Review: "THE BOSS BABY" is Boss Entertainment

TRASH IN MY EYE No. 40 of 2021 (No. 1778) by Leroy Douresseaux

The Boss Baby (2017)
Running time:  97 minutes (1 hour, 37 minutes)
MPAA – PG for some mild rude humor
DIRECTOR:  Tom McGrath
WRITER:  Michael McCullers  (based on the picture book, The Boss Baby, by Marla Frazee)
PRODUCER:  Ramsey Naito
EDITOR:  James Ryan
COMPOSERS:  Steve Mazzaro and Hans Zimmer
Academy Award nominee

ANIMATION/FANTASY/ADVENTURE/COMEDY/FAMILY

Starring:  (voices):  Alec Baldwin; Miles Bakshi, Tobey Maguire, Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, James McGrath, Conrad Vernon, ViviAnn Yee, Eric Bell, Jr., and David Soren

The Boss Baby is a 2017 computer-animated comedy-fantasy film directed by Tom McGrath and produced by DreamWorks Animation.  The film is loosely based on the 2007 picture book, The Boss Baby, by Marla Frazee.  The film became the first installment in “The Boss Baby” franchise.  The Boss Baby the movie follows the adventures of a suit-wearing, briefcase-carrying baby and his seven-year old brother as they try to stop a plot against the world's babies.

The Boss Baby begins with a man, Timothy Leslie Templeton (Tobey Maguire), telling the story of his childhood.  He was simply Tim Templeton (Miles Bakshi), an imaginative seven-year-old boy, the only child of his parents, Ted and Janice Templeton (Jimmy Kimmel and Lisa Kudrow).  One day, Tim is surprised to see his parents bringing home a baby, which turns out to be an infant wearing a business suit.  Tim's parents refer to the infant as Tim's little brother.  Tim is immediately jealous of the attention the new baby receives.  However, Tim is also suspicious because the baby exhibits strange behavior to which Ted and Janice are oblivious.

When Tim learns that the baby can talk, act, and move like an adult, the baby reveals that he is “The Boss Baby” (Alec Baldwin), and that he is a secret agent.  Coming to a mutual agreement in order to get what they each want, Tim and Boss Baby must stop a conspiracy against the babies of the world created by Tim's parents' employer, Puppy Co.  But can a child and an infant secret agent, who are rivals, come together long enough to save the day?

DreamWorks Animation has perfected a kind of high-concept comedy that seamlessly mixes fantasy, adventure, and action into a frothy brand of feature animation entertainment that is pleasing if not necessarily memorable.  The films of Pixar Animation Studios are always seeking something deeper in terms of character arcs, personal development, and emotional journeys in which characters often discover that the things they most want have been right there in front of them all along … or at least nearby.  This is why Pixar can tell the story of an old man who starts a new adventure in life by becoming a surrogate father to a lonely boy and a new owner to a bunch of misfit dogs, and the result is the Academy Award-winning Up.  DreamWorks Animation gives us a story of a boy and a baby who save the world from a conspiracy of puppies and bitter, weird men.  The Boss Baby gives empty affirmation to mainstream culture with its tired (white) nuclear family tropes, but at its heart, this film is merely escapist fantasy.

Like other DreamWorks Animation films, The Boss Baby's animation, visuals, and graphic design recall the television animation of the 1950s and 1960s, including Jay Ward Productions, Warner Bros. Cartoons, and Hanna-Barbera Productions, Inc., to name a few.  There is more than a touch of retro- Space Age, Atomic Age, and Googie influences.

Well, The Boss Baby isn't Pixar, and its visual style is retro, but I have to admit that this film is really entertaining.  A lot of its concepts and especially its plot and story elements are ridiculous, silly, and too far-fetched, but the film's leads, Tim and Boss Baby, have screen chemistry.  Miles Bakshi comes across like a veteran voice performer as Tim Templeton, and, of course, Alec Baldwin is a master of sly and droll comedy.  Great actor that he is, Baldwin makes Boss Baby menacing and edgy and adorable at the same time.  For the most part, I found them likable, even lovable, and I wanted to follow them on their breathtaking and ridiculous adventures.

Baldwin, Bakshi, and the voice cast make The Boss Baby succeed in spite of its contrived self.  Also of note, Eric Bell, Jr. kills it as the voice of the “Triplets.”  The Boss Baby's exciting adventure and intense action mostly overcomes the film's shallowness and absurdities.  You might not watch it a second time, dear readers, but I think that there is a good chance that you will really enjoy The Boss Baby the first time you watch it.

7 of 10
B+

NOTES:
2018 Academy Awards, USA:  1 nomination: “Best Animated Feature Film” (Tom McGrath and Ramsey Naito)

2018 Golden Globes, USA 2018:  1 nomination: “Best Motion Picture – Animated”


Friday, June 18, 2021


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

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Review: Excellent "The Dead Don't Die" Recalls George Romero "Dead" Movies

TRASH IN MY EYE No. 24 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Dead Don't Die (2019)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – R for zombie violence/gore, and for language
WRITER/DIRECTOR:  Jim Jarmusch
PRODUCERS:  Joshua Astrachan and Carter Logan
CINEMATOGRAPHER:  Frederick Elmes
EDITOR:  Affonso Gonçalves
COMPOSER:  Sqürl

HORROR/COMEDY

Starring:  Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny,Steve Buscemi, Danny Glover, Caleb Landry Jones, Selena Gomez, Austin Butler, Luka Sabbat, Rosie Perez, Iggy Pop, RZA, Carol Kane, Maya Delmont, Taliyah Whitaker,Jahi Winston, and Tom Waits

The Dead Don't Die is a 2019 zombie horror-comedy film from writer-director Jim Jarmusch.  The film features an ensemble cast and is set in the peaceful town of Centerville, which finds itself beset by a zombie horde after the recently dead start rising from their graves.

The Dead Don't Die opens in the town of Centerville, which has the motto, “A Real Nice Place,” emblazoned upon its welcome sign.  Strange things have been happening in the town, or so say Centerville Police Department Chief Cliff Robertson (Bill Murray) and Officer Ronald “Ronnie” Peterson (Adam Driver).  After answering a complaint one evening, these officers of the law notice that its 8 PM in the evening and it is still daylight.  Ronnie discovers that his watch and cell phone have stopped working.

There are news reports about pets behaving strangely, and Centerville's Farmer Miller (Steve Buscemi) has learned that his farm animals have disappeared.  According to a young inmate at a local juvenile facility, “polar fracking” has altered the Earth's rotation.  And the song, “The Dead Don't Die,” by country singer-songwriter, Sturgill Simpson, is always playing somewhere in town.  When night finally falls, the dead start to rise from their graves.  By the second evening, Centerville is experiencing a full-on zombie invasion, and, as Officer Ronnie already knows, all this will “end badly.”

I choose to interpret The Dead Don't Die as a remake and re-imagining of the classic 1968 horror movie, Night of the Living Dead, the forerunner of the modern zombie movie.  That film was co-written and directed by the late George A. Romero, the forefather of what is now known as the zombie apocalypse horror genre.  Obviously using Night of the Living Dead as a blueprint and using the cinematic language that Romero invented, writer-director Jim Jarmusch offers a deadpan ode to the seminal zombie movie.

In The Dead Don't Die, Jarmusch certainly has a better cast and better production resources than Romero had for Night of the Living Dead.  What Jarmusch maintains from the original film is its social commentary and satire and black humor, although Jarmusch gives his black comedy a spin of dry wit.  Jarmusch also breaks the fourth wall and throws in some out-of-this-world B-movie silliness, via the always brilliantly on-point Tilda Swinton as Centerville's newest resident, the Scottish mortician, Zelda Winston.  Swinton's short time on the screen alone is reason to see The Dead Don't Die.

Everyone in this delightfully diverse and eclectic ensemble cast makes the most of his or her onscreen time.  Some movie critics and reviewers have criticized The Dead Don't Die for being too dry and too deadpan.  Quite the contrary, I say.  I believe that this film's “dry” tone is a commentary on humanity's inescapable dark fate, the result of our childish desire for too many things that we really don't need.  Our hubris when it comes to the way we deal with the natural world and the natural order, and the insatiable greed that can never fill the hole in our metaphorical hearts could bring us a fate worse than death.  That is why I think that The Dead Don't Die is the smartest and purest zombie film since Romero's first three “Dead” films.

8 of 10
A

Saturday, October 31, 2020


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Negromancer News Bits and Bites from January 13th to 19th, 2019 - Update #27

Support Leroy on Patreon:

TELEVISION - From Variety:  One of the pilots that NBC has ordered is a comedy, "Saving Kenan," starring "Saturday Night Live" veteran, Kenan Thompson."

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PIXAR - From Deadline:  Two-time Oscar-winner, Lee Unkrich ("Toy Story 3," "Coco") is leaving Pixar.

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STREAMING - From Deadline:  Netflix and Shawn Levy are rebooting the true crime/paranormal TV series, "Unsolved Mysteries."  The original series ran for 14 seasons between 1987 and 2010, and the late Robert Stack is the host most associated with the series.

