Review: "TOP GUN: Maverick" Surpasses the Original and is Hugely Entertaining

TRASH IN MY EYE No. 34 of 2022 (No. 1846) by Leroy Douresseaux

Top Gun: Maverick (2022)
Running time:  131 minutes (2 hours, 11 minutes)
MPAA – PG-13 for sequences of intense action, and some strong language
DIRECTOR:  Joseph Kosinski
WRITERS:  Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie; from a story by Peter Craig and Justin Marks (based on characters created by Jim Cash & Jack Epps Jr.)
PRODUCERS:  Tom Cruise, Jerry Bruckheimer, David Ellison, and Christopher McQuarrie
CINEMATOGRAPHER:  Claudio Miranda (D.o.P.)
EDITOR:  Eddie Hamilton
COMPOSERS:  Lorne Balfe, Lady Gaga, and Harold Faltermeyer

DRAMA/ACTION/MILITARY

Starring:  Tom Cruise, Jennifer Connelly, Miles Teller, Bashir Salahuddin, Jon Hamm, Charles Parnell, Monica Barbaro, Lewis Pullman, Jay Ellis, Danny Ramirez, Glen Powell, Jack Schumacher, Manny Jacinto, Kara Wang, Greg Tarzan Davis, Jake Picking, Raymond Lee, Jean Louisa Kelly, Lyliana Wray, Ed Harris, Chelsea Harris, and Val Kilmer

Top Gun: Maverick is a 2022 action and military drama film directed by Joseph Kosinski and starring Tom Cruise.  The film is a direct sequel to the 1986 film, Top Gun.  Maverick focuses on a veteran U.S. Navy flight instructor ordered to transform a group of the Navy's top young aviators into a fighter squadron that can take on an impossible mission.

Top Gun: Maverick opens over three decades after the events of the first film.  Former “Top Gun” candidate, Captain Pete “Maverick” Mitchell (Tom Cruise) currently serves as a U.S. Navy test pilot.  Over his 33 years of service, he has purposely dodged promotion in order to continue flying for the Navy.  A stunt with the “Darkstar scramjet” program looks as if it is going to be the thing that finally gets Maverick grounded.  However, Admiral Tom “Iceman” Kazansky (Val Kilmer), commander of the U.S. Pacific Fleet, is Maverick's former rival and his friend.  Iceman saves Maverick from being grounded by giving him orders to return to where they first met, the United States Navy Strike Fighter Tactics Instructor program in San Diego, CA.

There, Maverick must train an elite group of 16 Top Gun graduates for a specialized mission – a dangerous and practically impossible mission.  However, there are plenty of ghosts from his past waiting for him there, including Penelope "Penny" Benjamin (Jennifer Connelly), Maverick's former lover, who is a single mother, a bar owner, and the daughter of a former admiral.

The most troubling ghost from Maverick's past, however, may be one of the young aviators he must train, Lieutenant Bradley “Rooster” Bradshaw (Miles Teller).  He is the son of Maverick's late best friend and RIO (Radar Intercept Officer), Nick “Goose” Bradshaw.  Maverick still blames himself for Goose's death during a training flight (as seen in Top Gun), and, in a way, so does Rooster, who also blames Maverick for hurting his career as an aviator.  As he pushes this elite group of aviators to test their limits and beyond, Maverick wonders if he may finally be grounded and fears that he may also end up causing the son's death as he believes he caused the father's death.

I don't like Top Gun.  I think that it is not a very well made film.  I love Top Gun: Maverick, which is a direct sequel to the original film and is intimately tied to it.  In a way, Maverick takes some of the best story elements of the first film and gives them dramatic heft, depth, weight, and a gravitas that they really did not have in the original.

Top Gun: Maverick is just all-around well made.  Joseph Kosinski does a much better job at directing the sequel than the late Tony Scott did with the original.  Maverick's screenplay, which like the original, is the result of several writers, nonetheless comes across like a seamless work produced by a single talented story mind.  The film editing is superb, so Maverick's editor, Eddie Hamilton, should also get an Oscar nomination next year, because the editors of the first film were Oscar-nominated for their … problematic work.  Even Maverick's musical score is better, although quite a bit of Harold Faltermeyer's music from the first film does make it into the sequel.

Top Gun: Maverick may also be Tom Cruise's best dramatic performance in over two decades.  Not only do his emotions seem genuine, but his emotional range is shocking.  Cruise has award-worthy moments in this film, especially a pivotal scene between Maverick and Iceman.  Cruise and Miles Teller also seem to work very well together, and Teller once again proves that he has some serious dramatic chops.  Jennifer Connelly, an Oscar-winner, as Penny, makes the most of what comes across as an extraneous token female character.  Actually, quite a few actors make the most of their roles and screen time in this surprisingly heartfelt and genuinely emotional film.

Top Gun: Maverick is, of course, an intense action-thriller with some amazing flight and combat scenes and sequences.  It kept me on the edge of my seat, worrying that one of the young pilots or Maverick would be killed in a crash or in combat.  And no, the filmmakers apparently did not use computer-generated effects for the flight scenes.  This is all advanced cameras, fighter planes, and human pilots, making the film a masterpiece of practical filmmaking and U.S. Navy flying.  Top Gun: Maverick surpasses Top Gun as a military-action film, and is something the first film was not, an emotionally resonate and real military drama.

