NEGROMANCER 2.0: Movie review

Showing posts with label Movie review. Show all posts

Friday, October 20, 2023

Review: "BLACULA" Can't Stop, Won't Stop Rising from the Grave

TRASH IN MY EYE No. 47 of 2023 (No. 1936) by Leroy Douresseaux

Blacula (1972)

Running time: 93 minutes (1 hour, 33 minutes)

MPAA – PG

DIRECTOR: William Crain

WRITERS: Joan Torres and Raymond Koenig

PRODUCER: Joseph T. Naar

CINEMATOGRAPHER: John M. Stevens (D.o.P.)

EDITOR: Allan Jacobs

COMPOSER: Gene Page

BLAXPLOITATION/HORROR/ROMANCE

Starring: William Marshall, Vonetta McGee, Denise Nicholas, Thalmus Rasulala, Gordon Pinsent, Charles Macaulay, Emily Yancy, Lance Taylor, Sr., Ted Harris, Rick Metzler, Logan Field, Ketty Lester, Elisha Cook, Jr., Jitu Cumbuka, Eric Brotherson, and The Hues Corporation

Blacula is a 1972 American blaxploitation vampire horror and romance film directed by William Crain. Originally released by American International Pictures, the film was a hit and inspired a wave of blaxploitation (black exploitation) films, including its own sequel, Scream Blacula Scream. Blacula focuses on an 18th century African prince-turned-vampire who awakens to find himself in modern day Los Angeles.

Blacula opens in 1780, in Transylvania at Castle Dracula. The African prince, Mamuwalde (William Marshall), has traveled there with his wife, Luva (Vonetta McGee), to seek the help of Count Dracula (Charles Macaulay) in suppressing the African slave trade. Dracula refuses and after some insults and violence, he bites Mamuwalde and curses him to an immortal existence as the vampire, “Blacula.” He imprisons Mamuwalde in a sealed coffin in a crypt hidden beneath the castle, where he also leaves Luva to die.

In 1972, Blacula emerges from his coffin and begins a reign of terror and death. However, he is shocked to discover a young woman named Tina Williams (Vonetta McGee) who looks exactly like his long-lost Luva. Initially hesitant, Tina warms to Blacula, who introduces himself as Mamuwalde. In turn, Tina introduces him to her sister, Michelle Williams (Denise Nicholas), and her boyfriend, Dr. Gordon Thomas (Thalmus Rasulala).

A pathologist for the Los Angeles Police Department, Dr. Gordon has been investigating the deaths of people whom he suspects are victims of a vampire. Teaming with LAPD's Lieutenant Jack Peters (Gordon Pinsent), Gordon must discover the force behind these deaths before its too late, even as Tina finds herself irresistibly drawn to Mamuwalde / Blacula.

I have seen Blacula several times, but I had previously not attempted to review it. I have seen several “Black vampire films,” but I have previously only reviewed Spike Lee's Da Sweet Blood of Jesus (2014), although I have not seen the film it remakes, Ganja and Hess (1973). Of course, I have reviewed all the films in New Line Cinema's Blade franchise that began with 1998's Blade.

When I discovered that Blacula was available on Turner Classic Movies (TCM) via Spectrum On-Demand, I decided to view it again with an eye towards writing a review. I must say that I'd forgotten how good the music is, especially the funk score by conductor, composer, and record producer, Gene Page (1939-98), which was one of the first of its kind for a vampire film. The songs: three performed by the pop-soul trio, The Hues Corporation, and one by the short-lived L.A. soul group, The 21st Century Ltd., are quite nice.

Something I noticed for the first time is that Blacula depicts a world in which African-American professionals are equal to their white peers. In fact, it isn't even a question that they are not. For instance, Dr. Gordon Thomas is respected and his orders are followed without question. The only time that his opinion is questioned involves the obvious – telling people that there is a vampire loose in Los Angeles and that he is murdering people. Obviously, a blaxploitation film would feature a cast of black leads, but the film isn't really about them being “Black.” Blacula, in a way, is a movie about humans fighting the forces of darkness; this time, the lead vampire killer is a black man. Sometimes, I got the feeling that Blacula was almost nonchalant about the characters being African-American.

Of course, Blacula could not pass as an ordinary vampire film when the late, great stage, television, and film actor, William Marshall (1924-2003), played the title role. Marshall doesn't play Mamuwalde as a victim, which he is (of Dracula); rather, he is a man (or creature) awakened to new circumstances, and as he did in his former life (based on assumptions), will live it to the fullest. I like that Mamuwalde / Blacula is a man who gets what he wants. Perhaps, that is what makes Mamuwalde so memorable to African-American audiences. He isn't a tragic or misunderstood monster; he is a king.

I have believed for a long time that given the space and runtime, Blacula's screenwriters, Joan Torres and Raymond Koenig, with William Marshall adding his ideas, could have made a greater film. Still, William Crain's deft directing and Allan Jacob's precision film editing allow Blacula to breeze past its shortcomings. I love Blacula, obviously, and I can't wait to see it again.

B+

7 of 10

★★★½ out of 4 stars

Friday, October 20, 2023

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Thursday, October 12, 2023

Review: "THE MUMMY'S SHROUD" is a True Scary Movie

TRASH IN MY EYE No. 46 of 2023 (No. 1935) by Leroy Douresseaux

The Mummy's Shroud (1967)

COUNTRY OF ORIGIN: United Kingdom

Running time: 90 minutes (1 hour, 30 minutes)

DIRECTOR: John Gilling

WRITERS: John Gilling; from a story by Anthony Hinds

PRODUCER: Anthony Nelson Keys

CINEMATOGRAPHER: Arthur Grant (D.o.P.)

EDITOR: Chris Barnes

COMPOSER: Don Banks

HORROR

Starring: André Morell, John Phillips, David Buck, Elizabeth Sellars, Maggie Kimberly, Michael Ripper, Tim Barrett, Richard Warner, Roger Delgado, Catherine Lacey, and Dickie Owen

The Mummy's Shroud is a 1967 British horror film that was directed by John Gilling and was released by famed British film production company, Hammer Film Productions. The film focuses on the members of an archaeological expedition who become victims of a curse after they discover and enter the tomb of ancient Egyptian child prince.

The Mummy's Shroud opens in 1920. A team of archaeologists led by scientist, Sir Basil Walden (André Morell), discovers the lost tomb of a boy who was to be pharaoh, Kah-To-Bey, in Ancient Egypt. His father, the Pharaoh, was betrayed and murdered in a palace coup, but Kah-To-Bey was saved when his father's manservant, Prem (Dickie Owen), spirited him away deep into the desert.

Stanley Preston (John Phillips), the wealthy businessman who is funding the expedition, arrives to join Walden and his team. The expedition enters the tomb of Kah-To-Bey, although they are warned against doing that by Hasmid (Roger Delgado), who claims to be the tomb's guardian. After the expedition returns to Cairo with the contents of the tomb, strange things begin to happen, and people begin to die. Now, Preston's son, Paul Preston (David Buck), and Claire (Maggie Kimberly), another member of the expedition, may be the only people who can discover who or what is behind a series of brutal slayings. And it will require them to find and decipher the sacred burial shroud of Kah-To-Bey.

