Showing posts with label Matt Damon. Show all posts
Showing posts with label Matt Damon. Show all posts

Saturday, October 19, 2013

Review: "Team America: World Police" is Crazy, Smart and True (Happy B'day, Trey Parker)

TRASH IN MY EYE No. 209 (of 2004) by Leroy Douresseaux

Team America: World Police (2004)
Running time:  100 minutes (1 hour, 40 minutes)
MPAA – R for graphic, crude & sexual humor, violent images and strong language; all involving puppets
DIRECTOR:  Trey Parker
WRITERS:  Pam Brady, Matt Stone and Trey Parker
PRODUCERS:  Scott Rudin, Matt Stone, and Trey Parker
CINEMATOGRAPHER:  Bill Pope, A.S.C. (D.o.P.)
EDITOR:  Thomas M. Vogt
COMPOSER:  Harry Gregson-Williams

COMEDY/ACTION/ADVENTURE

Starring:  (voices) Trey Parker, Matt Stone, Kristen Miller, Masasa, Daran Norris, Phil Hendrie, Maurice LaMarche, and Paul Louis

The subject of this movie review is Team America: World Police, a 2004 satirical comedy film from the team of Trey Parker and Matt Stone, the creators of the long-running animated series, “South Park.”  The film’s cast is composed of marionettes (puppets) instead of live actors.  Team America: World Police follows a popular Broadway actor who is recruited by an elite counter-terrorism organization to help stop a dictator who is plotting global terror attacks.

Team America: World Police may be 2004’s funniest film.  Some may consider it the most obnoxious and crass movie of the year, especially after viewing the graphic puppet “sex scene.”  It will certainly go down as one of the most outrageous movies not made by John Waters.  It’s a wonderful send up of action movies, especially as those made by super-producer Jerry Bruckheimer, and the hilarious characters that populate them.  Even the musical scores to Bruckheimer films get it up the butt and in the mouth from this movie.  It’s also a wicked satire of American military aggression and the celebrities who protest it.  However, as good as the film is (and it’s quite good), Team America: World Police frequently falls on its own spear.

Team America is an international police force dedicated to maintaining global security.  And they’re also marionettes; you may best remember marionettes as those puppets on the venerable British TV children’s series, “Thunderbirds.”  Team America’s latest mission takes them to Paris, France, where they fight a handful of terrorists with WMD’s, also known as weapons of mass destruction.  Team America also manages to destroy Paris’ most famous landmarks, and also loose a team member to a terrorist’s bullets.

Team America’s leader, Spottswoode, a gray-headed, older, distinguished gentleman, recruits a young Broadway actor named Gary to replace the fallen comrade.  Spottswoode thinks that Gary will make the perfect spy because in college he was a double major in theatre and world languages.  The other Team America members:  Lisa, Sarah, Chris, and Joe, are wary at first, but they back him up on their first mission to Cairo to infiltrate a band of Islamic fundamentalists with WMD’s.

There is however a larger crisis looming.  Power-mad dictator Kim Jong Il of North Korea has planned a series of simultaneous global terror attacks – imagine 9/11 times 2356.  He’s convinced the Hollywood Film Actors Guild, or F.A.G., and their leader, actor Alec Baldwin, to support a conference in North Korea in which all world leaders will attend.  The conference is merely a cover for the launch of the worldwide terror strikes, which will occur while Baldwin gives his peacenik keynote speech.  Can Team America stop Kim Jong Il…and the actors?

Team America: World Police is the second major studio film from Trey Parker and Matt Stone, the creators of the uproarious and bawdy animated program, “South Park,” on Comedy Central.  Team America, on one hand, is a delightful and loving send up of “Thunderbirds” and the other puppet marionette shows produced by England’s Century 21.  On the other hand, the film is mostly a vicious and brutal satire of the contemporary American political landscape and American self-righteousness.  The use of marionettes instead of actors greatly takes the sense of people getting made fun of to a level that human actors couldn’t go.

Parker/Stone use clever dialogue, over-the-top violence, and hyper-patriotic songs to skewer heavy-handed U.S. military offenses, strikes, and pre-emptive attacks on international locales.  They also use marionettes that closely resemble well known Hollywood and celebrities that protest U.S. military action.  The marionettes, in some cases, barely look like the stars that they’re supposed to resemble; in some cases the resemblance is just close enough not to get the filmmakers sued.  Still, it works enough so that such stars as Alec Baldwin, Tim Robbins, Michael Moore, Susan Sarandon, Matt Damon, Helen Hunt and others are mercilessly lampooned.

But is the movie good?  The answer is a resounding yes; it’s one of the funniest films I’ve seen in years.  However, it is mean-spirited, graphic, obnoxious, brutal, vicious, vulgar, filthy, foul, nasty, rank, etc.  Sometimes, I had a hard time believing that Parker and Stone were going so far in their satire and humor.  Still, they’re not frat boys out of control; every joke and satirical comment and farcical moment seems well conceived.

Team America: World Police, in the end, takes the side of the “good guys,” but Parker and Stone obviously only trust them a little more than the “bad guys.”  They insist that even the protagonists be viewed with a wary eye, so in the end, it’s as if they question that anyone can be trusted.  Fighting assholes who want to kill everyone is a dirty job, and the heroes and their charges may not be “all that” themselves.  Team America: World Police is not perfect, but it’s the work of frankly honest and only barely inhibited filmmakers.  That’s refreshing when “looking good” is so important these days.

8 of 10
A

Updated:  Saturday, October 19, 2013

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

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Thursday, August 8, 2013

"Elysium" Makes Worldwide Landing in IMAX Theatres

Sony's Elysium Lands In IMAX® Theatres Worldwide Starting August 9

LOS ANGELES, PRNewswire/ -- IMAX Corporation (NYSE:IMAX; TSX:IMX), along with TriStar Pictures and Media Rights Capital today announced that Elysium, filmmaker Neill Blomkamp's (District 9) futuristic action film starring Matt Damon and Jodie Foster, will be digitally re-mastered into the immersive IMAX® format and released in IMAX® theatres worldwide beginning August 9.

"Neill Blomkamp is the kind of innovative, creative storyteller that moviegoers seek out, and we are thrilled to bring this highly anticipated film to IMAX audiences worldwide," said Greg Foster, CEO of IMAX Entertainment and Senior Executive Vice President IMAX Corp.

"Elysium is one of the most highly anticipated films of the summer, so we're pleased that audiences will have the chance to see Neill Blomkamp's vision for the future in IMAX's immersive format," said Rory Bruer, president, Worldwide Distribution for Sony Pictures.

The IMAX release of Elysium will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology.  The crystal-clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

For more information about Elysium, please visit Sony's official website at http://www.itsbetterupthere.com/site/.

About Elysium
In the year 2154, two classes of people exist: the very wealthy, who live on a pristine man-made space station called Elysium, and the rest, who live on an overpopulated, ruined planet. The people of Earth are desperate to escape the crime and poverty that is now rampant throughout the land. The only man with the chance to bring equality to these worlds is Max (Matt Damon), an ordinary guy in desperate need to get to Elysium. With his life hanging in the balance, he reluctantly takes on a dangerous mission - one that pits him against Elysium's Secretary Delacourt (Jodie Foster) and her hard-line forces - but if he succeeds, he could save not only his own life, but millions of people on Earth as well.  Written and directed by Neill Blomkamp.  The QED International / Alphacore Studios / Kinberg Genre production is produced by Bill Block, Neill Blomkamp, and Simon Kinberg.

About IMAX Corporation
IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you've never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX's network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing.  As of March 31, 2013, there were 738 IMAX theatres (606 commercial multiplexes, 19 commercial destinations and 113 institutions) in 53 countries.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®, The IMAX Experience® and IMAX Is Believing® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).

This press release contains forward looking statements that are based on IMAX management's assumptions and existing information and involve certain risks and uncertainties which could cause actual results to differ materially from future results expressed or implied by such forward looking statements. These risks and uncertainties are discussed in IMAX's most recent Annual Report on Form 10-K and most recent Quarterly Reports on Form 10-Q.


Saturday, July 20, 2013

65th Annual Primetime Emmy Award Nominations List

by Lucy Troy

The Emmy Award is a television production award that is considered the television equivalent of the Academy Awards in film and the Grammy Awards in music.  Negromancer’s focus is usually on the Primetime Emmy Awards.  It is presented by the Academy of Television Arts and Sciences.

The 65th Annual Primetime Emmy Awards will honor the best in television programming (at least as the members of the Academy of Television Arts and Sciences see it) from June 1, 2012 to May 31, 2013.  The awards ceremony will be held on September 22, 2013 and televised by CBS (in the United States).

Netflix made history by earning the first Primetime Emmy Award nominations for original, online-only, web television as three of its series, “Arrested Development,” “Hemlock Grove,” and “House of Cards” earned nominations.