Yes, it does seem to work a little too hard at pushing our buttons with dramatic conflict and melodrama.  But I honestly enjoyed the heck out of this film in a way that I did not expect – even after hearing so many good things before I saw it.  Top Gun: Maverick is … well, awesome, and this time, I really feel the need for speed and for more Top Gun.  And Tom Cruise still looks good on a motorcycle.

8 of 10
A
★★★★ out of 4 stars

Friday, May 27, 2022


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

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TRAILER: New "TOP GUN: Maverick" Official Trailer (3/29/2022)

After numerous delays, TOP GUN: MAVERICK, the long-awaited sequel to the 1986 box office hit, Top Gun, is set to arrive in theaters May 27th, 2022.  Star Tom Cruise returns to play one of his signature roles, that of test pilot, Captain Pete "Maverick" Mitchell.  On Tuesday, a new official trailer for the film debuted.  You can see it below:

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Titan Comics Announces A Prequel Graphic Novel to "Snowpiercer"

THE SNOWPIERCER SAGA CONTINUES WITH A BRAND NEW STORY FROM TITAN

Titan Comics and Statix Press are thrilled to announce Snowpiercer: Extinction, a brand-new prequel graphic novel set before the extinction incident that led to the events of the original Snowpiercer graphic novel trilogy.

Titan's next installment in the critically-acclaimed and award-winning Snowpiercer graphic novel saga will be released in in 2019, written by Matz (Triggerman, The Assignment), with art by the original Snowpiercer graphic novel artist Jean-Marc Rochette. Debuting alongside Titan's new graphic novel, the Snowpiercer franchise will also welcome the hotly-anticipated TV adaptation.

Set more than seven years after the world has become a frozen wasteland, the TV adaptation of Snowpiercer centers on the remnants of humanity who inhabit a gigantic, perpetually-moving train that circles the globe. Class warfare, social injustice and the politics of survival are questioned in this riveting television adaptation. The TV series, starring Jennifer Connelly (A Beautiful Mind) and Daveed Diggs (Hamilton, Black-ish), will air in the U.S. on TNT and internationally on Netflix (excluding China).

The series is a co-production of Tomorrow Studios  (a partnership between Marty Adelstein and ITV Studios) and Turner's Studio T, along with CJ Entertainment. The series is executive produced by Tomorrow Studios' Marty Adelstein (Hanna, Cowboy Bebop) and Becky Clements (Good Behavior, Hanna, Last Man Standing). Showrunner Graeme Manson (Orphan Black), Scott Derrickson (Doctor Strange) and the original film's Bong Joon Ho, Park Chan-wook, Lee Tae-hun and Dooho Choi are also executive producers on the series.

Titan's first groundbreaking series of Snowpiecer graphic novels, Snowpiercer: Escape (ISBN: 9781782761334) Snowpiercer: The Explorers (ISBN: 9781782761365), and Snowpiercer: Terminus (ISBN: 9781782767152) inspired the award-winning 2014 film, starring Chris Evans (Captain America), Tilda Swinton (Doctor Strange, We Need To Talk About Kevin), and John Hurt (Hellboy, V For Vendetta, Alien, Doctor Who).

Retailers can order Snowpiercer: Extinction from an upcoming edition of Diamond PREVIEWS.

To keep up-to-date with news about Snowpiercer join Titan Comics on Facebook or follow @comicstitan on Twitter.

For more information about Titan Comics, visit www.titan-comics.com


ABOUT TITAN PUBLISHING GROUP
Titan is the leading publisher of tie-in books, comics and graphic novels for movies, games and television―producing world-class titles in fiction and non-fiction categories. Publishing lines include illustrated art books, in-universe illustrated books and fiction prequels, novelizations and continuity original stories, as well as comics and graphic novels from the world's great­est licensed properties, alongside creator-owned comic books from new and world-renowned talent.
ABOUT THE CREATORS:

Matz aka Alexis Nolent is a French writer. He writes scripts for videogames and has also written a novel and, under the Matz pen-name, a number of comics. His graphic novel, Du Plomb Dans La Tete, AKA Headshot was adapted into the 2012 film, Bullet to the Head. Recently, his graphic novel work with visionary director of The Warriors, Walter Hill, has been translated by Hard Case Crime – Triggerman and The Assignment.

Jean-Marc Rochette is a painter, illustrator and cartoonist. He has worked across a variety of projects and genres, from science fiction comics to children's cartoons - and including adaptations of Voltaire's Candide and Homer's Odyssey - but Snowpiercer remains the work by which he is most popularly known.

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Review: "Labyrinth" Gets Better with Age

TRASH IN MY EYE No. 118 (of 2005) by Leroy Douresseaux

Labyrinth (1986)
Running time:  101 minutes (1 hour, 41 minutes)
MPAA – PG
DIRECTOR:  Jim Henson
WRITERS:  Terry Jones; from a story by Dennis Lee and Jim Henson
PRODUCERS:  Eric Rattray
CINEMATOGRAPHER:  Alex Thompson, B.S.C.
EDITOR:  John Grover
COMPOSER:  Trevor Jones
SONGS:  David Bowie
BAFTA Awards nominee

FANTASY/FAMILY with elements of adventure

Starring:  Jennifer Connelly, David Bowie, Toby Froud, Shari Weiser (Hoggle costume)/Brian Henson (Hoggle voice), Rob Mills (Ludo costume)/Ron Mueck (Ludo voice), David Goelz (voice), David Shaughnessey, Frank Oz (voice), Danny John-Jules, Shelley Thompson, Christopher Malcolm, and Kevin Clash

The subject of this movie review is Labyrinth, a 1986 British-American fantasy film directed by the late Jim Henson.  The film was written by Terry Jones from a story by Henson and Dennis Lee, although various writers contributed without receiving screen credit, including George Lucas (who was also an executive producer of the film), Elaine May, and Laura Philips.  In the film, a teen girl wishes her baby brother away and is then forced to travel through the Goblin King’s Labyrinth in order to save the infant.

