Review: Phoenix is the Man in Woody Allen's "IRRATIONAL MAN"

TRASH IN MY EYE No. 51 of 2023 (No. 1940) by Leroy Douresseaux

Irrational Man (2015)

Running time:  95 minutes (1 hour, 35 minutes)

MPAA –  R for some language and sexual content

WRITER/DIRECTOR:  Woody Allen

PRODUCERS:  Letty Aronson, Stephen Tenenbaum, and Edward Walson

CINEMATOGRAPHER:  Darius Khondji

EDITOR:  Alisa Lepselter

COMEDY/DRAMA/MYSTERY/ROMANCE

Starring:  Joaquin Phoenix, Emma Stone, Parker Posey, Joe Stapleton, Nancy Carroll, Betsy Aidem, Ethan Phillips, Jamie Blackley, Nancy Giles, and Tom Kemp

Irrational Man is a 2015 comedy-drama, romance, and mystery film written and directed by Woody Allen.  The film focuses on a college professor who finds the will to live after committing the act of murder and the young student who falls deeply in love with him.

Philosophy professor Abe Lucas (Joaquin Phoenix) arrives in Newport, Rhode Island with some acclaim.  He joins the faculty of (fictional) Braylin College where he will teach “ethical strategies.”  Abe is depressed, is experiencing an existential crisis, and sees no meaning in his life.  He drinks excessively and considers suicide.

Despite his tormented state, Abe catches the attention of two women.  The first is chemistry professor, Rita Richards (Parker Posey), and the second is Jill Pollard (Emma Stone), one of his students.  Each is crazy about him in her own way.  Abe's relationship with the two really goes nowhere … at first.

Abe hatches the idea of murdering Judge Thomas Augustus Spangler (Tom Kemp), an unethical family court judge who is plotting to take the custody of her children away from a woman.  Plotting and committing murder has given Abe's life a sense of purpose that he has not felt in ages.  For various reasons, however, both Rita and Jill suspect Abe of Judge Spangler's murder.

Coup de chance, the film Woody Allen says will likely be his final directorial effort, was released in France in September (2023).  Because of the controversies surrounding Allen the last few decades, especially the last five years, the film may not get a U.S. theatrical release.  In anticipation of seeing Coup de chance, I have decided to watch the recent Woody Allen films that I missed, beginning with the most recent that I had not seen, Irrational Man.

Some of Woody Allen's films have previously focused on a lead character who is involved in murder or commits murder.  Examples include Crimes and Misdemeanors (1989) and Match Point (2005).  Having murder as subplot gives Allen's films an edge they don't normally have.  Irrational Man seems to drift with no purpose until Abe Lucas actually commits murder, and suddenly this film seems like a totally different movie from what it was during its first half.  Frankly, Irrational Man seems to be asleep for at least half its runtime.

I find myself entirely sympathetic with Phoenix's Abe Lucas.  Of course, I would feel differently if this were a real murder victim that was friends or family to me.  As it is, I find myself really liking the post-crime Abe Lucas, and I found his later, darker turn to be a bit alluring.

Phoenix gives life to a character that Allen does not develop very well.  As the narrative moves towards its conclusion, Phoenix makes Abe feel richer, and the character might have improved even more with a longer runtime, more because of what Phoenix would do rather than what Allen would not.  Emma Stone is whiny and unlikable as Jill Pollard, but Parker Posey makes the best of horny Rita Richards.  I wish Rita had more screen time.

Irrational Man is strictly for Woody Allen fans, although Phoenix is the one who saves this film and uplifts it.  So Joaquin Phoenix fans may find something in Irrational Man to like, also.

6 of 10

B

★★★ out of 4 stars

Wednesday, December 6, 2023

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

--------------------------------

--------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: "JOHN WICK: Chapter 4" is Too Long, But Keanu is Still Hot

TRASH IN MY EYE No. 42 of 2023 (No. 1931) by Leroy Douresseaux

John Wick: Chapter 4 (2023)

Running time:  169 minutes (2 hours, 49 minutes)

MPA – R for pervasive strong violence and some language

DIRECTOR:  Chad Stahelski

WRITERS:  Shay Hatten and Michael Finch (based on characters created by Derek Kolstad)

PRODUCERS:  Basil Iwanyk and Erica Lee

CINEMATOGRAPHER:  Dan Lausten (D.o.P.)

EDITOR:  Nathan Orloff

COMPOSERS:  Tyler Bates and Joel J. Richard

ACTION/THRILLER/CRIME

Starring:  Keanu Reeves, Bill Skarsgard, Donnie Yen, Shamier Anderson, Ian McShane, Clancy Brown, Marko Zaror, Hiroyuki Sanada, Rina Sawayama, Scott Adkins, Aimée Kwan, George Georgiou, and Laurence Fishburne and Lance Reddick

John Wick: Chapter 4 is a 2023 action and crime-thriller starring Keanu Reeves and directed by Chad Stahelski.  It is a direct sequel to 2019's John Wick: Chapter 3 – Parabellum and is the fourth film in the John Wick film series.  Chapter 4 finds John Wick facing off against a new enemy who has powerful alliances around the world and who can turn John's friends into John enemies.

John Wick: Chapter 4 finds the legendary assassin and hitman, John Wick (Keanu Reeves), hiding in the underground lair of the crime lord known as “The Bowery King” (Laurence Fishburne).  Wick prepares to unleash his revenge against the High Table (the entity that rules the assassins guild) and its current “Elder.”  In response, the High Table tasks one of its members, the Marquis Vincent Bisset de Gramont (Bill Skarsgard), to kill John Wick.  The Table gives the Marquis unlimited resources to kill John, and the first thing he does is punish Winston (Ian McShane), the manager of the New York Continental hotel, for failing to kill Wick.

The Marquis puts a twenty-million dollar bounty on John Wick's head, and then, enlists Caine (Donnie Yen), a blind, retired High Table assassin, to kill his Wick, who is an old friend of John's.  Despite all the Marquis' machinations, John Wick has devised a plan to defeat him and to be freed of the High Table.  To do that, John will need help from a number of erstwhile friends and allies and also from one strange new friend or enemy, The Tracker a.k.a. “Mr. Nobody” (Shamier Anderson), and his resourceful dog.

I have been a long time fan of actor Keanu Reeves.  I have enjoyed and even loved Reeves in films like the original Point Break (1991) and in The Matrix film trilogy, beginning with The Matrix (1999).

Thus, I was very interested in seeing the original John Wick (2014), but I didn't see it in a theater.  I was interested in John Wick: Chapter 2 (2017) and John Wick: Chapter 3 – Parabellum (2019), but I didn't see those in a theater, either.  I was very interested in seeing John Wick: Chapter 4, but I was put off by its runtime.  So I didn't see it in a movie theater.

Now, I've seen it, and I'm glad I waited.  I would have been pissed to sit in an uncomfortable movie theater seat for almost three hours for the way-too-long John Wick: Chapter 4.  Most of the film's narrative is story padding, and the filmmakers could have easily shaved an hour from this film's runtime without really changing the story.  I will say that Chapter 4 is a beautiful-looking film.  The cinematography, production design, locations, and lighting are museum quality.  Yes, the action and fight scenes are spectacular, but some of them, like the entire “Arc de Triomphe” car chase and fight, went on for far too long – for all their inventiveness.

But I love me some Keanu Reeves, and because he dominates this film, I can enjoy it.  I couldn't stop watching him.  If just about anyone else were the star, I would have stopped watching John Wick: Chapter 4 after an hour.  The supporting cast also helped me enjoy a movie that I basically did not find as enjoyable as the series' previous entries.  I can never get enough of the great Hong Kong actor and martial artist, Donnie Yen, and I'm always down for more Laurence Fishburne.  Shamier Anderson and the dog that is his co-star add some nice new flavors to this series.  Bill Skarsgard is magnetic as the Marquis, and a spoonful of Clancy Brown (as “the Harbinger”) helps the average movie go down.  Also, it was great to see the late Lance Reddick (1962-2023) as Charon one last time.

