Showing posts with label Rachel Weisz. Show all posts
Showing posts with label Rachel Weisz. Show all posts

Friday, July 9, 2021

Review: "BLACK WIDOW" is Dark Drama and Spectacular Action

TRASH IN MY EYE No. 45 of 2021 (No. 1783) by Leroy Douresseaux

Black Widow (2021)
Running time: 133 minutes (2 hours, 13 minutes)
MPAA – PG-13 for intense sequences of violence/action, some language and thematic material
DIRECTOR: Cate Shortland
WRITERS:  Eric Pearson; from a story by Jac Schaeffer and Ned Benson (based upon the Marvel Comics character)
PRODUCER: Kevin Feige
CINEMATOGRAPHER: Gabriel Beristain
EDITOR: Leigh Folsom Boyd
COMPOSER: Lorne Balfe

SUPERHERO/DRAMA/ACTION

Starring:  Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, Ray Winstone, Ever Anderson, Violet McGraw, O-T Fagbenie,  and William Hurt

Black Widow is a 2021 3D superhero film directed by Cate Shortland and produced by Marvel Studios and Walt Disney Studios Motion Pictures.  It is the 24th film in the Marvel Cinematic Universe (MCU) series.  The film is based on the Marvel Comics character, Natalia Alianovna “Natasha” Romanova/Black Widow, that was created by Stan Lee, Don Rico, and artist Don Heck and first appeared in the comic book, Tales of Suspense #52 (cover dated: April 1964).  Black Widow the film finds the title character on the run and forced to confront the conspiracies and people of her past.

Black Widow is largely set between the events depicted in the films, Captain America: Civil War (2016) and Avengers: Infinity Wars (2018).  The film, however, opens in 1995.  Young Natasha Romanoff (Ever Anderson) lives a quiet life in suburban Ohio with her younger sister, Yelena Belova (Violet McGraw), and their parents.  But Natasha and Yelena are not siblings, and their surrogate mother, Melina Vostokoff (Rachel Weisz), is really a Russian scientist/spy, and their father, Alexei Shostkov (David Harbour), is a spy and also the costumed superhero, “Red Guardian,” Russia's super-soldier version of Captain America.  When this “family's” mission suddenly ends, Natasha and Yelena are returned to Russia and sent to the “Red Room” for further training.

Twenty-one years later, in the year 2016, Natasha Romanoff/Black Widow (Scarlett Johansson) is on fugitive, on the run from U.S. Secretary of State Thaddeus Ross (William Hurt).  Fate reunites her with an older Yelena Belova (Florence Pugh), who until recently was still a “Widow,” an assassin working for the Red Room.  Now, both women, traumatized by their pasts, set out to find and kill Dreykov (Ray Winstone), the head of the Red Room and the mastermind behind the “Widow” program.  To do so, however, they must mend the broken relationships of their pasts, and Natasha must face the reality that her actions could not only alert her pursuers to her whereabouts, but could also lead to her destruction.

I wondered how Marvel Studios could hope to deliver a superhero movie that would satisfy their audiences in the wake of Avengers: Endgame, which was a special effects extravaganza, which changed the Marvel Cinematic Universe (MCU), which was a record-setting box office hit, and which saw some beloved characters die, including the Black Widow.  Black Widow does offer big action sequences: a harrowing opening air plane escape, a battle royale in Budapest, a crazy prison escape, and that final showdown on a giant aerial base.  After waiting two years for a Marvel Studios film (because of the COVID-19 pandemic shutdown of movie theaters), the big action of Black Widow is big enough to sate my Marvel needs.

However, I must be honest, it is the action that really makes Black Widow for me.  The drama is good, and the interpersonal relationship conflict and drama are fitting for the story of a character like the Black Widow who past is so very dark and is filled with violence and pain.  The main cast of Black Widow:  Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz gives excellent performances in this tale of betrayal and of secrets of lies.  In a way, these performances only serve to make the drama all the more dark, edgy, and, at times, depressing.  So, that is why I must be honest.  I respected the character drama of Black Widow, which director Cate Shortland delivers in gritty detail.  But while watching the film, I was always anxious for the arrival of the next big, special effects-driven action sequence, and man, Black Widow did not disappoint!

Black Widow has a great adversary in “The Taskmaster,” but the reveal of that villain's identity is a bit of a letdown.  Ray Winstone, an actor I like, was just okay as Dreykov, a promising bad guy the script makes into a shallow character.  Still, the action scenes – I'm crazy about them.  They are both the reason that I am giving Black Widow a high grade and the reason I will watch Black Widow many more times when it starts airing on cable television in a little less than two years from now.

8 of 10
A

Friday, July 9, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Saturday, March 18, 2017

Amazon Prime Video Extends Deal with Film Company, A24

Amazon Extends Deal with A24, Brings Moonlight, Winner of Three Academy Awards Including Best Picture to Amazon Prime Video

Amazon Prime Video will continue to be the exclusive premium subscription streaming service for critically-acclaimed films from A24 including Academy Award winning Moonlight, current theatrical hit 20th Century Women and Casey Affleck’s next film, A Ghost Story

SEATTLE--(BUSINESS WIRE)--(NASDAQ: AMZN)—Amazon Prime Video today announced the extension of an exclusive content agreement with A24, making Prime Video the only premium subscription home for all upcoming A24 films. Moonlight starring Mahershala Ali (House of Cards) is available on Amazon Video, and starting May 21, 2017, Prime members will be able to stream and download the Oscar winning film at no additional cost to their membership. Swiss Army Man starring Daniel Radcliffe (Harry Potter and the Prisoner of Azkaban), Cannes Jury Prize winner The Lobster starring Colin Farrell (Fantastic Beasts and Where to Find Them) and Rachel Weisz (Amazon Studios’ Complete Unknown) and Green Room starring Patrick Stewart (Star Trek: The Next Generation) are already available to stream on Prime Video.

    “We are thrilled to be the exclusive subscription streaming service to offer customers Academy Award winner Moonlight”

“We are thrilled to be the exclusive subscription streaming service to offer customers Academy Award winner Moonlight,” stated Jason Ropell, VP, Worldwide Head of Motion Pictures for Amazon Studios. “We already have an incredible catalog of films from A24 like Room and Ex Machina that Prime members love to watch and we are happy to extend our relationship to continue to bring Prime members these award winning, prestige films. Collaborating with A24 in addition to creating our own Academy Award winning movies like Manchester by the Sea and The Salesman make Amazon Video a premiere platform for streaming films.”