Four years after the groundbreaking film, The Dark Crystal, appeared in theatres, Labyrinth was released early in the summer of 1986.  It was the last film directed by famed puppeteer and creator of “The Muppets,” the late Jim Henson’s (1936-1990).  Met with a cool reception at the box office, Labyrinth has gone on to find a large audience on home video, where children who were born long after the film first played in theatres can watch and enjoy it.

Tired of babysitting on yet another weekend night, Sarah (Jennifer Connelly), a teenager with an active imagination who loves to envision herself in fantasy worlds, calls on the goblins from her favorite book, Labyrinth, to take her baby stepbrother, Toby (Toby Froud) away.  What she doesn’t know is that goblins do exist in another world, and they hear her plea.  They take Toby, and Sarah finds herself face to face with Jareth the Goblin King (David Bowie) in her home.  He tries to dissuade her from following him back to his world, but she realizes that she must rescue her brother.

Following Jareth, she discovers that the Labyrinth itself guards Goblin City, in the middle of which sits Jareth’s castle.  Sarah must navigate the twisted maze of deception, full of strange, kooky, and menacing characters if she is to save Toby before the end of 13 hours or he will become a permanent resident of Goblin City.  To save Toby and outwit Jareth, Sarah befriends some of the goblins to aid her on her quest.  Can Sarah and her friends save Toby in time?

Labyrinth doesn’t have The Dark Crystal’s production values, but the creature costumes, makeup, and effects are very good.  In fact, the Goblins (designed by Brian Froud, the father of Toby Froud) are some of the most vividly imaginative creatures to populate a fantasy film.  The performances are good, not great; David Bowie sings the songs he composed for the film, and the tunes have the feel of most music and songs composed for fantasy films of the 1980’s, which is to say they work well enough for the film, even if they’d sound funky on the radio.

The film seems to meander quite often; the filmmakers obviously have the kind of ideas that would fit an epic film, but not enough of them.  Thus, Labyrinth at times feels like a wandering film; the filmmakers are just biding time until the stage the final confrontation between Sarah and Jareth, but to get a full-length film, they had to stretch the middle.  In fact, Labyrinth, because of the quality of its filmmaking, would today be a TV movie.  Still, this is fun to watch just to see the Jim Henson Company’s fabulous puppetry in action – always a good enough reason to watch any Jim Henson production.

6 of 10
B

NOTES:
1987 BAFTA Awards:  1 nomination: “Best Special Visual Effects” (Roy Field, Brian Froud, George Gibbs, and Tony Dunsterville)

Updated:  Friday, March 21, 2014


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

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Warner Bros. Sets "Winter's Tale" for Valentine's Day 2014

Warner Bros. Pictures Announces February 14, 2014 Release for Akiva Goldsman’s “Winter’s Tale”

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures has set a winter release date for “Winter’s Tale,” written and directed by Oscar®-winning screenwriter Akiva Goldsman (“A Beautiful Mind”) and based on the novel by Mark Helprin. The film, from Warner Bros. Pictures and Village Roadshow Pictures, will open in North America on February 14, 2014, with international dates to follow. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

Stated Fellman, “We look forward to unveiling ‘Winter’s Tale’ as Akiva’s directorial debut. It features a remarkable roster of acting talent and a sweeping, romantic story that’s ideally suited for the holiday play period.”

“With its pedigree and stellar international cast, this epic, moving tale will have broad appeal overseas,” said Kwan Vandenberg. “The February date provides us a strong corridor in which to launch the film worldwide.”

Set in a mythic New York City and spanning more than a century, “Winter’s Tale” is a story of miracles, crossed destinies, and the age-old battle between good and evil.

The film stars Colin Farrell (“Total Recall”), Jessica Brown Findlay (TV’s “Downton Abbey”), and Oscar® winners Jennifer Connelly (“A Beautiful Mind”), William Hurt (“Kiss of the Spider Woman”), Eva Marie Saint (“On the Waterfront”) and Russell Crowe (“Gladiator”). It also introduces young newcomers Ripley Sobo and Mckayla Twiggs (both from Broadway’s “Once”).

“Winter’s Tale” marks the directorial debut of Akiva Goldsman, who also wrote the screenplay, based on the acclaimed novel by Mark Helprin. Goldsman is also producing, with Marc Platt (“Drive”), Michael Tadross (“Sherlock Holmes”) and Tony Allard (Showtime’s “The Baby Dance”). Kerry Foster and Bruce Berman serve as executive producers.

The behind-the-scenes creative team includes five-time Oscar®-nominated director of photography Caleb Deschanel (“The Passion of the Christ,” “The Patriot”), production designer Naomi Shohan (“Constantine,” “I Am Legend”), costume designer Michael Kaplan (“Mission: Impossible – Ghost Protocol,” “Star Trek”) and editors Wayne Wahrman (“I Am Legend”) and Oscar® nominee Tim Squyres (“Life of Pi,” “Crouching Tiger, Hidden Dragon”). The music is composed by Oscar® winner Hans Zimmer (“The Lion King,” “Inception,” “Man of Steel”).

