Negromancer News Bits and Bites from May 9th to 15th, 2021 - Update #24

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

You can support Leroy via Paypal or on Patreon:

ENTERTAINMENT AND CULTURE NEWS: 

TELEVISION - From Deadline:   CBS dramas, "SEAL Team" and "Clarice" will be moving to the Paramount+ streaming service for the 2021-22 TV season.

TELEVISION - From Deadline:   ABC has renewed "Black-ish" for an eighth and final season.  The series is currently wrapping up its seventh season.

DISNEY - From Deadline:   Boyd Holbrook and Shaunette Renée Wilson ("The Resident") are set to co-star opposite Harrison Ford in the next installment in the Indiana Jones series at Disney and Lucasfilm.

ANIMATION - From BleedingCool:   There are new images from "Monsters at Work," the Disney+ sequel TV series to Pixar's "Monsters, Inc."

STREAMING - From Deadline:  Actress Kathryn Hahn ("WandaVision") has joined the cast of director Rian Johnson's "Knives Out 2"

TELEVISION - From Deadline:  The CW is expanding to primetime Saturday night with new programming, starring this Fall with the 2021-22 television season.

MOVIES - From Deadline:  Actor Robert De Niro has apparently suffered a leg injury while in Oklahoma to film "Killers of the Flower Moon."  The injury is apparently not related to the film's production, but the extent of the injury is not known.

MOVIES - From WeGotThisCovered:   In 1996, Michael Jordan starred in the live-action/animation hybrid, "Space Jam."  Now, comes word that Jordan will appear in the LeBron James-led sequel, "Space Jam: A New Legacy," which is due in August.

STREAMING - From Variety:  The "Friends" reunion special, which will reunite the leads of NBC's late sitcom, "Friends," will debut on HBO Max May 27th.  The special also has a teaser trailer.

MOVIES - From EW:  "Entertainment Weekly" has a first-look at Henry Golding in the upcoming "Snake Eyes: G.I. Joe Origins."  The film is due in theaters July 23rd, 2021.

ANIMATION - From WeGotThisCovered:   The first photos from Netflix's upcoming animated series, "Masters of the Universe: Revelation," have emerged.  Although it is a reboot, "Revelation" will apparently follow the continuity of the 1983-85 "Masters of the Universe" animated series.

MUSIC - From RollingStone:   The Rock & Roll Hall of Fame has officially announced this year’s inductees: Foo Fighters, The Go-Go’s, Jay-Z, Carole King, Todd Rundgren, and Tina Turner will join the class of 2021 in the Performers category.

CELEBRITY - From Variety:  HBCU Howard University is reestablishing its College of Fine Arts, and its new dean will be beloved actress Phylicia Rashad, most famously of NBC's former series, "The Cosby Show" (1984-92).  Rashad is an alumna of the Howard (1970).

TELEVISION - From Deadline:   "2020-21 TV Cancellations & Renewals For Broadcast, Cable & Streaming":  Here is Deadline’s list of renewals and cancellations for TV series on broadcast, cable and streaming services from August 2020 to present (excluding syndicated shows), with new series in bold.

STREAMING - From Deadline:  Oscar-nominated actor Edward Norton has been cast in the "Knives Out" sequel, which is due from writer-director Rian Johnson and Netflix.

TELEVISION - From Variety:   Fox has cancelled its crime drama series, "Prodigal Son," starring Tom Payne and Michael Sheen, after two seasons.  The May 18th season finale will now also be the series finale.

CELEBRITY - From PopSugar:  Are Bennifer (Jennifer Lopez and Ben Affleck) a thing again?

STREAMING - From Deadline:   Leonardo DiCaprio has revealed a first-look at his next film, "Killers of the Flower Moon," from Apple Original Films and directed by Martin Scorsese.  The film, which also stars Robert De Niro, has begun production.

BOX OFFICE - From Variety:  The winner of the 5/7 to 5/9/2021 weekend box office is Guy Ritchie's "Wrath of Man" (starring Jason Statham) with an estimated gross of 8.1 million dollars.

OSCARS - From YahooEntertainment:  When she did not win in the "Best Song" Oscar category at the recent 93rd Academy Awards, songwriter Diane Warren became the woman with the most nominations without a win in Oscar history.  Warren is 0-for-12, but she is taking that in stride.  And she might get a another nomination next year.

GOLDEN GLOBES - From Variety: "Black Widow" star and Oscar-nominated and Tony Award-winning actress Scarlett Johansson speaks out against the HFPA, the organization with hands out the Golden Globes awards.

From Deadline:  Netflix becomes the latest media organization to shun the Hollywood Foreign Press Association (HFPA) over its attempts to ... change.

OBITS:

From Deadline:  The actor, director, and producer, Norman Lloyd, has died at the age of 106, Tuesday, May 11, 2021.  Lloyd worked in every facet of the entertainment industry, including theater, radio, television, and film.  He worked with such luminaries as Charlie Chaplin, Orson Welles, and Alfred Hitchcock.  He may be best known for his role on the former NBC television series, "St. Elsewhere (1982-88), as "Dr. Daniel Auschlander."  Lloyd was also a two-time Primetime Emmy Award nominee.

From YahooSports:  Former college and professional football player, Cole Brennan, has died at the age of 37, Tuesday, May 11, 2021.  Brennan was the record-setting quarterback at the University of Hawaii from 2005 to 2007.  He had a brief NFL career with the Washington Redskins and Oakland Raiders from 2008-2010.

From YahooLife:  The former White House dog, Bo, has died at the age of 12, Saturday, May 8, 2021.  A Portuguese water dog, Bo was the family dog of President Barack Obama and his family and was the White House dog from 2009-2017.  Bo joined the family and entered the White House in April 2009.

Negromancer News Bits and Bites from April 1st to 10th, 2021 - Update #33

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

You can support Leroy via Paypal or on Patreon:

ENTERTAINMENT AND CULTURE NEWS:

STREAMING - From THR:   Eddie Murphy's sequel film, "Coming 2 America," was Amazon's first streaming film to finish #1 on Nielsen's streaming rankings (for the week of March 1 to 7).  Now, it has become the first feature film from any of the four platforms that Nielsen monitors to repeat at #1 (March 8 to 14).

MOVIES - From WeGotThisCovered:   Rumors say that Robert Downey, Jr. is still trying to get troubled movie star, Johnny Depp, a part in Downey's third entry in his "Sherlock Holmes" franchise.

TELEVISION - From THR:  Tyler Perry is developing a new series, "Mabel" for Showtime.  "Mabel" will act as a prequel to Perry's "Madea" films as the new series will chronicle Madea's life going back to 1972.

SCANDAL - From THR:  The magazine and its website offer an article featuring tales of Hollywood and Broadway super-producer, Scott Rudin's abusive behavior towards his young assistants and other professionals. 

From Deadline:  Oscar-nominated producer Megan Ellison, who has worked with Scott Rudin says that his behavior is worst than what "The Hollywood Reporter" claims.

MOVIES - From Deadline:   Rising stars Jorge Lendeborg Jr. and Tosin Cole are in negotiations to lead New Line’s reimagining of the 1990 cult comedy, "House Party," produced by LeBron James and Maverick Carter's The SpringHill Company. Award-winning music video director Calmatic will be helming in his feature debut.

SCANDAL - From YahooLATimes:   Zachary J. Horwitz, who is an actor under the name, Zachery Avery, was arrested on Tues., April 6th under the federal charge of operating a ponzi scheme.  Horwitz reportedly owes investors 227(!) million dollars.

DC COMICS TO MOVIE - From THR:   "Justice League" actor Ray Fisher gives a bombshell interview about his experiences with key figures in the making of the film, including acclaimed writer-director Joss Whedon.

From Vulture:  A history of allegations of abuse on the part of Joss Whedon.

COVID-19 - From Deadline:  California Gov. Gavin Newsom says that the state will be ending most COVID restrictions and will be "opening up" on June 15th, 2021.

From Deadline: Tyler Perry is reportedly going to end the COVID quarantine bubble at his studio in Atlanta because most of his crew has been vaccinated.

SPORTS - From YahooSports:  The Baylor University Bears are the NCAA Division I Men's Basketball Tournament Champions.  The Bears (28-2) beat the Gonzaga University Bulldogs (31-1) 86-70 in the men's championship game on Monday, April 5, 2021 at Lucas Oil Stadium, Indianapolis, Indiana.

TELEVISION - From Deadline:   Byron Allen's Allen Media Group owns the free-to-air TV network, "This TV."  Now, This TV has signed a distribution deal with eight major ABC-owned TV station subchannels in order to expand its reach.

CELEBRITY - From YahooEntertainment:   30 years ago, actress Melanie Thandiwe Newton's name was misspelled in the credits of her first film, the Australian pic, "Flirting."  Since then, the world knows her as "Thandie Newton," but now she is reclaiming the "w" and she is Thandiwe Newton.  "Thandiew" is pronounced "tan-DEE-way."

LGBTQ - From YahooEntertainment:  Oscar-winning actress, Kate Winslet, says she knows many gay actors, especially young actors, who fear that coming out will derail their careeers.