Highly anticipated A24 films coming to Prime Video later this year include Academy Award nominated 20th Century Women from Mike Mills (Beginners) and starring Annette Bening (American Beauty) and Elle Fanning (Amazon Studios’ The Neon Demon), American Honey starring Sasha Lane (Hunting Lila) and Shia LaBeouf (Transformers), Free Fire starring Brie Larson (Room), Cillian Murphy (Inception) and Armie Hammer (Nocturnal Animals), The Lovers starring Debra Winger (Terms of Endearment) and Tracy Letts (Imperium) and It Comes at Night starring Joel Edgerton (Warrior) and Riley Keough (The Girlfriend Experience). Written and directed by David Lowery (Pete’s Dragon) and starring Casey Affleck (Amazon Studios’ Manchester by the Sea), A24’s A Ghost Story, will also land on Prime Video.

Amazon Prime members are already enjoying access to A24’s impressive library of titles including 2016 Oscar award winning films like Room with Brie Larson’s Best Actress performance as Ma and Amy, the Oscar winner for Best Documentary depicting the life and death of singer and songwriter Amy Winehouse as well as the thought-provoking supernatural horror film The Witch, Ex Machina, starring Golden Globe nominee Alicia Vikander (The Danish Girl) and Dark Places starring Charlize Theron (Mad Max: Fury Road) and Chloe Moretz (Kick-Ass).

Prime Video is available via the Amazon Video app for TVs, connected devices and mobile devices, or online at Amazon.com/primevideo. In addition to unlimited streaming, Prime members can also download titles to mobile devices at no additional cost for offline viewing.


About Amazon Video
Amazon Video is a premium on-demand entertainment service that offers customers the greatest choice in what to watch, and how to watch it. Amazon Video is the only service that provides all of the following:

  •     Prime Video: Thousands of movies and TV shows, including popular licensed content plus critically-acclaimed and award-winning Amazon Original Series and Movies from Amazon Studios like Transparent, The Man in the High Castle, Love & Friendship and kids series Tumble Leaf, available for unlimited streaming as part of an Amazon Prime membership
  •     Amazon Channels: Over 100 video subscriptions to networks like HBO, SHOWTIME, STARZ, PBS KIDS, Acorn TV and more, available to Amazon Prime members as add-ons to their membership – to view the full list of channels available, visit www.amazon.com/channels
  •     Rent or Own: Hundreds of thousands of titles, including new-release movies and current TV shows available for on-demand rental or purchase for all Amazon customers
  •     Instant Access: Instantly watch anytime, anywhere through the Amazon Video app on TVs, mobile devices, Amazon Fire TV, Fire TV Stick, and Fire tablets, or online. For a list of all compatible devices visit www.amazon.com/howtostream
  •     Premium Features: Top features like 4K Ultra HD, High Dynamic Range (HDR) and mobile downloads for offline viewing

In addition to Prime Video, the Prime membership includes unlimited fast free shipping options across all categories available on Amazon, more than two million songs and thousands of playlists and stations with Prime Music, secure photo storage with Prime Photos, unlimited reading with Prime Reading, unlimited access to a digital audiobook catalogue with Audible Channels for Prime, a rotating selection of free digital games and in-game loot with Twitch Prime, early access to select Lightning Deals, exclusive access and discounts to select items, and more. To sign-up for Prime or to find out more visit: www.amazon.com/prime.

About Amazon
Amazon is guided by four principles: customer obsession rather than competitor focus, passion for invention, commitment to operational excellence, and long-term thinking. Customer reviews, 1-Click shopping, personalized recommendations, Prime, Fulfillment by Amazon, AWS, Kindle Direct Publishing, Kindle, Fire tablets, Fire TV, Amazon Echo, and Alexa are some of the products and services pioneered by Amazon. For more information, visit www.amazon.com/about.

About A24
Launched in the summer of 2012, A24 is a New York-based media company focused on the distribution, financing, development and production of feature films and television projects. Recently the company released Barry Jenkins’ Moonlight, which just won 3 Academy Awards® at the 2017 Oscars - Best Picture, Best Adapted Screenplay, and Best Supporting Actor. The film also won a record-breaking 6 Independent Spirit Awards, including Best Feature, Best Director, and Best Screenplay, and was honored with the Best Picture – Drama award at the 2017 Golden Globes.

Other recent film releases include Mike Mills’ funny and heartwarming 20th Century Women, nominated for a Best Original Screenplay Oscar® and featuring a renowned central performance by Annette Bening; Yorgos Lanthimos' critical and commercial hit The Lobster, also an Oscar® nominee for Best Original Screenplay and starring Colin Farrell and Rachel Weisz; Andrea Arnold’s highly acclaimed American Honey, starring Shia Labeouf, which won the Jury Prize at the 2016 Cannes Film Festival; the outrageous comedy Swiss Army Man, starring Daniel Radcliffe and Paul Dano; and Robert Eggers’ horror smash The Witch, winner of 2 Independent Spirit Awards.

In 2015, A24’s releases included Room, winner of the Academy Award® for Best Actress for Brie Larson’s emotionally stunning performance; Amy, Asif Kapadia’s heart-wrenching portrait of Amy Winehouse which was a major commercial hit and won the Oscar® for Best Documentary; and Alex Garland's lauded directorial debut Ex Machina, a sci-fi smash starring Domhnall Gleeson, Oscar Isaac and Alicia Vikander, which won the Academy Award® for Best Visual Effects.

In 2014, the company released Sundance breakout Obvious Child, featuring Jenny Slate, and Jonathan Glazer’s singular Scarlett Johansson film, Under the Skin. In 2013, the company released Sofia Coppola’s The Bling Ring, James Ponsoldt’s The Spectacular Now, and Harmony Korine’s record-breaking Spring Breakers.

Upcoming titles include Trey Edward Shults’ It Comes at Night, a horror film starring Joel Edgerton, Riley Keough, and Christopher Abbott that marks the eagerly anticipated follow-up to the director’s celebrated debut feature Krisha; David Lowery’s A Ghost Story, which stars Casey Affleck and Rooney Mara, and premiered at Sundance 2017 to rave reviews; Menahse, a heartwarming father/son story set in the Hasidic community and performed entirely in Yiddish; and Ben Wheatley’s wickedly funny action comedy Free Fire, starring Brie Larson, Armie Hammer, CillianMurphy, and Sharlto Copley, and winner of the People’s Choice Award in the Midnight Madness Section of the 2016 Toronto International Film Festival.

A24's television projects include The Carmichael Show which will soon be returning to NBC for its third season and USA's Playing House.