I wouldn't be surprised to see a fifth John Wick movie down the line, and I won't see it in a theater either – if the runtime is around three hours.  But for John Wick fans, John Wick: Chapter 4 is a must-see for the main reason to see all of them – Keanu Reeves.

6 of 10

B

★★★ out of 4 stars

Wednesday, September 6, 2023

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

-----------------------------------

-----------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: "THE EQUALIZER 2" is Brutal and Personal

TRASH IN MY EYE No. 40 of 2023 (No. 1929) by Leroy Douresseaux

The Equalizer 2 (2018)

Running time:  121 minutes (2 hours, 1 minute)

MPAA – R for brutal violence throughout, language, and some drug content

DIRECTOR:  Antoine Fuqua

WRITER:  Richard Wenk (based on the television series created by Michael Sloan and Richard Lindheim)

PRODUCERS:  Antoine Fuqua, Todd Black, Jason Blumenthal, Tony Eldridge, Mace Neufeld, Alex Siskin, Michael Sloan, Steve Tisch, and Denzel Washington

CINEMATOGRAPHER:  Oliver Wood (D.o.P.)

EDITOR: Conrad Buff IV

COMPOSER:  Harry Gregson-Williams

ACTION/CRIME/THRILLER

Starring:  Denzel Washington, Pedro Pascal, Ashton Sanders, Orson Bean, Bill Pullman, Melissa Leo, Jonathan Scarfe, Kazy Tauginas, Garrett A. Golden, and Sakina Jaffrey

The Equalizer 2 is a 2018 action movie and crime thriller directed by Antoine Fuqua and starring Denzel Washington.  It is a sequel to the 2014 film, The Equalizer.”  Both films are based on the television series, “The Equalizer,” which was created by  Michael Sloan and Richard Lindheim and was originally broadcast on CBS from 1985 to 1989.  The Equalizer 2 finds Robert McCall out to make the people who murdered someone he loves pay for their crimes with their lives.

The Equalizer 2 opens on a train headed to Istanbul, Turkey.  Robert “Bob” McCall (Denzel Washington) is about to serve his unflinching brand of justice on man who kidnapped his daughter in order to punish his ex-wife.  McCall still lives quietly in Boston, where he works as a Lyft driver and assists the less fortunate, the exploited, and the oppressed.  Among the people he is currently helping include Samuel “Sam” Rubinstein (Orson Bean), a Holocaust survivor trying to recover a painting of his sister, Magda, who died in a Nazi death camp.  Lately, he has taken an interest in Miles (Ashton Sanders), a troubled African-American teen who lives in the same apartment building.  Miles has tremendous artistic talent, but he is also being recruited by a violent, drug-dealing street gang.

However, the big action is in Brussels, Belgium.  There, Robert's friend and former DIA (Defense Intelligence Agency) colleague, Susan Plummer (Melissa Leo), is investigating the apparent murder-suicide of DIA “agency affiliate” and his wife.  That investigation costs Susan her life.  McCall begins investigating Susan's murder with the assistance of her colleague and his former DIA teammate, Dave York (Pedro Pascal).  Determined to avenge Susan's murder, McCall will have to go deep into his past and risk endangering people very close to him.

With his Oscar-winning turn in 2001's Training Day, Denzel Washington proved to be a convincing bad guy.  With 2010's The Book of Eli, Washington showed that he could be a bad-ass, kick-ass, action hero with fancy martial arts-styled moves.  The first take on The Equalizer allowed Washington to blend hero and anti-hero in a visceral mix.  So in anticipation of The Equalizer 3, I decided to see The Equalizer 2, of which I have seen bits and pieces on television over the past few years.

In the original film, the screenplay by Richard Wenk had McCall constantly in peril or made it seem as if he were in danger even when he was not.  Wenk returns for the sequel and delivers a script that adds compassion to the standard revenge thriller.  McCall can be a gentle soul helping a teen go through growing pains that are filled with danger, and he can lend a kind ear to an old man whose current quest could be the real thing or the result of a failing memory crashing from the accumulation of data over a long life.  On the other hand, McCall will also break a mutha down to the blood and bone if he deserves such a reckoning, even if it means killing him.

The Equalizer would be a standard revenge thriller if its avenger were portrayed by just any other movie star, but Denzel Washington is a consummate professional and charismatic actor.  That means he can deliver the meat and potatoes and the art to every performance – whether it is Shakespeare on stage or Hollywood entertainment product destined for the multiplex.  In this second film, Washington super-charges his performance in order to make the personal so personal that it is murderous. 

Director Antoine Fuqua plays Washington's skills for everything he can get out of this brilliant actor.  Fuqua is an impressive director in his own right, especially when it comes to dark, violent, dramatic thrillers, such as Shooter (2007).  Together, Fuqua and Washington deliver in The Equalizer 2 a film that slightly surpasses the original.  I find myself endlessly fascinated by it because The Equalizer 2 is a really good thriller.

7 of 10

A-

★★★½ out of 4 stars

Wednesday, August 30, 2023

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

---------------------------------

---------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Book Review: "THE WAY OF THE BEAR" Takes the Readers Deep into Greed and Murder

THE WAY OF THE BEAR – (A Leaphorn, Chee & Manuelito Novel #8)

HARPERCOLLINS

AUTHOR: Anne Hillerman

ISBN: 978-0-06-290839-1; hardcover (April 25, 2023)

286pp, B&W, $30.00 U.S., $37.50 CAN

The Way of the Bear: A Leaphorn, Chee & Manuelito Novel is a 2023 hardcover original novel from author Anne Hillerman.  It is the eighth novel in her “Leaphorn, Chee & Manuelito” book series, which began with Spider Woman's Daughter (2013).

This series is a continuation of the “Joe Leaphorn and Jim Chee Series” written by Hillerman's late father, bestselling author, Tony Hillerman (1925-2008).  The father's novels are the basis for “Dark Winds,” a television series from the cable network, AMC, and its streaming service, AMC+.  In The Way of the Bear, Chee and Manuelito find themselves caught up in a case that involves fossil harvesting, greed, rejected love, and murder.

The Way of the Bear opens in December.  Navajo Nation Police Officer Bernadette “Bernie” Manuelito and her husband, Sgt. Jim Chee, have traveled to San Juan County, Utah to the place known as “the Valley of the Gods,” near the Bears Ears National Monument.  Chee is on assignment for the Navajo Nation Police Department, and his job is to convince Dr. Chapman “Chap” Dulles, a wealthy fossil hunter and paleontologist., to donate money to a fallen Navajo police officers fund.

Bernie has gone along on the trip and uses the time to visit Bears Ears for relaxation, contemplation, and exploration.  This has been a difficult time in her life for both personal and professional reasons.  While there, she has a terrifying encounter involving a pickup truck that tries to run her down.  One of the truck's passengers even shoots at her.  And after that, Bernie helps a young couple deliver their baby in the middle of the night.

However, an unexpected death on a lonely road outside of Bears Ears for raises questions for Bernie and Chee.  They didn't plan on being involved in a murder, but they also wonder why a seasoned outdoorsman and well-known paleontologist freezes to death within walking distance of his car?  A second death, and apparent murder, brings more turmoil and mystery. Who is the unidentified man killed during a home invasion where nothing much seems to have been taken? Why was he murdered?

The Bears Ears area, at the edge of the Navajo Nation, is celebrated for its abundance of early human habitation sites and for the discovery of unique and revolutionary fossils.  Instead of being able to appreciate all this, Bernie and Chee are faced with an unprecedented level of violence that sweeps them both into danger.

THE LOWDOWN:  I have been crazy about Anne Hillerman's work since I first read Spider Woman's Daughter.  I had read two of her late father, Tony Hillerman's novels a long time ago, so I requested a review copy of Spider Woman's Daughter from HarperCollins when it was offered to reviewers back in 2013.  It was a fortuitous decision, as the “Manuelito, Chee & Leaphorn” series became one of my favorite modern literary series.

