hero who gets in his way.

One of the things that immediately stood out to me about The Green Hornet was that Seth Rogen was probably not the right actor to play the Green Hornet. I could believe in him as the spoiled, party boy, Britt Reid, but not as any kind of superhero or masked crime-fighter. I spent the rest of the movie going back and forth on my feelings about Rogen. That’s the problem with this movie. Some of it works, and some of it is lazy and sloppy; even some of the stuff that works sometimes falls flat.

Rogen co-wrote this film with his partner, Evan Goldberg; the two wrote an incredible script for the film Superbad, a film that flowed seamlessly. The Green Hornet isn’t seamless. You can practically see all the giant, noisy set pieces sewn together to create this Frankenstein of an action-comedy. The problem isn’t that some of this movie is over-the-top; it is that The Green Hornet is nothing but over-the-top. There is rarely a moment of this movie that isn’t about violence and vulgarity and assorted rudeness.

I have to give credit where credit is due. While the film wastes Cameron Diaz and her good character, Lenore, it makes the most of Christoph Waltz’s cold-bloodied turn as the really scary Chudnofsky. [It’s best that we not speak of how the filmmakers under-utilized Edward James Olmos]. The film also has a genuine star in Taiwanese pop idol Jay Chou as Kato.

For some reason, Chou actually has good screen chemistry with Rogen, or at least I think so. When they are together as the Green Hornet and Kato, Rogen and Chou take control of the hysteria and bombast. That is why, here and there, The Green Hornet is more action-comedy dynamite than it is film flatulence.

5 of 10
B-

Monday, June 06, 2011

Animation's Finest Earn Annie Award Nominations

38th Annual Annie Award Nominations Announced

The International Animated Film Society, ASIFA-Hollywood proudly announces the nominations and award recipients for the 38th Annual Annie Awards. Award recipients will claim their trophies at the 38th Annual Annie Awards scheduled for Saturday, February 5, 2011 at UCLA's Royce Hall in Los Angeles, California.

PRODUCTION CATEGORIES:

Best Animated Feature
• Despicable Me – Illumination Entertainment and Universal Pictures
• How to Train Your Dragon – DreamWorks Animation
• Tangled – Disney
• The Illusionist – Django Films
• Toy Story 3 – Disney/Pixar

Best Animated Short Subject
• Coyote Falls - Warner Bros. Animation
• Day & Night – Pixar
• Enrique Wrecks the World - House of Chai
• The Cow Who Wanted To Be A Hamburger - Plymptoons Studio
• The Renter - Jason Carpenter

Best Animated Television Commercial
• Children's Medical Center - DUCK Studios
• Frito Lay Dips "And Then There Was Salsa" - LAIKA/house
• ‘How To Train Your Dragon’ Winter Olympic Interstitial "Speed Skating" - DreamWorks Animation
• McDonald's "Spaceman Stu" - DUCK Studios
• Pop Secret "When Harry Met Sally" - Nathan Love

Best Animated Television Production
• Futurama - The Curiosity Company in association with 20th Century Fox Television
• Kung Fu Panda Holiday - DreamWorks Animation
• Scared Shrekless - DreamWorks Animation
• Star Wars: The Clone Wars “Arc Troopers” - Lucasfilm Animation, Ltd.
• The Simpsons “The Squirt and the Whale” - Gracie Films

Best Animated Television Production for Children
• Adventure Time - Cartoon Network Studios
• Cloudbread – GIMC
• Fanboy & Chum Chum - Nickelodeon, Frederator
• Regular Show - Cartoon Network Studios
• SpongeBob SquarePants – Nickelodeon

Best Animated Video Game
• Heavy Rain - Quantic Dream
• Kirby's Epic Yarn - Good-Feel & HAL Laboratory
• Limbo – Playdead
• Shank - Klei Entertainment Inc.

INDIVIDUAL ACHIEVEMENT CATEGORIES:

Animated Effects in an Animated Production
• Andrew Young Kim "Shrek Forever After" - DreamWorks Animation
• Jason Mayer "How To Train Your Dragon" - DreamWorks Animation
• Brett Miller "How To Train Your Dragon" - DreamWorks Animation
• Sebastian Quessy "Legend Of The Guardians: The Owls of Ga'Hoole" - Warner Bros. Pictures
• Krzysztof Rost "Megamind" - DreamWorks Animation

Character Animation in a Television Production
• Nicolas A. Chauvelot "Scared Shrekless" - DreamWorks Animation
• Savelen Forrest "Robot Chicken: Star Wars Episode III" - ShadowMachine
• Elizabeth Harvatine "Robot Chicken: Star Wars Episode III" – ShadowMachine
• David Pate "Kung Fu Panda Holiday" - DreamWorks Animation
• Nideep Varghese "Scared Shrekless" - DreamWorks Animation