I have been a fan of movies about the curse of Egyptian tombs since I first saw Hammer Film Productions' The Curse of the Mummy's Tomb (1964), so I dove into my first viewing of The Mummy's Shroud, which the cable network, Turner Classic Movies (TCM), aired Monday morning, October 9, 2023. Of course, I am a huge fan of actor Brendan Fraser's “The Mummy” trilogy. The second film of that trilogy, 2001's The Mummy Returns, seems to borrow a few elements from The Mummy's Shroud. Tom Cruise's 2017 film, The Mummy, also has a few elements similar to The Mummy's Shroud.

I really got a kick out of watching The Mummy's Shroud. For one thing, it has a very handsome cast, and Maggie Kimberly as Claire and Elizabeth Sellars as Stanley Preston's wife, Barbara Preston, are gorgeous blondes. They fascinated me, and I became more attracted to them with each screen appearance. Both actresses also give good performances, as do the male actors. The film's script gives the cast character types to play, but they are up to the task of injecting those types with personality. No actor is really over-the-top, so much as they are engaged in their performance.

As for the film's horror elements, the mummy and the curse, well, they are quite gruesome. I would describe The Mummy's Shroud as a genuine scary movie, and the murders don't feel like a body count so much as they seem like true revenge – the cost that the members of the expedition must pay for violating the curse of an Egyptian tomb. I love Hammer Film Productions' horror movies, and I look forward to seeing them again. I have seen The Curse of the Mummy's Tomb a few times, and I plan on shaking the dust off The Mummy's Shroud again.

7 of 10

B+

★★★½ out of 4 stars

Thursday, October 12, 2023

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Thursday, October 5, 2023

Review: "THE BROTHERHOOD OF THE WOLF" is Crazy (Literally), Sexy, Cool

TRASH IN MY EYE No. 6 (of 2002) by Leroy Douresseaux

Pacte des loups, Le (2001)

COUNTRY OF ORIGIN: France; Language: French, German, Italian

The Brotherhood of the Wolf (2002) – USA title

Running time: 142 minutes (2 hours, and 22 minutes)

MPAA – R for strong violence, gore, and sexuality/nudity

DIRECTOR: Christophe Gans

WRITERS: Stephane Cabel and Christophe Gans

PRODUCERS: Richard Grandpierre and Samuel Hadida

CINEMATOGRAPHER: Dan Laustsen

EDITORS: Xavier Loutreuil, Sébastien Prangère, and David Wu

COMPOSER: Joseph LoDuca

DRAMA/HISTORICAL AND HORROR/MYSTERY/THRILLER with elements of adventure

Starring: Samuel Le Bihan, Vincent Cassel, Emilie Dequenne, Monica Bellucci, Jérémie Rénier, Mark Dacascos, Jean Yanne, Jean-Francois Stévenin, and Jacques Perrin

Le Pacte des loups is a 2001 French period film, action and horror movie directed by Christophe Gans. The film was released in the United States in early 2002 by Universal Pictures under the title, The Brotherhood of the Wolf (the title by which I will refer to this film in this review). The film's plot is loosely based on the legend of the “beast of Gévaudan” and a real-life series of killings that took place in France in the 18th century. The Brotherhood of the Wolf focuses on a French knight and his Native American companion who are sent to investigate the mysterious slaughter of hundreds of people by an unknown creature in the county of Gévaudan.

At the beginning of The Brotherhood of the Wolf, Old Thomas d'Apcher (Jacques Perrin) recounts a fantastic fable/story of his youth. It is France of 1765, and the King sends two envoys to the Gevaudan province (which no longer exists) to investigate a series of brutal murders of which the locals believe is committed by a mysterious beast. The envoys are the Chevalier Gregoire de Fronsac (Samuel Le Bihan), a naturalist, and his companion, Mani (Mark Dacascos), a Mohawk Iroquois shaman of New France (Canada). They arrive in Gevandan to find the provincials bigoted and superstitious, even in the midst of the death all around them.

Among the colorful cast of characters include a mysterious and powerful priest, Henri Sardis (Jean-Francois Stevenin), and a sly and dangerous one-armed hunter, Jean Francois de Morangias (Vincent Cassel). The young Thomas d’Apcher (Jeremie Renier) becomes a hunting companion of Fronsac and Mani. Two strong female characters compete for the attentions of the virile and intelligent Fronsac: Marianne de Morangias (Emilie Dequenne), Jean Francois’s beautiful younger sister, and the nubile and hypnotic courtesan Sylvia (Monica Bellucci). As Fronsac and Mani pierce the veil of mystery and terror that covers the province, intrigue and deceit surround them, and the beast continues to kill.

Directed by Christophe Gans, The Brotherhood of the Wolf bends genres as easily as the film’s beast tears through its victims. Horror, thriller, western, martial arts, and mystery, the film is filled with suspense, terror, romance, eroticism, and political intrigue. It is at times intoxicating and mind bending and at other times, languid and thoughtful. It is difficult to categorize, but the movie is largely fantasy and action, but different from most of the movies that both genres recall.

Fronsac is a man of reason who sees a human conspiracy behind the killings that is darker and more insidious than any beast of Hell. Still, this man of science also understands the mystic worldview and belief system of his friend and blood brother, Mani. Fronsac is enlightenment’s soldier against the backward and ignorant peasants and nobles of Gevaudan. The provincials fear the ways of a city like Paris, and Sardis and Jean Francois resent the capital’s intrusion into their world. They disdain the confidence and intelligence of the King’s envoys. The beast is a physical manifestation of the provincials superstitions, isolationism, hatred, and evil that feeds upon the populace, and the creature resists the authority of the government.

The movie’s creature is a computer-generated image (CGI); at its best is fearsome. At its worst, the creature, especially during some daylight scenes, is hokey. However, Gans wisely holds revealing the beast in scenes that go by so quickly that we rarely get a good look at it. Sometimes, just the unseen beast’s roars, growls, and footsteps are enough to set the heart racing.

Le Bihan as Fronsac is strong and strongly confident. He is the romantic lead upon which the audience hitches its wagon. When he and Mani arrive early in the movie, after the film’s opening murder, they appear in a driving rainstorm, masked minutemen with the presence of demigods. Mani’s assault upon the villagers recalls fight scenes from The Matrix, but his are down to earth and more physical, more visceral; the threat of danger to him from the attackers is much greater. Decascos is mostly very good on the screen as Mani, though a few bits of his screen time are a little flat. When Gans unleashes him late in the movie, Decascos is a beautiful force a nature, a small storm in human guise tearing through his antagonists.

Vincent Cassel’s Jean Francois is the serpentine equal to Fronsac. He dominates all of his screen time, except for his scenes with Fronsac, in which both must share the screen. The movie nearly bursts from having to contain both their magnetic presences. They alone are worth the price of admission, but the rest of the cast, both veterans and newcomers, make the most of their roles.

Although a little long, The Brotherhood of the Wolf is wonderful; a dark horse, it is one of the best films of the year 2001. Gans and his screenwriting partner, Stephane Cabel, created a script that melds raw action with social intrigue, and the result is quite an accomplishment. The Brotherhood of the Wolf is plainly good entertainment. Not quite high art, it is eye candy that is very smart and very fun.

