Production Begins on Shane Black's "The Nice Guys"

Silver Pictures’ “The Nice Guys” in Production

Cameras roll on Shane Black’s detective thriller starring Russell Crowe and Ryan Gosling, with additional cast set to star, including Matt Bomer, Kim Basinger and more

BURBANK, Calif.--(BUSINESS WIRE)--Principal photography has begun on Silver Pictures’ upcoming detective thriller “The Nice Guys,” from director Shane Black (“Kiss Kiss Bang Bang,” “Iron Man 3”). The film, which stars Oscar winner Russell Crowe (“Gladiator,” “Man of Steel”) and Oscar nominee Ryan Gosling (“Half Nelson,” “Drive,” “Crazy, Stupid, Love.”), is shooting in Atlanta and Los Angeles. It is being produced by Joel Silver (“Non-Stop,” “The Matrix” series, the “Sherlock Holmes” series).

Recently added to the cast are Matt Bomer (“Magic Mike,” HBO’s “The Normal Heart”), Oscar winner Kim Basinger (“L.A. Confidential”), Angourie Rice (“These Final Hours”), Beau Knapp (“Super 8”), Keith David (“Pitch Black,” “Mr. & Mrs. Smith”) and Margaret Qualley (HBO’s “The Leftovers”).

“The Nice Guys” takes place in 1970s Los Angeles, when down-on-his-luck private eye Holland March (Gosling) and hired leg-breaker Jackson Healy (Crowe) must work together to solve the case of a missing girl and the seemingly unrelated death of a porn star. During their investigation, they uncover a shocking conspiracy that reaches up to the highest circles of power.

Black directs from an original screenplay he wrote with Anthony Bagarozzi. Silver is producing under his Silver Pictures banner, with Ken Kao of Waypoint Entertainment, Hal Sadoff, and Michael Malone serving as executive producers. Waypoint is co-financing, and Alex Walton and Ken Kao’s BLOOM is handling international sales.

The creative team behind “The Nice Guys” includes director of photography Philippe Rousselot (the “Sherlock Holmes” series, “Big Fish”), production designer Richard Bridgland (“Serena,” “Unknown”), editor Joel Negrón (“21 Jump Street”), and costume designer Kym Barrett (“The Matrix” series).

“The Nice Guys,” set for release on June 17, 2016, will be distributed in North America by Warner Bros. Pictures, a Warner Bros. Entertainment Company.


About Silver Pictures
Joel Silver’s Silver Pictures is one of Hollywood’s leading producers of action motion pictures. The company’s most recent project, “Non-Stop,” starring Liam Neeson and Julianne Moore and directed by Jaume Collet-Serra, opened in February 2014. The film has earned more than $200 million at the worldwide box office. Silver Pictures recently wrapped production on the much buzzed about “Autobahn,” starring Nicholas Hoult, Felicity Jones, Anthony Hopkins and Ben Kingsley. Additionally, the company is currently in post-production on “The Gunman,” starring Sean Penn, Javier Bardem and Idris Elba and directed by Pierre Morel. In 2012, Silver signed a 5-year non-exclusive distribution deal with Universal Pictures. Silver has produced more than 70 films which have earned more than $13 billion in worldwide revenue. Past credits include the “Sherlock Holmes” franchise, starring Robert Downey Jr., which has earned more than $1 billion at the worldwide box office, the Academy Award-winning “The Matrix” trilogy, the blockbuster “Lethal Weapon” franchise and seminal action films “Die Hard” and “Predator.”

About Waypoint Entertainment
Waypoint Entertainment is a film and television development, production, and finance company cofounded by Ken Kao in 2010. Waypoint’s upcoming slate includes Martin Scorsese’s “Silence,” starring Liam Neeson, Andrew Garfield, Andrew Driver and Ken Watanabe, and Terrence Malick’s next two films, “Knight of Cups,” with Christian Bale, Natalie Portman and Cate Blanchett, and an untitled film featuring Michael Fassbender, Ryan Gosling, Rooney Mara, Natalie Portman and Cate Blanchett.

About BLOOM
BLOOM represents and curates a diversified slate of films ranging from commercial, talent-driven, wide release movies, to specialty films from proven and trusted filmmakers, all the while keeping an eye towards fresh and emerging talent. Alex Walton and financier and producer Ken Kao partnered to form BLOOM, a sales, production and financing outfit which launched just prior to Cannes with two-time Academy Award nominee Gus Van Sant’s “Sea of Trees,” starring Academy Award winner Matthew McConaughey, Academy Award nominees Ken Watanabe and Naomi Watts, which recently wrapped principal photography. Upcoming projects include Michael Apted’s “Unlocked,” starring Noomi Rapace, Academy Award winner Michael Douglas, and Orlando Bloom; Renny Harlin’s “Skiptrace,” starring Jackie Chan and Johnny Knoxville; and “The Hunters,” which will be directed by John Moore. The existing slate includes Gillian Flynn’s best-selling novel “Dark Places,” starring Charlize Theron; “A Walk Among the Tombstones,” starring Liam Neeson; “The Woman in Black: Angel of Death”; “Pele,” the biopic about the legendary Brazilian soccer player; “Jane Got a Gun,” starring Natalie Portman; and “Out of the Dark,” starring Julia Stiles and Scott Speedman.