Character Animation in a Feature Production
• Mark Donald "Megamind" - DreamWorks Animation
• Anthony Hodgson "Megamind" - DreamWorks Animation
• Gabe Hordos "How To Train Your Dragon" - DreamWorks Animation
• Jakob Hjort Jensen "How To Train Your Dragon" - DreamWorks Animation
• David Torres "How To Train Your Dragon" - DreamWorks Animation

Character Animation in a Live Action Production
• Quentin Miles - Clash of the Titans
• Ryan Page - Alice in Wonderland

Character Design in a Television Production
• Andy Bialk "The Ricky Gervais Show" - W!LDBRAIN Entertainment
• Stephan DeStefano "Sym-Bionic Titan" - Cartoon Network
• Ernie Gilbert "T.U.F.F. Puppy" – Nickelodeon
• Gordon Hammond "T.U.F.F. Puppy" – Nickelodeon
• Steve Lambe "Fanboy & Chum Chum" - Nickelodeon, Frederator

Character Design in a Feature Production
• Sylvain Chomet "The Illusionist" - Django Films
• Carter Goodrich "Despicable Me" - Illumination Entertainment and Universal Pictures
• Timothy Lamb "Megamind" - DreamWorks Animation
• Nico Marlet "How To Train Your Dragon" - DreamWorks Animation

Directing in a Television Production
• Bob Anderson "The Simpsons: Treehouse of Horror XXI” - Gracie Films
• Peter Chung "Firebreather" - Cartoon Network Studios
• Duke Johnson "Frankenhole: Humanitas" – ShadowMachine
• Tim Johnson "Kung Fu Panda Holiday" - DreamWorks Animation
• Gary Trousdale "Scared Shrekless" - DreamWorks Animation

Directing in a Feature Production
• Sylvain Chomet "The Illusionist" - Django Films
• Pierre Coffin and Chris Renaud “Despicable Me” – Illumination Entertainment and Universal Pictures
• Mamoru Hosoda “Summer Wars” – Madhouse/Funimation
• Chris Sanders, Dean DeBlois “How To Train Your Dragon” - DreamWorks Animation
• Lee Unkrich “Toy Story 3” – Disney/Pixar

Music in a Television Production
• J. Walter Hawkes, Billy Lopez "The Wonder Pets!" - Nickelodeon Production & Little Airplane Productions
• Henry Jackman, Hans Zimmer and John Powell "Kung Fu Panda Holiday" - DreamWorks Animation
• Tim Long, Alf Clausen, Bret McKenzie, Jemaine Clement "The Simpsons: Elementary School Musical" - Gracie Films
• Shawn Patterson "Robot Chicken's DP Christmas Special" – ShadowMachine
• Jeremy Wakefield, Sage Guyton, Nick Carr, Tuck Tucker "SpongeBob SquarePants" – Nickelodeon

Music in a Feature Production
• Sylvain Chomet "The Illusionist" - Django Films
• David Hirschfelder "Legend Of The Guardians: The Owls of Ga'Hoole" - Warner Bros. Pictures
• John Powell "How To Train Your Dragon" - DreamWorks Animation
• Harry Gregson Williams "Shrek Forever After" - DreamWorks Animation
• Pharrell Williams, Heitor Pereira "Despicable Me" - Illumination Entertainment and Universal Pictures

Production Design in a Television Production
• Alan Bodner "Neighbors From Hell" - 20th Century Fox Television
• Barry Jackson "Firebreather" - Cartoon Network Studios
• Pete Oswald "Doubtsourcing" - Badmash Animation Studios
• Richie Sacilioc "Kung Fu Panda Holiday" - DreamWorks Animation
• Scott Wills "Sym-Bionic Titan" - Cartoon Network Studios

Production Design in a Feature Production
• Yarrow Cheney "Despicable Me" - Illumination Entertainment and Universal Pictures
• Eric Guillon "Despicable Me" - Illumination Entertainment and Universal Pictures
• Dan Hee Ryu "Legend Of The Guardians: The Owls of Ga'Hoole" - Warner Bros. Pictures
• Pierre Olivier Vincent "How To Train Your Dragon" - DreamWorks Animation
• Peter Zaslav "Shrek Forever After" - DreamWorks Animation

Storyboarding in a Television Production
• Sean Bishop "Scared Shrekless" - DreamWorks Animation
• Fred Gonzales "T.U.F.F. Puppy" – Nickelodeon
• Tom Owens "Kung Fu Panda Holiday" - DreamWorks Animation
• Dave Thomas "Fairly OddParents" – Nickelodeon

Storyboarding in a Feature Production
• Alessandro Carloni "How To Train Your Dragon" - DreamWorks Animation
• Paul Fisher "Shrek Forever After" - DreamWorks Animation
• Tom Owens "How To Train Your Dragon" - DreamWorks Animation
• Catherine Yuh Rader "Megamind" - DreamWorks Animation

