Review: "NO TIME TO DIE," But Plenty of Time to Bore

TRASH IN MY EYE No. 60 of 2021 (No. 1798) by Leroy Douresseaux

No Time to Die (2021)
Running time:  163 minutes (2 hours, 43 minutes)
MPAA – PG-13 for sequences of violence and action, some disturbing images, brief strong language and some suggestive material
DIRECTOR:  Cary Joji Fukunaga
WRITERS:  Neal Purvis & Robert Wade and Cary Joji Fukunaga, and Phoebe Waller-Bridge; from a story by Cary Joji Fukunaga and Neal Purvis & Robert Wade (based on the characters created by Ian Fleming)
PRODUCERS:  Barbara Broccoli and Michael G. Wilson
CINEMATOGRAPHER:  Linus Sandgren (D.o.P.)
EDITORS:  Tom Smith and Elliot Graham
COMPOSER:  Hans Zimmer
SONG:  “No Time to Die,” sung by Billie Eilish; written by Billie Eilish and Finneas O'Connell

SPY/ACTION/ADVENTURE

Starring:  Daniel Craig, Rami Malek, Lea Seydoux, Lashana Lynch, Ralph Fiennes, Ben Whishaw, Naomie Harris, Rory Kinnear, Billy Magnussen, David Dencik, Dali Benssalah, and Jeffrey Wright with Christoph Waltz

No Time to Day is a 2021 spy and action-adventure film from director Cary Joji Fukunaga.  It is the 25th entry in EON Productions' James Bond film franchise, and it is also the fifth and (supposedly) final film in which actor Daniel Craig portrays Bond.  In No Time to Die, James Bond is attempting to enjoy life after having left active service when an old friend asks him to help the CIA secure a dangerous new weapon.

No Time to Die finds former M16 agent, James Bond-007 (Daniel Craig), enjoying life after leaving active service with his lover, Dr. Madeleine Swann (Lea Seydoux).  While vacationing in Matera, Italy, Spectre assassins ambush Bond, and although he survives that attempt, he believes that he has been betrayed.  Bond blames Madeleine and leaves her.

Five years later, MI6 scientist, Valdo Obruchev (David Dencik), is kidnapped from an MI6 laboratory.  Obruchev was working on a bio-weapons project, “Project Heracles,” at the behest of Gareth Mallory (Ralph Fiennes), also known as “M,” the head of MI6.  In Jamaica, Bond's friend, CIA agent Felix Leiter (Jeffrey Wright), asks Bond to help him track Obruchev, but Bond refuses.  Later, Bond encounters Nomi (Lashana Lynch), the MI6 agent who has succeeded him as the new “007.”  After discovering more about “Project Heracles” via Nomi, Bond agrees to help Leiter find Obruchev.

Bond discovers that his old nemesis, Ernst Stavro Blofeld (Christoph Waltz), the founder and head of the criminal syndicate, Spectre, is somehow involved with Obruchev.  However, the true mastermind behind Obruchev's activities is a mysterious terrorist leader (Rami Malek) on a mission of revenge and harboring plans to kill untold millions of people.

Of the previous Daniel Craig James Bond films:  Casino Royale (2006), Quantum of Solace (2008), Skyfall (2012) and Spectre (2015), the last two join No Time to Die to form some kind of Daniel Craig as James Bond life cycle.  When it comes to James Bond, I am not interested in s life story, origin tale, or death story of 007.  Craig is the first actor to play Bond who gets a swan song film.  All the other Bond actors did not get a goodbye movie; they simply left.

Although it has some good moments and some exceptional set pieces – in the form of extended action scenes – No Time to Die gets old and listless, especially after the action that takes place in Matera.  This film is also too long and too tired, especially wants the drama moves to Japan.  Even Daniel Craig, who is only 53-years-old, seems to be much older than he really his.  His body is tight, but his face is Beetlejuice.  It is as if everything about this film inadvertently says that both Craig and Bond are way past their expiration date.  In fact, both seem like spoiled milk.

No Time to Die has other problems.  Ray Fiennes, with his dour faced portrayal of “M,” only makes things seem more rundown.  Naomie Harris is utterly wasted as Eve Moneypenny.  Lashana Lynch cannot do much to save her utterly wasted and woefully underdeveloped character, Nomi, the new 007.  Jeffrey Wright seems like an out-of-gas old car as Felix Leiter.  As for Rami Malek: what could have been is so obvious in how much he gets out of so little.

