Negromancer News Bits and Bites from June 13th to 19th, 2021 - Update #23

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

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ENTERTAINMENT AND CULTURE NEWS:

BLM - From Variety:   Ms. Opal Lee, the "Grandmother of Juneteenth," and Grammy Award-winning recording artist, Pharrell Williams, talk about their fight for the "Juneteenth" holiday.

NETFLIX - From Deadline:   Netflix has given a 10-episode straight-to-series order to a half-hour workplace comedy inspired by the front office of the NBA's Los Angeles Lakers. The project hails from Mindy Kaling, former star/executive producer of one of the all-time great workplace comedy series, "The Office;" "Modern Family" alumna Elaine Ko; Lakers’ President and Governor Jeanie Buss; and Warner Bros. TV.

MOVIES - From Deadline:   "Mortal Kombat" actor Hiroyuki Sanada has joined "John Wick: Chapter 4."

TELEVISION - From Deadline:  CBS latest "NCIS" installment, "NCIS: Hawaii," has begun production in Hawaii with a traditional Hawaii blessing.

MOVIES - From Deadline:  Warner Bros. will finance the biopic of music legend, Marvin Gaye, entitled "What's Going On."  At 80 million dollars, it will be the biggest budget for an American-African musical biopic.  Allen Hughes will direct with Dr. Dre and Jimmy Iovine among the producers.  The Gaye estate and Motown are also onboard the production.

CULTURE - From YahooNews:   President Joe Biden and Vice-President Kamala Harris have signed "Juneteenth" (June 19th) into a federal holiday - beginning immediately.

POLITICS - From APNews:   The U.S. Supreme Court upholds the Affordable Care Act (ACA), also known as "Obamacare," a third time.

LGBTQ - From Queerty:   In honor of Pride Month, actor and Grammy-nominated recording artist Adam Lambert declares, "I like dick."

STAR TREK - From YouTube:  Here is a new teaser trailer for "Star Trek: Picard" Season 2, which debuts next year. 

From TrekCore:  The site offers a breakdown of the new teaser trailer for "Star Trek: Picard" Season 2.

ANIMATION - From YahooNBC:   Last week a Warner Bros. representative announced that “Scooby-Doo” character, "Velma Dinkley," would be reprised as East Asian in Mindy Kaling’s new adult HBO Max show.  This article addresses the social media reaction (some of it racist) to the news.

MOVIES - From Deadline:   Zoe Kravitz will make her directorial debut with the film, "Pussy Island."  In this genre thriller, Channing Taturm will play a tech billionaire with a mysterious tropical island.

MUSIC - From RollingStone:   Roger Waters has said that Facebook approached him about using the 1979 Pink Floyd classic song, “Another Brick in the Wall, Part 2," which Waters wrote, in an upcoming advertisement for Instagram (which Facebook owns).  Despite the offer of a "huge, huge amount of money," Waters turned down the offer - saying "Fuck You. No fuckin' way."

NETFLIX - From Variety:   Jeb Stuart, who wrote such late 1980/early 1990s movies such as "Die Hard" (1988), "Another 48 Hours" (1990), and "The Fugitive" (1993), will write Netflix's "Assassin's Creed" TV series.

STAR TREK - From Deadline:   Paramount+ and Nickelodeon's animated "Star Trek: Prodigy" reveals its cast and unveils some first-look images.

MOVIES - From Deadline:  "Sideways" director Alexander Payne and star Paul Giamatti reunite for "poignant" comedy, "The Holdovers."

SCANDAL - From YahooNews:   Exclusive: Saudi assassins picked up illicit drugs in Cairo to kill "Washington Post" columnist, Jamal Khashoggi, in 2018 in the Saudi Arabian consulate in Turkey.

BOX OFFICE - From Variety:   The winner of the 6/11 to 3/13/2021 weekend box office is "In the Heights" with an estimated gross of 11.4 million dollars.

From Variety:  "A Quiet Place II" has become the first movie of the pandemic era to surpass $100 million in U.S. tickets sales.

NETFLIX - From Deadline:   Melissa McCarthy and Ben Falcone’s Netflix comedy series, God’s Favorite Idiot," has wrapped up production earlier than expected in Australia, and "Deadline" explains why.

TELEVISION - From Deadline:   The CW has rounded out the cast for its original made-for-TV movie "The Waltons’ Homecoming."  The Waltons’ Homecoming marks the 50th anniversary of "The Homecoming: A Christmas Story" television movie, which aired December 19, 1971, and launched the long-running series "The Waltons," created by Earl Hamner.

OBITS:

From THR:   The television actor and director, Frank Bonner, has died at the age of 79, Wednesday, June 16, 2021.  Bonner was best known for the role of "Herb Tarlek" on the former CBS sitcom, "WKRP in Cincinnati" (1978-82).  Bonner was also a prolific director of episodic TV and directed all 105 episodes of the former NBC Saturday morning TV series, "City Guys" (1997-2001).

From YahooEntertainment:   The stage, screen, and television actress, Lisa Banes, has died at the age of 35, Monday, June 14, 2021, a victim of a hit and run accident in New York City.  She was hospitalized June 4th after being struck by a scooter or motorcycle while crossing Amsterdam Avenue at 64th Street, in a crosswalk, on Manhattan's Upper West Side.  Her best known film work includes "Cocktail" (1988) and "Gone Girl" (2014).  She appeared in numerous TV series, including "L.A. Law," "Star Trek: Deep Space Nine," "Murder, She Wrote," "Son of the Beach," and "Nashville," to name a few.

From Deadline:   The prolific film actor, Ned Beatty, has died at the age of 83, Sunday, June 13, 2021.  Beatty had more than 160 screen credits, so his "best known for" list his long.  His most notorious role was probably as rape victim, Bobby Trippe, in 1972's Deliverance.  He also had memorable turns in "White Lightning" (1973), "Superman" (1972), "Rudy" (1993), "Shooter" (2007), "Toy Story 3" (2010), and the 1979 TV movie, "Friendly Fire."  Beatty was nominated for a "Best Supporting Actor" Oscar for "Network" (1976).  He was twice nominated for an Emmy Award, "Friendly Fire" and "Last Train Home" (1989).

"San Andreas" Quakes Past $300 Million in Worldwide Box Office

“San Andreas” Rocks Audiences Around the World Past $300 Million at Global Box Office

Worldwide Success Includes Warner Bros.’ Biggest-ever Opening in China

BURBANK, Calif.--(BUSINESS WIRE)--New Line Cinema, Village Roadshow Pictures and Warner Bros. Pictures’ action thriller “San Andreas,” starring Dwayne Johnson, is making a major impact in the global theatrical marketplace, registering a box office total of more than $300 million worldwide as of Monday, June 8, only its 10th day in release. The announcement was made by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

    “Our campaign focused on the thrill-ride aspects of the film and on Dwayne Johnson’s undeniable star power, keeping fans engaged and anticipation high, which is well reflected in its strong opening and continuing success.”

“San Andreas” opened at number one in North America on May 29th, entertaining moviegoers in 2D, RealD 3D and IMAX to earn a stellar A- Cinema Score and a domestic weekend total of more than $54 million. As of yesterday, its domestic earnings have reached $101.1 million.

Internationally, “San Andreas” simultaneously opened to outstanding numbers and ranked #1 in 55 markets that opened day-and-date with the U.S.

This past weekend it debuted in China to spectacular returns, hitting #1 and grossing an estimated $51 million in six days, making it Warner Bros.’ biggest China opening of all time.

The film’s international box office cume is now an estimated $200.2 million, for a worldwide total of $301.3 million and counting.

Fellman stated, “It’s great to see audiences enjoying this heart-pounding ride. ‘San Andreas’ is a true cinematic experience with stunning visuals and a larger-than-life hero. With a terrific Cinema Score, translating to enthusiastic word of mouth, it should continue to deliver good returns well into the summer.”

Said Kwan Vandenberg, “Judging from the fantastic response across such a diverse range of markets, this film is the crowd-pleaser we knew it would be. We congratulate Dwayne and everyone involved for delivering us this nonstop, action-packed, big-screen experience, and our teams around the world for making it such a big hit.”

Sue Kroll, President of Worldwide Marketing and International Distribution, also noted, “Our campaign focused on the thrill-ride aspects of the film and on Dwayne Johnson’s undeniable star power, keeping fans engaged and anticipation high, which is well reflected in its strong opening and continuing success.”

Toby Emmerich, President and Chief Operating Officer, New Line Cinema, added, “Congratulations to the winning team of director Brad Peyton, producer Beau Flynn and our megawatt star Dwayne Johnson, for making this movie such an irresistible draw. We are so pleased to share this success with them, and look forward to future collaborations.”

After the infamous San Andreas Fault finally gives, triggering a magnitude 9-plus earthquake in California, a search and rescue helicopter pilot and his estranged wife make their way together from Los Angeles to San Francisco to save their only daughter. But their treacherous journey north is only the beginning, and when they think the worst may be over…it’s just getting started.