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CELEBRITY - From HuffPost:  Arnold Schwarzenegger's bodybuilding son, Joseph Baena, recreates his father's iconic 1976 bodybuilding pose.

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BOX OFFICE - Newsarama:  The winner of the Wednesday, January 16, 2019 daily box office is "Dragon Ball Super: Broly" with an take of just over $7 million.

From BoxOfficeMojo:  The box office chart for Wednesday, January 16, 2019, the day "Dragon Ball Super: Broly."

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COMICS-FILM - From Newsarama:  Dwayne "The Rock" Johnson challenges Chris Hemsworth to a Marvel Studios/"Fast & Furious" crossover film.

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MUSIC - From Variety:  Sony Music has parted ways with controversial R&B recording artist, R. Kelly, who has been dogged by sexual misconduct allegations for the past two decades plus.  Kelly's catalog/back list will remain with Sony/RCA.

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OSCARS - From Variety:  Kristopher Tapley offers his final Oscar nominations predictions ahead of the Tuesday, Jan. 22, 2019 announced of the nominations for the 91st Academy Awards.

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MOVIES - From TheWrap:  The J.R.R. Tolkien biographical film, "Tolkien," is set for release May 10, 2019.  Nicholas Hoult will play Tolkien, the creator of "The Lord of the Rings."

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MOVIES - From Deadline:  Lionsgate and Hasbro's film based on the game, "Monopoly," will star Kevin Hart and be directed by Tim Story, who directed Hart in the "Ride Along" films.

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MOVIES - From Deadline:  The race to win J.J. Abrams and his "Bad Robot" company may be close to an end.

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MOVIES - From BleedingCool:  Jason Reitman reportedly will direct the next installment of the "Ghostbusters" franchise, this one set in the "original universe" of the 1983 and 1989 films.

From Newsarama:  Jason Reitman's "secret Ghostbusters" project already has a teaser trailer.  Reitman's father, Ivan Reitman, who directed the original 1980s "Ghostbusters" films, will produce the new film (which is set for 2020), which is apparently set in the "original universe" of films.

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AWARDS - From Variety:  2019 USC Libraries Scripter Award nominations have been announced.  "Black Panther" is one of the nominees.

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TECH - From Wired:  MacKenzie Bezos and the Myth of the Lone Genius Founder

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MOVIES - From THR:  Jon Bernthal ("The Punisher") and Vera Farmiga ("The Conjuring") joins "The Sopranos" prequel, "The Many Saints of Newark."

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MOVIES - From ThePlaylist:  Director David Cronenberg is prepping a sequel to his most excellent 2007 film, "Eastern Promises," with star Viggo Mortensen returning.

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TELEVISION - From Deadline:  HBO is rebooting the classic TV series, "Perry Mason," and have tapped Matthew Rhys ("The Americans") to play Mason.

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MOVIES - From Deadline:  Liza Minnelli giver a rare endorsement of the biographical musical about her mother, Judy Garland, entitled "Chasing Rainbows: The Road to Oz."  Of course you know that Garland was Minnelli's mother.

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STAR TREK - From Deadline:   "Star Trek: Discovery's" Philippa Georgiou (played by actor Michelle Yeoh) is getting her own "Star Trek" TV spin-off.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 1/11 to 1/13/2019 weekend box office is "The Upside" with an estimated box office haul of $19.59 million.

From Variety:  "Bumblebee" leads the international box office with a $35.6 million.

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TELEVISION - From TheWrap:  HBO announces that April 14, 2019 will be the premiere date for first episode of the eighth and final season of "Game of Thrones."

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AWARDS - From Variety:  The winners of the 24th annual Critics Choice Awards have been announced.  "Roma" wins "best picture" and "best director" awards.

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MOVIES - From Variety:  Craig Brewer ("Hustle & Flow") is set to direct Eddie Murphy in "Coming to America 2,"  Brewer just completed "Dolemite is My Name," which also stars Murphy.

OBITS:

From Variety:  Tony Mendez, the CIA officer portrayed by Ben Affleck in the Oscar-winning best picture, "Argo," has died at the age of 78, Saturday, January 19, 2019.

From People:  Iconic Broadway star, Carol Channing, has died at the age of 97, Tuesday, January 15, 2019.  Channing is known for her role in iconic Broadway musicals, "Gentlemen Prefer Blondes" and "Hello, Dolly!" (for which she won a Tony Award).  She received an Oscar nomination for her role in the film, "Thoroughly Modern Millie."

From Variety:  Filmmaker and choreographer, Jo Andres, died at the age of 64, Monday, January 7, 2019.  Andres, who was married to acclaimed actor Steve Buscemi for 31 years, choreographed actor Stanley Tucci's directorial effort, "The Imposters" (1998) and directed the film, "Black Kites" (1996).

"Philip K. Dick's Electric Dreams" Debuts on Amazon Jan. 12th

Amazon Prime Original Anthology Series Philip K. Dick’s Electric Dreams Debuts on Friday, January 12, 2018

All ten episodes—featuring an all-star cast including Steve Buscemi, Bryan Cranston, Greg Kinnear, Anna Paquin, Terrence Howard, Maura Tierney, Janelle Monáe, Richard Madden, Liam Cunningham, Vera Farmiga, Juno Temple, Essie Davis, Benedict Wong, Annalise Basso, Mireille Enos, Rachelle Lefevre and Executive Producers Ronald D. Moore, Michael Dinner, David Kanter and Bryan Cranston—will be available globally in select territories on Prime Video

SEATTLE--(BUSINESS WIRE)--(NASDAQ: AMZN)—Amazon announced that its new sci-fi anthology series Philip K. Dick’s Electric Dreams will premiere on Friday, January 12, 2018, exclusively on Prime Video. Based on various writings from author Philip K. Dick, each of the ten standalone episodes are set in a different and unique world – some which lay in the far reaches of the universe, and others which are much closer to home.

While the stories may be worlds apart, central to each is the poignant and warm exploration of the importance and significance of humanity. From five to 5000 years in the future, each compelling tale will both illustrate Philip K. Dick's prophetic vision and celebrate the enduring appeal of the prized sci-fi novelist’s work. Philip K. Dick’s Electric Dreams will be available as a Prime Exclusive Series in the U.S., as well as in select territories globally, including Germany, India, Italy, Japan, Latin America, Spain and Turkey, among others. Dick’s Emmy award-winning The Man in the High Castle, the most-watched scripted series in the history of Prime Video, will begin its third season in 2018.

    “We’re excited to share the fantastical world of Philip K. Dick as it’s never been experienced before”

Philip K. Dick’s Electric Dreams features an all-star cast, including Steve Buscemi (Boardwalk Empire), Bryan Cranston (Breaking Bad), Greg Kinnear (Heaven is For Real), Maura Tierney (The Affair), Janelle Monáe (Moonlight), Mireille Enos (The Catch), Anna Paquin (True Blood), Terrence Howard (Empire), Timothy Spall (Mr. Turner), Liam Cunningham (Game of Thrones), Richard Madden (Game of Thrones), Holliday Grainger (The Finest Hours), Mel Rodriguez (Last Man on Earth), Vera Farmiga (Bates Motel), Jack Reynor (Macbeth), Essie Davis (The Babadook), Benedict Wong (Doctor Strange), Geraldine Chaplin (A Monster Calls), Juno Temple (Vinyl) and David Lyons (Revolution), among many others.

Each episode is inspired by one of Philip K. Dick’s renowned short stories and has been adapted by leading American and British writers and directors, including Ronald D. Moore (Battlestar Galactica, Outlander), Michael Dinner (Justified, Sneaky Pete), Tony Grisoni (Fear and Loathing in Las Vegas), Jack Thorne (Harry Potter and the Cursed Child), Matthew Graham (Doctor Who), David Farr (The Night Manager), Dee Rees (Bessie), Travis Beacham (Pacific Rim), Jessica Mecklenburg (Stranger Things), Francesca Gregorini (Humans), Alan Taylor (Game of Thrones, Mad Men) and Peter Horton (Grey’s Anatomy, The Shield).

“We’re excited to share the fantastical world of Philip K. Dick as it’s never been experienced before,” said Brad Beale, Vice President, Worldwide TV Content Acquisition, Amazon Prime Video. “With the combined creative genius behind this series, as well as the stellar cast and visually compelling locations, every episode of this sci-fi anthology is sure to be an entertaining experience for our Prime members.”

Philip K. Dick’s Electric Dreams is executive produced by Ronald D. Moore and Maril Davis of Tall Ship Productions (Outlander) and Michael Dinner of Rooney McP Productions (Justified, Sneaky Pete), alongside Bryan Cranston and James Degus of Moonshot Entertainment (Sneaky Pete), Isa Dick Hackett, Kalen Egan and Christopher Tricarico of Electric Shepherd Productions (The Man in the High Castle), David Kanter and Matt DeRoss of Anonymous Content Entertainment (13 Reasons Why), Lila Rawlings and Marigo Kehoe of Left Bank Pictures (The Crown) and Don Kurt (Justified) and Kate DiMento (Justified), in association with Sony Pictures Television.