8 of 10

★★★★ out of 4 stars

Edited: Wednesday, October 4, 2023

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Thursday, September 28, 2023

Review: "American Graffiti" is Still Crusin' to Rock 'n' Roll 50 Years On

TRASH IN MY EYE No. 45 of 2023 (No. 1934) by Leroy Douresseaux

American Graffiti (1973)

Running time: 110 minutes (1 hour, 50 minutes)

MPAA – PG

DIRECTOR: George Lucas

WRITERS: George Lucas and Gloria Katz & Willard Huyck

PRODUCERS: Francis Ford Coppola and Gary Kurtz

CINEMATOGRAPHERS: Jan D'Alquen (D.o.P.) and Ron Eveslage (D.o.P.)

EDITORS: Verna Fields and Marcia Lucas

Academy Award nominee

DRAMA/HISTORICAL/MUSIC

Starring: Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Wolfman Jack, Bo Hopkins, Manuel Padilla Jr., Beau Gentry, and Harrison Ford

American Graffiti is a 1973 coming-of-age, music-driven, comedy and drama film directed by George Lucas. Lucas, who co-wrote the screenplay with the husband and wife team of Willard Huyck and Gloria Katz, based the story on his experiences in the cruising, and street-racing, and rock 'n' roll cultures of his youth. American Graffiti focuses on a group of teenagers and their adventures over the course of one summer night in 1962.

American Graffiti opens in the Summer 1962. The location is California's central valley, apparently in and around the city of Modesto. There, through a series of vignettes, we watch as a group of teenagers enjoy the last evening of their summer vacation.

For recent high school graduates and friends, Curtis “Curt” Henderson (Richard Dreyfuss) and Steve Bolander (Ronny Howard), this is their last night in town before they board a plane the next day and go “back east” for college. Steve doesn't believe that he can achieve the goals his wants by staying home, even if leaving means parting from his girlfriend, Curt's sister, Laurie (Cindy Williams). However, Curt, who has recently received scholarship money from a local business group, isn't sure that he wants to leave. Besides, tonight, he wants to chase the mystery woman who has caught his eye, a blonde driving a white Ford Thunderbird.

Curt and Steve's two friends are also having a big night. The first is John Milner (Paul Le Mat), the central valley drag-racing king. He has just learned that someone wants to challenge him for his crown, a confident ladies' man named Bob Falfa (Harrison Ford). Meanwhile, the second character is the unpopular, but well-meaning Terry “The Toad” Fields (Charlie Martin Smith), who has just come into possession of Steve's car. He is supposed to protect it until Steve returns from “back east” for Christmas. Tonight, however, Terry hopes the car will help him land a date. Meanwhile, in the background, the popular disc jockey, Wolfman Jack (himself), plays an array of rock 'n' roll hits.

As “DVD Netflix” prepares to shutdown, I've been racing to catch up on certain films that I have never seen or have not seen in a long time. I recently decided to sample some films in which 2023 is the fiftieth anniversary of their original theatrical releases. That includes such films as Walt Disney's Robin Hood, (hopefully)Woody Allen's Sleeper, and the Bruce Lee classic, Enter the Dragon.

As a kid, I was aware of American Graffiti long before I ever saw it. I was and still am a huge fan of American Graffiti director, George Lucas's most famous film, Star Wars (1977). So, as a kid, I read every article I could find about Star Wars, and they often mentioned his two earlier feature-length films, THX-1138 (1971) and American Graffiti. [I also vaguely remember the release of the sequel, More American Graffiti.]

I also knew that a few film and television stars that I liked had starred or appeared in American Graffiti, specifically Richard Dreyfuss, Ron Howard, and Harrison Ford. Besides that fact that American Graffiti was a George Lucas movie, Ford was the other reason I most wanted to see the film.

I finally first saw American Graffiti on television, and though my memory is hazy on the facts, I'm sure I saw it at least a few years after the release of the sequel. I remember liking it, enough that I planned on watching it again. Decades later, this recent viewing is the first time that I've seen the film since that first viewing.

I still like it a lot. I'm still a fan of Ford, Howard, and Dreyfuss, and along the way, I became a fan of some of its other young stars, including Charles Martin Smith, Cindy Williams, and the recently-deceased Bo Hopkins (1938-2022). The truth is that I'm crazy about the Hollywood icon, Harrison Ford, and, as for as I'm concerned, any movie with Ron Howard and Charles Martin Smith as actors is cinematic porn. [Both Howard and Smith are also film directors.]

Watching the film this time, I was initially annoyed by Lucas' method of telling this story in a series of vignettes that constantly moved from one character to the next. The film essentially has four plots that revolve around one of four characters, Curt, Steve, John, or Terry. It took me nearly half the film to realize that the vignettes allow Lucas to depict and to reveal each one of these four young men's goals, conflicts, and fears. This depiction of their inner selves makes them more interesting to me. Not only did I root for them, but I also wanted to know more about them. I wanted to know what was going to happen to them, both in the immediate and far future.

American Graffiti apparently helped launch a wave of nostalgia for and interest in the culture and times of the 1950s and early 1960s or at least an idealized, trouble free, white-washed version of it. The film apparently renewed the ABC network's interest in what would become one of its most popular sitcoms, “Happy Days” (1974-84). That long-running and popular television series also presented an idealized, trouble free, white-washed version of the 1950s and early 1960s.

Thus, as much as I enjoyed this viewing of American Graffiti, and as much as I'm interested in its characters, I done with it. I'm not done with its lovely soundtrack – played in the background so that both the characters and audiences can hear these early classics of rock 'n' roll. These musical recordings make this special night in the summer of 1962 really special. Still, American Graffiti is an ode to George Lucas' memories. It is a cinematic dream he fashioned from the varied experiences of his privileged youth. I don't really relate to it the way I do other films that are also far from my experiences – such as The Best Years of Our Lives (1946) or Licorice Pizza (2021).

I wouldn't call American Graffiti a great film, so much as I'd call it a unique and important American film. Why is it important? Well, American Graffiti is a prime example of the fantasies that the Hollywood dream factory can make of real moments in time. It's George Lucas' story – his story – presented as a fairy tale about one unforgettable night that will never be repeated.

8 of 10

★★★★ out of 4 stars

Thursday, September 28, 2023

You can buy the American Graffiti film and soundtrack at AMAZON.