On the other hand, Rory Kinnear brings some quiet energy as M's chief of staff, Bill Tanner.  As usual Ben Whishaw is top notch as “Q,” and I hope the Bond bosses bring him back in the next iteration of the franchise.  Also, Bill Magnussen provides an expected pretty boy, watermelon sugar rush as the bright-eyed CIA agent, Logan Ash.

In the final analysis, if I had to do it again, I would not go to a movie theater to see No Time to Die.  Don't get me wrong.  I am a huge James Bond fan and would see this movie anyway.  I will always find a lot to like even in Bond movies about which I have mixed feelings.  However, No Time to Die is the kind of Bond movie that I could have waited to see at home.  It is sad that Daniel Craig's tenure as James Bond did not so much end as it simply petered out.

6 of 10
B

Friday, October 8, 2021


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Review: "NEVER RARELY SOMETIMES ALWAYS" is Timely, Could Be Timeless

TRASH IN MY EYE No. 52 of 2021 (No. 1790) by Leroy Douresseaux

Never Rarely Sometimes Always (2020)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – PG-13 for disturbing/mature thematic content, language, some sexual references and teen drinking
WRITER-DIRECTOR:  Eliza Hittman
PRODUCERS:  Adele Romanski and Sara Murphy
CINEMATOGRAPHER:  Hélène Louvart
EDITOR:  Scott Cummings
COMPOSER:  Julia Holter

DRAMA

Starring:  Sidney Flanigan, Talia Ryder, and Théodore Pellerin

[The Texas six-week abortion ban, SB8, went into effect today, as I write this (Wed., September 1, 2021), and that makes Eliza Hittman's acclaimed film, “Never Rarely Sometimes Always,” timely 20 months after its debut at the 2020 Sundance Film Festival.]

Never Rarely Sometimes Always is a 2020 British-American drama from writer-director Eliza Hittman.  The film focuses on a rural Pennsylvania teenager who, seeking an abortion, embarks on a fraught journey to New York City in order to get one.  Oscar-winning filmmaker, Barry Jenkins (Moonlight), is one of the film's executive producers.

Never Rarely Sometimes Always introduces 17-year-old Autumn Callahan (Sidney Flanigan), who lives with her family in rural Ellensboro, Pennsylvania.  Autumn suspects that she is pregnant and goes to the Ellensboro Women's Clinic.  There, she takes a test that confirms that she is pregnant – 10 weeks pregnant according to a woman who works at the clinic.

After learning that she is unable to get an abortion in Pennsylvania without parental consent, Autumn confides in her cousin, Skylar (Talia Ryder), that she is pregnant.  Autumn and Skylar buy two bus tickets and travel to New York City where Autumn can have an abortion with parental consent.   The journey, however, is fraught with complications, including the fact that the girls have little cash and have no place to stay in the city.  And getting an abortion is not as easy, nor will it be as quick, as Autumn thought.

Roe v. Wade (1973) is a landmark United States Supreme Court decision.  The Court ruled that the Constitution of the United States protects a pregnant woman's liberty to choose to have an abortion without excessive government restriction, and, in the process, struck down many U.S. federal and state abortion laws.  However, beginning with Webster v. Reproductive Health Services (1989), the Supreme Court essentially began allowing states to impose restrictions and regulations on a woman's right to have an abortion.  In the ensuing four decades, some of the restrictions placed by states can rightly be called “excessive,” to one extent or another.

That is the context in which Never Rarely Sometimes Always exists.  Autumn and Skylar embark on a fraught journey from small town Pennsylvania to New York City, knowing no one, not having a place to stay, and lacking adequate money so that Autumn can have an abortion.  And Autumn must face having this serious medical procedure as a minor, unsure of what support that she would get from her mother and (apparent) stepfather.

What hangs over this powerful drama is that Autumn is exposing herself and Skylar to danger because the state in which she lives, Pennsylvania, can place multiple restrictions on what is supposed to be a Constitutionally guaranteed right.  In theory, Autumn should have relatively easy access to safe medical care in her home state, yet what she does have in her home town is access to medical care, in which the facility's agenda takes priority over her health and well being and her choices.