A presentation of Warner Bros. Pictures, in association with Village Roadshow Pictures, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

Review: "Little Children" is Social Satire at Play (Happy B'day, Jackie Earle Haley)

TRASH IN MY EYE No. 87 (of 2007) by Leroy Douresseaux

Little Children (2006)
Running time: 137 minutes (2 hours, 17 minutes)
MPAA – R for strong sexuality and nudity, language, and some disturbing content
DIRECTOR: Todd Field
WRITERS: Todd Field and Tom Perrotta (based upon the novel by Tom Perrotta)
PRODUCERS: Albert Berger, Ron Yerxa, and Todd Field
CINEMATOGRAPHER: Antonio Calvache
EDITOR: Leo Trombetta
COMPOSER: Thomas Newman
2007 Academy Award nominee

COMEDY/DRAMA

Starring: Kate Winslet, Patrick Wilson, Jennifer Connelly, Gregg Edelman, Sadie Goldstein, Ty Simpkins, Noah Emmerich, Jackie Earle Haley, Phyllis Somerville, Helen Carey, and Mary B. McCann

The lives of several suburbanites who are struggling with satisfaction intersect on the streets of their small town in director Todd Field’s Little Children.

Little Children is a 2006 drama with darkly comic undertones from director Todd Field and starring Kate Winslet. The film is based on the 2004 novel of the same name by Tom Perrotta, who also co-wrote the film’s screenplay.

Sarah Pierce (Kate Winslet) is a young mother who doesn’t really know how to be a mother to her daughter, Lucy (Sadie Goldstein). She is dissatisfied with her husband, Richard (Gregg Edelman), so she starts an affair with stay-home dad, Brad Adamson (Patrick Wilson). Brad has failed the bar exam twice, much to the chagrin of his wife, Kathy (Jennifer Connelly), who while preoccupied with her career, still has time to suspect that Brad and Sarah are having an affair while using Lucy and their son Aaron (Ty Simpkins) as cover. Meanwhile, Ronnie J. McGorvey (Jackie Earle Haley), a child predator recently released from prison, has moved back in with his mother, May McGorvey (Phyllis Somerville), much to the consternation of his neighbors. The angriest resident is Larry Hedges (Noah Emmerich), a retired cop with a tragic past. Will Lyman, the voice of PBS’s “Frontline,” provides narration.

Fields seems to be of two minds in Little Children. For most of the first hour, Little Children is a satirical comedy about suburban dissatisfaction. It’s almost an anthropological study of suburbanites who are physically adults and who have taken on adult responsibilities, but who are really adolescents. The second half of Little Children is mostly a domestic drama that deals with the repercussions of immaturity, irresponsibility, and disloyalty to the nuclear family to which one belongs.

Chilling, smart, acerbic, poignant, and occasionally sly, Little Children takes a sharp look at suburban life without criticizing the lifestyle so much as it mocks how some live it. (Thanks in no small part to Will Lyman’s narration.) In that, Little Children is potent, but it has a glaring weakness. It drifts in the middle. Somewhere between transforming from a social satire to an edgy domestic drama, the narrative gets really soft. It’s enough to kill the film, before the edgy events of the second half take hold.

The performances are good, but Kate Winslet, who earned many award nominations for playing Sarah Pierce, is merely good, not great, which is good enough. (She doesn’t have to be great all the time.) On the other hand, Jackie Earle Haley makes the most of his relatively small role. He doesn’t make Ronnie a sex offender with a heart of gold. In fact, he isn’t shy about showing how dangerous Ronnie can be. Ultimately, what opens this film and what earned him so much praise, is how Haley reveals the struggle and frustrated anger that resides in a man who cannot grow a good future because he may be trapping himself in the poison ground of his dreadful, sinful past.

7 of 10
B+

NOTES:
2007 Academy Awards: 3 nominations: “Best Performance by an Actress in a Leading Role” (Kate Winslet), “Best Performance by an Actor in a Supporting Role” (Jackie Earle Haley), and “Best Writing, Adapted Screenplay” (Todd Field and Tom Perrotta)

2007 BAFTA Awards: 1 nomination: “Best Actress in a Leading Role” (Kate Winslet)

2007 Golden Globes, USA: 3 nominations: “Best Motion Picture – Drama,” “Best Performance by an Actress in a Motion Picture – Drama” (Kate Winslet), “Best Screenplay - Motion Picture” (Todd Field and Tom Perrotta)

Thursday, June 07, 2007

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Review: The First" Hulk" Movie: I Like it More Now Than When I Wrote This Review

TRASH IN MY EYE No. 94 (of 2003) by Leroy Douresseaux

The Hulk (2003)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for sci-fi action violence, some disturbing images and brief partial nudity
DIRECTOR: Ang Lee
WRITERS: John Turman, Michael France, and James Schamus, from a story by James Schamus (based upon the Marvel Comics character created by Stan Lee and Jack Kirby)
PRODUCERS: Avi Arad, Larry J. Franco, Gale Anne Hurd, and James Schamus
CINEMATOGRAPHER: Frederick Elmes
EDITOR: Tim Squyres
COMPOSER: Danny Elfman

SUPERHERO/SCI-FI/ACTION/DRAMA

Starring: Eric Bana, Jennifer Connelly, Sam Elliot, Josh Lucas, Nick Nolte, Paul Kersey, Daniel Dae Kim, Lou Ferrigno, and Stan Lee

The subject of this movie review is The Hulk, a 2003 superhero science fiction and action movie from director, Ang Lee. The film stars the Hulk, a Marvel comics superhero character created by Jack Kirby and Stan Lee and first appeared in The Incredible Hulk #1 (May 1962). The film explores the origins of the Hulk.

