Review: "Murder on the Orient Express" 2017 is More Dark Than Cozy

TRASH IN MY EYE No. 6 of 2022 (No. 1818) by Leroy Douresseaux

Murder on the Orient Express (2017)
Running time:  114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for violence and thematic elements
DIRECTOR: Kenneth Branagh
WRITER: Michael Green (based on the novel by Agathie Christie)
PRODUCERS:  Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Michael Schaefer, and Ridley Scott
CINEMATOGRAPHER:  Haris Zambarloukos
EDITOR:  Mick Audsley
COMPOSER:  Patrick Doyle

MYSTERY

Starring:  Kenneth Branagh, Penelope Cruz, Willem Dafoe, Judi Dench, Olivia Colman, Daisy Ridley, Leslie Odom, Jr., Tom Bateman, Manuel Garcia-Rulfo, Josh Gad, Derek Jacobi, Sergei Polunin, Lucy Boynton, Marwan Kenzari, and Johnny Depp

Murder on the Orient Express is a 2017 mystery film directed by Kenneth Branagh.  It is based on the 1934 novel, Murder on the Orient Express, written by Agatha Christie (1890-1976).  Murder on the Orient Express the movie focuses on a celebrated detective who is recruited to solve a murder that occurs on a train in which he is traveling.

Murder on the Orient Express opens in 1934 and finds renowned Belgian detective, Hercule Poirot (Kenneth Branagh), in the midst of solving a case in Jerusalem.  When Poirot is ready to return to London, his friend, Bouc (Tom Bateman), the nephew of the director of the luxury Orient Express train service, arranges a berth for him aboard the train.

Poirot boards the train with Bouc and thirteen other passengers.  There is the talkative American widow, Caroline Hubbard (Lauren Bacall).  The English governess, Mary Debenham (Daisy Ridley), and physician, Dr. John Arbuthnot (Leslie Odom, Jr.), seem to be previously acquainted.  Spanish missionary, Pilar Estravado (Penelope Cruz), is prayerful.  American businessman, Edward Ratchett (Johnny Depp), is on a business trip with with his secretary/translator, Hector McQueen (Josh Gad), and his English manservant, Edward Masterman (Derek Jacobi).

There is a Cuban-American car salesman, Biniamino Marquez (Manuel Garcia-Rulfo).  Elderly Russian Princess Natalia Dragomiroff (Judi Dench) travels with her maid, Hildegarde Schmidt (Olivia Colman).  Hungarian Count Rudolf Andrenyi (Sergei Polunin) and his wife, Elena (Lucy Boynton), are always together.  Austrian university professor, Gerhard Hardman (Willem Dafoe), has theories about different “races” and nationalities.  The train's French conductor, Pierre Michel (Marwan Kenzari), attends to the passengers' numerous needs.

That first night, an avalanche derails the train.  The next morning, Poirot discovers that Edward Ratchett has been murdered and stabbed 12 times.  Poirot and Bouc begin investigating the passengers in order to discover Ratchett's killer, but this case will be quite trying for the esteemed Monsieur Poirot.  He does not lie, and this case may force him to do just that.

The first film adaptation of Agatha Christie's novel, Murder on the Orient Express (1974), was one of only two films adapted from her work that she liked.  [The other was the 1957 film, Witness for the Prosecution, which was based on Christie's 1953 play, The Witness for the Prosecution.]  In the first film, the late actor Albert Finney gives a tremendous performance as Hercule Poirot, one that earned him an Oscar nomination.  The 1974 film is a classic murder mystery film made classier and more artful by its stellar cast of stars from Hollywood films and international cinema.

Murder on the Orient Express 2017 is stylish and modern with plenty of production values created by computers.  Its cast is a mix of established stars, Oscar-winning actors, and up-and-coming talent.  The 2017 film is so stylish that it often comes across as too cold and too determined to be an Oscar-worthy period piece and costume drama.  Kenneth Branagh, as the film's director and as its leading star (playing Hercule Poirot), sometimes seems lost in the technical details of directing his showy, award-winning cast and in creating an eccentric, OCD, smarter-than-everyone-else detective.

However, Murder on the Orient Express 2017 really shows its power in the last thirty minutes of the film.  The 1974 film offered a tidy happy ending.  The 2017 offers a thoroughly messy happy ending that is more befitting of these troubled, modern times.  Branagh and writer Michael Green turn the last act's revelation of whodunit into an edgy, dark exercise.  Truth be told, dammit!  But it will be done so with all the rawness of grief and the bitterness and hatred of revenge.  No one gets out of this resolution unscathed, and the healing will likely leave painful scabs.

I like Murder on the Orient Express 2017.  I like that the ethnicity and national origins of the cast are more diverse than what is in the 1974 film and in the original novel.  I like that it plainly leaves us with the message that murder is murder – no matter how good the intentions are – and that pain will temporarily make killers of those who are not really killers at heart.  I wonder what Agathie Christie would think of this take on Murder on the Orient Express.

I like Murder on the Orient Express 2017 mainly because it decides not to be cozy about the murder mystery.  I hope the follow up to this film, the just released Death on the Nile, is also this aggressive.

7 out of 10
A-

Thursday, February 10, 2022


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

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Negromancer News Bits and Bites from September 17th to 23rd, 2017 - Update #24

Support Leroy on Patreon.

MOVIES - From ThePlaylist:  Bradley Cooper's remake of "A Star is Born," in which he co-stars with Lady Gaga, will arrive in theaters the summer of 2018.

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MOVIES - From THR:  Margot Robbie's Tonya Harding biopic, "I, Tonya," gets a release date that will qualify it for this year's Oscar race - December 8th.

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MOVIES - From Variety:  Ron Perlman talks about his early career and playing make-up heavy roles like Hellboy.

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MOVIES - From CinemaBlend:  "The Purge 4" announces new cast members.  A "Purge" TV series is also in the works.

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BLM - From YesMagazine:  NFL quarterback Colin Kaepernick may not have an NFL job, but his his national anthem protests remain strong in the NFL.

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MOVIES - From YahooEntertainment:  Stephen King would like you to give the film, "Cell," a chance.  It is the 2016 adaptation of his 2006 novel, Cell.  The movie flopped and received scathing reviews.

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MOVIES - From BleedingCool:  "Avatar 2" will reportedly begin filming Monday, September 25th.

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MOVIES - From YahooEntertaiment:  Linda Hamilton a.k.a. "Sarah Connor" is rejoining Arnold Schwarzenegger in James Cameron's "Terminator" reboot.

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CELEBRITY - From YahooLifestyle:  Halle Berry shares a photo of her new man, Alexander Grant, who is better known as "Alex Da Kid," the British songwriter and producer.

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TELEVISION - From Variety:  Lee Daniels is developing two new projects for Fox.

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ANIMATION - From Variety:  "The Croods 2," the sequel to DreamWorks Animation's 2013, Oscar-nominated hit, is back on schedule, September 18, 2020.

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MOVIES - From DVD.com:  Five films that influenced "L.A. Confidential," which is celebrating its twentieth anniversary.

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DISNEY - From Variety:  Judi Dench may join Kenneth Branagh's "Artemis Fowl" adaptation for Disney.

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OSCARS - From GoldDerby:  Cambodia has made Angelina Jolie's film, "First They Killed My Father," their "Foreign Language Film" entry in this year's Oscars race.

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NEWS - From YahooFinance:  Toys 'R' Us could go bankrupt within weeks.

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MOVIES - From Esquire:  What is known about the sequel to the current box office smash, "IT."

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MOVIES - From TheGuardian:  Liam Neeson says that he is retiring from action films.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 9/15 to 9/17/2017 weekend box office is "IT" with an estimated take of $60 million.

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EMMYS - From Deadline:  A list of 2017 Emmy winners - updated.

From YahooLifesytle:  Jane Fonda's faux-ponytail on the Emmy red carpet is freaking people out.

From GoldDerby:  The site has uncovered the complete ceremony rundown (the order in which the awards will be announced) for tonight's 2017 Primetime Emmy Awards.

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STREAMING - From Deadline:  A locations manager for the Netflix show, Narcos, was shot dead while scouting locations for the show.

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COMICS-FILM - From BleedingCool:  Jessica Chastain to produce and star in a movie based on the "Painkiller Jane" comic book.  The film has a writer, Christine Boylan.

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TELEVISION - From SlashFilm:  Fox is rebooting its 1994 film, "True Lies" (directed by James Cameron and starring Arnold Schwarzenegger) as a TV series.

OBIT:

From NewYorkDailyNews:  Boxing legend Jake LaMotta, whose nickname was "The Raging Bull," has died at the age of 95, Tuesday, September 19, 2017.  His life was recounted in Martin Scorsese's 1980 film, "Raging Bull," in which Robert DeNiro portrayed LaMotta in a performance that won him a best actor Oscar.

Review: First Trip to "The Best Exotic Marigold Hotel" Was Quite Lovely

TRASH IN MY EYE No. 16 (of 2015) by Leroy Douresseaux

The Best Exotic Marigold Hotel (2012)
COUNTRY OF ORIGIN: United Kingdom
Running time:  124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for sexual content and language
DIRECTOR:  John Madden
WRITER:  Ol Parker (based on the novel, These Foolish Things, by Deborah Moggach)
PRODUCERS:  Graham Broadbent and Peter Czernin
CINEMATOGRAPHER:  Ben Davis (D.o.P.)
EDITOR:  Chris Gill
COMPOSER:  Thomas Newman
Golden Globes nominee

COMEDY/DRAMA with elements of romance

Starring:  Judi Dench, Tom Wilkinson, Bill Nighy, Penelope Wilton, Maggie Smith, Ronald Pickup, Celia Imrie, Dev Patel, Tina Desai, Lillete Dubey, Paul Bhattacharjee, Neena Kulkarni, Rajendra Gupta, and Lucy Robinson

The Best Exotic Marigold Hotel is a 2012 British comedy-drama from director John Madden.  The film is based on the 2004 novel, These Foolish Things, from English author Deborah Moggach.  The Best Exotic Marigold Hotel focuses on a group of British retirees who travel to India to take up residence in a newly restored hotel that is not quite ready for prime time.