When I read the previous novel in the series, 2022's The Sacred Bridge, I didn't know if I should call it a turning point in the series, but the story did suggest that big changes were ahead for both Bernie and Chee.  Joe Leaphorn did not appear in The Sacred Bridge, nor does he appear in The Way of the Bear, except indirectly, and Hillerman continues to hint at big changes for him.

Like The Sacred Bridge, The Way of the Bear is a solid crime thriller, and at times, a riveting suspense thriller.  In this new novel, Bernie and Chee's lives are constantly under threat – sometimes in unexpected ways.  There is level of danger, menace, and peril that I don't remember encountering in earlier novels.  However, the entries in this series always seem to be moving the characters forward.  Nothing is stale, and the lives of Bernie and Chee are ongoing and evolving.  Even with the danger this story imposes on them, the narrative also gives us a deeper look into them.

As I have done with the previous books, I am heartily recommending The Way of the Bear.  The more I read, the more I learn about Bernie and Chee, and the more attached to them that I become.  As always, I am sad about reaching the end of the story, doubly so this time because it was just a year ago that I read The Sacred Bridge.  The best recommendation that I can give The Way of the Bear is to tell you, dear readers, that I would like to read another book in the series right now.

I READS YOU RECOMMENDS:   Fans of Anne Hillerman and of her late father, Tony Hillerman, will want to read The Way of the Bear.

A

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

https://www.annehillerman.com/

https://twitter.com/harperbooks

https://www.instagram.com/harperbooks/

https://twitter.com/HarperCollins

https://www.harpercollins.com/

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

------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: Pam Grier is Radiant in "JACKIE BROWN," Tarantino's Best (Maybe) Film

TRASH IN MY EYE No. 77 of 2022 (No. 1889) by Leroy Douresseaux

Jackie Brown (1997)

Running time:  154 minutes (2 hours, 34 minutes)

MPAA – R for strong language, some violence, drug use and sexuality

DIRECTOR:  Quentin Tarantino

WRITER:  Quentin Tarantino (based upon the novel by Elmore Leonard)

PRODUCER:  Lawrence Bender

CINEMATOGRAPHER:  Guillermo Navarro

EDITOR:  Sally Menke

Academy Award nominee

DRAMA/CRIME

Starring:  Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton, Robert De Niro, Michael Bowen, Chris Tucker, LisaGay Hamilton, Tom Lister, Jr., Hattie Winston, Sid Haig, Aimee Graham, Tangie Ambrose, and T'Keyah Crystal Keymah

Jackie Brown is a 1997 drama and crime film from writer-director Quentin Tarantino.  It is based on Elmore Leonard's 1992 novel, Rum Punch.  Jackie Brown the movie focuses on a flight attendant who schemes with an aging bail bondsman in a bid to defeat both the ATF and her boss who smuggles guns into Mexico.

Jackie Brown introduces 44-year-old, Jackie Brown (Pam Grier), a flight attendant for the low-budget Mexican airline, Cabo Air.  She smuggles money from Mexico into the United States for her (kind of) boss, Ordell Robbie (Samuel L. Jackson), a gun runner in Los Angeles.  One day, Ordell's courier, Beaumont Livingston (Chris Tucker), is arrested, and he snitches about Ordell's business.

Acting on that information, LAPD Detective Mark Dargus (Michael Bowen) and Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF) agent, Ray Nicolette (Michael Keaton), intercept Jackie while she is returning with some of Ordell's cash, with a small bag of cocaine thrown in.  Dargus and Nicolette use the cocaine to threaten Jackie with serious criminal charges and hard prison time.

Ordell hires bail bondsman, Max Cherry (Robert Forster), of Cherry Bail Bonds, to bail Jackie out of jail.  Feeling trapped between Ordell and the law, Jackie conspires with Max to pretend to give both sides what they want – Ordell the money and the ATF Ordell.  If this heist works, Jackie and Max will secure her future with half a million dollars of Ordell's money.

Jackie Brown is obviously writer-director Quentin Tarantino's ode to 1970s blaxploitation films.  The film is also a star vehicle that Tarantino created for the actress playing the title role in Jackie Brown, the great Pam Grier.  She starred in some of the most fondly remembered and popular blaxploitation films, most notably Coffy (1973) and Foxy Brown (1974).  The roles in those two films obviously inspired the role of “Jackie Brown,” although “Flower Child Coffin” a.k.a “Coffy” (of Coffy) and Foxy Brown are action heroes.  Instead, Tarantino makes Jackie Brown a world-weary woman, not an action hero, but a working woman willing to take the action that will help her make her way in the world.

Grier plays Jackie Brown with subtlety and grace, making Jackie comfortable in her skin.  Her sexiness is not forced, but radiates from her, buoyed by her confidence.  Grier makes it seem quite genuine that Brown would one day finally have enough with getting the crappy end of the stick in life.  Jackie takes a chance, and with nothing to lose, she works her magic.  Grier also works her magic, and the audience can believe that she is going to pull off this implausible heist of Ordell's money and also trick the ATF and LAPD by giving them only some of what they want.  Here, Grier gives the best performance of her career, and it is a shame that Hollywood has under-utilized her amazing talent and screen presence.

I have not seen enough of his performances to say that Max Cherry is actor Robert Forster's best performance of his career.  Playing Max revitalized Forster's career, which was mostly stalled at the time.  With charming stoicism, Forster perfectly plays the calm, wise, and a little weary, Max Cherry, one of the most perfect characters that Tarantino ever wrote.  Forster also convinces us that he has so totally fallen for Jackie Brown that he is willing to do everything she wants even if it is everything that he should not do.

I also think that Ordell Robbie is Samuel Jackson's best performance.  Ordell is an example of what would become the stereotypical Samuel L. Jackson character – the menacing, bad-ass Black man who loves to shoot people and curse up a storm.  However, Jackson makes Ordell a man full of angles and twists.  He is coarse with a trashy sophistication; he is menacing, but sentimental in odd ways.  He is not nearly as smart as he thinks he is, so he is ultimately a cheap hood with enough low-rent ambitions to make himself a doomed idiot.

Tarantino uses Grier, Forster, and Jackson's performances and those of several others (Robert De Niro, Bridget Fonda, and Michael Keaton) to give his usual style, wit, humor, and rapid-fire bravado traction and depth.  Jackie Brown does not have the snappy banter nor the nonlinear antics of Tarantino's previous film, Pulp Fiction.  Jackie Brown's narrative is a straight story, Tarantino's most substantive film to date.  It may be an ode to blaxploitation and also a smooth heist film, but most of all, Jackie Brown is a character drama.  With a superb soundtrack behind it (focusing on “The Delfonics” 1969 classic song, “Didn't I (Blow Your Mind This Time)”), Tarantino uses a slow pace to weave a delightful Los Angeles crime story about the criminal things people do when they are desperate … or in love.

I think that Quentin Tarantino and Pam Grier are a match made in cinematic heaven.  2022 is the twenty-fifth anniversary of Jackie Brown's original theatrical release (December 8, 1997).  Jackie Brown has aged well, and for me, it gets better every time I watch it.

10 of 10

A+

Friday, December 30, 2022

NOTES:

1998 Academy Awards, USA:  1 nomination: “Best Actor in a Supporting Role” (Robert Forster)

1998 Golden Globes, USA:  2 nominations: “Best Performance by an Actress in a Motion Picture-Comedy or Musical” (Pam Grier) and “Best Performance by an Actor in a Motion Picture-Comedy or Musical” (Samuel L. Jackson)

1998 Image Awards (NAACP):  1 nominations:  “Outstanding Lead Actress in a Motion Picture” (Pam Grier)

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

------------------------

------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Book Review: "THE SACRED BRIDGE" Offers Murder Most Foul x 2

THE SACRED BRIDGE – (A Leaphorn, Chee & Manuelito Novel #7)

HARPERCOLLINS

AUTHOR: Anne Hillerman

ISBN: 978-0-06-290836-0; hardcover (April 12, 2022)

336pp, B&W, $26.99 U.S., $33.50 CAN

The Sacred Bridge: A Leaphorn, Chee & Manuelito Novel is a 2022 hardcover original novel from author Anne Hillerman.  It is the seventh novel in her “Leaphorn, Chee & Manuelito” book series, which began with Spider Woman's Daughter (2013).