Crowe, Gosling Headline Shane Black's "The Nice Guys"

Russell Crowe and Ryan Gosling to Play “Nice” for Shane Black and Silver Pictures

Black to direct the pair in “The Nice Guys,” set to hit theaters June 17, 2016

BURBANK, Calif.--(BUSINESS WIRE)--Silver Pictures’ upcoming detective thriller “The Nice Guys,” directed by Shane Black (“Iron Man 3”) and starring Oscar winner Russell Crowe (“Gladiator,” “Man of Steel”) and Oscar nominee Ryan Gosling (“Half Nelson,” “Drive”), has staked out the summertime date of June 17, 2016. Set to begin production in the fall of this year, the film is being produced by Joel Silver (“Non-Stop,” “The Matrix” series, the “Sherlock Holmes” series). The announcement was made today by Dan Fellman, President of Domestic Distribution, Warner Bros. Pictures.

    “Ever since we did ‘Kiss Kiss Bang Bang,’ I’ve been eager to work with Shane again, and with this film we made it happen. It’s a terrific script written in Shane’s great cinematic voice. With Russell and Ryan on board, I know we’re in for another wild ride.”

“The Nice Guys” takes place in 1970s Los Angeles, when down-on-his-luck private eye Holland March (Gosling) and hired leg-breaker Jackson Healy (Crowe) must work together to solve the case of a missing girl and the seemingly unrelated death of a porn star. During their investigation, they uncover a shocking conspiracy that reaches up to the highest circles of power.

Silver stated, “Ever since we did ‘Kiss Kiss Bang Bang,’ I’ve been eager to work with Shane again, and with this film we made it happen. It’s a terrific script written in Shane’s great cinematic voice. With Russell and Ryan on board, I know we’re in for another wild ride.”

Black directs from an original screenplay he wrote with Anthony Bagarozzi. Silver is producing under his Silver Pictures banner, with Ken Kao of Waypoint Entertainment, Hal Sadoff, and Michael Malone serving as executive producers. Waypoint is co-financing, and Alex Walton and Ken Kao’s BLOOM is handling international sales.

“The Nice Guys” will be distributed in North America by Warner Bros. Pictures, a Warner Bros. Entertainment

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

Review: "The Matrix Revolutions" is the Good with the Bad

TRASH IN MY EYE No. 164 (of 2003) by Leroy Douresseaux

The Matrix Revolutions (2003)
Running time:  129 minutes (2 hours, nine minutes)
MPAA – R for sci-fi violence and brief sexual content
WRITERS/DIRECTORS:  The Wachowski Brothers
PRODUCER:  Joel Silver
CINEMATOGRAPHER:  Bill Pope (D.o.P.)
EDITOR:  Zach Staenberg
COMPOSER:  Don Davis

SCI-FI/ACTION/THRILLER

Starring:  Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett-Smith, Collin Chou, Mary Alice, Tanveer Atwal, Helmut Bakaitas, Monica Bellucci, Nona M. Gaye, Nathaniel Lees, Harold Perrineau, Bruce Spense, Lambert Wilson, and Anthony Zerbe

The subject of this movie review is The Matrix Revolutions, a 2003 science fiction action movie from filmmaker siblings Andy and Larry (now Lana) Wachowski.  It is the third film in The Matrix film franchise, and it is both a direct sequel and continuation of The Matrix Reloaded, which was released six months earlier.  The Matrix Revolutions focuses on two main plots:  the attempt by the human city of Zion to defend itself against a massive invasion of machines and also Neo’s fight to end the human-machine war by battling the rogue Agent Smith.

The Matrix Revolutions end The Matrix trilogy not with a bang but with a whimper, a dud, and a plop.  It’s largely a bore, and, while not as talky as the first, the film drags like a wet rag when it does try to be all philosophical.  Like Once Upon a Time in Mexico, The Matrix Revolutions is an average, meandering, dull film made by very talented filmmakers who know how to use all kinds of gadgets to make movies, but can’t tell a good story.  TMR tries to resolve all the plotlines, while cheekily leaving just enough unresolved to suggest that it is a never-ending story or, at least, that there will be more movies born of this immense cash cow.

The machines finally invade Zion, and human inhabitants of the underground sanctuary are wildly overmatched.  Meanwhile, Neo (Keanu Reeves) not only has to battle Agent Smith (Hugo Weaving), who has become a self-replicating virus that is rapidly taking over the Matrix, but Neo also has to travel to the Machine City and make a peace deal with the machine central intelligence.  The Oracle (played by Mary Alice, as the original, Gloria Foster, died during filming of the second film), an important (but minor character), plays a larger role in Revolutions as she tries to save the Matrix from all the various rival programs that are attempting to have their own way in the artificial construct into which most of humanity is jacked.

Press for the film is telling audiences that The Matrix Reloaded was about life and that this last film Revolutions is about death.  There is death here, but it’s mostly in a lame script and poorly executed concept.  The ideas behind The Matrix are grand and interesting.  The writer/directors Larry and Andy Wachowski, however, just don’t always know quite how to find that straight line that goes from concept to final product.