The Best Exotic Marigold Hotel opens in present day Great Britain and introduces a group of British retirees and AARP types.  Recently widowed housewife, Evelyn Greenslade (Judi Dench), is forced to sell the home she shared with her late husband in order to cover the huge debts he left.  Jean and Douglas Ainslie (Penelope Wilton and Bill Nighy) are searching for a retirement they can afford; they lost most of their savings through investing in their daughter's Internet business.

Muriel Donnelly (Maggie Smith) is a retired housekeeper who is need of a hip replacement operation.  Her doctor informs her that she can have it done far more quickly and inexpensively in India than she can in the U.K., but Muriel hates Indians (as well as every other person of color).  Madge Hardcastle (Celia Imrie) is searching for another husband.  Aging lothario Norman Cousins (Ronald Pickup) still wants to have sex with young women, but now, he needs to find a new place to try and re-capture his youth.  These six people decide to spend their retirement at a hotel in India, based only on the pictures on the hotel's website.

Meanwhile, high-court judge, Graham Dashwood (Tom Wilkinson), spent the first eighteen years of his life in India; he suddenly decides to retire and return there.  When these Brits arrive at The Best Exotic Marigold Hotel, they find it dilapidated.  The hotel's energetic young manager, Sunil Indrajit “Sonny” Kapoor (Dev Patel), promises that he will make the hotel look like what the website promises.  Now, everyone has to deal with the unexpected, and some are better at that than others.

The Best Exotic Marigold Hotel is simply frothy feel-good entertainment – nothing more, nothing less.  The characters are interesting, but not especially well-developed.  There are so many of them that screenwriter Ol Parker cannot really develop them in the amount of the film's running time that actually involves storytelling, which is less than its stated 100 minutes running time.

But, boy, did I enjoy this movie anyway.  The Best Exotic Marigold Hotel is sweet and charming, and its cast of veteran (some would say “senior citizen”) actors makes it a rare treat in a landscape of movies about children and 20-somethings saving the world.  Loving and wanting-to-be-loved are not exclusively the domain of lovelorn teens and the newly-turned middle-aged.  Yearning and striving for the good life:  well, old folks can want that, also.  That is why I am glad that this funny, heartwarming, and sometimes heartbreaking film is here to be enjoyed again and again.  The Best Exotic Marigold Hotel is a good place for movie lovers to visit or even to stay.

7 of 10
B+

Friday, March 27, 2015


NOTES:
2013 Golden Globes, USA:  2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Judi Dench)

2013 BAFTA Awards:  1 nomination: “Alexander Korda Award for Best British Film” (John Madden, Graham Broadbent, Peter Czernin, and Ol Parker)

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

Cate Blanchett Wins 2014 "Best Actress" Oscar

Performance by an actress in a leading role:

 Cate Blanchett in “Blue Jasmine” WINNER

Nominees:
Amy Adams in “American Hustle”
Sandra Bullock in “Gravity”
Judi Dench in “Philomena”
Meryl Streep in “August: Osage County”

2013 Women Film Critics Circle Awards - Complete List

The Women Film Critics Circle (WFCC) is an association of women film critics, who are involved in print, radio, online and TV broadcast media.  Founded in 2004, this group is the first women critics’ organization in the United States.

2013 Women Film Critics Circle Awards:

BEST MOVIE ABOUT WOMEN: Philomena
RUNNER UP: Mother Of George

BEST MOVIE BY A WOMAN: Enough Said, Nicole Holofcener
RUNNER UP: Inch' Allah, Anaïs Barbeau-Lavalette

BEST WOMAN STORYTELLER [Screenwriting Award]: Julie Delpy: Before Midnight
RUNNER UP: Nicole Holofcener, Enough Said

BEST ACTRESS: Judi Dench: Philomena
RUNNER UP: Barbara Sukowa: Hannah Arendt

BEST ACTOR: Chiwetel Ejiofor: 12 Years A Slave
RUNNER UP: Michael B. Jordan: Fruitvale Station

BEST YOUNG ACTRESS: Onata Aprile: What Maisie Knew
RUNNER UP: Waad Mohammed: Wadjda

BEST COMEDIC ACTRESS: Melissa McCarthy: The Heat
RUNNER UP: Greta Gerwig, Frances Ha

BEST FOREIGN FILM BY OR ABOUT WOMEN: Wadjda
RUNNER UP: Inch' Allah

BEST FEMALE IMAGES IN A MOVIE: Philomena
RUNNER UP: Girls In The Band

WORST FEMALE IMAGES IN A MOVIE: The Bling Ring
RUNNER UP: Machete Kills

BEST MALE IMAGES IN A MOVIE: 12 years A Slave: Chiwetel Ejiofor
RUNNER UP: Enough Said: James Gandolfini

WORST MALE IMAGES IN A MOVIE: Only God Forgives
RUNNER UP: Out Of The Furnace

BEST DOCUMENTARY BY OR ABOUT WOMEN: Stories We Tell
RUNNER UP: Girls In The Band

BEST SCREEN COUPLE: Before Midnight: Julie Delpy and Ethan Hawke

BEST THEATRICALLY UNRELEASED MOVIE BY OR ABOUT WOMEN: Hellen Mirren in Phil Spector
RUNNER UP: Pussy Riot: A Punk Prayer

BEST EQUALITY OF THE SEXES: Before Midnight
RUNNER UP: Enough Said

BEST ANIMATED FEMALES: Frozen
RUNNER UP: The Croods

BEST FAMILY FILM: The Wind Rises
RUNNER UP: Black Nativity

WOMEN'S WORK/BEST ENSEMBLE: Ginger & Rosa
RUNNER UP TIE: Winnie Mandela and August: Osage County

*SPECIAL MENTION AWARDS*

LIFETIME ACHIEVEMENT AWARD
EMMA THOMPSON: For her eclecticism in switching from period films to fantasy genre, to contemporary settings. And embodying all kinds of women with raw and pure interpretations.

ACTING AND ACTIVISM AWARD
CHARLIZE THERON: For her work for The Global Fund, and for starting the Charlize Theron Africa Outreach Project. Which educates young people about HIV/AIDS

COURAGE IN FILMMAKING
LAURA POITRAS: For bringing the Edward Snowden NSA revelations to light, driven into exile in Germany for doing so, and currently making a documentary about it.

*ADRIENNE SHELLY AWARD: (A film that most passionately opposes violence against women): Augustine
RUNNER UP: Lovelace

*JOSEPHINE BAKER AWARD: For best expressing the woman of color experience in America: 12 Years A Slave
RUNNER UP: Go For Sisters

*KAREN MORLEY AWARD: For best exemplifying a woman’s place in history or society, and a courageous search for identity: Winnie Mandela
RUNNER UP: Wadjda

COURAGE IN ACTING: [Taking on unconventional roles that radically redefine the images of women on screen]: Soko: Augustine

THE INVISIBLE WOMAN AWARD [Performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored]
Sandra Bullock: Gravity

BEST SONG: “Would You Bleed For Love” Jennifer Hudson, Winnie Mandela

MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR AWARD:
*Kristin Scott Thomas - Only God Forgives

JUST KIDDING AWARD: Best Male Images In A Movie: Last Vegas

*WFCC HALL OF SHAME*

Blue is the Warmest Color: I went in knowing almost nothing except general buzz but I hated the sex scenes which were way too long and midway thru I couldn’t wait to flee the theater. Coming out I read how many takes Kechiche required and I was thoroughly repulsed. Who was this for? Then I read the graphic novel and discovered that critical plot points were deleted. Like the fact that Adele’s parents find her in bed with Emma which is why she has to move out — and I was enraged. A three hour movie, and Kechiche is so busy salivating over his actresses that he can’t bother telling a coherent story. Hype for this film makes me nauseous!

Blue is the Warmest Color: It's so obvious a dude with a fetish directed this, it's not only unappealing, it's creepy. His overcompensating hubris isn't worth the praise this is receiving.

The Canyons: Women depicted as powerless and manipulative. Plus, the acting is horrid.

Captain Phillips: The whole might of the USA coming down on 3 starving Somalis?! Repulsive. When the obscenely beefy SEALS arrived and the audience started to cheer, I felt I was watching a “macho” director brainwash audience members into blindly accepting the worst stereotypes of jingoistic male behavior.

Dallas Buyers Club: Shame on Dallas Buyers Club for completely ignoring the LGBT as a group who drove the fight against AIDS to the forefront. The only time gays were mentioned was to let Matthew McConaughey's homophobic redneck character get a laugh at the expense of Jared Leto's transsexual character. The film made it seem as if the whole AIDS community stood on the shoulders of Ron Woodruff when in fact, groups like Act Up were starting the war for proper testing and more drugs way before Ron entered into the picture. It completely demeaned the backdrop Dallas Buyers Club was utilizing for their own characterizing "hero" agenda. Also the film took an extreme opinion against the AZT drug in favor for a plot line when in fact it was helping some patients. The only saving grace was Jared Leto's fantastic performance but unfortunately it wasn't enough.