“San Andreas” stars Dwayne Johnson, Carla Gugino, Alexandra Daddario, Ioan Gruffudd, Archie Panjabi and Paul Giamatti. It was directed by Brad Peyton and produced by Beau Flynn, with a screenplay by Carlton Cuse, story by Andre Fabrizio & Jeremy Passmore. Richard Brener, Samuel J. Brown, Michael Disco, Toby Emmerich, Rob Cowan, Tripp Vinson and Bruce Berman served as executive producers. The creative filmmaking team included director of photography Steve Yedlin, production designer Barry Chusid, editor Bob Ducsay, VFX producer Randall Starr, VFX supervisor Colin Strause, costume designer Wendy Chuck, and composer Andrew Lockington.

A New Line Cinema presentation, in Association with Village Roadshow Pictures, a FlynnPictureCo. Production, a Brad Peyton Film, “San Andreas” is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures. Rated PG-13 for intense disaster action and mayhem throughout, and brief strong language. www.sanandreasmovie.com

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

Dwayne Johnson to Be Celebrated at TCL Chinese Theatre

Dwayne Johnson to Be Immortalized at World-Famous Hollywood Landmark TCL Chinese Theatre with Hand and Footprint Ceremony Tuesday, May 19th
--(BUSINESS WIRE)--Warner Bros. Pictures:

WHAT:
Dwayne Johnson will have his hand and footprints immortalized in cement at the famed forecourt of TCL Chinese Theatre, in celebration of his new movie, “San Andreas,” opening nationwide on Friday, May 29th, 2015.

WHEN:
Tuesday May 19th
Press Check-in 1:30PM
Ceremony begins 2:30PM

WHERE:
TCL Chinese Theatre
6925 Hollywood Blvd.
Los Angeles, CA

The action thriller “San Andreas” stars Dwayne Johnson, Carla Gugino, Alexandra Daddario, Ioan Gruffudd, Archie Panjabi and Paul Giamatti. It is directed by Brad Peyton and produced by Beau Flynn, with a screenplay by Carlton Cuse, story by Andre Fabrizio & Jeremy Passmore. Richard Brener, Samuel J. Brown, Michael Disco, Toby Emmerich, Rob Cowan, Tripp Vinson and Bruce Berman are the executive producers. The director of photography is Steve Yedlin; production designer is Barry Chusid; editor is Bob Ducsay; and composer is Andrew Lockington.

A New Line Cinema presentation, in Association with Village Roadshow Pictures, a FlynnPictureCo. Production, a Brad Peyton Film, “San Andreas” will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures. Rated PG-13 for intense disaster action and mayhem throughout, and brief strong language.

sanandreasmovie.com

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

Review: "The Amazing Spider-Man 2" Entangled in Too Many Angles

TRASH IN MY EYE No. 43 by Leroy Douresseaux

The Amazing Spider-Man 2 (2014)
Running time: 142 minutes (2 hours, 22 minutes)
MPAA – PG-13 for sequences of sci-fi/action and violence
DIRECTOR: Marc Webb
WRITERS: Alex Kurtzman, Roberto Orci, and James Pinkner; from a story by Alex Kurtzman, Roberto Orci, James Pinkner, and James Vanderbilt (based upon the Marvel comic book by Stan Lee and Steve Ditko)
PRODUCERS: Avi Arad and Matthew Tolmach
CINEMATOGRAPHER: Dan Mindel (D.o.P.)
EDITOR: Pietro Scalia
COMPOSERS: Hans Zimmer, The Magnificent Six, Johnny Marr, and Pharrell Williams

SUPERHERO/DRAMA/ACTION/ROMANCE

Starring: Andrew Garfield, Emma Stone, Jamie Foxx, Sally Field, Dane DeHaan, Felicity Jones, Paul Giamatti, Campbell Scott, Embeth Davidtz, Marton Csokas, Max Charles, B.J. Novak, Kari Coleman, Michael Massee, and Stan Lee with Chris Cooper and Denis Leary

The Amazing Spider-Man 2 is a 2014 superhero film and drama from director Marc Webb and stars Andrew Garfield in the title role. It is the sequel to The Amazing Spider-Man, the 2012 film that was a reboot of Columbia Pictures' Spider-Man film franchise, and this movie is also the fifth Spider-Man film in the series.  The Amazing Spider-Man 2 finds Spider-Man facing a former admirer turned super-villain, while Peter Parker worries that being Spider-Man will endanger his loved ones.

The Amazing Spider-Man 2 begins as Peter Parker (Andrew Garfield) and his girlfriend, Gwen Stacy (Emma Stone), are about to graduate from high school.  Peter is also loving his life as the costumed, crime-fighting superhero, Spider-Man.  Peter, however, is currently haunted by the specter of police Captain George Stacy (Denis Leary), Gwen's deceased father.  As Capt. Stacy lay dying (in the previous film), Peter promised him to keep Gwen out of his life because of Spider-Man.  Peter reluctantly tries to break up with Gwen, but the two teenagers deeply love each other.  Peter's attempts simply sow confusion.

Meanwhile, at OsCorp Industries, Peter's former friend, Harry Osborn (Dane DeHaan), returns to New York City in time to take over the business of his recently deceased father, Norman Osborn (Chris Cooper).  OsCorp's past as a company on the cutting edge of controversial genetic research, however, threatens both Harry and Peter.  Also, a new villain, Electro (Jamie Foxx), appears.

The Amazing Spider-Man 2 lacks focus, and I think that there are two reasons for that.  First, the screenplay wants to be a story of young romance, but the romance and character drama are overwrought.   Andrew Garfield and Emma Stone give good performances, but Peter and Gwen's relationship is like a car stuck in mud and pointlessly spinning its wheel.  The car isn't going anywhere, and until the end, neither is Peter and Gwen's relationship, and then, that is only for tragic affect.

I think the second reason that The Amazing Spider-Man 2 seems muddled is because it is more than just a superhero movie; it is the birth of an expanded universe.  Sony, Columbia Pictures' parent, wants to take some of the characters that belong to Marvel Comics' line of Spider-Man comic books and use them to expand their Spider-Man film franchise into a Spider-Man universe.  They want something like Marvel Studios' “Marvel Cinematic Universe.”  Why have just Spider-Man movies when you can have movies starring Spider-Man adversaries like Venom and the Sinister Six.

Marvel essentially used the 2010 film, Iron Man 2, to expand its universe, and that movie tended to drift and lack focus, but in the end, Iron Man 2 was a good movie.   The Amazing Spider-Man 2 is meant to expand the Spider-Man universe, but in the end, it is not really a good movie.  The character melodrama is at odds with the showy action-fantasy violence that is the Spider-Man vs. Electro subplot.  Electro is probably the worse villain yet in the Spider-Man films.

The Amazing Spider-Man 2 has an engaging visual style, and it is probably at its best when it depicts Spider-Man swinging over New York City, through its canyons and around its buildings and skyscrapers.  Even the fight scenes, which seem tacked on to the story, look good, when they focus on Spider-Man.  Nothing about Electro looks good.  Hopefully, the third installment of The Amazing Spider-Man can be itself, a stand-alone movie that does not have to carry the hopes of Sony's corporate board and accountants.

4 of 10
C

Monday, September 15, 2014


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

Review: Emma Thompson Saves "Saving Mr. Banks"

TRASH IN MY EYE No. 21 (of 2014) by Leroy Douresseaux

Saving Mr. Banks (2013)
Running time:  125 minutes (2 hours, 5 minutes)
MPAA – PG-13 for thematic elements including some unsettling images
DIRECTOR:  John Lee Hancock
WRITERS:  Kelly Marcel and Sue Smith
PRODUCERS:  Ian Collie, Alison Owen, and Philip Steuer
CINEMATOGRAPHER:  John Schwartzman (D.o.P.)
EDITOR:  Mark Livolsi
COMPOSER:  Thomas Newman
Academy Award nominee

DRAMA/HISTORICAL with elements of a biopic and comedy

Starring:  Emma Thompson, Tom Hanks, Annie Rose Buckley, Colin Farrell, Ruth Wilson, Paul Giamatti, Bradley Whitford, B.J. Novak, Jason Schwartzman, Lily Bigham, Melanie Paxson, Ronan Vibert, Rachel Griffiths, and Kathy Baker

Saving Mr. Banks is a 2013 drama from director John Lee Hancock and is an American, British, and Australian co-production.  The film is a fictional account of author P.L. Travers’ trip to America, as she considers selling the film rights to her Mary Poppins books to Walt Disney.

Walt Disney is really a supporting character in Saving Mr. Banks, as the movie focuses on Travers as she reflects on her childhood and on her relationship with her troubled father.  The parts of the film that focus on Travers’ childhood are melancholy.  The parts of the film that take place in the film’s present (1961) are lively and colorful, and I wish all of the movie were set at Walt Disney Studios.

The film opens in the year 1961 in London, where it finds author, Pamela “P.L.” Travers (Emma Thompson), experiencing financial troubles.  Travers does have a way out of her money woes.  She can sell the film rights to her Mary Poppins books to Walt Disney (Tom Hanks), who has been pursuing Travers for the rights to the books for 20 years.  Travers travels to Los Angeles, where she is whisked to the Walt Disney Studios in Burbank.