Revolutions is dry and slow, and the mish mash stew of Eastern philosophy and computer jargon is tasteless.  The cinematography by Bill Pope is lush a landscape of rich and sexy, dark watercolors.  The battle between the humans and sentinels in Zion is a spectacular blend of CGI, bravura editing, and human emoting that might not have viewers comparing it to the battles in Braveheart or Saving Private Ryan, but those familiar with video games will recognize this as the most awesome sci-fi battle put on film to date.  The leather bar segment and the final duel between Neo and Agent Smith are also fairly spectacular.

If anything, we can always remember The Matrix films for their groundbreaking and mind bending visual effects.  There truly is no doubt that these films are three of the most important movies films in advancing the technology and craft of movie making.

If you’ve seen the other two, there’s no point in not finishing this.  The Matrix Revolutions, however, is a mediocre movie.  The surface pyrotechnics are just fine, but the meat and bones of the film – the story, is weak and lousy; in the end, this is not a tale, but a collection of cool scenes that would be right at home in a video game.

This is the film result of two indulgent filmmakers who needed to be reigned in before their egos and unchecked imaginations went wild and made crap.  Sometimes, someone, even a studio executive – a suit, needs to harness the madness of young filmmakers.  They owe the audience that much.  It’s not at all acceptable that the price of admission buys the messy product of two directors who needed to take their fantasy back to the drawing board one more time.

5 of 10
C+

NOTES:
2004 Black Reel Awards:  1 nomination: “Film: Best Supporting Actress” (Mary Alice)

2004 Image Awards:  3 nominations: “Outstanding Actor in a Motion Picture” (Laurence Fishburne), “Outstanding Supporting Actress in a Motion Picture” (Nona Gaye), and “Outstanding Supporting Actress in a Motion Picture” (Jada Pinkett Smith)

2004 Razzie Awards:  1 nomination: “Worst Director” (Andy Wachowski and Larry Wachowski for The Matrix Reloaded)

Updated:  Thursday, November 07, 2013

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

Review: "Cradle 2 the Grave" Not Completely Lifeless

TRASH IN MY EYE No. 28 (of 2003) by Leroy Douresseaux

Cradle 2 the Grave (2003)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for violence, language and some sexual content
DIRECTOR: Andrzej Bartkowiak
WRITERS: John O’Brien and Channing Gibson; from a story by John O’Brien
PRODUCER: Joel Silver
CINEMATOGRAPHER: Daryn Okada
EDITOR: Derek G. Brechin
COMPOSERS: Damon “Grease” Blackman and John Frizzell

ACTION/CRIME/DRAMA

Starring: Jet Li, DMX, Anthony Anderson, Kelly Hu, Tom Arnold, Mark Dacascos, Gabrielle Union, Daniel Dae Kim, and Chi McBride (uncredited)

The subject of this movie review is Cradle 2 the Grave, a 2003 action film. Directed by Andrzej Bartkowiak, the film stars legendary action star, Jet Li, and rapper DMX.

Producer Joel Silver brings us another martial artist/rap star “buddy” movie in the tradition of his hit, Exit Wounds. This time Exit Wounds star DMX joins legendary Far East action star Jet Li in Cradle to the Grave. After I watching this movie, I couldn’t figure out the reason for the title, but the name sounds rough and tough, just what you want in your “chop socky-hip hop” movie. No doubt that this is trash, but fun trash, especially if you’re feeling really tolerant; not as good as Exit Wounds, but almost worth the price of admission if you like Li and/or DMX. And I had been waiting for this for a long time.

Fait (DMX) leads a crew of high-tech urban thieves who stumble onto a bag of mysterious black jewels during their heist of a diamond exchange. The diamonds’ owner, the vicious and murderous Ling (Mark Decascos), kidnaps Fait’s daughter and holds her as ransom for the jewels’ return. Fait gets a monkey wrench in his works when another crew steals the diamonds from one of Fait’s bumbling associates (Tom Arnold). Fait and his crew forge an alliance with a Taiwanese intelligence officer, Su (Jet Li), to rescue his child and retrieve the precious black diamonds, which hold a deadly and powerful secret.

Director Andrzej Bartkowiak’s film is clunky and disjointed, but Bartkowiak (who has directed three of Li’s American films) knows that he only has to string together a few “character moments” between scenes with the only important elements of the film: DMX’s grimace and Li’s extended martial arts free-for-alls. Li actually has an extended battle at an underground fight arena that at times defies the imagination and at other times is so wacky that it earns a load of belly laughs. Because the writers gave DMX’s character a child, we actually get a few smiles from the normally scowling star during precious scenes of him “parenting.”

The supporting cast mostly serves as relief from the grim story. Most of the time, Cradle 2 the Grave is a pretty raw cartoon, and it plays rough with its characters. However, Tom Arnold and Anthony Anderson, co-stars in Exit Wounds, return to add much needed comic relief. In fact, Arnold never seems so comfortable in a film role as he does when he’s rollin’ with the homeys. I think he’s added life to his career legs the way John Lithgow did in the early 1990’s by taking a few villainous roles.

I won’t lie to you. This isn’t a good movie, but it can be very entertaining most of the time. You just have to outlast some “dramatic” moments to get to the action, suspense, and thrills. Sometimes, I became very impatient waiting out a few dull minutes just to get to the bloodshed; honestly, there’s no other reason to see this junk other than for the junk: car chases, titillation, shootouts, corrupt cops, thugs, explosions, and Jet Li’s electric hands and feet.