Voice Acting in a Television Production
• Jeff Bennett as The Necronomicon "Fanboy & Chum Chum" - Nickelodeon & Frederator
• Corey Burton as Baron Papanoida "Star Wars: The Clone Wars" - Cartoon Network
• Nika Futterman as Asajj Ventress "Star Wars: The Clone Wars" - Cartoon Network
• Mike Henry as Cleveland Brown "The Cleveland Show" - Fox Television Animation
• James Hong as Mr. Ping "Kung Fu Panda Holiday" - DreamWorks Animation

Voice Acting in a Feature Production
• Jay Baruchel as Hiccup "How To Train Your Dragon" - DreamWorks Animation
• Gerard Butler as Stoick "How To Train Your Dragon" - DreamWorks Animation
• Steve Carrell as Gru "Despicable Me" - Illumination Entertainment and Universal Pictures
• Cameron Diaz as Fiona "Shrek Forever After" - DreamWorks Animation
• Geoffrey Rush as Ezylryb "Legend Of The Guardians: The Owls of Ga'Hoole" - Warner Bros. Pictures

Writing in a Television Production
• Daniel Arkin "Star Wars: The Clone Wars: Heroes on Both Sides" - Lucasfilm Animation Ltd.
• Jon Colton Barry & Piero Piluso "Phineas & Ferb: Nerds of a Feather" - Disney Channel
• John Frink "The Simpsons: Stealing First Base" - Gracie Films
• Geoff Johns, Matthew Beans, Zeb Wells, Hugh Sterbakov, Matthew Senreich, Breckin Meyer, Seth Green, Mike Fasolo, Douglas Goldstein, Tom Root, Dan Milano, Kevin Shinick & Hugh Davidson "Robot Chicken: Star Wars Episode III" – ShadowMachine
• Michael Rowe "Futurama" - The Curiosity Company in association with 20th Century Fox Television

Writing in a Feature Production
• Michael Arndt “Toy Story 3” – Disney/Pixar
• Sylvain Chomet “The Illusionist” – Django Films
• William Davies, Dean DeBlois, Chris Sanders “How to Train Your Dragon” – DreamWorks Animation
• Dan Fogelman “Tangled” - Disney
• Alan J. Schoolcraft, Brent Simons “Megamind” – DreamWorks Animation

JURIED AWARDS

Winsor McCay Award — Brad Bird, Eric Goldberg, Matt Groening

June Foray — Ross Iwamoto

Ub Iwerks Award — Autodesk

Special Achievement — “Waking Sleeping Beauty”

http://www.annieawards.org/index.html

Review: "Being John Malkovich" is Wildly Original (Happy B'day, John Malkovich)

TRASH IN MY EYE No. 9 (of 2003) by Leroy Douresseaux

Being John Malkovich (1999)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – R for language and sexuality
DIRECTOR: Spike Jonze
WRITER: Charlie Kaufman
PRODUCERS: Steve Golin, Vincent Landay, Sandy Stern, and Michael Stipe
CINEMATOGRAPHER: Lance Acord
EDITOR: Eric Zumbrunnen
COMPOSER: Carter Burwell
Academy Award nominee

FANTASY/COMEDY/DRAMA

Starring: John Cusack, Cameron Diaz, Ned Bellamy, Catherine Keener, Reggie Hayes, Orson Bean, and John Malkovich

We’ve all read the reviews that describe particular movies as inventive, witty, original, unique, or some other hyperbole used to describe cinematic “brilliance.” Whether many of those movies deserved such praise is debatable, but Being John Malkovich is the real deal – original and stunningly, painfully unique. It’s not perfect, but it is so mind-numbingly brilliant: I’m not sure if I even know how to watch it again. I’m afraid to think what this film would be like if it were perfect.

Craig Schwartz (John Cusack) is a talented puppeteer with a failed career and an (seemingly) unhappy marriage to a frumpy animal lover (Cameron Diaz). When finances finally get too tight, Craig gets a job sorting files for the peculiar Dr. Lester (Orson Bean). He becomes hopelessly infatuated with Maxine (Catherine Keener), a sharp-tongued woman who works on the same floor. On one particular day of drudgery, Craig accidentally discovers a door to a portal that leads literally into the head of John Malkovich (John Malkovich). After Craig shares the secret with his wife Lottie, she can’t get enough of being John Malkovich, which, of course, leads to a maze of confusion and conflicting desires that both destroys and redefines relationships and creates new pairings.

Directed by award-winning and acclaimed music video director Spike Jonze, Malkovich defies an accurate description. It is alternately a fantasy, a comedy, a romance, and a drama; it is a story that both crosses and breaks genres. The film derives its brilliance from writer Charlie Kaufman; the script is a masterwork and one of the finest original screenplays of the last few decades. That Jonze could make a coherent and entertaining film of a story that it so philosophical, surrealistic, avant garde, and abstract foretells that the creativity seen in his music videos, he will carry over to film – lucky, lucky us.