65th Annual Primetime Emmy Awards (2013) nominees:

Drama Series
•Breaking Bad
•Downton Abbey
•Game of Thrones
•House of Cards
•Homeland
•Mad Men

Comedy Series
•30 Rock
•The Big Bang
•Girls
•Louie
•Modern Family
•Veep

Miniseries or Movie
•American Horror Story
•Behind the Candelabra
•The Bible
•Phil Spector
•Political Animals
•Top of the Lake

Lead Actor in a Drama Series
•Hugh Bonneville, Downton Abbey
•Bryan Cranston, Breaking Bad
•Jeff Daniels, The Newsroom
•Jon Hamm, Mad Men
•Kevin Spacey, House of Cards
•Damian Lewis, Homeland

Lead Actress in a Drama Series
•Connie Britton, Nashville
•Claire Danes, Homeland
•Michelle Dockery, Downton Abbey
•Vera Farmiga, Bates Motel
•Kerry Washington, Scandal
•Robin Wright, House of Cards

Outstanding Lead Actor In A Miniseries Or A Movie
•Benedict Cumberbatch, Parade’s End
•Michael Douglas, Behind The Candelabra
•Matt Damon, Behind The Candelabra
•Toby Jones, The Girl
•Al Pacino, Phil Spector

Outstanding Lead Actress In A Miniseries Or A Movie
•Jessica Lange, American Horror Story: Asylum
•Laura Linney, The Big C: Hereafter
•Helen Mirren, Phil Spector
•Elisabeth Moss, Top of the Lake
•Sigourney Weaver, Political Animals

Outstanding Host For A Reality Or Reality-Competition Program
•Ryan Seacrest, American Idol
•Betty White, Betty White’s Off Their Rockers
•Tom Bergeron, Dancing With The Stars
•Heidi Klum and Tim Gunn, Project Runway
•Cat Deeley, So You Think You Can Dance
•Anthony Bourdain, The Taste

Outstanding Lead Actor in a Comedy Series
•Alec Baldwin, 30 Rock
•Jason Bateman, Arrested Development
•Louis C.K., Louie
•Don Cheadle, House of Lies
•Matt LeBlanc, Episodes
•Jim Parsons, The Big Bang Theory

Outstanding Lead Actress in a Comedy Series
•Laura Dern, Enlightened
•Lena Dunham, Girls
•Edie Falco, Nurse Jackie
•Tina Fey, 30 Rock
•Julia Louis-Dreyfus, Veep
•Amy Poehler, Parks and Recreation

Reality-Competition Series
•The Amazing Race
•Dancing With the Stars
•Project Runway
•So You Think You Can Dance
•Top Chef
•The Voice

Variety Series
•The Colbert Report
•The Daily Show
•Late Night With Jimmy Fallon
•Jimmy Kimmel Live
•Saturday Night Live
•Real Time With Bill Maher

Outstanding Supporting Actor In A Drama Series
•Bobby Cannavale, Boardwalk Empire
•Jonathan Banks, Breaking Bad
•Aaron Paul, Breaking Bad
•Jim Carter, Downton Abbey
•Peter Dinklage, Game Of Thrones
•Mandy Patinkin, Homeland

Outstanding Supporting Actress In A Drama Series
•Anna Gunn, Breaking Bad
•Maggie Smith, Downton Abbey
•Emilia Clarke, Game Of Thrones
•Christine Baranski, The Good Wife
•Morena Baccarin, Homeland
•Christina Hendricks, Mad Men

Outstanding Guest Actor In A Drama Series
•Nathan Lane, The Good Wife
•Michael J. Fox, The Good Wife
•Rupert Friend, Homeland
•Robert Morse, Mad Men
•Harry Hamlin, Mad Men
•Dan Bucatinsky, Scandal

Outstanding Supporting Actor In A Comedy Series
•Adam Driver, Girls
•Jesse Tyler Ferguson, Modern Family
•Ed O’Neill, Modern Family
•Ty Burrell, Modern Family
•Bill Hader, Saturday Night Live
•Tony Hale, Veep

Outstanding Supporting Actress In A Comedy Series
•Mayim Bialik, The Big Bang Theory
•Jane Lynch, Glee
•Julie Bowen, Modern Family
•Merritt Wever, Nurse Jackie
•Sofia Vergara, Modern Family
•Jane Krakowski, 30 Rock
•Anna Chlumsky, Veep

Outstanding Guest Actor In A Comedy Series
•Bob Newhart, The Big Bang Theory
•Nathan Lane, Modern Family
•Bobby Cannavale, Nurse Jackie
•Louis C.K., Saturday Night Live
•Justin Timberlake, Saturday Night Live
•Will Forte, 30 Rock

Outstanding Guest Actress In A Drama Series
•Margo Martindale, The Americans
•Diana Rigg, Game Of Thrones
•Carrie Preston, The Good Wife
•Linda Cardellini, Mad Men
•Jane Fonda, The Newsroom
•Joan Cusack, Shameless

Outstanding Writing For A Drama Series
•George Mastras, Breaking Bad • Dead Freight
•Thomas Schnauz, Breaking Bad • Say My Name
•Julian Fellowes, Downton Abbey • Episode 4
•D.B. Weiss and David Benioff, Game Of Thrones • The Rains Of Castamere
•Henry Bromell, Homeland • Q&A

Outstanding Directing For A Drama Series
•Tim Van Patten, Boardwalk Empire • Margate Sands
•Michelle MacLaren, Breaking Bad • Gliding Over All
•Jeremy Webb, Downton Abbey • Episode 4
•Lesli Linka Glatter, Homeland • Q&A
•David Fincher, House Of Cards

Outstanding Guest Actress In A Comedy Series
•Molly Shannon, Enlightened
•Dot-Marie Jones, Glee
•Melissa Leo, Louie
•Melissa McCarthy, Saturday Night Live
•Kristen Wiig, Saturday Night Live
•Elaine Stritch, 30 Rock

Outstanding Writing For A Comedy Series
•Jeffrey Klarik and David Crane, Episodes • Episode 209
•Louis C.K and Pamela Adlon, Louie • Daddy’s Girlfriend (Part 1)
•Greg Daniels, The Office • Finale
•Robert Carlock and Jack Burditt, 30 Rock • Hogcock!
•Tina Fey and Tracey Wigfield, 30 Rock

Outstanding Directing For A Comedy Series
•Lena Dunham, Girls • On All Fours
•Paris Barclay, Glee • Diva
•Louis C.K., Louie • New Year’s Eve
•Gail Mancuso, Modern Family • Arrested
•Beth McCarthy-Miller, 30 Rock • Hogcock! / Last Lunch

Outstanding Supporting Actor In A Miniseries Or A Movie
•James Cromwell, American Horror Story: Asylum
•Zachary Quinto, American Horror Story: Asylum
•Scott Bakula, Behind The Candelabra
•John Benjamin, The Big C: Hereafter
•Peter Mullan, Top Of The Lake

Outstanding Supporting Actress In A Miniseries Or A Movie
•Sarah Paulson, American Horror Story: Asylum
•Imelda Staunton, The Girl
•Ellen Burstyn, Political Animals
•Charlotte Rampling, Restless
•Alfre Woodard, Steel Magnolias

Outstanding Writing For A Miniseries, Movie Or A Dramatic Special
•Richard LaGravenese Behind The Candelabra
•Abi Morgan, The Hour
•Tom Stoppard, Parade’s End
•David Mamet, Phil Spector
•Gerard Lee and Jane Campion, Top Of The Lake

Outstanding Directing For A Miniseries, Movie Or A Dramatic Special
•Steven Soderbergh, Behind The Candelabra
•Julian Jarrold, The Girl
•David Mamet, Phil Spector
•Allison Anders, Ring Of Fire
•Garth Davis and Jane Campion, Top Of The Lake • Part 5

Outstanding Variety Special
•The Kennedy Center Honors
•Louis C.K.: Oh My God
•Mel Brooks Strikes Back! With Mel Brooks And Alan Yentob
•Saturday Night Live: Weekend Update Thursday (Part One)
•12-12-12: The Concert For Sandy Relief

Outstanding Writing For A Variety Series
•The Colbert Report
•The Daily Show With Jon Stewart
•Jimmy Kimmel Live
•Portlandia
•Real Time With Bill Maher
•Saturday Night Live

Outstanding Writing For A Variety Special
•Louis C.K.: Oh My God
•Night Of Too Many Stars: America Comes Together For Autism Programs
•Saturday Night Live: Weekend Update Thursday (Part One)
•66th Annual Tony Awards

Outstanding Directing For A Variety Series
•James Hoskinson, The Colbert Report
•Chuck O’Neil, The Daily Show With Jon Stewart
•Andy Fisher, Jimmy Kimmel Live
•Jerry Foley, Late Show With David Letterman
•Jonathan Krisel, Portlandia
•Don Roy King, Saturday Night Live

Outstanding Directing For A Variety Special
•Louis J. Horvitz, The Kennedy Center Honors
•Hamish Hamilton and Bucky Gunts, London 2012 Olympic Games Opening Ceremony
•Louis C.K, Louis C.K.: Oh My God
•Don Mischer, The Oscars
•Michael Dempsey, 12-12-12: The Concert For Sandy Relief


Thursday, October 18, 2012

2012 Gotham Awards Nominations Announced

The Gotham Awards is an annual film awards ceremony that honors independent films. The Gotham Awards are part of The Independent Filmmaker Project (IFP), the nation’s oldest and largest organization of independent filmmakers. The Gotham Awards also signal the kick-off to the film awards season.

Nominees are selected by groups of distinguished film critics, journalists, festival programmers, and film curators. Separate juries of writers, directors, actors, producers, editors and others directly involved in making films determine the final Gotham Award recipients.

Today, (Thursday, October 18, 2012), the IFP announced the nominees for the 22nd Annual Gotham Independent Film Awards. The Gotham Awards ceremony will be held on Monday, November 26, 2012 at Cipriani Wall Street. Actors Marion Cotillard and Matt Damon, director David O. Russell, and Participant Media founder Jeff Skoll will each be presented with a career tribute. Twenty-one writers and programmers participated in the 2012 nomination process, considering 211 eligible submissions for six competitive categories.