Enough Already: Why is it that when actresses and even screen goddesses hit a certain age, they're all cast as nags, loons and shrews. No matter how accomplished any of these films may be, the tally of older actress shrewish nags on board is really high this year, as usual. Including Oprah Winfrey in The Butler, Meryl Streep and Julia Roberts in August: Osage County, Cate Blanchett and Sally Hawkins in Blue Jasmine, June Squibb in Nebraska, Kristin Scott Thomas in Only God Forgives, and Julianne Moore in Carrie. Refreshing exceptions being Judi Dench in Philomena, Yolonda Ross in Go For Sisters, and Mary Steenburgen in Last Vegas.

Gravity: The women in this group make meaningful choices each year so they speak for me in these areas, the lone exception being Sandra Bullock's performance in Gravity. She's a fine actress, but I found the character to be whiny, cowardly, and full of the wrong stuff - a damsel in distress who needed a man (even if it was just her imagination) to pull her out of danger. I can hardly believe they'd send someone so panicky into space. Give me Sigourney Weaver any day.

Les Salauds [Bastards]: All of the women in this film are depicted as complicit in their own oppression and exploitation. Though it’s a patriarchal system that they exist within, they refuse to fight for themselves or each other, even when a minor is involved. The indictment then is not of the men but of the women. I found this problematic and disappointing from Denis.

Spring Breakers: No depth, little plot and a pitiful depiction of today's college kids. Gratuitous in nothing more than flesh and violence. A grossly and dangerously skewed depiction of young women and their values in today's America.

*Please Note: The WFCC Top Ten Hall Of Shame represents the ‘don’t tell me to shut up’ sidebar contribution of individual members, and does not necessarily reflect the opinions of the entire Circle. Or may even dissent from an awarded nomination. Also, members may be objecting to particular characters in a film, and not the entire movie. Clarification: If an aspect of the movie is intentionally negative to make a point, rather than offensive, that is not under consideration for this category.

*ADRIENNE SHELLY AWARD: Adrienne Shelly was a promising actress and filmmaker who was brutally strangled in her apartment in 2006 at the age of forty by a construction worker in the building, after she complained about noise. Her killer tried to cover up his crime by hanging her from a shower rack in her bathroom, to make it look like a suicide. He later confessed that he was having a “bad day.” Shelly, who left behind a baby daughter, had just completed her film Waitress, which she also starred in, and which was honored at Sundance after her death.

*JOSEPHINE BAKER AWARD: The daughter of a laundress and a musician, Baker overcame being born black, female and poor, and marriage at age fifteen, to become an internationally acclaimed legendary performer, starring in the films Princess Tam Tam, Moulin Rouge and Zou Zou. She also survived the race riots in East St. Louis, Illinois as a child, and later expatriated to France to escape US racism. After participating heroically in the underground French Resistance during WWII, Baker returned to the US where she was a crusader for racial equality. Her activism led to attacks against her by reporter Walter Winchell who denounced her as a communist, leading her to wage a battle against him. Baker was instrumental in ending segregation in many theaters and clubs, where she refused to perform unless integration was implemented.

*KAREN MORLEY AWARD: Karen Morley was a promising Hollywood star in the 1930s, in such films as Mata Hari and Our Daily Bread. She was driven out of Hollywood for her leftist political convictions by the Blacklist and for refusing to testify against other actors, while Robert Taylor and Sterling Hayden were informants against her. And also for daring to have a child and become a mother, unacceptable for female stars in those days. Morley maintained her militant political activism for the rest of her life, running for Lieutenant Governor on the American Labor Party ticket in 1954. She passed away in 2003, unrepentant to the end, at the age of 93.

http://wfcc.wordpress.com/

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"12 Years a Slave" Named "Film of the Year" by London Critics' Circle

by Amos Semien

The London Film Critics’ Circle is part of a larger organization, The Critics’ Circle, which makes an annual award for Services to the Arts.  This circle is comprised of the five sections:  dance, drama, film, music, and visual arts.

The Critics’ Circle Film Section held its annual awards on Sunday night, February 2, 2014 at the May Fair Hotel.  The 34th London Critics’ Circle Film Awards featured sponsorship by The May Fair, Beluga, Novikov, Cameo, Audi, Innerplace and Publicity Media.

The big winner at the ceremony was 12 Years a Slave, which won awards for “Film of the Year,” “Actor of the Year” (Chiwetel Ejiofor), and “Supporting Actress of the Year” (Lupita Nyong'o).  The film's director, Steve McQueenc was on hand to collect the awards.

The Selfish Giant won two awards, “British Film of the Year” and “Young British Performer of the Year” (Conner Chapman).  Actor John Hurt introduced Gary Oldman who was presented with the Dilys Powell Award for Excellence in Film.

Full list of winners 2014 / 34th London Critics’ Circle Film Awards (for the year in film 2013):

Film of the Year: 12 Years a Slave

Foreign-language Film of the Year: Blue Is the Warmest Colour

Documentary of the Year: The Act of Killing

British Film of the Year: The Selfish Giant

Director of the Year: Alfonso Cuarón - Gravity

Screenwriter of the Year: Ethan Coen & Joel Coen - Inside Llewyn Davis

Actor of the Year: Chiwetel Ejiofor - 12 Years a Slave

Actress of the Year: Cate Blanchett - Blue Jasmine

Supporting Actor of the Year: Barkhad Abdi - Captain Phillips

Supporting Actress of the Year: Lupita Nyong'o - 12 Years a Slave

British Actor of the Year: James McAvoy - Filth / Trance / Welcome to the Punch

British Actress of the Year: Judi Dench - Philomena

Young British Performer of the Year: Conner Chapman - The Selfish Giant

Breakthrough British Filmmaker: Jon S Baird - Filth

Technical Achievement Award: Gravity - Tim Webber, special effects

Dilys Powell Award for Excellence in Film: Gary Oldman


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http://www.criticscircle.org.uk/

2013 British Independent Film Award Nominations Are Announced

Prison drama "Starred Up" leads with 8 nominations.

by Amos Semien

[I must admit that I am unfamiliar with all of those nominees - editor's note]

The British Independent Film Awards were created in 1998.  This film award celebrates merit and achievement in independently funded British filmmaking, honors new film talent, and promotes British films and filmmaking to a wider public.  The awards are currently sponsored by Moët & Chandon Champagne.

The winners will be announced at the 16th awards ceremony on Sunday, December 8, 2013 at the impressive Old Billingsgate in London.

The 16th Annual Moët British Independent Film Awards nominations:

BEST BRITISH INDEPENDENT FILM
Metro Manila
Philomena
The Selfish Giant
Starred Up
Le Week-end

BEST DIRECTOR
Jon S Baird – Filth
Clio Barnard – The Selfish Giant
Sean Ellis – Metro Manila
Jonathan Glazer – Under the Skin
David Mackenzie – Starred Up

THE DOUGLAS HICKOX AWARD [BEST DEBUT DIRECTOR]
Charlie Cattrall – Titus
Tina Gharavi – I Am Nasrine
Jeremy Lovering – In Fear
Omid Nooshin – Last Passenger
Paul Wright – For Those in Peril

BEST SCREENPLAY
Jonathan Asser – Starred Up
Clio Barnard – The Selfish Giant
Steven Knight – Locke
Hanif Kureishi – Le Week-end
Jeff Pope, Steve Coogan – Philomena

BEST ACTRESS
Judi Dench – Philomena
Lindsay Duncan – Le Week-end
Scarlett Johansson – Under the Skin
Felicity Jones – The Invisible Woman
Saoirse Ronan – How I Live Now

BEST ACTOR
Jim Broadbent – Le Week-end
Steve Coogan – Philomena
Tom Hardy – Locke
Jack O'Connell – Starred Up
James McAvoy – Filth

BEST SUPPORTING ACTRESS
Siobhan Finneran – The Selfish Giant
Shirley Henderson – Filth
Imogen Poots – The Look Of Love
Kristin Scott Thomas – The Invisible Woman
Mia Wasikowska – The Double

BEST SUPPORTING ACTOR
John Arcilla – Metro Manila
Rupert Friend – Starred Up
Jeff Goldblum – Le Week-end
Eddie Marsan – Filth
Ben Mendelsohn – Starred Up

MOST PROMISING NEWCOMER
Harley Bird – How I Live Now
Conner Chapman / Shaun Thomas – The Selfish Giant
Caity Lotz – The Machine
Jake Macapagal – Metro Manila
Chloe Pirrie – Shell

BEST ACHIEVEMENT IN PRODUCTION
Sponsored by Company3
A Field in England
Filth
Metro Manila
The Selfish Giant
Starred Up

BEST TECHNICAL ACHIEVEMENT
Shaheen Baig – Casting – Starred Up
Johnnie Burn – Sound Design – Under the Skin
Amy Hubbard – Casting – The Selfish Giant
Mica Levi – Music – Under the Skin
Justine Wright – Editing – Locke

BEST DOCUMENTARY
Pussy Riot - A Punk Prayer
The Great Hip Hop Hoax
The Moo Man
The Spirit of '45
The Stone Roses: Made of Stone

BEST BRITISH SHORT
L'Assenza
Dr Easy
Dylan's Room
Jonah
Z1

BEST INTERNATIONAL INDEPENDENT FILM
Blue is the Warmest Colour
Blue Jasmine
Frances Ha
The Great Beauty
Wadjda

THE RAINDANCE AWARD
Everyone’s Going to Die
The Machine
The Patrol
Sleeping Dogs
Titus


http://www.bifa.org.uk/

Review: "The Chronicles of Riddick" is Epic

TRASH IN MY EYE No. 95 (of 2004) by Leroy Douresseaux

The Chronicles of Riddick (2004)
Running time:  119 minutes (1 hour, 59 minutes)
MPAA – PG-13 for intense sequences of violent action and some language
DIRECTOR:  David Twohy
WRITER:  David Twohy (based upon characters created by Jim Wheat and Ken Wheat)
PRODUCERS:  Vin Diesel and Scott Kroopf
CINEMATOGRAPHER:  Hugh Johnson (D.o.P.)
EDITORS:  Martin Hunter and Dennis Virkler
COMPOSER:  Graeme Revell

SCI-FI/ACTION/ADVENTURE/FANTASY

Starring:  Vin Diesel, Colm Feore, Thandie Newton, Judi Dench, Karl Urban, Alexa Davalos, Linus Roache, Yorick van Wageningen, Nick Chinlund, and Keith David

The subject of this movie review is The Chronicles of Riddick, a 2004 science fiction and action-adventure film from writer-director David Twohy.  Starring Vin Diesel in the title role, this film is a sequel to the 2000 science fiction thriller, Pitch Black.