In America, Travers meets a kind limo driver, Ralph (Paul Giamatti). She meets Mr. Disney.  She meets the creative team assigned to adapt Mary Poppins to the screen:  screenwriter, Don DaGradi (Bradley Whitford); and musical composing brothers, Richard and Robert Sherman (Jason Schwartzman and B.J. Novak, respectively).  For two weeks, Travers plans on working with the team to get Mary right – at she sees it.

However, everything about her Mary Poppins book may be too personal for her to accept anyone else’s vision of Mary Poppins, especially Walt Disney’s version of Mary Poppins.  As she works on the film, Travers’ mind goes back to her life in Australia as a girl (Annie Rose Buckley) and she recollects her relationship with her troubled father (Colin Farrell).

I have to admit that I like Saving Mr. Banks because of its fanciful and real-life complication-free look at Walt Disney, his employees, and life at Walt Disney Studios.

I will grant that Emma Thompson gives a fantastic performance, one that is worthy of the Oscar nomination Thompson did not receive.  I will also grant that the story of Travers’ past is heartbreaking and fairly well-executed by director John Lee Hancock and his collaborators.  I will finally admit that I don’t think Hanks deserved an Oscar nomination for his performance as Walt Disney, especially not as a lead actor.  His Disney is clearly a supporting character in this story… and this is not close to being one of Hanks’ better or memorable performances.

Mostly, I think Saving Mr. Banks is a soapy television movie with big name actors trying to be a prestige motion picture.  I think the film sometimes portrays P.L. Travers as a contrary old kook and also glosses over her legitimate concerns about how her characters will be translated to film.  After all, she clearly knew that more people would see a Mary Poppins movie than would ever read her Mary Poppins books.  Because of that, many people would know Mary Poppins only through the film, so she had right to be concerned that the screen Mary Poppins be as close as possible to her Mary Poppins.

After all that granting, I am back to what I like about this movie. Saving Mr. Banks presents a… well… Disney-fied version of some of the events surrounding the production of the 1964 Mary Poppins film.  That is okay by me, but I realize that there is much more to the real story than is in Saving Mr. Banks.

6 of 10
B

Monday, May 05, 2014


NOTES:
2014 Academy Awards:  1 nomination: “Best Achievement in Music Written for Motion Pictures, Original Score” (Thomas Newman)

2010 Golden Globe:  1 nomination: “Best Performance by an Actress in a Motion Picture – Drama” (Emma Thompson)

2014 BAFTA Awards:  5 nominations:  “Alexander Korda Award for Best British Film” (John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, and Sue Smith), “Anthony Asquith Award for Film Music” (Thomas Newman), “Outstanding Debut by a British Writer, Director or Producer” (Kelly Marcel), “Best Leading Actress” (Emma Thompson), and “Best Costume Design” (Daniel Orlandi)

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

Review: "Turbo" is Fast and Sweetly Furious

TRASH IN MY EYE No. 2 (of 2014) by Leroy Douresseaux

Turbo (2013)
Running time:  96 minutes (1 hour, 36 minutes)
MPAA – PG for some mild action and thematic elements
DIRECTOR:  David Soren
WRITERS:  Darren Lemke, Robert D. Siegel, and David Soren
PRODUCER:  Lisa Stewart
CINEMATOGRAPHER:  Chris Stover
EDITOR:  James Ryan
COMPOSER:  Henry Jackman

ANIMATION/FANTASY/ACTION/COMEDY

Starring:  (voices) Ryan Reynolds, Paul Giamatti, Michael Pena, Samuel L. Jackson, Luis Guzman, Bill Hader, Snoop Dogg, Maya Rudolph, Ben Schwartz, Richard Jenkins, Ken Jeong, Michelle Rodriguez, Michael Patrick Bell, Aidan Andrews, Aaron Berger, Mario Andretti, Paul Page, Chris Parnell, and Kurtwood Smith

Turbo is a 2013 computer-animated family comedy and racing film from DreamWorks Animation.  Theatrically presented in 3D, the film is directed by David Soren, who first conceived the idea for the film several years prior to its eventual production and release.  Turbo follows an ordinary garden snail that wants to win the Indy 500 and may be able to do so because of a freak accident.

Turbo introduces Theo (Ryan Reynolds), a snail who lives in a suburban San Fernando Valley garden in a snail community that is wary of change.  Theo dreams of becoming the greatest race car driver in the world, just like his human hero, Guy Gagné (Bill Hader), five-time Indianapolis 500 champion.  Theo even gives himself the nickname, “Turbo.”  His obsession with speed and car racing makes Theo an oddity and embarrasses his cautious older brother, Chet (Paul Giamatti).

After causing a near-disaster in the garden, Theo wanders from the village, his mind focused on his wish of becoming fast.  By chance, an accident involving drag racing and nitrous oxide imbues Theo with high-octane speed.  Suddenly, his dreams of racing in the Indianapolis 500 might come true, but Theo/Turbo will learn that his dreams cannot come true without help from friends and family.

I like Turbo.  I thought that I would like it when I first staring seeing commercials for the film on television, although I must admit that I found its concept a little silly, if not ridiculous.  However, there is something likeable about this little can-do snail who goes by the moniker, Turbo.  It is like the little engine that could, except this little engine is blazing fast and fun to watch.

Surprisingly, Turbo is not as inventive as its concept might suggest.  The characters are pedestrian, especially the humans, upon which this film spends entirely too much time.  The humans have very little character, actually, and are little more than the kind of stereotypes that run of the mill TV sitcoms offer.

The other snail characters are interesting and fun, but are wasted because human characters get more screen time than them.  As Turbo’s brother, Chet, actor Paul Giamatti does his best to bring color and range to a character that is simply a variation on the older brother-type who doubts his younger brother.  Samuel L. Jackson makes the most of his scenes as the voice of Whiplash, the leader of the Starlight Plaza Snail crew.  The presence and fury that Jackson has as a live-action actor, he brings to his voice acting performance.  Jackson’s performance made me wish that Whiplash had a much bigger role in this movie.

I don’t know if Turbo could have been a great animated film, the kind that becomes a classic.  I think that Turbo certainly needed some rewriting and re-conceptualizing, but the film is good and has an endearing quality.  Turbo is one of the few animated films that I do not consider exceptional, but of which I would still like to see a sequel.

6 of 10
B

Monday, January 06, 2014


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

Review: "The Ant Bully" is Impressive (Happy B'day, Nicolas Cage)

TRASH IN MY EYE No. 8 (of 2007) by Leroy Douresseaux

The Ant Bully (2006) – computer animation
Running time:  89 minutes (1 hour, 29 minutes)
MPAA – PG for some mild rude humor and action
DIRECTOR:  John A. Davis
WRITER:  John A. Davis (based upon the John Nickle)
PRODUCERS:  Tom Hanks, Gary Goetzman, and John A. Davis
CINEMATOGRAPHER:  Ken Mitchroney (D.o.P.)
EDITOR:  Jon Price
COMPOSER:  John Debney

ANIMATION/FANTASY/ADVENTURE/COMEDY/FAMILY

Starring:  (voices) Zach Tyler Eisen, Julia Roberts, Nicolas Cage, Meryl Streep, Paul Giamatti, Regina King, Bruce Campbell, Lily Tomlin, Cheri Oteri, Larry Miller, Allison Mack, Ricardo Montalban, and Myles Jeffrey

The subject of this movie review is The Ant Bully, a 2006 computer-animated fantasy film  from director John A Davis.  The movie is a joint venture from Warner Bros. Animation, Legendary Pictures, DNA Productions and Playtone, which is the production company owned by partners, Tom Hanks and Gary Goetzman.  The movie is based on The Ant Bully, a 1999 children’s picture book written and drawn by John Nickle.  The Ant Bully the film focuses on a boy who terrifies an ant colony and then finds himself magically shrunken down to insect size and sentenced to hard labor.

Ten-year old Lucas Nickle (Zach Tyler Eisen) doesn’t have any friends, and he’s always the target of the neighborhood bully, Steve (Myles Jeffrey), and his gang.  His sister, Tiffany (Allison Mack) mostly ignores him.  His father, Fred (Larry Miller), is too busy planning his wedding anniversary trip to Puerto Vallarta, and his grandmother, Mommo (Lily Tomlin), is just plain weird.  However, Lucas finds his mother, Doreen (Cheri Oteri), to be a bit overbearing, and he hates that she calls him “Peanut.”

Lucas takes his frustrations out on the anthill in his front yard – tormenting the ants by frequently flooding their territory.  Lucas thinks of them as “just a bunch of stupid ants,” but he doesn’t know that the anthill is a complex society, in which the members of that colony have names, relationships, emotions, and responsibilities.  They decide to fight back against Lucas – the one they know as the “Destroyer,” so Zoc (Nicolas Cage), a wizard ant, concocts a potion to take care of the Destroyer.  After the ants pour the magic elixir down his ear, Lucas shrinks down to their size, and the ants promptly take him to stand trial for “crimes against the colony.”