22nd Annual Gotham Independent Film Awards:

Best Feature

Bernie
Richard Linklater, director; Richard Linklater, Ginger Sledge, Celine Rattray, Martin Shafer, Liz Glotzer, Matt Williams, David McFadzean, Judd Payne, Dete Meserve, producers (Millennium Entertainment)

The Loneliest Planet
Julia Loktev, director; Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis, producers (Sundance Selects)

The Master
Paul Thomas Anderson, director; Joanne Sellar, Daniel Lupi, Paul Thomas Anderson, Megan Ellison, producers (The Weinstein Company)

Middle of Nowhere
Ava DuVernay, director; Howard Barish, Ava DuVernay, Paul Garnes, producers (AFFRM and Participant Media)

Moonrise Kingdom
Wes Anderson, director; Wes Anderson, Scott Rudin, Steven Rales, Jeremy Dawson, producers (Focus Features)

Best Documentary

Detropia
Heidi Ewing and Rachel Grady, directors; Heidi Ewing, Rachel Grady, Craig Atkinson, producers (Loki Films)

How to Survive a Plague
David France, director; Howard Gertler, David France, producers (Sundance Selects)

Marina Abramović: The Artist is Present
Matthew Akers, director; Jeff Dupre, Maro Chermayeff, producers (HBO Documentary Films and Music Box Films)

Room 237
Rodney Ascher, director; Tim Kirk, producer (IFC Midnight)

The Waiting Room
Peter Nicks, director; Peter Nicks, Linda Davis, William B. Hirsch, producers (International Film Circuit)

Best Ensemble Performance

Bernie
Jack Black, Shirley MacLaine, Matthew McConaughey (Millennium Entertainment)

Moonrise Kingdom
Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jared Gilman, Kara Hayward, Jason Schwartzman, Bob Balaban (Focus Features)

Safety Not Guaranteed
Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni, Jenica Bergere, Kristen Bell, Jeff Garlin, Mary Lynn Rajskub (Film District)

Silver Linings Playbook
Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, Anupam Kher (The Weinstein Company)

Your Sister’s Sister
Emily Blunt, Rosemarie Dewitt, Mark Duplass (IFC Films)

Breakthrough DirectorZal Batmanglij for Sound of My Voice (Fox Searchlight Pictures)

Brian M. Cassidy and Melanie Shatzky for Francine (Factory 25 and The Film Sales Company)

Jason Cortlund and Julia Halperin for Now, Forager (Argot Pictures)

Antonio Méndez Esparza for Aquí y Allá (Here and There) (Torch Films)

Benh Zeitlin for Beasts of the Southern Wild (Fox Searchlight Pictures)

Breakthrough Actor
Mike Birbiglia in Sleepwalk with Me (IFC Films)

Emayatzy Corinealdi in Middle of Nowhere (AFFRM and Participant Media)

Thure Lindhardt in Keep the Lights On (Music Box Films)

Melanie Lynskey in Hello, I Must Be Going (Oscilloscope Laboratories)

Quvenzhané Wallis in Beasts of the Southern Wild (Fox Searchlight Pictures)

Best Film Not Playing at a Theater Near You

Kid-Thing
David Zellner, director; Nathan Zellner, Producer

An Oversimplification of Her Beauty
Terence Nance, director; Terence Nance, Andrew Corkin, James Bartlett, producers

Red Flag
Alex Karpovsky, director; Alex Karpovsky, Michael Bowes, producers

Sun Don’t Shine
Amy Seimetz, director; Kim Sherman, Amy Seimetz, producers

Tiger Tail in Blue
Frank V. Ross, director; Adam Donaghey, Drew Durepos, producers


The Calvin Klein Spotlight on Women Filmmakers "Live the Dream" grant is a $25,000 cash award for an alumna of IFP’s Independent Filmmaker Labs. This grant aims to further the careers of emerging women directors by supporting the completion, distribution and audience engagement strategies of their first feature film.

The nominees are:
Leah Meyerhoff, director, I BELIEVE IN UNICORNS

Stacie Passon, director, CONCUSSION

Visra Vichit Vadakan, KARAOKE GIRL

The 3rd Annual Gotham Independent Film Audience Award will be voted on by an independent film community of 230,000 film fans worldwide. To be eligible, a U.S. film must have won an audience award at one of the top 50 U.S. or Canadian film festivals from November 2011 through October 2012. Voting begins today at http://gotham.ifp.org/audience_award for the 31 films on the eligibility list. The nominees will be announced November 5th, and the winner will be revealed at the Gotham Awards ceremony.

The recipient of the “Best Film Not Playing at a Theater Near You” award is determined by the editorial staff of Filmmaker Magazine, a publication of IFP, and a curator from The Museum of Modern Art (MoMA). All of these nominees will also be screened for the public at MoMA from November 16-19, 2012.

For more information: www.ifp.org

Friday, April 13, 2012

"Stuck on You" Not a Typical Farrelly Brothers Film

TRASH IN MY EYE No. 76 (of 2004) by Leroy Douresseaux


Stuck on You (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – PG-13 for crude and sexual humor, and some language
DIRECTOR: The Farrelly Brothers
WRITERS: Bobby Farrelly and Peter Farrelly; from a story by Charles B. Wessler, Bennett Yellin, and the Farrelly Brothers
PRODUCERS: Bobby Farrelly, Peter Farrelly, Bradley Thomas, and Charles B. Wessler
CINEMATOGRAPHER: Dan Mindel (D.o.P)
EDITORS: Christopher Greenbury and Dave Terman
COMPOSER: Charlie Gartner

COMEDY with elements of drama

Starring: Matt Damon, Greg Kinnear, Eva Mendes, Cher, Seymour Cassel, Griffin Dunne, Wen Yann Shih, Jackie Flynn, Terence Bernie Hines, with Frankie Muniz, Jesse Ventura, and Meryl Streep

The subject of this review is Stuck on You, the 2003 comedy from brotherly filmmaking duo, Bobby and Peter Farrelly. The film follows the adventures of conjoined twin brothers who want to become professional actors.

In the Farrelly Bros.’ film, Stuck on You, Bob Tenor (Matt Damon) and his brother Walt (Greg Kinnear) are conjoined twins (also known as Siamese twins) living in Martha’s Vineyard and working at Bob restaurant, Quickie Burger. When Walt decides to pursue his acting career, Bob, of course, has to move to L.A. with Walt. The twins find fame and fortune when Cher (playing herself) picks the boys to be “co-stars” in a new TV show she’s obliged to do, hoping that the presence of the conjoined siblings will get the show cancelled. Of course, it doesn’t work, and the brothers become the program’s true stars. When Bob loses her girlfriend, however, the brothers may just have to do the thing that’s been in the back of their minds for most of their lives – have a difficult and dangerous surgery that will separate them. And even then, can they stand being apart from each other?

Farrelly films are known for the sibling directors including such shocking elements as characters with handicaps, physical deformities, retardation, and anything that makes a person really stand out in a crowd. Some of their characters are also astoundingly dumb, naïve, and stupid. Farrelly films succeed because their characters oddities make us uncomfortable, no matter how PC or charitable we may pretend to be. Within the context of the film, all the characters may act as if nothing is peculiar, but we know better, and this strangeness often leads to belly laughs.

In this Stuck on You, the Farrelly’s have toned things down considerable. Odd and odd-looking character prevail, but it all seems somewhat mundane, as if odd really isn’t odd. It’s part of the everyday fabric of the outside world. The citizens of Bob and Walt’s hometown certainly don’t act as if anything is “wrong” with the brothers; indeed, even the folks in la-la land don’t act all that freaked out by conjoined twins.

What makes Stuck on You work and that’s different from other Farrelly Bros. films is the poignancy; there is a realness to the story that goes beyond the usual craziness of Farrelly world. Damon and Kinnear are very good actors, and they sell us on the close-knit relationship between the brothers. Both are good-looking men and have charming personalities, so the audience is likely endeared to them. The closer the actors make us feel towards the characters, the more likely we’re going to laugh at the crazy things that happen to them and root for them to overcome obstacles.

Ultimately, it’s Damon and Kinnear who really sell this film as a heart-warming comedy and make it worth watching. That’s important because, Stuck on You is the antithesis of Farrelly classics like Kingpins and There’s Something About Mary. For all the laughs, the film is, indeed, quite dramatic, and while that drags at the film a few times, there are many heart-warming moments to go along with the belly laughs.

7 of 10
B+

Thursday, February 23, 2012

Review: "Contagion" is Uncomfortably Real

TRASH IN MY EYE No. 15 (of 2012) by Leroy Douresseaux

Contagion (2011)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for disturbing content and some language
CINEMATOGRAPHER/DIRECTOR: Steven Soderbergh
WRITER: Scott Z. Burns
PRODUCERS: Gregory Jacobs, Michael Shamberg, and Stacey Sher
EDITOR: Stephen Mirrione
COMPOSER: Cliff Martinez

DRAMA/THRILLER

Starring: Laurence Fishburne, Marion Cotillard, Matt Damon, Jude Law, Gwyneth Paltrow, Kate Winslet, Bryan Cranston, Jennifer Ehle, Sanaa Lathan, Elliot Gould, Chin Han, John Hawkes, Anna Jacoby-Heron, and Enrico Colantoni

Contagion is a 2011 film from director Steven Soderbergh. Essentially an ensemble drama and thriller, Contagion documents the spread of a virus that turns into a global pandemic, causing worldwide social chaos. Meanwhile, government officials try to contain it and medical officials try to identify the virus in order to create a vaccine for it. Contagion is a smart, scary disaster movie that will simultaneously give you the creeps while making you wonder if you are prepared for a pandemic.