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Monday, April 14, 2014

Review: "Eragon" Lacks Fire (Happy B'day, Robert Carlyle)

TRASH IN MY EYE No. 258 (of 2006) by Leroy Douresseaux

Eragon (2006)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – PG for fantasy violence, intense battle sequences, and some frightening images
DIRECTOR:  Stefan Fangmeier
WRITER:  Peter Buchman (based upon the novel by Christopher Paolini)
PRODUCERS:  John Davis, Adam Goodman, and Wyck Godfrey
CINEMATOGRAPHER:  Hugh Johnson (D.o.P.)
EDITORS:  Roger Barton, Masahiro Hirakubo, and Chris Lebenzon
COMPOSER:  Patrick Doyle

FANTASY/ACTION

Starring:  Ed Speleers, Jeremy Irons, Sienna Guillory, Robert Carlyle, Djimon Hounsou, Garrett Hedlund, Rachel Weisz (voice) and John Malkovich, Alun Armstrong, Chris Egan, Gary Lewis, Richard Rifkin, Steve Speirs, Joss Stone, and Caroline Chikezie

The subject of this movie review is Eragon, a 2006 action-fantasy film.  It is based on the 2002 novel, Eragon, by Christopher Paolini.  Eragon the film follows a farm boy whose discovery of a dragon’s egg leads him on a predestined journey to defend his homeland from an evil king.

When he was a teenager, Christopher Paolini wrote the novel Eragon, which went from being privately published by his parents to being a worldwide bestseller published by Alfred A. Knopf.  Now, a film adaptation arrives with hopes of capturing much of the audience that devoured The Lord of the Rings film trilogy and Disney/Walden Media’s 2005 The Chronicles of Narnia movie adaptation.

Once upon a time in the land of AlagaĆ«sia, Dragon Riders brought peace and prosperity, and the Dragons gave their Riders magical powers.  They were unbeaten until one of their own, a Rider named Galbatorix (John Malkovich), rebelled against the other Riders and destroyed them so that he could have all the power for himself.  Now, King Galbatorix rules AlagaĆ«sia, and no one can stop him.

There is, however, another dragon egg, and it is in the possession of Arya (Sienna Guillory).  Using a spell and a prayer, her magic sends the egg where a young farm boy named Eragon (Ed Speleers) finds it.  Unsure of what this shiny stone is, Eragon watches as the egg hatches and out pops a dragon he names Saphira (voice of Rachel Weisz).  With the help of a mentor named Brom (Jeremy Irons), Eragon begins the journey to become one with Saphira as she grows more mature and passes more magical power onto him.  Eragon will need it to defeat a Shade (sorcerer) named Durza (Robert Carlyle), a minion of Galbatorix’s.  Eragon joins with the rebel group, the Varden and their leader, Ajihad (Djimon Hounsou), for a coming battle against Galbatorix’s forces.  Will Eragon and Saphira have bonded together enough to match the dark magic of Durza when it counts most?

On a recent talk show appearance near the time the film, Eragon, was released, the host asked Christopher Paolini point black if the young author liked the film adaptation of his best-selling and acclaimed children’s book.  Paolini dodged the question twice saying that he was thrilled to see his characters and hear dialogue he wrote on screen.  It only takes a few minutes into this movie to understand the young author’s misgivings.

Eragon has a mediocre script, no one, from the director to the cast, rises above it.  The movie only comes to life when Eragon and Saphira together or Saphira alone are on screen.  Director Stefan Fangmeier spent over 20 years working in companies that provided visual effects and computer effects for films, so his affinity with this film seems completely directed at the biggest computer effect in Eragon, the dragon Saphira.  The rest of the time, Eragon is just as awkward and clumsy as a run of the mill Sci-Fi Channel fantasy flick.

Eragon has the same quality acting as that of a middling TV movie, but with movie star names.  Jeremy Irons, who has spent a small part of the decade and a half since winning an Oscar, slumming as a serious-thespian-for-hire in various popcorn movies (Die Hard with a Vengeance) and costume drama/action movies (Kingdom of Heaven).  There is no doubt that Christopher Paolini created the character Irons plays, Brom, to be Eragon’s Obi-Wan Kenobi, but for all the effort Irons gives, Brom is more Yogi Bear than Obi-Wan.

Ed Speleers looks the part of Eragon – a boy determined to take on a task bigger and older than he is, but getting the look right is as far as Speleers goes.  His performance ranges for flat to just flat-out overacting.  Rachel Weisz’s voice performance as Saphira is weak and isn’t befitting of an actress of her skill.  Besides, she sounds more like Minnie Driver than herself.

By using two of Hollywood’s most honored visual effects houses, WETA Digital (The Lord of the Rings, King Kong) and Industrial Light and Magic (the Star Wars franchise and Jurassic Park), the producers of this film hoped to reach their stated goal of creating a photo-real dragon in Saphira.  She’s not quite that.  The CGI and computer rendering created a fantastical creature in Saphira, a computer generated beast with marvelous simulated skin texture.  The dragon looks as if she had really been there on location with the live actors during principal photography.

It’s clear that the works of J.R.R. Tolkien and George Lucas played a big part in the creation of Paolini’s original novel, yet the film comes across as a weak-kneed knock off Tolkien with a few tattered borrowings from Lucas.  If not for the CGI dragon and the climatic battle scene (created by WETA), Eragon would be one of the saddest fantasy movies in recent memory.  Only the stunningly beautiful locales where it was filmed (Hungary and Slovakia), some lavish costumes, and a sweet blend of action, fantasy and CGI make Eragon worth watching… at home.

5 of 10
C+

Thursday, December 28, 2006

Update:  Monday, April 14, 2014


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



Monday, March 11, 2013

Review: Oz the (Not So) Great and (Not Really) Powerful

TRASH IN MY EYE No. 18 (of 2013) by Leroy Douresseaux


Oz the Great and Powerful (2013)
Running minutes: 130 minutes (2 hours, 10 minutes)
MPAA – PG for sequences of action and scary images, and brief mild language
DRIECTOR: Sam Raimi
WRITERS: Mitchell Kapner and David Lindsay-Abaire; from a screen story by Mitchell Kapner (based on the works of L. Frank Baum)
PRODUCER: Joe Roth
CINEMATOGRAPHER: Peter Deming
EDITOR: Bob Murawski
COMPOSER: Danny Elfman

FANTASY with elements of action, adventure, and comedy

Starring: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff, Bill Cobbs, Joey King, Tony Cox, Bruce Campbell, and Ted Raimi

Oz the Great and Powerful is a 2013 fantasy film from Walt Disney Pictures. Directed by Sam Raimi, this movie is based on the works of L. Frank Baum, especially Baum’s most famous book, The Wonderful Wizard of Oz, which was first published in 1900. Oz the Great and Powerful’s story takes place before the events depicted in the book, so the movie is kind of a prequel to the novel. The new movie focuses on a small-time magician who arrives in an enchanted land, where he reluctantly joins a fight to save the land from evil witches.

Oz the Great and Powerful (which I will sometimes refer to as “OGP”) is not officially connected to the 1939 film, The Wizard of Oz, which is also based on Baum’s original novel and was produced by MGM (and is now owned by Time-Warner). In terms of quality, Oz the Great and Powerful is half the movie the 1939 film is. OGP is not a bad movie; it is simply mediocre, corporate film-product that cannot hide weak characters and a poor story behind tens of millions of dollars worth of special effects.