NOTES:

1974 Academy Awards, USA: 5 nominations: “Best Picture” (Francis Ford Coppola and Gary Kurtz), “Best Actress in a Supporting Role” (Candy Clark), “Best Director” (George Lucas), “Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced” (George Lucas Gloria Katz, and Willard Huyck), and “Best Film Editing” (Verna Fields and Marcia Lucas)

1975 BAFTA Awards: 1 nomination: “Best Supporting Actress” (Cindy Williams)

1974 Golden Globes, USA: 2 wins: “Best Motion Picture - Comedy or Musical” or “Most Promising Newcomer – Male” (Paul Le Mat); 2 nominations: “Best Actor in a Motion Picture - Comedy or Musical” (Richard Dreyfuss) and “Best Director - Motion Picture” (George Lucas)

1995 National Film Preservation Board, USA: “National Film Registry”

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Wednesday, September 20, 2023

Review: Walt Disney's "ROBIN HOOD" is the Non-Classic Disney Classic

TRASH IN MY EYE No. 44 of 2023 (No. 1933) by Leroy Douresseaux

Robin Hood (1973) – animation

Running time: 83 minutes (1 hour, 23 minutes)

MPAA – G

PRODUCER/DIRECTOR: Wolfgang Reitherman

WRITERS: Larry Clemons; based on story and character concepts by Ken Anderson

EDITORS: Tom Acosta and Jim Melton

COMPOSER: George Bruns

Academy Award nominee

ANIMATION/FANTASY/FAMILY

Starring: (voices) Brian Bedford, Phil Harris, Roger Miller, Peter Ustinov, Terry-Thomas, Monica Evans, Andy Devine, Carole Shelley, Pat Buttram, George Lindsey, and Ken Curtis

Robin Hood is a 1973 animated musical-comedy and fantasy-adventure film produced and directed by Wolfgang Reitherman. It is also the twenty-first feature-length animated film from Walt Disney Productions, part of a line also known as the “Disney Classics.” The film is based on the English folklore character, Robin Hood, and the stories that have grown around the character. Disney's 1953 Robin Hood film depicts the legendary outlaw and the cast of characters around his legend as anthropomorphic animals (animals that talk and act like humans)

Robin Hood opens with the story's narrator, Alan-a-Dale – The Rooster (Roger Miller), saying that there are many stories of Robin Hood, but that the one he is about to tell takes place in the world of animals. He introduces Robin Hood – A Fox (Brian Bedford) and Little John – A Brown Bear (Phil Harris). They are outlaws and live in Sherwood Forest. They rob from the rich in order to give gold coins to the overtaxed citizens of the town of Nottingham.

The Sheriff of Nottingham – A Wolf (Pat Buttram) tries to catch the two, but he fails every time. The sheriff's failure to capture the outlaws irritates Prince John – A Lion (Peter Ustinov). John is the “Prince Regent” of England while his older brother, King Richard – A Lion (Peter Ustinov), is out of the country fighting in the Third Crusade. Prince John and his advisor, Sir Hiss – A Snake (Terry-Thomas), plot to end the nuisance of Robin Hood. Prince John also demands that the Sheriff tax the poor townsfolk of Nottingham excessively, driving many to abject poverty.

Meanwhile, Robin's attention is not entirely focused on robbing the rich. He wishes to reunite with his love interest, Maid Marian – A Vixen (Monica Evans), who is also the niece of King Richard. And Prince John's latest plot to catch Robin Hood may just reunite Robin and Marian. Can their love survive an increasingly enraged Prince John?

As “DVD Netflix” prepares to shutdown, I've been racing to catch up on certain films that I have never seen or have not seen in a long time. I recently decided to sample some films in which 2023 is the fiftieth anniversary of their original theatrical releases. That includes such films as Woody Allen's Sleeper, George Lucas' American Graffiti, and the Bruce Lee classic, Enter the Dragon.

Walt Disney's Robin Hood is one of those films celebrating a 50th anniversary, and it is one of the Disney animated classics that I had never seen prior to now. I am a fan of Robin Hood films, especially the 1991 Kevin Costner vehicle, Robin Hood: Prince of Thieves. I also like Ridley Scott's 2010 film, Robin Hood, starring Russell Crowe in the title role. I found some enjoyment in Tom and Jerry: Robin Hood and His Merry Mouse, a 2012 direct-to-DVD film. [Robin Hood makes a small appearance in director Richard Thorpe's “Best Picture” Oscar nominee, Ivanhoe (1952), which I have seen a few times on Turner Classic Movies.]

Disney's Robin Hood is an odd film. First, it isn't an origin story, and takes place, apparently, well into Robin's career as an outlaw. While Alan-o-Dale mentions “the Merry Men,” Robin's legendary band of outlaws, Little John is the only one that appears in this film. Friar Tuck – A Badger (Andy Devine) does appear, but he seems to be purely the priest of Nottingham – more a beneficiary of Robin's outlaw activities than a participant. For me, this makes the film seem under-developed, as if it we are getting half of the intended story.

Apparently, using the the American “Deep South” as a setting for this film was considered, but ultimately the chosen locale was Robin Hood's traditional English setting. However, Roger Miller, who provides the talking and singing voice of Alan-o-Dale, is best known for his honky-tonk inflected country music and novelty songs, so much of Miller's performance here seems out of place. Miller's Alan-o-Dale has the flavors of America's rural South, which somewhat clashes with the English setting. Still, I tend to like Miller's narrating and singing in Robin Hood, although this film's best song is the Oscar-nominated “Love,” written by George Bruns and Floyd Huddleston.

To begin, Robin Hood feels muddled, and it really does not find its narrative flow until about 37 minutes into the film. At that point, the characters really emerge as they take their places within the story. The action turns lively, and the animation and animation effects start to stand out. The voice performances overall are good, but not great – nothing that I would call memorable in the context of the great performances in other Disney animated classics. Walt Disney's Robin Hood does not exactly miss the mark, but it does not hit the bullseye, either.

6 of 10

★★★ out of 4 stars

Wednesday, September 20, 2023

NOTES:

1974 Academy Awards, USA: 1 nomination: “Best Music, Original Song” (George Bruns-music and Floyd Huddleston-lyrics for the song “Love”)

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Wednesday, September 13, 2023

Review: "ENTER THE DRAGON" and Bruce Lee Are Still Kicking Ass 50 Years Later

TRASH IN MY EYE No. 43 of 2023 (No. 1932) by Leroy Douresseaux

Enter the Dragon (1973)

Running time: 102 minutes (1 hour, 42 minutes)

MPAA – R for martial arts violence and brief nudity

DIRECTOR: Robert Clouse

WRITER: Michael Allin

PRODUCERS: Fred Weintraub, Raymond Chow, and Paul Heller

CINEMATOGRAPHER: Gilbert Hubbs (D.o.P.)

EDITORS: Kurt Hirschler and George Watters

COMPOSER: Lalo Schifrin

MARTIAL ARTS/ACTION

Starring: Bruce Lee, John Saxon, Jim Kelly, Ahna Capri, Kien Shih, Bob Wall, Angela Mao, Betty Chung, Geoffrey Weeks, Marlene Clark, Peter Archer, Ho Lee Yan, and Bolo Yeung with Jackie Chan, Sammo Hung, and Yeun Wah

Enter the Dragon is a 1973 martial arts and action film directed by Robert Clouse and starring Bruce Lee (1940-1973). An international co-production between the United States and Hong Kong, the film debuted one month after Lee's death on July 20, 1973. Thus, August 19, 1973 was the fiftieth anniversary of the film's American release. Enter the Dragon focuses on a Shaolin martial artist who travels to an island fortress to compete in a martial arts tournament and to also spy on the tournament's benefactor, a mysterious drug lord.