So when’s the next Silver Pictures’ rap-fu joint coming out? DMX and Jackie Chan, perhaps?

4 of 10
C

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

Second Robert Downey Jr. "Sherlock Holmes" Surpasses First in Cash Made

“Sherlock Holmes: A Game of Shadows” Bests Its Predecessor, Nabbing Global Tally of $529 Million and Counting

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Sherlock Holmes: A Game of Shadows” has hit the $529 million benchmark in global box office, with an estimated $186.7 million on the domestic side and $342.3 million internationally, surpassing its predecessor’s worldwide gross of $524.4 million. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan-Rubinek, President of International Distribution, Warner Bros. Pictures.

The film has drawn large opening crowds and repeat business since its late December debut, continuing its momentum as it rolled out internationally. In the U.S., “Sherlock Holmes: A Game of Shadows” opened at #1 and spent six weeks in the U.S. top ten. Internationally, it was the #1 film for three straight weeks (January 8 - January 23).

“Our successful box office continues to prove the appeal of Sherlock Holmes, especially in the hands of guy Ritchie and his amazing cast, led by Robert Downey Jr. and Jude Law,” Fellman said. “The film had outstanding results throughout the holidays and continued to gain traction well into 2012.”

“Rolling out this film internationally has been tremendously exciting, as the film has clearly resonated with audiences around the globe,” Kwan-Rubinek added. “The first ‘Sherlock Holmes’ was such a tremendous success overseas, and to surpass that number in these same markets is truly a remarkable achievement. We congratulate the filmmakers and cast, as well as our international teams, on these excellent results.”

“‘Sherlock Holmes: A Game of Shadows’ gave moviegoers another opportunity to experience Guy Ritchie’s fun and inventive take on the legendary detective,” said Sue Kroll, the Studio's President, Worldwide Marketing. “The movie is a great adventure—complete with action, humor and great characters. Congratulations to the filmmakers and cast, who were truly our partners in bringing Sherlock Holmes back to an enthusiastic worldwide audience.”

Robert Downey Jr. reprises his role as the world’s most famous detective, Sherlock Holmes, and Jude Law returns as his friend and colleague, Dr. Watson, in “Sherlock Holmes: A Game of Shadows.”

Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor James Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may give him an advantage over the renowned detective. Holmes’ investigation into Moriarty’s plot becomes more dangerous as it leads him and Watson out of London to France, Germany and finally Switzerland. But the cunning Moriarty is always one step ahead, and moving perilously close to completing his sinister plan. If he succeeds, it will not only bring him immense wealth and power but alter the course of history.

Filmmaker Guy Ritchie returned to direct “Sherlock Holmes: A Game of Shadows,” the follow-up to the smash hit “Sherlock Holmes.” The sequel reunited producers Joel Silver, Lionel Wigram, Susan Downey and Dan Lin. Bruce Berman and Steve Clark-Hall served as executive producers. The film also stars Noomi Rapace, Jared Harris, Eddie Marsan, Kelly Reilly, and Rachel McAdams. “Sherlock Holmes: A Game of Shadows” was written by Michele Mulroney & Kieran Mulroney. Sherlock Holmes and Dr. Watson were created by the late Sir Arthur Conan Doyle, and appear in stories and novels by him.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Silver Pictures Production, in association with Wigram Productions, a Guy Ritchie Film, “Sherlock Holmes: A Game of Shadows.” The film is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

http://www.sherlockholmes2.com/

Sherlock Holmes 2 Still Banging Worldwide Box Office

“Sherlock Holmes: A Game of Shadows” Continues Its Success Worldwide

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Sherlock Holmes: A Game of Shadows” continued its strong run through the holiday frame, with exceptional numbers at both the domestic and international box offices. The international performance is made even more impressive by the fact that the film is tracking better than 2009’s blockbuster “Sherlock Holmes”—which grossed $315 million internationally and $524 million worldwide—with “Sherlock Holmes: A Game of Shadows” still to be released in many major international markets. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan-Rubinek, President of International Distribution, Warner Bros. Pictures.

“Sherlock Holmes: A Game of Shadows” has earned more than $265 million worldwide, with an estimated $140 million and counting on the domestic side. Internationally, the box office numbers are pacing ahead of the first “Sherlock Holmes” in the same territories in the same time frame, with the new film yet to open in 25 markets, including Australia, China, Brazil, France, Spain and Japan.

Robert Downey Jr. reprises his role as the world’s most famous detective, Sherlock Holmes, and Jude Law returns as his friend and colleague, Dr. Watson, in “Sherlock Holmes: A Game of Shadows.”

Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor James Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may give him an advantage over the renowned detective. Holmes’ investigation into Moriarty’s plot becomes more dangerous as it leads him and Watson out of London to France, Germany and finally Switzerland. But the cunning Moriarty is always one step ahead, and moving perilously close to completing his sinister plan. If he succeeds, it will not only bring him immense wealth and power but alter the course of history.