SCANDAL - From Deadline:  Former movie studio boss and Oscar-winning producer, Harvey Weinstein, is appealing his New York state sex crime convictions, which landed him in prison for 23 years.  Meanwhile, on April 9th, there will be a hearing to extradite him to Los Angeles to face multiple sex crime charges.

MOVIES/STREAMING(?) - From WeGotThisCovered:  Paramount is reportedly developing a "Star Trek" project that is set only on Earth.

SAG AWARDS - From Variety:   If you care ... "Variety" is live-blogging / updating the 2021 / 27th annual Screen Actors Guild Awards with the announcement of the winners as they happen.

From THR:  "The Trial of the Chicago 7" tops the 2021 SAG Awards.

From THR:   Michael Keaton becomes the first actor to be part of three winning ensembles in the category of "Outstanding Performance by a Cast in a Motion Picture."  In addition to being a cast member of tonight's winner, "The Trial of the Chicago 7," Keaton was also a member of "Birdman" (2014) and "Spotlight" (2015), which both won "Outstanding Performance by a Cast in a Motion Picture."

BOX OFFICE - From Variety:   The winner of the 4/2 to 4/4/2021 weekend box office is "Godzilla vs. Kong" with an estimated take of 32.2 million dollars. This is the best pandemic-era opening weekend.

From Deadline:  "Godzilla vs. Kong" earns an estimated 48.5 million dollars during its first five days at the domestic box office.

From Deadline:   Warner Bros./Legendary's "Godzilla vs. Kong" opened on Wed., March 31st, 2021 and had the biggest opening day since the COVID pandemic, 9.6 million dollars in domestic box office.

ANIMATION - From Deadline:  Emmy-winning actress Zendaya has been cast as "Lola Bunny" in "Space Jam: A New Legacy," the sequel to the 1996 film, "Space Jam," which starred Michael Jordan.  The film is due July 16, 2021.

MOVIES - From YahooEntertainment:  Actor Edward Norton said that he got his breakthrough role, as a 19-year-old altar boy who kills a Catholic bishop in the 1996 film, "Primal Fear," when Leonardo DiCaprio passed on the role.  Norton would earn an Oscar nomination for the part.

MUSIC - From Variety:   HYBE (formerly known as "Big Hit Entertainment"), the home of South Korean pop super-group, BTS, and Ithaca Holdings, which manages Justin Bieber and Ariana Grande (among others), have merged.

STREAMING - From Deadline:   Popular cast member, Rege-Jean Page, will not be returning for Season 2 at "Bridgerton."

MOVIES - From THR:   Actor Steven Yeun is in talks to join Oscar-winner Jordan Peele's upcoming thriller.  The title of the film has not been announced, but it is due July 2022.

MOVIES - From THR:  Anthony Ramos has apparently made a star turn in the upcoming film, "In the Heights."  Now, he is in final negotiations to be the lead in next installment of the "Transformers" film franchise.  Steve Caple, Jr., who directed "Creed II," is scheduled to direct the film.

TELEVISION - From Deadline:   CBS has officially picked up "CSI: Vegas," a sequel to the original series, "CSI: Crime Scene Investigation," for the upcoming TV season.  Original series stars, William Petersen and Jorja Fox, will return to join a new cast.

JAMES BOND - From Collider: How to Watch the James Bond Movies in Order (Chronologically and by Release Date)

OBITS:

From XXL:   The rapper, Earl Simmons, better known as "DMX," has died at the age of 50, Friday, April 9, 2021.  His debut LP, 1998's "It's Dark and Hell is Hot," debuted at #1 on the Billboard 200 LP chart.  His first five LP would reach #1 and would be certified platinum.  DMX was also an actor and appeared in numerous films, including the 2001 hit, "Exit Wounds."

From Deadline:   The voice-over artist, Mark Elliot, has died at the age of 81, Saturday, April 3, 2021.  He was best known for his work with The Walt Disney Company doing voice-overs for Disney promos and trailers.

From Deadline:   The film and television actress, Gloria Henry, has died at the age of 98, Saturday, April 3, 2021.  Henry is best known for playing "Alice Mitchell," the mother of Dennis Mitchell in the former CBS sitcom, "Dennis the Menace" (1959-63).  She also appeared in numerous TV series, such as "Perry Mason," "The Thin Man," and "Dallas," to name a few.

Warner Bros. Announces Kroll & Co. Entertainment

Industry Veteran Sue Kroll Launches Kroll & Co. Entertainment at Warner Bros.

The widely respected movie executive kicks off an impressive development and production slate

BURBANK, Calif.--(BUSINESS WIRE)--Having made her mark as one of the industry’s top studio executives for more than two decades, Sue Kroll is now hanging her own production shingle, Kroll & Co. Entertainment, based on the Warner Bros. lot in Burbank.

Under her new banner, Kroll is already involved in the production and development of a wide range of feature film projects, teaming her with some of the noted filmmakers and actors with whom she has collaborated over the course of her illustrious career. Kroll will also look to develop television, digital and other content.

“My passion for film and television and for telling great stories is not only the cornerstone of my wonderful career, but has also been a huge part of my life since I was a young girl enthralled by the moving image,” stated Kroll. “I am excited to be collaborating in this new capacity with amazing, visionary filmmakers, many of whom I have known and worked with, and to also champion new and unique voices. This is just the beginning and I am thrilled about our slate of films and our incredible filmmaking partners.”

Kroll is attached as an executive producer to a number of films currently scheduled for release through the studio, and has expanded her slate to include new projects in various stages of development joining esteemed filmmakers and producing teams. As a producer, Kroll’s upcoming projects include the sci-fi action thriller “Nemesis,” with producers Ridley Scott and Jules Daly; the YA drama “The Selection,” with producers Denise Di Novi and Pouya Shahbazian; an untitled comedy starring Sandra Bullock, who will also produce with Michael Bostick; and the action thriller “The Six Billion Dollar Man,” soon going into production starring Mark Wahlberg, who also produces alongside Stephen Levinson, Bill Gerber, Scott Faye and Karen Lauder.

Legendary filmmaker Steven Spielberg stated, “Over the years, I have seen Sue in action as one of the most inspired marketing minds in the industry, most recently on the campaign for ‘Ready Player one.’ I trust her instincts, appreciate her unflagging devotion to her work, and admire her knowledge of film. I am looking forward to collaborating with her in her new capacity as a producer in the very near future.”

Kroll is also an executive producer on the drama “A Star is Born,” directed, produced and co-written by Bradley Cooper, who also stars in the film opposite Lady Gaga, and slated for release on October 5, 2018. Cooper noted, “I have been fortunate to know and work with Sue Kroll for more than 10 years, and have appreciated her friendship as well as her counsel. She has a personal investment in everything she does, and I have no doubt she will bring that same level of care, commitment and creativity to producing. Simply put, Sue is the gold standard.” Kroll joins producers Bill Gerber, Jon Peters, Cooper, Todd Phillips and Lynette Howell Taylor, and executive producers Ravi Mehta, Basil Iwanyk, Niija Kuykendall, Michael Rapino and Heather Parry.

In addition, Kroll serves as an executive producer on Edward Norton’s “Motherless Brooklyn,” inspired by Jonathan Lethem’s award-winning book, which Norton adapted for the screen. Kroll is teaming with producers Norton, William Migliore, Gigi Pritzker and Rachel Shane, and executive producers Michael Bederman, Adrian Alperovich, Robert F. Smith, Brian Sheth and Daniel Nader. Currently in production, the film stars Norton, Bruce Willis, Gugu Mbatha-Raw, Willem Dafoe and Alec Baldwin.

Norton stated, “Sue Kroll is universally loved by the filmmakers that have been lucky enough to work with her and has both great taste and real wisdom about how to engage audiences. It’s wonderful news that she’ll be producing films and she’s already brought important long lead strategy and foresight to our production. I feel like we’ve won the lottery to have our film be one of the first she’ll collaborate with in this role.”

In addition, Kroll is an executive producer on “The Goldfinch,” the film version of Donna Tartt’s Pulitzer Prize-winning novel, being directed by John Crowley, and starring Ansel Elgort and Nicole Kidman. Nina Jacobson and Brad Simpson are producing, and Mari Jo Winkler-Ioffreda is also serving as an executive producer.

Rounding out Kroll & Co. Entertainment, are SVP of Development and Production Jennifer Malloy, Creative Executive Olivia Heighten, longtime Kroll staffer Chelsea Bradshaw as Operations / Production Executive, and administrative assistant Nicole Kraft.

Throughout her Studio career, Kroll has worked closely with some of the most respected directors in the industry, including Clint Eastwood, Christopher Nolan, Patty Jenkins, Steven Spielberg, Ben Affleck, David Yates, Alfonso Cuarón, Zack Snyder, Todd Phillips, Peter Jackson, George Miller, the Wachowskis, Nancy Meyers, Robert Zemeckis and Guillermo del Toro.

Kroll most recently served as Warner Bros. Pictures’ President, Worldwide Marketing and Distribution. First joining the Studio in 1994, she rose up to be one of the film division’s top executives for nearly 20 years.