The performances are all very good; everyone seemed more than up to the task of translating Kaufman’s eccentricity and brilliance to drama. Cusack once again affirms both his coolness and his talent. It’s pointless to praise Malkovich, and Ms. Keener only showed a more attentive audience the skill she’d already showed in films with smaller audiences. If no one will, I will toot Ms. Diaz’s talent. Her beauty merely accentuates her talent. She buried herself in this role as the frumpy lovelorn Lottie; she can do the method thing, so where’s the props?

Brilliant, smashing, exhilarating, ingenious, hilarious, hysterical, and wildly original – all have been said before, but these praises were made whole with Being John Malkovich. The film does seem to run out of energy late in the story, and the sci-fi/fantasy element seems to go overboard. Still, it is a film that has to be seen, if for no other reason than because Being John Malkovich is a fresh look at individuals and their need for and of other people. Run see this thing.

9 of 10
A+

NOTES:
2000 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Catherine Keener), “Best Director” (Spike Jonze), and “Best Writing, Screenplay Written Directly for the Screen” (Charlie Kaufman)

2000 BAFTA Awards: 1 win: “Best Screenplay – Original” (Charlie Kaufman); 2 nominations: “Best Editing” (Eric Zumbrunnen) and “Best Performance by an Actress in a Supporting Role” (Cameron Diaz)

2000 Golden Globes: 4 nominations: “Best Motion Picture - Comedy/Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Catherine Keener), and “Best Screenplay - Motion Picture” (Charlie Kaufman)

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Review: "Vanilla Sky" is a Crazier Cruise-Diaz Team-Up

TRASH IN MY EYE No. 20 (of 2001) by Leroy Douresseaux

Vanilla Sky (2001)
Running time: 136 minutes (2 hours, 16 minutes)
MPAA – R for sexuality and strong language
DIRECTOR: Cameron Crowe
WRITER: Cameron Crowe (based upon the film Abre los Ojos (Open Your Eyes) by Alejandro Amenábor and Mateo Gil Rodreguez)
PRODUCERS: Cameron Crowe, Tom Cruise, and Paula Wagner
CINEMATOGRAPHER: John Toll (D.o.P.)
EDITORS: Joe Hutshing and Mark Livolsi
COMPOSER: Nancy Wilson
Academy Award nominee

DRAMA/FANTASY/ROMANCE/SCI-FI/THRILLER

Starring: Tom Cruise, Penélope Cruz, Cameron Diaz, Kurt Russell, Jason Lee, Noah Taylor, Timothy Spall, Johnny Galecki, Michael Shannon, and Tilda Swinton

David Aames (Tom Cruise) is the wealthy scion of a publishing empire who lives only for himself and his pleasures. He treats his novelist friend Brian Shelby (Jason Lee, Chasing Amy) as a possession to be admitted or dismissed as needed, though Aames often professes deep love for Shelby. He has recreational sex with another friend, Julie Gianni (Cameron Diaz), a girl who practically admits to being around the block quite a few times. At a party that he hosts, David sees a stunning beauty that Brian has brought to the party with him. The looker, Sofia Serrano (Penelope Cruz, who was in the Spanish film upon which Vanilla Sky is based), throws David for a loop and he falls very hard for her.

Aww, but Julie is jealous; she follows David and is waiting for him after he spends the night (a sex free night) with Sofia. In an insane rage, Julie, with David a passenger, runs her car off the road, killing herself. David survives, but his body is damaged and his face is badly scarred. From that point, David’s life is a series of time shifts; past, present, and future loose their meanings.

Directed by Cameron Crowe, who also directed Tom Cruise in Jerry Maguire, Vanilla Sky is a mind numbing and genre bending film that mixes elements of romance, romantic thriller, mystery, suspense, and science fiction. It demands the viewers’ complete attention, while it careens across the screen like the out of control car that changes David Aames life.

Vanilla Sky is also a movie that can test an audience’s patience. It has ideas and messages, and most people do not want their movies to preach to them, at least not preach smart ideas. They want a loud, vivid, cinematic experience – special effects and movie magic. “Entertain me” is the mantra, and Crowe adds only the thinnest of candy coatings to his film.

The movie begins with a beautiful scene in which David discovers that he is alone in Times Square; he runs down the street for a few minutes totally afraid of being alone before we learn that this is a dream. There are also voiceovers while we follow David’s privileged life. There is the accident, and then we find David in a dark room wearing a mask, while a psychologist (Kurt Russell) prods him for answers regarding a murder of which David has been accused. From then, we’re bouncing back and forth through time, through illusions, dreams, fantasies, flashbacks. It can be disconcerting, but the film is so alluring that you want to soldier on.