The entire first season of Philip K. Dick’s Electric Dreams will be available to stream and members can also download the series to mobile devices for offline viewing at no additional cost to their membership. The series will be available exclusively on Amazon Prime Video for members to watch via the Prime Video app for popular smart TVs, Fire TV, Fire Tablets and Android and iOS phones and tablets. Customers who are not already Prime members can sign up for a free 30-day trial at amazon.com/prime. For a list of all Amazon Video compatible devices, visit www.amazon.com/howtostream.


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. Prime Video is also now available to customers in more than 200 countries and territories around the globe at www.primevideo.com.
•     Amazon Channels: Over 130 channel subscriptions that Prime members can add to their membership, including HBO, SHOWTIME, STARZ, Cinemax, PBS KIDS, Acorn TV and more. 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: Customers can instantly watch anytime, anywhere through the Amazon Video app on compatible 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 of select content.

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 catalog 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 and follow @AmazonNews.

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Steve Buscemi's "Park Bench" Returns for Second Season

AOL Renews Park Bench with Steve Buscemi

Emmy Nominated Show Returns for Second Season

#ParkBenchTheShow

LOS ANGELES & NEW YORK--(BUSINESS WIRE)--AOL announced that its Emmy-nominated Park Bench with Steve Buscemi will return for a second season. Created by and starring Steve Buscemi, Park Bench continues its local's take on the special people, places, and spirit of New York City. New celebrity friends, new misadventures, same bench!

    “Give me a seat on a park bench and I'm happy”

"Give me a seat on a park bench and I'm happy," said Steve Buscemi. “Give me a second season of Park Bench on AOL to talk about nothing and everything with old friends and new in an ever changing New York City - what could be better?”

Produced by Olive Productions and RadicalMedia, Park Bench, the original “talking show,” features Buscemi sitting down and speaking with celebrities and every day New Yorkers. Discussing everything from pop culture to current events, the show conveys Steve’s unique relationship with New York and its array of one-of-a-kind characters. The series takes its guests beyond the interviews, involving them in Steve’s daily life.

In Season 2 Buscemi returns to the benches of New York City with a new group of friends that include musician Elvis Costello, comedian John Oliver, actress Amber Tamblyn, comedian Robert Smigel, filmmaker Jim Jarmusch and magician David Blaine among many others.

“We are thrilled to share that Park Bench will be returning to AOL,” said Dermot McCormack President of Video and AOL Studios. “Steve Buscemi is one of the most recognizable actors of today and viewers love the unique and entertaining style he brings to Park Bench.”

All new episodes of Park Bench with Steve Buscemi will stream on parkbenchtheshow.com.

Wren Arthur and Steve Buscemi are Executive Producing for Olive Productions. Justin Wilkes, Joe Killian and Jon Doran are Executive Producing for RadicalMedia.

Buscemi and Olive are represented by WME, The Gotham Group and attorney George Sheanshang.


ABOUT AOL
AOL (NYSE:AOL) is a media technology company with a mission to simplify the Internet for consumers and creators by unleashing the world's best builders of culture and code. As the 4th largest online property in the U.S., with approximately 200 million monthly consumers of its premium brands, AOL is at the center of disruption of how content is being produced, distributed, consumed and monetized by connecting publishers with advertisers on its global, programmatic content and advertising platforms. AOL's opportunity lies in shaping the future of the digitally connected world for decades to come. Follow @AolOriginals on Twitter, Facebook, Instagram and Tumblr for more upcoming news about Park Bench with Steve Buscemi and other AOL Original Series.

About RadicalMedia
RADICALMEDIA is a global studio that creates some of the world’s most innovative content across all forms of media. The company has produced a number of award-winning projects, including the Academy Award® nominated documentary, PARADISE LOST 3: PURGATORY; the Emmy® winning film UNDER AFRICAN SKIES: PAUL SIMON'S GRACELAND JOURNEY; the Academy Award®-winning documentary THE FOG OF WAR; the Grammy Award®-winning CONCERT FOR GEORGE; and the Independent Spirit Award®-winning METALLICA: SOME KIND OF MONSTER; the pilot episode of the Emmy® and Golden Globe® winning series MAD MEN; six seasons of the series ICONOCLASTS for the Sundance Channel; the Emmy®-nominated series OPRAH'S MASTER CLASS and VISIONARIES for OWN; the Ron Howard-directed documentary, JAY-Z’S MADE IN AMERICA for Showtime; Joe Berlinger's WHITEY: THE UNITED STATES OF AMERICA V. JAMES J. BULGER for CNN Films; David Blaine: REAL OR MAGIC for ABC and the upcoming Nina Simone documentary, WHAT HAPPENED, MISS SIMONE? for Netflix directed by Liz Garbus.

About Olive Productions
OLIVE PRODUCTIONS is a New York based independent production company formed by Steve Buscemi, Stanley Tucci, and Wren Arthur. Recent productions include the Emmy-nominated web series, PARK BENCH WITH STEVE BUSCEMI, the HBO documentary, A GOOD JOB: STORIES OF THE FDNY, and the feature film, PAINT IT BLACK, directed by Amber Tamblyn.

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Steve Buscemi Launches New Talk Show, "Park Bench"

AOL Announces New Original Series Starring Steve Buscemi, “Park Bench”

Celebrities and New Yorkers Alike Take a Seat with Steve to Discuss Pop-Culture and Current Events

Produced by Olive Productions and RadicalMedia

Distributed Globally by FremantleMedia International

NEW YORK--(BUSINESS WIRE)--AOL and Steve Buscemi have teamed-up to take over the streets of New York in the new original series, “Park Bench,” – a local’s take on the special people, places and spirit of The Big Apple.

Through unscripted moments and conversations with average New Yorkers – as well as Steve's celebrity friends – Buscemi takes viewers on a first-hand misadventure. Discussing everything from pop culture to current events, the show, produced by Olive Productions and RadicalMedia, will convey Steve’s relationship with New York and its array of one-of-a-kind characters – taking viewers beyond mere interviews and involving them in his daily life.

Currently starring in HBO’s Boardwalk Empire, Golden Globe winner and Emmy-nominated Buscemi has become one of the most recognizable and well-loved actors in recent history and will bring his personal blend of comedy and styling to Park Bench.

“Having lived and worked in New York my whole life, I’m ready to take advantage of all it has to offer,” said Buscemi. “I just need to lay down for five minutes.”

AOL, in line with its dedication to original premium video content via their “AOL Originals” platform, will carry the first season of Park Bench online in the United States.

“We're excited to include Park Bench as part of our new slate of AOL Originals,” said Gabriel Lewis, Head of AOL Studios & AOL Originals. “We strive to produce and showcase programming that captures unique and authentic personalities, and this series will give audiences a glimpse into Steve's world like they've never experienced before. We're confident Park Bench will delight our existing audience as well as appeal to audiences currently unfamiliar with AOL Originals."

FremantleMedia International has partnered with RadicalMedia to bring Park Bench to the global Television market and will be shopping the series to international buyers at MIPTV this spring.

“Park Bench is a superb one-of-a-kind, eccentric show, and with the association of Steve Buscemi, top producer RadicalMedia and innovative platform AOL, we’re delighted to be taking this series worldwide,” said Hayley Dickson, Vice President, Television Acquisitions and Development, Global Content, FremantleMedia International.

Production on Park Bench is set to begin this month in New York City. Wren Arthur and Steve Buscemi are Executive Producing for Olive Productions. Justin Wilkes, Joe Killian and Jon Doran are Executive Producing for RadicalMedia.

Buscemi and Olive are represented by WME, The Gotham Group and attorney George Sheanshang.

For more information on Park Bench, please go to: parkbenchtheshow.com

About AOL Originals
AOL Inc. (NYSE:AOL) is a brand company, committed to continuously innovating, growing, and investing in brands and experiences that inform, entertain, and connect the world. The home of a world-class collection of premium brands, AOL creates original content that engages audiences on a local and global scale. We help marketers connect with these audiences through effective and engaging digital advertising solutions.