So is The Hulk a good movie, you might ask? And my answer is simply “no.” The film doesn’t even cut it as a second-rate summer thriller. This is not a joy ride. It’s a ponderous, lumbering…well, lumbering hulk of a picture, full of sound and fury signifying nothing – nothing on the screen and nothing left in the space in your wallet where that money was you spent to see this junk. There are a few good moments, emphasis on “few.”

The story goes thusly. Bruce Banner (Eric Bana) and his on-again/off-again girlfriend/scientist Betty Ross (Jennifer Connelly) are scientists working on a method of using nano-technology to cure injuries. Banner and Ross use gamma radiation to activate their so-called nanomeds once they’re inside the injured test subject, but one day Bruce is accidentally exposed to the gamma rays. To make things worse, Bruce is the byproduct of his father David’s (Nick Nolte’s) bizarre experiments when he was a child.

Combine the radiation with whatever weird crap Bruce’s father put in him and whenever Bruce gets mad (you won’t like him when he’s mad), he becomes the behemoth force of nature, The Hulk, a big green brute with a muscular body cut along lines any bodybuilder would kill for eight days a week. Of course, there’s the obligatory greedy scientist, Talbot (Josh Lucas), who wants to study the Hulk DNA for possible military applications. Talbot is also Bruce’s rival for some of Betty’s booty. And one more thing, Betty’s father General Ross (Sam Elliot) has to hunt the Hulk – keep it in the family.

Director Ang Lee and his cinematographer Frederick Elmes from Lee’s great film, The Ice Storm, turn the film’s photography into a series of kinetic moving pictures. They happily cut and divide the screen into multiple pictures and frames that mimic the panel grid of a comic book; sometimes the movie looks like a photo album or a photo collage. At best this is purely superficial, adding nothing to the story.

The most ironic thing about The Hulk is the tagline, “You wouldn’t like me when I angry.” It’s quite the opposite. The only time we really like the Banner character is when he is the Hulk. That’s the only time this morose, sullen, humorless picture has any life. Lee literally buries his film in the rubble of boring psychological struggles amongst the characters, in particular between the Banners. I was literally climbing the walls of the theatre. No one gives a damn about Banner’s evil daddy! Show us the Hulk. Lee races through scenes of The Hulk madly and wildly destroying his environment almost as if he were embarrassed to be making a monster movie. It’s as if actually showing a rampaging CGI Hulk is an unpleasant thing Lee had to do to appease his studio; then, it’s back to the real people and their mental and emotional baggage.

Dammit, we came to get down on some mindless fun. Who’s gonna like this? The kids? Hell, no. Even adults are going to be bored. If we wanted this much therapeutic confession and angst, we’d rent a Woody Allen movie. The Hulk comic book concept was a metaphor about the inherent and potential dangers of the atom bomb, not about bad daddies and emotionally distant sons. It’s like going to see an Austin Powers' film and discovering that Freud’s really the star this time.

I’ve seen three of Ang Lee’s films (Sense and Sensibility, The Ice Storm, Crouching Tiger, Hidden Dragon), and they were brilliant. This effort is beneath him. I can’t believe that the director who had so much fun with Crouching Tiger couldn’t have fun with The Hulk. Even the effects are only okay, but in an age when the SFX is supposed to “blow you away,” the Hulk effects just blow. The most interesting and exciting scene isn’t until the end of the film, and the final battle is so beyond being ridiculous that I’m not articulate enough to tell you just how lame it is. I can understand Lee’s desire to do a big budget, Hollywood, effects extravaganza, but that doesn’t mean he should let the film do him.

4 of 10
C

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Review: "House of Sand and Fog" is Filled with Conflict (Happy B'day, Jennifer Connelly)

TRASH IN MY EYE No. 101 (of 2004) by Leroy Douresseaux


House of Sand and Fog (2003)
Running time: 126 minutes (2 hour, 6 minutes)
MPAA – R for some violence/disturbing images, language and a scene of sexuality
DIRECTOR: Vadim Perelman
WRITER: Shawn Otto and Vadim Perelman (from a novel by Andre Dubus III)
PRODUCERS: Michael London and Vadim Perelman
CINEMATOGRAPHER: Roger Deakins
EDITOR: Lisa Zeno Churgin
COMPOSER: James Horner
Academy Award nominee

DRAMA

Starring: Jennifer Connelly, Ben Kingsley, Ron Eldard, Frances Fisher, Kim Dickens, Shohreh Aghdashloo, and Jonathan Ahdout

After being abandoned by her husband, Kathy Nicolo (Jennifer Connelly), an alcoholic, discovers that the county has foreclosed her home and put it up for auction. After the county discovers that the foreclosure was an error on their part, they try to buy the home back from the new owner, Colonel Behrani (Ben Kingsley), an Iranian military officer under the Shah (who was deposed by the Islamic revolution in the late 70’s). However, Behrani bought the house with the intention of selling it again at a profit, and he will not sell it back to the county unless he gets his asking price, which is four times what he paid for it. Thus, begins a conflict between Kathy and the colonel that has tragic consequences for all involved.