In Never Rarely Sometimes Always, writer-director Eliza Hittman is advocating for abortion rights and access, yet she does all her preaching in a film that essentially has two parts.  The first is the story of a teenage girl facing a crisis, and the second part is a kind of dark New York adventure in which the young heroes must, by hook or crook, stay safe in order to enjoy a triumph – even if they cannot really celebrate such a triumph – Autumn getting her abortion.

Never Rarely Sometimes Always takes its title from the multiple choice answers that Autumn can give to a series of questions about her sex life asked by an abortion counselor.  It is in that moment, when Autumn struggles to answer, that Hittman depicts the reality that there is complexity behind a woman or girl's decision to seek an abortion.  It isn't simply about having an “abortion-on-demand.”

Suddenly, Never Rarely Sometimes Always is not so much an argument between anti-choice and pro-choice, nor is it simply about the states and their varying degrees of access to a safe and legal abortion.  Never Rarely Sometimes Always is, at that moment, a story about a teenage girl who faces alone the trouble she did not create by herself.

9 of 10
A+

Wednesday, September 1, 2021


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Review: CANDYMAN 2021 is a Good Horror Movie and an Even Better Black Movie

TRASH IN MY EYE No. 51 of 2021 (No. 1789) by Leroy Douresseaux

Candyman (2021)
Running time: 91 minutes (1 hour, 31 minutes)
MPAA – R for bloody horror violence, and language including some sexual references
DIRECTOR:  Nia DaCosta
WRITERS:  Jordan Peele & Win Rosenfeld and Nia DaCosta (based on characters created by Clive Barker and Bernard Rose)
PRODUCERS:  Ian Cooper, Jordan Peele, and Win Rosenfeld
CINEMATOGRAPHER:  John Guleserian (D.o.P.)
EDITOR:  Catrin Hedström
COMPOSER:  Robert Aiki Aubrey Lowe

HORROR/DRAMA/FANTASY

Starring:  Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo, Kyle Kaminsky, Vanessa Williams, Brian King, Miriam Moss, Rebecca Spence, Carl Clemons-Hopkins, Rodney L. Jones III, and Tony Todd

Candyman is a 2021 supernatural horror and slasher film from director Nia DaCosta.  The film is written by DaCosta and Win Rosenfeld and Jordan Peele of Get Out fame.  This new film is adapted from the short story, “The Forbidden,” by Clive Barker and from the 1992 film adaptation of Barker's story, entitled Candyman, which was written and directed by Bernard Rose.  Candyman 2021 is also a “spiritual sequel” to the 1992 film and is set in the now-gentrified Chicago neighborhood where the legend of the notorious and murderous boogeyman began.

Candyman is set in the Cabrini neighborhood on the North Side of Chicago.  Visual artist and painter, Anthony McCoy (Yahya Abdul-Mateen II), lives and his girlfriend, Brianna Cartwright (Teyonah Parris), an art gallery director, live there, navigating the treacherous world of modern art.  But once upon a time, Cabrini was the infamous “Cabrini-Green Homes” (projects), which have now been gentrified beyond recognition.  Still, some sections of the old Cabrini-Green still exist near where Anthony and Brianna live.

Around Cabrini, there is a ghost story (of sorts) about a white woman, Helen Lyle, who went crazy and, among many things, kidnapped an African-American baby.  Anthony meets William Burke, a Cabrini-Green old-timer, and William informs Anthony of Cabrini-Green's true boogeyman, the supernatural killer, Candyman.  The story goes that if someone stares into a mirror and says Candyman's name five times, he will appear and kill that person.

With his art career seeming to stall, Anthony uses the horrific nature of the legend of Candyman as inspiration for a new series of paintings and art.  However, Anthony is unaware that he has unleashed something that will test his sanity and that has a shocking connection to his past.  And the brutal murders have begun.

Candyman is as much about African-American history and folklore as it is about the mythopoeia (mythology) of Candyman.  The writers focus on a world in which Black people, especially impoverished and powerless Black people, are moved around and used as pawns by the White supremacist power structure.  The history of the Cabrini-Green Homes is the perfect example.  For a long time it was low income housing i.e. the projects for African-American tenants, as seen in the original Candyman film.  Beginning in the mid-1990s, Cabrini gradually underwent a process of gentrification, and is now the setting of Candyman 2021.