This series is a continuation of the “Joe Leaphorn and Jim Chee Series” written by Hillerman's late father, bestselling author, Tony Hillerman (1925-2008).  The original series is the basis for “Dark Winds,” a television series from the cable network, AMC, and its streaming service, AMC+.  In The Sacred Bridge, Chee and Manuelito each investigate an unusual murder.

Navajo Nation Police Officer Bernadette “Bernie” Manuelito and her husband, Sgt. Jim Chee, are enjoying a vacation, but Bernie leaves early.  Jim Chee’s stay in beautiful Antelope Canyon and Lake Powell has a deeper purpose. He is on a quest to unravel a sacred mystery his mentor, the legendary police officer, Lieutenant Joe Leaphorn, stumbled across decades earlier.  Chee's journey takes a dark turn when, after a prayerful visit to the sacred Rainbow Bridge, he spots a body floating in Lake Powell.  The dead man is Curtis Walker, a Navajo with a passion for the canyon’s ancient rock art.  However, Curtis lived a life filled with many secrets, including an affair with a married woman and double-crossing one or more potential business partners.  In his mission to discover why Curtis died and who is responsible, Chee's will put his own life at risk.

Back at their home base of Shiprock, Bernie is driving home when she witnesses a black Mercedes sedan purposely kill a hitchhiker.  The search to find the killer leads her into an undercover investigation at KHF – “K'é Happy Farm,” a cannabis farming operation that was supposed to benefit the Navajo Nation.  However, the place is surrounded by mystery and rumors and also reports that workers are shooting dogs.  Even the guy who is supposed to own the place, Dino Begay Perez, is missing.  Bernie discovers a dangerous chain of interconnected revelations involving KHF.  It is an evil that jeopardizes both her mother and sister, Darleen, and puts Bernie in the deadliest situation of her law enforcement career.

THE LOWDOWN:  I have been crazy about Anne Hillerman's work since I first read Spider Woman's Daughter.  I had read two of her late father, Tony Hillerman's novels a long time ago, so I requested a review copy of Spider Woman's Daughter from HarperCollins when it was offered to reviewers back in 2013.  It was a fortuitous decision, as the “Manuelito, Chee & Leaphorn” series is one of my favorite modern literary series.

I don't know if I would call The Sacred Bridge a turning point in the series, but the story does suggest that big changes are ahead for both Bernie and Chee.  While Joe Leaphorn does not appear in the novel (although he plays an indirect part in the plot), Hillerman also hints of a big change for him.

Of all the books in this series, The Sacred Bridge is the one that I would most describe as a crime thriller or a suspense thriller.  Both mysteries that confront the lead characters are filled with danger, and it seems that their lives are always under threat.  It is not a spoiler to say that both come close to being killed, and Chee's case is filled with heartbreak that will vex some of the characters long after the story ends.  In Bernie's case, the characters end with hope and reunion.

As I have done with the previous books, I am heartily recommending The Sacred Bridge.  As usual, I was sad when I finished the last page.  I always want more, and, dear readers, if you give this book a chance, you will want more, also.

I READS YOU RECOMMENDS:   Fans of Anne Hillerman and of her late father, Tony Hillerman, will want to read The Sacred Bridge.

A

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

https://www.annehillerman.com/

https://twitter.com/harperbooks

https://www.instagram.com/harperbooks/

https://twitter.com/HarperCollins

https://www.harpercollins.com/

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

-------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: In "THE BLACK PHONE," the Children Answer the Call

TRASH IN MY EYE No. 52 of 2022 (No. 1864) by Leroy Douresseaux

The Black Phone (2022)
Running time:  103 minutes (1 hour, 43 minutes)
MPA – R for violence, bloody images, language and some drug use
DIRECTOR:  Scott Derrickson
WRITERS:  Scott Derrickson and C. Robert Cargill (based on the short story “The Black Phone” by Joe Hill)
PRODUCERS:  Jason Blum, Scott Derrickson, and C. Robert Cargill
CINEMATOGRAPHER:  Brett Jutkiewicz (D.o.P.)  
EDITOR:  Frédéric Thoraval
COMPOSER:  Mark Korven

HORROR/CRIME/MYSTERY/THRILLER

Starring:  Mason Thames, Madeleine McGraw, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, James Ransone, Miguel Cazarez Mora, Rebecca Clarke, Tristan Pravong, Brady Hepner, Jacob Moran, Banks Repeta, and Ethan Hawke

The Black Phone is a 2022 supernatural horror, mystery,and crime thriller from director Scott Derrickson.  The film is based on the short story, “The Black Phone,” from author Joe Hill.  The story was first published in the The 3rd Alternative No. 39, the Autumn 2004 issue of the former British horror magazine.  The Black Phone the movie focuses on a teen boy who is abducted by a child killer and imprisoned in a basement where he starts receiving phone calls from a disconnected phone.

The Black Phone opens in North Denver, 1978.  A presumed serial killer, nicknamed “The Grabber” (Ethan Hawke), has been prowling the streets of a particular Denver suburb and abducting teenage boys.  Shortly after the film begins, a boy named Bruce Yamada (Tristan Pravong) disappears and is presumed a victim of The Grabber.

Teen Finney Blake (Mason Thames) lives in this North Denver suburb with his younger sister, Gwen Blake (Madeleine McGraw), and their abusive, alcoholic, widowed father, Terrence Blake (Jeremy Davies).  At school, Finney is frequently bullied and harassed, but he has struck up a friendship with a classmate, Robin Arellano ( Miguel Cazarez Mora), who fends off the bullies.  Then, the Grabber gets Robin.

Meanwhile, Gwen, who has psychic dreams like her late mother, dreams of a masked man who drives a van and kidnaps Bruce, leaving black balloons in his wake.  Then, Finney has a violent encounter with the Grabber.  Finney awakens in a soundproofed basement where the Grabber has imprisoned him.  On the rear wall is a black rotary phone that the Grabber says does not work.  The black phone is supposedly disconnected, but later, the phone rings.  When Finney answers it, he here's a familiar voice – a voice of one of the Grabber's victims.  Now, Finney must rely on the instructions of ghosts, his own shaky bravery, and (unknown to him) the dreams of Gwen if he is going to survive the murderous plans of a maniac.

I have not read the short story, author Joe Hill's “The Black Phone,” upon which this film is based.  [I have read Hill's 2013 novel, NOS4A2, and his 2019 short story and novelettes collection, Full Throttle.]  Not reading the short story did not stop me from enjoying The Black Phone the movie, for the most part.

It takes a bit to really get into the nonsensical scenario:  a guy drives around in a pitch black van, snatching kids in the middle of the day, practically right out in the street, and no one sees a thing.  However, co-writer/director Scott Derrickson and co-writer C. Robert Cargill thrive on generating scares out of ridiculous scenarios, such as in their 2012 creepy horror film, Sinister.  Truthfully, horror films should not necessarily make sense; whether the film is driven by a killer, demonic possession, or haunting, horror films are a fantastic scenario.  Scary movies should not be logical or perhaps, be somewhat illogical.  Still, until the Grabber grabs Finney, I was not invested in the film, although I was already feeling some fear.

That said, the children are the stars of this film, especially the siblings, Finney and Gwen Blake.  Finney tries to find answers in the mysterious phone calls he receives on the disconnected black phone.  Gwen battles her own doubts even as she deals with an abusive father who is afraid of what will become of her and her abilities, to say nothing of the two police detectives who must come around to believing her visions.