During her tenure, Warner Bros. consistently ranked as one of the industry’s most creatively and financially successful film studios. Last year was the biggest year in the Studio’s history, with $5.13 billion in global box office—the second time it has passed the $5 billion mark. The film division crossed the $1 billion mark domestically and internationally in each of the last 18 years, an industry record.

Under her marketing leadership, the Studio won a Best Picture Oscar for “Argo,” as well as a Best Animated Feature Oscar for “Happy Feet,” in addition to Best Picture nominations for “Dunkirk,” “The Blind Side,” “Inception,” “Extremely Loud & Incredibly Close,” “Gravity,” “Her,” “American Sniper,” “Mad Max: Fury Road” and “Letters from Iwo Jima.” Other films on which she oversaw marketing include some of the most popular and profitable of the last two decades, including “Wonder Woman”; “Batman v Superman: Dawn of Justice”; “Fantastic Beasts and Where to Find Them”; all eight “Harry Potter” films; “Suicide Squad”; “Sully”; “The Accountant”; “Interstellar”; “The LEGO® Movie”; “The Hobbit” Trilogy; “The Dark Knight” Trilogy; “Inception”; “Sherlock Holmes” and its sequel; “The Hangover” Trilogy; “I Am Legend”; “Charlie and the Chocolate Factory”; “300”; the “Ocean’s” movies; “Beowulf”; “Constantine”; “The Polar Express”; “Troy”; “The Last Samurai”; “The Matrix” Trilogy; and “Flags of Our Fathers.”

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Director David Frankel's "Collateral Beauty" Begins Filming

Filming Begins on the Ensemble Drama “Collateral Beauty” with an All-Star Cast

Will Smith, Edward Norton, Kate Winslet, Keira Knightley, Michael Peña, Naomie Harris, Jacob Latimore, and Helen Mirren Star; David Frankel is Directing

BURBANK, Calif.--(BUSINESS WIRE)--Principal photography has begun on New Line Cinema’s and Village Roadshow Pictures’ thought-provoking drama “Collateral Beauty,” being helmed by Oscar-winning director David Frankel (“Dear Diary,” “The Devil Wears Prada”). The film has been slated for release on December 16, 2016.

“Collateral Beauty” features an all-star cast, including Will Smith (upcoming “Suicide Squad,” “Concussion”), Edward Norton (“Birdman or [The Unexpected Virtue of Ignorance]”), Keira Knightley (“The Imitation Game”), Michael Peña (“The Martian”), Naomie Harris (“Spectre”), and Jacob Latimore (“The Maze Runner”), with Oscar winners Kate Winslet (“The Reader,” “Steve Jobs”) and Helen Mirren (“The Queen,” “Trumbo”).

When a successful New York advertising executive (Smith) experiences a deep personal tragedy and retreats from life entirely, his colleagues devise a drastic plan to force him to confront his grief in a surprising and profoundly human way.

Frankel is directing “Collateral Beauty” from an original screenplay by Allan Loeb (“Wall Street: Money Never Sleeps,” “21”). Loeb is also a producer on the film, together with Bard Dorros (“Triple 9”) and Michael Sugar (Oscar-nominated Best Picture “Spotlight”) under the Anonymous Content banner; Anthony Bregman (“Foxcatcher”) for Likely Story; and Kevin Frakes (“John Wick”) for PalmStar Media.

Frankel’s behind-the-scenes creative team includes director of photography Maryse Alberti (“Creed”), production designer Beth Mickle (“Whiskey Tango Foxtrot”), editor Andrew Marcus (“American Ultra”) and costume designer Leah Katznelson (“How to Be Single”).

A presentation of New Line Cinema and Village Roadshow Pictures, “Collateral Beauty” will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

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Review: As a Character Study, "Birdman" Has Wings

TRASH IN MY EYE No. 45 (of 2015) by Leroy Douresseaux

[A version of this review originally appeared on Patreon.]

Birdman: Or (The Unexpected Virtue of Ignorance) (2014)
Running time:  119 minutes (1 hour, 59 minutes)
MPAA – R for language throughout, some sexual content and brief violence
DIRECTOR:  Alejandro G. Iñárritu
WRITERS:  Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr., and Armando Bo
PRODUCERS:  Alejandro G. Iñárritu, John Lesher, Arnon Milchan, and James W. Skotchdopole
CINEMATOGRAPHER:  Emmanuel Lubezki (D.o.P.)
EDITORS:  Douglas Crise and Stephen Mirrione
COMPOSER:  Antonio Sanchez (drum score)
Academy Award winner, including “Best Picture”

DRAMA/COMEDY

Starring: Michael Keaton, Emma Stone, Edward Norton, Zach Galifanakis, Naomi Watts, Andrea Riseborough, and Amy Ryan with Lindsay Duncan

Birdman or (The Unexpected Virtue of Ignorance) is a 2014 drama and black comedy film from director Alejandro G. Iñárritu.  The film focuses on a Hollywood actor, who once starred in a series of popular superhero movies, as he tries to forge a comeback with a Broadway play.  Birdman or (The Unexpected Virtue of Ignorance), commonly known as Birdman, won four Oscars, including “Best Picture,” at the 87th Academy Awards (February 22, 2015).

Birdman introduces Riggan Thomson (Michael Keaton).  He is a washed-up Hollywood actor and former movie star best known for playing the iconic superhero, Birdman, two decades ago in a series of blockbuster films.  Riggan hopes to reinvent his career by writing, directing, and starring in a Broadway production.  Riggan's play is a loosely based adaptation of “What We Talk About When We Talk About Love,” a short story written by the late Raymond Carver (and first published in the former literary journal, Antaeus, in 1981).

Unfortunately, Riggan's play is beset by complications.  The play is produced by Riggan's best friend and lawyer, Jake (Zach Galifanakis), who is very demanding and high-strung.  The film's two actresses are Riggan's girlfriend, Laura (Andrea Riseborough), who claims to be pregnant, and a first-time Broadway actress, Lesley (Naomi Watts), who has a worried mind.  Riggan's daughter, Samantha (Emma Stone), a recovering addict, serves as her father's assistant.  The other male actor in the play is Mike Shiner (Edward Norton), a brilliant actor who is also volatile, disruptive, and attention-seeking.  The biggest complication, however, is the spirit of Birdman, which haunts Riggan with a mocking, critical voice, and that voice wants another Birdman movie.

Taking what the movie gives us, which is a little over one hour and fifty minutes of film narrative, Birdman is an extraordinary character study about the life of a struggling actor in a particular moment in time.  This moment in time is a two-week period, of which we only observe in select pieces.  People who watch this movie have to take Riggan at face value because the film is vague about whatever happened to Riggan's life prior to the two-week period that it depicts.

This situation helps to make Birdman ambiguous, and I think the director and his co-writers wanted their film to have many ambiguities.  Is this film a true black comedy?  Is it a drama about domestic and professional failures?  Is it real, or surreal, or both (when considering Riggan's powers)?  Is the last act and the ending a resolution via rebirth or by closure?  Birdman is a complex, different and fascinating work of cinema.

Considering its subject matter, that of a failed movie star in the tailspin of a midlife crisis, it is fairly obvious why the film was so attractive to so many Oscar voters.  How many members of the Academy of Motion Picture Arts and Sciences (AMPAS), which votes on the Oscars, have experienced something similar to Riggan's experiences or how many know they will... eventually.  I think that this is a tremendous movie, and I can see why it won the Oscars that it did.

On the other hand, Edward Norton and Emma Stone are good in Birdman, but there is little in their work here, in terms of substance or character portrayal, that says that either one of them gave a top five performance in the respective categories for which they were nominated for Oscars.  I also find Michael Keaton a little uneven.  He is at his best when he is emoting without dialogue and when he is giving voice to Birdman.  When he tries to give voice to anger and frustration, he is over-the-top, in his now trademark manner, familiar to us who remember him as Batman and as Beetlejuice.

Many people seem to think that Keaton was perfect for the role of Riggan Thomson who played a superhero at the height of his career and fame in Hollywood because Keaton played the title role in Batman (1989) and Batman Returns (1992) at the height of his film career.  Keaton's career seemed to diminish after Batman, gradually though, until he had seemingly disappeared from Hollywood films.  The truth is Keaton is a good actor whose full talent has rarely been utilized.

Birdman or (The Unexpected Virtue of Ignorance) gives him a chance, and there are moments in which Keaton shines.  This film is unique and has many moments of brilliance, in which Alejandro G. Iñárritu shows us that cinematic magic is indeed real.  Birdman has it, revealing that drama need not be tied to the ground nor to be framed in notions of stiff realism.  Birdman has a sense of wonder and of curiosity, believing that it is as exciting to explore a man's life as it is to explore a faraway magical kingdom or an island full of dinosaurs.