Enter the Dragon opens on the grounds of a Shaolin temple and introduces Lee (Bruce Lee), a highly proficient martial artist, martial arts instructor, and Shaolin monk. Braithwaite (Geoffrey Weeks), a British intelligence agent, approaches Lee about spying on a crime lord and drug kingpin named Han (Shih Kien). Braithwaite convinces Lee to attend the high-profile martial arts tournament that Han is holding at his private island fortress. Attending the tournament would be a good cover as Lee has already been invited. Before he leaves for Han's island, Lee learns that the man who murdered his sister, Su-Lin (Betty Chung), is Oharra (Bob Wall), one of Han's bodyguards.

While traveling to the island, Lee meets two friends who have also been invited to the tournament. Both are martial artists and Vietnam veterans. They are Roper (John Saxon), a white man who is deep in debt because of gambling, and Williams (Jim Kelly), a black man with deep ties to the martial arts in his community.

Once on the island, Lee begins to gather evidence of Han's drug trafficking, but Han is no ordinary criminal. His tournament is no ordinary martial arts tournament, and Lee, Roper, and Williams are about to discover just how dangerous Han and his tournament are.

Enter the Dragon is considered one of the most influential action films of all time. The film's success contributed to the mainstream worldwide interest in the martial arts, and it continues to inspire filmmakers and storytellers to this day. In addition to film, the influence of Enter the Dragon can be seen in television productions, video games, comic books, and Japanese manga (comics) and anime (animation). It revolutionized the way Asians, Asian-Americans, and even African-Americans are portrayed on screen, especially in action and martial arts films. The film also had an impact on mixed martial arts (MMA), including on the clothes and uniforms that MMA fighters wear.

Enter the Dragon is obviously a huge influence on the Mortal Kombat and Street Fighter video game franchises. The original Mortal Kombat film, 1995's Mortal Kombat, borrows numerous story elements from Enter the Dragon, so much so that it would not be incorrect to call 1995 film a re-imagining of Enter the Dragon.

Obviously, Bruce Lee is magnetic in this film. Decades after his passing and the arrival of this film, Lee still seems like a natural born movie star. In this film, he is both subtle and graceful and over-the-top and explosive as needed, but yet he made space for the rest of the cast to shine. John Saxon is both world-weary and witty as the underutilized Roper, and Jim Kelley, the first African-American martial arts film star, had enough screen time to turn this into his breakthrough role.

Rich in atmosphere, Enter the Dragon is at times odd and eccentric, and it would have been better served by another ten minutes of storytelling – at least. However, those last twenty or so minutes of the film were like nothing ever seen in American films at the time, and today, still seem revolutionary. Here, Lee is a coiled cobra, striking like lighting. He is both time and lightning in a bottle, unleashing his energy while blowing the minds and expectations of the audience. Fifty years after its original theatrical release, Enter the Dragon is ageless and timeless, and, while the earthly Bruce Lee is long since gone, the cinematic Bruce Lee is eternally youthful and alive and kicking.

10 of 10

Wednesday, September 13, 2023

You can buy a 50th anniversary 4K copy of ENTER THE DRAGON here at AMAZON.

NOTES:

2004 National Film Preservation Board, USA: National Film Registry

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Wednesday, September 6, 2023

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

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

John Wick: Chapter 4 (2023)

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

MPA – R for pervasive strong violence and some language

DIRECTOR: Chad Stahelski

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

PRODUCERS: Basil Iwanyk and Erica Lee

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

EDITOR: Nathan Orloff

COMPOSERS: Tyler Bates and Joel J. Richard

ACTION/THRILLER/CRIME

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

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

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

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

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

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

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

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

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

6 of 10

★★★ out of 4 stars

Wednesday, September 6, 2023

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Tuesday, September 5, 2023

Review: "LAPUTA: CASTLE IN THE SKY" is in the Sky with Diamonds

TRASH IN MY EYE No. 41 of 2023 (No. 1930) by Leroy Douresseaux

Laputa: Castle in the Sky (1986)

Tenkū no Shiro Rapyuta – original Japanese title

Running time: 125 minutes (2 hours, 5 minutes)

MPAA – PG

DIRECTOR: Hayao Miyazaki

WRITER: Hayao Miyazaki

PRODUCER: Isao Takahata

CINEMATOGRAPHER: Hirokata Takahashi

EDITORS: Hayao Miyazaki, Yoshihiro Kasahara, and Takeshi Seyama

COMPOSER: Joe Hisaishi

ANIMATION/FANTASY and ACTION/ADVENTURE

Starring: (voices) Mayumi Tanaka, Keiko Yokozawa, Kotoe Hatsui, Minori Terada, Fujio Tokita, Ichiro Nagai, and Hiroshi Ito

Laputa: Castle in the Sky is a 1986 Japanese animated, action-adventure fantasy film written and directed by Hayao Miyazaki. Laputa is also the first film fully produced by the Japanese animation studio, Studio Ghibli. In North America, the film is known simply as Castle in the Sky, the title by which I will refer to it in this review. Castle in the Sky follows the adventures of a young boy and girl who must race against time, pirates, and foreign agents in a bid to find a legendary island that floats in the sky.

Castle in the Sky opens on an airship. Aboard the aircraft is a young girl, Sheeta (Mayumi Tanaka), an orphan girl abducted by the government agent, Colonel Muska (Minori Terada). The airship is attacked by Captain Dola (Kotoe Hatsui) and her gang, “the Dola Pirates” (all of whom are apparently her sons). Dola is seeking Sheeta's necklace, which holds a small orb made of pure “etherium” crystal. Attempting to escape, Sheeta falls from the airship, but is saved by the magic of etherium in the now-glowing crystal, which lowers her slowly to the ground.

On the ground, Sheeta is caught by a young boy, Pazu (Keiko Yokozawa). Soon, Pazu is on a mission to protect Sheeta from both Dola and Muska. Pazu and Sheeta's goal is to reach the mythical flying island, “Laputa,” which is connected to both children's past, but in different ways. The mystery of Laputa is what exactly is it – a paradise, a treasure trove, or something dangerous.

I have previously reviewed the following Miyazaki-directed films: The Castle of Cagliostro (1979), Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004), Ponyo (2008), and The Wind Rises (2013). As Netflix is shutting down its DVD-by-mail division, I am hoping to get to the Miyazaki films that I have not previously watched. This is the first time I've watched Castle in the Sky.

For me, the most wonderful thing about Castle in the Sky is that it is steeped in Hayao Miyazaki's affinity for flight, a theme that dominates many of his films. He fills this film with wonderful flying contraptions, such as the government's flying fortress, “Goliath,” and the Dola pirates' airship, “Tiger Moth.” Even the robots of Laputa can become wonderful flying machines. As with many of Miyazaki's films, Castle in the Sky is breathtaking, visually stunning, and mind-blowing, especially when the narrative takes to the air.

One of the film's most dominant themes is the innocence of children, as seen through the eyes of Pazu and Sheeta. That shows in the two characters' resilience and determination in the face of constant turmoil and ceaseless obstacles. Their relationship is the counterbalance to the film's darker elements, especially its focus on on humanity's relationship with nature and with technology. Most of the film displays technology in harmony with nature, taking place in a fantasy version of the nineteenth century. There is a “retro-future” aesthetic that finds a balance between mankind's technological creations and the natural world at large. Castle in the Sky would go on to have a strong influence on the then emerging science fiction sub-genre known as “steampunk.”