Oz the Great and Powerful opens in 1905, where we meet Oscar “Oz” Diggs (James Franco), a small-time magician, con artist, and womanizer. His activities lead him to make a desperate escape aboard a hot air balloon. The balloon, however, is sucked into a tornado, which takes Oscar to the mysterious and strange Land of Oz. The first resident of Oz he meets is the beautiful Theodora, the Wicked Witch of the West (Mila Kunis). Theodora tells Oscar that he is the prophesized wizard who will save Oz from the wicked Glinda the Good Witch (Michelle Williams).

They travel the yellow brick road to Emerald City, the capital of Oz. There, Oscar meets Theodora’s sister, Evanora, the Wicked Witch of the East (Rachel Weisz), who sends Oscar on a mission. Joined by Finley the Flying Monkey (voice of Zach Braff) and China Girl (voice Joey King), Oscar begins a journey that takes him to Munchkinland, where he must decide whether to be great or to be a good man.

In a perfect world, Oz the Great and Powerful would be judged on its own merits, but this is not a perfect world. This is an imperfect world that is made better by a great movie first released in 1939, The Wizard of Oz. In that film, Judy Garland is still a young thing and matte paints can make you believe in dark forests and emerald cities. Thus, OGP must match up with (or perhaps against) that classic 1939 film, and OGP doesn’t win that match up.

Oz the Great and Powerful has its inventive moments, but it lacks the imagination of the 1939 film. The new film is all special effects technical wizardry, but it doesn’t have the magic, the heart, or the folksy charm of 1939 film. There are a few moments in OGP that mimic the first film’s rustic flourishes, but everything else in OGP pales before a computer-generated onslaught of elements and effects. This is not heart; this is noise.

The last half hour of Oz the Great and Powerful (before the end credits) is actually quite good, but the other 90 minutes is equal parts hits and misses. The actors and their characters are also inconsistent. Who thought James Franco was right for this part? Franco is a good actor, but half the time, I found him unconvincing as Oscar Diggs. Michelle Williams’s performance as Glinda is way too sugary, a shame as she is actually a good actor.

OGP is really an odd little movie that was super-sized and thus, made too big by corporate studio demands. Still, I think fans of all-things-Oz, young and old, will find things to like about this movie (as I have), if not fall in love with the entire movie. The last act nearly makes up for the rest of the movie, but not quite. Oz the Great and Powerful is big rather than great and overpowering rather than powerful.

5 of 10
C+

Monday, March 11, 2013

Wednesday, February 20, 2013

Toronto Film Critics Choose Paul Thomas Anderson and Sarah Polley

by Leroy Douresseaux

The Toronto Film Critics Association named The Master as the "Best Picture of 2012" with the film's director, Paul Thomas Anderson, winning "Best Director."  Sarah Polley's film, Stories We Tell,won two honors, as best documentary and as best Canadian film, the latter of which came with a $100,000 prize.

The Toronto Film Critics Association was established in 1997 and is comprised of Toronto based journalists and broadcasters who specialize in film criticism and commentary. All major dailies, weeklies and a variety of other print and electronic outlets are represented.

Under the TFCA’s guidelines, contenders eligible for the awards include films released in Canada in 2012 plus films that qualify for the 2012 Oscars and have Canadian distribution scheduled by the end of February 2013.

The full list of Toronto Film Critics Association Awards winners and runners-up:

BEST PICTURE
“The Master” (eOne)

Runners-up:
“Amour” (Mongrel Media)
“Zero Dark Thirty” (Alliance Films)

BEST DIRECTOR
Paul Thomas Anderson, “The Master”

Runners-up:
Kathryn Bigelow, “Zero Dark Thirty”
Leos Carax, “Holy Motors”

BEST ACTOR
Denis Lavant, “Holy Motors”

Runners-up:
Daniel Day-Lewis, “Lincoln”
Joaquin Phoenix, “The Master”

BEST ACTRESS
Rachel Weisz, “The Deep Blue Sea”

Runners-up:
Jessica Chastain, “Zero Dark Thirty”
Emmanuelle Riva, “Amour”

BEST SUPPORTING ACTOR
Philip Seymour Hoffman, “The Master”

Runners-up:
Javier Bardem, “Skyfall”
Tommy Lee Jones, “Lincoln”

BEST SUPPORTING ACTRESS
Gina Gershon, “Killer Joe”

Runners-up:
Amy Adams, “The Master”
Ann Dowd, “Compliance”
Anne Hathaway, “Les Miserable”

BEST SCREENPLAY, ADAPTED OR ORIGINAL
“The Master”, written by Paul Thomas Anderson

Runners-up:
“Lincoln”, written by Tony Kushner, based on the book “Team of Rivals” by Doris Kearns Goodwin
“Zero Dark Thirty”, written by Mark Boal

BEST FIRST FEATURE - TIE
“Beasts of the Southern Wild”, directed by Benh Zeitlin
“Beyond the Black Rainbow”, directed by Panos Cosmatos

Runner-up:
“The Cabin in the Woods”, directed by Drew Goddard

BEST ANIMATED FEATURE
“ParaNorman” (Alliance Films)

Runners-up:
“Brave” (Disney*Pixar)
“Frankenweenie” (Disney)

BEST FOREIGN-LANGUAGE FILM
“Amour”(Mongrel Media) from Austrai

Runners-up:
“Holy Motors” (Mongrel Media) from France
“Tabu” (filmswelike) from Portugal

ALLAN KING DOCUMENTARY AWARD
“Stories We Tell” (Mongrel Media)

Runners-up:
“The Queen of Versailles” (Mongrel Media)
“Searching for Sugar Man” (Mongrel Media)

ROGERS BEST CANADIAN FILM AWARD:
“Stories We Tell”, directed by Sarah Polley ($100,000 prize)

The other finalists:
“Bestiaire”, directed by Denis CĆ“tĆ© ($5,000 prize)
“Goon”, directed by Michael Dowse ($5,000 prize)

www.torontofilmcritics.com

Tuesday, December 4, 2012

NY Film Critics Name "Zero Dark Thirty" Best Picture of 2012

If I'm not mistaken, the New York Film Critics Circle did manage to be the first film critics' organization to announce its awards for this year.  They were not last year.

They've named Zero Dark ThirtyKathryn Bigelow's movie about the hunt for Osama bin Laden, the "Best Picture" of 2012.  Bigelow, who also won the best director Oscar for The Hurt Locker, won the Circle's "Best Director" prize for Zero Dark Thirty.  Steven Spielberg's Lincoln was also a big winner, snagging three prizes, including acting honors for Daniel Day-Lewis and Sally Field.

Founded in 1935, the New York Film Critics Circle is, according to their website, “an organization of film reviewers from New York-based publications that exists to honor excellence in U.S. and world cinema.” Members are critics from daily newspapers, weekly newspapers, magazines, and online general-interest publications (that meet certain qualifications). Every year in December, Circle members meet in New York to vote on awards for the year's films.