The White power structure moved Cabrini-Green's poor and working class African-American tenants to other places in our world.  In the world of Candyman 2021, the great boogeyman of poor, Black folks that populated Candyman 1992 has been replaced by an urban legend of a new and incorrect boogeyman – Helen Lyle, who was really Candyman's ultimate victim in the original film.  Candyman 2021 corrects that, restoring Black folklore and stories via Anthony McCoy.

Director Nia DaCosta and her co-writers, Jordan Peele and Win Rosenfeld, as much as they deal with issues of cultural appropriation, Black art, and history, boldly tackle the racist violence of White supremacy, here, brazenly personified as White police officers and as over-policing.  Unlike the first film, which seems to (benignly) suggest that Black victims (Daniel Robitaille) become Black monsters (the Candyman), the victims in Candyman 2021 are mostly less sympathetic than Candyman.

As excellent as I think Candyman is as a “Black film,” it is less so as a horror movie.  The reason is that this new film does not play with the monster/victim dynamic, which the first film did via Helen Lyle and Candyman.  The victims are the bodies of Black folks, as seen in the scandalous shadow puppet animation (created by Manual Cinema) that plays across the end credits.  The monster is White racist and supremacist oppression of African-Americans.  In spite of this film's creepiness and weirdness, I still miss some old-fashioned final girl/slasher killer interplay.

In Candyman 2021, I didn't quite get the horror movie I thought I would get.  I got the Black movie that I very much needed to get.

A
8 out of 10

Friday, August 27, 2021


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

Read my review of the 1992 Candyman here.

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Review: "F9" is for the "Fast & Furious" Family of Fans

TRASH IN MY EYE No. 43 of 2021 (No. 1781) by Leroy Douresseaux

F9 (2021)
Running time: 145 minutes (2 hours, 25 minutes)
MPAA – PG-13 for sequences of violence and action, and language
DIRECTOR: Justin Lin
WRITER: Justin Lin and Daniel Casey; from a story by Justin Lin, Daniel Casey, and Alfredo Botello (based on the characters created by Gary Scott Thompson)
PRODUCERS: Vin Diesel, Neal H. Moritz, Justin Lin, Jeffrey Kirschenbaum, Joe Roth, Clatyon Townsend, and Samantha Vincent
CINEMATOGRAPHER: Stephen F. Windon (D.o.P.)
EDITORS: Greg D'Auria, Dylan Highsmith, and Kelly Matsumoto
COMPOSER: Brian Tyler

ACTION/CRIME/DRAMA

Starring:  Vin Diesel, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Sung Kang, Charlize Theron, Jon Cena, Kurt Russell, Anna Sawai, Don Omar, Shea Whigham, Vinnie Bennett, Finn Cole, JD Pardo, Michael Rooker, Lucas Black, Shad Moss, Jason Tobin, Thue Ersted Rasmussen, Isaac and Immanuel Holtane, Cardi B, and Helen Mirren

F9 is a 2021 action movie from director Justin Lin and is produced by Universal Pictures.  It is the ninth installment in the Fast & Furious movie franchise (now also called the “Fast Saga”).  A direct sequel to 2017's The Fate of the Furious, F9 finds Dom and his racing family facing a powerful figure from Dom's birth family.

As F9 begins, Dominic “Dom” Toretto (Vin Diesel) has retired from his previous life.  He is living in seclusion with his wife, Letitia “Letty” Ortiz (Michelle Rodriguez), and his son, Brian (Isaac and Immanuel Holtane), the child he conceived with his former girlfriend, the late Elena Neves.  Dom and Letty get a surprise visit from his team/family:  Roman Pearce (Tyrese Gibson), Tej Parker (Chris “Ludacris” Bridges), and Ramsey (Nathalie Emmanuel).  Their sometime compatriot, covert operative Frank Petty (Kurt Russell), a.k.a. “Mr Nobody,” apparently captured cyberterrorist, Cipher (Charlize Theron).  The plane in which Mr. Nobody was transporting Cipher was attacked by rogue agents, but Mr. Nobody was able to send a coded distress signal meant for Dom and his team.

The leaders behind this attack are Otto (Thue Ersted Rasmussen), the mysterious son of a very wealthy and politically powerful man, and Jakob (Jon Cena), a man who has close ties to Dom.  Soon, Dom's sister, Mia (Jordana Brewster), a former member of Dom's team, returns to join the hunt for Jakob.  They must stop Jakob and Otto before they can obtain and activate a device called “Aries,” which can hack into any computer system in the world.  Before this mission is over, however, Dom will have to reveal his past and his past mistakes, and he will need help from a few figures from his past – including one thought to be dead.