9 of 10
A+

Tuesday, September 15, 2015


NOTES:
2015 Academy Awards, USA:  4 wins: “Best Motion Picture of the Year” (Alejandro González Iñárritu, John Lesher, and James W. Skotchdopole), “Best Achievement in Directing” (Alejandro González Iñárritu), “Best Writing, Original Screenplay” (Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, and Armando Bo), and “Best Achievement in Cinematography” (Emmanuel Lubezki); 5 nominations: “Best Performance by an Actor in a Leading Role” (Michael Keaton), “Best Performance by an Actor in a Supporting Role” (Edward Norton), “Best Performance by an Actress in a Supporting Role” (Emma Stone), “Best Achievement in Sound Mixing” (Jon Taylor, Frank A. Montaño, and Thomas Varga) and “Best Achievement in Sound Editing” (Aaron Glascock and Martín Hernández)

2015 Golden Globes, USA:  2 wins: “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Michael Keaton) and “Best Screenplay - Motion Picture” (Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, and Armando Bo); 5 nominations: “Best Director - Motion Picture” (Alejandro González Iñárritu), “Best Motion Picture - Comedy or Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Emma Stone), “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Edward Norton) and “Best Original Score - Motion Picture” (Antonio Sanchez)

2015 BAFTA Awards:  1 win “Best Cinematography” (Emmanuel Lubezki); 9 nominations: “Best Film” (Alejandro González Iñárritu, John Lesher, and James W. Skotchdopole), “Best Leading Actor” (Michael Keaton), “Best Supporting Actor” (Edward Norton), “Best Supporting Actress” (Emma Stone), “Best Editing” (Douglas Crise and Stephen Mirrione), “Best Original Music” (Antonio Sanchez), “Best Sound” (Thomas Varga, Martín Hernández, Aaron Glascock, Jon Taylor, and Frank A. Montaño), “Best Original Screenplay” (Alejandro González Iñárritu, Nicolás Giacobone, and Alexander Dinelaris, and Armando Bo), and “David Lean Award for Direction” (Alejandro González Iñárritu)


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

Review: "The Grand Budapest Hotel" is Stylish and Quirky, of course

TRASH IN MY EYE No. 17 (of 2015) by Leroy Douresseaux

The Grand Budapest Hotel (2014)
Running time:  99 minutes (1 hour, 39 minutes)
MPAA – R for language, some sexual content and violence
DIRECTOR:  Wes Anderson
WRITERS:  Wes Anderson; from a story by Wes Anderson and Hugo Guinness (inspired by the writings of Stefan Zweig)
PRODUCERS:  Wes Anderson, Jeremy Dawson, Steven Rales, and Scott Rudin
CINEMATOGRAPHER:  Robert Yeoman (D.o.P.)
EDITOR:  Barney Pilling
COMPOSER:  Alexandre Desplat
Academy Award winner

ADVENTURE/COMEDY/DRAMA with elements of fantasy

Starring:  Ralph Fiennes, Tony Revolori, F. Murray Abraham, Adrien Brody, Willem Dafoe, Edward Norton, Saoirse Ronan, Jeff Goldblum, Mathieu Amalric, Harvey Keitel, Jude Law, Bill Murray, Jason Schwartzman, Lea Seydoux, Tilda Swinton, Tom Wilkinson, Bob Balaban, and Owen Wilson

The Grand Budapest Hotel is a 2014 comedy-drama and adventure film from writer-director Wes Anderson.  Anderson and Hugo Guinness, who wrote the film's story with Anderson, were inspired by the writings of Austrian, Stefan Sweig (1881-19420, a novelist, playwright, journalist and biographer.  The Grand Budapest Hotel focuses on the adventures of a legendary concierge at a famous hotel and the lobby boy who becomes his trusted sidekick.

The Grand Budapest Hotel opens in the present day, before moving back to 1985.  The film moves back again to the year 1968.  A man, known as “The Author” (Jude Law), travels to the Republic of Zubrowka (a fictional Central European state).  He stays at a remote mountainside hotel in the spa town of Nebelsbad.  The Author discovers that the Grand Budapest Hotel has fallen on hard times.  He meets the owner of the hotel, an elderly gentleman named Zero Moustafa (F. Murray Abraham).  Moustafa tells “The Author” how he came to own the Grand Budapest Hotel.

That takes the story back to the year 1932, during the hotel's glory days.  Monsieur Gustave H (Ralph Fiennes) is the Grand Budapest Hotel's devoted concierge.  He manages the hotel's large staff and sees to the needs of the hotel's wealthy clientele,  Gustave also often has sexual relationships with some of the hotel's elderly female clientele.  One of the aging women who flock to the hotel to enjoy M. Gustave's “exceptional service” is Madame Céline Villeneuve "Madame D" Desgoffe und Taxis a.k.a. “Madame D” (Tilda Swinton).

After Madame D dies, M. Gustave discovers that she has left him something in her will, a highly-sought after painting by Johannes van Hoytl (the younger), entitled, “Boy With Apple.”  M. Gustave also learns that Madame D was murdered and that he is not only the chief suspect, but that he is also caught up in a dispute over a vast family fortune.  M. Gustave is in trouble, but luckily he has hired a most capable and talented new lobby boy, Zero (Tony Revolori).  M Gustave's most trusted friend and protege, Zero, may be the only one who can help a legendary concierge save himself.

I said that Ethan and Joel Coen's 2010 film, True Grit (a remake of the classic John Wayne western), was a movie in which the brothers got to work out and to employ their visual tics, cinematic style, and storytelling techniques on a Western.  It was a good film, but it was truly “a Coen Bros. movie.”

In a similar fashion, The Grand Budapest Hotel is Wes Anderson employing everything that is eccentric, quirky, and unique to his films going back at least a decade.  Embodied in this movie, the Wes Anderson style is wonderful and invigorating and a joy to watch.  Truly, The Grand Budapest Hotel has a striking and an eye-catching visual style.  Anderson's mix of ornate visual environments and eccentric characters with deeply held emotions makes his movies hard to ignore, if you give them half the chance.

Those characters can be a problem, though.  For this film, Anderson easily offers 20 characters worth knowing, but other than M. Gustave and Zero, Anderson uses the others as quirky backdrops or as caricatures upon which he can hang his plot.  Thus, The Grand Budapest Hotel is beautiful, but depth of character is lacking.  The adventure of M. Gustave and Zero plays as if it were something straight out of a beloved children's book.  Much has been made of Ralph Fienne's performance in this film, and it is indeed a good one.  It must be noted that Tony Revolori as Zero is also quite good.  Still, the adventure of the two leads would be better with more interplay from the other characters than the film offers.  Adrien Brody's Dmitri Desgoffe und Taxis is wasted, and Willem Dafoe's J.G. Jopling is not so much a menacing villain as he is a bad guy straight out of Jay Ward Productions.

However, while this movie does not fail to burrow into the imagination, it does not really plant its roots in the viewers' hearts.  It is gorgeous on the surface, but Anderson seems to avoid the deeply emotional ideas he introduces, making The Grand Budapest Hotel an exceptional film, but keeping it from being truly great.  It is Wes Anderson art for Wes Anderson's art sake.

8 of 10
A

Friday, April 10, 2015


NOTES:
2015 Academy Awards, USA:  4 wins: “Best Achievement in Costume Design” (Milena Canonero), “Best Achievement in Makeup and Hairstyling” (Frances Hannon and Mark Coulier), “Best Achievement in Music Written for Motion Pictures, Original Score” (Alexandre Desplat) and “Best Achievement in Production Design” (Adam Stockhausen-production design and Anna Pinnock-set decoration); 5 nominations: “Best Motion Picture of the Year” (Wes Anderson, Scott Rudin, Steven M. Rales, and Jeremy Dawson), “Best Achievement in Directing” (Wes Anderson), “Best Achievement in Cinematography” (Robert D. Yeoman), and “Best Achievement in Film Editing” (Barney Pilling), and “Best Writing, Original Screenplay” (Wes Anderson-screenplay/story and Hugo Guinness-story)

2015 BAFTA Awards:  5 wins: “Best Original Music” (Alexandre Desplat), “Best Costume Design” (Milena Canonero), “Best Production Design” (Adam Stockhausen and Anna Pinnock), “Best Original Screenplay” (Wes Anderson), and “Best Make Up & Hair” (Frances Hannon and Mark Coulier); 6 nominations: “Best Film” (Wes Anderson, Scott Rudin, Steven M. Rales, and Jeremy Dawson), “Best Leading Actor” (Ralph Fiennes), “Best Cinematography” (Robert D. Yeoman), “Best Editing” (Barney Pilling), “Best Sound” (Wayne Lemmer, Christopher Scarabosio, Pawel Wdowczak), and “David Lean Award for Direction” (Wes Anderson)

2015 Golden Globes, USA:  1 win: “Best Motion Picture - Comedy or Musical;” 3 nominations: “Best Director - Motion Picture” (Wes Anderson), “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Ralph Fiennes), and “Best Screenplay - Motion Picture” (Wes Anderson)

The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

J.K. Simmons Wins "Best Supporting Actor" Oscar

Best Actor in a Supporting Role:

Robert Duvall in “The Judge”
Ethan Hawke in “Boyhood”
Edward Norton in “Birdman or (The Unexpected Virtue of Ignorance)”
Mark Ruffalo in “Foxcatcher”
J.K. Simmons in “Whiplash” WINNER

Oklahoma Film Critics Name "Boyhood" Best Picture of 2014

The Oklahoma Film Critics Circle (OFCC) is the statewide group of professional film critics.  OFCC members are Oklahoma-based movie critics who write for print, broadcast and online outlets that publish or post reviews of current film releases.