Five years after the incidents in the movie Pitch Black, the dark hero Riddick (Vin Diesel) is a hunted man, but mercenaries aren’t just hunting Riddick to send him back to prison.  A fellow survivor of Pitch Black, Imam (Keith David), seeks Riddick because the Imam’s home world needs Riddick’s kind of evil to fight evil.  In The Chronicles of Riddick, the title character takes on the world conquering Necromongers and their vicious, quasi-supernatural leader, the Lord Marshal (Colm Feore).  Apparently, the Lord Marshal and Riddick have a mutual past.  Riddick learns that his people were known as the Furians, and a prophecy said that the Lord Marshal would die at the hands of a Furian.  Thirty years after the Lord Marshal’s pogrom against the Furians, the most contrary and stubborn of them all, Riddick, comes looking for payback.

The Chronicles of Riddick isn’t by any means a great movie, but it’s rather a very entertaining macho movie.  Despite the sci-fi trappings, the film and its title character are basically throwbacks to the kind of action movies and muscular heroes that stomped the shit out silver screen bad guys in films like the Rambo, Die Hard, and Terminator franchises.  Visually, the production design is as dark as The Empire Strikes Back and The Crow, so TCOR is very much the work of talented artists, craftsman, and photographers and CGI artists.

Beyond that, director David Twohy has put together a fun film full of explosions and (relatively) gore free wrestling matches.  TCOR may look like a video game, but it’s futuristic fisticuffs in which the dark champion speaks with the force of muscular body and wins by guile and savvy.  Vin Diesel may not be a solid actor, but he’s game to throw testosterone around a movie set, and the lead doesn’t need to be a great actor when a fine stage actor like Colm Feore (he was the bad guy Andre Linoge in the TV mini-series Stephen King’s “Storm of the Century”) plays the villain.

I had a good (if not great) time, and when it comes down to it, The Chronicles of Riddick is a slugfest man’s movie for the guy who’ll watch any half decent action movie.  And this one is a lot better than half decent.  Some ladies might get a kick out of it, too.

7 of 10
B+

NOTES:
2005 Razzie Awards:  1 nomination: “Worst Actor” (Vin Diesel)

Updated:  Wednesday, August 14, 2013

Read the Pitch Black review and The Chronicles of Riddick: Dark Fury review.

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

Alliance of Women Film Journalists Choose "Zero Dark Thirty" as 2012's Best

2012 EDA Award Winners (from the Alliance of Women Film Journalists):

EDA ANNUAL ACHIEVEMENT AWARDS

Best Film
Zero Dark Thirty

Best Director
Kathryn Bigelow - Zero Dark Thirty

Best Screenplay, Original
Zero Dark Thirty - Mark Boal

Best Screenplay, Adapted
Argo - Chris Terrio

Best Documentary
Searching For Sugar Man - Malik Bendjelloul

Best Animated Film
ParaNorman

Best Actress
Jessica Chastain - Zero Dark Thirty

Best Actress in a Supporting Role
Anne Hathaway - Les Miserables

Best Actor
Daniel Day Lewis - Lincoln

Best Actor in a Supporting Role
Phillip Seymour Hoffman - The Master

Best Ensemble Cast
Silver Linings Playbook

Best Editing
Zero Dark Thirty - William Goldenberg, Dylan Tichenor

Best Cinematography
Life of Pi - Claudio Miranda

Best Film Music Or Score
Beasts of the Southern Wild - Dan Romer, Benh Zeitlin

Best Non-English-Language Film
Amour (from Austria)

EDA FEMALE FOCUS AWARDS – These awards honor WOMEN only.

Best Woman Director
Kathryn Bigelow - Zero Dark Thirty

Best Woman Screenwriter
Lucy Alibar (and Benh Zeitlin) - Beasts of the Southern Wild

Kick Ass Award For Best Female Action Star
Jennifer Lawrence - The Hunger Games

Best Animated Female
Brave - Merida - Kelly Macdonald

Best Breakthrough Performance
Quvenzhané Wallis - Beasts of the Southern Wild

Actress Defying Age and Ageism
Judi Dench - Skyfall

AWFJ Award For Humanitarian Activism - Female Icon Award —
(Presented to an actress for the portrayal of the most positive female role model, or for a role in which she takes personal and/or career risks to plumb the female psyche and therefore gives us courage to plumb our own, and/or for putting forth the image of a woman who is heroic, accomplished, persistent, demands her rights and/or the rights of others.)

Jessica Chastain - Zero Dark Thirty

This Year’s Outstanding Achievement By A Woman In The Film Industry
(Presented only when warranted to a female who has had a banner-making, record-breaking, industry-changing achievement during any given year — such as Kathryn Bigelow’s Best Director Oscar win, or for an actress having multiple outstanding films released during one year.)

Women Documentary Filmmakers, including Heidi Ewing and Rachel Grady (Detropia), Lauren Greenfield (Queen of Versailles), Alison Klayman (Ai Weiwei Never Sorry) and Sarah Burns (The Central Park Five).

EDA SPECIAL MENTION AWARDS

AWFJ Hall Of Shame Award
Sean Anders for That’s My Boy

Actress Most in Need Of A New Agent (Tie)
Katherine Heigl - One For The Money
Reese Witherspoon - This Means War

Movie You Wanted To Love But Just Couldn’t
Anna Karenina

Unforgettable Moment Award (Tie)
Les Miserables - Anne Hathaway as Fantine singing I Dreamed A Dream
Zero Dark Thirty - Jessica Chastain as Maya says, “I’m the mother…”

Best Depiction Of Nudity, Sexuality, or Seduction
The Sessions - Helen Hunt and John Hawkes

Sequel or Remake That Shouldn’t Have Been Made Award (Tie)
Red Dawn
Total Recall

Most Egregious Age Difference Between The Leading Man and The Love Interest Award
Flight - Denzel Washington and Kelly Reilly,..and Nadine Velazquez

Review: "Skyfall" is Among the Best Daniel Craig James Bond Films... so far

TRASH IN MY EYE No. 84 (of 2012) by Leroy Douresseaux

Skyfall (2012)
Running time: 143 minutes (2 hours, 23 minutes)
MPAA – PG-13 for intense violent sequences throughout, some sexuality, language and smoking
DIRECTOR: Sam Mendes
WRITERS: Neal Purvis, Robert Wade, and John Logan
PRODUCERS: Barbara Broccoli and Michael G. Wilson
CINEMATOGRAPHER: Roger Deakins
EDITORS: Stuart Baird with Kate Baird
COMPOSER: Thomas Newman
MAIN THEME: “Skyfall” performed by Adele and composed by Adele and Paul Epworth

ACTION/DRAMA/THRILLER

Starring: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Berenice Marlohe, Albert Finney, Ben Wishaw, Rory Kinnear, and Ola Rapace

Skyfall is a 2012 action movie and spy thriller. Directed by Sam Mendes (American Beauty), Skyfall is the 23rd film in the James Bond series. Actor Daniel Craig returns for his third outing as James Bond, agent 007. Skyfall finds Bond’s loyalty tested as the British Secret Intelligence Service comes under attack.

As the film opens, MI6 agents James Bond (Daniel Craig) and Eve Moneypenny (Naomie Harris) are in Turkey where they are tracking a killer named Patrice (Ola Rapace). This mercenary has in his possession a computer hard drive containing highly-sensitive information that belongs to the British, but the mission goes badly.

Later, Bond’s superior, M (Judi Dench), comes under political pressure to retire, even as MI6 comes under attack. With his credibility and ability to perform under question, Bond sets out to discover the identity of the attacker. What he finds is that M’s past has come back to haunt her in the form of a mysterious figure known as Raoul Silva (Javier Bardem). As 007 tracks down the threat, he finds himself facing his own past, but he must destroy that threat no matter how personal the cost.

I don’t think that there is much to say. Skyfall is good, and it is the best James Bond movie in recent memory, and certainly one of the best Bond films ever. It is well-directed with bracing action set pieces and thrilling scenes that, quite frankly, enthralled me. The performances are good, especially Javier Bardem as Raoul Silva; surely, he should at least be considered for an Oscar nomination.

The film is well-written, but I wouldn’t say that it is much better written than any of the other Daniel Craig Bond films. Most of the first hour of Skyfall is testament to brilliant spy thriller screenwriting. Once the film moves to London (because the story is resolved in Great Britain), it loses some of its mojo. It is not that Skyfall turns bad. It simply slows from a genius pop confection and transitions into a highly-skillful, espionage, shoot-‘em-up, action flick.

That’s not much of a fall, but it is still a step down from the near-perfection that opened Skyfall. Anyway, no one who has every enjoyed a James Bond film should miss this. Plus, I saw Skyfall in digital, and the picture sure was pretty.