Cruise has always been a good actor in the hands of good director, and Crowe is good. Over his career, Cruise has learned to open himself up to the possibilities of using his handsome face to express a variety of feelings and emotions, where once he simply lit up that million dollar smile and that was that. He is good here and quite believable. It’s no trick to play a spoiled, wealthy brat, but he convincingly transforms himself into the tortured package of damaged goods.

The supporting cast in nice, but while Penelope Cruz got all the attention, Diaz is the surprise. Some may believe her looks carry her career, but she can act. She plays the wild, vulnerable, hurt, and angry Julie Gianni to the hilt while also playing it down low and subtle. She creates a three-dimensional villain of sly evil and of terrible sadness.

Vanilla Sky is rife with musical references, most of which are quite annoying, but the Jeff Blakely reference is dead on appropriate for its scene. There are lots of visual references from pop culture to fine art, and they mean something, but you have to catch them, as they fly by so quickly.

Vanilla Sky is a good film, especially because it asks for the viewer to get involved where most movies only want to yell at you. At its heart are good messages about responsibility for the choices one makes, selfishness, love, and sacrifice. It stumbles and rushes to it fantastical, sci-fi ending that almost destroys film, but the movie is a worthy effort by ambitious talents. By no means perfect, it is still a grand entertainment and a wonderful puzzle with which to struggle, and it doesn’t mind trying to be smart even when it over reaches its ambitions.

7 of 10
B+

NOTES:
2002 Academy Awards: 1 nominations: “Best Music, Original Song” (Paul McCartney for the song "Vanilla Sky")

2002 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Paul McCartney for the song "Vanilla Sky") and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz)

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Review: "Gangs of New York" Was the First Scorsese-DiCaprio Joint

TRASH IN MY EYE No. 4 (of 2003) by Leroy Douresseaux

Gangs of New York (2002)
Running time: 167 minutes (2 hours, 47 minutes)
MPAA – R for intense strong violence, sexuality/nudity and language
DIRECTOR: Martin Scorsese
WRITERS: Jay Cocks, Steven Zallian, and Kenneth Lonergan; from a story by Jay Cocks
PRODUCERS: Alberto Grimaldi and Harvey Weinstein
CINEMATOGRAPHER: Michael Ballhaus (director of photography)
EDITOR: Thelma Schoonmaker
COMPOSER: Howard Shore
Academy Award nominee

DRAMA

Starring: Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Jim Broadbent, John C. Reilly, Henry Thomas, Liam Neeson, Brendan Gleeson, Gary Lewis, Stephen Graham, Eddie Marsan, and Larry Gilliard, Jr.

Martin Scorsese’s long-awaited Gangs of New York begins in 1846 with a bloody battle between rival New York gangs that Scorsese films with enough majestic splendor and power to rival an epic battle in one of The Lord of the Rings films. This is an auspicious opening to a wonderful film that just happens to run on a little too long.

Young Amsterdam Vallon watches his father Priest (Liam Neeson, K-19: The Widowmaker), leader of the Irish Dead Rabbits, fall under the knife of William “Bill the Butcher” Cutting (Daniel Day-Lewis, The Crucible), leader of the Nativists. The Nativists, whose parents and grandparents were Americans and who are white Anglo Saxon New Yorkers, look upon the new immigrants, especially the Irish, as foreign invaders, garbage whom must they must subjugate. Truthfully, they’re all poor folks living in the slums in filth and hunger.

In 1863, the adult Amsterdam Vallon (Leonardo DiCaprio, Titanic) emerges from a juvenile home ready to avenge his father’s death. He finds that many of his late father’s colleagues have joined ranks with Cutting’s gang and that Cutting now reveres Priest Vallon as the last great man. Amsterdam hides his identity and joins Cutting’s crew, where he becomes like a son to him, until Amsterdam’s identity is revealed and he has his first bloody confrontation with Cutting.

For most of Gangs, one can’t help but be taken in by the breathtaking and dazzling filmmaking, possible Scorsese’s most invigorating work since Goodfellas. Superb camerawork by Michael Ballhaus and excellent film editing by Thelma Schoonmaker (both long time Scorsese cohorts) combine their talents with the master’s brilliant sense of design, pacing, and storytelling to form a perfect film. Then, it suddenly goes on past the point where it should have ended – the first confrontation between Amsterdam and Bill the Butcher. Their continued rivalry isn’t boring, but some of other subplots that went with it seem extraneous.

The script, by former Scorsese collaborator Jay Cocks, the talented Steven Zallian (Academy Award winner for Schindler’s List), and Kenneth Lonergan (writer/director of the beautiful You Can Count on Me) is Shakespearean in its approach to character, plot, and dramatization. The story, however, tries to cover all the important national issues of 1863: The War Between the States, immigration, conscription, class conflict, ethnic conflict, racism, slavery, political corruption, police corruption, violence, hunger and poverty, religious conflict, and loyalty and how all these issues intermingle into further conflict. Sometimes, it all seems like so much crap thrown against the wall to see what sticks. All these subplots require a longer film, and Gangs is already two hours and 48 minutes long. This obese screen story is the blemish on what could have been a great film.