The OFCC announced its 9th annual awards list in early January of 2015.

Oklahoma Film Critics Circle 2014 Winners:

Best Picture: “Boyhood.”

Best Actor: Michael Keaton, “Birdman.”

Best Actress: Rosamund Pike, “Gone Girl.”

Best Animated Film: “The LEGO Movie.”

Best Body of Work: Christopher Miller and Phil Lord “The Lego Movie” and “22 Jump Street.”

Best Director: Richard Linklater, “Boyhood.”

Best Documentary: “Life Itself.”

Best First Feature: “Nightcrawler.”

Best Foreign Language Film: “Force Majeure.”

Best Guilty Pleasure: “Edge of Tomorrow.”

Not So Obviously Worst Film: “Monuments Men.”

Obviously Worst Film: “Transformers: Age of Extinction.”

Best Original Screenplay: “The Grand Budapest Hotel.”

Best Adapted Screenplay: Gillian Flynn, “Gone Girl.”

Best Supporting Actor: Edward Norton, “Birdman.”

Best Supporting Actress: Patricia Arquette, “Boyhood.”

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

Kansas City Film Critics Fly with "Birdman" as Best Picture

Founded in 1967, the Kansas City Film Critics Circle (KCFCC) says that it is the "second oldest professional film critics" association in the United States" (behind the New York Film Critics Circle).  The organization is composed of media film critics in the Kansas City metropolitan area.  The KCFCC’s awards are named for the group’s founder, James Loutzenhiser, who died in November 2001.

On Sunday, December 14th, 2014, the Kansas City Film Critics Circle announced the winners of its 48th annual awards.

2014 / 48th KCFCC Annual Awards:

BEST PICTURE: “Birdman”

ROBERT ALTMAN AWARD FOR BEST ACHIEVEMENT IN DIRECTING: Richard Linklater – “Boyhood”

BEST ACTOR: Michael Keaton – “Birdman”

BEST ACTRESS: Rosamund Pike – “Gone Girl”

BEST SUPPORTING ACTOR: Edward Norton – “Birdman”

BEST SUPPORTING ACTRESS: Patricia Arquette – “Boyhood”

BEST ORIGINAL SCREENPLAY: Alejandro Gonzalez Inarritu, Nicholas Glocobone, Alexander Dinelaris and Armando Bo – “Birdman”

BEST ADAPTED SCREENPLAY: Gillian Robespierre – “Obvious Child”

BEST ANIMATED FEATURE: “The Lego Movie”

BEST DOCUMENTARY FEATURE: “CitizenFour”

BEST FOREIGN LANGUAGE FILM: “Ida” (Poland)

VINCE KOEHLER AWARD FOR BEST SCI-FI, FANTASY or HORROR FILM: “The Babadook”

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

San Francisco Film Critics Name "Boyhood" as 2014's Best Picture

The San Francisco Film Critics Circle (SFFCC) was founded in 2002 and is comprised of critics from Bay Area publications.  Its membership includes film journalists from the San Francisco Chronicle, the San Jose Mercury News, the Oakland Tribune, the Contra Costa Times, the San Francisco Bay Guardian, SF Weekly, the East Bay Express, KRON-TV, Variety, and RottenTomatoes.com, among others.

2014 San Francisco Film Critics Circle Awards:

Best Picture
    BIRDMAN
    WINNER – BOYHOOD
    THE IMITATION GAME
    UNDER THE SKIN
    WHIPLASH

    Best Director
    Wes Anderson, THE GRAND BUDAPEST HOTEL
    Jonathan Glazer, UNDER THE SKIN
    Alejandro Gonzalez Innaritu, BIRDMAN
    Mike Leigh, MR. TURNER
    WINNER – Richard Linklater, BOYHOOD

    Best Actor
    Benedict Cumberbatch, THE IMITATION GAME
    Jake Gyllenhaal, NIGHTCRAWLER
    WINNER – Michael Keaton, BIRDMAN
    Eddie Redmayne, THE THEORY OF EVERYTHING
    Timothy Spall, MR. TURNER

    Best Actress
    Marion Cotillard, TWO DAYS, ONE NIGHT
    Essie Davis, THE BABADOOK
    Scarlett Johansson, UNDER THE SKIN
    WINNER – Julianne Moore, STILL ALICE
    Reese Witherspoon, WILD

    Best Supporting Actor
    Ethan Hawke, BOYHOOD
    Gene Jones, THE SACRAMENT
    WINNER – Edward Norton, BIRDMAN
    Mark Ruffalo, FOXCATCHER
    J.K. Simmons, WHIPLASH

    Best Supporting Actress
    WINNER – Patricia Arquette, BOYHOOD
    Jessica Chastain, A MOST VIOLENT YEAR
    Agata Kulesza, IDA
    Emma Stone, BIRDMAN
    Tilda Swinton, SNOWPIERCER

    Best Screenplay, Original
    WINNER – BIRDMAN, Alejandro Gonzalez Iñarritu; Nicolas Giacobone; Alexander Dinelaris; Armanso Bo
    BOYHOOD, Richard Linklater
    THE GRAND BUDAPEST HOTEL, Wes Anderson; Hugo Guinness
    MR. TURNER, Mike Leigh
    A MOST VIOLENT YEAR, J.C. Chandor
    WHIPLASH, Damien Chazelle

    Best Screenplay, Adapted
    GONE GIRL, Gillian Flynn
    THE IMITATION GAME, Graham Moore
    WINNER - INHERENT VICE, Paul Thomas Anderson
    SNOWPIERCER, Joon-ho Bong; Kelly Masterson
    WILD, Nick Hornby

    Best Cinematography
    BIRDMAN, Emmanuel Lubezki
    THE GRAND BUDAPEST HOTEL, Robert D. Yeoman
    WINNER – IDA, Lukasz Zal; Ryszard Lenczewski
    MR. TURNER, Dick Pope
    UNDER THE SKIN, Daniel Landin

    Best Production Design
    BIRDMAN, Kevin Thompson
    WINNER – THE GRAND BUDAPEST HOTEL, Adam Stockhausen
    INHERENT VICE, David Crank
    MR. TURNER, Suzie Davies
    SNOWPIERCER, Ondrej Nekvasil

    Best Editing
    WINNER – BOYHOOD, Sandra Adair
    BIRDMAN, Douglas Crise; Stephen Mirrione
    INHERENT VICE, Leslie Jones
    UNDER THE SKIN, Paul Watts
    WHIPLASH, Tom Cross

    Best Animated Feature
    BIG HERO 6
    THE BOXTROLLS
    HOW TO TRAIN YOUR DRAGON 2
    WINNER – THE LEGO MOVIE
    THE TALE OF THE PRINCESS KAGUYA

    Best Foreign Language Picture
    A GIRL WALKS HOME ALONE AT NIGHT
    FORCE MAJEURE
    WINNER – IDA
    TWO DAYS, ONE NIGHT
    WILD TALES

    Best Documentary
    WINNER – CITIZENFOUR
    FINDING VIVIAN MAIER
    JODOROWSKY’S DUNE
    LIFE ITSELF
    THE OVERNIGHTERS

Marlon Riggs Award for courage & vision in the Bay Area film community:
Joel Shepard Longtime Yerba Buena Center for the Arts Film & Video curator Joel Shepard’s idiosyncratic and innovative programming has embraced everything from experimental and exploitation showcases to burgeoning national film cultures, such as the annual New Filipino Cinema festival.

Special Citation for under-appreciated independent cinema:
THE ONE I LOVE Charlie McDowell’s relationship opus cracks open the intricacies of a crumbling union in the most effective way imaginable: by turning it into a mind-bending Twilight Zone episode.

Online Film Critics Society Names "The Grand Budapest Hotel" its Best Picture of 2014

Founded in 1997, the Online Film Critics Society (OFCS) describes itself as “the largest, most respected organization for critics whose work appears primarily on the Internet.”  The OFCS says that it has been the key force in establishing and raising the standards for Internet-based film journalism.  Its membership consists of film reviewers, journalists and scholars based in the U.S., Canada, Europe, Latin America and the Asia/Pacific Rim region.

The 18th Annual Online Film Critics Society Awards were announced on Monday, December 15, 2014.

2014 OFSC Awards (18th Annual):

Best Picture
The Grand Budapest Hotel

Best Animated Feature
The Lego Movie

Best Film Not in the English Language
Two Days, One Night

Best Documentary
Life Itself

Best Director
Richard Linklater – Boyhood

Best Actor
Michael Keaton – Birdman

Best Actress
Rosamund Pike – Gone Girl

Best Supporting Actor
Edward Norton – Birdman

Best Supporting Actress
Patricia Arquette – Boyhood

Best Original Screenplay
The Grand Budapest Hotel

Best Adapted Screenplay
Gone Girl

Best Editing
Birdman

Best Cinematography
The Grand Budapest Hotel

Best Non-U.S. Release (non-competitive category)
’71
10,000 km
Entre Nós
Han Gong-ju
Hard to Be a God
The Look of Silence
The Salt of the Earth
What We Do in the Shadows
Timbuktu
The Tribe

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

Boston Online Film Critics Name "Snowpiercer" as Best Picture of 2014

The Boston Online Film Critics Association (BOFCA) was founded in May 2012.  According to the group, BOFCA fosters a community of web-based film critics and provides them with a supportive group of colleagues and a professional platform for their voices to be heard. They collect and link to their reviews every week at a website that also features original content by members, including filmmaker interviews and spotlights on Boston’s vital repertory film scene.