Filmmaker Guy Ritchie returned to direct “Sherlock Holmes: A Game of Shadows,” the follow-up to the smash hit “Sherlock Holmes.” The sequel reunited producers Joel Silver, Lionel Wigram, Susan Downey and Dan Lin. Bruce Berman and Steve Clark-Hall served as executive producers. The film also stars Noomi Rapace, Jared Harris, Eddie Marsan, Kelly Reilly, and Rachel McAdams. “Sherlock Holmes: A Game of Shadows” was written by Michele Mulroney & Kieran Mulroney. Sherlock Holmes and Dr. Watson were created by the late Sir Arthur Conan Doyle, and appear in stories and novels by him.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Silver Pictures Production, in association with Wigram Productions, a Guy Ritchie Film, “Sherlock Holmes: A Game of Shadows.” The film is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures. The film has been rated PG-13 for intense sequences of violence and action and some drug material.

http://www.sherlockholmes2.com/

"Sherlock Holmes: A Game of Shadows" Lights Up the Box Office

“Sherlock Holmes: A Game of Shadows” Heats up December Box Office

Film is the highest-grossing release of the holiday season to date and has passed $136 million worldwide

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures’ and Village Roadshow Pictures’ “Sherlock Holmes: A Game of Shadows” has followed up its number one opening by emerging as the top-grossing film to date, domestically, in this December’s very competitive holiday box office landscape. The film is estimated to take in $90.56 million through Monday, easily leading the domestic box office for the month. In addition, the film has soared past the $100 million mark globally, earning a combined estimated worldwide total of $136.26, while still only in a limited number of international markets. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan-Rubinek, President of International Distribution, Warner Bros. Pictures.

Fellman stated, “Robert Downey Jr. and Jude Law, together with director Guy Ritchie, have once again proven to be a winning combination for moviegoers, and we believe that the audience response and strong word of mouth will continue to carry ‘Sherlock Holmes: A Game of Shadows’ through the holidays and beyond. We congratulate everyone involved in the film on once again making this classic character irresistible to contemporary audiences.”

“Sherlock Holmes: A Game of Shadows” has also opened with impressive numbers in 25 international markets, including the UK, Germany and Italy, with most major territories still to come.

Kwan-Rubinek said, “The first ‘Sherlock Holmes’ was a huge hit with international audiences, and we are extremely pleased with the way moviegoers have again embraced the new film. With many more markets yet to open, we are looking forward to a long and lucrative run for the film.”

Robert Downey Jr. reprises his role as the world’s most famous detective, Sherlock Holmes, and Jude Law returns as his friend and colleague, Dr. Watson, in “Sherlock Holmes: A Game of Shadows.”

Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor James Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may give him an advantage over the renowned detective. Holmes’ investigation into Moriarty’s plot becomes more dangerous as it leads him and Watson out of London to France, Germany and finally Switzerland. But the cunning Moriarty is always one step ahead, and moving perilously close to completing his sinister plan. If he succeeds, it will not only bring him immense wealth and power but alter the course of history.

Filmmaker Guy Ritchie returned to direct “Sherlock Holmes: A Game of Shadows,” the follow-up to the smash hit “Sherlock Holmes.” The sequel reunited producers Joel Silver, Lionel Wigram, Susan Downey and Dan Lin. Bruce Berman and Steve Clark-Hall served as executive producers. The film also stars Noomi Rapace, Jared Harris, Eddie Marsan, Kelly Reilly, and Rachel McAdams. “Sherlock Holmes: A Game of Shadows” was written by Michele Mulroney & Kieran Mulroney. Sherlock Holmes and Dr. Watson were created by the late Sir Arthur Conan Doyle, and appear in stories and novels by him.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Silver Pictures Production, in association with Wigram Productions, a Guy Ritchie Film, “Sherlock Holmes: A Game of Shadows.” The film is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures. The film has been rated PG-13 for intense sequences of violence and action and some drug material.

http://www.sherlockholmes2.com/

"Sherlock Holmes: A Game of Shadows" a Familiar, But Fun Game

TRASH IN MY EYE No. 105 (of 2011) by Leroy Douresseaux


Sherlock Holmes: A Game of Shadows (2011)
Running time: 129 minutes (2 hours, 9 minutes)
MPAA – PG-13 for intense sequences of violence and action, and some drug material
DIRECTOR: Guy Ritchie
WRITERS: Michele Mulroney and Kieran Mulroney (based on the characters created by Arthur Conan Doyle)
PRODUCERS: Susan Downey, Dan Lin, Joel Silver, and Lionel Wigram
CINEMATOGRAPHER: Philippe Rousselot
EDITOR: James Herbert
COMPOSER: Hans Zimmer

ACTION/MYSTERY/THRILLER

Starring: Robert Downey, Jr., Jude Law, Noomi Rapace, Jared Harris, Stephen Fry, Paul Anderson, Kelly Reilly, Rachel McAdams, Geraldine James, and Eddie Marsan

Sherlock Holmes: A Game of Shadows is a 2011 Sherlock Holmes film and action/mystery movie. It is a direct sequel to the 2009 film, Sherlock Holmes, which brought Sir Arthur Conan Doyle’s famous detective back to the big screen as an in-your-face, two-fisted genius. A Game of Shadows finds Holmes taking on his greatest adversary, Professor Moriarty.