8 of 10
A

Sunday, November 11, 2012

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Review: 2005 Take on "Pride & Prejudice" is a Winning Romance (Happy B'day, Keira Knightley)

TRASH IN MY EYE No. 103 (of 2006) by Leroy Douresseaux


Pride & Prejudice (2005)
COUNTRY OF ORIGIN: France/UK
Running time: 128 minutes (2 hours, 8 minutes)
MPAA – PG for some mild thematic elements
DIRECTOR: Joe Wright
WRITER: Deborah Moggach (from the novel by Jane Austen)
PRODUCERS: Tim Bevan, Eric Fellner, and Paul Webster
CINEMATOGRAPHER: Roman Osin (director of photography)
EDITOR: Paul Tothill
Academy Award nominee

ROMANCE/COMEDY/DRAMA

Starring: Keira Knightley, Rosamund Pike, Jena Malone, Talulah Riley, Carey Mulligan, Brenda Blethyn, Simon Woods, Matthew Macfadyen, Tom Hollander, and Donald Sutherland, Kelly Reilly, Tamzin Merchant, and Judi Dench

The subject of this movie review is Pride & Prejudice, a 2005 British romance film. This French-British production is an adaptation of Jane Austen’s novel, Pride and Prejudice, which was first published in 1813. The 2005 movie was the second time the book had been adapted as a feature film, while there have been numerous television adaptations, including a few in non-English speaking countries.

Mrs. Bennet (Brenda Blethyn) has five daughters: the radiantly beautiful Jane (Rosamund Pike, who is, of course, radiantly beautiful), the spirited Elizabeth or Lizzie (Keira Knightley), the feuding Mary (Talulah Riley) and Kitty (Carey Mulligan), and Lydia (Jena Malone), and the girls are well aware of their mother’s fixation on finding them husbands and securing their futures financially. Thus, begins a story of love, misunderstandings and class divisions in England in the 18th century.

The excitement and drama begins when a wealthy bachelor, Mr. Bingley (Simon Woods), takes up residence in a mansion near the Bennets’ home. Serene and beautiful, Jane catches the eye of Mr. Bingley. Meanwhile, Lizzie catches the eye of her distant cousin, Mr. Collins (Tom Hollander), who, as the nearest male relative, will inherit the Bennets’ home upon the death of Mr. Bennet (Donald Sutherland). Lizzie refuses his offer of marriage, with support of her father who dotes on her, but angers her mother.

Mr. Bingley has an even wealthier friend, the snobbish Mr. Darcy (Matthew Macfadyen). There is something between Lizzie and Mr. Darcy, but their many spirited and often quarrelsome encounters are not an encouragement for union. When Mr. Bingley abruptly leaves for London, Lizzie blames Mr. Darcy for contributing to what seemed like a likely marriage between Jane and Bingley. However, a crisis with the youngest daughter Lydia opens Lizzie’s eyes to what Mr. Darcy is really like. The fuss and confusion leaves no one unchanged, and forces each person to examine personal beliefs, but will it bring Mr. Bingley and Jane and Lizzie and Mr. Darcy together?

Working Title Films’ (Bridget Jones’s Diary, Love Actually) production of Pride & Prejudice is the first theatrical film version of Jane Austen’s classic 1813 novel in 65 years (since a 1940 film starring Greer Garson and Laurence Olivier). Director Joe Wright presents Austen’s novel of first impressions and the issues surrounding courtship and marriage among the landed gentry as a comic romance that satires the politics and procedures of engagements while still tugging at our heartstrings. If the film bears more than a striking resemblance to Ang Lee’s 1995 Jane Austen adaptation, Sense and Sensibility, it’s because Emma Thompson, who wrote and starred in that film, reportedly did extensive rewriting of Deborah Moggach’s screenplay for this film.

However, Sense and Sensibility was a somber drama with comic touches, while Pride and Prejudice is thoroughly romantic and comic. There are moments of serious contemplation and ugly class confrontation, but for the most part there’s comedy in the romantic goings-on. Dario Marianelli’s score, highlighted by lush and swirling piano melodies, capture both the mood of sweeping romance and sly comedy. The production values (costume, art direction, photography) juxtaposes the different environments: middle class and upper class, impeccably clean mansions and dusty middle class farmhouses with startling frankness that makes the audience understand how wide the division between classes was. It makes it easier to laugh at how Lizzie keeps missing the obvious about Mr. Darcy and at how Mr. Darcy seems so befuddled and clumsy for all that he shows arrogance and conceit on the surface. We can both laugh at and deeply appreciate Mrs. Bennet’s desperation in obtaining financial security for her daughters in the form of husbands who, if not well-to-do, have solid professions.

The performances are remarkable in that they fit a comedy so very well, although they would seem too light and flimsy were this straight drama. If Keira Knightley initially came across as wrong for the part in a Jane Austen adaptation, she proves that wrong. Her high-spirited, tomboyish persona and droll comic wit (which isn’t obvious unless you really pay attention to her in other movies) bring Lizzie to life as a fully realized, three-dimensional, rich character. Knightley understands the tone director Joe Wright set for his adaptation of Pride & Prejudice, and she meets it in this winning romance.

9 of 10
A+

NOTES:
2006 Academy Awards: 4 nominations: “Best Performance by an Actress in a Leading Role” (Keira Knightley), “Best Achievement in Art Direction” (Sarah Greenwood-art director and Katie Spencer-set decorator), “Best Achievement in Costume Design” (Jacqueline Durran), and “Best Achievement in Music Written for Motion Pictures, Original Score” (Dario Marianelli)

2006 BAFTA Awards: 1 win: “Carl Foreman Award for the Most Promising Newcomer” (Joe Wright-director); 5 nominations: “Alexander Korda Award for Best British Film” (Tim Bevan, Eric Fellner, Paul Webster, Joe Wright, and Deborah Moggach), “Best Costume Design” (Jacqueline Durran), “Best Make Up/Hair” (Fae Hammond), “Best Performance by an Actress in a Supporting Role” (Brenda Blethyn), and “Best Screenplay – Adapted” (Deborah Moggach)

2006 Golden Globes: 2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Keira Knightley)

Tuesday, May 16, 2006

Women Film Critics Favor "The Help" and "The Iron Lady"

The Women Film Critics Circle is an association of women film critics, who are involved in print, radio, online and TV broadcast media. Founded in 2004, this group is the first women critics’ organization in the United States.

2011 Women Film Critics Circle Awards:

BEST MOVIE BY A WOMAN
WINNERS: (tie) The Iron Lady and We Need To Talk About Kevin
Pariah
The Whistleblower

BEST MOVIE ABOUT WOMEN
WINNER: The Help
Albert Nobbs
Cracks
Rid Of Me

BEST WOMAN STORYTELLER - Screenwriting Award
WINNER: The Iron Lady [Abi Morgan]
In The Land Of Blood And Honey [Angelina Jolie]
Pariah [Dee Reese]
We Need To Talk About Kevin [Lynne Ramsay]

BEST ACTRESS
WINNER: Viola Davis: The Help
Jessica Chastain: The Debt/The Help
Meryl Streep: The Iron Lady
Tilda Swinton: We Need To Talk About Kevin

BEST ACTOR
WINNER: George Clooney: The Descendants
Jean Dujardin: The Artist
Tom Hardy: Tinker, Tailor, Soldier, Spy/Warrior
Ryan Gosling: Drive, The Ides Of March

BEST COMEDIC ACTRESS
WINNER: Melissa McCarthy: Bridesmaids
Katie O’Grady: Rid Of Me
Sarah Jessica Parker: I Don’t Know How She Does It
Kristen Wiig: Bridesmaids

BEST YOUNG ACTRESS
WINNER: Shailene Woodley: The Descendants
Jordana Beatty: Judy Moody
Liana Liberato: Trust
Amara Miller: The Descendants

BEST FOREIGN FILM BY OR ABOUT WOMEN
WINNER: The Hedgehog
A Separation
In The Land Of Blood And Honey
When We Leave

BEST FEMALE IMAGES IN A MOVIE
WINNER: The Whistleblower
Albert Nobbs
The Iron Lady
Soul Surfer

WORST FEMALE IMAGES IN A MOVIE
WINNER (?): Melancholia
Jack And Jill
My Week With Marilyn
Young Adult

BEST MALE IMAGES IN A MOVIE
WINNER: The Descendants
50/50
Meet Monica Velour
Of Gods And Men

WORST MALE IMAGES IN A MOVIE
WINNER (?): The Hangover 2
No Strings Attached
The Skin I Live In
Straw Dogs

BEST DOCUMENTARIES BY OR ABOUT WOMEN
WINNER: Always Faithful
The Price Of Sex
The Woman With The Five Elephants
Women Art Revolution

BEST FAMILY FILM
WINNER: Hugo
Judy Moody
The Muppets
The Adventures of Tintin

BEST ANIMATED FEMALES
WINNER: Puss N Boots 3D
Arthur Christmas
Gnomeo And Juliet
Kung Fu Panda 2

BEST EQUALITY OF THE SEXES
WINNER: The Debt
The Girl With The Dragon Tattoo
The Iron Lady
Midnight In Paris

COURAGE IN ACTING - Taking on unconventional roles that radically redefine the images of women on screen
WINNER: Glenn Close: Albert Nobbs
Josiane Balasko: The Hedgehog
Mimi Chakarova: The Price Of Sex
Tilda Swinton: We Need To Talk About Kevin

THE INVISIBLE WOMAN AWARD - Performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored
WINNER (tie): Miral: Hiram Abbass and Meeks Cutoff: Michelle Williams
Danai Gurira: 3 Backyards
Red Shirley