The film begins by focusing on Beth Emhoff (Gwyneth Paltrow), a businesswoman in Hong Kong. Unbeknownst to her, Beth returns to the United States bringing with her a pestilence that will leave half her immediate family dead. From there, the story focuses on countless players dealing with the aftermath of the virus that is eventually named, MEV-1. Beth’s husband, Mitch Emhoff (Matt Damon), balances his need to protect his daughter, Jory (Anna Jacoby-Heron), who is frustrated with the quarantine, with her need to be a teenager. Alan Krumwiede (Jude Law), an Internet blogger who is obsessed with conspiracy theories, schemes to make money off the chaos created by the spread of the virus.

At the Centers for Disease Control and Prevention (CDC) in Atlanta, Dr. Ellis Cheever (Laurence Fishburne) leads a team trying to identify the virus, contain it, and create a vaccine for it. A World Health Organization (WHO) epidemiologist, Dr. Leonora Orantes (Marion Cotillard), travels to Hong Kong to trace the origin of the virus. CDC scientist, Dr. Ally Hextall (Jennifer Ehle), feels the pressure to find a cure, so she makes a decision that is either selfish or selfless. Meanwhile, fear and mass hysteria spread faster than the contagion.

Contagion has no single protagonist and no outright human antagonist. However, because it is an ensemble drama, Contagion can explore multiple themes, such as mass panic, loss of social order, the limitations of government during a disaster, cronyism, and greed, etc., from the view point of multiple characters.

Director Steven Soderbergh has this film jumping from one character and plot to the next. Because the characters are so well-defined and the plots so riveting, he always leaves the viewer wanting more, which can directly engage the viewer with the story, almost as if it were a real event. Contagion’s ultra-realism makes the movie feel more human and less post-human like so many modern, computer effects enhanced film thrillers. Of course, Soderbergh has an excellent multi-layered script by Scott Z. Burns from which to work. This reach and scope of this screenplay practically demands that Burns or someone else turn it into a novel.

Contagion is by no means perfect. It burns so hot, which is why it is so intense as a thriller, but Soderbergh needed to dial that back a few notches in certain parts of the story. Sometimes, the film is too aloof when it needs to stop and focus longer on certain characters in certain scenes.

7 of 10
A-

NOTES:
2012 Black Reel Awards: 1 nomination: “Outstanding Supporting Actor” (Laurence Fishburne)

2012 Image Awards: 1 nomination: “Outstanding Actor in a Motion Picture” (Laurence Fishburne)

Wednesday, February 22, 2012

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Thursday, November 10, 2011

"Happy Feet Two" Soundtrack Due in Stores November 22

HAPPY FEET TWO: ORIGINAL MOTION PICTURE SOUNDTRACK to Be Released November 22

Features New Performances by P!nk, Janelle Monáe, Lil P-Nut, Robin Williams and More

BURBANK, Calif.--(BUSINESS WIRE)--WaterTower Music will release the HAPPY FEET TWO: ORIGINAL MOTION PICTURE SOUNDTRACK on November 22nd. The 23-song album features “Bridge Of Light” – a brand new song from P!nk - along with several new versions of familiar hits performed by Janelle Monáe, Lil P-Nut, Robin Williams, Common, and Hank Azaria, among others. It also includes several tracks by Academy® and Grammy Award Nominee John Powell. The soundtrack, over 70 minutes in length, will be available both digitally and on CD.

An extraordinary, never-before-heard medley opens the soundtrack. Featuring vocals by P!nk, Common, Lil P-Nut and the Happy Feet Two Chorus, it is comprised of unique versions of such songs as “Rhythm Nation,” “(Dance And Shout) Shake Your Body Down To The Ground,” “Mama Said Knock You Out,” “Shake It Fast,” “Ain’t Nobody (Loves Me Better),” and “Do Your Thing.”

HAPPY FEET TWO: ORIGINAL MOTION PICTURE SOUNDTRACK will be available November 22nd. The track listing is as follows:

Happy Feet Two Opening Medley - P!nk, Common, Lil P-Nut and Happy Feet Two Chorus
The Mighty Sven - Robin Williams, Hank Azaria and Happy Feet Two Chorus
Bridge Of Light - P!nk and Happy Feet Two Chorus
Papa Oom Mow Mow - Happy Feet Two Chorus
Dragostea Din Tei - Hank Azaria and Happy Feet Two Chorus
Erik’s Opera - Omar Crook and EG Daily
Rawhide - Elephant Seal Chorus
Under Pressure / Rhythm Nation - P!nk and Happy Feet Two Chorus
Tightrope (Ice Cold Mix) - Janelle Monáe featuring Lil P-Nut and Happy Feet Two Chorus

In The Hole - John Powell
Ramon And The Krill - John Powell
Lovelace Preshow - (feat. Judith Hill) John Powell
Searching For The Kids - John Powell
The Doomberg Lands - John Powell
I Don’t Back Up - John Powell
Trapped In Emperor Land - John Powell
Skua Attack/Adelie Rescue - John Powell
Dinner A La Sven John Powell
We Are The Champions - John Powell
Snow Stops Play - (featuring Steven Pence) John Powell
No Fly Zone - John Powell
Krill Joy - John Powell
Tappin’ To Freedom - John Powell

Warner Bros. Pictures’ and Village Roadshow Pictures’ “Happy Feet Two,” the sequel to the Oscar®-winning hit, opens nationwide on November 18, 2011. The film is directed by George Miller and features the voices of Elijah Wood, Robin Williams, Hank Azaria, Alecia Moore (P!nk), Brad Pitt, Matt Damon, Sofia Vergara, Common, Hugo Weaving, Richard Carter, Magda Szubanski, Anthony LaPaglia and Benjamin “Lil P-Nut” Flores, Jr.


Saturday, October 8, 2011

Review: "The Good Shepherd" is Overstuffed and Stiff (Happy B'day, Matt Damon)

TRASH IN MY EYE No. 65 (of 2007) by Leroy Douresseaux

The Good Shepherd (2006)
Running time: 167 minutes (2 hours, 47 minutes)
MPAA – R for some violence, sexuality, and language
DIRECTOR: Robert De Niro
WRITER: Eric Roth
PRODUCERS: Robert De Niro, James G. Robinson, and Jane Rosenthal
CINEMATOGRAPHER: Robert Richardson, ASC (DoP)
EDITOR: Tariq Anwar
Academy Award nominee

DRAMA/HISTORICAL/THRILLER

Starring: Matt Damon, Angelina Jolie, Alec Baldwin, William Hurt, John Turturro, Billy Crudup Tammy Blanchard, Kier Dullea, Michael Gambon, Martina Gedeck, Timothy Hutton, Lee Pace, Joe Pesci, Eddie Redmayne, John Sessions, Oleg Stefan, and Robert De Niro

The Good Shepherd is the first film Robert De Niro has directed since 1993’s A Bronx Tale, which was his directorial debut. The film, which is partially fact-based, examines the early history of the CIA.

It’s 1939, and Edward Wilson (Matt Damon) is a sharp-minded Yale student and patriotic American. His keen sense of discretion, the value he places on secrecy, and his commitment to honor earns him the attention of Yale’s infamous secret society, Skull and Bones. His acute mind gets him recruited to the Office of Strategic Services (OSS), the precursor to the CIA, and he serves his country during World War II. After the war, he becomes one of the founders of the CIA, and his decision to play a part alters his life even as he helps to shape the most powerful covert agency in the world.

Wilson is loyal to his country, but he begins to feel the job eroding his ideals and filling him with distrust because, as he’s so often told, he can’t really trust anyone. Meanwhile, his stoic personality and reticence about saying much shuts his wife, Margaret (Angelina Jolie) out of his life and starves their marriage. Wilson’s steely dedication also doesn’t do much for his relationship with his son, Edward Jr. (Eddie Redmayne), who wants to follow his father into the murky world of the CIA.

De Niro certainly demands your full attention with The Good Shepherd, and he gives the viewer so much to mull over. The problem with this film is that it is an epic PBS, Masterpiece Theatre-like, mini-series squeezed into a quarter hour short of three hours. De Niro’s narrative, like the script by Eric Roth, lumbers through domestic and international intrigue with an occasional stop at Edward Wilson’s way-unhappy home, yet neither Wilson’s covert work nor his home life get the fair treatment they need.

In Roth’s script, characters come and go like ghosts, and a quarter century of history darts by as we go back and forth in time. Nothing really sticks, and if it weren’t for some memorable moments (the brutal murder of a gay British spy and the senses-shattering end of another spy via a plane), The Good Shepherd would be an entirely cool exercise. The acting is fair to good, but Edward Wilson is too stiff and unemotional, and Matt Damon, who is best when he’s animated, a man of action with a plan, plays Wilson as a robot.

Is The Good Shepherd about loyalty, or is it about how a select group of men create and perpetuate the myth of foreign boogeymen as a justification for the careers and the existence of their organizations? It could be both, but likely we’ll remember The Good Shepherd as a film about a man who walks through his life and history as if he were a ghost. Everyone sees him and acts as if he were alive, while he acts as if he were dead. Both sides are only half right.

5 of 10
B-

NOTES:
2007 Academy Awards: 1 nomination: “Best Achievement in Art direction” (Jeannine Claudia Oppewall – art director and Gretchen Rau and Leslie E. Rollins – set decorators)

Monday, April 16, 2007

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Monday, August 15, 2011

Review: "Good Will Hunting" Maintains Itself (Happy B'day, Ben Affleck)

TRASH IN MY EYE No. 8 (of 2001) by Leroy Douresseaux

Good Will Hunting (1997)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R for strong language, including some sex-related dialogue
DIRECTOR: Gus Van Zant
WRITERS: Matt Damon and Ben Affleck
PRODUCER: Lawrence Bender
CINEMATOGRAPHER: Jean Yves Escoffier (D.o.P.)
EDITOR: Pietro Scalia
COMPOSER: Danny Elfman
Academy Award winner

DRAMA

Starring: Matt Damon, Robin Williams, Ben Affleck, Stellan Skarsgård, Minnie Driver, Casey Affleck, and Cole Hauser.