The Black Phone is one of those times when both a boy and a girl come of age and undergo the heroic journey at the same time in the same movie.  That makes the struggle and victory all the more satisfying.  Mason Thames as Finney and Madeleine McGraw as Gwen are convincing as both the heroes and as the sensible ones.  They make The Black Phone's last act visceral and invigorating, and dear readers, you will vicariously fear for your life, which makes the resolution so, so satisfying.  It is rare that I cheer the end of a horror movie, but I did it for The Black Phone.

7 of 10
A-
★★★½ out of 4 stars

Saturday, September 10, 2022


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

-----------------------

-----------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: Steven Spielberg's THE SUGARLAND EXPRESS (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 51 of 2022 (No. 1863) by Leroy Douresseaux

The Sugarland Express (1974)
Running time:  110 minutes (1 hour, 50 minutes)
Rated – PG
DIRECTOR:  Steven Spielberg
WRITERS: Hal Barwood and Matthew Robbins; from a story by Steven Spielberg and Hal Barwood and Matthew Robbins
PRODUCERS:  David Brown and Richard D. Zanuck
CINEMATOGRAPHER:  Vilmos Zsigmond (D.o.P.)
EDITORS:  Edward M. Abroms and Verna Fields
COMPOSER:  John Williams

CRIME/DRAMA/ACTION

Starring:  Goldie Hawn, William Atherton, Ben Johnson, Michael Sacks, Gregory Walcott, Steve Kanaly, Louise Latham, Dean Smith, and Harrison Zanuck

The Sugarland Express is a 1974 crime drama, road movie, and action film directed by Steven Spielberg.  The film is Spielberg's directorial debut in theatrical films.  Based on a real life event, The Sugarland Express focuses on a young woman and her prison-escapee husband who go on the run in order to retrieve their toddler son from foster care.

The Sugarland Express opens in 1969 and introduces 25-year-old Lou Jean Sparrow Poplin (Goldie Hawn).  She visits her incarcerated husband, 25-year-old Clovis Michael Poplin (William Atherton), at the Beauford H. Jester Unit, a pre-release center of the Texas Department of Criminal Justice.  Lou Jean wants to tell Clovis that their son, two-year-old Baby Langston (Harrison Zanuck), has been placed in foster care by the Child Welfare Board.

Lou Jean convinces Clovis that she is breaking him out of prison, although he only has a few months left in pre-release, so that they can retrieve their child.  After sneaking out of the prison, the couple ends up in a car crash.  They waylay a Texas Highway Patrolman, Trooper Maxwell Slide (Michael Sacks), and taking him hostage and taking possession of his patrol car.  Clovis and Lou Jean go on the run, headed for Sugarland, Texas, the home of Baby Langston's foster parents.  Meanwhile, Captain Tanner (Ben Johnson) of the Texas Highway Patrol, leads an ever-growing caravan of police cars in dogged pursuit of Lou Jean and Clovis.

In anticipation of Steven Spielberg's upcoming “semi-autobiographical film, The Fablemans, I am perusing his filmography.  I started with the television movie that first got him noticed, Duel (1971), and now I am at his first theatrical film.

The Sugarland Express is based on a real event that occurred in Texas in the spring of 1969.  The film's lead characters, Lou Jean and Clovis, are not so much likable as they are pitiable because they are so stupid.  Goldie Hawn gives a good performance as Lou Jean, but this isn't a “Goldie Hawn picture,” although her name is placed above the title on movie posters.  However, Trooper Slide and his boss, Captain Tanner (played by the great Ben Johnson), are quite likable or even lovable.  Still, this film is not so much about the characters as it is about the situation.

I think that what makes this film really work is how Steven Spielberg plays out the situation as a film narrative.  I've always said that he gets the best out of his cast, crew, and creatives.  The Sugarland Express is a slow-moving train wreck because the conductors, Lou Jean and Clovis, don't know what they are doing and do not really think out their decisions.  Yet, they are … pulling a train of cop cars, and Spielberg's attention to the thrilling and exciting aspects of this situation:  car chases and crashes, shoot-outs, colorful locales, etc. add some zing to this express to Sugarland.

He finds time to give us just enough of a taste of the Bonnie and Clyde-like Lou Jean and Clovis and of Captain Tanner and Slide to keep the audience interested in the fate of the characters, if not the well-being of all.  Even the Poplins' fans and admirers are a motley lot of lovable regular folks.

As the film races towards its end, Spielberg turns The Sugarland Express into a mesmerizing thriller.  Every performance, small and large, takes on dramatic heft, and the audience knows one thing – this shit is for real, now.  Seriously, it is in the last half-hour of The Sugarland Express that we can see the style and techniques that Spielberg used in his second film, Jaws, a legendary blockbuster movie and one of the most influential films of the last half-century.

7 of 10
B+
★★★½ out of 4 stars

Saturday, September 3, 2022


NOTES:
1974 Cannes Film Festival:  1 win: “Best Screenplay” (Hal Barwood, Matthew Robbins, and Steven Spielberg); 1 nominee” “Palme d'Or” (Steven Spielberg)


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

------------------

------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: Hurt and Turner Put All the Heat in "BODY HEAT"

TRASH IN MY EYE No. 17 of 2022 (No. 1829) by Leroy Douresseaux

Body Heat (1981)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R
WRITER/DIRECTOR:  Lawrence Kasdan
PRODCUER:  Fred T. Gallo
CINEMATOGRAPHER:  Richard H. Kline (D.o.P.)
EDITOR:  Carol Littleton
COMPOSER:  John Barry

DRAMA/ROMANCE/CRIME

Starring:  William Hurt, Kathleen Turner, Richard Crenna, Ted Danson, J.A. Preston, Oscar Grace, Mickey Rourke, Kim Zimmer, Jane Hallaren, Lanna Saunders, and Carola McGuinness

Body Heat is a 1981 romance and crime drama written and directed by Lawrence Kasdan.  The film is set in Florida during a searing heat wave and focuses on a small-town lawyer and a sultry woman who conspire to murder her rich husband.

Body Heat introduces Ned Racine (William Hurt), an inept lawyer who operates out of Okeelanta County, in southern Florida, which is in the middle of a searing heatwave.  One night, he chances upon a very attractive woman, who is all alone.  Although she initially rebuffs his amorous attempts, she eventually gives in to Ned's advances and identifies herself as Matty Walker (Kathleen Turner).  She lives in a posh mansion with her mysteriously wealthy husband, Edmund Walker (Richard Crenna).  Edmund is usually away on business during the week, so that is when Matty is alone.

Ned and Matty begin a torrid affair.  When they can be together, they have lots of sex in the sweltering heat of the night.  When Edmund is home on the weekends, Matty longs to be with Ned, as he longs to be with her.  If Matty were to divorce her husband, an onerous marital prenuptial agreement would leave her with very little, but she would get half his estate if he died...  Matty wishes Edmund was dead, and Ned presents her with a way to get rid of him.  Ned believes that he has figured out how to get away with murder, but has he figured out Matty Walker?

William Hurt (1950-2022) recently died after a reported battle with cancer, and I was taken aback.  William Hurt was one of the biggest names in Hollywood in the 1980s when I was first coming of age an a film fan.  I have decided to go back and watch some of his films that I'd previously seen and also to watch some for the first time.  One of those first time films is Body Heat, which was only the third film in which he'd starred.  It is apparently the film that made him a “bankable” Hollywood movie star.

Body Heat is also the film debut of Kathleen Turner.  Her physicality and obvious and frank sexuality made her a star of the 1980s.  Her adventurousness in choosing movie roles created an eclectic filmography, but Turner's star waned in the 1990s.  In Body Heat, however, she is ready to unleash her unique skill set on the world.  Matty Walker is Turner's signature work, and bits and pieces of the character and her performance of the character continued to show up in her work in the decades that followed the original release of Body Heat.