Still Scorsese tackles this beast of a script and turns it into a wonderful movie, in part because he draws some great performances from his cast. Day-Lewis is always a pleasure to watch, and he turns Cutting into a complex man worthy of everything between outright loathing and sincere admiration. DiCaprio is the youthful and seething hero and proves, once again, that the screen loves him; you can’t take your eyes off him. He’s the perfect movie star: dazzling, boyish beauty and talent to burn, but envy will deny him the accolades that Day-Lewis will get for this film. Other stellar performances include Cameron Diaz (stop hatin,’ she can really act), the chameleonic Jim Broadbent (always on his game), and Henry Thomas (all grown up since E.T., The Extra-Terrestrial). Gangs of New York is not to be missed; the only regret one can have is how close they all came to getting making perfect.

7 of 10
A-

NOTES:
2003 Academy Awards: 10 nominations: “Best Picture” (Alberto Grimaldi and Harvey Weinstein), “Best Director” (Martin Scorsese), “Best Actor in a Leading Role” (Daniel Day-Lewis), “Best Art Direction-Set Decoration” (Dante Ferretti-art director and Francesca Lo Schiavo-set decorator), “Best Cinematography” (Michael Ballhaus), “Best Costume Design” (Sandy Powell), “Best Editing” (Thelma Schoonmaker), “Best Music, Original Song” (Bono, The Edge, Adam Clayton, and Larry Mullen Jr. for the song "The Hands That Built America"), “Best Sound” (Tom Fleischman, Eugene Gearty, and Ivan Sharrock), “Best Writing, Original Screenplay” (Jay Cocks-screenplay/story, Steven Zaillian-screenplay, and Kenneth Lonergan-screenplay)

2003 BAFTA Awards: 1 win: “Best Performance by an Actor in a Leading Role” (Daniel Day-Lewis); 11 nominations: “Anthony Asquith Award for Film Music” (Howard Shore), “Best Achievement in Special Visual Effects” (R. Bruce Steinheimer, Michael Owens, Edward Hirsh, and Jon Alexander), “Best Cinematography” (Michael Ballhaus), “Best Costume Design” (Sandy Powell), “Best Editing” (Thelma Schoonmaker), “Best Film” (Alberto Grimaldi and Harvey Weinstein), “Best Make Up/Hair” (Manlio Rocchetti and Aldo Signoretti), “Best Production Design” (Dante Ferretti), “Best Screenplay – Original” (Jay Cocks, Steven Zaillian, and Kenneth Lonergan), “Best Sound” (Tom Fleischman, Ivan Sharrock, Eugene Gearty, and Philip Stockton), and “David Lean Award for Direction” (Martin Scorsese)

2003 Golden Globes: 2 wins: “Best Director - Motion Picture” (Martin Scorsese) and “Best Original Song - Motion Picture” (Bono, The Edge, Adam Clayton and Larry Mullen Jr. for the song "The Hands That Built America"); 3 nominations “Best Motion Picture – Drama” “Best Performance by an Actor in a Motion Picture – Drama” (Daniel Day-Lewis), and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz)

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Review: "Shrek Forever After" is an Upgrade from Third Film

TRASH IN MY EYE No. 37 (of 2010) by Leroy Douresseaux

Shrek Forever After (2010)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – PG for mild action, some rude humor and brief language
DIRECTOR: Mike Mitchell
WRITER: Josh Klausner and Darren Lemke
PRODUCERS: Teresa Cheng and Gina Shay
CINEMATOGRAPHER: Yong Duk Jhun

ANIMATION/FANTASY/ACTION/ADVENTURE and COMEDY/FAMILY

Starring: (voices) Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, Julie Andrews, Jon Hamm, John Cleese, Craig Robinson, Jane Lynch, and Walt Dohrn

The magic is not gone! Shrek Forever After arrives in theatres and reminds us that the disappointing Shrek the Third was a fluke in the Shrek franchise. When Shrek debuted in 2001, it was certainly different from the typical animated film. Instead of being an update of some fairy tale meant to appease children, Shrek turned the fairy tale on its ear, spoofed pop culture, and introduced odd ball characters that were so endearing a few of them gradually became pop culture stars. The 2004 sequel, Shrek 2, was as good as the first film, but not as fresh and original. Shrek the Third was a misfire. While it may not be an original, Shrek Forever After returns to what the first two films did well.