The wise Ant Queen (Meryl Streep) sentences Lucas to live amongst the ants and learn their ways so that he can become an ant.  Zoc’s girlfriend, Hova (Julia Roberts), a nurse ant, volunteers to mentor the miniaturized Lucas, much to Zoc’s chagrin.  With the help of Kreela (Regina King), a forager ant, and Fugax (Bruce Campbell), a scout ant, Hova helps the reluctant Lucas fit into the colony.  Lucas’ skills and new friendships are tested when he and the ants must have to take on Stan Beals (Paul Giamatti), a local exterminator, in an epic air battle over the Nickles’ front lawn.

There were so many computer-animated movies that received a wide theatrical release in 2006 that some were bound to get lost in the shuffle.  One of the lost was The Ant Bully, an excellent talking animal fable produced by actor Tom Hanks’ production company (Playtone) and the computer animation studio behind Jimmy Neutron: Boy Genius, DNA Productions.  Written for the screen and directed by the creator of Jimmy Neutron, John A. Davis, The Ant Bully is several times better than Jimmy Neutron, in terms of story, voice acting, and animation.

Adapting John Nickle’s book, Davis wrote a traditional animal fable that teaches a lesson or makes a moral point, but is not didactic or overbearing.  Davis simply uses comedy, adventure, action, dramatic conflict, and obstacles to make a point that a group of individuals with different skills can work together and make the whole better.  However, to take Davis’ film as saying that the group is good and the individual is bad would be a poor misreading.

The voice performances are quite good.  For all the star power the voice cast has, what stars like Julia Roberts and Nicolas Cage do is bring color and character to the parts the play.  Zach Tyler Eisen simply brings Lucas Nickle to life.  Lucas’ troubles fitting in, his stubbornness, and his struggle to break away from mommy all seem genuine.  Even Regina King, Bruce Campbell, Lily Tomlin manage to add much comic flavor to the film via their supporting roles.

At first, The Ant Bully’s animation seems to make every thing look plastic and fake, but perhaps, the eyes need time to adjust.  The film is imaginative in concept and design – especially in building a world of outsized and giant sets for tiny beings.  Everything has texture and surface quality to it.  The exoskeletons of the ants and wasps actually look solid; it’s as if the eyes are actually touching the surfaces to verify what is genuine.  The character movement is good, and jumps up to wonderful and superb during all the big action set pieces – especially during the air battle at the end.

Fans of computer animation and also families that want to share a movie with a good message absolutely won’t go wrong with The Ant Bully.  We follow Lucas down into the anthill where awaits a world of wonder and magical animal creatures that dazzle the eyes and sometimes blow the mind.  And the movie’s pretty funny, too.

8 of 10
A

Thursday, January 11, 2007

Updated:  Tuesday, January 07, 2014

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

Review: "Cinderella Man" Ignores the Woman Next to the Man (Happy B'day, Paul Giamatti)

TRASH IN MY EYE No. 16 (of 2006) by Leroy Douresseaux

Cinderella Man (2005)
Running time: 144 minutes (2 hours, 24 minutes)
MPAA – PG-13 for intense boxing violence and some language
DIRECTOR: Ron Howard
WRITERS: Cliff Hollingsworth and Akiva Goldsman; from a story by Cliff Hollingsworth
PRODUCERS: Brian Grazer, Penny Marshall, and Ron Howard
CINEMATOGRAPHER: Salvatore Totino
EDITORS: Daniel P. Hanley and Mike Hill
COMPOSER: Thomas Newman
Academy Award nominee

DRAMA/BIOPIC/SPORTS

Starring: Russell Crowe, Renée Zellweger, Paul Giamatti, Craig Bierko, Paddy Considine, Bruce McGill, Ron Canada, Clint Howard, and Rufus Crawford

The subject of this movie review is Cinderella Man, a 2005 boxing drama and biographical film from director Ron Howard. The film is based on the life of heavyweight boxing champion, James J. Braddock (1935 to 1937), and the movie’s title is taken from Braddock’s nickname.

In 1928, James J. Braddock (Russell Crowe) was an up-and-coming prizefighter. By the early 1930, Jim Braddock was an impoverished ex-boxer – broken-down, beat-up, and as unfortunate and out of luck as so many Americans were who had hit rock bottom during the Depression. Although his boxing career was seemingly over, Braddock and still had a wife, Mae (Renée Zellweger), and three children to support, and to him they were what mattered most. Braddock was unable to pay his bills and eventually had to seek Public Relief (kind of like modern welfare); he even begged for money when things got that desperate.

However, Braddock never gave up on his dream to be a great boxer, even when the Boxing Commission took away his license to fight, and chance brings him a one-time fight. With his manager, Joe Gould (Paul Giamatti), at his side, Jim grabs the success of that fight and pushes his way back into boxing, each success keeping his family with a roof over their heads, food on the table, and light and heat. Eventually, he gets his dream match – a heavyweight championship fight with the reigning champion, the unstoppable Max Baer (Craig Bierko). Now, Jim, considered too old and finished by many in the boxing community, must face Baer, a man renowned for having killed two men in the ring.

Ron Howard’s biopic, Cinderella Man, based upon the real life of Depression-era boxing hero, Jim Braddock, was one of the best reviewed films of 2005, but considering the reviews and the pedigrees of the filmmakers involved, the film was not well attended. That’s a shame because Cinderella Man is one of those proverbial “good movies” of which many people, especially media watchers, complain there aren’t enough. This is actually Howard’s epic film, an ode to middle class values from a man, who as a child actor, played one of the ultimate Middle American children, Opie Taylor on “The Andy Griffith Show” and later played the teenage version of that in Richie Cunningham of “Happy Days.”

Cinderella Man is a film where you can really root for the hero, Jim Braddock. He’s the (not so) little guy battling against doubters, haters, financial misfortune, poverty, unemployment, etc., but he believes in himself. Though his back is often against the wall, he never quits, and he ain’t too proud to beg – if it keeps his family fed and off the streets. Russell Crowe’s performance embodies that plucky American spirit, but he shows something else we Americans really like – grit – the kind of grit it takes to fight the tough times. In fact, Paul Giamatti’s Joe Gould is like that voice inside our heads that keeps pushing us, and just when we think that the voice has left us, it’s back in our corner when it sees that we’re willing to fight out of the bad times. That’s the acting dynamic between Crowe and Giamatti – the hero and the voice of encouragement.

Cinderella Man actually does a few things to keep from being a perfect film. The lighting and cinematography are too murky; everything looks like an Old Master painting covered in soot. The script by Cliff Hollingsworth and Akiva Goldsman is good, but not great. One reason that it isn’t great is because it takes the easy road of turning Renée Zellweger’s Mae Braddock into the little wife at home fretting away for her man. I can imagine that Mae does as much to hold things together for the Braddocks, and Howard and his writers don’t have the imagination to really show her struggle – what she does to support the family unit. Mae is just a prop the filmmakers use when they need to send Jim home for scenes that don’t involve boxing or work.

Ultimately, this is Ron Howard’s Middle American fable, and he uses the elements of cinema to manipulate the audience as much as Steve Spielberg did in films like E.T. the Extraterrestrial and The Color Purple. However, Cinderella Man has many genuine and honest moments that speak to the American family and of the grit it takes for a family to keep it together. That’s enough to make me ignore the warts.

7 of 10
A-

NOTES:
2006 Academy Awards, USA: 3 nominations: “Best Performance by an Actor in a Supporting Role” (Paul Giamatti), “Best Achievement in Film Editing” (Daniel P. Hanley and Mike Hill), “Best Achievement in Makeup” (David LeRoy Anderson and Lance Anderson)

2006 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Cliff Hollingsworth and Akiva Goldsman)

2006 Golden Globes, USA: 2 nominations “Best Performance by an Actor in a Motion Picture – Drama” (Russell Crowe) and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Paul Giamatti)

Tuesday, January 24, 2006

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Review: "The Hangover Part II" Not Quite the Same

TRASH IN MY EYE No. 36 (of 2013) by Leroy Douresseaux


The Hangover Part II (2011)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for pervasive language, strong sexual content including graphic nudity, drug use and brief violent images
DIRECTOR: Todd Phillips
WRITERS: Craig Mazin, Scot Armstrong, and Todd Phillips (based on characters created by Jon Lucas and Scott Moore)
PRODUCERS: Daniel Goldberg and Todd Phillips
CINEMATOGRAPHER: Lawrence Sher (D.o.P.)
EDITOR: Debra Neil-Fisher and Mike Sale
COMPOSER: Christophe Beck

COMEDY/MYSTERY

Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, Paul Giamatti, Mason Lee, Sasha Barrese, Jamie Chung, Jeffrey Tambor, Nirut Sirichanya, Bryan Callen, Mike Tyson, and Nick Cassavetes

The subject of this movie review is The Hangover Part II, a 2011 comedy from director Todd Phillips. The film is a sequel to the 2009 hit comedy, The Hangover. Most of the cast returns for this sequel, including Bradley Cooper, Ed Helms, Zach Galifianakis, and Justin Bartha, the characters the comprise “the Wolfpack.” In The Hangover Part II, another pre-wedding get-together turns bad, this time in Thailand.