I believe that if you, dear readers, have never seen a Miyazaki film, the first one you watch will validate the great things you may have heard about him. When you see your second Miyazaki, you will certainly become a true believer. Castle in the Sky is the kind of animated film that will make just about any movie fan a true believer in Hayao Miyazaki. It is one of the greatest adventure films ever made, and one of the greatest animated films of all time. Castle in the Sky mixes vivid imagination, eye-popping inventiveness, and stunning beauty in a way only the best animated films do. Every frame of this film belongs on a wall in a museum. If it were a Disney animated feature, Disney would call Laputa: Castle in the Sky an instant classic. It certainly is a classic.

10 of 10

Tuesday, September 5, 2023

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Monday, September 4, 2023

Review: "THE BARBARIAN INVASIONS" is a Masterpiece

TRASH IN MY EYE No. 125 (of 2004) by Leroy Douresseaux

Les Invasion Barbares (2003)

The Barbarian Invasions (2003) – U.S. title

COUNTRY OF ORIGIN: Canada/France; Language: French/English

Running time: 99 minutes (1 hour, 33 minutes)

MPAA – R for language, sexual dialogue, and content

WRITER/DIRECTOR: Denys Arcand

PRODUCERS: Daniel Louis and Denise Robert

CINEMATOGRAPHER: Guy Dufaux

EDITOR: Isabelle Dedieu

COMPOSER: Pierre Aviat

Academy Award winner

DRAMA/COMEDY

Starring: Rémy Girard, Stéphane Rousseau, Dorothée Berryman, Louise Portal, Dominique Michel, Yves Jacques, Pierre Curzi, Marie-Josée Croze, Marina Hands, Toni Cecchinato, and Mitsou Gélinas

Les Invasions barbares is a 2003 comedy and drama written and directed by Denys Arcand. A Canadian and French co-production, the film was released in the U.S. under the title, The Barbarian Invasions, the title I will used for this review. The Barbarian Invasions focuses on a dying man, who during his final days, is reunited with old friends, former lovers, his ex-wife, and his estranged son.

Arcand’s The Barbarian Invasion won the Academy Award for “Best Foreign Language Film” at the 76th Academy Awards in 2004. A sequel to Arcand's 1986 film, The Decline of the American Empire, The Barbarian Invasions received only one other Oscar nomination, which was for best original screenplay (written by Arcand), and that was and still is ridiculous. Considering the performances and Arcand’s direction, the film should have received at least a few more.

The Barbarian Invasions is the story of 50-ish Rémy (Rémy Girard) and his family. He is dying of cancer and is laid up in a Montreal hospital. His ex-wife, Louise (Dorothée Berryman), summons home their son, Sébastien (Stéphane Rousseau), who is estranged from his father and is living in London. Sébastien, a rich oil trader for a huge British firm, is, in a sense, a disappointment to his father. The son is a wealthy capitalist and the father was an arm chair, leftist, radical type.

Soon after he arrives, Sébastien uses his money and connections to fight the entrenched Canadian nationalized health system, and he gets Rémy a private room and other amenities. But the most difficult part of the prodigal son’s return home is the reconciliation between father and son.

The most amazing thing about this thoroughly beautiful film is that Arcand is able to tell the story of a father trying to redeem himself, of a son trying to put aside his anger at this father, and of a man trying to find meaning in a life he believes that he lazily kept so modest and have still more sub-plots, philosophies, and ideas. The film also deals with mother/daughter relationships, the drug war, drug addiction, personal and professional failure, the Canadian health system, socialism, infidelity, friendship, politics, religion, genocide, and barbarian invasions of civilization. Arcand does all of this without losing the central, human focus of his lovely movie. Filled with rich performances, subtle humor, and endearing characters, The Barbarian Invasions is the best film of the year.

10 of 10

Re-edited: Saturday, September 2, 2023

NOTES:

2004 Academy Awards, USA: 1 win: “Best Foreign Language Film” (Canada); 1 nomination: “Best Writing, Original Screenplay” (Denys Arcand)

2004 BAFTA Awards: 2 nominations: “Best Screenplay-Original” (Denys Arcand) and “Best Film not in the English Language” (Denise Robert, Daniel Louis, and Denys Arcand)

2004 Golden Globes, USA: 1 nomination: “Best Foreign Language Film” (Canada)

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Wednesday, August 30, 2023

Review: "THE EQUALIZER 2" is Brutal and Personal

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

The Equalizer 2 (2018)

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

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

DIRECTOR: Antoine Fuqua

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

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

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

EDITOR: Conrad Buff IV

COMPOSER: Harry Gregson-Williams

ACTION/CRIME/THRILLER

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

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

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

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

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

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

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

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

7 of 10

A-

★★★½ out of 4 stars

Wednesday, August 30, 2023

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Sunday, August 27, 2023

Review: "TENET" May Have Been 2020's Best Film

TRASH IN MY EYE No. 39 of 2023 (No. 1928) by Leroy Douresseaux

Tenet (2020)

Running time: 150 minutes (2 hours, 30 minutes)

MPA – PG-13 for intense sequences of violence and action, some suggestive references and brief strong language

WRITER/DIRECTOR: Christopher Nolan

PRODUCERS: Christopher Nolan and Emma Thomas

CINEMATOGRAPHER: Hoyte Van Hoytema (D.o.P.)

EDITOR: Jennifer Lame

COMPOSER: Ludwig Goransson

Academy Award winner

SCI-FI/ACTION/SPY

Starring: John David Washington, Robert Pattinson, Elizabeth Debicki, Aaron Taylor-Johnson, Dimple Kapadia, Himesh Patel, Denzil Smith, Yuri Kolokolnikov, Clémency Poséy, Fiona Dourif, Laurie Shepherd, Martin Donovan, and Kenneth Branagh and Michael Caine

Tenet is a 2020 science fiction, secret agent, and action-thriller film written and directed by Christopher Nolan. The film, Nolan's eleventh as a director, is a co-production between the United Kingdom and the United States. Tenet focuses on a CIA operative on a mission to save the world, armed with only one word, “Tenet.”

Tenet introduces a CIA operative known only as "The Protagonist" (John David Washington). The Protagonist leads a covert CIA extraction during a staged terrorist siege at the National Opera House in Kyiv., Ukraine. After he is injured and the mission goes badly, the Protagonist is recruited by a secretive organization known only by the word, “Tenet.” He is told that with a gesture, Tenet can “open the right doors and the wrong doors.”

He is briefed about bullets with “inverted” entropy that move backwards through time. It seems that the man who possesses the technology to invert entropy is a Russian oligarch named Andrei Sator (Kenneth Branagh). The technology has been given to Sator from mysterious forces in the future, and those forces are also sending Sator the pieces of something called the “Algorithm,” which is a threat to the present world.