Here's the complete list of the 2012 winners:

Best Picture - Zero Dark Thirty

Best Director - Kathryn Bigelow for Zero Dark Thirty

Best Screenplay - Tony Kushner for Lincoln

Best Actress - Rachel Weisz for The Deep Blue Sea

Best Actor - Daniel Day-Lewis for Lincoln

Best Supporting Actress - Sally Field for Lincoln

Best Supporting Actor - Matthew McConaughey for 2 films: Bernie, Magic Mike

Best Cinematographer - Greig Fraser for Zero Dark Thirty

Best Animated Film – Frankenweenie

Best Non-Fiction Film (Documentary) - The Central Park Five

Best Foreign Film – Amour

Best First Film - David France for How to Survive a Plague

Saturday, October 27, 2012

"The Mummy" Always Worth Unwrapping

TRASH IN MY EYE No. 1 (of 2002) by Leroy Douresseaux


The Mummy (1999)
Running time: 125 minutes (2 hours, 5 minutes)
MPAA – PG-13 for pervasive adventure violence and some partial nudity
DIRECTOR: Stephen Sommers
WRITERS: Stephen Sommers, from a screenstory by Lloyd Fonvielle, Kevin Jarre, and Stephen Somers
PRODUCERS: Sean Daniel and James Jacks
CINEMATOGRAPHER: Adrian Biddle (D.o.P.)
EDITOR: Bob Ducsay
COMPOSER: Jerry Goldsmith
Academy Award nominee

ACTION/ADVENTURE/FANTASY/HORROR

Starring: Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo, Kevin J O’Connor, Oded Fehr, Jonathan Hyde, Erick Avari, Bernard Fox, Stephen Dunham, Corey Johnson, Tuc Watkins, Aharon IpalĆ©, and Patricia Velasquez

The subject of this movie review is The Mummy, a 1999 fantasy/adventure film from director Stephen Sommers. The film is a loose remake of the 1932 film, The Mummy, starring the great Boris Karloff, and is also the first of a three-film set.

In 1923, Richard “Rick” O’Connell (Brendan Fraser) a French Foreign Legion soldier, leads a librarian, Evelyn “Evie” Carnahan (Rachel Weisz), and her wayward brother, Jonathan (John Hannah,) to the legendary ancient Egyptian City of the Dead, Hamunaptra, on a treasure hunt/archeological dig. Pursued by a group of American adventurers and assorted ruffians, our heroes become part of bungling gang that resurrects Imhotep (Arnold Vosloo), a cursed Egyptian priest out to wreak havoc on the world. When Imhotep sees Evie for the first time, he decides to use her as the human sacrifice to free his love mummified lover, Anck–Su–Namum (Patricia Velazquez), from the Underworld.

Part of Universal Pictures plan to remake its classic “Universal Monster” movies as high tech updates, The Mummy, the new version of the 1932 classic, shocked Universal with its 40 million dollar opening weekend (tests and previews screenings had suggest about 25 million). With its combinations of eye-popping effects, occasional chills, and good action sequences, The Mummy (which received an Oscar nomination for “Best Sound”) is an excellent example of a movie as great entertainment – cinematic fast food that delivers on audience expectations.

Director Stephen Sommers had directed two Disney films, Tom and Huck and the live action version of The Jungle Book and the funky 1998 sci-fi/horror B-movie, Deep Rising. They may have been indications of his skill to weave effective entertainment, but the Mummy is the big payoff.

The hyped up action scenes deliver every time; not one of them is awkward or off of pace. From the opening battle scene at the ruins of Hamunaptra to the fight aboard the boat, from the giant wall of sand with the imprint of Imhotep’s face to the final fight scene, it’s the perfect movie with which to sit back and enjoy.

There is a fine cast of supporting characters. Oded Fehr as Ardeth Bay, leader of the Medjai, a group that watches over Imhotep’s tomb, is handsome, dashing, and mysterious. Kevin J O’Connor’s Beni Gabor is the perfect comic relief (a nice bookend to John Hannah’s Jonathan), but he also makes a nasty villain. It’s quite entertaining to watch the three Americans: Mr. Henderson (Stephen Dunham), Mr. Daniels (Corey Johnson), and Mr. Burns (Tuc Watkins) in their cat and mouse game with Imhotep as the Mummy absorbs their “organs and fluids” to regenerate his own body.

The Mummy is also a fun and spooky horror show with enough scary scenes to match the action. What reminds of Raiders of the Lost Ark is the quite moments of character and intimacy between Rick and Evie. Sommers can’t make Fraser and Ms. Weisz as convincing as Steven Spielberg made Harrison Ford and Karen Allen, but it’s good enough. No one here seems to pretend to greatness, but they seemed determined to please the studio and their potential audience with a hit film and they did.

Here, the issues are commerce and craft rather than art, and the craftsmanship is so good that we may very well return to this gem time and again. As goofy and throw away as it might all seem to be, The Mummy is fun stuff, pure cinematic magic.

7 of 10
B+

NOTES:
2000 Academy Awards: 1 nomination: “Best Sound” (Leslie Shatz, Chris Carpenter, Rick Kline, and Chris Munro)

2000 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (John Andrew Berton Jr., Daniel Jeannette, Ben Snow, and Chris Corbould)

Friday, October 26, 2012

"The Mummy Returns" with the Same Old Fun

TRASH IN MY EYE No. 22 (of 2001) by Leroy Douresseaux


The Mummy Returns (2001)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – PG-13 for adventure action and violence
WRITER/DIRECTOR: Stephen Sommers
PRODUCERS: Sean Daniel and James Jacks
CINEMATOGRAPHER: Adrian Biddle
EDITOR: Ray Bushey III, Bob Ducsay, and Kelly Matsumoto
COMPOSER: Alan Silvestri

ACTION/ADVENTURE/FANTASY/HORROR

Starring: Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo, Oded Fehr, The Rock, Freddie Boath, Patricia Velasquez, and Shaun Parkes


The subject of this movie reviews is The Mummy Returns, a 2001 adventure and fantasy film from director Stephen Sommers. It is a direct sequel to the 1999 film, The Mummy.

It is 1933, ten years after the events of the 1999 film, The Mummy. The British Museum Curator (Alun Armstrong) has shipped the mummified body of the first film’s villain, Lord Imhotep (Arnold Vosloo), to England. He and his partner, Meela Nais, a girl who is the reincarnated body of Imhotep’s ancient love, Anck-su-namun (Patricia Velazquez) have plans to resurrect the Mummy to conquer the world. They’ve set their sights on the army of Anubis; combined with Imhotep’s power and Anubis’s forces, they can rule the world. However, the army belongs to the Scorpion King (Dwayne “The Rock” Johnson), who Imhotep must defeat to control Anubis monstrous legions.