As I write this, it is the morning after I saw F9 at a Thursday night preview show.  I can say the same thing about F9 that I wrote about The Fate of the Furious in a review I wrote a few days ago.  I love F9.  It is the latest installment of a film franchise that has seen its over-the-top action become so … over-the-top that it is practically a kind of superhero and car chase movie series.  However,  F9 sends this franchise higher – literally – than it has ever gone before.  The ludicrous and ridiculous, but oh-so-fun set pieces are a hallmark of this franchise, but F9 actually takes two characters into space.  Gravity and physics are totally subverted, but “Fast & Furious” fans won't give a damn while watching F9 anymore than they did watching the last 12 years of this franchise.

I will give F9 credit, however, for inserting some dark and edgy family drama into the story, melodrama even darker and edgier than what The Fate of the Furious gave audiences.  And, as in that film, Vin Diesel gets to show his dramatic chops, and he reveals that Dom isn't right all the time, and that sometimes his errors really cost the people close to him.  I don't think F9 is quite as good as The Fate of the Furious because the new film's villains are not quite as diabolical as Fate's super-villain (the aforementioned Cipher).  Still, I like how F9 puts the family in the fast and the furious.

7 of 10
B+

Friday, June 25, 2021


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Review: THE FATE OF THE FURIOUS is Perfectly 2 Fast 2 Furious

TRASH IN MY EYE No. 42 of 2021 (No. 1780) by Leroy Douresseaux

The Fate of the Furious (2017)
Running time: 136 minutes (2 hours, 16 minutes)
MPAA – PG-13 for prolonged sequences of violence and destruction, suggestive content, and language
DIRECTOR: F. Gary Gray
WRITER: Chris Morgan (based on the characters created by Gary Scott Thompson)
PRODUCERS: Vin Diesel, Neal H. Moritz, Chris Morgan and Michael Fottrell
CINEMATOGRAPHER: Stephen F. Windon (D.o.P.)
EDITORS: Christian Wagner and Paul Rubell
COMPOSER: Brian Tyler

ACTION/CRIME/DRAMA

Starring:  Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Charlize Theron, Kurt Russell, Nathalie Emmanuel, Scott Eastwood, Elsa Pataky, Kristopher Hivju, Patrick St. Esprit, Luke Evans, and Helen Mirren

The Fate of the Furious is a 2017 action movie from director F. Gary Gray and was released by Universal Pictures.  It is the eighth installment in The Fast and the Furious movie franchise (now called the “Fast Saga”).  A direct sequel to 2015's Furious 7, The Fate of the Furious introduces a mysterious woman who has the power to turn Dominic Toretto into a terrorist.

As The Fate of the Furious begins, Dominic “Dom” Toretto (Vin Diesel) and Letitia “Letty” Ortiz (Michelle Rodriguez) are on their honeymoon in Havana, Cuba.  While there, Dom meets a mysterious woman who turns out to be the elusive cyberterrorist, Cipher (Charlize Theron).  She has obtained something that she uses to coerce Dom into working for her.  Soon afterwards, Diplomatic Security Service (DSS) agent, Luke Hobbs (Dwayne Johnson), recruits Dom and his team – his family:  Roman Pearce (Tyrese Gibson), Tej Parker (Chris “Ludacris” Bridges), and Ramsey (Nathalie Emmanuel) to retrieve an EMP device from a military outpost in Berlin.  However, Dom betrays them all and steals the device for Cipher, and Hobbs and Dom's family, including Letty, are branded criminals.

Intelligence operative and leader of a covert ops team, Frank Petty (Kurt Russell), a.k.a. “Mr Nobody,” arrives with his protege, Eric Reisner (Scott Eastwood), and he has an offer.  Mr. Nobody wants Hobbs and Dom's family to help him find Dom and capture the highly elusive Cipher.  Mr. Nobody also has a surprise for Hobbs and company.  He has recruited Deckard Shaw (Jason Statham), the rogue British Special Forces assassin who was hunting Dom and his family until they defeated him and Hobbs and the DSS imprisoned him.  But will even Shaw be enough?  Cipher can disappear at will and with Dom at her side, she seems unbeatable.  Cipher's threat to the world and Dom's betrayal will test the family as never before.