The Hangover Part II opens two years after the Wolfpack’s escapade in Las Vegas, Nevada. Now, dentist Dr. Stuart “Stu” Price (Ed Helms) is getting married, but the nuptials are in Thailand, the home of Stu’s bride-to-be, Lauren (Jamie Chung). Stu invites Phil Wenneck (Bradley Cooper), Doug Billings (Justin Bartha), and reluctantly, Alan Garner (Zach Galifianakis) to attend the wedding.

In addition to the usual pre-wedding jitters, there is some other tension. Lauren’s father, Fohn Srisai (Nirut Sirichanya), hates Stu, and Alan does not like that Teddy (Mason Lee), Lauren’s little brother, is tagging along with the Wolfpack. Stu, Phil, Doug, Alan, and Teddy decide to spend one night around a campfire on the beach, drinking beers and roasting marshmallows. The following morning, Stu, Phil, and Alan wake up in a dirty hotel room in Bangkok. They can’t remember what happened after the campfire, and someone is missing again.

The Hangover Part II is not The Hangover. For one thing, the sequel lacks the element of surprise that made the first film such a delight. The Hangover practically came out of nowhere and caught audiences unaware, with its twists and turns that made Las Vegas seems like a wonderland of playful raunchiness and good-humored naughtiness. In spite of all the R-rated fun, The Hangover was joyful, and the danger was less about jeopardy and more about merriment.

I can’t say that The Hangover Part II is darker than the first film, because The Hangover wasn’t a film with a dark mood or even dark undertones. The Hangover Part II is just plain dark. It is raunchier, as if to say “Bangkok don’t play!” I also wouldn’t say that the story is especially cruel to the characters, but the screenplay does seem to be putting Phil, Stu, and Alan through their paces. It is as if fate doesn’t really care one way or the other about them. Whatever made Las Vegas a special, but safe playground for the Wolfpack isn’t a privilege the friends will get everywhere they go. Sometimes, in some city, one of the Wolfpack will get f***** up the a**, and it won’t be any bigger a deal than getting a bad tattoo after getting pissy drunk.

However, The Hangover Part II is funny, not as funny as the original, but funny in its own foul and revolting way. It is a sequel, but it is also basically a remake of the first movie, set in a new “sin city,” with some changes in circumstances, and a few new supporting characters.

Four years ago, I wrote that the fun in The Hangover was in getting the surprises. The fun in The Hangover Part II is being surprised that you are more amused than you are disgusted by the Wolfpack’s one night in Bangkok.

6 of 10
B

NOTES:
2012 Razzie Awards: 2 nominations: “Worst Prequel, Remake, Rip-Off or Sequel” (Both a Remake and a Sequel) and “Worst Supporting Actor” (Ken Jeong, also for Transformers: Dark of the Moon-2011, Zookeeper-2011, and Big Mommas: Like Father, Like Son-2011)

Wednesday, May 22, 2013

Review: "Paycheck" More Than Minimum Wage Film

TRASH IN MY EYE No. 108 (of 2004) by Leroy Douresseaux

Paycheck (2003)
Running time: 119 minutes (1 hour, 59 minutes)
MPAA – PG-13 for intense action violence and brief language
DIRECTOR: John Woo
WRITER: Dean Georgaris (based upon a short story by Philip K. Dick)
PRODUCERS: Terence Chang, John Davis, Michael Hackett, and John Woo
CINEMATOGRAPHER: Jeffrey L. Kimball (D.o.P.)
EDITORS: Christopher Rouse and Kevin Stitt
COMPOSERS: John Powell

SCI-FI/ACTION/THRILLER

Starring: Ben Affleck, Aaron Eckhart, Uma Thurman, Paul Giamatti, Colm Feore, Joe Morton, Michael C. Hall, and Peter Friedman

The subject of this movie review is Paycheck, a 2003 science fiction movie from director John Woo and starring Ben Affleck. The film is based on the short story, “Paycheck,” written by author Philip K. Dick and first published in the June 1953 issue of Imagination, a 1950s American science fiction and fantasy magazine. Paycheck the movie focuses on an engineer who takes what seems like an easy million-dollar payday, but ends up on the run and trying to piece together the reason why.

Michael Jennings (Ben Affleck), a brilliant reverse engineer (takes other people’s technology and works backwards to figure out what makes the tech work), takes a job from a powerful friend named Rethrick (Aaron Eckhart). The final part of each of Michael’s assignments involves his employer wiping Michael’s mind clean of the memories of his time working on a project; that’s how his employers keep what they’ve done secret.

However, Michael discovers something decidedly nasty while working on Rethrick’s project, so he mails himself a package full of goodies to help him remember his mission before Rethrick has Michael’s memory wiped. The problem is that once he wakes up from his mind wipe, he can’t remember why he needs this packet full of odds and ends, but he does learn that Rethrick wants him dead.

The writings of science fiction author Philip K. Dick, especially his short fiction, has been adapted into quite a few well-regarded films including Blade Runner, Total Recall, and Minority Report. Director John Woo’s Paycheck is the most recent adaptation, and while the film doesn’t make movie history or break new ground in cinema as the aforementioned have, Paycheck is an entertaining action thriller that doesn’t wear its sci-fi on its sleeves.

This is an old-fashioned action movie that relies on complicated and dangerous stunt work for the action sequences. It does not rely on CGI and the other computer enhancements that have become so favored since The Matrix. The film is true to what Woo does best, pure macho action built around car chases, explosions, gunfights, and fisticuffs. While Paycheck may not be as good as Woo classics like his Hong Kong work or Face/Off, the film is in that spirit.

The casting, however, isn’t great; I could think of actors who would have better fit these roles, and some of these actors weren’t given much with which to work. Still, everyone is game, and they seemed like they were into the film. They play their parts well enough to make this quite entertaining, so while Paycheck isn’t landmark science fiction, it is a fun movie to watch. It has more than enough suspense and mystery to keep the viewer intrigued. And while the chase scenes won’t keep you on the edge of the your seat all the time, they’ll get you close enough most of the time.

7 of 10
B+

NOTES:
2004 Razzie Awards: 1 win “Worst Actor” (Ben Affleck – also for Daredevil-2003 and Gigli-2003)

2010 Razzie Awards: 1 nomination: “Worst Actor of the Decade” (Ben Affleck – also for Daredevil-2003, Gigli-2003, Jersey Girl-2004, Pearl Harbor-2001, and Surviving Christmas-2004; nominated for 9 “achievements” and “winner” of 2 Razzies)

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Tom Hanks to Portray Walt Disney in "Saving Mr. Banks"

“Saving Mr. Banks” Begins Production in Los Angeles

LOS ANGELES--(BUSINESS WIRE)--Disney began production today on “Saving Mr. Banks,” the account of Walt Disney’s twenty-year pursuit of the film rights to P.L. Travers’ popular novel, Mary Poppins, and the testy partnership the upbeat filmmaker develops with the uptight author during the project’s pre-production in 1961.

Two-time Academy Award®-winner Tom Hanks (“Philadelphia,” “Forrest Gump”) will essay the role of the legendary Disney (the first time the entrepreneur has ever been depicted in a dramatic film) alongside fellow double Oscar®-winner Emma Thompson (“Howard’s End,” “Sense and Sensibility”) in the role of the prickly novelist. Before actually signing away the book’s rights, Travers’ demands for contractual script and character control circumvent not only Disney’s vision for the film adaptation, but also those of the creative team of screenwriter Don DaGradi and sibling composers Richard and Robert Sherman, whose original score and song (Chim-Chim-Cher-ee) would go on to win Oscars® at the 1965 ceremonies (the film won five awards of its thirteen nominations).

When Travers travels from London to Hollywood in 1961 to finally discuss Disney’s desire to bring her beloved character to the motion picture screen (a quest he began in the 1940s as a promise to his two daughters), Disney meets a prim, uncompromising sexagenarian not only suspect of the impresario’s concept for the film, but a woman struggling with her own past. During her stay in California, Travers’ reflects back on her childhood in 1906 Australia, a trying time for her family which not only molded her aspirations to write, but one that also inspired the characters in her 1934 book.

None more so than the one person whom she loved and admired more than any other — her caring father, Travers Goff, a tormented banker who, before his untimely death that same year, instills the youngster with both affection and enlightenment (and would be the muse for the story’s patriarch, Mr. Banks, the sole character that the famous nanny comes to aid). While reluctant to grant Disney the film rights, Travers comes to realize that the acclaimed Hollywood storyteller has his own motives for wanting to make the film — which, like the author, hints at the relationship he shared with his own father in the early 20th Century Midwest.

Colin Farrell (“Minority Report,” “Total Recall”) co-stars as Travers’ doting dad, Goff, along with British actress Ruth Wilson (the forthcoming films “The Lone Ranger” and “Anna Karenina”) as his long-suffering wife, Margaret; Oscar® and Emmy® nominee Rachel Griffiths (“Six Feet Under,” “Hilary and Jackie,” “The Rookie”) as Margaret’s sister, Aunt Ellie (who inspired the title character of Travers’ novel); and a screen newcomer — 11-year-old Aussie native Annie Buckley as the young, blossoming writer, nicknamed “Ginty” in the flashback sequences.