A year after the events of the first film, Sherlock Holmes (Robert Downey, Jr.), the renowned "consulting detective,” is investigating a seemingly unrelated series of crimes around Europe, including a bombing in London and the murder of prominent physician. Holmes believes the crimes are tied to the criminal mastermind, Professor James Moriarty (Jared Harris), who is just as smart as Holmes and more ruthless. Meanwhile, Holmes’ trusted ally and physician, Dr. John Watson (Jude Law), is set to marry Mary Morstan (Kelly Reilly).

It is Watson’s stag (bachelor) party that brings Holmes into contact with Sim (Noomi Rapace), a gypsy fortune teller marked for death by Moriarty. Holmes and Watson follow Sim to Paris where they discover the far-reaching implications of Moriarty’s plot. With his brother, Mycroft Holmes (Stephen Fry), providing some assistance (from a distance), Holmes tries to stop a possible war. But in Moriarty, Holmes may have met an opponent that even he cannot overcome.

Sherlock Holmes: A Game of Shadow offers the same thrills, chills, laughs, and mind games of the first film, except this new movie is more intense than wry. It is darker, has more action, and plays more on the razor’s edge than the first film, which was clever and loose, whereas this film is cunning and taut. You get the idea that the well-being of the world is on the line if Holmes’ slips up, and Moriarty is so damn formidable, Holmes is often outmaneuvered in this story. The best thing director Guy Ritchie gets out of the script is that the action in this story really matters.

Good performances abound. Watching Robert Downey, Jr. play Holmes, I got the feeling that if his brain were not firing on all cylinders, it was close. Downey’s performance was like mixing a high wire act with juggling and being on the receiving end of a knife-throwing act. Jared Harris is superb as Moriarty; I’ve never been more in awe and more afraid of this villain, and I wish Harris’ take on Moriarty had more screen time. Noomi Rapace makes the most of her role as Sim, a character whose screen time exceeds her importance.

Sherlock Holmes: A Game of Shadows sticks with the winning formula of the first film with some refinement. It delivers glossy, high-caliber entertainment with a clever edge that puts it above the typical Hollywood fast food, movie product. I’m already ready for a third Robert Downey, Jr.-Guy Ritchie Sherlock Holmes movie.

7 of 10
B+

Saturday, December 17, 2011

Review: "The Matrix" Has Staying Power (Happy B'day, Keanu Reeves)

TRASH IN MY EYE No. 19 (of 2001) by Leroy Douresseaux

The Matrix (1999)
Running time: 136 minutes (2 hour, 16 minutes)
MPAA – R for sci-fi violence and brief language
DIRECTORS: The Wachowski Brothers
WRITERS: Andy Wachowski and Larry Wachowski
PRODUCER: Joel Silver
CINEMATOGRAPHER: Bill Pope (D.o.P.)
EDITOR: Zach Staenberg
COMPOSER: Don Davis
Academy Award winner

SCI-FI/FANTASY/ACTION with elements of a thriller

Starring: Keanu Reeves, Laurence Fishburne, Carrie-Ann Moss, Hugo Weaving, Joe Pantoliano, Marcus Chong, Gloria Foster, Julian Arahanga, Matt Doran, Belinda McClory, and Anthony Ray Parker

The Matrix is a 1999 science fiction action film. Directed by the brothers Andy Wachowski and Larry Wachowski (who is now Lana), The Matrix was the first of three films and launched a franchise that includes video games, animation (The Animatrix), and a series of comic and webcomics that were eventually collected in two trade paperbacks. The film would go on to be influential and win four Oscars.

A computer programmer and hacker named Thomas A. Anderson (Keanu Reeves) is in a kind of funk; the world does not seem quite right to him, but he cannot put his finger on what bothers him. He encounters a mysterious band of rebels led by the Morpheus (Laurence Fishburne) who tells Anderson that Anderson is really Neo and that he is the Chosen One who will lead humanity out of the bondage in which machines keep them. Morpheus is abetted by Trinity (Carrie-Ann Moss), who believes completely in Neo as the savior.

The year isn’t 1999; it is 200 years later, says Morpheus. The world in which Neo lives is not real; it is instead an elaborate façade called the Matrix created by a malevolent Artificial Intelligence. The real world is a bombed shell of its former self. The ruling cyber intelligence has stored humans in stasis pods and uses humans for the fuel with which it operates itself. The Matrix, a kind of computer simulation of reality into which humanity is plugged, keeps humanity placated while the A.I., to power itself, leeches the energy human bodies naturally generate. Humans think they are living their lives when they are really all asleep and jacked into an electronic version of reality.

Morpheus believes that Neo is the one who will destroy the Matrix. Morpheus and his warriors live in the real world. They can send their consciousness into the Matrix to recruit converts to their cause. Their nemeses are Agents, A.I. who infiltrate and police the Matrix for rebellious humans. Led by the vicious Agent Smith (Hugo Weaving), the Agents pursue Neo and his newfound colleagues.