Here, in Body Heat, Hurt and Turner are stars ascendant.  At first, I wondered if they would have screen chemistry, and from my point of view, they are magnificent together.  The fact that they are willing to be naked together so often in this film speaks to their professionalism and also the depth of their skill as actors.  Both had performed on stage before they entered the world of Hollywood films, so they had acting experience.  That experience was needed in filming what has been described as many explicit sex scenes that were not included in the finished film.

Still, what is left on screen is hot and nasty.  Turner and Hurt are so hot together that they damn near burned this film down, which it needs.  The truth is that Body Heat is rather tepid.  The film is described as a “neo-noir,” a modern version of the classic Hollywood film genre, “Film-Noir.”  Outside of the depictions of sex and nudity, Body Heat's story and the execution of its narrative, to me, seem rather tame compared to a film like, for instance, 1950's Gun Crazy, another romantic crime drama about a killer couple.  Writer-director Lawrence Kasdan, one of the best writer-directors and screen writers of the last five decades, apparently found inspiration for Body Heat in the 1944 Film-Noir classic, Double Indemnity.  Well, it's time for me to see that one.

Beside Ned Racine and Matty Walker, I like the other characters in this film.  Richard Crenna is really good in a small role as Edmund Walker; he deserved more screen time.  Ted Danson's Peter Lowenstein is good, but seems extraneous in this film, and J.A. Preston's Oscar Grace, a police detective, has his best moments in Body Heat's last act.  Also, if you ever wondered what Hollywood executives saw in Mickey Rourke that would make him a star, his small but potent turn as Teddy Lewis, an explosives expert and former client of Ned's, reveals the first glimmer of his movie star potential.

Body Heat is not William Hurt's best work, but his quirky takes make Ned Racine an interesting character.  Kasdan throws out hints about the general sloppy nature of Ned's skills as an attorney and also his inability to see the big picture.  Hurt takes that the rest of the way, creating a Ned Racine that is not savvy enough not to be a fall guy, but too smart not to figure it out eventually.  Body Heat is not a crime fiction classic, but it is a classic “erotic thriller.”  Hurt and Turner make it so.

7 of 10
B+

Saturday, March 26, 2022


NOTES:
1983 BAFTA Awards:  1 nomination:  “Most Outstanding Newcomer to Leading Film Roles” (Kathleen Turner)


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

---------------------------------------

---------------------------------------

Review: THE FATE OF THE FURIOUS is Perfectly 2 Fast 2 Furious

TRASH IN MY EYE No. 42 of 2021 (No. 1780) by Leroy Douresseaux

The Fate of the Furious (2017)
Running time: 136 minutes (2 hours, 16 minutes)
MPAA – PG-13 for prolonged sequences of violence and destruction, suggestive content, and language
DIRECTOR: F. Gary Gray
WRITER: Chris Morgan (based on the characters created by Gary Scott Thompson)
PRODUCERS: Vin Diesel, Neal H. Moritz, Chris Morgan and Michael Fottrell
CINEMATOGRAPHER: Stephen F. Windon (D.o.P.)
EDITORS: Christian Wagner and Paul Rubell
COMPOSER: Brian Tyler

ACTION/CRIME/DRAMA

Starring:  Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Charlize Theron, Kurt Russell, Nathalie Emmanuel, Scott Eastwood, Elsa Pataky, Kristopher Hivju, Patrick St. Esprit, Luke Evans, and Helen Mirren

The Fate of the Furious is a 2017 action movie from director F. Gary Gray and was released by Universal Pictures.  It is the eighth installment in The Fast and the Furious movie franchise (now called the “Fast Saga”).  A direct sequel to 2015's Furious 7, The Fate of the Furious introduces a mysterious woman who has the power to turn Dominic Toretto into a terrorist.

As The Fate of the Furious begins, Dominic “Dom” Toretto (Vin Diesel) and Letitia “Letty” Ortiz (Michelle Rodriguez) are on their honeymoon in Havana, Cuba.  While there, Dom meets a mysterious woman who turns out to be the elusive cyberterrorist, Cipher (Charlize Theron).  She has obtained something that she uses to coerce Dom into working for her.  Soon afterwards, Diplomatic Security Service (DSS) agent, Luke Hobbs (Dwayne Johnson), recruits Dom and his team – his family:  Roman Pearce (Tyrese Gibson), Tej Parker (Chris “Ludacris” Bridges), and Ramsey (Nathalie Emmanuel) to retrieve an EMP device from a military outpost in Berlin.  However, Dom betrays them all and steals the device for Cipher, and Hobbs and Dom's family, including Letty, are branded criminals.

Intelligence operative and leader of a covert ops team, Frank Petty (Kurt Russell), a.k.a. “Mr Nobody,” arrives with his protege, Eric Reisner (Scott Eastwood), and he has an offer.  Mr. Nobody wants Hobbs and Dom's family to help him find Dom and capture the highly elusive Cipher.  Mr. Nobody also has a surprise for Hobbs and company.  He has recruited Deckard Shaw (Jason Statham), the rogue British Special Forces assassin who was hunting Dom and his family until they defeated him and Hobbs and the DSS imprisoned him.  But will even Shaw be enough?  Cipher can disappear at will and with Dom at her side, she seems unbeatable.  Cipher's threat to the world and Dom's betrayal will test the family as never before.

When The Fate of the Furious was initially released to theaters in April 2017, I was too mired in family troubles to bother going to a movie theater to see it.  And quite frankly, after what I considered to be a barely average installment in Furious 7, I thought I was done with the franchise.  In fact, I didn't even watch The Fate of the Furious when it started playing on basic cable.  Recently, I saw a clip from the soon-to-be-released F9 (2021), and I was shocked to see Dominic Toretto playing with a baby.  A friend informed me of the events in The Fate of the Furious, and because he and I talked about seeing F9, I decided to rent The Fate of the Furious via Netflix.

Well, I will never doubt you again, Fast & Furious / Fast Saga.  I loved The Fate of the Furious.  This film franchise's over-the-top action has become so … over-the-top that it is practically a kind of superhero and car chase movie series.  These movies are fun, but I thought that the series had reached narrative exhaustion with Furious 7.  The Fate of the Furious was the hot-shot injection of jet fuel that the series needed, as far as I'm concerned.  And Vin Diesel may have given his best performance of the series in The Fate of the Furious.  He really seemed like an evil terrorist, but, at the same time, his grit and determination to manage the evil in order to protect his family feels genuine.

I also want to credit Universal Pictures and The Fate of the Furious in using Havana, Cuba as the setting for the film's opening scenes.  It is a love letter to a place that looks beautiful on film.  And The Fate of the Furious is also a crazy, mad, insane, and beautiful action movie.

8 of 10
A

Wednesday, June 23, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

-------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

Review: UNCUT GEMS Offers Surprising Performances from Its Cast

TRASH IN MY EYE No. 28 of 2021 (No. 1766) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Uncut Gems (2019)
Running time:  135 minutes (2 hours, 15 minutes)
MPAA – R for pervasive strong language, violence, some sexual content and brief drug use
DIRECTORS:  Benny Safdie and Josh Safdie
WRITERS: Ronald Bronstein and Josh Safdie & Benny Safdie
PRODUCERS:  Sebastian Bear-McClard (p.g.a.), Eli Bush (p.g.a.), and Scott Rudin (p.g.a.)
CINEMATOGRAPHER:  Darius Khondji (D.o.P.)
EDITORS:  Ronald Bronstein and Benny Safdie
COMPOSER:  Daniel Lopatin

DRAMA

Starring:  Adam Sandler, Lakeith Stanfield, Julia Fox, Kevin Garnett, Idina Menzel, Eric Bogosian, Judd Hirsch, Keith William Richards, Tommy Kominik, Jonathan Aranbayev, Noa Fisher, Jacob Igielski, and Abel Tesfaye (The Weeknd)

Uncut Gems is a 2019 crime drama film from directors Josh Safdie and Benny Safdie.  Director Martin Scorsese is one of the film's executive producers.  Uncut Gems focuses on a fast-talking New York City jeweler and gambling addict who risks everything in hope of staying afloat and alive.