Will Hunting (Matt Damon), a charismatic, brilliant young man has spent, or rather wasted, the first 20 years of his life when an MIT math professor discovers Will’s mathematical gifts. When Will is arrested after a street fight, Professor Lambeau (Stellan Skarsgard, Breaking the Waves) takes custody of Will determined to nurture Will’s rare genius so that it is not wasted.

Will runs through a gamut of psychiatrists as part of his court ordered treatment until he meets a grieving, career impaired shrink named Sean Maguire (Robin Williams). Maguire is from Will’s old neighborhood, and he recognizes some of the young man’s difficulties with a society so different from their ‘hood. He tries to reach the young man as Will continually enforces a wall around himself, a wall he has had since childhood to protect himself from a world seemingly always out to hurt him.

Will also meets and falls in love with Skylar (Minnie Driver, Grosse Point Blank), a pretty, young pre-med student, who eventually demands a commitment of love that Will is reluctant to give. If he embraces a new life, Will may have to abandon the impoverished, but familiar life he knows, including his childhood friend, Chuckie (Ben Affleck).

Good Will Hunting is a beautiful, moving story that pulls not too gently on the heartstrings. Affleck and Damon won the Oscar for Best Original Screenplay of 1997 for the film’s script. They crafted simple, yet evocative characters for both themselves and the rest of the cast. Hunting is the most complex of the lot, but he isn’t difficult to understand. He’s been hurt, so he lashes out at the world. He’s made a safe little hovel in which he can live, and he doesn’t intend to venture far from it. He knows it and he feels safe in it, only occasionally peeking his head out of his hole to delight people with his brilliance and wit.

Williams’s portrayal of Sean Maguire earned him a long overdue Oscar for Best Actor in a Supporting Role. Like his Dr. Malcolm Sayer in Awakenings and Parry in the Fisher King, Maguire is a man in pain. You can feel a great building up in the shell, that these men have created for themselves, ready to break out and violently splash the world. In the end, they learn to gradually release their pent up pain and emotion and to reach a sense of balance. The parts that Williams usually take are usually so flamboyant and loud, begging for attention, like Williams himself. When he takes a part like Maguire, he has to control himself, and we can feel, along with him, the struggle to remain in his containment unit. To see him so controlled may have attracted Academy voters to his cause.

Good Will Hunting isn’t a smart movie. Damon and Affleck are occasionally stiff and forced in their parts, and there is still a rough edge to their acting abilities, especially Affleck’s. Driver is good, but the script only allows hints at her personality. Skylar’s one outburst about her troubled past piques the interest, but is gone as suddenly as it came.

Gus Van Zant does a credible job here, but one mostly gets the sense that he was just following a sort of paint by numbers plan. This is more about Damon, Affleck, and Williams than the director. But Van Zant assists them in bringing some tears forward; it’s a empathic, feel sad movie with a tacked on feel good ending. But done well, it’s worth repeated viewings.

7 of 10
A-

NOTES:
1998 Academy Awards: 2 wins: “Best Actor in a Supporting Role” (Robin Williams) and “Best Writing, Screenplay Written Directly for the Screen” (Matt Damon and Ben Affleck); 7 nominations: “Best Picture” (Lawrence Bender), “Best Actor in a Leading Role” (Matt Damon), “Best Actress in a Supporting Role” (Minnie Driver), “Best Director” (Gus Van Sant), “Best Film Editing” (Pietro Scalia), “Best Music, Original Dramatic Score” (Danny Elfman), and “Best Music, Original Song” (Elliott Smith for the song "Miss Misery")

1998 Golden Globes: 1 win: “Best Screenplay - Motion Picture” (Matt Damon and Ben Affleck); 3 nominations: “Best Motion Picture – Drama,” (Best Performance by an Actor in a Motion Picture – Drama” (Matt Damon), and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Robin Williams)

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Monday, August 8, 2011

"The Adjustment Bureau" Has Slightly Christian Take on Philip K. Dick

TRASH IN MY EYE No. 67 (of 2011) by Leroy Douresseaux


The Adjustment Bureau (2011)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – PG-13 for brief strong language, some sexuality and a violent image
DIRECTOR: George Nolfi
WRITER: George Nolfi (based upon the short story, “Adjustment Team” by Philip K. Dick)
PRODUCERS: Bill Carraro, Michael Hackett, Chris Moore, and George Nolfi
CINEMATOGRAPHER: John Toll
EDITOR: Jay Rabinowitz
COMPOSER: Thomas Newman

FANTASY/SCI-FI/DRAMA/ROMANCE/THRILLER

Starring: Matt Damon, Emily Blunt, Anthony Mackie, John Slattery, Terrence Stamp, Michael Kelly, and Anthony Ruivivar

The Adjustment Bureau is a 2011 fantasy drama and romantic thriller starring Matt Damon and Emily Blunt. The film is based upon “Adjustment Team,” a short story by Philip K. Dick first published in 1954 (in Orbit Science Fiction magazine). The film tells the story of a romance between a politician and a ballerina imperiled by a group of men determined to keep them apart.

David Norris (Matt Damon) is a rising political star who hits a bump on his road to glory, but this disappointment causes him to meet, Elise Sellas (Emily Blunt), a contemporary ballet dancer. Entranced by her, David is sure that he and Elise were meant to be together. It is then that he meets a group of mysterious men in hats conspiring to keep them apart.

The men work for The Adjustment Bureau, and these agents of Fate want David to quit Elise and accept a predetermined path they have set for him. They are going to do everything in their considerable powers to stop David and Elise from being together. But David is willing to risk everything to be with Elise, and an unusual member of The Adjustment Bureau named Harry Mitchell (Anthony Mackie) may be the only one who can help David determine his own fate.

The Adjustment Bureau has some interesting ideas, being part metaphysical science fiction with religious themes throughout. Philip K. Dick’s original story was a parable about how defenseless and helpless man is when he goes up against the “Grand Design” or fate. The Adjustment Bureau takes that idea and gives it a somewhat Christian spin and pits that age-old battle of man’s free will against the grand design of God, called “The Chairman” in this movie.

For all its philosophical ambitions, The Adjustment Bureau is a film that seems to be going through the motions for much of the movie. The film doesn’t spring to life until the last half hour when the central conflict stops being philosophical and theoretical and becomes actual conflict. In fact, it is that last half hour that takes this film from average to good.

The Adjustment Bureau has a talented cast. Matt Damon and Emily Blunt not only deliver solid performances, but they also actually have good chemistry and are a convincing screen couple. Anthony Mackie gives a layered, thoughtful performance as Harry Mitchell; whenever he is onscreen, The Adjustment Bureau is at its best.

6 of 10
B

Wednesday, August 03, 2011


Wednesday, March 16, 2011

Review: Oscar-Winning "Inside Job" Calls Out Wall Street and its Congressional Ho's

TRASH IN MY EYE No. 23 (of 2011) by Leroy Douresseaux

Inside Job (2010)
Running time: 120 minutes (2 hours)
MPAA – PG-13 for some drug and sex-related material
WRITER/DIRECTOR: Charles Ferguson
PRODUCERS: Charles Ferguson and Audrey Marrs
CINEMATOGRAPHERS: Svetlana Cvetko and Kalyanee Mam
EDITORS: Chad Beck and Adam Bolt
COMPOSER: Alex Heffes
Academy Award winner

DOCUMENTARY

Starring: Matt Damon (narrator) Jonathan Alpert, Robert Gnaizda, Christine Lagarde, George Soros, and Eliot Spitzer

At the recent 2011 Academy Awards ceremony, Inside Job won the best documentary feature Oscar. Directed by Charles Ferguson (No End in Sight), Inside Job is about the financial crisis of 2007-2010. It provides a comprehensive analysis of the financial services industry’s systematic corruption of the United States. The film also looks at the subsequent consequences of that corruption: millions of people losing their jobs and homes, the worst recession since the Great Depression, and a near collapse of the global financial system.

Ferguson uses thorough research of financial issues and extensive interviews of key financial insiders, politicians, journalists, and academics. The director paints a portrait of a rogue industry that relies on powerful insiders to control government regulation of itself. Insiders in politics and academia also help to shape the financial services industry’s flow of information to the public. Filmed mostly in the United States, Inside Job connects the dots by visiting Iceland, England, France, Singapore, and China, where we see unemployment, foreclosed homes, shuttered factories, and tent cities for the homeless.

As he did in the excellent No End in Sight, Charles Ferguson presents a dizzying array of interviews, information, history, and even a few reluctant talking-head types as he explains how we got to the derivatives market, what that market did, and how we got to our current financial recession and malaise. Watch this film and Ferguson will make it clear that the financial crisis was an inside job because all the players: CEOs, corporate board members, banking chieftains, government regulators, Presidential cabinet appointees, university economic professors and directors, etc. are all insiders; they rig the system and suck up all the cash for themselves. We live outside their little world, but what they do can and often does harm our larger world.

Two things about this movie stand out. First, the movie informs us that, thus far, no one has gone to jail for causing the financial crisis. Secondly, Matt Damon’s narration of Inside Job transforms the film from mere documentary into a gripping account that is part journalism, part storytelling, and all take-down of the financial services and its overeager servant, the U.S. government.