Standing in the way of the Mummy, his conspirators, and the Scorpion King, is the gang from the first movie. American adventurer Richard “Rick” O’Connell (Brendan Fraser) is married to Evelyn “Evie” Carnahan-O’Connell (Rachel Weisz). The have a 9 year old son Alexander “Alex” O’Connell (Freddie Boath), and Evie’s brother John Carnahan (John Hannah) is still around and up to no good. When the villains attack the O’Connell’s palatial London estate and Ardeth Bay (Oded Fehr) arrives in time for the home invasion, the gang is all set to return to the sands of Egypt to save the world from the forces of darkness. And there is some weird reincarnation and avatar plot elements to boot added to the mixture.

Directed by Stephen Sommers, the director and co-writer of the first film, The Mummy Returns is more of a fantasy/adventure with elements of horror than its predecessor, which was equal parts horror, fantasy, and adventure. The first winked and nodded at Raiders of the Lost Ark, but Returns is Raiders-lite, much more sugar coated than Raiders or The Mummy.

The effects are not so much dazzling as they are neat. In the first film, Imhotep raised a gigantic wall of sand with his visage on the face of the sand wall; in this film, he does the same trick with a wall of water. Both are impressive, but the second one seems more paint by number, simply because it’s done to repeat the sand trick of the first film. It’s one of many SFX shots meant to up the ante of the first movie. In the jaded world of popcorn cinema, the audience has seen so much that the makers of bam-socko movies have to always top what’s come before.

The acting is over the top, but quite functional; they know what they’re supposed to do and no actor lets his artistic ego get in the way of making thoughtless fun. And this movie is indeed fun, if not a little too long. The Mummy Returns careens madly across the screen like a ball in a pinball machine. Whereas the first was more coherent and a little scarier, this one is a thrill ride designed to have the feel of video game or a cat and mouse chase.

Sommers does his job quite well; like his cast, he doesn’t intrude artistically on the need for mindless entertainment. His gift is his ability to steer this bucking bronco of a movie. I don’t know if he can use the camera with any panache or creative skill, but he can make an above average, sit-back-and-be-entertained film that is neither too dumb nor too smart, to leave a bad aftertaste in the mouth, or any after taste for that matter – a good home video rental.

5 of 10
B-

Monday, January 30, 2012

Review: "Runaway Jury" is Unrealistic, But Entertaining (Happy B'day, Gene Hackman)

TRASH IN MY EYE No. 32 (of 2005) by Leroy Douresseaux

Runaway Jury (2003)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG-13 for violence, language, and thematic elements
DIRECTOR: Gary Fleder
WRITERS: Brian Koppelman and David Levien, Rick Cleveland, and Matthew Chapman (based upon the novel by John Grisham)
PRODUCER: Christopher Mankiewicz, and Gary Fleder
CINEMATOGRAPHER: Robert Elswit, A.S.C.
EDITOR: William Steinkamp, A.C.E. and Jeff Williams

DRAMA/THRILLER

Starring: John Cusack, Gene Hackman, Dustin Hoffman, Rachel Weisz, Bruce Davison, Bruce McGill, Jeremy Piven, Nick Searcy, Joanna Going, Stanley Anderson, Cliff Curtis, Jennifer Beals, and Bill Nunn with Orlando Jones and (uncredited) Dylan McDermott

Runaway Jury is a 2003 legal drama/thriller from director Gary Fleder. The film is based on the 1996 novel, The Runaway Jury, by author John Grisham.

Set in New Orleans, Runaway Jury is the story of a mysterious man named Nicholas Easter (John Cusack), who talks his way onto the jury of a landmark civil case against a gun manufacturer and attempts to influence the verdict by manipulating the other jurors. Meanwhile, on the outside, Easter’s girlfriend, Marlee (Rachel Weisz) runs a game to swindle the two lawyers involved in the case into paying her 10 million dollars if they want the verdict friendly to their clients.

Wendell Rohr (Dustin Hoffman) is a torts lawyer who represents the plaintiff, Celeste Wood (Joanna Going), the widow of Jacob Wood (Dylan McDermott), who was killed in a shooting rampage at brokerage firm. She believes the gun manufacturer knew that the killer bought the gun from a store that was careless and ignored gun laws. Rankin Fitch (Gene Hackman) is a jury consultant for the defense. Fitch is almost superhuman in the way he is able to discover the pasts of jurors, examine their beliefs and mindsets, and find out who can be bought, bribed, or blackmailed. His war with Nick Easter and Marlee drives the trial to the brink of ruin for a breathtaking finale.

Runaway Jury is the latest film adapted from a bestseller by John Grisham, author of books such as The Firm and A Time to Kill, both of which were adapted into films. The novel’s original premise was about a civil action against big tobacco, but the gun industry, also a target of big lawsuits, may have seemed like an easier sell to moviegoers, as guns are a lightening rod and divider of the American public. However, the film really doesn’t turn on a change of litigants. The best thing this film has going for it is the trio of John Cusack, Gene Hackman, and Rachel Weisz because they put the drama and thrills in this film. Dustin Hoffman is good, but he seems like the odd man out. His one good chance to chew up the scenery with Hackman is decidedly one-sided with Hackman eating his lunch. Anyone seeing this movie will clearly understand what power Hackman radiates. His star power and acting ability is worlds better than most other actors. An actor in a film with him has got to bring serious game, or Hackman will sweep him away. I so loved Hackman’s performance here that I wanted to have a baby for him.

Parts of Runaway Jury certainly test the bounds of belief and reality, but this is a great legal drama even if stuff happens in this film that no judge would allow to go on in his courtroom. And I say that knowing that most judges ain’t worth crap and are as crooked as a devil in gambling parlor. Runaway Jury is wonderful entertainment, and if you turn your reasoning down a little, it’ll keep you on the edge of your seat.

7 of 10
B+

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Friday, September 16, 2011

Review: "Constantine" is No Hellblazer

TRASH IN MY EYE No. 26 (of 2005) by Leroy Douresseaux

Constantine (2005)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – R for violence and demonic images
DIRECTOR: Francis Lawrence
WRITERS: Kevin Brodbin and Frank Cappello; from a story by Kevin Brodbin (based upon the characters from the DC Comics/Vertigo Hellblazer graphic novels)
PRODUCERS: Lauren Shuler Donner, Benjamin Melniker, Michael Uslan, Erwin Stoff, Lorenzo di Bonaventura, and Akiva Goldsman
CINEMATOGRAPHER: Philippe Rousselot, A.F.C./A.S.C.
EDITOR: Wayne Wahrman, A.C.E.