House of Sand and Fog is a well-acted mega-tragedy that switches from being harrowing and riveting to depressing and boring. The film is a brilliant rumination on how living in the past and failing to move on with one’s life can lead to both a figurative and literal death. However, it is also a painfully obvious, artsy movie drama racing down the slippery slope to film tragedy.

The film received three Academy Award nominations: Ben Kingsley for “Best Actor in a Leading Role,” Shohreh Aghdashloo for “Best Actress in a Supporting Role” for her part as Behrani’s wife, and one for James Horner’s gorgeous score. Although Kingsley and Ms. Aghdashloo did not win, they were clearly robbed. The rest of the cast stands out quite well (even prior Academy Award winner Jennifer Connelly), but Kingsley and Ms. Aghdashloo give impeccable performances in this relentlessly morose drama. In fact Kingsley is not only clearly a great film actor; he is also an artist, and when he’s in a film, his filmmaking collaborators’ efforts sometime end of up merely being the canvas upon which he paints his brilliant work.

I’ll recommend House of Sand and Fog to people who love to see good acting, if they can stomach this film’s heartache and misfortune. At least we can give director Vadim Perelman credit for so convincingly making sadness eye candy the way pop directors make action sequences so appealing.

7 of 10
B+

NOTES:
2004 Academy Awards: 3 nominations: “Best Actor in a Leading Role” (Ben Kingsley), “Best Actress in a Supporting Role” (Shohreh Aghdashloo), and “Best Music, Original Score” (James Horner)

2004 Golden Globes: “Best Performance by an Actor in a Motion Picture – Drama” (Ben Kingsley)

Review: "Blood Diamond" Has Strong Leads in DiCaprio and Hounsou (Happy B'day, Leonardo DiCaprio)

TRASH IN MY EYE No. 67 (of 2007) by Leroy Douresseaux


Blood Diamond (2006)
Running time: 143 minutes (2 hours, 23 minutes)
MPAA – R for strong violence and language
DIRECTOR: Edward Zwick
WRITERS: Charles Leavitt; from a story by C. Gaby Mitchell and Charles Leavitt
PRODUCERS: Edward Zwick, Marshall, Herskovitz, Paula Weinstein, Graham King, and Gillian Gorfil
CINEMATOGRAPHER: Eduardo Serra (D.o.P.)
EDITOR: Steven Rosenblum
2007 Academy Award nominee

ACTION/DRAMA/WAR

Starring: Leonardo DiCaprio, Jennifer Connelly, Djimon Hounsou, Michael Sheen, Arnold Vosloo, David Harewood, Basil Wallace, Ntare Mwine, Jimi Mistry, and Kagiso Kuypers

Set during Sierra Leone’s bloody civil war in 1999, director Edward Zwick’s Blood Diamond blends challenging themes, social awareness, and riveting entertainment into a rip-roaring story about two different African men on a common quest. Along the way, Zwick creates a lovely thriller out of the devastating chaos of civil war in a Third World country.

While imprisoned, Danny Archer (Leonardo DiCaprio), an ex-mercenary from Rhodesia (now Zimbabwe) turned diamond smuggler, discovers that fellow inmate Solomon Vandy (Djimon Hounsou) may have found a large, rare pink diamond. Rebels had taken Solomon from his family and forced him to work in their diamond fields where he found the extraordinary gem. Solomon hid the diamond in hopes of retrieving it and using it to help his family escape their war torn country. Now, Solomon will also have to find the diamond to save his son, Dia (Kagiso Kuypers), who was taken by rebels and brainwashed into becoming a murderous child soldier.

Enter idealistic American journalist Maddy Bowen (Jennifer Connelly), in Sierra Leone to uncover the truth about conflict diamonds – diamonds used to finance war. Archer and Solomon have formed a reluctant partnership, with the former guiding the latter back to the buried diamond. Maddy uses her journalistic credentials to help the duo embark on a dangerous track through rebel held territory, although each member of this intrepid trio has his or her own agenda. Maddy wants the journalistic expose. Danny wants the diamond that will help him to finally leave Africa. Solomon is seeking something far more precious – his son.

Zwick turns in one of the top directorial efforts of 2006. He dresses his powerful polemic into a breathtakingly handsome travelogue through Africa, whose striking beauty is marred by horrific and mind-numbing violence. He creates a drama as engaging as any other about civil war, but Zwick makes it into an international social cause – to close the market for conflict diamonds. Zwick grabs the viewer by the heart with his gut-wrenching action and explosive violence. Then, he squeezes your heart to wring out the tears at the sight of such misery and despair and also at the sight of such devotion and kindness amidst the cruelty.

It helps that Zwick has a fine screenplay and story that is of the same epic proportions at just under two-and-a-half hours as a movie over three hours long. And the characters are so rich and well formed that even the script’s preachy dialogue that tends to show up sounds so much better coming out of the mouths of highly skilled actors. The cast brings a stunning sense of authenticity to the roles. For some of them, I could almost believe that they are the characters in the film.

Right now, I’m having a hard time believing that Leonardo DiCaprio has ever been better. He takes the whole cloth of the screenplay and creates in Danny Archer a real, living and breathing person. To hell with those who say that his white African dialect was weird. It sounds so real coming from him. He is Danny Archer; it’s in every word he says, every move he makes, and even in his eyes.