The new film finds the title character, that lovable ogre, Shrek (Mike Myers), not loving being a lovable ogre. He fought an evil dragon to rescue Prince Fiona (Cameron Diaz), married her, and saved his in-laws’ kingdom, Far Far Away. Before that, however, Shrek was ogre who scared villagers and took mud baths. Now, he is a domesticated family man, changing diapers, and autographing pitchforks for admiring villagers, and his once-fearsome ogre’s roar has become a children’s favorite. Shrek longs for the days when he was “real ogre,” but there is someone with the magic to help him be bad again.

A smooth-talking dealmaker named Rumpelstiltskin (Walt Dohrn) meets Shrek and offers him a magical contract. Shrek can get a day to feel like a real ogre again, in exchange for ANY day from Shrek’s past. Shrek signs the contract, but the deal creates a twisted, alternate version of Far Far Away. This is a world in which he and Princess Fiona never met, and his friends, even Donkey (Eddie Murphy), don’t know him. He has 24 hours to restore his world or disappear forever.

Shrek Forever After is essentially a spin on director Frank Capra’s It’s a Wonderful Life, in which a man on the verge of suicide gets to see how unfortunate life would be for his family, friends, and community without him. Because it uses themes similar to the Capra film, this fourth Shrek movie is probably the most heartfelt and sentimental about the importance of close relationships. The narrative is insistent that each individual character is essential to the well-being and happiness of his or her fellow characters. [That said, Puss in Boots (Antonio Banderas) is getting a spin-off film.]

The entire story plays off the idea that the audience, by now, is familiar with these characters, knows their personalities, and has expectations about how the characters will entertain them. And Shrek Forever After delivers. All the voice performances are good, and, unlike in Shrek the Third, Eddie Murphy and Donkey have lots of screen time, which they use to spectacular results. This film also introduces another good Shrek villain, the winning Rumpelstiltskin, superbly performed by animator and voice actor, Walt Dohrn.

Shrek Forever After like the original is big and jolly. Cleverly chosen songs still populate the soundtrack and set the tone for key scenes in the story. Pop culture is slyly referenced and spoofed (like the funny break dancing witches routine), and the main characters still have some of the best jokes and one-liners the audience will hear during the summer movie season. But Shrek Forever After has heart. If this is indeed the last Shrek film (at least for awhile), we are left with a movie that reminds us how much fun Shrek and company are and how much we really like them or even love them.

8 of 10
A

Sunday, May 23, 2010

Review: "Shrek the Third" is Disappointing

TRASH IN MY EYE No. 88 (of 2007) by Leroy Douresseaux


Shrek the Third (2007)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – PG for some crude humor, suggestive content, and swashbuckling action
DIRECTOR: Chris Miller with Raman Hui
WRITERS: Jeffrey Price & Peter S. Seaman and Chris Miller & Aron Warner
PRODUCER: Aron Warner
EDITOR: Michael Andrews

ANIMATION/COMEDY/FANTASY/ACTION/FAMILY

Starring: (voices) Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, Ruper Everett, Justin Timberlake, Julie Andrews, John Cleese, Eric Idle, Cheri Oteri, Amy Poehler, Maya Rudolph, Amy Sedaris, John Krasinski, Larry King, Susanne Blakeslee, and Ian McShane

Smelly ogre Shrek (Mike Myers) returns in Shrek the Third, and finds himself in a bit of a fix. When he married Princess Fiona (Cameron Diaz), he never realized that the union would put him in line to become the next King of Far, Far Away, so when his father-in-law, King Harold (John Cleese), dies, Shrek and Fiona are facing the very real possibility of being the new King and Queen.

Determined to remain an ordinary ogre and return to his peaceful life in the swamp, Shrek sets off with reliable pals Donkey (Eddie Murphy) and Puss in Boots (Antonio Banderas) on a long journey to find Fiona’s long lost cousin, Artie (Justin Timberlake), an underachieving high school slacker. Making the rebellious Artie accept the throne proves to be a bigger challenge than Shrek suspected.

Meanwhile, Shrek’s old nemesis, Prince Charming (Rupert Everett), has returned to Far, Far Away with an army composed of some of classic fairytales most infamous villains, including Captain Hook (Ian McShane) and his crew and the Evil Queen (Susanne Blakeslee) from “Snow White.” It’s up to Fiona and her band of princesses: Cinderella (Amy Sedaris), Rapunzel (Maya Rudolph), Sleeping Beauty (Cheri Oteri), Snow White (Amy Poehler) and, of course, Doris (Larry King), to fight until Shrek and crew return to the country for the final battle with Charming.

Considering the box office success of Shrek and Shrek 2 and the fact that they were actually very good films, Shrek the Third’s mediocrity is shocking. It’s only mildly amusing, and there’s nothing distinguishing about the animation, which actually looks really bad (in terms of character movement and design) in several places. There are too many characters, and not enough of Eddie Murphy’s Donkey who is every bit the star of this franchise that Mike Myers’ Shrek is. Any future installments need a significant overhaul because Shrek the Third looks like the franchise is showing tired, old legs.