When The Fate of the Furious was initially released to theaters in April 2017, I was too mired in family troubles to bother going to a movie theater to see it.  And quite frankly, after what I considered to be a barely average installment in Furious 7, I thought I was done with the franchise.  In fact, I didn't even watch The Fate of the Furious when it started playing on basic cable.  Recently, I saw a clip from the soon-to-be-released F9 (2021), and I was shocked to see Dominic Toretto playing with a baby.  A friend informed me of the events in The Fate of the Furious, and because he and I talked about seeing F9, I decided to rent The Fate of the Furious via Netflix.

Well, I will never doubt you again, Fast & Furious / Fast Saga.  I loved The Fate of the Furious.  This film franchise's over-the-top action has become so … over-the-top that it is practically a kind of superhero and car chase movie series.  These movies are fun, but I thought that the series had reached narrative exhaustion with Furious 7.  The Fate of the Furious was the hot-shot injection of jet fuel that the series needed, as far as I'm concerned.  And Vin Diesel may have given his best performance of the series in The Fate of the Furious.  He really seemed like an evil terrorist, but, at the same time, his grit and determination to manage the evil in order to protect his family feels genuine.

I also want to credit Universal Pictures and The Fate of the Furious in using Havana, Cuba as the setting for the film's opening scenes.  It is a love letter to a place that looks beautiful on film.  And The Fate of the Furious is also a crazy, mad, insane, and beautiful action movie.

8 of 10
A

Wednesday, June 23, 2021


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#28DaysofBlack Review: GET ON UP

[The late Chadwick Boseman portrayed four African-American historical figures, three of them as the lead actor.  His performance as James Brown in “Get on Up” is an example of why so many are devastated by his passing and also by the loss of what could have been.]

TRASH IN MY EYE No. 14 of 2021 (No. 1752) by Leroy Douresseaux

Get on Up (2014)
Running time:  139 minutes (2 hours, 19 minutes)
MPAA – PG-13 for sexual content, drug use, some strong language, and violent situations
DIRECTOR:  Tate Taylor
WRITERS:  Jez Butterworth & John-Henry Butterworth; from a story by Steven Baigelman and Jez Butterworth & John-Henry Butterworth
PRODUCERS:  Brian Grazer, Erica Huggins, Mick Jagger, Victoria Pearman, and Tate Taylor
CINEMATOGRAPHER:  Stephen Goldblatt
EDITOR:  Michael McCusker
COMPOSER:  Thomas Newman

BIOPIC/MUSIC/DRAMA

Starring:  Chadwick Boseman, Nelsan Ellis, Dan Aykroyd, Jamarion and Jordan Scott, Viola Davis, Lennie James, Fred Melamed, Jamal Batiste, Craig Robinson, Jill Scott, Octavia Spencer, Josh Hopkins, Brandon Mychal Smith, Tika Sumpter, Aunjanue Ellis, Tariq Trotter as Pee Wee Ellis, John Benjamin Hickey, and Allison Janney

Get on Up is a 2014 biographical film and musical drama directed by Tate Taylor.  The film is a fictional depiction of the life of singer, songwriter, recording artist, and concert performer, James Brown (1933-2006).  Get on Up chronicles the rise from extreme poverty of one of the most influential musical performers in history.

Get on Up opens in Augusta, Georgia, the year 1988.  James Brown (Chadwick Boseman), one of the world's most famous recording artists and performers, gets high on mix of marijuana and PCP.   He visits one of his businesses and discovers that someone from a nearby seminar has used his private restroom.  Furious, Brown confronts the seminar attendees while carrying a shotgun, which he accidentally fires into the ceiling.

The film then uses a nonlinear narrative, following James Brown's stream of consciousness, as he recalls events from his life.  We meet young James Brown (Jamarion and Jordan Scott), living in poverty with his mother, Susie Brown (Viola Davis), and abusive father, Joseph “Joe” Brown (Lennie James).  Eventually abandoned by both his parents, young James lives in a brothel run by his Aunt Honey Washington (Octavia Spencer).