About FremantleMedia
FremantleMedia is one of the largest creators, producers and distributors of television brands in the world. It is responsible for many of the world’s highest rated prime time entertainment, drama, serial drama, factual entertainment and kids & family programming, with capabilities that extend from content creation to licensing, digital and branded entertainment, gaming and home entertainment. The FremantleMedia Group (which includes FremantleMedia International, FremantleMedia Digital & Branded Entertainment, FremantleMedia Kids & Family Entertainment, FremantleMedia North America, UFA, FremantleMedia UK, FremantleMedia Australia, Ludia, @radical.media and Original Productions, among others) has an outstanding global network with operations in 25 countries, creating over 8,500 hours of programming a year, rolling out more than 60 formats and airing 400 programmes a year worldwide. The company also distributes more than 20,000 hours of content in over 200 territories. FremantleMedia has some of the world’s most famous and long running formats in its catalogue, and globally produces such programmes as: Idols, Got Talent (co-produced with Syco in the UK and the US), The X Factor (co-produced with Syco in the UK and the US), Take Me Out, Hole In The Wall, Family Feud, The Price is Right, Farmer Wants A Wife, Through the Keyhole Gute Zeiten Schlechte Zeite, Wentworth, Neighbours, Generation War, Salatut Elamat, Grand Designs, Project Runway, Tree Fu Tom and Strange Hill High. FremantleMedia is part of RTL Group, the leading European entertainment network, which is in turn 75.1 percent owned by the international media company Bertelsmann. www.fremantlemedia.com

About RadicalMedia
RADICALMEDIA is a global studio that creates some of the world’s most innovative content across all forms of media. The company develops, produces and distributes television, feature films, commercials, music programming, live events, mobile applications, digital content and design. The company has produced a number of award-winning projects, including the Academy Award® nominated documentary, PARADISE LOST 3: PURGATORY; the Emmy® winning film UNDER AFRICAN SKIES: PAUL SIMON'S GRACELAND JOURNEY; the Academy Award®-winning documentary THE FOG OF WAR; the Grammy Award®-winning CONCERT FOR GEORGE; and the Independent Spirit Award®-winning METALLICA: SOME KIND OF MONSTER; the pilot episode of the Emmy® and Golden Globe® winning series MAD MEN; six seasons of the series ICONOCLASTS for the Sundance Channel; the Emmy®-nominated series OPRAH'S MASTER CLASS and VISIONARIES for OWN; the Ron Howard-directed documentary titled JAY-Z’S MADE IN AMERICA for Showtime; HANK: FIVE YEARS FROM THE BRINK, featuring former U.S. Treasury Secretary Henry Paulson, produced for Bloomberg Businessweek and launched exclusively on Netflix; MILEY: THE MOVEMENT, a documentary on Miley Cyrus for MTV; and DAVID BLAINE: REAL OR MAGIC for ABC.

About Olive Productions
OLIVE PRODUCTIONS is a New York based production company, formed by Steve Buscemi, Stanley Tucci and Wren Arthur. Diverse in its tastes and casting a wide creative net the company produces narrative and documentary films, and an eclectic array of TV and theater projects. OLIVE and ABC Studios are currently in production on a television pilot written by Richard LaGravenese and directed by Taylor Hackford based on DANGEROUS LIAISONS. The company has a first look deal with HBO, and has just completed the documentary A GOOD JOB for the network with Liz Garbus about firefighters in the FDNY. OLIVE has a full development slate, always striving to inspire, foster, and support great artists.

Review: "Barton Fink" is Something ... Else (Happy B'day, John Turturro)

TRASH IN MY EYE No. 72 (of 2003) by Leroy Douresseaux

Barton Fink (1991)
Running time:  116 minutes (1 hour, 56 minutes)
MPAA – R for language and some scenes of violence
DIRECTOR:  Joel Coen
WRITERS:  Ethan Coen and Joel Coen
PRODUCER:  Ethan Coen
CINEMATOGRAPHER:  Roger Deakins (D.o.P.)
EDITOR:  Roderick Jaynes (The Coen Brothers)
COMPOSER:  Carter Burwell
Academy Award nominee

COMEDY/DRAMA/THRILLER

Starring:  John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney, Tony Shalhoub, Jon Polito, and Steve Buscemi

The subject of this movie review is Barton Fink, a 1991 period drama co-written and directed by Joel Coen and co-written and produced by Ethan Coen, although both brothers likely shared in producing and directing the film.  Barton Fink focuses on a renowned New York playwright who is enticed to Hollywood to write film scripts for a film studio only to discover hellish truths about his new job and home.

In 1991, The Coen Brothers, co-writer/director Joel and co-writer/producer Ethan, took the Cannes Film Festival by storm with their film Barton Fink, winning the Golden Palm as Best Picture and the award for Best Direction (an award that Joel has since won twice more).  John Turturro also won the Best Actor award for his role as the title character.  As much as I like the Coens' work, this is by far my least favorite film of theirs.

In 1941, intellectual New York playwright Barton Fink (John Turturro) moves to California to write a B-movie script for a major studio.  His new boss, Jack Lipnick (Michael Lerner) wants that Barton Fink touch for a new Wallace Beery wrestling movie.  Fink takes up residence in the Hotel Earle, a rundown establishment with a sheen of faux-grandeur.  He eventually meets his neighbor, the blustery, strange, and mysterious Charlie Meadows (John Goodman), who claims to be a traveling insurance salesman.  Although he meets many interesting characters, Fink is busy fighting writer’s block, and his new home becomes a hell for him as his deadline to deliver a script looms.

The first warning to a viewer before he sees Barton Fink is that the film is surrealistic, a situation in which the story contains lots of symbolism.  This is not standard, linear filmmaking, so the viewer has to closely watch the film for visual hints and listen to the soundtrack for audio clues to understand the story in lieu of having literal, obvious story details.  Don’t read this sentence as it may spoil the surprise of unraveling this film’s mysteries:  Hotel Earle is hell, the hell in which Barton suffers writer’s block, and Charlie Meadows is not only a killer, but he may well be “the devil.”  If you try to take this film literally, you will find it atrocious and boring.  Creative people, especially writers, will certainly understand, through Barton, the intense frustration that writer’s block can cause a scribe.

Still, for all its pretensions to art and its portrayal of the intellectual’s strong need to produce “something good,” Barton Fink is a misstep.  I will give a hearty nod to the Coens' ambitious intentions.  The acting is very good.  It’s less technical and more show.  It’s flamboyant and colorful and immediately describes the characters to the audience, none of this serious method stuff, just old-fashioned, grand pretending that fills the screen.  I really liked the film’s element of suspense and mystery.  The hotel is automatically creepy, but it’s nothing compared to the unusual landscape of the relationship between the characters.  One thing that certainly kept my interest was trying to figure out what these people had going on amongst themselves.  I could understand when two people were connected, but the joy was figuring out why they had a relationship.

Overall, the film is slow and occasionally plodding, especially in between moments of drama and intrigue, but the brothers have a way of waking you up just when you think that their film is loosing steam.  I recommend this to fans of the Coens’ films and to people who like that different kind of film that is called “art,” the ones that are about something other than just entertaining you.

No sirree, Bob.  The Coens might entertain you, but never at the cost of giving you cheap candy, not when they can use their talents to make a complicated confection, even if the end result doesn’t quite taste right.

5 of 10
B-

NOTES:
1992 Academy Awards, USA:  3 nominations: “Best Actor in a Supporting Role” (Michael Lerner), “Best Art Direction-Set Decoration” (Dennis Gassner and Nancy Haigh), and “Best Costume Design” (Richard Hornung)

1992 Golden Globes, USA:  1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (John Goodman)

1991 Cannes Film Festival:  3 wins: “Best Actor” (John Turturro), “Best Director” (Joel Coen), and “Palme d'Or” (Joel Coen-won unanimously)

Updated:  Friday, February 28, 2014

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

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Review: "Monsters University" a Satisfying Second Helping

TRASH IN MY EYE No. 79 (of 2013) by Leroy Douresseaux

Monsters University (2013)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – G
DIRECTORS:  Dan Scanlon
WRITERS:  Robert Baird, Daniel Gerson, and Dan Scanlon; from a story by Robert Baird, Daniel Gerson, and Dan Scanlon
PRODUCER:  Kori Rae
EDITORS:  Greg Snyder
COMPOSER:  Randy Newman

ANIMATION/FANTASY/COMEDY/FAMILY

Starring:  (voices) Billy Crystal, John Goodman, Steve Buscemi, Helen Mirren, Peter Sohn, Joel Murray, Sean Hayes, Dave Foley, Charlie Day, Alfred Molina, Tyler Labine, Nathan Fillion, Aubrey Plaza, Julia Sweeney, Bonnie Hunt, and John Ratzenberger

Monsters University is a 2013 computer-animated comedy and fantasy film from Pixar Animation Studios.  Theatrically presented in 3D, Monsters University is Pixar’s fourteenth full-length feature film, and it is also the first prequel to one of the studio’s films.  Distributed by Walt Disney Pictures, it is a prequel to the 2001 animated film, Monsters, Inc.

Monsters University focuses on the stars of the original film, Mike and Sulley.  The movie looks at the early days of their relationship during their time in college, telling the story of how they went from rivals to friends.  Although it is not quite as good as the original, Monsters University is a warm and fuzzy and sweet and sentimental film that offers a return of one of the great comedy duos of animated films, Mike (ostensibly this movie’s lead character) and Sulley.

Monsters University introduces Michael “Mike” Wazowski (Billy Crystal), a young monster who dreams of being a “scarer,” a monster who enters the human world at night to scare children.  He enrolls at Monsters University, believing that is the best place to learn to be a great scarer.  Mike meets a large, blue furry monster named James P. “Sulley” Sullivan (John Goodman), a privileged student from a family of renowned scarers.  The two immediately dislike each other.