By widening professional membership to writers working in new media, BOFCA aims to encourage more diverse opinions in the field. The Boston Online Film Critics Association has gathered together critics writing for publications that collectively receive over 15 million impressions/page views per month. BOFCA is present on social media year-round with members’ film articles and essays.

The 2014 Boston Online Film Critics Association Awards:

BEST PICTURE: SNOWPIERCER

BEST DIRECTOR: Alejandro González Iñárritu, BIRDMAN

BEST ACTOR: Brendan Gleeson, CALVARY

BEST ACTRESS: Marion Cotillard, TWO DAYS, ONE NIGHT

BEST SUPPORTING ACTOR: Edward Norton, BIRDMAN

BEST SUPPORTING ACTRESS: Tilda Swinton, SNOWPIERCER

BEST SCREENPLAY: John Michael McDonagh, CALVARY

BEST FOREIGN LANGUAGE FILM: TWO DAYS, ONE NIGHT (Belgium)

BEST DOCUMENTARY: LIFE ITSELF

BEST ANIMATED FILM: THE LEGO MOVIE

BEST CINEMATOGRAPHY: BIRDMAN

BEST EDITING: James Herbert & Laura Jennings, EDGE OF TOMORROW

BEST ORIGINAL SCORE: Mica Levi, UNDER THE SKIN

BEST ENSEMBLE: BIRDMAN


THE TEN BEST FILMS OF THE YEAR:

1. SNOWPIERCER

2. UNDER THE SKIN

3. BOYHOOD

4. ONLY LOVERS LEFT ALIVE

5. THE BABADOOK

6. TWO DAYS ONE NIGHT

7. BIRDMAN

8. CALVARY

9. INHERENT VICE

10. SELMA

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

"A Most Violent Year" is the Best of the Year, According to National Board of Review

The National Board of Review of Motion Pictures, which is made up of film enthusiasts, academics, students, and filmmakers, historically launches the movie awards season.

The National Board of Review revealed its 2014 awards on Tuesday, December 9, 2014.  The NBR is first group to name, A Most Violent Year as the best film, although the film won't have a theatrical release until December 31, 2014 (which will be a limited release).  Written and directed by Oscar-nominee, J.C. Chandor, A Most Violent Year is set during what was statistically the worst year in New York City for violent crimes.

2014 National Board of Review of Motion Picture awards:

Best Film:  A Most Violent Year

Best Director:  Clint Eastwood – American Sniper

Best Actor (TIE):

• Oscar Isaac – A Most Violent Year
• Michael Keaton – Birdman

Best Actress: Julianne Moore – Still Alice

Best Supporting Actor:  Edward Norton – Birdman

Best Supporting Actress:  Jessica Chastain – A Most Violent Year

Best Original Screenplay:  Phil Lord & Christopher Miller – The Lego Movie

Best Adapted Screenplay:  Paul Thomas Anderson – Inherent Vice

Best Animated Feature:  How to Train Your Dragon 2

Breakthrough Performance:  Jack O’Connell – Starred Up & Unbroken

Best Directorial Debut:  Gillian Robespierre – Obvious Child

Best Foreign Language Film:  Wild Tales

Best Documentary:  Life Itself

William K. Everson Film History Award:  Scott Eyman

Best Ensemble:  Fury

Spotlight Award:  Chris Rock for writing, directing, and starring in – Top Five

NBR Freedom of Expression Award:  Rosewater

NBR Freedom of Expression Award:  Selma

Top Films:
American Sniper
Birdman
Boyhood
Fury
Gone Girl
The Imitation Game
Inherent Vice
The Lego Movie
Nightcrawler
Unbroken

Top 5 Foreign Language Films:
Force Majeure
Gett: The Trial of Vivian Amsalem
Leviathan
Two Days, One Night
We Are the Best!

Top 5 Documentaries:
Art and Craft
Jodorowsky’s Dune
Keep On Keepin’ On
The Kill Team
Last Days in Vietnam

Top 10 Independent Films:
Blue Ruin
Locke
A Most Wanted Man
Mr. Turner
Obvious Child
The Skeleton Twins
Snowpiercer
Stand Clear of the Closing Doors
Starred Up
Still Alice

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http://www.nationalboardofreview.org/

Review: Spike Lee's "25th Hour" Focuses on Mood (Remembering Philip Seymour Hoffman)

TRASH IN MY EYE No. 116 (of 2006) by Leroy Douresseaux

25th Hour (2002)
Running time:  135 minutes (2 hours, 15 minutes)
MPAA – R for strong language and some violence
DIRECTOR:  Spike Lee
WRITER:  David Benioff (based upon his novel, The 25th Hour)
PRODUCERS:  Spike Lee and Jon Kilik and Julia Chasman and Tobey Maguire
CINEMATOGRAPHER:  Rodrigo Prieto
EDITOR:  Barry Alexander Brown
COMPOSER:  Terrence Blanchard
Golden Globe nominee

DRAMA

Starring:  Edward Norton, Philip Seymour Hoffman, Barry Pepper, Rosario Dawson, Anna Paquin, Brian Cox, Tony Siragusa, Tony Devon, and Isaiah Whitlock, Jr.

The subject of this movie review is 25th Hour, a 2002 drama from director, Spike Lee.  The film is based on The 25th Hour, a 2001 novel by David Benioff, who also wrote the screenplay for this film.  25th Hour the movie focuses on a convicted New York City drug dealer who reevaluates his life in the last 24 hours of freedom he has before he begins serving a seven-year jail term.

Montgomery “Monty” Brogan (Edward Norton) is just a day away from entering prison on a seven-year stint for dealing heroin.  He spends the last 24 hours of his freedom with his two best friends – his childhood buddies, Frank (Barry Pepper), a Wall Street bond trader; and Jakob (Philip Seymour Hoffman), a high school English teacher; and his girlfriend, Naturelle (Rosario Dawson).  They plan to party the night away at their New York City haunts as they ruminate on the their pasts and futures and on 9/11.  Monty also touches base with his widower father, Frank (Brian Cox), who has trouble dealing with what has happened to his only child.

Spike Lee’s 25th Hour isn’t so much about plot and story as it is about emotions and moods.  The story is certainly compelling – a man trying to find some closure the last day of is freedom (especially when one considers that Monty Brogan really doesn’t look like he’s going to do well in prison).  However, Lee emphasizes the raw feelings and powerful emotions, as well as the thoughts that press and weigh on the mind of a condemned man.  It makes for some riveting scenes, such as the one in which Monty asks Frank to help him get the right look for prison (by beating him up).  There is an equally poignant, heart-rending, and ultimately beautiful monologue in which Monty’s dad, Frank, offers him a vision for a better tomorrow.  Combine that with the 9/11 references, and this is a New York film that is familiar to us all.

There are good performances all around, making the most of Lee’s stunning succession of potent moods.  No really stands out, because all the leads: Norton, Hoffman, Pepper, Dawson and Cox get at least a few chances to show their dramatic chops in an earthy way that tests their intellects as actors.  The film does dry up in a few places, but its closing sequence will remind viewers of how well a film can capture the human story.

8 of 10
A

NOTES:
2003 Golden Globes, USA:  1 nomination: Best Original Score - Motion Picture (Terrence Blanchard)

2003 Black Reel Awards:  3 nominations: “Theatrical - Best Supporting Actress” (Rosario Dawson), “Theatrical - Best Director” (Spike Lee), “Best Film” (Spike Lee, Tobey Maguire, Jon Kilik, and Julia Chasman)

Saturday, May 27, 2006

Updated:  Monday, February 03, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "The Italian Job" Remake Quite Slick

TRASH IN MY EYE No. 174 (of 2003) by Leroy Douresseaux

The Italian Job (2003)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – PG-13 for violence and some language
DIRECTOR: F. Gary Gray
WRITERS: Donna Powers and Wayne Powers (based on the 1969 screenplay by Troy Kennedy-Martin)
PRODUCER: Donald De Line
CINEMATOGRAPHER: Wally Pfister (D.o.P.)
EDITORS: Richard Francis-Bruce and Christopher Rouse
COMPOSER: John Powell
Black Reel Award winner

ACTION/CRIME with elements of a thriller

Starring: Mark Wahlberg, Charlize Theron, Edward Norton, Donald Sutherland, Jason Statham, Seth Green, Mos Def, Franky G, Gawtti, and Shawn Fanning

The subject of this movie review is The Italian Job, a 2003 heist film from director F. Gary Gray. It is a remake of the 1969 film, The Italian Job, which starred Michael Caine and was directed by Peter Collinson.

The current version is quite entertaining, but a bit on the sedate side. Perhaps, the filmmakers mistook a low-key approach and a low wattage use of pyrotechnics as being cerebral. It’s not necessarily slow, but TIJ is an action movie meant for the kind of people who prefer action crime thrillers like Out of Sight and Ronin. Because I really liked those two films, I heartily recommend this one.