HORROR/FANTASY/ACTION with elements of thriller

Starring: Keanu Reeves, Rachel Weisz, Shia LaBeouf, Tilda Swinton, Pruitt Taylor Vince, Djimon Hounsou, Gavin (McGregor) Rossdale, Jessie Ramirez, Jose Zuniga, Laz Alonso, Quinn Buniel, and Peter Stormare

In the mid 1980’s famed comic book writer Alan Moore created, at the behest of his artist collaborators, a character for their comic book series, Swamp Thing (that changed the face of mainstream or superhero comics), that would look like Sting, front man of the rock group, The Police. Two decades later, Keanu Reeves, not Sting, has brought the character, John Constantine, to cinematic life in the film, Constantine.

Back story: John Constantine (Keanu Reeves) was born with a gift he didn’t want – the ability to recognize the half-breed angels and demons that walk the earth in human skin. Constantine took his own life to end the torment of his visions, but he was resuscitated against his will. Constantine returned with the ability to walk the earthly border between Heaven and Hell. He attempts to earn his salvation as an exorcist/supernatural detective sending the half-breed demons back to hell. Still, Constantine is no saint; he lives a hard life of drinking and smoking too much while he tries to buy his way into heaven.

Angela Dodson (Rachel Weisz) is a skeptical police detective, really not buying all this occult mumbo jumbo, but she needs Constantine. Her sister, Isabel (Ms. Weisz), may have committed suicide. Angela finds that hard to believe because her sister was a devout Catholic, and devout Catholics know that suicides go straight to the inferno of hell. Angela convinces Constantine to help her, but their investigation quickly clears away Angela’s skepticism as their examination of the crime takes them to the world of angels and demons just behind the walls, on the other side of the metaphorical windows, and beneath the landscape of Los Angeles. The duo is caught in a series of catastrophic occult and satanic events that may not only cost them their lives, but the souls of all human kind.

If Keanu Reeves were a better actor, Constantine would have been a better film. First, we, the people who are familiar with the comic book, have to get over the fact that there were better actors to play the part. We may have been willing to accept that the character was changed from a Brit to an American, but Keanu? He has his moments, but most of them are in the last act. It’s not as if he were out acted; the rest of the characters seem extraneous, even the ones that are supposed to be important to the plot.

The story, which borrows heavily from the work of two early writers on the Constantine comic book (called Hellblazer), Jamie Delano and Garth Ennis, is conceptually interesting. The execution leaves something to be desired. Sometimes, it’s just pretentious, and sometimes, the occult angle is as good and as intriguing as the occult was in Raiders of the Lost Ark. The visualization of Hell (as a still-burning post-apocalyptic cityscape) is nice, but ultimately the script is just a hodge podge of concepts and ideas that are poorly thought out and used. It’s as if some things were added because they’d seem cool, but they were poorly used or just didn’t make sense in the context of the script. The writers seemingly knew how they wanted the film to begin and end, but only threw crap against the wall in between that.

Actually, director Francis Lawrence (known for his music videos for acts such as Britney Spears and Will Smith) gives the film a good pace and a tense atmosphere of dread. He manages to make something out of a poor script and Keanu’s monotone and flat speaking/acting style. It’s enough to make this worth renting for fans of horror and fantasy.

5 of 10
C+

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Monday, March 7, 2011

Review: "The Constant Gardener" is Constantly Good (Happy B'day, Rachel Weisz)

TRASH IN MY EYE No. 22 (of 2006) by Leroy Douresseaux

The Constant Gardener (2005)
COUNTRY OF ORIGIN: Germany/UK
Running time: 129 minutes (2 hours, 9 minutes)
MPAA – R for language, some violent images, and sexual content/nudity
DIRECTOR: Fernando Meirelles
WRITER: Jeffrey Caine (based upon the novel by John le CarrƩ)
PRODUCER: Simon Channing Williams
CINEMATOGRAPHER: CĆ©sar Charlone
EDITOR: Clair Simpson
Academy Award winner

DRAMA/THRILLER/ROMANCE

Starring: Ralph Fiennes, Rachel Weisz, Danny Huston, Bill Nighy, and Pete Postlethwaite, Donald Sumpter, Hubert KoundƩ, Archie Punjabi, Gerard McSorley, and Samuel Otage

Justin Quayle (Ralph Fiennes) fell in love with his wife, Tessa (Rachel Weisz), when she first confronted him after a speech at a diplomatic conference. Tessa followed the Justin, a member of the British High Commission to Nairobi, Kenya and became his wife, but she remained a dedicated human rights and peace activist on her own, fighting for the health of poor Africans. Eventually, Tess is found brutally murdered, and her companion, a local doctor (Samuel Otage) and close friend of Tessa’s, appears to have fled the seen of the murder

The gossips in the Quayle’s personal and professional circle think this was a crime of passion. Justin’s colleague, Sandy Woodrow (Danny Huston, in a fine supporting performance), and Justin’s superior at the British High Council, Bernard Pellegrin (Bill Nighy), assume that Justin will leave the matter of Tessa’s murder to their discretion and instead, tend to his passion – the lovely gardens that surround the Quayles’ home in Nairobi.

Much to their chagrin, Justin begins his own investigation, and nothing will stop him from uncovering the truth, not even rumors of his wife’s affairs. But this is a conspiracy much larger and more dangerous than he can imagine, involving giant, multi-national pharmaceutical companies, assassins for hire, and the continent of Africa – rife with civil war, starvation, corrupt governments, and deadly epidemics.

Based upon the best-selling novel by John Le CarrĆ©, The Constant Gardener delivers on the promise shown by director Fernando Meirelles in the Oscar-nominated, City of God. It’s a riveting suspense thriller full of conniving agents, evil corporations, and British accents. Its complicated web of bribes, handshake deals, and murder ensnares the viewer with engaging characters in a thrill delivery system that pays off like crack and makes you want more – credit to screenwriter Jeffrey Caine. Meirelles is clever and imaginative with the way he uses camera angles, movements, focus, subject, structure, etc., making the most of the possibilities afforded him by a good script.

But what’s most surprising here is that there is a rather poignant and engaging romance film that weaves through of the scheming and deceptions (keenly embodied by Bill Nighy, a master of playing sly, bold, and cultured bad guys) – basically a political thriller seen through a romance. Meirelles expertly balances this, making the romance as entrancing as the suspense. Through flashbacks that increase the narrative flow and enhances the intensity of Justin Quayle’s search for his wife’s murderers, Meirelles insures that the film’s advertising tagline, “Love. At all costs,” is damn true.

It helps to have a good cast, in particularly strong leads. Rachel Weisz is beautiful, charming, and sexy as the passionate activist. She gives Tessa Quayle an exuberant quality that makes the early stages of Justin and Tessa’s love a bubbly affair. Later, she makes Tessa a proud and strong woman who looks out for her man and for the world, but retains a shy vulnerability that makes us believe she really needs Justin, wants him, and loves him.