Sulley joins the school’s premiere fraternity, Roar Omega Roar (ROR).  Mike has to settle for Oozma Kappa (OK), a fraternity of geeks and outcasts.  An incident between Mike and Sulley puts the two on the fast track to trouble.  Mike decides that the Scare Games, a competition between Monsters University’s select fraternities and sororities, can save his and Sulley’s college careers.  First, the two rivals will have to learn to trust each other and their new Oozma Kappa friends.

Pixar is known for animated films that offer superb character drama, but Monsters University is simply a comedy with endearing characters.  I call Monsters University Pixar’s DreamWorks Animation movie.  Like many DreamWorks animated features, Monsters University is a broad comedy with several clever set pieces and sequences in which the heroes must deal with seemingly impossible-to-overcome obstacles.  Also like DreamWorks animation, Monsters University lacks the emotional resonance of Pixar’s best films, although this movie’s director and writers try.  Similar to Pixar’s Brave, Monsters University also has a weak first half-hour.

The two best things about Monsters University are the delightful supporting characters that are members of Oozma Kappa and the Scare Games.  I found those supporting players to be endearing, and the film gives just enough of them to make you feel that you didn’t get enough.  The Scare Games are exciting and have a great ending, which a subsequent plot twist kinda ruins.

When Monsters Inc. first appeared in 2001, it was novel, maybe even groundbreaking in a way.  All Monsters University can be is a welcome return of old friends, and that’s good enough.

7 of 10
B+

Saturday, November 23, 2013

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

Review: "Hotel Transylvania" is the Place for Surprises

TRASH IN MY EYE No. 12 (of 2013) by Leroy Douresseaux

Hotel Transylvania (2012)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – PG for some rude humor, action and scary images
DIRECTOR: Genndy Tartakovsky
WRITERS: Peter Baynham and Robert Smigel; from a story by Todd Durham and Dan Hageman, and Kevin Hageman
PRODUCER: Michelle Murdocca
EDITOR: Catherine Apple
COMPOSER: Mark Mothersbaugh
Golden Globe nominee

ANIMATION/FANTASY/COMEDY/FAMILY with elements of horror

Starring: (voices) Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Fran Drescher, Steve Buscemi, Molly Shannon, David Spade, CeeLo Green, Jon Lovitz, Brian George, Lunell, Robert Smigel, Rob Riggle, Jim Wise, and Jackie Sandler

Hotel Transylvania is a 2012 3D computer-animated comedy and fantasy from Sony Pictures Animation. Distributed by Columbia Pictures, the film is directed by Genndy Tartakovsky, the creator of such Cartoon Network animated series as Dexter’s Lab and Samurai Jack. Hotel Transylvania focuses on a version of Dracula who operates a resort outside the human world and who is an overprotective father of a teen-aged daughter.

After the death of his wife, Martha, Count Dracula (Adam Sandler) builds Hotel Transylvania, a high-end resort and hotel away from the human world. It serves two purposes. First, it is a place where the monsters of the world can be safe from humans, who want to kill them. Secondly, it is a place where Dracula can keep his daughter, Mavis Dracula (Selena Gomez), safe from the kind of humans who kill monsters.

For Mavis’ 118th birthday, Dracula throws a huge party and invites some of the most famous monsters. They are Frankenstein (Kevin James) and his wife, Eunice (Fran Drescher); Wayne Werewolf and his wife, Wanda (Molly Shannon); Murray the Mummy (CeeLo Green); and Griffin the Invisible Man (David Spade), to name a few. Mavis, however, is looking for a big change in her life; she’s ready to see the world and really isn’t interested in a birthday party. Then, a 21-year-old human named Jonathan (Andy Samberg) stumbles into Hotel Transylvania and creates havoc. Dracula goes into overprotective mode, but Mavis finds herself attracted to the young man.

Although I’d heard some unfavorable things about the movie, I really liked Hotel Transylvania. It is a 3D cartoon that looks and acts like an old 2D cartoon, especially the cartoon shorts Tex Avery, whom director Genndy Tartakovsky mentioned in an interview about Hotel Transylvania. Hotel Transylvania also reminded me of the 1963 Bugs Bunny “Merrie Melodies” cartoon short, Transylvania 6-5000, which was directed by Chuck Jones (with Maurice Noble) and written by John Dunn. I can also see the influence of director Tim Burton and of Charles Addams, The New Yorker cartoonist best known for creating “The Addams Family.”

Influences aside, Hotel Transylvania is a lively, fun film. The character design by Carlos Grangel and Carter Goodrich recalls Warner Bros.’ Looney Tunes cartoons (some of which the aforementioned Tex Avery directed). The production design (by Marcelo Vignali) turns Dracula’s private hotel/resort/home into a wonderland in which no two places really resemble each other.

Like Jim Carrey, Adam Sandler is a cartoon character as much as he is an actor, so it is no surprise that Sandler gives a voice performance as Count Dracula that is both layered and dynamic and cartoonish and wacky that it seems like a live-action performance. Andy Samberg almost matches him as Jonathan, and Selena Gomez makes Mavis more than just Daddy’s girl. The rest of the main cast also deliver excellent performances, with Kevin James creating a Frankenstein unlike any other and Grammy Award-wining singer-songwriter, CeeLo Green, sparkling as Murray the Mummy, a surprisingly good character.

I have not seen all of Genndy Tartakovsky work as a director of animated television series, but what I’ve seen, I’ve found to be exceptional, even great. Still, I’m surprised with the quality of his first feature film. Hotel Transylvania leaves me wanting more.

7 of 10
A-

NOTES:
2013 Golden Globes, USA: 1 nomination: “Best Animated Film”

Tuesday, February 05, 2013

"Monster House" is an Animated Horror Movie

TRASH IN MY EYE No. 159 (of 2006) by Leroy Douresseaux


Monster House (2005)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – PG for scary images and sequences, thematic elements, some crude humor, and brief language
DIRECTOR: Gil Kenan
WRITERS: Dan Harmon & Rob Schrab and Pamela Pettler; from a story by Dan Harmon and Rob Schrab
PRODUCERS: Jack Rapke and Steve Starkey
CINEMATOGRAPHERS: Paul C. Babin and Xavier Pérez Grobet
EDITORS: Fabienne Rawley and Adam Scott
Academy Award nominee

ANIMATION/HORROR/COMEDY/MYSTERY

Starring: (voices) Mitchel Musso, Sam Lerner, Spencer Locke, Steve Buscemi, Catherine O’Hara, Fred Willard, Jason Lee, Kevin James, Nick Cannon, Jon Heder, and Kathleen Turner

The new computer-animated film, Monster House, isn’t just a kid’s film, and even if it were, it’s not just any kid’s movie. Monster House is a genuine horror movie, but one made for family viewing (perhaps a little too intense for younger than 8 or 9), and its roller-coaster, action movie ending makes the movie a bit more than standard computer animated fare. Free of all those sometimes annoying pop culture references that beset so many other computer animated films, Monster House is just a good solid ghost story told in a way that will scare the kids and has enough fright to engage older minds.

He’s on the verge of puberty, but when his parents head away for the weekend, DJ (Mitchel Musso) still gets a babysitter. To make matters worse, that very afternoon, DJ had a run-in with Nebbercracker (Steve Buscemi), the neighbor who lives across the street in the rundown old house. During their confrontation, Nebbercracker seemingly dies, but that’s not the end of the story. Nebbercracker’s death apparently brings the old house to life as some kind of monster. The front door grows spiky teeth out of boards, and the rug in the front hall becomes a monstrous tongue that darts outside and snatches unsuspecting visitors. Anyone who steps foot on the lawn is monster house food.

The house seems to have a special hate for DJ, so he calls for the assistance of his best friend, the chubby prankster, Chowder (Sam Lerner). It’s not long before the boys add the final piece to their heroic trio when they save the life of Jenny (Spencer Locke), a beautiful young girl about the age of DJ and Chowder, who unwittingly stops by the monster house to sell school candy. It seems, however, that no adults will believe them that the house across from DJ’s is a living, breathing, scary monster. It’s up to them to save the neighborhood, but will it cost them their own lives.

Executive-produced by Steven Spielberg and Robert Zemeckis, two Oscar-winning directors and sometime partners, Monster House is shot in motion-capture animation, the process Zemeckis used for his 2004 film, The Polar Express. In motion-capture, the performances of the live actors are filmed; then, the live action photography is used as a model for the motion-capture computer animation. Monster House, however, looks more like such 3-D animation films as Madagascar or The Incredibles than it looks like The Polar Express.

That said – I like the animation in this movie. Both the characters in their design and in the way they move look like something from one of Tim Burton’s stop-motion animated films (Nightmare Before Christmas and Corpse Bride). The film doesn’t look flat, and the characters almost seem like puppets on a set. This unique look makes Monster House stand out from the rest of the jam-packed computer-animation crowd (and 2005 is heavy with 3-D animation).