Uncut Gems opens in 2010 in the Welo mine in Ethiopia where Ethiopian Jewish miners retrieve a rare black opal from the mine.  The story moves to 2012 where we meet Howard Ratner (Adam Sandler), who runs KMH, a jewelry store in New York City's Diamond District.  A fast-talking businessman, Howard is also a gambling addict, and he is struggling to pay off his gambling debts, which include the $100,000 he owes his brother-in-law, Arno Moradian (Eric Bogosian), a loan shark.

Howard's personal life is also in shambles, as he is estranged from his wife, Dinah Ratner (Idina Menzel).  Dinah insists on sticking to their plan of getting a divorce after Passover.  Meanwhile, Howard's relationship with his girlfriend, Julia De Fiore (Julia Fox), a KMH employee, is also up-and-down.  Still, Howard believes that all will be well when he gets that rare black opal that the Ethiopian miners found.

Things start to fall apart when Demany (Lakeith Stanfield), an intermediary who recruits clients for Howard, introduces him to NBA player, Kevin Garnett (Kevin Garnett), of the Boston Celtics.  Suddenly, holding onto and selling the opal takes on a life-or-death significance.

Audiences may pull for Adam Sandler's Howard Ratner and even root for him simply because he is the lead character in Uncut Jewels, but the truth is that Ratner is worthy of pity more than he is of sympathy.  He has a terrible case of “problem with immediate gratification.”  He is a gambling addict, and one gets the idea that he is addicted to seeking his own satisfaction.  He is vain, venal, narcissistic, and self-absorbed, and he tells lies the way people breathe air.  However, this all leads to a last act of the film when the pity that one might feel towards the pathetic Howard turns to sympathy.

Sandler gives one of the best performances of his career, and although many commentators thought that he deserved an Oscar nomination for his performance in Uncut Gems (which he did not get), he had a better character arc in 2005's The Longest Yard.  Still, Sandler proves in Uncut Gems that he can deliver a surprising performance that can even shock audiences.

However, I find the most fascinating character in this film to be Uncut Gem's version of the real-life former professional basketball player, Kevin Garnett.  Garnett fashions a version of himself that is more complex, darker, and more nuanced than the player people know from his long career in the National Basketball Association (NBA), which lasted 21 seasons from 1995 to 2016.  I could watch an entire film featuring this Garnett.

Overall, the Safdie Brothers deliver in Uncut Gems a crime drama like no other, and with screenwriter Ronald Bronstein, they offer a cast of interesting, even off-the-beaten path characters.  Actress Idina Menzel is known for her big smile and her ability to belt out a song, but here, she takes the script's Dinah Ratner and makes her a salty woman who is utterly disinterested in her wayward husband, Howard's conceited charisma.  Menzel's Dinah would set it off before she'd let it go.

The usual impeccable Lakeith Stanfield is impeccable – as usual, and I wish there was more of his Demany.  Abel Tesfaye, better known as the Grammy Award-winning singer-songwriter, The Weeknd, goes meta to turn in a delightfully edgy and smutty version of himself.

I don't know if I would recommend this film to fans of Adam Sandler's comedies, especially the raunchy and juvenile ones.  Still, the Safdies and Sandler create something so different that I think movie audiences that like to take a dare sometimes will find a dark jewel of a movie in Uncut Gems.

7 of 10
A-

Wednesday, March 17, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

#28DaysofBlack Review: "LITTLE WOODS" Introduces an Up and Coming Director

[The independent film, the crime drama and quasi-modern Western, “Little Woods,” made noise at the Tribeca Film Festival in April 2018.  It was released theatrically in the United States in April 2019.  The film marked writer-director Nia DaCosta as an emerging director and earned her the job of writing and directing Universal's update-sequel to the classic 1990s horror film, “Candyman.”  Later, Marvel Studios chose DaCosta to direct the sequel to its billion-dollar hit, Captain Marvel (2019).  Candyman's release was delayed in 2020 due to the COVID-19 pandemic, so while audiences await its release, they can watch DaCosta's directorial debut, Little Woods.]

TRASH IN MY EYE No. 22 of 2021 (No. 1760) by Leroy Douresseaux

Little Woods (2018)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for language and some drug material
WRITER/DIRECTOR:  Nia DaCosta
PRODUCERS:  Rachael Fung, Tim Headington, and Gabrielle Nadig
CINEMATOGRAPHER:  Matt Mitchell
EDITOR:  Catrin Hedström
COMPOSER:  Brian McOmber

DRAMA/CRIME with elements of thriller and western

Starring:  Tessa Thompson, Lily James, Luke Kirby, James Badge Dale, Lance Reddick, Jeremy St. James, and Charlie Ray Reid

Little Woods is a 2018 drama and crime film from writer-director Nia DaCosta.  The film focuses on two sisters who work outside the law to fix bad situations in their lives via the Canadian–U.S. cross-border drug trade.

Little Woods introduces a young woman named Oleander “Ollie” King (Tessa Thompson), who lives in Little Woods, North Dakota.  Ollie is on probation because she had been bringing prescription medicine illegally across the border between Canada and North Dakota.  With eight days left on her probation, Ollie is determined to reinvent her life.  With the help and encouragement of her probation officer, Carter (Lance Reddick), Ollie has applied to find work in Spokane.

However, Ollie is getting numerous requests to return to her old life, which included illegally selling prescription medicine, as she scrapes by on odd jobs.  And Ollie might have a reason to return to a life of crime.  Her estranged sister, Deborah “Deb” Hale (Lily James), is barely surviving, living in an illegally parked trailer with her young son, Johnny (Charlie Ray Reid).  Deb is barely getting any help from her bum baby-daddy, Ian (James Badge Dale).

Worse still, Ollie, who has been living in the home of her and Deb's recently deceased mother, Bridget Sorenson, has discovered that a local bank has begun foreclosure proceedings on the house.  There is a payment of 5,682 dollars due to the bank in one week.  Desperate to make a place for Deb and Johnny, Ollie may jeopardize her future by selling and running drugs again.

Little Woods is the directorial debut of writer-director Nia DaCosta.  The subject matter and setting may seem like strange choices for an African-American director, but the story is a familiar one of familial obligations; the up-and-down relationship between bickering, but loving sisters; and the desperate day-to-day lives of the poor and struggling people of small town America.  DaCosta offers a riveting family drama that is part crime thriller and modern Western – that also has an excellent soundtrack full of plaintive songs that set the appropriate mood.  This is an engaging and sometimes haunting film that holds one attention.

However, the character writing is not as strong as it needs to be.  The screenplay relies on familiar conflicts between loved ones, friends, and acquaintances.  Bill (Luke Kirby), the local pill kingpin, barely registers as a character, and Ian's relationships with both Deb and Ollie, which are obviously, rich with potential, rely on familiar indie drama tropes.  Still, Tessa Thompson and Lily James deliver urgent and edgy performances of their respective characters.

My reservations aside, Little Woods is a necessary film because Nia DaCosta presents a side of the American experience, a side that need that needs to exist more in American popular culture.  DaCosta expertly details the lack of affordable housing, inadequate heath care, and shitty jobs that make ordinary people make choices that often hurt them or land them in jails and prisons or on parole and probation.  Little Woods is not a pretty film, but it exemplifies the power of film drama, and it makes me expect big things of Nia DaCosta.

7 of 10
B+

Friday, February 26, 2021

NOTES:
2020 Black Reel Awards:  1 nomination: “Outstanding Emerging Director” (Nia DaCosta)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

--------------------------

#28DaysofBlack Review: Eddie Murphy's "HARLEM NIGHTS" is Still Cool

[A little over 21 years after its initial release, Harlem Nights remains unique.  It was the dream project of an African-American movie star, Eddie Murphy, who had reached heights that few African-American stars ever have.  I'm glad Eddie Murphy made this movie.]