Suddenly, the Protagonist finds himself surrounded by a menagerie of people he cannot quite trust or really know. That includes the Mumbai-based arms dealer, Priya Singh (Dimple Kapadia), and Sator's estranged and abused wife, Katherine “Kat” Barton (Elizabeth Debicki). Another is Ives (Aaron Taylor-Johnson), a Tenet military commander. Most mysterious of all is Neil (Robert Pattinson), who is supposed to be the Protagonist's “handler” from Tenet, and Neil seems to know the Protagonist in ways he does not know Neil. Now, the Protagonist must uncover the secrets of inversion, the secrets of the Algorithm, and perhaps, even the secrets of himself.

Christopher Nolan gained many fans for his series of films starring DC Comics' Batman, known as “The Dark Knight Trilogy”: Batman Begins (2005), The Dark Knight (2008), and The Dark Knight Rises (2012). However, Tenet is closer to Nolan's films such as Memento (2000), Insomnia (2002), The Prestige (2006), and Inception (2010), which, like Tenet, have some combination of complex plots and character time lines, ambiguous elements, and cleverly hidden details that are open to many theories and interpretations.

Tenet freely plays with the themes of free will and determinism. Do people really have free will, or is it better that people think that they have free will? In the end, I think the narrative ultimately decides that free will and determinism are compatible, which is one of many reasons that I love this film. Many secret agent and spy films offer the illusion that the hero (or the protagonist) is in control. From the first movie in Eon Productions' “James Bond film series, Dr No (1962), the hero, James Bond, seems to have a measure of control or at least force of will to save the day or often, the world. One can say the same of Universal Pictures' “Jason Bourne” film series. It starts with The Bourne Identity (2002), and Matt Damon's Jason Bourne seems to exert free will all the more with each film, although his fate was determined and settled before the narrative of the first film begins. In Tenet, free will is a work in progress, exercised within the settled plots of determinism.

I love Tenet's cast. Either The Protagonist was tailor-made for actor John David Washington, or he was the perfect casting. I feel the same way about Robert Pattison's Neil, and Kenneth Branagh is such a fine actor that he can make any role seem like a real person. Elizabeth Debicki, honestly, is Oscar-worthy as Kat Barton, and Dimple Kapadia adds a delightful flavor as Priya Singh. Aaron Taylor-Johnson is all fire, menace, and masculinity as Ives.

I had not seen a Christopher Nolan film since Inception, although I'd planned to see Tenet in a theater. However, I was really wary of returning to movie theaters during the 2020 year of COVID-19 movie theater shutdowns, even after they reopened. In a way, that worked out. I got to savor Tenet on DVD as a way of prepping for eventually seeing his most recent film, Oppenheimer.

I like Tenet's trippy, surreal, time-shifting, inscrutable nature, and I like that Nolan is willing both to throw out a lot of ideas and to engage them. For me, it is mysterious, a mystery worth losing myself in every chance I get. As far as my opinion is concerned, Tenet is Christopher Nolan's best, most imaginative, and truly most inventive film.

10 of 10

Sunday, August 27, 2023

NOTES:

2021 Academy Awards, USA: 1 win: “Best Achievement in Visual Effects” (Andrew Jackson, David Lee, Andrew Lockley, and Scott R. Fisher); 1 nomination: “Best Achievement in Production Design”

{Nathan Crowley-production design and Kathy Lucas-set decoration)

2021 BAFTA Awards: 1 win: “Best Achievement in Special Visual Effects” (Scott R. Fisher, Andrew Jackson, and Andrew Lockley)

2021 Golden Globes, USA: 1 nomination: “Best Original Score - Motion Picture” (Ludwig Göransson)

2021 Black Reel Awards: 2 nominations: “Outstanding Cinematography” (Hoyte Van Hoytema) and 1 nomination: “Outstanding Production Design” (Nathan Crowley)

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Friday, August 18, 2023

Review: "BLUE BEETLE" is a Family Affair

TRASH IN MY EYE No. 38 of 2023 (No. 1927) by Leroy Douresseaux

Blue Beetle (2023)

Running time: 127 minutes (2 hours, 7 minutes)

MPA – PG-13 for sequences of action and violence, language, and some suggestive references

DIRECTOR: Angel Manuel Soto

WRITER: Gareth Dunnet-Alcocer (based on characters from DC Comics)

PRODUCERS: Zev Foreman and John Rickard

CINEMATOGRAPHER: Pawel Pogorzelski (D.o.P.)

EDITOR: Craig Alpert

COMPOSER: The Haxan Cloak

SUPERHERO/FANTASY/ACTION/FAMILY

Starring: Xolo Maridueña, Bruna Marquezine, Damien Alcazar, Adriana Barraza, Belissa Escobedo, Elpidia Carrillo, Raoul Max Trujillo, Modesto Lacen, and Harvey Guillén, Susan Sarandon, George Lopez, and (voice) Becky G

Blue Beetle is a 2023 superhero and action-fantasy film directed by Ángel Manuel Soto. The film is based on the DC Comics character, Blue Beetle/Jaime Reyes, that was created by Keith Giffen, John Rogers, and Cully Hamner and first appeared in the comic book, Infinite Crisis #3 (cover dated: February 2006). Blue Beetle the movie focuses on a young man who finds himself chosen to be the symbiotic host of an alien artifact that gives him a suit of armor.

Blue Beetle introduces recent college graduate, Jaime Reyes (Xolo Mariduena), who is returning to his hometown of Palmera City. He receives a warm welcome from his family: his father, Alberto Reyes (Damian Alcazar); his mother, Rocio Reyes (Elpidia Carrillo); his Nana (Adrian Barraza), his younger sister, Milagro (Belissa Escobedo); and his uncle, Rudy Reyes (George Lopez). Jaime soon learns that his family will lose their home due to financial difficulties and to Alberto's poor health. Still, Jaime is optimistic that he will quickly get a job and make enough money for his family.

Some time later, Jaime meets Jenny Kord (Bruna Marquezine), the daughter of Ted Kord, the currently-missing CEO OF Kord Industries. Jenny is at odds with her aunt, Victoria Kord (Susan Sarandon), the current CEO. Jenny discovers that Victoria has dark plans for her recent discovery, an alien artifact called “the Scarab.” Jenny steals the Scarab, and not knowing its true nature, she passes it on to Jaime.

As soon as Jaime touches the Scarab, it activates and attaches to him, creating a suit of armor around him. The suit gives Jaime extraordinary powers, such as flight, super-strength, and invulnerability, but those powers are unpredictable. Now, Jaime's family calls him a “superhero.” However, Jaime isn't sure that he wants to be a superhero, and Victoria Kord will do whatever she has to do – including murder – to regain possession of the Scarab.

The Blue Beetle first appeared in Fox Comics' Mystery Men Comics #1 (cover dated: August 1939) and was the secret identity of a young police officer, Dan Garrett. The second Blue Beetle first appeared in Charlton Comics' Captain Atom #83 (November 1966) and was Ted Kord, an industrialist and owner of KORD Industries. I mention this because Dan Garrett is referenced in this film. Also, Ted Kord, with a new origin, is a major subplot in this film, although the story is that he has been missing for years under mysterious circumstances.