In terms of story, Monster House looks and feels like something Spielberg or Zemeckis (Back to the Future, Forrest Gump) might have done two decades ago. The story’s setting is vaguely anachronistic, partially situated in the 1980’s, but with some touches that have only recently come into existence. The story has the distinct flavor of Spielberg’s mid-80’s anthology series, “Amazing Stories,” and even a little bit of “Tales from the Crypt, the late HBO series of which Zemeckis was one of the executive producers. Most of the audience will recognize the familiar plot – the neighborhood ghost story or the monster in the house down the street.

Monster House is just a well done film. From the wonderfully vivid colors to the fast-paced scares and thrills, it engages all ages. The lead characters: DJ, Chowder, and Jenny and the young voice actors who play them are appealing with winning comic personalities – giving a human touch to this computer-produced film. Even the supporting voice performances are good (Nick Cannon gives a surprisingly nimble and funny turn as a daffy rookie cop.). That’s why Monster House captured my attention and imagination and gave me thrills and chills the whole way through. Monster House does have a few lapses, but anyone willing to give it a chance just might find a good time. It’s one of those magical summer treasures that the kid in all of us loves to find in our favorite theatre.

7 of 10
A-

Tuesday, July 25, 2006

NOTES:
2007 Academy Awards: 1 nomination: “Best Animated Feature Film of the Year” (Gil Kenan)

2007 Golden Globes, USA: 1 nomination: “Best Animated Film”

Review: "The Island" Floats on Ewan McGregor (Happy B'day, Michael Bay)

TRASH IN MY EYE No. 120 (of 2005) by Leroy Douresseaux

The Island (2005)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG-13 for intense sequences of violence and action, some sexuality, and language
DIRECTOR: Michael Bay
WRITERS: Caspian Tredwell-Owen and Alex Kurtzman and Roberto Orci; from a story by Caspian Tredwell-Owen
PRODUCERS: Walter F. Parkes, Ian Bryce, and Michael Bay
CINEMATOGRAPHER: Mauro Fiore
EDITOR: Paul Rubell

SCI-FI/ACTION/THRILLER

Starring: Ewan McGregor, Scarlett Johansson, Djimon Hounsou, Sean Bean, Steve Buscemi, Michael Clarke Duncan, Ethan Phillips, Brian Stepanek, Noa Tishby, and Mark Christopher Lawrence

The Island is a 2005 science fiction film and action movie from director Michael Bay. The movie follows the struggles of a young man to fit into the highly regimented world in which he lives. Then, he learns a shocking secret about that world and about himself that sends him on a race to freedom.

In the mid-21st century, Lincoln Six Echo (Ewan McGregor) and Jordan Two-Delta (Scarlett Johansson) are among the hundreds of residents living in a self-contained facility because, they are told, the world outside is contaminated due to an ecological disaster that took the lives of everyone on the planet, leaving the residents (for the most part) the only remaining humans. The facility’s environment is carefully controlled, and everything about Lincoln and Jordan’s day-to-day lives, like that of all the facilities residents, is monitored, seemingly for their own good, by a security staff and a team of doctors and scientists. The only way out for the residents—and the hope they all share—is to be chosen to go to The Island, reportedly the last uncontaminated spot in the world.

Lincoln is restless because of the unexplained nightmares that have recently plagued him, and he increasingly questions the restrictions placed on his life, even sharing his concerns with the head of the facility, Merrick (Sean Bean). For instance, Lincoln wonders why can the residents go to the Island, and the facility’s security and administration can’t. He is, however, unprepared for the truth when his growing curiosity leads to the terrible discovery that everything about his existence is a lie, that The Island is a cruel hoax…and that he, Jordan and everyone they know are actually more valuable dead than alive. With time running out, Lincoln and Jordan make a daring escape to the outside world they’ve never known. However, Merrick cannot afford the truth of his activities to get out. He hires a team of mercenaries, led by Albert Laurent (Djimon Hounsou), to hunt down Lincoln and Jordan – return them or kill them. With the forces of the institute relentlessly pursuing them, Lincoln and Jordan have one overriding concern, to live.

The Island is the latest film from director Michael Bay, who gave us Bad Boys II in 2003, but is best known for such films as The Rock and Armageddon. The Island is divided into two halves making it almost like two films. The first is a futuristic, dystopian tale set in a complex that protects people from the allegedly dead world outside, which is poisonous to humans. The second film (or half) is an action movie, with the usual Bay histrionics; imagine the car and helicopter chases in the Bad Boys franchise, in particular the over-the-top freeway car chase in Bad Boys II. Better yet: if you remember the film, Logan’s Run, or the novel upon which it’s based; then, you may recognize The Island as a kind of action movie/video game remake or re-imagining of Logan’s Run.

The film hardly touches the scientific and philosophical issues it raises (cloning; what does it mean to be human; and freedom) merely as window dressing for a big-budget Hollywood shoot out with the requisite hysterical car chase/car wrecks/automobile destruction scenes. Perhaps, the writers and director don’t have to really dig too deeply; just the idea of cloning and using clones as spare body parts for “regular” humans is creepy and nausea inducing as it is. But wouldn’t it have been nice for the film to make an effort to emphasize ideas over cinema of sensations and thrills? The design of the futuristic Los Angeles cityscape looks as if no one really bothered to put much thought into how L.A. will look in 50 years. Steven Spielberg put way much more effort in imagining the future for Minority Report, and that movie is set in a time much closer to our own than the one in The Island.

Scarlett Johansson is almost dead on arrival – too much like a machine, cold and aloof as if she mistakenly believes that she’s playing a cyborg killer in one of The Terminator movies. Ewan McGregor, on the other hand, is a movie star; he is a good actor, but he’s a great movie actor. The screen loves him, and he always seems to create the perfect film character – except in the Star Wars prequel, where he was just another film element for George Lucas to manipulate; he wasn’t allowed the freedom to build a movie character. Here, he does have the freedom to gradually build Lincoln into the kind of rebellious hero who questions the status quo of the world around him, the kind of hero through which we vicariously live as he fights his way to a satisfactory resolution. Hooray for Ewan; he makes this film. He saves it from Michael Bay’s intentions gone wrong.

6 of 10
B

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"The Help" Cleans Up at 2012 Screen Actors Guild Awards

The Screen Actors Guild (SAG) is an American labor union that represents film and television performers worldwide. Most people probably know SAG for the various actors’ strikes or for the Screen Actors Guild Award, which SAG uses to honor outstanding performances by its members. The first SAG Awards ceremony was held in February 1995 (for films released in 1994).

The big winner last night was the 2011 hit movie, The Help.  It won two acting awards and the top prize, "Outstanding Performance by a Cast in a Motion Picture" (or Best Ensemble-Film), which is something of an upset.  Going into last night, The Artist, had to be at least a slight favorite because it has won the top prize from most film critics organizations, and it won the top prize at the Golden Globes and from both the Directors and Producers Guilds.  However, in the previous 17 years of the SAG Awards, only 9 "Best Ensemble" winners have also won the best picture Oscar.  Last year's Best Ensemble SAG winner, The King's Speech, did win the Oscar.

The 18th Annual Screen Actors Guild Awards were presented on Jan. 29, 2012 from the Shrine Auditorium in Los Angeles and aired live on TBS and TNT.

18th Annual SCREEN ACTORS GUILD AWARDS® Winners (for the year 2011):

FILM

BEST ENSEMBLE
"The Help" (Jessica Chastain, Viola Davis, Bryce Dallas Howard, Allison Janney, Chris Lowell, Ahna O'Reilly, Sissy Spacek, Octavia Spencer, Mary Steenburgen, Emma Stone, Cicely Tyson, Mike Vogel)

BEST ACTOR
Jean Dujardin, "The Artist"

BEST ACTRESS
Viola Davis, "The Help"

BEST SUPPORTING ACTOR
Christopher Plummer, "Beginners"

BEST SUPPORTING ACTRESS
Octavia Spencer, "The Help"

BEST STUNT ENSEMBLE
"Harry Potter and the Deathly Hallows: Part 2"

TELEVISION

BEST DRAMA ENSEMBLE
"Boardwalk Empire" (Steve Buscemi; Dominic Chianese; Robert Clohessy; Dabney Coleman; Charlie Cox; Josie Gallina; Lucy Gallina; Stephen Graham; Jack Huston; Anthony Laciura; Heather Lind; Kelly MacDonald; Declan McTigue; Rory McTigue; Gretchen Mol; Brady Noon; Connor Noon; Kevin O'Rourke; Aleksa Palladino; Jacqueline Pennewill; Vincent Piazza; Michael Pitt; Michael Shannon; Paul Sparks; Michael Stuhlbarg; Peter Van Wagner; Shea Whigham; Michael Kenneth Williams; Anatol Yusef)

BEST DRAMA ACTOR
Steve Buscemi, "Boardwalk Empire"

BEST DRAMA ACTRESS
Jessica Lange, "American Horror Story"

BEST COMEDY ENSEMBLE
"Modern Family" (Aubrey Anderson-Emmons; Julie Bowen; Ty Burrell; Jesse Tyler Ferguson; Nolan Gould; Sarah Hyland; Ed O'Neill; Rico Rodriguez II; Eric Stonestreet; Sofia Vergara; Ariel Winter)