Djimon Hounsou isn’t very far behind. He is rapidly revealing that he is a great dramatic actor with the kind of power and stage presence for which we’ve usually only credit British actors of the Shakespearean stage of having. Hounsou is magnificent. I could make a movie just with him… on a stage empty of props and sets. Jennifer Connelly starts off rough, but her performance grows into the film just as Maddy Bowen starts to really feel Africa.

It’s great that Blood Diamond will make people aware of conflict diamonds, but the drama is so good that the film’s social conscious gets lost behind the beautiful fiction and sweeping storytelling. Blood Diamond is that thing for which movie lovers hope when they go to the theatre – a film with winning characters, a magnificent setting, and a great story. What more is there to say? It’s all on screen.

10 of 10

NOTES:
2007 Academy Awards: 5 nominations: “Best performance by an actor in a leading role” (Leonardo DiCaprio), “Best performance by an actor in a supporting role” (Djimon Hounsou), “Best achievement in editing” (Steven Rosenblum), “Best achievement in sound editing” (Lon Bender), and “Best achievement in sound mixing” (Andy Nelson, Anna Behlmer, and Ivan Sharrock)

2007 Golden Globes: 1 nomination: “Best Performance by an Actor in a Motion Picture – Drama” (Leonardo DiCaprio)

2007 Black Reel Awards: 1 win: “Best Supporting Actor” (Djimon Hounsou)

2007 Image Awards: 1 win: “Outstanding Supporting Actor in a Motion Picture” (Djimon Hounsou); 1 nomination: “Outstanding Motion Picture”

Monday, April 23, 2007

Review: "A Beautiful Mind" is Beautiful

TRASH IN MY EYE No. 24 (of 2002) by Leroy Douresseaux

A Beautiful Mind (2001)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for intense thematic material, sexual content and a scene of violence
DIRECTOR: Ron Howard
WRITER: Akiva Goldsman (based upon the book by Sylvia Nasar)
PRODUCERS: Brian Glazer and Ron Howard
CINEMATOGRAPHER: Roger Deakins
EDITORS: Dan Hanley and Mike Hill
Academy Award winner

DRAMA with elements of mystery and romance

Starring: Russell Crowe, Ed Harris, Jennifer Connelly, Christopher Plummer, Paul Bettany, Adam Goldberg, Josh Lucas, Anthony Rapp, Jason Gray-Stanford, and Judd Hirsch

A Beautiful Mind is based upon the real life story of John Forbes Nash, Jr. (Russell Crowe), a math prodigy, who goes on to win the Nobel Prize after years of struggling with schizophrenia. The handsome and arrogant Nash made an astonishing discovery early in his career and also meets his wife Alicia (Jennifer Connelly). On the brink of international fame, his world falls apart when he succumbs to mental illness. With the help of his wife, he struggles to regain his career and his social life and to be a husband and father to his wife and child.

Directed by Ron Howard, A Beautiful Mind is an engaging and riveting biopic that runs the gamut of emotions from elation to revulsion and from despair to hope. It is earnest and intense, playful and romantic, heartbreaking and life affirming. Not a biography in the art house mold, but a wonderful sort of middlebrow picture with a feel-good resolution for the masses, or at least those who are interested in Hollywood product that doesn’t involve SFX and titillation.

The artistry here is the performance of Russell Crowe. Increasingly a controversial figure hounded by the tabloids and infotainment news organizations, he has replaced Kevin Spacey as the actor of the moment. Here, he combines the best of his performances in The Insider (for which he earned an Academy Award nomination) and in Gladiator (for which he won an Academy Award) to portray John Nash – the paranoid hero of the former and the never-say-die leader of the latter. Since Romper Stomper, Crowe has been a mesmerizing screen presence, and he is at full wattage here.

He sells us on this movie, and we buy asking for more. When Nash is the shy boy, we yearn for him to get a woman. We thrill and laugh at Nash’s clumsy arrogance, and we enjoy his success. We cringe at his illness and hope against hope for his recovery. And who couldn’t, at least, almost shed tears when Nash’s peers and the Nobel committee honor him.

Ron Howard does good work here, and Ms. Connelly is pretty good as Alicia Nash, but this is Russell’s show, he can win the audience over. Since the twilight so-called Golden Age of studio pictures in Hollywood, there have been so few real, masculine men in movies. Some of them, post Golden Age are not great actors, and some that are, don’t have the box office draw. Crowe is all man, a fine actor, and a box office draw.

He’s an artist. He attracts the audience to Nash using every part of himself – in his gestures and the way he moves his body. We can believe Crowe is Nash in the way it seems that Crowe really loves mathematics. His face is a tapestry of emotions that are so convincing and so important to selling the scene, so layered and three-dimensional that were transported into the movie. We live and suffer vicariously with Crowe’s Nash.

For the haters out there, the best is yet to come. Things about the real Nash’s past that were left out of this film don’t matter one wit in respect to Crowe’s amazing performance. No disrespect to his collaborators, but A Beautiful Mind is all his.