TRASH IN MY EYE No. 11 of 2021 (No. 1749) by Leroy Douresseaux

Harlem Nights (1989)
Running time:  116 minutes (1 hour, 56 minutes)
MPAA – R
WRITER/DIRECTOR: Eddie Murphy
PRODUCER:  Mark Lipsky and Robert D. Wachs
CINEMATOGRAPHER:  Woody Omens (D.o.P.)
EDITORS:  Alan Balsam and George Bowers   
COMPOSER:  Herbie Hancock
Academy Award nominee

CRIME/DRAMA with elements of comedy

Starring:  Eddie Murphy, Richard Pryor, Redd Foxx, Danny Aiello, Michael Lerner, Della Reese, Berlinda Tobert, Stan Shaw, Jasmine Guy, Vic Polizos, Lela Rochon, David Marciano, Arsenio Hall, Thomas Mikal Ford, Joe Pecoraro, Robin Harris, Charles Q. Murphy, Uncle Ray Murphy, Desi Arnez Hines II, Roberto Duran, and Gene Hartline

Harlem Nights is a 1989 crime film and period drama written and directed by Eddie Murphy.  The film is set during the 1930s and focuses on a New York City club owner and his associates as they battle gangsters and corrupt cops.

Harlem Nights introduces Sugar Ray (Richard Pryor).  In 1938, Ray and his surrogate son, Vernest Brown, best known as “Quick,” run a nightclub, dance hall, and gambling house called “Club Sugar Ray,” located in New York City's Harlem neighborhood.  Ray's other associates include Madame Vera Walker (Della Reese), who runs the brothel at the back of Club Sugar Ray, and her longtime companion, Bennie Wilson (Redd Foxx), the craps table dealer.

Club Sugar Ray is wildly successful, making fifteen to twenty thousand dollars a week, and that has drawn the attention of a white gangster, Bugsy Calhoune (Michael Lerner).  Calhoune wants the majority share of Sugar Ray's revenues, and to that end, employs his criminal associates:  his black enforcer, Tommy Smalls (Thomas Mikal Ford); his Creole mistress, Dominique La Rue (Jasmine Guy), and a corrupt police detective, Sgt. Phil Cantone (Danny Aiello).

Ray decides that he will have to give up his business and move on, although Quick is vehemently against this.  Ray decides to use an upcoming championship boxing match between the world heavy weight champion, black boxer Jack Jenkins (Stan Shaw), and a white challenger, Michael Kirkpatrick (Gene Hartline), the “Irish Ironman,” to disguise his ultimate heist plan against Calhoune.  But for the plan to work, Quick will have to avoid all the people trying to kill him?

Harlem Nights has some of the best production values that I have ever seen in an Eddie Murphy film.  The costumes (which were Oscar-nominated), the art direction and set decoration, and the cinematography are gorgeous.  Herbie Hancock's score captures Harlem Nights shifting tones – from jazzy and sexy to mixes of comic and dramatic violence.  The film's soundtrack offers a buffet of songs written, co-written and performed by the great Duke Ellington, plus performances by Billie Holiday, Louis Armstrong, and Buddy Clark, to name a few.

Yet, upon its initial release, that is not what some critics noted about Harlem Nights.  They were obsessed with how many times Eddie Murphy's name appeared on the poster.  They counted:  Eddie was star, writer, director, and executive producer; it was too much – at least according to them.  That all played into the “Eddie Murphy is arrogant” argument that many of these critics, mostly jealous white guys, made.

Harlem Nights remains the only film that Eddie Murphy has ever directed, which is a shame.  Granted that his acting is stiff in this film.  Granted that the screenwriting is average; it is never strong on character drama, and sometimes the story really needs it to be.  Still, Harlem Nights moves smoothly through its narrative.  It is slow and easy, although there have been those that have claimed that the film is “too slow.”  Still, Eddie Murphy has a silken touch at directing.

None of Harlem Nights' problems matter to me.  At the time, there had never been a film like it.  Harlem Nights is a big budget, lavish, Hollywood period film that is thoroughly Black.  Its cast is a once-in-a-life-time event.  I'm not sure a black director could have gotten funding with Harlem Night's cast even as a low budget film.  Harlem Nights is a film that only Eddie Murphy could get produced, and one could argue that it was not until well into the twenty-first century that any other black filmmaker could get something like Harlem Nights made.  So I'm good with its problems, and I am simply happy that it exists.

Harlem Nights is an entertaining film, and I have highly enjoyed it every time that I have seen it.  It stands as a testament to what Eddie Murphy became by the late 1980s – the only African-American who was a real Hollywood “player.”  Eddie Murphy, Richard Pryor, Redd Foxx, and Della Reese:  they were a dream lineup, a fleeting coming together that seemed to be gone in an instant.  Harlem Nights lives on, as a gorgeous, strange hybrid drama-comedy-gangster-period film.  And I, for one, am always ready to recommend it.

B+
7 of 10

Tuesday, February 9, 2021


NOTES:
1990 Academy Awards, USA:  1 nomination: “Best Costume Design” (Joe I. Tompkins)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

-----------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

Review: "The Punisher" Could Have Been... But Isn't

TRASH IN MY EYE No. 64 (of 2004) by Leroy Douresseaux

The Punisher (2004)
Running time:  124 minutes (2 hours, 4 minutes)
MPAA – R for pervasive brutal violence, language and brief nudity
DIRECTOR:  Jonathan Hensleigh
WRITERS:  Michael France and Jonathan Hensleigh (based upon the Marvel Comics character created by)
PRODUCERS:  Avi Arad and Gale Anne Hurd
CINEMATOGRAPHER:  Conrad W. Hall
EDITORS:  Jeff Gullo and Steven Kemper
COMPOSER: Carlo Siliotto

FANTASY/ACTION/CRIME

Starring:  Thomas Jane, John Travolta, Rebecca Romijn-Stamos, Will Patton, Laura Elena Harring, James Carpinello, Samantha Mathis, Eddie Jemison, Mark Collie, John Pinette, Kevin Nash, Ben Foster, and Roy Scheider

The Punisher is a 2004 action and crime thriller from director Jonathan Hensleigh.  The film is based on the Marvel Comics character, The Punisher/Frank Castle, that was created by writer Gerry Conway and artists John Romita, Sr. and Ross Andru and that made his first appearance in The Amazing Spider-Man #129.  The Punisher the movie focuses on an undercover FBI agent who becomes a vigilante assassin after a corrupt businessman slaughters his entire family.

The Punisher introduces Frank Castle (Thomas Jane), a Delta Force veteran, who recently completed his final mission as an undercover FBI agent.  After hit men kill his wife, Maria (Samantha Mathis), and their children and leave him for dead, Castle declares a one-man war on the killers’ boss man, Howard Saint (John Travolta), and his organization.  Castle also befriends three lonely misfits who share the rundown apartment building where he holes up, while popping caps and cutting throats during his mission to take down Saint and his organization.

The Punisher may be one of the worst film adaptations of a comic book or comic book character ever made, although it’s certainly not as hard to watch as The Crow: City of Angels, another misbegotten movie based on a comic book character.  The Punisher's pace is ponderous, and its plot is the embodiment of monotony.  All the acting is bad except for a decent performance by character actor Will Patton as Quentin Glass.  The character is gay, and it’s nice to see that that fact is hardly acknowledged, except as a plot contrivance).  Eddie Jemison is also good as Mickey Duka, a flunky, and a character utterly wasted by The Punisher's bad script.

Jane’s speaking parts, both as Castle and as The Punisher, amount to short, tired burst of listless and limp-wristed one-liners.  After this sorry effort as Saint, Travolta will need another career boost from Quentin Tarantino or perhaps some other hot, new director who would just love to have the revolting one in his film.

Yeah, there are plenty of explosions in The Punisher, but they’re like candles on toast.  This movie isn’t even worth recommending as a rental.

1 of 10
D-

Revised and reedited:  Friday, June 19, 2020


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

----------------