BEST COMEDY ACTOR
Alec Baldwin, "30 Rock"

BEST COMEDY ACTRESS
Betty White, "Hot in Cleveland"

BEST MOVIE/MINI ACTOR
Paul Giamatti, "Too Big to Fail"

BEST MOVIE/MINI ACTRESS
Kate Winslet, "Mildred Pierce"

BEST TV STUNT ENSEMBLE
"Game of Thrones"

LIFE ACHIEVEMENT AWARD - Screen Actors Guild Awards 48th Annual Life Achievement Award:
Mary Tyler Moore

Review: "Ghost World" is Very Different and Very Good (Happy B'day, Scarlett Johansson)

TRASH IN MY EYE No. 14 (of 2002) by Leroy Douresseaux

Ghost World (2001)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for strong language and some sexual content
DIRECTOR: Terry Zwigoff
WRITERS: Terry Zwigoff and Daniel Clowes (based upon the graphic novel by Daniel Clowes)
PRODUCERS: Lianne Halfon, John Malkovich, and Russell Smith
CINEMATOGRAPHER: Affonso Beato (D.o.P.)
EDITORS: Carole Kravetz-Aykanian and Michael R. Miller
Academy Award nominee

COMEDY/DRAMA

Starring: Thora Birch, Scarlett Johansson, Steve Buscemi, Brad Renfro, Illeana Douglas, Bob Balaban, and Stacey Travis

After graduating from high school, two friends watch as their relationship and plans change over the course of the following summer. Enid (Thora Birch, American Beauty) is disdainful of current pop culture and of conformity. Rebecca (Scarlett Johansson) usually follows her friend’s lead, but she isn’t quite as critical of all things popular.

As the movie begins, both girls are aimless. They enjoy following people and spying on them and enjoying a laugh at the expense of others. However, Rebecca begins to gather herself, anxious to get on with her life. The girls had made plans to get an apartment together, and Rebecca soon has a job to pay for her adult expenses. Enid, on the other hands, lives day to day, aimless and chasing one infatuation after another.

She becomes attracted to the victim of one of her snide jokes, Seymour (Steve Buscemi), a collector of obscure jazz and blues vinyl records. As her interest in Seymour’s live becomes deeper, Enid drifts from Rebecca. Rebecca, in turn, grows closer to her and Enid’s friend Josh (Brad Renfro), a convenience store clerk. When Seymour begins to date another woman and Enid’s Dad (Bob Balaban) invites his girlfriend to move in with him, Enid’s life begins to fall apart.

Directed by Terry Zwigoff, who directed the documentary on underground cartoonist and legend Robert Crumb, Crumb, Ghost World is a teen comedy for really, smart and intelligent people. Sans corny jokes, gross humor, and juvenile depictions of sex, Zwigoff relies on the acting talent of his cast, an excellent script, simple, evocative photography, and a unique soundtrack to tell his film story.

The script, co-written by Zwigoff and Daniel Clowes, is the tent pole that supports this film. The movie is based upon Clowes’s graphic novel, Ghost World, which was serialized in issues of Eightball, Clowes long-running comic book series published by Fantagraphics Books. Fantagraphics eventually published a very popular hardcover and soft cover editions of the collected story. Clowes expanded his original story and added elements from his other comic book stories for the screenplay.

The screenplay trusts the ability of the characters to portray their own dramas. Enid is a complex character. Although sympathetic and likeable, she is maddeningly stubborn. An iconoclast, she is determined to go her own way and have her own way. When she meets obstacles of which she cannot move, she stands her ground even at the cost of great mental duress to herself. Her intelligence and originality add some unexplainable quality to her physical appearance and makes her physically attractive. You can’t help but root for her. You wish the best for her, and you’re angry when she spites herself just to maintain one of her eclectic standards.

Seymour is painfully real. Unable to connect with people, he readily connects with objects and things, especially things from a bygone era – the good old days. He seemingly cannot help but love a golden age despite there being more rust than gild on the precious metal of his olden days. He and Enid develop a relationship that seems peculiar on the surface, but is in fact quite simple; they can meet each other half way even when at odds. In the end, it is outside interests that dictate the evolution of their friendship.

Ms. Birch’s performance as Enid is a revelation, while the overrated American Beauty only hinted at her talent. She totally buys into Zwigoff and Clowes’s script, wholly and completely creating Enid. Ms. Birch engages us; we get so into her character that we cannot help but love and care for Enid, when we might become bored with her eccentricities. Only the best performances demand that much attention and sympathy.

Ms. Johansson’s Rebecca is also quite good. In Enid’s shadow, she slowly emerges as her own woman, different and free of Enid’s belief system. Rebecca is the audience gone cold on Enid’s quirks, but still loving her; she mirrors our occasional impatience with Enid. Like Ms. Birch’s performance, Ms. Johansson’s performance has surprising depth from one so young, but she had good writing from which to work.

Seymour is one of Buscemi’s most human characters to date; as usual, his performance reveals how deep he understands the goals of the storytellers. Brad Renfro isn’t left behind. His Josh seethes boredom with existence. One look at him and you know that he wants to tell the world where to get off. He regards most anything and most anyone with a smoldering annoyance worthy of a classic screen rebel.

Ghost World can occasionally seem cold. The scriptwriters hope that we are patient during the dry moments as the story unfolds. The movie doesn’t only develop; it slow opens itself to us. We are simultaneously annoyed, angered, bored, confused, hopeful, joyous, and sad.

Confusing? No. Quite engaging, very thoughtful, some damn fine performances, and some really good character writing. Ghost World is a different and very good movie.

7 of 10
A-

NOTES:
2002 Academy Awards: 1 nomination: “Best Writing, Screenplay Based on Material Previously Produced or Published” (Daniel Clowes and Terry Zwigoff)

2002 Golden Globes: 2 nominations: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Steve Buscemi), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Thora Birch)

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Review: "The Big Lebowski" is Surreal, Screwy, Unforgettable

TRASH IN MY EYE No. 130 (of 2003) by Leroy Douresseaux

The Big Lebowski (1998)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – R for pervasive strong language, drug content, sexuality and brief violence
DIRECTOR: Joel Coen
WRITERS: Ethan Coen and Joel Coen
PRODUCER: Ethan Coen
CINEMATOGRAPHER: Roger Deakins
EDITORS: Tricia Cooke and Roderick Jaynes (Joel and Ethan Coen)
COMPOSER: Carter Burwell

COMEDY/MYSTERY/THRILLER

Starring: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston, Philip Seymour Hoffman, Tara Reid, Flea, John Turturro, Peter Stormare, Torsten Voges, David Thewlis, Marshall Manesh, Jon Polito, Ben Gazzara, Leon Russom, Ajgie Kirkland, Aimee Mann, and Sam Elliot

For their seventh film together, the Coen Brothers (co-writer/producer Ethan and co-writer/director Joel) tackle the screwball comedy in The Big Lebowski. Coming off their Oscar win for writing the brilliant Fargo, it was a daring project that could have turned off the audiences that were coming as a result of seeing Fargo. I don’t think the Coen’s gave a damn. They have a vision of how to tell a story using film as their medium, and they build a movie around their vision.

In the film, Jeffrey Lebowski (Jeff Bridges), known by everyone as The Dude (in fact, that is the name he prefers), receives a visit from a few thugs looking for money owed to their boss by the missus, Bunny (Tara Reid). Truth is they have the wrong Lebowski; there is another Jeffrey Lebowski (David Huddleston), a millionaire, and Bunny is his trophy wife. One of the intruders takes a whiz on The Dude’s rug, so naturally The Dude seeks recompense from Bunny’s hubby, the other Lebowski. This case of mistaken identity ensnares to The Dude in a web of abduction and competing interests with The Dude and his temperamental homeboy, Walter Sobchak (John Goodman), right in the middle.

The Coen’s are without a doubt two of the premiere creators of surreal films. They embrace classic Hollywood style with a post modern skewed view. The Big Lebowski is part Woody Allen and part David Lynch in the brothers’ approach to character and story. The abduction of Bunny uncoils into a delightful mixture of wacky comedy and film noir whodunit. As in all their films, there is always a sense of dread, however small, and as usual Joel can weave a thriller out of the most benign and ordinary events. It’s as if what seems really obvious and ordinary is also the unknown, and the unknown is so far “out there” and potentially dangerous.

Perhaps the thing that really makes a Coen film is the cast. Without good character actors, the brothers couldn’t sell us their strange brews. Amidst a stellar cast of players, Jeff Bridges and John Goodman, especially Bridges, carry this film. They have great chemistry together, and Bridges, one of the finest actors of the last two decades can carry two films at once on the broad back of his immense talent. This movie is almost totally from his point of view, and we have to buy into his character. If we don’t believe that he is who he says he is and that he believes what he believes, The Big Lebowski would be just a failed mainstream pic playing at being indie cool. The Big Lebowski is bravura work from two great American filmmakers, and they once again show their savvy by picking just the right guy to make this movie really soar.