WOMEN’S WORK: BEST ENSEMBLE
WINNER: The Help
Albert Nobbs
Bridesmaids
The Whistleblower

BEST SCREEN COUPLE
WINNER: The Artist: Berenice Bejo and Jean Dujardin
Gnomeo And Juliet
The Iron Lady
Like Crazy

LIFETIME ACHIEVEMENT
WINNERS: (tie) Kathy Bates and Cicely Tyson
Hiam Abbass
Michelle Yeoh

ACTING AND ACTIVISM
WINNER: Elizabeth Taylor
Mia Farrow
Daryl Hannah
Alfre Woodard

ADRIENNE SHELLY AWARD - For a film that most passionately opposes violence against women
WINNER: The Whistleblower
In A Better World
In The Land Of Blood And Honey
Life, Above All

JOSEPHINE BAKER AWARD - For best expressing the woman of color experience in America
WINNER: The Help
America
Pariah
3 Backyards

KAREN MORLEY AWARD - For best exemplifying a woman’s place in history or society, and a courageous search for identity
WINNER: Albert Nobbs
The Conspirator
Meek’s Cutoff
Snow Flower And The Secret Fan

MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR AWARD
Judi Dench: J. Edgar

Review: Judi Dench is Fun in "Mrs. Henderson Presents" (Happy B'day, Judi Dench)

TRASH IN MY EYE No. 82 (of 2006) by Leroy Douresseaux


Mrs. Henderson Presents (2005)
COUNTRY OF ORIGIN: UK
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for nudity and brief language
DIRECTOR: Stephen Frears
WRITER: Martin Sherman
PRODUCER: Norma Heyman
CINEMATOGRAPHER: Andrew Dunn
EDITOR: Lucia Zucchetti
Academy Award nominee

COMEDY/DRAMA/MUSIC/HISTORICAL

Starring: Judi Dench, Bob Hoskins, Will Young, Kelly Reilly, Thelma Barlow, Michael Culkin, and Christopher Guest

After her husband Robert dies in 1937, Laura Henderson (Judi Dench) struggles to find a hobby to occupy her time, and one day, chance affords an opportunity when she passes by an old movie theatre on London’s West End. She buys the theatre and rebuilds it as The Windmill, a venue for musical theatre. Mrs. Henderson takes on a salty theatre manager and showman, Vivian Van Damm (Bob Hoskins), and together they make their show, a kind of musical theatre they call “Revudeville,” a hit, even if they are occasionally at odds with one another.

However, other theatres are soon copying The Windmill’s winning formula. It is then that Mrs. Henderson proposes an idea that has been in her heart for a long time – have nude actresses on stage (similar to what the Moulin Rouge in Paris does). That raises eyebrows, but the nude musical revue is an even bigger hit. But all isn’t happiness and sunshine; the show that Mrs. Henderson presents must struggle to go on as World War II arrives and the Germans bomb London.

Mrs. Henderson Presents, based on a true story, is a movie of two minds. The first 50 minutes or so of the film is a delightful comedy of manners, class divisions, creative differences, and musical theatre. The fest of the film is a dour, World War II drama that clunks about as if the filmmakers weren’t sure just what kind of “Masterpiece Theatre” movie this picture should be. Mrs. Henderson Presents is indicative of director Stephen Frears work – when he’s on (High Fidelity and Dirty Pretty Things), he’s really on, but when he stumbles, his films are uneven (The Grifters and Hero), and there’s a bit of both here.

A few things make this a good movie. There is a scene of full frontal nudity featuring Bob Hoskins. Sandy Powell’s colorful costumes are eye-catching, and I found myself always waiting to see what she’d give us next. The musical theatre (the songs more than the acting and dancing, although both are good) is fun and bubbly. Finally, Judi Dench delivers her usual stellar work. She’s witty and delightful and wields screenwriter Martin Sherman’s dialogue and character of Mrs. Henderson with the assurance of a master fencer. She’s just fun to watch, and her fans shouldn’t miss Mrs. Henderson Presents.

6 of 10
B

NOTES:
2006 Academy Awards: 2 nominations: “Best Achievement in Costume Design” (Sandy Powell) and “Best Performance by an Actress in a Leading Role” (Judi Dench)

2006 BAFTA Awards: 4 nominations: “Anthony Asquith Award for Film Music” (George Fenton), “Best Costume Design” (Sandy Powell), “Best Performance by an Actress in a Leading Role” (Judi Dench), and “Best Screenplay – Original” (Martin Sherman)

2006 Golden Globes: 3 nominations: “Best Motion Picture - Musical or Comedy,” “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Bob Hoskins), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Judi Dench)

Wednesday, April 19, 2006

"Pirates of the Caribbean: On Stranger Tides" a Good Trip

TRASH IN MY EYE No. 97 (of 2011) by Leroy Douresseaux


Pirates of the Caribbean: On Stranger Tides (2011)
Running time: 137 minutes (2 hours, 17 minutes)
MPAA – PG-13 for intense sequences of action/adventure violence and some frightening images
DIRECTOR: Rob Marshall
WRITERS: Ted Elliot and Terry Rossio; from a screen story by Ted Elliot and Terry Rossio (based upon characters created by Stuart Beattie, Jay Wolpert, and Ted Elliot and Terry Rossio; suggested by the novel, On Stranger Tides, by Tim Powers, and based upon Walt Disney’s Pirates of the Caribbean)
PRODUCER: Jerry Bruckheimer
CINEMATOGRAPHER: Dariusz Wolski (D.o.P.)
EDITORS: David Brenner, Michael Kahn, and Wyatt Smith
COMPOSER: Hans Zimmer

ACTION/FANTASY/ADVENTURE

Starring: Johnny Depp, Penelope Cruz, Geoffrey Rush, Ian McShane, Kevin McNally, Sam Clafin, Astrid Bergès-Frisbey, Stephen Graham, Richard Griffiths, Greg Ellis, Damian O’Hare, Judi Dench, and Keith Richards

Pirates of the Caribbean: On Stranger Tides is a 2011 fantasy adventure film and pirate movie. It is also the fourth movie in the film franchise that began with Pirates of the Caribbean: Curse of the Black Pearl in 2003. This film draws its inspiration from the 1987 historical fantasy novel, On Stranger Tides, by Tim Powers. On Stranger Tides the movie has the world’s most infamous pirates on a quest to find the Fountain of Youth.

After failing to rescue his first mate, Joshamee Gibbs (Kevin McNally), Captain Jack Sparrow (Johnny Depp) is taken before King George II of England (Richard Griffiths). The King forces Jack to guide an expedition to find the Fountain of Youth. Much to his chagrin, Jack discovers that his old nemesis, Captain Hector Barbossa (Geoffrey Rush), is heading the expedition.

Jack escapes and learns that someone is pretending to be him and is enlisting a crew for a rival expedition to find the Fountain. Then, he crosses paths with a woman from his past, the lovely Spaniard, Angelica (Penelope Cruz), and her father, the ruthless pirate, Blackbeard (Ian McShane), who uses voodoo magic and possesses supernatural powers and a magical sword. Kidnapped and taken aboard Blackbeard’s ship, the Queen Anne’s Revenge, Jack is forced to guide Blackbeard’s expedition to find the Fountain of Youth. This journey will take Jack places where nothing is as it seems and connect him with people who never tell the truth. And who is more dangerous – Blackbeard or Angelica?

I avoided going to the theatre this past summer to see Pirates of the Caribbean: On Stranger Tides because, quite frankly, I’d had enough of the franchise. I liked the first film; really hated the second (Dead Man’s Chest); and really liked the third (At World’s End), but I was exhausted of the repeated showings of the films, especially the second and third, on various cable networks.

The first good move the filmmakers made with On Stranger Tides was to strip it down of characters and elements. It’s still ostentatious and is still filled with big set pieces, big action scenes, and big characters, and there are actors willing to give the kind of loud performances that bring these flamboyant characters to life.

After saying that, I know that it is hard to believe that it is possible for this gaudy, immodest Hollywood franchise to be stripped down. However, only three characters from the earlier films return for On Stranger Tides: Jack Sparrow, Hector Barbossa, and Joshamee Gibbs. Rather than have several subplots stretched over multiple locales, On Stranger Tides focuses on Sparrow, Barbossa, Blackbeard, and Angelica’s quest to find the Fountain of Youth, which involves only three locales: England, the sea, and Whitecap Bay (the area where the Fountain can be found). Screenwriters Ted Elliot and Terry Rossio basically create a straight line from mission start, the quest, and the goal – beginning, middle, and end – without too much in the way of side stories or sidetracks.

I think the addition of two fine actors, Ian McShane and Penelope Cruz as Blackbeard and Angelica respectively, was the move that paid off most for On Stranger Tides. Both are good characters and they add freshness to this franchise. It is as if On Stranger Tides exists outside the other films, which is a good thing. The audience doesn’t need to have seen the other films to enjoy this one. Indeed, some may need to forget the first three in order to give this lively and entertaining, big budget flick the benefit of the doubt.

Pirates of the Caribbean: On Stranger Tides is everything you liked about the Pirates of the Caribbean franchise (exotic locales, eccentric characters, the supernatural, etc.) without a horde of characters. Now, there is no reason not to like it.