The cast also includes Emmy® winner Bradley Whitford (“The West Wing,” “The Cabin in the Woods”) as screenwriter Don DaGradi; Jason Schwartzman (“Rushmore,” “Moonrise Kingdom”) and B.J. Novak (“NBC’s “The Office,” “Inglourious Basterds”) as the songwriting Sherman Brothers (Richard and Robert, respectively); Oscar® nominee and Emmy winner Paul Giamatti (“Sideways,” “Cinderella Man,” HBO’s “John Adams”) as Ralph, the kindly limousine driver who escorts Travers during her two-week stay in Hollywood; and multi-Emmy winner Kathy Baker (“Picket Fences,” “Edward Scissorhands”) as Tommie, one of Disney’s trusted studio associates.

“Saving Mr. Banks” will be directed by John Lee Hancock (“The Blind Side,” “The Rookie”) based on a screenplay by Kelly Marcel (creator of FOX-TV’s “Terra Nova”), from a story by Sue Smith (“Brides of Christ,” “Bastard Boys”) and Kelly Marcel. The film is being produced by Alison Owen of Ruby Films (the Oscar®-nominated “Elizabeth,” HBO’s Emmy®-winning “Temple Grandin”), Ian Collie of Essential Media (the Aussie TV documentary “The Shadow of Mary Poppins,” DirecTV’s “Rake”) and longtime Hancock collaborator Philip Steuer (“The Rookie,” “The Chronicles of Narnia” trilogy). The film’s executive producers are Ruby Films’ Paul Trijbits (“Lay the Favorite,” “Jane Eyre”), Hopscotch Features’ Andrew Mason (“The Matrix” trilogy, “Dark City”) and Troy Lum (“Mao’s Last Dancer,” “I, Frankenstein”) and BBC Films’ Christine Langan (Oscar® nominee for “The Queen,” “We Need to Talk About Kevin”).

Hancock’s filmmaking team includes a trio of artists with whom he worked on his 2009 Best Picture Oscar® nominee, “The Blind Side” — two-time Oscar® nominated production designer Michael Corenblith (“How The Grinch Stole Christmas,” “Apollo 13”), Emmy®-winning costume designer Daniel Orlandi (HBO’s “Game Change,” “Frost/Nixon”) and film editor Mark Livolsi, A.C.E. (“Wedding Crashers” “The Devil Wears Prada”). Hancock also reunites with Academy Award®-nominated cinematographer John Schwartzman (“Seabiscuit,” “Pearl Harbor”), with whom he first worked on his inspiring 2002 sports drama, “The Rookie.”

“Saving Mr. Banks” will film entirely in the Los Angeles area, with key locations to include Disneyland in Anaheim and the Disney Studios in Burbank. Filming will conclude around Thanksgiving, 2012, with no specific 2013 release date yet set.

"Rock of Ages" Soundtrack is #1 on Multiple Billboard Charts

ROCK OF AGES: ORIGINAL MOTION PICTURE SOUNDTRACK Debuts at #1 on the Billboard Soundtrack Chart

Features Hits of Iconic Rockers Def Leppard, Foreigner, Journey, Poison and Others Performed By Rock of Ages Cast Members Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Mary J. Blige, Alec Baldwin, Tom Cruise, and More

LOS ANGELES--(BUSINESS WIRE)--The ROCK OF AGES: ORIGINAL MOTION PICTURE SOUNDTRACK, released June 5th by WaterTower Music, debuted today at #1 on multiple Billboard charts - locking in the #1 Soundtrack, #1 Indie and #1 Hard Music chart positions according to SoundScan. Additionally, the soundtrack took the #15 spot on Billboard’s Top 200 chart.

"We're thrilled with these #1 chart positions before Rock of Ages has even hit theatres," said WaterTower Music head Jason Linn. "And with the film’s opening this Friday, we expect interest in our record to remain high for some time."

This hit album features 20 rousing anthems that defined a generation—reinvigorated for the film by a stellar cast including Julianne Hough, Diego Boneta, Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Malin Akerman, Mary J. Blige, Alec Baldwin and Tom Cruise. The soundtrack for the film, which the Los Angeles Times calls “a love letter to spandex-clad guitar gods,” has earned rave reviews in advance of the film’s theatrical debut, June 15th.

Directed by Adam Shankman (Hairspray), New Line Cinema’s Rock of Ages is the film adaptation of the smash hit, five-time Tony®-nominated Broadway musical which tells the story of small town girl Sherrie and city boy Drew, who meet on the Sunset Strip while pursuing their Hollywood dreams. Executive Music Producer Adam Anders (Glee) helps tell the rock ‘n’ roll romance through cast versions of the heart-pounding hits of Def Leppard, Poison, Journey, Twisted Sister, Bon Jovi, Joan Jett, Foreigner, Night Ranger, REO Speedwagon, Pat Benatar, Whitesnake, and more.

As the larger-than-life, arena-rocking champ “Stacee Jaxx,” the Rock of Ages Soundtrack features Tom Cruise belting out Bon Jovi’s classic “Wanted Dead or Alive,” Def Leppard’s hit “Pour Some Sugar On Me,” and Guns ‘N Roses anthem “Paradise City.” Cruise also duets with Malin Akerman on Foreigner’s power ballad, “I Want To Know What Love Is,” and shares the mic with Julianne Hough on The Scorpions’ “Rock You Like A Hurricane.”

The album also features an extraordinary medley of Night Ranger’s “Sister Christian,” David Lee Roth’s “Just Like Paradise,” and Poison’s “Nothin’ But A Good Time,” which features Julianne Hough, Diego Boneta, Russell Brand and Alec Baldwin.

Also echoing through the soundtrack are mash-ups of songs that ruled the airwaves in the `80s, including Foreigner’s “Juke Box Hero” / Joan Jett’s “I Love Rock N Roll”; Extreme’s “More Than Words” / Warrant’s “Heaven”; Pat Benatar’s “Shadows Of The Night” / Quarterflash’s “Harden My Heart”; and Starship’s “We Built This City” woven into Twisted Sister’s “We’re Not Gonna Take It,” all performed by the film’s cast.

The full track list for the album is as follows:

1. “Paradise City” - Tom Cruise

2. “Sister Christian” / “Just Like Paradise” / “Nothin’ But A Good Time” - Julianne Hough, Diego Boneta, Russell Brand, Alec Baldwin

3. “Juke Box Hero” / “I Love Rock ‘n’ Roll” - Diego Boneta, Alec Baldwin, Russell Brand, Julianne Hough

4. “Hit Me With Your Best Shot” - Catherine Zeta-Jones

5. “Waiting For A Girl Like You” - Diego Boneta, Julianne Hough

6. “More Than Words” / “Heaven” - Julianne Hough, Diego Boneta

7. “Wanted Dead Or Alive” - Tom Cruise, Julianne Hough

8. “I Want To Know What Love Is” - Tom Cruise, Malin Akerman

9. “I Wanna Rock” - Diego Boneta

10. “Pour Some Sugar On Me” - Tom Cruise

11. “Harden My Heart” - Julianne Hough, Mary J. Blige

12. “Shadows of the Night” / “Harden My Heart” - Mary J. Blige, Julianne Hough

13. “Here I Go Again” - Diego Boneta, Paul Giamatti, Julianne Hough, Mary J. Blige, Tom Cruise,

14. “Can’t Fight This Feeling” - Russell Brand, Alec Baldwin

15. “Any Way You Want It” - Mary J. Blige, Constantine Maroulis, Julianne Hough

16. “Undercover Love” - Diego Boneta

17. “Every Rose Has Its Thorn” - Julianne Hough, Diego Boneta, Tom Cruise, Mary J. Blige

18. “Rock You Like A Hurricane” - Julianne Hough, Tom Cruise

19. “We Built This City” / “We’re Not Gonna Take It” - Russell Brand / Catherine Zeta-Jones

20. “Don’t Stop Believin’”- Julianne Hough, Diego Boneta, Tom Cruise, Alec Baldwin, Russell Brand, Mary J. Blige

To learn more about the film and soundtrack visit http://www.rockofagesmovie.com/

"Rock of Ages" Soundtrack Album Track List Revealed

Rock of Ages Delivers Anthemic Film Soundtrack

Features Hits of Iconic Rockers Def Leppard, Journey, Bon Jovi, Poison and Others Performed By Rock of Ages Cast Members Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Mary J Blige, Alec Baldwin, Tom Cruise, and More

LOS ANGELES--(BUSINESS WIRE)--WaterTower Music has announced the release of the soundtrack album for the highly anticipated upcoming movie musical Rock of Ages on June 5, 2012. The ROCK OF AGES: ORIGINAL MOTION PICTURE SOUNDTRACK boasts 20 rousing anthems that defined a generation—reinvigorated for the film by a stellar cast including Julianne Hough, Diego Boneta, Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Malin Akerman, Mary J. Blige, Alec Baldwin and Tom Cruise.