Written and directed by the Wachowski Brothers, The Matrix is glorious eye candy. Others have described the special effects as mind bending, and some audiences may have perceived them that way. The movie is visually dazzling, exciting, and invigorating; it’s a thrill ride in which you sit back and let yourself be entertained. While the Wachowki’s currently lack the skills to stage shots as well as Hitchcock or Kubrick would, they do know how to compose effective visuals. From a city with a sense of wrongness to the abandoned subway system where Morpheus and his rebels fight beautifully designed and wicked looking machinery, the film’s images deliver a coherent message.

Part Terminator and part The Invisibles (a comic book published by DC comics and created by Grant Morrison), the movie pretends at being ideologically and intellectually deep. However, man versus machine isn’t so much an issue in the movie as it is an impetus for violent action scenes. The brothers were smart in that they allowed Neo’s warrior friends to have the job of explaining the situation behind the Matrix.

The acting is very good. Fishburne has deep resonant tones, and he speaks clearly and confidently as explains things to Reeve’s somewhat slow Neo. Reeves, from the Kevin Costner school of wooden acting and halting speech mannerisms, would have lost the audience had he tried to make explanations. However, the camera loves the cool, West Coast looker, so Neo’s ascension from dull hacker to savior is something the audience can buy. Moss’s Trinity is a stand by you man woman and makes an able sidekick/love interest for Neo, and it is she who carries the load in the relationship. She delivers all the passion and provides all the strength while Neo finds his place as the One.

The most impressive, influential, and groundbreaking films usually sweep the technical Academy Awards for the year in which they are released, which The Matrix did while American Beauty won the high-end trophies. However, like Star Wars, Who Framed Roger Rabbit?, The Terminator, and Jurassic Park, The Matrix will stand the test of time as a technical landmark in cinematic history. Besides that, it’s a very good film. What it lacks in subtlety and intellect, it more than makes up for in visual bravado, suspense, and drama. Like the directors of the best films, the Wachowski’s let the images do the talking.

8 of 10
A

NOTES:
2000 Academy Awards: 4 wins: “Best Effects, Sound Effects Editing” (Dane A. Davis), “Best Effects, Visual Effects” (John Gaeta, Janek Sirrs, Steve Courtley, and Jon Thum), “Best Film Editing” (Zach Staenberg), and “Best Sound” (John T. Reitz, Gregg Rudloff, David E. Campbell, and David Lee)

2000 BAFTA Awards: 2 wins: “Best Achievement in Special Visual Effects” (John Gaeta, Steve Courtley, Janek Sirrs, and Jon Thum) and “Best Sound” (David Lee, John T. Reitz, Gregg Rudloff, David E. Campbell, and Dane A. Davis); 3 nominations: “Best Cinematography” (Bill Pope), “Best Editing” (Zach Staenberg), and “Best Production Design” (Owen Paterson)

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Review: "Kiss Kiss Bang Bang" is Really Good Good

TRASH IN MY EYE No. 141 (of 2006) by Leroy Douresseaux

Kiss Kiss Bang Bang (2005)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – R for language, violence, and sexuality/nudity
DIRECTOR: Shane Black
WRITER: Shane Black; from a screen story by Shane Black (based upon the novel, Bodies are Where You Find Them by Brett Halliday)
PRODUCER: Joel Silver
CINEMATOGRAPHER: Michael Barrett
EDITOR: Jim Page

COMEDY/MYSTERY/CRIME with elements of drama and thriller

Starring: Robert Downey, Jr., Val Kilmer, Michelle Monaghan, Corbin Bernsen, Dash Mihok, Larry Miller, Rockmond Dunbar, Shannyn Sossamon, and Angela Lindvall

New York City petty thief, Harry Lockhart (Robert Downey, Jr.) cons his way into an acting audition while running from the police. Before long he’s whisked away to Los Angeles for an even more important audition, this time for a part in a big movie. Harry finds an authentic acting coach in L.A. detective, Perry Van Shrike (Val Kilmer) or "Gay Perry," to help him prepare for his audition. The bright lights of Hollywood pale, however, when Harry, Perry, and Harry’s high school dream girl, Harmony Faith Lane (Michelle Monaghan), find themselves thrust into a murder mystery – one with an increasingly high body count.

Shane Black’s calling card is that he is the screenwriter who created Lethal Weapon, but his name may also be slightly notorious with his connection to Hollywood budget excesses, especially as he once received a then-record $1.75 million for The Last Boy Scout script. He didn’t create the buddy picture, an action sub-genre that remains popular but really ruled in the 1980’s and early 1990’s (one could say that the buddy-cop flick came to life with 48 Hours). Still, Black’s Lethal Weapon screenplay defined the buddy action flick, and Black became one of the most influential writers of action flicks.

Perhaps, we can view Black’s directorial debut, Kiss Kiss Bang Bang, as a send-up of the genre he, more than any other writer, helped send into the stratosphere of big-time movie making. Almost a movie within a movie, Kiss Kiss Bang Bang seems like a satire of the buddy flick. Self-referential to the point of being meta-fiction, the narrator, Robert Downey, Jr.’s Harry Lockhart, never breaks the fourth wall, but he knows he has an audience.