7 of 10
B+

Friday, November 25, 2011

Review: "Shakespeare in Love" is Always a Delight (Happy B'day, Gwyneth Paltrow)

TRASH IN MY EYE No. 215 (of 2004) by Leroy Douresseaux

Shakespeare in Love (1998)
Running time: 122 minutes (2 hours, 2 minutes)
MPAA – R for sexuality
DIRECTOR: John Madden
WRITERS: Marc Norman and Tom Stoppard
PRODUCERS: Donna Gigliotti, Marc Norman, David Parfitt, Harvey Weinstein, and Edward Zwick
CINEMATOGRAPHER: Richard Greatrex
EDITOR: David Gamble
Academy Award winner

ROMANCE/COMEDY/DRAMA

Starring: Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush, Colin Firth, Tom Wilkinson, Ben Affleck, Judi Dench, Martin Clunes, Simon Callow, Imelda Staunton, Nicholas Le Prevost, and Joe Roberts with Rupert Everett

When Gwyneth Paltrow won the Oscar for “Best Actress in a Leading role” at the 1999 Oscar ceremonies, few were surprised. When the picture in which she starred, Shakespeare in Love, won the “Best Picture” Oscar, jaws around the world dropped; after all, the film to beat was Steven Spielberg’s oh-so-important, Saving Private Ryan. Well, Shakespeare in Love did beat it. Years later, I still would pick Ryan over Shakespeare, but Shakespeare in Love is a much better movie going experience. The film also won Oscars for “Best Actress in a Supporting Role (Judi Dench), “Best Art Direction-Set Decoration,” “Best Costume Design,” “Best Music, Original Musical or Comedy Score,” and “Best Writing, Screenplay Written Directly for the Screen.”

What’s the story that captured the hearts and imaginations of moviegoers, film critics, and award givers? It’s 1593, and young playwright William Shakespeare (Joseph Fiennes) is a mess. He’s out of ideas, suffering writer’s block, entangled in too many romantic or lustful intrigues, living far way from his wife and children, and he’s out of money. As he struggles to finish his new play, a comedy with the awkward title, Romeo and Ethel the Sea Pirate’s Daughter, he accidentally discovers his muse in a new actor, Thomas Kent (Gwyneth Paltrow). When Kent runs away from his admiring stare, Will Shakespeare chases after him and discovers that Kent is a she, Viola de Lesseps (Ms. Paltrow), the daughter of a wealthy commoner. It’s love at first sight for the both of them, but Viola’s father (Nicholas Le Prevost) has promised his daughter’s hand in marriage to a penniless nobleman, Lord Wessex (Colin Firth).

However, the engagement doesn’t temper their love and they carry on a clandestine affair that leads to the stage. Will gives the part of Romeo to Viola, but her gender remains a secret to him, while the other actors and the backers of the newly renamed Romeo and Juliet believe their Romeo is played by Thomas Kent. (In Elizabethan England, women are not allowed on stage, boys and young men with high voices play the parts of women.) Soon Will and Viola’s affair and secret will be painfully revealed to the world and to her angry husband-to-be.

Shakespeare in Love is light and frothy, but quite entertaining; it is very likely a delight to those familiar with William Shakespeare and his plays. However, the film gives Will such a contemporary spin that even the least informed about Shakespeare may very well like this. Now, for those without a clue, they will have to rely on the filmmaking and storytelling. As a romance, the film often works like a romance novel, or at best, historical fiction: lots of heat, lots of hot lovemaking, and a bit too much overwrought dialogue that too many times comes close to being pure purple prose.

The acting by the leads Ms. Paltrow and Joseph Fiennes is good, but not great. Fiennes’s performance ranges from overdone and pretentious to flamboyant and yearning. Seriously, Ms. Paltrow’s performance is hardly award-winning material, but that’s never stopped Oscar. Still, there’s something about the two of them that makes this work. It’s that intangible element or chemistry that takes everything shoddy or overdone about this film and makes it such a tasty confection, that you’ll come back again and again, even if you keep thinking that there seems to be an awful lot of air packed into this movie ice cream.

There are some very good performances: Judi Dench, Tom Wilkinson, Geoffrey Rush, and Simon Firth. The music is quite good, sweet and pleasant to the ear. The production values give the viewer the sense that they have been transported to somewhere else, another world if not another time. Then again, that intangible something may be director John Madden who brought the ingredients together and made a dessert that deserves encore performances.

7 of 10
A-

NOTES:
1999 Academy Awards: 7 wins: “Best Picture” (David Parfitt, Donna Gigliotti, Harvey Weinstein, Edward Zwick, and Marc Norman), “Best Actress in a Leading Role” (Gwyneth Paltrow), “Best Actress in a Supporting Role” (Judi Dench), “Best Art Direction-Set Decoration” (Martin Childs and Jill Quertier), “Best Costume Design” (Sandy Powell), “Best Music, Original Musical or Comedy Score” (Stephen Warbeck) and “Best Writing, Screenplay Written Directly for the Screen” (Marc Norman and Tom Stoppard); 6 nominations: “Best Actor in a Supporting Role” (Geoffrey Rush), “Best Cinematography” (Richard Greatrex), “Best Director” (John Madden), “Best Film Editing” (David Gamble), “Best Makeup” (Lisa Westcott and Veronica McAleer), and “Best Sound” (Robin O'Donoghue, Dominic Lester, and Peter Glossop)

1999 BAFTA Awards: 3 wins: “Best Film” (David Parfitt, Donna Gigliotti, Harvey Weinstein, Edward Zwick, and Marc Norman), “Best Editing” (David Gamble), and “Best Performance by an Actress in a Supporting Role” (Judi Dench); 12 nominations: “Asquith Award for Film Music” (Stephen Warbeck), “Best Cinematography” (Richard Greatrex), “Best Costume Design” (Sandy Powell), “Best Make Up/Hair” (Lisa Westcott), “Best Performance by an Actor in a Leading Role” (Joseph Fiennes), “Best Performance by an Actor in a Supporting Role” (Geoffrey Rush), “Best Performance by an Actor in a Supporting Role” (Tom Wilkinson), “Best Performance by an Actress in a Leading Role” (Gwyneth Paltrow), “Best Production Design” (Martin Childs), “Best Screenplay – Original” (Marc Norman and Tom Stoppard), “Best Sound” (Peter Glossop, John Downer, Robin O'Donoghue, and Dominic Lester), and “David Lean Award for Direction” (John Madden)

1999 Golden Globes: 3 wins: “Best Motion Picture - Comedy/Musical,” “Best Performance by an Actress in a Motion Picture - Comedy/Musical” (Gwyneth Paltrow), and “Best Screenplay - Motion Picture” (Marc Norman and Tom Stoppard); 3 nominations: “Best Director - Motion Picture” (John Madden), “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Geoffrey Rush), and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Judi Dench)

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Review: "Iris" Blooms Through Powerful Performances (Happy B'day, Jim Broadbent)

TRASH IN MY EYE No. 27 (of 2002) by Leroy Douresseaux

Iris (2001)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – R
DIRECTOR: Richard Eyre
WRITERS: Charles Wood and Richard Eyre (based upon John Bayley’s books: Iris: A Memoir and Elegy for Iris)
PRODUCERS: Robert Fox and Scott Rudin
CINEMATOGRAPHER: Roger Pratt (D.o.P.)
EDITOR: Martin Walsh
COMPOSER: James Horner
Academy Award winner

DRAMA/ROMANCE

Starring: Judi Dench, Jim Broadbent, Kate Winslet, Hugh Bonneville, and Penelope Wilton

Iris is the story of the real lifelong romance between novelist Iris Murdoch and her husband John Bayley. The romance begins in their school days when Bayley was a professor at Oxford and Ms. Murdoch was young academic teaching philosophy, and the story ends when Ms. Murdoch succumbs to Alzheimer’s disease.

Directed by Richard Eyre, a veteran of British television movies, Iris unveils the story of Ms. Murdoch and Bayley’s love in snippets of time through the eyes of both characters, but in particular Bayley’s. Iris is an actor’s movie, and Eyre shows great skill in preparing the way for his cast. He lingers on the faces when appropriate, especially the eyes of such a talented cast, eye that say speak volumes. In some moments, he allows body movements and body language to communicate the story. And that is what Eyre is, a natural storyteller, allowing his players all the space they need on the stage to perform.

His cast is exquisite. Kate Winslet (Titanic), who earned an Academy Award nomination for Supporting Actress in the role of the young Iris, transforms herself into the young philosopher who has so much interest in words and in life. Although already a star, Ms. Winslet is so convincing that it is difficult to see her as the “star;” we see her instead as her character.

Academy Award winner Judi Dench (Shakespeare in Love) also earned a Best Actress nomination for playing the elder Ms. Murdoch, beset by Alzheimer’s. She magically and tragically transforms from national famous novelist to lost soul with subtlety and grace. The key moments of her losing battle with the disease are played out so carefully, you could almost miss them if not paying attention. It is not a flashy performance, but rather one that calls for talent and the skill with which to wield that talent. Ms. Dench mentally and physically decays before our eyes, so we share and understand the sad loss of Ms. Murdoch’s brilliant mind.

Not to dismiss Ms. Winslet and Ms. Dench, the most amazing work are the performances of Hugh Bonneville as the young Bayley and Jim Broadbent (Topsy-Turvy) as the elder Bayley; Broadbent won the Best Supporting Actor Academy Award for his role as John Bayley. Both men have an uncanny connection with the other that makes one’s performance a mirror of the other. Bonneville’s Bayley is perfectly awkward next to Ms. Winslet’s Ms. Murdoch, who is so spirited. The story of their unlikely romance is written on Bonneville’s face. He dominates his scenes, but allows Ms. Winslet to develop and to reveal her character, upon which Bonneville plays his. Not acclaimed like his colleagues, his performance is a treasure. Broadbent must make his Bayley from the doddering old man who let his wife take care of everything to the pillar of strength in the relationship. Like Ms. Dench’s, Broadbent’s transformation is equally subtle; when he has to support her, his performance radiates power. Like Ms. Murdoch, the audience must lean on Bayley so that the story remains coherent. Through Broadbent, the unlikely love gains legitimacy.