Directed by Adam Shankman (Hairspray), New Line Cinema’s Rock of Ages is the film adaptation of the smash hit, five-time Tony® nominated Broadway musical which tells the story of small town girl Sherrie and city boy Drew, who meet on the Sunset Strip while pursuing their Hollywood dreams. Executive Music Producer Adam Anders (Glee) helps tell the rock ‘n’ roll romance through cast versions of heart-pounding hits of Def Leppard, Poison, Journey, Twisted Sister, Bon Jovi, Joan Jett, Foreigner, Night Ranger, REO Speedwagon, Pat Benatar, Whitesnake, and more.

“Taking classic, beloved rock anthems and seeing them through the unique perspective of the characters in the film was such an exciting prospect for me in directing Rock of Ages,” said filmmaker Adam Shankman. “We had a phenomenal cast who performed these songs in such a powerful way—adding depth and meaningful imagery to the film. I was lucky to have a partner in Adam Anders who, better than anyone working today, understands how to take popular songs and seamlessly repurpose them to tell a story with unparalleled originality and success.”

“It’s an enormous thrill to introduce the soundtrack of Rock of Ages to the world,” said Executive Music Producer Adam Anders. “While re-imagining these songs for the film, it was important for me to present them in a way that would not only tell the story, but transcend generations by making these songs relevant for today’s audience. This soundtrack truly captures the incredible performances of a very talented cast who brilliantly reinterpreted these songs with us in the spirit of the film. I am really proud of this soundtrack as it is definitely one of the highlights of my career.”

As the larger-than-life, arena-rocking champ “Stacee Jaxx,” the Rock of Ages Soundtrack features Tom Cruise belting out Bon Jovi’s classic “Wanted Dead or Alive,” Def Leppard’s hit “Pour Some Sugar On Me,” and Guns ‘N Roses anthem “Paradise City.” Cruise also duets with Malin Akerman on Foreigner’s power ballad, “I Want To Know What Love Is,” and shares the mic with Julianne Hough on The Scorpions’ “Rock You Like A Hurricane.”

The album also features an extraordinary medley of Night Ranger’s “Sister Christian,” David Lee Roth’s “Just Like Paradise,” and Poison’s “Nothin’ But A Good Time,” which features Julianne Hough, Diego Boneta, Russell Brand and Alec Baldwin.

Also echoing through the soundtrack are mash-ups of songs that ruled the airwaves in the `80s, including Foreigner’s “Juke Box Hero” / Joan Jett’s “I Love Rock N Roll”; Extreme’s “More Than Words” / Warrant’s “Heaven”; Pat Benatar’s “Shadows Of The Night” / Quarterflash’s “Harden My Heart”; and Starship’s “We Built This City” woven into Twisted Sister’s “We’re Not Gonna Take It,” all performed by the film’s cast.

The full track list for the album is as follows:

1. “Paradise City” - Tom Cruise

2. “Sister Christian” / “Just Like Paradise” / “Nothin’ But A Good Time” - Julianne Hough, Diego Boneta, Russell Brand, Alec Baldwin

3. “Juke Box Hero” / “I Love Rock ‘n’ Roll” - Diego Boneta, Alec Baldwin, Russell Brand, Julianne Hough

4. “Hit Me With Your Best Shot” - Catherine Zeta-Jones

5. “Waiting For A Girl Like You” - Diego Boneta, Julianne Hough

6. “More Than Words” / “Heaven” - Julianne Hough, Diego Boneta

7. “Wanted Dead Or Alive” - Tom Cruise, Julianne Hough

8. “I Want To Know What Love Is” - Tom Cruise, Malin Akerman

9. “I Wanna Rock” - Diego Boneta

10. “Pour Some Sugar On Me” - Tom Cruise

11. “Harden My Heart” - Julianne Hough, Mary J. Blige

12. “Shadows of the Night” / “Harden My Heart” - Mary J. Blige, Julianne Hough

13. “Here I Go Again” - Diego Boneta, Paul Giamatti, Julianne Hough, Mary J. Blige, Tom Cruise,

14. “Can’t Fight This Feeling” - Russell Brand, Alec Baldwin

15. “Any Way You Want It” - Mary J. Blige, Constantine Maroulis, Julianne Hough

16. “Undercover Love” - Diego Boneta

17. “Every Rose Has Its Thorn” - Julianne Hough, Diego Boneta, Tom Cruise, Mary J. Blige

18. “Rock You Like A Hurricane” - Julianne Hough, Tom Cruise

19. “We Built This City” / “We’re Not Gonna Take It” - Russell Brand / Catherine Zeta-Jones

20. “Don’t Stop Believin’”- Julianne Hough, Diego Boneta, Tom Cruise, Alec Baldwin, Russell Brand, Mary J. Blige

New Line Cinema’s Rock of Ages comes to the big screen on June 15, 2012, distributed by Warner Bros. Pictures. The movie musical stars Julianne Hough (Burlesque), with actor/singer Diego Boneta in his feature film debut, Russell Brand (Arthur), Oscar® nominee Paul Giamatti (Cinderella Man), Academy Award® winner Catherine Zeta-Jones (Chicago), Malin Akerman (The Proposal), and R&B queen Mary J. Blige, with Oscar® nominees Alec Baldwin (The Cooler, TV’s 30 Rock) and Tom Cruise (Mission: Impossible – Ghost Protocol, Magnolia, Jerry Maguire).

Shankman directed Rock of Ages from a screenplay by Justin Theroux and Chris D’Arienzo and Allan Loeb, based on D’Arienzo’s musical of the same name. Adam Anders and Peer Astrom composed the original score and produced the songs featured in the film. Rock of Ages is produced by Matthew Weaver, Scott Prisand, Carl Levin, Tobey Maguire, Garrett Grant and Jennifer Gibgot, with Toby Emmerich, Richard Brener, Michael Disco, Samuel J. Brown, Hillary Butorac Weaver, Janet Billig Rich, Shankman and D’Arienzo serving as executive producers.

To learn more about the film and soundtrack visit http://www.rockofagesmovie.com/

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

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

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

DRAMA/FANTASY/MYSTERY/ROMANCE

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

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

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

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

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

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

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

8 of 10
A

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

Friday, February 16, 2007

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Review: "Lady in the Water" is a Beautiful Storybook Fantasy (Happy B'day, Bryce Dallas Howard)

TRASH IN MY EYE No. 163 (of 2006) by Leroy Douresseaux

Lady in the Water (2006)
Running time: 110 minutes; MPAA – PG-13 for some frightening sequences
WRITER/DIRECTOR: M. Night Shyamalan
PRODUCERS: Sam Mercer and M. Night Shyamalan
CINEMATORGRAPHER: Christopher Doyle, H.K.S.C
EDITOR: Barbara Tulliver, A.C.E.

FANTASY/DRAMA/MYSTERY/THRILLER

Starring: Paul Giamatti, Bryce Dallas Howard, Jeffrey Wright, Bob Balaban, Sarita Choudhury, Cindy Cheung, Freddy Rodriguez, Bill Irwin, Jared Harris, M. Night Shyamalan, June Kyoto Lu, Mary Beth Hurt, and Noah Gray-Cabey

M. Night Shyamalan’s films have been thoughtful and profound. His characters fight pitched battles with their inner demons as they wage war with the outside forces that would destroy or enslave them. We’ve seen that in everything from the heart-rending ghost story, The Sixth Sense, to the story of a lapsed minister who finds his way back to his faith while battling an alien invasion in the 2002 hit film, Signs. Shyamalan’s films are also known for their twist endings – surprising finales that not only change the tone of the film, but also frustrate audiences who bought into one kind of story and find a shock ending ruins their expectations – Unbreakable (2000) and The Village (2004) being the best (or worst) examples.

In his new film, Lady in the Water, Shyamalan eschews the twist ending for a yarn that can be taken figuratively as a fairytale or literally as a tale of people who find their destiny in a fairytale made real. Or maybe the viewer can see it as both figurative and literal. Regardless of how one views it, Lady in the Water is one of the most lovely and heartfelt tales told in recent years – a thing as beautiful as its sparkling blue movie poster.

Modest and humble, Cleveland Heep (Paul Giamatti, in a performance that solidifies his place as a great American actor), manages an apartment building named “The Cove.” One night Cleveland is investigating the noises from the apartment’s swimming pool when he falls in by accident. He awakens to find that a pale, young woman with deep blue eyes, who says her name is Story (Bryce Dallas Howard), has rescued him from drowning. Cleveland discovers that Story is a “narf,” a creature from an old bedtime story, and she is trying to make the treacherous journey from our world back to her own, the “Blue World.” Cleveland and the rest of The Cove’s collection of oddball tenants realize that they have suddenly been drawn into Story’s fable. Young Soon (Cindy Cheung), a go-getter college student, Mr. Dury (Jeffrey Wright), a serene crossword puzzle fanatic and his son, Joey (Noah Gray-Cabey), Mr. Leeds (Bill Irwin), a housebound TV watcher, and Vick (M. Night Shyamalan), a writer and Anna Ran (Sarita Choudhury), his talkative sister, among many others, accept this strange story of which they are a part. With their help, Cleveland must protect this fragile young woman from a deadly creature hell-bent on keeping Story from returning home.