However, this is Blue Beetle/Jaime Reyes' film. He comes across as a normal young man in his early twenties. Warner Bros. didn't even cast some muscular young android-like actor for the role. Xolo Mariduena's body is in good shape, but he looks more like a high school kid still in physical development. Everything about Xolo comes across as boy-next-door, which makes him more relatable to a larger segment of the audience. After all, Jaime seems so vulnerable that even an alien suit of armor doesn't seem capable of completely protecting him. If there is a superhero of the people – the champion next door – Xolo makes Jaime Reyes as Blue Beetle fit the role perfectly.

Like Warner Bros.'s 2019 DC Comics film, Shazam, Blue Beetle emphasizes family, and the Reyes are delightful. George Lopez's Uncle Rudy is a scene stealer, and I'm glad the story reveals that there is so much more to him than meets the eye. Of course, one can judge how good a family is by placing it in contrast with a problematic family, and that is the Kords. Susan Sarandon plays the evil aunt, Victoria Kord, with relish, although she doesn't really go over the top. The film puts Jenny Kord, smoothly played by actress Bruna Marquezine, at the center of the good family (the Reyes)-bad family (Victoria Kord) dynamic. Which will Jenny ultimately choose? Like Shazam, Blue Beetle shows how cool an extended or surrogate family can be, especially to someone in need.

I like what director Angel Manuel Soto does with his collaborators, cast, and crew. Blue Beetle is an easy-going superhero film that is fun for a family audience, even with the sometimes intense action and dark plot elements. I'm surprised that the film has as its themes, “imperialism in the name of democracy” and “militarized capitalism,” neither of which are ever portrayed as a good thing. Uncle Rudy even calls Batman a “fascist,” which has caused a stir in some Internet circles. This film definitely has an anti-authoritarian streak.

That aside, Blue Beetle is hugely and surprisingly entertaining, and it sparkles with humor. By focusing on Jaime Reyes as much as it does on the Blue Beetle armor, the film gets to center on the most winning aspect of it story, family and friends. Blue Beetle won't get the attention of bigger superhero film productions, but it has more heart than most of those other films.

[Blue Beetle has two extra scenes during the end credits.]

7 of 10

B+

★★★½ out of 4 stars

Friday, August 18, 2023

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Wednesday, August 16, 2023

Review: "THE FINAL COUNTDOWN" is Still Timeless Entertainment

TRASH IN MY EYE No. 37 of 2023 (No. 1926) by Leroy Douresseaux

The Final Countdown (1980)

Running time: 103 minutes (1 hour, 43 minutes)

MPAA – PG

DIRECTOR: Don Taylor

WRITERS: David Ambrose & Gerry Davis and Thomas Hunter & Peter Powell; from a story by Thomas Hunter & Peter Powell and David Ambrose

PRODUCERS: Peter Vincent Douglas

CINEMATOGRAPHER: Vincent J. Kemper (D.o.P.)

EDITOR: Robert K. Lambert

COMPOSER: John Scott

SCI-FI/MILITARY

Starring: Kirk Douglas, Martin Sheen, Katharine Ross, James Farentino, Ron O'Neal, Charles Durning, Victor Mohica, Soon-Teck Oh, and Alvin Ing

The Final Countdown is a 1980 science fiction war film from director Don Taylor. The film features an ensemble cast starring such Hollywood legends and icons as Kirk Douglas, Charles Durning, and Martin Sheen. The film focuses on the crew of a nuclear-powered aircraft carrier that is tossed back in time to the year 1941 near Hawaii, just a day before the Japanese attack on Pearl Harbor.

The Final Countdown opens in 1980. The nuclear-powered aircraft carrier, the U.S.S. Nimitz, departs Naval Station Pearl Harbor for naval exercises in the mid-Pacific Ocean. It is commanded by Captain Matt Yelland (Kirk Douglas). The ship also takes on a civilian observer, Warren Lasky (Martin Sheen), a systems analyst for Tideman Industries. Lasky is working as an efficiency expert for the U.S. Defense Department on the orders of his reclusive employer, Richard Tideman.

Once at sea, the Nimitz encounters a mysterious, electrically-charged storm that eventually becomes a vortex. While the ship passes through the mystery storm, its radar and other equipment become unresponsive, and the crew falls into agony. After the event, Capt. Yelland and the crew are initially unsure of what has happened to them. They also discover that they have lost radio contact with U.S. Pacific Fleet Command at Pearl Harbor.

Yelland wonders if there has been a nuclear strike on Hawaii, but soon Lasky and Commander, Air Group Richard T. Owens (James Farentino) begin to suspect that they been tossed back in time to December 6, 1941. That is one day before “a day which will live in infamy,” December 7, 1941 – the Imperial Japanese Navy Air Service attack on the U.S. naval base at Pearl Harbor in Honolulu, Hawaii. Now, comes the big questions. By itself, the Nimitz has the aircraft power to destroy the Japanese fleet. So should Yelland launch that air power and change history by stopping the attack on Pearl Harbor?

The Final Countdown is one of my all-time favorite films. I have a soft spot for time-travel movies, especially such films as Star Trek IV: The Voyage Home (1986), Star Trek: First Contact (1996), and of course, The Terminator (1984) and its sequels.

In spite of my intense love for this film – yes, I said intense – I can see its flaws. I think The Final Countdown's concept would work better as a television miniseries or even as an ongoing series. Its relatively short runtime is not enough time for the film to really be indulgent in revealing its most important character, the U.S.S. Nimitz. Director Don Taylor gives us several scenes of the planes, jets, fighter aircraft, etc., but every scene of the ship's interior makes it obvious that the film needs to take a deeper dive into the bowels of the Nimitz. All that military hardware demands more screen time, or at least, I'm the one demanding more of it.

Most of all, the time travel angle of the story seems to come and go so fast, and the screenplay does not really grapple with what would happen if Captain Yelland and his crew inserted themselves into the attack on Pearl Harbor. It glosses over that and over the many points of view that would result from the kind of command structure that a ship like the Nimitz has.

The wild card characters are Senator Samuel S. Chapman (Charles Durning) and his secretary, Laurel Scott (Katharine Ross). Their appearance in the narrative is a considerable development and creates conflict and complications in the decisions that the captain and crew of the Nimitz will make. Time constraints mean that the film doesn't really deal with these two characters.

I spotted so many cracks in this recent viewing of The Final Countdown, I still really love this film. I enjoyed seeing some of my favorite movies stars, such as Kirk Douglas (Out of the Past), Martin Sheen, and Charles Durning (To Be or Not to Be) in roles that called upon their usual film personalities. I don't think I remembered that Ron O'Neal (Super Fly, 1972) was in this film, but he gets his chance to emote and overact. I have seen this film at least three times, and this was the first time that James Farentino;s presence also registered with me.

Yes, The Final Countdown seems to be missing at least another half-hour of story, but the first time I saw it, when I was a teenager, it blew my mind. I saw it again years later, and I was surprised to find that I still loved it. I just watched The Final Countdown again, and guess what? I still love it, even adore it. That's why I'm being generous with the grade I'm giving The Final Countdown. I need a Blu-ray or DVD copy.

8 of 10

★★★★ out of 4 stars

Wednesday, August 16, 2023

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