5 of 10
C+

Saturday, June 09, 2007

NOTES:
2008 BAFTA Awards: 1 nomination: “Best Animated Film” (Chris Miller)

Review: "Shrek 2" Aimed More at Adults than Children

TRASH IN MY EYE No. 90 (of 2004) by Leroy Douresseaux


Shrek 2 (2004)
Running time: 93 minutes (1 hour, 33 minutes)
MPAA – PG for some crude humor, a brief substance reference and some suggestive content
DIRECTORS: Andrew Adamson, Kelly Asbury, and Conrad Vernon
WRITERS: Andrew Adamson, J. David Stem, Joe Stillman, and David N. Weiss with Chris Miller; from a story by Andrew Adamson (based upon characters created by William Steig)
PRODUCERS: David Lipman, Aron Warner, and John H. Williams
EDITORS: Michael Andrews and Sim Evan-Jones
Academy Award nominee

ANIMATED/COMEDY/FAMILY/FANTASY/ADVENTURE

Starring: (voices) Mike Meyers, Eddie Murphy, Cameron Diaz, Antonio Banderas, John Cleese, Julie Andrews, Rupert Everett, and Jennifer Saunders

I found Shrek 2 to be every bit as funny as the original, but I don’t think it’s quite as surprising or better than the smash hit and Academy Award-winning Shrek. The first film was sweet and sentimental, and despite it’s clunky and peculiar computer-generated animation, it was fresh and different. Shrek 2 is every bit the expensive and glossy sequel, and is mostly disposable entertainment. In fact, the filmmakers have managed to make a movie so entertaining that it’s disposable entertainment as art. I laughed a lot and had a damn good time, but as I do with many big summer films, I’d mostly forgotten it not long after I’d left the theatre. There’s nothing wrong with that, but Shrek 2 is like a cheap candy bar, sweet but not necessary. You can wait for home video.

In Shrek 2, the titular Shrek (Michael Myers) and his wife Princes Fiona (Cameron Diaz) with Shrek’s homeboy Donkey (Eddie Murphy) travel to Far, Far Away, Fiona’s home to meet her parents the King (John Cleese) and Queen (Julie Andrews). The royal parents, however, are not happy to see Fiona married to an ogre, which is what Shrek is, and they’d hoped she’d married Prince Charming (Rupert Everett).

It was Charming who was supposed to rescue Fiona in the first film (and not Shrek as it happened) and break the spell that caused Fiona herself to become an ogre at night. Now, that Fiona has married Shrek, she’s a full time ogre. Charming’s mother, the Fairy Godmother (Jennifer Saunders) demands that the King get rid of Shrek, so he hires a suave assassin, Puss In Boots (Antonio Banderas), to dispatch Shrek. But when Puss becomes Shrek’s friend, Fairy Godmother throws all her magic behind a diabolical plan to trick Fiona away from Shrek and into the arms of her son.

I found Shrek 2’s humor mainly directed at adults, although children can certainly enjoy it. Much of the comedy is built around sight gags, but there are numerous sly cultural references (visual and spoken), witty asides, puns, etc. that will go right over the heads of the kids and many 20-somethings. There is also a surprising amount of sexual innuendo and crude humor. Once again, I think this film is aimed more at adults than children, much like the old Warner Bros. cartoons from the 1930’s and 40’s. They were originally made as theatrical shorts to be shown before films and weren’t specifically aimed at children just because the shorts were cartoons.

Technically, Shrek 2’s animation is much improved over the first film, but PDI, the company that animated both Shrek films has nothing on Pixar, the studio behind Toy Story and Finding Nemo. There is a crucial difference between Pixar and PDI. Pixar does computer animation in the tradition of Disney animated classics: animated films that are fairy tales aimed at children, but also appeal to adults who are “young at heart.” PDI creates broad PG-rated films that attract kids simply because they are animated but are also written to attract adults with rough humor and sarcasm.

The standout voice talents in the film are Eddie Murphy, John Cleese, and Jennifer Saunders. Their performances are what we would expect of actors that are both fine comedians and comic actors, and they are really good at adapting their particular talents for virtually any kind of comedy.

8 of 10
A

NOTES:
2005 Academy Awards: 2 nominations: “Original Song” (Adam Duritz-composer/lyricist, Charles Gillingham-composer, Jim Bogios-composer, David Immerglück-composer, Matthew Malley-composer, David Bryson-composer, Dan Vickrey-lyricist for the song "Accidentally In Love")and “Best Animated Feature Film of the Year” (Andrew Adamson)

2004 BAFTA: 1 win “Kids’ Vote”

2005 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Adam Duritz, Dan Vickrey, David Immerglück, Matthew Malley, David Bryson for the song "Accidentally In Love")