Most of all, Inside Job is simply a great movie.

9 of 10
A+

NOTES:
2011 Academy Awards: 1 win: “Best Documentary, Features” (Charles Ferguson and Audrey Marrs)

Sunday, March 13, 2011

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Wednesday, January 19, 2011

Review: Gritty "True Grit" Offers Great Characters and Superb Performances

TRASH IN MY EYE No. 6 (of 2011) by Leroy Douresseaux

True Grit (2010)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for some intense sequences of western violence including disturbing images
DIRECTORS: The Coen Brothers
WRITERS: Joel Coen and Ethan Coen (based upon the novel by Charles Portis)
PRODUCERS: Ethan Coen, Joel Coen, and Scott Rudin
CINEMATOGRAPHER: Roger Deakins (D.o.P.)
EDITORS: Roderick Jaynes (Ethan Coen and Joel Coen)
COMPOSER: Carter Burwell

WESTERN/ADVENTURE/DRAMA

Starring: Jeff Bridges, Hailee Steinfeld, Matt Damon, Josh Brolin, Barry Pepper, Candyce Hinkle, Roy Lee Jones, Orlando Smart, and Ed Corbin

The latest film from the Coen Bros. (Joel and Ethan) is the Western, True Grit. It is the second film adaptation of the 1968 Charles Portis novel, True Grit; the first was a 1969 film starring John Wayne. True Grit is the story of a stubborn young woman who convinces a tough U.S. Marshal to help her find her father’s murderer.

After her father is murdered by one of his hired hands, a man named Tom Chaney (Josh Brolin), 14-year-old Mattie Ross (Hailee Steinfeld) arrives in a small town to collect her father’s body and get his killer. She attempts to hire U.S. Marshal Reuben “Rooster” Cogburn (Jeff Bridges) to track Chaney into Indian country where he is hiding with a gang of criminals. Mattie tells Cogburn that she chose him because he has “true grit,” but that isn’t enough to convince Cogburn to take the job. When he does accept the offer, Cogburn decides to take a vain Texas Ranger, LaBoeuf (Matt Damon), with him instead of Mattie. But the young woman is about to show them both that she also has “true grit.”

As they do in all their movies, Joel and Ethan Coen get great performances from their actors. Jeff Bridges gives so many layers to Rooster Cogburn (the role John Wayne played in the 1969 film). The viewer will spend the entire movie peeling those layers back and still not have the whole story on this character that Bridges makes so real. Although LaBoeuf isn’t quite as interesting as Rooster, Matt Damon shows his true grit by making a vain chatterbox and (at best) semi-competent lawman/nincompoop a character that I wish was onscreen more.

Yes, the praise that newcomer Hailee Steinfeld, as Mattie, has received for her performance in this film is not mere hype. She’s a natural, and she makes this movie as much as anyone else does – including the Coen Bros.

The one glaring weakness that keeps True Grit from being a truly great film is how the filmmakers treat the villains. There is potential in Josh Brolin’s Tom Chaney and especially in Barry Pepper’s “Lucky” Ned Pepper, but both are hardly ever on screen. The film spends so much time showing us the tremendous work of Bridges, Steinfeld, and Damon and their characters that everyone else gets shorted.

There isn’t anything really profound about True Grit, except this tidbit at the end: time catches up with everyone. This film is really not about ideas. True Grit, even with the performances at its heart, is a Coen Brothers film. This is about how they do it – their style, their rhythms, their quirks, their directorial trademarks and flourishes. That’s not a bad thing simply because Joel and Ethan Coen do their thang so well.

8 of 10
A

Wednesday, January 19, 2011

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Sunday, January 16, 2011

Robert De Niro Gets Cecil B. DeMile Award

Matt Damon presented Robert De Niro with the Cecil B. DeMille Award, which is the lifetime achievement award given by the Hollywood Foreign Press Association at the Golden Globes.

There was a period from the mid-1970s to about 1991 and Cape Fear that De Niro was the best actor in the world (although I will give Jack Nicholson credit for also being super during that time period).

Saturday, January 8, 2011

It Ain't Bragging if it's True, Eh, Warner Bros.?

Warner Bros. Pictures Group Earns Triple Crown for 2010

The Studio Takes This Year’s Top Spots in Domestic Market Share with $1.884 Billion; International Market Share with $2.930 Billion; and Worldwide Market Share for the Second Consecutive Year with $4.814 Billion

BURBANK, Calif.--(BUSINESS WIRE)--The Warner Bros. Pictures Group broke the all-time industry worldwide box office record with a 2010 gross of $4.814 billion, which surpasses the prior record of $4.010 billion (set by Warner Bros. in 2009). The announcement was made today by Jeff Robinov, President, Warner Bros. Pictures Group.

Setting new benchmarks for both the international and global box office grosses in 2010 and retaining the domestic box office number one ranking (after achieving a record gross in 2009), the Studio now holds the industry record in all three categories. Additionally, Warner Bros. surpassed its own worldwide gross from the previous year by $800 million to earn the number one position in worldwide market share for the second consecutive year and for the sixth time in the past 10 years, also an industry record.

“We are so proud of these incredible accomplishments, which were made possible through the global efforts of an exceptional group of people who collaborated to create, produce, market, and distribute more than two dozen films this past year,” said Robinov. “We have a terrific leadership team behind these efforts, including Sue Kroll, Dan Fellman and Veronika Kwan-Rubinek, and, along with Barry Meyer and Alan Horn, I applaud everyone who contributed to this year’s record-breaking success.”

Warner Bros. Pictures’ domestic gross is estimated at $1.884 billion, making it number one in domestic market share for 2010. This is the third year in a row the Studio has held that crown and is the only studio to exceed the $1 billion threshold domestically for 10 consecutive years. Warner Bros. has been ranked either one or two domestically for seven of the last 10 years. The Studio had five films gross over $100 million domestically in 2010 – “Inception,” “Harry Potter and the Deathly Hallows – Part 1,” “Clash of the Titans,” “Valentine’s Day,” and “Due Date.”

“Our tentpole strategy combined with a remarkably diverse overall slate has once again proved enormously profitable at the box office,” said Dan Fellman, President, Distribution, Warner Bros. Pictures. “We could not be more proud of the Studio’s achievements this year.”

Warner Bros. Pictures International set a new industry record in overseas box office with an estimated $2.930 billion year-end gross, breaking the previous industry record of $2.450 billion in 2009. This is the tenth consecutive year the Studio has exceeded $1 billion and third time it has surpassed $2 billion in international box office receipts. The Studio has had seven films gross more than $100 million internationally in 2010 – “Sherlock Holmes” ($264 million, for a total of $315 million, including 2009’s take); “Valentine’s Day” ($106 million); “Clash of the Titans” ($330 million); “Sex and the City 2” ($193 million); “Inception” ($531 million); “Due Date” ($100 million); and “Harry Potter and the Deathly Hallows – Part 1” ($611 million, and still in release).

“We’re elated to reach these incredible numbers internationally,” said Veronika Kwan-Rubinek, President, Distribution, Warner Bros. Pictures International. “This achievement is a testament to the company’s strategy to make event films with global appeal, and it would not have been possible without the hard work and innovative thinking from our outstanding marketing and distribution teams around the world.”

Among the Studio’s 2011 releases are “Red Riding Hood,” directed by Catherine Hardwicke; the Zack Snyder-directed action fantasy “Sucker Punch”; “The Hangover Part II,” the sequel to the 2009 breakout hit; “Green Lantern,” the highly anticipated adaptation of the popular DC Comics title, starring Ryan Reynolds and Blake Lively; the conclusion of the most successful film franchise of all time, “Harry Potter and the Deathly Hallows – Part 2”; “Crazy, Stupid, Love.” starring Steve Carell and Ryan Gosling; Steven Soderbergh’s thriller “Contagion,” with an ensemble cast led by Matt Damon; “Happy Feet 2,” the sequel to the 2006 Academy Award®-winning animated musical hit; New Line Cinema’s “New Year’s Eve,” an all-star ensemble romantic comedy from director Garry Marshall; and “Sherlock Holmes II,” Guy Ritchie’s follow up to the 2009 hit, starring Robert Downey Jr. and Jude Law.

Thursday, November 11, 2010

All-Stars Join Steven Soderbergh for "Contagion"

Press release:
An All-Star Ensemble Cast Begins Filming on Warner Bros. Pictures’ “Contagion” under the Direction of Steven Soderbergh

BURBANK, Calif.--(BUSINESS WIRE)--Principal photography is underway on Warner Bros. Pictures’ global thriller “Contagion,” being directed by Academy Award® winner Steven Soderbergh (“Traffic”).

The film brings together a stellar international ensemble cast, including Academy Award® winner Marion Cotillard (“La Vie en Rose,” “Inception”); Academy Award® winner Matt Damon (“Good Will Hunting,” the “Bourne” films); Oscar® nominee Laurence Fishburne (“What’s Love Got to Do With It,” “The Matrix”); Oscar® nominee Jude Law (“Cold Mountain,” “Sherlock Holmes”); Academy Award® winner Gwyneth Paltrow (“Shakespeare in Love,” “Iron Man”); and Academy Award® winner Kate Winslet (“The Reader,” “Titanic”).

“Contagion” follows the rapid progress of a lethal airborne virus that kills within days. As the fast-moving epidemic grows, the worldwide medical community races to find a cure and control the panic that spreads faster than the virus itself. At the same time, ordinary people struggle to survive in a society coming apart.

The original screenplay is written by Scott Z. Burns (“The Bourne Ultimatum,” “The Informant!”). “Contagion” is being produced by Michael Shamberg, Stacey Sher (“World Trade Center”), and Gregory Jacobs (“The Informant!”).