Ralph Fiennes is the master of the upper class gentleman characters, always involved in dangerous or controversial love affairs, usually with women who aren’t in his social class or social circles. There is, however, truth in his performances that we can see in his facial expressions and in his eyes. You can buy his characters’ passions; they are real where a lesser actor would make such an affair seem contrived. For some reason, I can believe that this man will be true to his love at all costs, and that’s what sells this poignant drama and gripping whodunit – the thing that takes a good film one step up to the next level.

9 of 10
A+

Monday, January 30, 2006

NOTES:
2006 Academy Awards: 1 win: “Best Performance by an Actress in a Supporting Role” (Rachel Weisz); 4 nominations: “Best Achievement in Editing” (Claire Simpson), “Best Achievement in Music Written for Motion Pictures, Original Score” (Alberto Iglesias), and Best Writing, Adapted Screenplay” (Jeffrey Caine)

2006 BAFTA Awards: 1 win: “Best Editing” (Claire Simpson); 9 nominations: “Alexander Korda Award for Best British Film” (Simon Channing Williams, Fernando Meirelles, and Jeffrey Caine), “Anthony Asquith Award for Film Music” (Alberto Iglesias), “Best Cinematography” (CĆ©sar Charlone), “Best Film” (Simon Channing Williams), “Best Performance by an Actor in a Leading Role” (Ralph Fiennes), “Best Performance by an Actress in a Leading Role” (Rachel Weisz), “Best Screenplay – Adapted” (Jeffrey Caine), “Best Sound” (Joakim Sundstrƶm, Stuart Wilson. Mike Prestwood Smith, and Sven Taits), and “David Lean Award for Direction” (Fernando Meirelles)

2006 Golden Globes: 1win: “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Rachel Weisz); 2 nominations: “Best Director - Motion Picture” (Fernando Meirelles), “Best Motion Picture – Drama

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Monday, February 22, 2010

Review: "About a Boy" is Warm and Fuzzy

TRASH IN MY EYE No. 90 (of 2003) by Leroy Douresseaux


About a Boy (2002)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for brief strong language and some thematic elements
DIRECTORS: Chris Weitz and Paul Weitz
WRITERS: Peter Hedges and Chris Weitz & Paul Weitz (from a novel by Nick Hornsby)
PRODUCERS: Robert De Niro, Brad Epstein, Eric Fellner, and Jane Rosenthal
CINEMATOGRAPHER: Remi Adefarasin (D.o.P.)
EDITOR: Nick Moore
Academy Award nominee

COMEDY/DRAMA

Starring: Hugh Grant, Toni Collette, Nicholas Hoult, Rachel Weisz, and Sharon Small

Every now and then, Hugh Grant plays a role that is different from his usual role: the loveable, affable, and charming British man child thrown slightly off-balance by the aggressive woman. In About a Boy, Grant takes his boy child and turns him on his ear, not necessarily for the better.

Grant plays Will, a self-absorbed bachelor – a rich, single, child-free Londoner in his 30’s who suddenly discovers that all his friends have taken on the adult responsibilities of family life. First, he invents a toddler son in order to pass himself off as a single father so that he can date jilted mothers he meets in single parents club. He’s confident that he can leave the mums behind when he’s tired of them, but his machinations bring him into contact with Marcus (Nicholas Hoult), a 12-year old boy with massive problems at school and a suicidal mother (Toni Collette) at home. Though the boy is his opposite in many ways, Marcus becomes Will’s friend, of a sort. He teaches the boy how to be cool, and Marcus helps will grow up.

It’s hard to believe that Chris and Paul Weitz could go from being the masterminds behind American Pie to making a movie that is so at once painful, yet so heartwarming and life affirming as About a Boy. What the Weitz brothers show again is the ability to let the actors take the story, whatever it is, and perform. That was the key to American Pie – how well the actors worked through the hoops and gimmicks given them by the filmmakers. In this case, the Weitzs and co-writer Peter Hedges (who adapted their script from a novel by Nick Hornsby) give the characters plenty to chew, but the characters here aren’t nearly as endearing as they were in Pie.

Many movie critics and fans felt that the Academy had robbed Hugh Grant of an Oscar nomination for his performance in Boy. The truth of the matter is that the character is so shallow and empty that any actor with at least film acting experience, if not talent, could have played the role. Playing Will as he was written is not an artistic or professional achievement (save for the paycheck); it would not be too farfetched to say that Will is pretty much just a character name in a script. I know that the central conceit is that Will is supposed to be a shallow and empty character, but Will isn’t a character. He’s just an empty cipher or caricature. We get the idea that Will is shallow when we see how easily he casts off his lady friends. I guess we’re supposed to assume that Will sitting around his apartment all day is another sign of his shallowness and emptiness. I just took it as a sign that the script writers didn’t know how to make any of those scenes visually interesting. Will fills the film with tiresome narrations about his selfishness and self-centeredness, when, after his first two “character enriching” speeches, we got the point. For a brief moment in the film, Will thinks he sees his long dead father. Sadly the movie doesn’t focus on Will’s relationship with his own father, although the movie story spends so much time telling us that Will could be “a father/father figure.” Certainly, it’s no stretch of the imagination to suspect that Will’s personality comes from something to do with his father. Heck, Will lives off his father’s song royalties. That’s why he doesn’t work, so obviously that’s something to explore.

Nicholas Hoult’s Marcus is much more interesting, perhaps because the story is really about him and how he makes two grown ups grow up. I won’t call his a great child performance, but it’s quite good. Marcus is world weary and cynical. Even at his young age (12 years), he’s already accepted that pretty much everything is beyond his control. He takes his lumps as if his torment was not only preordained, but also divinely ordained. Young Mr. Hoult makes us invest ourselves in Marcus’s destiny, and that’s more than I can say about the rest of the cast. We want him to win, to succeed, because he’s done nothing to be in the position he’s been in, and he has so much wisdom that he sees the practical solutions that other characters need to make their lives a little better.

Despite my reservations, I liked About a Boy. If you can tolerate Will’s narration and instead focus on Marcus’s, you’ll find a hero in the character. I understand that the filmmakers had to give the spotlight to Grant’s (the movie star) Will, when the film’s most interesting notions come from Marcus: people need other people and sometimes they need lots of other people to catch them when they fall. Take the film’s plague of self-examining voiceovers with a grain of salt and instead focus on people connecting. You’ll like this movie enough to feel a little warm and fuzzy at the end.

6 of 10
B

NOTES:
2003 Academy Awards: 1 nomination: “Best Writing, Adapted Screenplay” (Peter Hedges, Chris Weitz and Paul Weitz)


2003 BAFTA Awards: 2 nominations: “Best Performance by an Actress in a Supporting Role” (Toni Collette) and “Best Screenplay – Adapted”


2003 Golden Globe Awards: 2 nominations: “Best Motion Picture - Musical or Comedy” and “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Hugh Grant)