With all the twists, turns, deceptions, betrayal, and romance in its plot, Kiss Kiss Bang Bang is a clever P. I. (private investigator or private eye) farce set in the glamour weird side of Los Angeles – think rich people and Hollywood types. Many of the characters are on the edge of Tinseltown – on the outside looking in. This movie is like Get Shorty, but it’s filtered through Shane Black’s penchant for L.A. crime stories – cops and detectives working a sort of modern day Film-Noir City of Angels – a kind of neo-Noir. This is also like The Last Boy Scout, without the big budget action sequences, but more outlandish and eccentric.

Watching this film, one has to wonder why it works. Robert Downey, Jr. seems slightly miscast, but he’s such a fine actor that he makes this part his own. Val Kilmer is quite good in a part that seems a bit short for what both the character and actor can bring to the film. Michelle Monaghan also seems miscast, but she has excellent comic sensibilities and over the long haul of the picture makes a very good, if not perfect, fit.

For all the style and ambience Black and his cast bring to this movie, what ultimately makes Kiss Kiss Bang Bang an exceptional film is how shrewdly written it is. Black has astutely filled his script with the kind of off-the-wall dialogue, situations, and scenes that hooks an audience ever deeper into the film, very similar to what Quentin Tarantino did in Pulp Fiction. It’s a cunning move that both keeps an audience with a short attention span engaged while putting a nimble move on the detective genre that makes even the jaded sit up and take notice. Kiss Kiss Bang Bang isn’t everyone’s cup of tea, but it is the droll comedy of 2005. It is also one of the most inventive comic turns on the detective flick (that doesn’t have to rely on parody) in decades.

8 of 10
A

Friday, June 30, 2006

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Review: "The Book of Eli" is Another Denzel Winner

TRASH IN MY EYE No. 2 (of 2010) by Leroy Douresseaux

The Book of Eli (2010)
Running time: 118 minutes; MPAA – R for some brutal violence and language
DIRECTOR: Albert Hughes and Allen Hughes
WRITERS: Gary Whitta
PRODUCERS: Joel Silver, Denzel Washington, Broderick Johnson, Andrew A. Kosove, and David Valdes
CINEMATOGRAPHER: Don Burgess (D.o.P.)
EDITORS: Cindy Mollo

SCI-FI/ACTION/DRAMA

Starring: Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Evan Jones, Joe Pingue, Frances de la Tour, Michael Gambon, Tom Waits, and Malcolm McDowell

Regarding The Book of Eli, I don’t really have to say that Denzel Washington is good in this film, do I? Washington is always good, usually great – even in mediocre movies. Like the performances Washington gave in his Oscar-turn, Training Day, not to mention in films like Malcolm X and The Hurricane, the performance in The Book of Eli reflects both a meticulous craftsman and an artist. The craftsman shows in the way Washington knows the habits, the mannerisms, and the other physical details that will make the audience buy Eli as a real character. The artist is the one who turns his acting, his performance, his portrayal into a work that transfixes the viewer and transports him to another world.

So we know that Washington delivers, as always, but is The Book of Eli a good film? It’s an excellent film, and is on par with The Road Warrior as a superb post-apocalyptic science fiction film. The Book of Eli takes place in the not-too-distant future, about 30 years after some kind of nuclear war. The cities are apparently largely empty; the highways are broken, and the earth is thoroughly seared. The most noticeably absent color is green, and everything looks faded and washed out.

Across this wasteland where there is no civilization and no law, a solitary man named Eli (Denzel Washington) walks, heading west. He hopes to find a place, a city where there is a spot of civilization. There, he can deliver a mysterious book he carries. A warrior by necessity, Eli is a peaceful man, but when challenged, he uses almost supernatural speed, cunning, and fighting skill to cut his attackers down before they realize their fatal mistake in fooling with him (think Wesley Snipes’ Blade character).

In a makeshift town, Eli finds his most dangerous adversary yet, Carnegie (Gary Oldman), a self-appointed despot with a small army of thieves and gunmen. Besides Eli, Carnegie is the only one who realizes the power of Eli’s mysterious book. However, Carnegie’s stepdaughter, Solara (Mila Kunis), surprisingly becomes fascinated by Eli, and her decision to choose between Eli and Carnegie will change each man’s fate.

Besides Washington, Gary Oldman also delivers a grand performance, creating the broken down tyrant Carnegie in subtle layers, giving this film the kind of showy crackpot that every action movie needs. In Oldman’s hand, however, this loud, crazy, killer villain is always way, way more than the standard bad guy.

There are other things about The Book of Eli that capture my attention. The religious and spiritual elements are probably the secret ingredients that make this film a winning dish. Or let’s say religion is the independent voter that wins The Book of Eli the election. I think that Hollywood often forgets the complex flavors that Christian elements and themes can give science fiction films.

The other thing that just blows my mind is how good the Hughes Brothers are at directing films (and music videos). Albert and Allen Hughes have both the eye and the visual storytelling acuity in which to tell gripping, grabbing narratives in the motion picture medium. Everything that the brothers direct the camera to capture – a still moment, a scene that cuts from one place to another, a long moving shot – not only looks great, but is also mesmerizing storytelling. The truth is that these guys just don’t make movies as often as they should, and they are robbing us of their amazing talent.

The Book of Eli is the first fantastic film of 2010, which is reason enough to see it. Seeing the under-utilized Jennifer Beals and getting a Malcolm McDowell cameo are obviously delightful extras.

8 of 10
A

Monday, February 01, 2010

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