8 of 10
A

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"The Big Lebowski" Arrives on Limited Edition Blu-ray Tomorrow

EXPERIENCE THE COEN BROTHERS’ CULTURAL PHENOMENON STARRING JEFF BRIDGES NOW ON BLU-RAY™ FOR THE FIRST TIME EVER!

THE BIG LEBOWSKI LIMITED EDITION BLU-RAY™

August 16, 2011

“The Most Worshipped Comedy of Its Generation” – Rolling Stone

Own the Limited Edition Blu-ray™ Featuring All-New Bonus Features, a Digital Copy of the Film and Collectible Hardcover Book Packaging

Universal City, May 24, 2011 – Bowling, nihilists, a stolen rug and the occasional acid flashback have never been funnier when one of the most popular cult classics in history, The Big Lebowski Limited Edition, debuts on Blu-ray™ August 16, 2011 from Universal Studios Home Entertainment. From the Oscar®-winning Coen Brothers (True Grit, Fargo) and starring Academy Award® winner Jeff Bridges (True Grit, Crazy Heart), this acclaimed comedy has been newly remastered in high definition to provide longtime fans and first-time viewers alike with the ultimate Lebowski experience.

Available for a limited time with an all-new 28-page companion book featuring an exclusive interview with Jeff Dowd – the real-life inspiration for The Dude – Jeff Bridges’ personal, on-set photography, a film timeline, trivia and much more, The Big Lebowski Limited Edition Blu-ray™ is a must-own addition to any collection. In addition to all-new features exclusive to the Blu-ray™ release, The Big Lebowski Limited Edition Blu-ray™ also offers a digital copy of the film that can be viewed anywhere at any time on the consumers’ choice of devices including laptops, tablets, smartphones as well as Internet-connected TVs and set-top boxes.

“Since its creation by Ethan and Joel Coen in 1998, The Big Lebowski has transformed from a fan favorite into one of Hollywood’s most celebrated cultural phenomenons,” said Craig Kornblau, President of Universal Studios Home Entertainment. “This spectacular new Limited Edition Blu-ray™ combines the most extensive behind-the-scenes materials to date with the latest Blu-ray™ technology, giving devoted fans and newcomers alike a chance to experience the brilliant all-star cast, outrageous storyline and unforgettable quotes like never before.”

Its now iconic characters and instantly recognizable dialogue have made The Big Lebowski “the number-one cult film of all time,” according to The Boston Globe. Since its release, the Coen Brothers’ affectionately addled riff on film noir has snowballed in popularity, becoming “an undeniable pop-cult force” and even, for many, “a way of life,” in the words of the Los Angeles Times. “A masterpiece of anti-storytelling” according to Entertainment Weekly, The Big Lebowski has become a cultural touchstone for fans around the world.

Starring Bridges as the film’s delightfully unlikely hero, “The Dude,” the hilariously twisted comedy thriller also features unforgettable performances by an all-star cast including Golden Globe® winner John Goodman (“Roseanne”), four-time Oscar® nominee Julianne Moore (The Kids are Alright), Golden Globe® winner Steve Buscemi (“Boardwalk Empire”), Oscar® winner Phillip Seymour Hoffman (Doubt) and Golden Globe® nominee John Turturro (O Brother, Where Art Thou?).

BLU-RAYTM EXCLUSIVE BONUS FEATURES:
· U-CONTROL: Universal’s exclusive feature that lets the viewer access bonus materials without leaving the movie!

o Scene Companion: Watch cast and crew interviews, behind the scenes footage and more during key scenes with this picture-in-picture companion.

o Mark it Dude: This onscreen counter really ties the film together. Keep track of all the “F-Bombs,” “Dudes,” and “Dude-isms” in the film with this ultimate fan guide.

o The Music of The Big Lebowski: Instantly identify the songs heard while watching the film, create a custom playlist of your favorites and even purchase them from iTunes®!
· WORTHY ADVERSARIES: WHAT’S MY LINE TRIVIA: Test your Lebowski knowledge by finishing lines of dialogue during the film. Play as Walter or The Dude or in two-player mode against friends.
· BD-LIVETM: Access the BD-Live™ Center through your Internet-connected player to watch the latest trailers and more.
· pocket BLU™: The groundbreaking pocket BLU™ app uses iPhone®, iPod® touch, Android™, PC and Macintosh to work seamlessly with a network-connected Blu-ray™ player. Also available on the iPad™, owners can enjoy a new, enhanced edition of pocket BLU™ made especially to take advantage of the tablet's larger screen and high resolution display. Consumers will be able to browse through a library of Blu-ray™ content and watch entertaining extras on-the-go in a way that's bigger and better than ever before. pocket BLU™ offers advanced features such as:

o Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray™ player. Users can navigate through menus, playback and BD-Live™ functions with ease.

o Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the film.

o Mobile-To-Go: Users can unlock a selection of bonus content with their Blu-ray™ discs to save to their device or to stream from anywhere there is a Wi-Fi network, enabling them to enjoy content on the go, anytime, anywhere.

o Browse Titles: Users will have access to a complete list of pocket BLU™-enabled titles available and coming to Blu-ray™ Hi-Def. They can view free previews and see what additional content is available to unlock on their device.

o Keyboard: Entering data is fast and easy with your device’s intuitive keyboard.
· uHEAR™: Never miss another line of dialogue with this innovative feature that instantly skips back a few seconds on your Blu-ray™ disc and turns on the subtitles to highlight what you missed.

ADDITIONAL BONUS FEATURES:
· JEFF BRIDGES PHOTO BOOK: For more than 30 years, Jeff Bridges has been snapping pictures on movie sets. The accomplished photographer presents exclusive shots taken on the set of The Big Lebowski providing personal commentary on each photo.
· THE DUDE’S LIFE: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi and John Turturro take a look back at their performances and their delivery of the Coen Brothers’ dialogue that became classic movie lines.
· THE DUDE ABIDES: THE BIG LEBOWSKI TEN YEARS LATER: A freewheeling conversation with the cast about the film’s decade-long reign as a cult classic, including a discussion about what ever happened to the “little Lebowski” that the Dude and Maude made that fateful night!
· THE LEBOWSKI FEST: AN ACHIEVER’S STORY: An in-depth look at the popular Lebowski Festival, formed by the legion of fans in honor of the film.
· FLYING CARPETS & BOWLING PIN DREAMS: THE DREAM SEQUENCES OF THE DUDE: From aerial flights over Los Angeles with his bowling ball chasing Maude on a flying carpet, to the large scale “Busby Berkley” dance sequences as The Dude goes flying through the legs of all the bowling pin headed dancers, this piece examines how these “ahead of their time” scenes were constructed.
· THE MAKING OF THE BIG LEBOWSKI: A behind the scenes look featuring interviews with the Coen Brothers.
· PHOTO GALLERY: Slideshow of Jeff Bridges’ on-set photography.
· INTERACTIVE MAP: Take a tour of the locations of The Big Lebowski, then and now.
· AN INTRODUCTION: Featuring Mortimer Young, a practitioner of “non-uptight” film preservation. His restoration of the famous “toe scene” will blow your mind.

SYNOPSIS:
From the Academy Award®-winning Coen brothers, The Big Lebowski is a hilariously quirky comedy about bowling, a severed toe, White Russians and a guy named…The Dude. Jeff “The Dude” Lebowski doesn’t want any drama in his life…heck, he can’t even be bothered with a job. But, he must embark on a quest with his bowling buddies after his rug is destroyed in a twisted case of mistaken identity. Starring Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, Philip Seymour Hoffman and John Turturro, experience the cultural phenomenon of The Dude in the “#1 cult film of all time!” (The Boston Globe)

CAST AND FILMMAKERS:
Cast: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston, Philip Seymour Hoffman, John Turturro

Directed By: Joel Coen
Written By: Ethan Coen, Joel Coen
Executive Producers: Tim Bevan, Eric Fellner
Producer: Ethan Coen
Co-Producer: John Cameron
Director of Photography: Roger Deakins
Production Designer: Rick Heinrichs
Edited By: Ethan Coen, Joel Coen, Tricia Cooke
Casting By: John S. Lyons
Costume Designer: Mary Zophres
Original Music By: Carter Burwell

TECHNICAL INFORMATION:
Street Date: August 16, 2011
Copyright: 2011 Universal Studios. All Rights Reserved.
Selection Number: 61115274
Running Time: 1 hour, 59 minutes
Layers: BD-50
Picture Format: Widescreen
Aspect Ratio: 1:85:1
Rating: R for pervasive strong language, drug content, sexuality and brief violence
Languages/Subtitles: English SDH, Spanish, French
Sound: English DTS-HD Master Audio 5.1, French (EU) DTS Surround 5.1, English Dolby Digital 2.0/2.0 DTS Express

Universal Studios Home Entertainment is a unit of Universal Pictures, a division of Universal Studios http://www.universalstudios.com/.  Universal Studios is a part of NBCUniversal , one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group and world-renowned theme parks. Comcast Corporation owns a controlling 51% interest in NBCUniversal, with GE holding a 49% stake.

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