Collaborating with Soderbergh behind the scenes are production designer Howard Cummings (“Percy Jackson & the Olympians: The Lightning Thief”), Oscar®-winning editor Stephen Mirrione (“Traffic”), and costume designer Louise Frogley (“Quantum of Solace,” “Ocean’s Thirteen”).

Filming will take place on location around the world, including sites in Hong Kong, Macao, Chicago, Atlanta, San Francisco, Abu Dhabi, London and Geneva.

“Contagion” will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company. The film is slated for release in October 2011.

Friday, September 3, 2010

George Clooney, Jeffrey Wright Shine in "Syriana"

TRASH IN MY EYE No. 178 (of 2005) by Leroy Douresseaux


Syriana (2005)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R for violence and language
DIRECTOR: Stephen Gaghan
WRITER: Stephen Gaghan (suggested by the book See No Evil by Robert Baer)
PRODUCERS: Jennifer Fox, Michael Nozik, and Georgia Kacand
CINEMATOGRAPHER: Robert Elswit, A.S.C.
EDITOR: Tim Squyres
Academy Award winner

DRAMA/THRILLER

Starring: Starring: George Clooney, Matt Damon, Jeffrey Wright, Chris Cooper, William Hurt, Tim Blake Nelson, Amanda Peet, Christopher Plummer, Alexander Siddig, Mazhar Munir, Akbar Kurtha, Sonnell Dadral, Nadim Sawalha, and William C. Mitchell

In 2000, Stephen Gaghan won the “Best Adapted Screenplay” for the 1999 film, Traffic, which took a look at drug-trafficking through several different points of view, each one a sub-plot in the film, making Traffic not only one film, but a movie composed of several mini-movies. Gaghan, now as both writer and director, tries that method again with the film, Syriana, a politically-charged thriller about the international oil industry, oil trading, and the politics as seen through the eyes those personally involved in the business and politics and those affected by business and politics behind energy.

Syriana, even more so than Traffic, is a riveting, but cerebral political thriller that demands that the viewer pays attention, rather than “turn his brain off” as he or she would in a sit-back-and-enjoy, special effects-laden thriller. The film follows characters from the brokering rooms and halls of power in Washington D.C. to the oils fields of the Persian Gulf, and weaves multiple storylines that look at the human consequences of the decisions of the wealthy and powerful oil players.

A murder plot that he is initiating in Beirut, Lebanon goes bad for Bob Barnes (George Clooney), a career CIA operative. Suddenly, circumstances beyond his control mark him as a failure, and Barnes becomes the subject of an FBI investigation. Relegated to a desk job, he begins to wonder about the disturbing work to which he’s dedicated his life.

The target of Barnes’ assassination plot was the handsome and charismatic Prince Nasir Al-Subaai (Alexander Siddig). Nasir makes a deal with a Chinese company for his country’s natural gas drilling rights, a arrangement that will bring more money to the nation than a similar deal with an American oil company, Connex Killen. He finds a kindred spirit in Bryan Woodman (Matt Damon), an oil broker/energy analyst, who discovers that an horrifically painful family tragedy has given him a lucrative deal with the idealistic Gulf prince. Nasir is the apparent heir to the throne of his country, and his father, the Emir Hamad Al-Subaai (Nadim Sawalha) is ill. However, Nasir’s younger brother, the callow and not bright Prince Meshal (Akbar Kurtha), is more amenable to American interests, so the Americans, in particular Connex Killen, are angling to have the Emir (king) chose Meshal as his successor.

The American oil company Connex Killen is the result of a recent merger of two energy entities – Connex, a Texas energy giant, and Killen, a smaller Texas oil company. Killen and its owner, Jimmy Pope (Chris Cooper), also used shading dealings to land drilling rights to coveted oil fields in Kazakhstan, which also lands them under an investigation by the U.S. Justice Department. Bennett Holiday (Jeffrey Wright) is a quiet, but highly ambitious Washington attorney at Sloan Whiting. It is his job to get the Connex Killen merger through the Justice Department. Holiday, subtle and very smart, must give the federal investigators enough material to make their case against Killeen for its shady dealings in Kazakhstan without jeopardizing either the deal or the merger with Connex.

Ultimately, the machinations of all these men play a part in the life of Wasim Kahn (Mazhar Munir), a young man from Pakistan who works in the Gulf oil fields with his father. After being laid off because of Nasir’s deal with the Chinese, he becomes angry and disillusioned. The Pakistani teenager and his friend Farooq (Sonnell Dadral) join a madrassa, where they fall under the sway of The Cleric (Omar Mostafa) a mysterious blue-eyed Egyptian. He is the same man who took possession of one of the Stinger missiles Bob Barnes sold to arms dealers in Tehran, Iran at the beginning of the film.

Syriana lacks the shaky camera work and rapid editing director Stephen Soderbergh used to give intensity to the Stephen Gaghan-penned Traffic. Gaghan’s film is subtle and eschews the documentary style atmosphere Traffic had. Syriana’s labyrinthine plot and convoluted script snake through a massive ensemble of players, of which very few are more important than others. Even someone with only a little screen time impacts the narrative, shaping the paths of other characters.

Although all the characters are interesting and the performances of them are nice, only two stood out to me. First, Alexander Siddig’s Prince Nasir is a driven man, and Siddig tells as much about the character through his face as he does through the script. Nasir is clearly a man of ideas, a leader and a charming and captivating one at that, but Gaghan only gives Nasir one scene in which he gets to show his ability to lead. That one scene, with generals and other leaders of his country, actually strikes as a bit hollow because there was never any indication prior to that that Nasir would go so far to assure his ascendancy to Emir. Nasir is essential to Syriana’s concept and more of him would have solidified the film’s ideology, but Gaghan ultimately leaves him bare (at least in this cut of the film, which apparently existed in a longer version before it hit U.S. theatres).

The other stand out character is Bennett Holiday, and in the role of Holiday, Jeffrey Wright gives Syriana’s best performance. Like the film, Wright’s Holiday is quiet, but determined. Delicately and with restraint, Holiday will achieve his means. Holiday is actually more successful in his venture than the film in which he exists. Wright makes Holiday Syriana’s focal point; basically, he is the point at which all sub-plots meet or he determines the resolution of others. Holiday, like Syriana, is pragmatic and not very judgmental. Clearly he knows right and wrong, and Syriana obviously believes that much of what people and nations do for the wealth and power that oil and natural gas gives them is harmful to their own long term interests and the immediate well being of many humans, but Holiday is pragmatic, and, to a lesser degree, so is Syriana though the creators might not admit that.

Still, Syriana is about how the world is than about how the world should be. Sometimes, the film’s tagline, “What is the price of oil?” seems like a rhetorical question. We can agree that the actions of many of the film’s players (and there real life counterparts) are selfish, harmful, and wrong, but things are what they are. Perhaps, Syriana is asking us to consider the ramifications of how we get our energy, but a lot of the film’s message and action are to the imagination. Gaghan is clearly sending his message to a more thoughtful film audience. He doesn’t expect the rank and file Joe Blow to give a hoot how the fuel gets to his four-wheeler, or what the ultimate cost of getting it there is. He does expect people who claim they care and are interested, regardless of their political affiliations and ideologies, to take this and create action. What that action is and how it benefits all of humanity is not answered, but I can guess it involves humans being less dependent on oil.

Sadly, the film is too short, sometimes oblique, and occasionally vague. The film’s star, George Clooney, is actually the star of a truncated sub-plot in Syriana. If given more screen time, Bob Barnes’ storyline would have been an edge-of-the-seat international thriller – the dessert portion of Syriana’s gourmet meal. I couldn’t help but leave the theatre wondering about what could have been. Still, what we do get is damn good.

7 of 10
B+

Saturday, December 10, 2005

NOTES:
2006 Academy Awards: 1 win: “Best Performance by an Actor in a Supporting Role” (George Clooney); 1 nomination: “Best Writing, Original Screenplay” (Stephen Gaghan)

2006 BAFTA Awards: 1 nominations: “Best Performance by an Actor in a Supporting Role” (George Clooney)

2006 Black Reel Awards: 1 nomination: “Best Supporting Actor” (Jeffrey Wright)

2006 Golden Globes: 1 win: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (George Clooney); 1 nomination: “Best Original Score - Motion Picture” (Alexandre Desplat)


Monday, August 23, 2010

Review: Excellent "Dogma" Falters Badly in Last Act

TRASH IN MY EYE No. 20 (of 2002) by Leroy Douresseaux

Dogma (1999)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – R for strong language including sex-related dialogue, violence, crude humor and some drug content
WRITER/DIRECTOR: Kevin Smith
PRODUCER: Scott Mosier
CINEMATOGRAPHER: Robert Yeoman (director of photography)
EDITOR: Scott Mosier and Kevin Smith
COMPOSER: Howard Shore

COMEDY/FANTASY

Starring: Matt Damon, Ben Affleck, Linda Fiorentino, Chris Rock, Janeane Garofalo, George Carlin, Jason Lee, Alan Rickman, Salma Hayek, Alanis Morrissette, Jason Mewes, and Kevin Smith

Bethany Sloane (Linda Fiorentino) is the last known descendant of Jesus Christ. Metatron the voice of God (Alan Rickman) sends her on a quest to stop two renegade angels from exploiting a loophole in Roman Catholic law to regain entry into heaven, an act that will cause existence to cease. Joining her on her quest are Jay (Jason Mewes) and Silent Bob (the director Kevin Smith), and the forgotten black 13th Apostle, Rufus (Chris Rock). The two angels, Bartleby (Ben Affleck) and Loki (Matt Damon), are encouraged in their destructive quest by a fallen angel/muse, Azrael (Jason Lee).