Iris is the art of acting and stage drama brought to the screen by four powerful talents and a director who has the sense to let the talent soar. In words, Ms. Murdoch became famous, and through words from the mouths of these true actors, we get to taste some of Iris Murdoch and John Bayley’s story.

8 of 10
A

NOTES:
2002 Academy Awards: 1 win: “Best Actor in a Supporting Role” (Jim Broadbent); 2 nominations: “Best Actress in a Leading Role” (Judi Dench) and “Best Actress in a Supporting Role” (Kate Winslet)

2002 BAFTA Awards: 1 win: “Best Performance by an Actress in a Leading Role” (Judi Dench); 5 nominations: “Alexander Korda Award for Best British Film” (Robert Fox, Scott Rudin, and Richard Eyre), “Best Performance by an Actor in a Leading Role” (Jim Broadbent), “Best Performance by an Actor in a Supporting Role” (Hugh Bonneville), “Best Performance by an Actress in a Supporting Role” (Kate Winslet), “Best Screenplay – Adapted” (Richard Eyre and Charles Wood)

2002 Golden Globes: 1 win: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Jim Broadbent); 2 nominations: “Best Performance by an Actress in a Motion Picture – Drama” (Judi Dench) and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Kate Winslet)

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Review: "Notes on a Scandal" is Delightfully Scandalous (Happy B'day, Cate Blanchett)

TRASH IN MY EYE No. 70 (of 2007) by Leroy Douresseaux


Notes on a Scandal (2006)
COUNTRY OF ORIGIN: UK
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – R for language and some aberrant sexual content
DIRECTOR: Richard Eyre
WRITER: Patrick Marber (based upon the book What was She Thinking: Notes on a Scandal by Zoë Heller)
PRODUCERS: Scott Rudin and Robert Fox
CINEMATOGRAPHER: Chris Menges
EDITORS: John Bloom and Antonia Van Drimmelen
2007 Academy Award nominee

DRAMA with elements of a thriller

Starring: Judi Dench, Cate Blanchett, Bill Nighy, Andrew Simpson, Juno Temple, Max Lewis, and Stephen Kennedy

Notes on a Scandal is a chance to see two of the world’s best actresses delivering tour de force performances. For people who love great acting and great actresses, this film is a treasure trove. It’s rare when two actors are this good in the same movie where the script requires them to perform together during most of the film. Together, Judi Dench and Cate Blanchett are enough to burn out your eyes.

Barbara Covett (Judi Dench) is a senior faculty member at St. George’s, a decaying, state-run secondary school. Lonely and bitter, she hasn’t connected with the rest of the faculty, but she rules over her class with an iron fist. Barbara does take an interest in the school’s newest faculty member, a pretty art teacher named Sheba Hart (Cate Blanchett). Sheba ends up in an illicit affair with, Steven Connolly (Andrew Simpson), a 15-year old male student.

After Barbara accidentally discovers this, she confronts Sheba, but promises not to tell if Sheba ends the affair. Barbara also plots to use this intimate secret as a way to coerce Sheba into having an affair with her, but when Sheba continues the relationship with Steven, things turn ugly. In a moment of blind jealousy, Barbara does something that will hurt all involved, including Sheba’s husband, Richard (Bill Nighy), and will also bring the secret deceptions and dark obsessions to the surface.

The sign of a quality movie director is his ability to recognize a significant movie script and then, be able to turn it over to great actors and help them bring forth great performances. Richard Eyre (who previously directed Judi Dench to an Oscar nomination in 2001’s Iris) is such a quality film director. Patrick Marber’s script encapsulates what it feels like to be alone even in a crowd of familiar people, including one’s on family, and that’s to say nothing of Marber’s treatise on people so lonely they victimize other people to satisfy their need for connection and companionship. (Sheba calls Barbara a vampire, late in the film) Eyre doesn’t lose the richness of either Marber’s rich narrative or his complex look at the potential selfishness of neediness.

In spite of the good directing and writing, many will remember Notes on a Scandal for the two tremendous performances that literally make and define this film. Indeed, over the years, other movie lovers will seek out Notes precisely to see why so many other fans will still be raving about Judi Dench and Cate Blanchett. Dench defines Barbara with a domineering presence, a powerful and direct voice, a demeanor that might give a mugger pause, and the haughty attitude to end haughty attitudes. She makes Barbara so dishonest in her dealings with people that she could give the Prince of Lies a run for his money. Dench intensely uses her skills and still manages to make Barbara feel genuine and authentic as a person.

Meanwhile, Blanchett builds her character physically. The secret life of Sheba and her general unhappiness and malaise are evident in the way Blanchett moves. It is in a gaze or a wave of the arms – in the way she dances, the way she cries, or even how she sits in a chair. Blanchett opens the audience to what is real about Sheba, and what she’s hiding and the lies she’s telling. Movies like Notes on a Scandal that make you appreciate genuine acting and filmmaking talent and the skill to put that talent to practical use.

A horror movie in all but genre, Notes on a Scandal is as scandalous as its subject matter, but this highbrow freak show is a feast of film acting

8 of 10
A
NOTES:
2007 Academy Awards: 4 nominations: “Best performance by an actress in a leading role” (Judi Dench), “Best performance by an actress in a supporting role” (Cate Blanchett), “Best writing, adapted screenplay” (Patrick Marber), and “Best achievement in music written for motion pictures, original score” (Philip Glass)

2007 BAFTA Awards: 3 nominations: “Alexander Korda Award for Best British Film” (Scott Rudin, Robert Fox, Richard Eyre, and Patrick Marber), “Best Actress in a Leading Role” (Judi Dench), and “Best Screenplay – Adapted” (Patrick Marber)

2007 Golden Globes: 3 nominations: “Best Performance by an Actress in a Motion Picture – Drama” (Judi Dench), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cate Blanchett), and “Best Screenplay - Motion Picture” (Patrick Marber)

Thursday, May 03, 2007

Review: "Quantum of Solace" Finds James Bond with a Hard-On for Payback

TRASH IN MY EYE No. 46 (of 2010) by Leroy Douresseaux

Quantum of Solace (2008)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for intense sequences of violence and action, and some sexual content
DIRECTOR: Marc Forster
WRITERS: Paul Haggis, Neal Purvis, and Robert Wade
PRODUCERS: Barbara Broccoli and Michael G. Wilson
CINEMATOGRAPHER: Roberto Schaefer (director of photography)
EDITORS: Matt Chesse and Richard Pearson
MAIN THEME: “Another Way to Die” performed by Alicia Keys and Jack White and composed by Jack White
BAFTA Awards nominee

ACTION/DRAMA/THRILLER

Starring: Daniel Craig, Olga Kurylenko, Mathieu Amalric, Judi Dench, Giancarlo Giannini, Gemma Arterton, Jeffrey Wright, David Harbour, Jesper Christensen, Anatole Taubman, and Joaquín Cosio

The 2006 version of Casino Royale rebooted the James Bond film franchise. The follow up film, Quantum of Solace (the 22nd Bond film), is a rough and tumble, rip-roaring action movie that is probably more Jason Bourne than it is James Bond. Still, this is a very good action thriller.

Quantum of Solace continues immediately after the events of Casino Royale. James Bond (Daniel Craig) rushes the captured Mr. White (Jesper Christensen) to Siena, Italy, where Bond and M (Judi Dench), his M16 superior, will interrogate White. The interrogation is interrupted, however, by a double agent. Bond follows the trail of the double agent to Dominic Greene (Mathieu Amalric), the charismatic leader of an ecological organization called Greene Planet. Behind Greene Planet’s seemingly legitimate business interests and benevolent aims hides Quantum, a powerful terrorist organization plotting to overthrow the government of Bolivia.

For Bond, this mission is as much about vengeance as it is about duty. Quantum is also connected to the death of the woman Bond loved, Vesper Lynn, (who betrayed him and died in Casino Royale). In Bolivia, Bond is joined by Camille Montes (Olga Kurylenko), a young woman hunting the murderer of her family, Bolivian general, Medrano (Joaquín Cosio), and a co-conspirator of Greene’s. As he gets closer to finding the man responsible for the betrayal of Vesper, Bond leaves a pile of bodies in his wake, and soon the CIA and his own agency are hunting him.

By now, moviegoers are used to the fact that the Daniel Craig James Bond is not the “shaken, not stirred” Bond of the past. Bond is now as much an ass-kicking action hero, leaping and running all over the place, as he is a cool secret agent (if not more). And Quantum of Solace is certainly kick-ass. It isn’t more of the same; the film simply takes the cool action scenes of Casino Royale and multiplies them.

Craig is ultra-cool as the ruthless “blunt instrument,” and his performance here – balancing a broken heart with a barely concealed hard-on for revenge – is tasty. Mathieu Amalric is smashing as Dominic Greene; rarely has such a weasel of a villain been so attractive. Judi Dench and Jeffrey Wright deliver their usually good performances.

From the opening rollicking car chase (one of the best I’ve seen in a long time) to the desert hotel showdown, this Bond packs a wallop. Quantum of Solace lacks the smart elegance of the typical James Bond movie (which even Casino Royale had), but I’ll take solace in this quick, sweet, brutal gem of an action movie.

7 of 10
A-

NOTES:
2009 BAFTA Awards: 2 nominations: “Best Sound” (James Boyle, Eddy Joseph, Chris Munro, Mike Prestwood Smith, and Mark Taylor) and “Best Special Visual Effects” (Chris Corbould and Kevin Tod Haug)

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