8 of 10
A

NOTES:
2002 Academy Awards: 4 wins: “Best Picture” (Brian Grazer and Ron Howard), “Best Actress in a Supporting Role” (Jennifer Connelly), “Best Director” (Ron Howard), and “Best Writing, Screenplay Based on Material Previously Produced or Published” (Akiva Goldsman); 4 nominations: “Best Actor in a Leading Role” (Russell Crowe), “Best Editing” (Mike Hill and Daniel P. Hanley), “Best Makeup” (Greg Cannom and Colleen Callaghan), and “Best Music, Original Score” (James Horner)

2002 BAFTA Awards: 2 wins: “Best Performance by an Actor in a Leading Role” (Russell Crowe) and “Best Performance by an Actress in a Supporting Role” (Jennifer Connelly); 3 nominations: “Best Film” (Brian Grazer and Ron Howard), “Best Screenplay – Adapted” (Akiva Goldsman) and “David Lean Award for Direction” (Ron Howard)

2002 Golden Globes: 4 wins: “Best Motion Picture – Drama,” “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Jennifer Connelly), and “Best Screenplay - Motion Picture” (Akiva Goldsman); 2 nominations: “Best Director - Motion Picture” (Ron Howard) and “Best Original Score - Motion Picture” (James Horner)

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Review: "Requiem for a Dream" is Perhaps the Best Picture of 2000

TRASH IN MY EYE No. 59 (of 2005) by Leroy Douresseaux

Requiem for a Dream (2000) – NC-17 version
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for intense depiction of drug addiction, graphic sexuality, strong language, and some violence (edited version)
DIRECTOR: Darren Aronofsky
WRITERS: Hubert Selby, Jr. and Darren Aronofsky (from the by Hubert Selby, Jr.)
PRODUCERS: Eric Watson and Palmer West
CINEMATOGRAPHER: Matthew Libatique
EDITOR: Jay Rabinowitz
Academy Award nominee

DRAMA/CRIME with elements of horror

Starring: Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans, Christopher McDonald, Louise Lasser, Ajay Naidu, Te’ron A. O’Neal, Denise Dowse, and Keith David

With films like Gladiator, Crouching Tiger, Hidden Dragon, and Traffic taking all the attention in 2000, it was easy for a far superior work of cinematic art to get lost, but hopefully serious film watchers will discover Darren Aronofsky’s brilliantly filmed tale, Requiem for a Dream, on home video and DVD. Like Ang Lee’s work in Crouching Tiger, Aronofsky’s effort in his film is a dizzying achievement of directorial achievement, though on a smaller scale.

The film follows four drug addicts living in Brighton Beach, in the shadow of the crumbling Coney Island amusement park. A mother, her son, and his two friends find their drug-induced utopias slowly destroyed, as their addictions grow stronger. Sara Goldfarb (Ellen Burstyn) is a lonely television-obsessed widow, who gets a call that she has a chance to be a game show contestant. Determined to fit in the red dress she wore to her son’s high school graduation (when her husband was still alive and seemingly the last time the family publicly showed a happy face), she sees a doctor about loosing weight in 30 days. He gives her three prescriptions, a mixture of speed and downers. Initially, Sara can’t adjust to what the speed does to her, but she soon adjusts to the jittery feelings it gives her. However, when her body adjusts and starts to crave the high, she begins to take too many of the pills. Before, all her anxieties (growing older, grieving for her late husband, worrying about her son’s life, loneliness, etc.) and her increasing dependency on drugs cause her to go over the edge mentally.

Meanwhile, Harry Goldfarb (Jared Leto), his girlfriend Marion Silver (Jennifer Connelly), and his best pal Tyrone C. Love (Marlon Wayans) are taking heroin and cocaine. Harry and Tyrone also start to make a lot of money dealing drugs, but a gang war dries up the dope supply and drives up the prices, making it difficult for the trio to get their fix. That in turn drives each of them to the depths of their souls and into the bowels of a cruel society that exploits their need.

The four leads are simple incredible; this is career defining work. Ms. Burstyn opens her soul to absorb the text and transforms it into a character that emits truth. Then, even more difficult, she has to bare her soul to the viewer, and her performance is so fierce and the character’s situation so scary that the combination could scorch your soul. Any Caucasian actor that would have given the kind of performance that Marlon Wayans gives here would have had the pick of heavyweight dramatic roles offered to him after Requiem; instead, filmgoers can only see him in lowbrow comedies. Jennifer Connelly also comes into her own here. She’s eventually win an Oscar for her supporting role in A Beautiful Mind, but Requiem was where she showed her ability to deliver in intense dramas. Jared Leto, as usual, shows how passionate he is about acting, especially building a character. He eats up the screen, and his presence is like sunburst on film.

Aronofsky and his collaborators used a number of in-camera effects with digital special effects, special cameras, and editing technique to create a world of drug addiction, hard core criminal activity, and institutional callous cruelty that is real as the flesh on your bones. However, Aronofsky isn’t alone in his talents. There are any number of great directors and skilled filmmakers who use tricks and techniques to make visually appealing, surprising, and shocking films. What makes this work stand out is that Aronofsky went to great limits to make you feel. Thus, you’ll love it or hate because Aronofsky pushes you inside Requiem for a Dream, and you can’t sit back. The viewer has to be involved, and he or she has to care. A viewer has no choice but to have a strong feeling by what he or she experiences via this truly engaging and gripping movie.

10 of 10

NOTES:
2001 Academy Awards: 1 nomination: “Best Actress in a Leading Role” (Ellen Burstyn)

2001 Black Reel Awards: 1 nomination: “Theatrical - Best Supporting Actor” (Marlon Wayans)

2001 Golden Globes: 1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Ellen Burstyn)

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