Career thief John Bridger (Donald Sutherland) and his protégé Charlie Croker (Mark Wahlberg) plan a successful heist of $35 million in gold in Venice, Italy. One of their crew, the slick and violent Steve (Edward Norton), however betrays them, kills Bridger, and steals the gold. Croker tracks Steve to Los Angeles where he’s living it up. Seeking revenge and the return of the gold, he convinces Bridger’s daughter Stella (Charlize Theron), a legitimate, professional safe cracker, to join him and his crew on a mission against Steve. The team plans to pull of the heist of their lives by creating L.A. largest traffic jam ever.

Director F. Gary Gray (Friday, Set it Off) might not stand head and shoulders above the current large group of technically talented film helmsman, but he has found his niche by producing entertaining and occasionally masterful crime thrillers. As laid back as The Italian Job seems, Gray gives each scene some special twist or essence that kept me watching. I was never bored, and I really enjoyed the film. Maybe Gray playing down loud explosions and kinetic editing is a good thing. He can certainly direct excellent helicopter/car chases, and he makes good use of a diverse cast of character actors, a pretty lead actress, and a solid leading man in Mark Wahlberg.

6 of 10
B

NOTES:
2004 Black Reel Awards: 1 win: “Film: Best Director” (F. Gary Gray); 2 nominations: “Best Film” (Donald De Line) and “Film: Best Supporting Actor” (Mos Def)

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

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

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

ROMANCE/COMEDY/DRAMA

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

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

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

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

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

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

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

8 of 10
A

Monday, November 26, 2012

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Review: Norton is the Star in "PRIMAL FEAR" (Happy B'day, Edward Norton)

TRASH IN MY EYE No. 06 (of 2004) by Leroy Douresseaux

Primal Fear (1996)
Running time: 129 minutes (2 hours, 9 minutes)
MPAA – R for brief grisly violence, pervasive strong language and a sex scene
DIRECTOR: Gregory Hoblit
WRITERS: Steve Shagan and Ann Biderman (based upon the novel by William Diehl)
PRODUCER: Gary Lucchesi
CINEMATOGRAPHER: Michael Chapman (D.o.P.)
EDITOR: David Rosenbloom
COMPOSER: James Newton Howard
Academy Award nominee

DRAMA/CRIME/THRILLER

Starring: Richard Gere, Laura Linney, Edward Norton, John Mahoney, Frances McDormand, Alfre Woodard, Terry O’Quinn, Andre Braugher, Steven Bauer, Joe Spano, Stanley Anderson, Maura Tierney, and Jon Seda

The subject of this movie review is Primal Fear, a 1996 courtroom drama and legal thriller starring Richard Gere and Laura Linney. The film is based on William Diehl’s 1993 novel, Primal Fear. This movie was also actor Edward Norton’s feature film debut, for which he earned a best supporting actor Oscar nomination.

I’ll begin with a minor spoiler warning, so skip to the second paragraph if you don’t want to know how the movie ends. I was thoroughly and completely happy that the murderer beats the system in the end; he was my hero throughout the movie. I enjoyed that he trumped the skuzzy and dishonest State’s Attorney John Shaughnessy (John Mahoney of TV’s “Fraiser”), who uses murder, intimidation, and lies to get his way like so many dirty people in district attorney and state’s attorney’s offices. Hooray to chaos! Damn the corrupt system! Now, on to the movie.

Richard Gere has spent the better part of three decades shining his lovely face in numerous films, although his skills as a thespian are usually in question, there is no doubt that he is a good movie star. He has an obvious, almost forced, charm, but he is also a charming rogue. He doesn’t bury himself in method acting; he simply plays the character as himself. It can be argued that no actress of similar skill and of similar shaky box office pedigree would continue to get choice projects, but then there’s Madonna.

In Primal Fear, Gere is the arrogant defense attorney Martin “Marty” Vail, and he just taken on the case of Aaron Stampler (Edward Norton) who has been arrested for the savagely murdering a popular bishop (Stanley Anderson). State’s Attorney Shaughnessy wants the death penalty, and he sends one of Marty’s former girlfriends and co-workers, Janet Venable (Laura Linney) to prosecute the case. Yes, Marty also has a history with the Shaughnessy, who was his boss not so long ago.

Gere is himself, and I can’t see any indication that this performance would standout amongst any others unless they were really bad. Laura Linney can certainly play the tough “cookie,” who roles with punches, taking anything life or ex-lovers have to throw her way. It’s always good to see the under utilized Alfre Woodard (as Judge Miriam Shoat) and John Mahoney is fun in practically anything.

Good performances by most of the cast aside, the scene stealing, showstopper is Edward Norton in this, his first film role. The fact of the matter is that Primal Fear is average potboiler without him. He so embodies his roles (he has more than one part, sort of) that you can’t help but be drawn into him. No matter what happens, you’re rooting for the boyish and obviously innocent and naïve country kid who was taken in and abused by the mean old city. He uses his entire body to become his character: gestures, facial expressions, hair, the way her wears his clothes, etc.

Director Gregory Hoblit, a director of episodic television, was lucky to have him. Norton transforms Hoblit’s film from a minor studio legal thriller that would have wound up in home video hell into something worth recommending to friends over and over again.

6 of 10
B

NOTES:
1997 Academy Awards: 1 nomination: “Best Actor in a Supporting Role” (Edward Norton)

1997 BAFTA Awards: 1 nomination: “Best Performance by an Actor in a Supporting Role” (Edward Norton)

1997 Golden Globes, USA: 1 win: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Edward Norton)

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Review: The Hulk is Incredible in "The Incredible Hulk"

TRASH IN MY EYE No. 29 (of 2008) by Leroy Douresseaux

The Incredible Hulk (2008)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for sequences of intense action violence, some frightening sci-fi images, and brief suggestive content
DIRECTOR: Louis Leterrier
WRITER: Zak Penn; from his screen story (based upon the comic book created by Stan Lee and Jack Kirby)
PRODUCERS: Avi Arad, Kevin Feige, and Gale Anne Hurd
CINEMATOGRAPHER: Peter Menzies, Jr. (D.o.P.)
EDITORS: Rick Shaine and John Wright

FANTASY/SUPERHERO/SCI-FI/ACTION/DRAMA

Starring: Edward Norton, Liv Tyler, Tim Roth, William Hurt, Tim Blake Nelson, Ty Burrell, Christina Cabot, Peter Mensah, and Lou Ferrigno

After the box office and critical disappointment that was the 2003 film, The Hulk, directed by Ang Lee (Brokeback Mountain), the people at Marvel Entertainment, which publishes Hulk comic books through Marvel Comics, believed that they could make a more successful Hulk flick. Five years later, Marvel Studios is making its own films from its comic book characters (like the recent box office smash, Iron Man). Now, Marvel finally has the chance to do the Hulk right, and Marvel certainly gets it right with The Incredible Hulk, a movie that offers a raging good time.

Hiding in Brazil, scientist Bruce Banner (Edward Norton) desperately hunts for a cure for the gamma radiation that has not only poisoned his cells, but when he becomes angry also transforms him into that unbridled, green force of rage, The Hulk. Banner lives in the shadows, cut off from the life he knew and the woman he loves, Betty Ross (Liv Tyler). Banner has been secretly corresponding with another scientist back in the U.S., but he accidentally alerts the U.S. military to his whereabouts. Soon, Banner’s old nemesis and Betty’s father, General Thaddeus “Thunderbolt” Ross (William Hurt), is leading a special operations force to capture Banner. Ross wants to dissect Banner until he learns the secrets inside him that turn him into the Hulk.

This time around, General Ross has the assistance of a Russian-born, British mercenary, Emil Blonsky (Tim Roth). When Ross and Blonsky find Banner upon his return to America to meet Betty, it starts a confrontation that leads to Banner becoming the Hulk. Determined to match the power of the Hulk, Blonsky agrees to submit his body to the same kind of weird science that created the Hulk. Now, Blonsky has turned himself into an “Abomination,” and heads to New York City for a final showdown with The Incredible Hulk.

The Incredible Hulk is an incredibly entertaining film… when the Hulk is onscreen. In that way, this movie is a bit strange. The dramatic bits – relationships, conflicts, dialogue – are very slow. There are times when The Incredible Hulk elicits neither interest nor disinterest. I found myself sitting in the theatre watching a movie, and I felt the same as if I were merely watching eggs boil.

Then, Mr. Hulk shows up, and The Incredible Hulk just freakin’ explodes with energy. When this green behemoth is onscreen, this movie is so much more fun. I could feel the power; it was as if the angrier the Hulk became, the more I enjoyed the movie. That’s scary, but maybe the secret to making a good Hulk movie is to make it scary. The Hulk is monster; unleashed and angry, he’s is destruction, damage, and devastation.