By now, many reviewers and audiences have turned on Shyamalan for this picture. However, where others see Lady in the Water as boring or mystifying, I see it has a simple fairytale. Yes, Shyamalan’s script is a bit artsy and pretentious at times, and the story (based upon a bedtime tale he wrote for his children) is stretched to the breaking point and challenges credibility. Still, for all that we might take it literally, much of the story is symbolic The characters, setting, and incidents are meant to remind us of a bedtime story, or to put it bluntly – “Once upon a time... Lady in the Water is a metaphor about people taking up their place in destiny, of the difficulty in taking up the journey to get to one’s place, and that each person does indeed have a purpose.

While the subject matter and characters might not make sense on the surface, they and the tale in which they exist have a deeper meaning. We’re supposed to see past the trappings and see the core – lives driven by purpose for the good of humanity. In Lady in the Water, the title character, but especially Cleveland Heep, have to break out of the protective shells they’ve made for themselves using their own fears, grief, and insecurities as building material. Thus, it’s no wonder that the other characters were so quick to embrace their part in this bedtime story – they’ve also hungered for a life of meaning. An enchanting fairytale filled with magical characters and dark fantasy, Lady in the Water is the most meaningful fable mainstream Hollywood has given us in a very long time.

8 of 10
A

Monday, July 31, 2006

NOTES:
2007 Razzie Awards: 2 wins: “Worst Director” (M. Night Shyamalan) and “Worst Supporting Actor” (M. Night Shyamalan); 2 nominations: “Worst Picture” ((Warner Bros.) and “Worst Screenplay” (M. Night Shyamalan)

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Review: "Sideways" is a Bit Too Pleased with Itself

TRASH IN MY EYE No. 25 (of 2005) by Leroy Douresseaux

Sideways (2004)
Running time: 123 minutes (2 hours, 3 minutes)
MPAA – R for language, some strong sexual content, and nudity
DIRECTOR: Alexander Payne
WRITERS: Jim Taylor and Alexander Payne (from the novel by Rex Pickett)
PRODUCER: Michael London
CINEMATOGRAPHER: Phedon Papamichael
EDITOR: Kevin Tent
Academy Award winner

COMEDY/DRAMA with elements of romance

Starring: Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh, Marylouise Burke, Jessica Hecht, Missy Doty, M.C. Gainey, Alysia Reiner, Shake Tukhmanyan, and Duke Moosekian

Miles Faymond (Paul Giamatti), a divorced middle school teacher and struggling/failed novelist, takes his friend Jack (Thomas Haden Church), who is to be married the following weekend, on a wine tasting tour of California. Both men are reaching middle age and feel they have nothing but disappointments to show for their life, especially Miles, who is a mean drunk and takes at least two prescription anti-depressants.

Miles has taken this trip several times, and he’s looking forward to entertaining his friend before his altar-bound day. Jack, however, wants to get laid before he gets married. In that fashion, he seduces (or is seduced) Stephanie (Sandra Oh), a bartender at a winery and Jack encourages Miles to make a move on Maya (Virginia Madsen), a waitress Miles actually knows from previous trips. The results of these two flings are wildly different for each man.

Sideways is the critical darling of 2004, with some critics apparently praising it as the film of their generation. It’s entertaining and has some wonderfully poignant and romantic moments, but road trips and traveling scenes in films are sometimes viewed as a sign that the storyteller is killing time before getting to the heart of the story, except there isn’t much heart to this story. Director Alexander Payne has certainly made a good film, but ain’t much meat on the bone. Sideways may be the glossy, short-on-substance version of an art movie. Miles, the lead character, is not having an existential crisis; he’s just joyless and often boring, while Jack is a colorless cad. I found myself glad that Jack was (only) a supporting player and wanting him to be on screen as little as possible, though his colorfully bawdy conversations do liven the film.

None of the performances stand out, especially Virginia Madsen’s, which has earned her an Oscar nomination. She plays the character so downtrodden that it’s almost difficult to accept that the girl does have college ambitions. Church’s performance, which also earned him a Oscar nod, is okay, but not worth wasting a lot of words on. Some feel Paul Giamatti was robbed as he didn’t get an Oscar nomination, but he basically played a better-dressed version of his Harvey Pekar character from American Splendor. I do give him credit for making a bore endearing, but Giamatti has a nice guy quality. I blame the character problems on the writing, that it needs Giamatti to make Miles intriguing even when the material is a little light and not well done. There are moments in Sideways when Giamatti lifts this film on his shoulders and makes the story compelling, even when his character is just being annoying. Giamatti isn’t the tall, dark, and handsome type, but he has something that works on the big screen. Maybe, that alone is enough of a reason for Oscar to come calling… eventually.

7 of 10
B+

NOTES:
2005 Academy Awards: 1 win: “Best Writing, Adapted Screenplay” (Alexander Payne and Jim Taylor); 4 nominations: “Best Motion Picture of the Year” (Michael London), “Best Achievement in Directing” (Alexander Payne), “Best Performance by an Actor in a Supporting Role” (Thomas Haden Church) and “Best Performance by an Actress in a Supporting Role” (Virginia Madsen)

2005 BAFTA Awards: 1 win: “Best Screenplay – Adapted” (Alexander Payne and Jim Taylor)

2005 Golden Globes: 2 wins: “Best Motion Picture - Musical or Comedy” and “Best Screenplay - Motion Picture” (Alexander Payne and Jim Taylor); 5 nominations: “Best Director - Motion Picture” (Alexander Payne), “Best Original Score - Motion Picture” (Rolfe Kent), “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Paul Giamatti), “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Thomas Haden Church), and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Virginia Madsen)

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The Ides of March movie review

TRASH IN MY EYE No. 7 (of 2012) by Leroy Douresseaux


The Ides of March (2011)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for pervasive language
DIRECTOR: George Clooney
WRITERS: George Clooney, Grant Heslov, and Beau Willimon (based upon Beau Willimon’s play “Farragut North”)
PRODUCERS: George Clooney, Grant Heslov, and Brian Oliver
CINEMATOGRAPHER: Phedon Papamichael
EDITOR: Stephen Mirrione
COMPOSER: Alexandre Desplat
Academy Award nominee

DRAMA/POLITICS with elements of a thriller

Starring: Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, Jeffrey Wright, and Max Minghella

The Ides of March is a 2011 political drama directed by George Clooney. The film is based on the 2008 play, Farragut North, by Beau Willimon, who also co-wrote the screenplay for this film adaptation. Leonardo DiCaprio is one of the film’s executive producers, and his production company, Appian Way Productions, is one of this film’s financial backers. The Ides of March is kind of a thriller, but it doesn’t really work as a thriller. The best moments are when the film puts two characters together in a clash or test of wills.

The film focuses on Stephen Meyers (Ryan Gosling), the Junior Campaign Manager for a Democratic presidential candidate, Governor Mike Morris (George Clooney). Morris’ campaign is competing in the Democratic primary, and the latest battleground is the state of Ohio, where Morris battles the other Democratic presidential candidate, Arkansas Senator Ted Pullman. Both campaigns are also attempting to win the endorsement of U.S. Senator Franklin Thompson (Jeffrey Wright), D-North Carolina.

Meyers is doing well at his job, but he gets involved in two troublesome situations. First, he holds a secret meeting with Pullman’s Campaign Manager, Tom Duffy (Paul Giamatti). Then, he becomes embroiled in drama with a Morris campaign intern, Molly Stearns (Evan Rachel Wood). One entanglement could ruin Meyers, but the other has the potential to destroy the Morris campaign.

The Ides of March feels restrained to me. The entire movie simmers like a dish that needs to boil-over, but doesn’t know how or when to do it. The best moments in the film are when two characters clash. The best confrontations feature Meyers and Senior Campaign Manager Paul Zara (Philip Seymour Hoffman) or Meyers and Molly Stearns. There is one major test of wills between Meyers and his boss, Mike Morris (who is Governor of Pennsylvania), and another between Meyers and Sen. Thompson. Both occur in the film’s last act, but these moments made me realize that this movie should have had more scenes featuring Meyers, Morris, and Thompson in some combination. It is as if the best stuff is happening off-camera.

Honestly, I can recommend The Ides of March to people that enjoy watching particular members of this cast act in dramas, especially Gosling and Clooney. I think people who like political dramas will like this, although they should not expect this to be humorous or satirical (at least not in an obvious way). Although it has an electrifying second half, The Ides of March isn’t as good or as visceral as it could be.

7 of 10
B+

NOTES:
2012 Academy Awards: 1 nomination: “Best Writing, Screenplay Based on Material Previously Produced or Published” (George Clooney, Grant Heslov, and Beau Willimon)

2012 BAFTA Awards: 2 nominations: “Best Adapted Screenplay” (Beau Willimon, George Clooney, and Grant Heslov) and “Best Supporting Actor” (Philip Seymour Hoffman)

2012 Golden Globes: 4 nominations: “Best Director - Motion Picture” (George Clooney), “Best Motion Picture – Drama,” “Best Performance by an Actor in a Motion Picture – Drama” (Ryan Gosling), and “Best Screenplay - Motion Picture” (Grant Heslov, Beau Willimon, and George Clooney)

2012 Image Awards: 1 nomination: “Outstanding Supporting Actor in a Motion Picture” (Jeffrey Wright)

Wednesday, January 25, 2012