Directed by Kevin Smith (Clerks.), Dogma is meant to be satire of or, at least, poke fun, at Roman Catholic Dogma, and it succeeds at pointing out some of the Church’s eccentricities, although many of the complaints could be applied to Christianity in general, or most other faiths, for that matter. Dogma’s points are mostly complaints that one could hear from any armchair observer or frustrated Sunday mass-goer. The real pleasure of this film, and there are, surprisingly, many pleasures, is the execution of the film and raucous comedy.

Despite moments of long-winded and awkward soliloquies, the dialogue is pointed and funny. Often harsh and abrasive, it ranges from being hilarious and uproarious to smart and dead on in some of the film’s more opinionated moments. Dogma is an unusual film, a comedy that is very much steeped in the fantastique. However, its witty and ribald repartee engages the viewers and draws him through some of the film’s quirkier moments.

The acting is good from top bill to supporting cast, and they all manage to be quite convincing even when choking on mouthfuls of the verbose Smith’s dialogue. The characters Jay and Silent Bob are as funny as ever, and the make excellent sidekicks to the main players and story. Ms. Fiorentino makes a dramatic, but wry, turn as the downtrodden Bethany, she of shaky faith; she is surprisingly good although, at first glance, she seems an odd choice for a Kevin Smith film. Chris Rock also makes a rather nice appearance as Rufus; he manages to both be true to his shtick and to the film.

For all it’s fun, Dogma falls apart in the end. The last half hour’s violence is careless and special effects are not impressive seem a little cheap. Alanis Morissette’s appearance as God is the final straw in the film’s dismal closing chapter.

Oh, well. They almost had it. Watch Dogma for all its fun, especially if you’re familiar with Kevin Smith’s brand of comedy, but expect to pay for the fun with a poor ending.

5 of 10
B-

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Sunday, July 25, 2010

Green Zone Juggles Politics and Action

TRASH IN MY EYE No. 56 (of 2010) by Leroy Douresseaux

Green Zone (2010)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – R for violence and language
DIRECTOR: Paul Greengrass
WRITER: Brian Helgeland (based on the book Imperial Life in the Emerald City: Inside Iraq's Green Zone by Rajiv Chandrasekaran)
PRODUCERS: Tim Bevan, Eric Fellner, Paul Greengrass, and Lloyd Levin
CINEMATOGRAPHER: Barry Ackroyd
EDITOR: Christopher Rouse

WAR/ACTION/THRILLER

Starring: Matt Damon, Greg Kinnear, Brendan Gleeson, Amy Ryan, Khalid Abdalla, Jason Isaacs, and Yigal Naor

Director Paul Greengrass and actor/movie star Matt Damon came together to produce two of the three Jason Bourne movies (The Bourne Supremacy and The Bourne Ultimatum). They reunited for the film Green Zone, which is not a Jason Bourne movie or anything like that. Green Zone is a movie set at the beginning of the Iraq War. Green Zone is part military action movie, but it also has something to say about the reasons for the Iraq War.

The story focuses on Chief Warrant Officer Roy Miller (Matt Damon) and begins early in the U.S.-led occupation of Baghdad in the spring of 2003. Miller leads a team of U.S. Army inspectors searching for weapons of mass destruction (WMDs) believed to be stockpiled in and around Baghdad. After investigating a series of sites and finding nothing, Miller begins to suspect that the intelligence about Iraq’s weapons of mass destruction is faulty, at best.

Miller’s military superiors and other high-ranking officials dismiss his theories about flawed intelligence, and he comes into conflict with U.S. Defense Intelligence Agent Clark Poundstone (Greg Kinnear) who seems to be guiding much of the American occupation of Iraq. After meeting, Martin Brown (Brendan Gleeson), a Middle East-based CIA officer, Miller stumbles upon an elaborate cover-up of the reasons behind the Iraq War. Now, Miller must navigate the intersecting agendas spun by competing operatives, as he hunts for answers that may clear Iraq’s fallen regime of war crimes or even stop an insurgency from being born.

Green Zone is a politically engaged film. Using Matt Damon’s Roy Miller as a vehicle, Paul Greengrass and screen writer Brian Helgeland addresses Greengrass’ contentions about the decision to invade Iraq (the country’s alleged possession of WMDs) and subsequent decisions made during the U.S.-led Coalition occupation (in particularly the decision to disband the Iraqi army).

Greengrass’ problems with the Iraq War have also been the subject of many television and theatrical films (both fiction and non-fiction). Making these arguments about Iraq within the framework of a military action thriller actually can result in a movie with an identity crisis, which is the case with Green Zone. Greengrass attempts to make his points about the war, unveiling them during the course of Roy Miller’s investigation, which involves talking to and shooting at people.

The first 55 minutes of the movie mostly sets up the story, and it follows Miller as he gradually makes a series of startling discoveries about the run-up to the Iraq War. This is more dry and dull than interesting. The first half of the film is so slow and awkward that it is almost a disaster. Honestly, Greengrass’ contentions about the Iraq War are only interesting in the context of the movie’s second half. That’s the action/thriller half which has Roy Miller trying to find Iraqi General Mohammed Al-Rawi (Yigal Naor) before a Special Forces unit does. This second half will remind audiences of those breathless action scenes Greengrass and Damon pulled off in their two Jason Bourne movies.

It is cool that a Hollywood movie would confront the controversies of the Iraq War, but the best thing about Green Zone is the tense pacing and smartly constructed action sequences. Unfortunately, the politics are, at best, distracting and, at worst, debilitating to the movie.

5 of 10
B-

Sunday, July 25, 2010

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Thursday, July 22, 2010

Review: "The Bourne Ultimaturm" is Ultimate

TRASH IN MY EYE No. 114 (of 2007) by Leroy Douresseaux

The Bourne Ultimatum (2007)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – PG-13 for violence and intense sequences of action
DIRECTOR: Paul Greengrass
WRITERS: Tony Gilroy, Scott Z. Burns, and George Nolfi; from a screen story by Tony Gilroy (based upon the novel by Robert Ludlum)
PRODUCERS: Frank Marshall and Paul Sandberg
CINEMATOGRAPHER: Oliver Wood
EDITOR: Christopher Rouse
Academy Award winner

DRAMA/ACTION/THRILLER

Starring: Matt Damon, Julia Stiles, David Strathairn, Scott Glenn, Paddy Considine, Edgar Ramirez, Albert Finney, Joan Allen, Chris Cooper, and Corey Johnson

In The Bourne Identity, he fought to answer the question, “Who am I?” In The Bourne Supremacy, he wanted to know, “Who killed my girlfriend,” and he killed for what was done to him. In The Bourne Ultimatum, Jason Bourne (Matt Damon) remembers everything, and his journey takes him from Europe and North Africa to a trip home to New York City where all the answers will be found.

After he got his revenge for the killing of Marie, Bourne planned to disappear and forget the life that was stolen from him, but a front-page story in a London newspaper speculates about his existence. Bourne sets up a meeting with Simon Ross (Paddy Considine), the journalist who wrote the story, but that meeting makes Bourne a target again. The journalist does give him a lead on two top-secret black operations or black-ops programs, Treadstone and its successor Blackbriar, which may hold the key to Bourne’s past. Bourne’s reemergence also gets him marked for death by Noah Vosen (David Strathairn), the head of a new covert wing of the CIA and the director of Blackbriar. Bourne gains the trust of conflicted agent Nicky Parsons (Julia Stiles) and CIA operative/internal investigator and spy hunter Pamela Landy (Joan Allen), and with their help, he will have his day of reckoning.

Like his previous effort in the Jason Bourne series, The Bourne Supremacy, Oscar-nominated director Paul Greengrass (United 93) delivers mind blowing action, whiplash-paced fighting, and thoughtful plotting. Greengrass does this picture with equal parts humor and brutality, and makes it is as smart as it is stylish.

Matt Damon is Jason Bourne, and he leaves no doubt that it would be nearly impossible for anyone to take his place. His acting chops and screen charisma combined with his physical training for the role invents Bourne as a supernatural covert operative who can kick any ass, go anywhere, break into the most secure locations, and be invisible in a crowd.

The supporting cast may not be A-list actors in terms of star power, but they are A+ list in terms of screen acting. Added to Damon’s work here, they put The Bourne Ultimatum over the top. It’s not just a great espionage thriller; it’s the best thriller of the year and a great film. Whether you’re a Bourne fan, or just a friend, mother, father, etc. going along with a fan, you’ll go home impressed and happy.

9 of 10
A+

Sunday, August 12, 2007

NOTES:
2008 Academy Awards: 3 wins: “Best Achievement in Editing” (Christopher Rouse), “Best Achievement in Sound” (Scott Millan, David Parker, and Kirk Francis), and “Best Achievement in Sound Editing” (Karen M. Baker and Per Hallberg)

2008 BAFTA Awards: 2 wins: “Best Editing” (Christopher Rouse) and “Best Sound” (Kirk Francis, Scott Millan, David Parker, Karen M. Baker, and Per Hallberg); 4 nominations: “Best British Film” (Frank Marshall, Patrick Crowley, Paul Sandberg, Paul Greengrass, Tony Gilroy, Scott Z. Burns, and George Nolfi), “Best Cinematography” (Oliver Wood), “Best Director” (Paul Greengrass), and “Best Special Visual Effects” (Peter Chiang, Charlie Noble, Mattias Lindahl, and Joss Williams)

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