This untamed and fierce force of nature is the result of some great special effects and CGI work. They got it right. When the Hulk rages, flexes, and roars, we should be scared, and the visual effects guys gave the movie just what it needed. Yes, this CGI Hulk steals the show from the actors – especially Ed Norton, who is such a fine actor. Yet Norton doesn’t really get much traction in this film – especially considering that we’re here for the Hulk show. Evidence suggests that Norton is indeed upset that too much of his thespian magic was left out of the final cut of this film, so he can’t shine and has to take second place to a computer created character.

But The Incredible Hulk is really about… the Incredible Hulk. Boy does this green monster make the most of his onscreen time. The action is big, violent, and not so dumb that it can’t figure out a way to smash your head in.

7 of 10
B+

Sunday, June 15, 2008

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Review: "The Illusionist" Casts a Spell (Happy B'day, Jessica Biel)

TRASH IN MY EYE No. 36 (of 2007) by Leroy Douresseaux

The Illusionist (2006)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for some sexual and violent content
DIRECTOR: Neil Burger
WRITER: Neil Burger (based upon the short story “Eisenheim the Illusionist” by Steven Millhauser)
PRODUCERS: Michael London, Brian Koppelman, David Levien, and Bob Yari & Cathy Schulman
CINEMATOGRAPHER: Dick Pope, BSC
EDITOR: Naomi Geraghty
2007 Academy Award nominee

DRAMA/FANTASY/MYSTERY/ROMANCE

Starring: Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell, Eddie Marson, Jake Wood, Tom Fisher, Karl Johnson, Eleanor Tomlinson, and Aaron Johnson

The subject of this movie review is The Illusionist, a 2006 period drama written and directed by Neil Burger. Burger loosely bases his screenplay on “Eisenheim the Illusionist,” a 1989 short story by Pulitzer Prize-winner, Steven Millhauser.

When he was a boy, Eduard Abramovicz (Aaron Johnson) fell in love with the Duchess Sophie von Teschen (Eleanor Tomlinson) an aristocrat well above his social standing. Her parents kept them apart, so Eduard left his home and traveled the world. Early 1900’s, Eduard returns to Vienna as Eisenheim the Illusionist (Edward Norton), an extraordinary conjurer and master magician. During one of his performances, Eisenheim fatefully encounters the Duchess (Jessica Biel), now a beautiful young woman engaged to marry Crown Prince Leopold (Rufus Sewell). Eisenheim employs his powers to win back her love, which is not necessary, as she never stopped loving him.

While Sophie is smitten with Eisenheim, Leopold feels threatened by the stage magician’s strange tricks, and attempts to apply cold logic to expose what he sees as Eisenheim’s scams. Leopold, however, has a history of abusing his female companions, and his apparent assault of Sophie during a jealous rage pits him against the illusionist extraordinaire in a duel of authority and stage magic. Caught in the middle of Eisenheim and Leopold’s feud is Chief Inspector Walter Uhl (Paul Giamatti), who deeply admires Eisenheim’s skills, but must serve Leopold if he wishes to advance socially and politically.

In his film, The Illusionist, director Neil Burger uses a mesmerizing performance by two-time Oscar nominee Edward Norton (Primal Fear, American History X) to deliver an enchanting supernatural mystery tale full of forbidden romance, imperial politics, and dazzling magic. Burger and cinematographer Dick Pope use autochrome photography to take the recognizable world and transfer it to the realm of mystery where everything is beautiful, but also has a disturbing undertone. Director and cinematographer saturate the world of The Illusionist in gold and green and then, allow the shadows to play ever so slightly on the edges of the picture’s frame. It’s a unique look that heightens the sense of magic, mystery, dreams, and that feeling of an otherness – the paranormal.

Not only did Burger build an enthralling world with his creative staff, but he also allowed his actors to play, guiding their considerable talents into selling this narrative. Paul Giamatti is excellent as the Chief Inspector Uhl, who admires Eisenheim, but is trapped between a rock and a hard place as Leopold’s strong-arm man. Giamatti wears his emotions on his face quite well – obvious, but with subtlety and grace, so he lets us see the struggle. Uhl admires Eisenheim even as he must control him. Sewell is super intense as Leopold, and he also allows to the audience to see the brilliant mind behind the face of a man with control issues. Jessica Biel is tolerable, but even her best moments seem weak compared to everyone else.

Still, this movie’s star is Edward Norton. Intelligent and intense, Norton always brings an air of elegance to his performances. Truthfully, he’s just too damn talented, and the fire of his abilities can burn through a weekly structured film. Here, there is no such problem. Norton’s Eisenheim is dark and mysterious, and we are drawn to this handsome creature who seems to have dark forces at play behind his placid face and his genial smile. Norton never lets us truly know Eisenheim, but he draws us to the character like moths to the magician’s exquisite flame. In the end, The Illusionist leaves so many questions unanswered, and it is indeed a great film that makes the viewer love the magic, mystery, and the great unknown of that which is supernatural. Neither The Illusionist nor its star character will let us know how a magician does “it,” but that won’t stop the audience from being spellbound and loving both.

8 of 10
A

NOTES:
2007 Academy Awards: 1 nomination: “Best Achievement in Cinematography” (Dick Pope)

Friday, February 16, 2007

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Fight Club: David Fincher's Best Movie? Brad Pitt's Best Performance?

TRASH IN MY EYE No. 86 (of 2003) by Leroy Douresseaux

Fight Club (1999)
DIRECTOR: David Fincher
WRITER: Jim Uhls (based upon the novel of the same title by Chuck Palahniuk)
PRODUCERS: Ross Grayson Bell, Ceán Chaffin, and Art Linson
CINEMATOGRAPHER: Jeff Cronenweth
EDITOR: James Haygood
COMPOSERS: Dust Brothers (John King and Michael Simpson)
Academy Awards nominee

DRAMA/THRILLER with elements of action

Starring: Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf, Zach Grenier, and Jared Leto

Some films fans believe that the glamour of old Hollywood, or of the so-called Golden Age, is gone. True or not, there are young actors today that the camera loves as much as it did Humphrey Bogart or Greta Garb, such as Keanu Reeves, Tom Cruise, Gwyneth Paltrow, and Johnny Depp among others. Another star that the camera definitely loves is the talented and ambitious Brad Pitt.

In David Fincher’s (Se7en) Fight Club, Pitt plays the alluring stranger Tyler Durden who introduces a disillusioned spiritual brother Jack, who is also the film Narrator, (Edward Norton, American History X) to the living. Jack has a white color job, suffers from insomnia, and consumes expensive, brand name items to fill in the hole in himself and his life. Jack becomes Durden’s first convert to Fight Club, which rapidly grows into an underground cabal of restless, directionless GenX’ers and late Baby Boomers. The club meets in hidee-holes, and the members pummel each other to a bloody mess. Perhaps, it is because pain is life and life is pain. Perhaps, these young men, who never knew the Great Depression or life as a soldier/combatant in an international war, need to know pain and suffering. Maybe, through beating each other they get to be men with each other etc. blah, blah, blah.

During his career as a music video director, Fincher showed enormous promise as a filmmaker with his videos for Madonna: Express Yourself, Oh Father, and Vogue. The politics of studio filmmaking crushed his debut Alien3, but with Se7en and The Game, his potential to be one of the best visualists since Ridley Scott (Blade Runner) and David Lynch (Blue Velvet) was again show to audiences around the world.

This film by Fincher is as much visual and symbolic as it is literal. For all its notions of male empowerment and of cutting away the material trappings of a corrupted civilization, Fight Club really delineates spiritual conundrums and the struggles with identity. It is the visual equivalent of a novel, but the novel as art and literature. With all that camera weaving and dodging, Fincher is essentially writing a novel. What words do for a book, his camera makes images do for a film. The film digs deeper than just angry white boys. Why are they angry? When are they angry? How are they angry? What else is going on in the world of Fight Club? Fincher answers those questions and builds a complex structure of story and environment that becomes a film. While it is eye candy for the male in the vein of Pulp Fiction, Fight Club has visual layers and subtexts awaiting the ambitious viewer. Does it take music video directors and directors of commercial advertisements to realize that the story, the characters, and the setting are best conveyed visually in film because a movie is all about what’s on the screen?

Norton is very good; a talented actor he can play the gamut of human emotions, from extreme to subtle. Helena Bonham Carter (Wings of the Dove) is a very talented actress, but she’s often lost in supporting roles. Here, as love interest/sex partner, Marla Singer, her part is extraneous, but the camera loves her. Whatever should could have brought to enrich the story is lost. The true gift of this movie is Pitt as the puckish phantasm, Durden. Whenever he gets a good role, Pitt lights up the screen, and the movie surges with energy and vitality. Many filmmakers have wasted his good looks and great talent; Fincher takes full advantage of having him.

The film does have its flaws, notably Jack’s narration, (in addition to the short shrift of Marla), which is sometimes redundant when the visuals serve the same purpose. Some interesting characters end up as ciphers and aimlessly fill up screen time when they could have served a definite purpose. However, Fincher and screenwriter Jim Uhls have created a beautiful and surrealistic film that is, like successful artistic efforts in other mediums, a statement about the time in which it appears. And heck, Fight Club is just plain fun to experience.

8 of 10
A

NOTES:
2000 Academy Awards: 1 nomination: “Best Effects, Sound Effects Editing” (Ren Klyce and Richard Hymns)

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