Later, James joins “The Flames,” a gospel singing group fronted by his new friend, Bobby Byrd (Nelsan Ellis).  Soon, they become “The Famous Flames” and sing R&B songs, but within a decade James Brown is ready to go solo.  It would not be the last time James is willing to go it alone on the way to becoming one of the most influential singer, songwriters, musicians, producers, dancers, bandleaders, and recording artists of all time.

Director Tate Taylor and screenwriters Jez Butterworth & John-Henry Butterworth have fashioned of a story that looks at two sides of James Brown:  his musical talent and performances and his personal and professional relationships.  This allows Get on Up to give audiences what they want – lots of James Brown on stage – and to also tell a behind-the-music-like story of a complicated man.

Get on Up takes its title from a chorus in James Brown's 1970 hit, “Get Up (I Feel Like Being a) Sex Machine.”  Brown does indeed “get on up” every time he experiences something personally or professionally that could have brought him down and kept him down.  The thing that I can respect about this film is that it does not only portray Brown as someone who overcomes, but also portrays him as someone who does not appreciate that he was never alone in creating his success.  Late in the film, Brown breaks the fourth wall (one of many times he does this) to tell the audience that he “paid the cost to be the boss.”  However, he did not pay the cost alone, to which wives, girlfriends, lovers, children, band mates, and employees can certainly testify.

Through the impressive work of Get on Up's film editor, Michael McCusker. Tate Taylor jumps around time to show the many faces of this artist who was, in a way, a chameleon as a performer.  We see moments from the years:  1939, 1949, 1955, 1962, 1964, 1965, 1968, 1971, 1988, and 1993.  This time-shifting of the film's narrative also reveals the many dark times of Brown's life.

Everyone's work would not mean much without a great performer giving a great performance as James Brown, and Chadwick Boseman certainly does that.  Boseman fashions a James Brown that is perfect for the story that Get on Up tells, creating a Brown that is an inspired genius and a dictatorial general.  Boseman nearly buries himself in the role, and I often found myself forgetting that Get on Up is not a documentary and that the James Brown on screen was a portrait not the real man.  However, Boseman's dynamic performance gives us both sides, the public persona known as James Brown, the musical revolution, and the private James Brown, unyielding to family, friends, collaborators, and partners and beset by demons.

There are other good performances.  Viola Davis packs her own power into every scene in which she appears as Brown's mother, and Octavia Spencer's displays the naturalism of her acting that charms her audiences as well as her fellow thespians.  Nelson Ellis offers a rich and layered performance as Brown's longtime collaborator, Bobby Byrd, and twins Jamarion and Jordan Scott damn near steal Get on Up with their performances as young James Brown.

Because of Chadwick Boseman's tragic passing in 2020, Get on Up will largely be remembered for his performance.  That's a shame because Get on Up is a really good film and is one of the best contemporary biographies of an African-American figure and of an icon figure in popular music in recent memory.  So, I'll take both.  Get on Up captures the music and the madness of James Brown, and the film captures a truly great performance by an actor who was becoming great and greater still before he died.

9 of 10
A+

Monday, February 15, 2021


NOTES:
2015 Black Reel Awards:  3 nominations: “Outstanding Actor, Motion Picture” (Chadwick Boseman), :Outstanding Supporting Actor, Motion Picture” (Nelsan Ellis), and “Outstanding Ensemble” (Kerry Barden and Paul Schnee)

2015 Image Awards (NAACP):  5 nomination: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Chadwick Boseman), “Outstanding Supporting Actress in a Motion Picture” (Jill Scott), “Outstanding Supporting Actress in a Motion Picture” (Octavia Spencer), and “Outstanding Supporting Actress in a Motion Picture” (Viola Davis)

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Review: "Halloween" 2018 is a Crazy Film

TRASH IN MY EYE No. 2 of 2021 (No. 1740) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Halloween (2018)
Running time:  106 minutes (1 hour 46 minutes)
MPAA – R for horror violence and bloody images, language, brief drug use and nudity
DIRECTOR:  David Gordon Green
WRITERS:  David Gordon Green, Danny McBride, and Jeff Fradley (based on the characters created by John Carpenter and Debra Hill
PRODUCERS:  Malek Akkad, Bill Block, and Jason Blum
CINEMATOGRAPHER:  Michael Simmonds
EDITOR:  Timothy Alverson
COMPOSER:  Cody Carpenter, John Carpenter, and Daniel A. Davies

HORROR

Starring:  Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Nick Castle, Haluk Bilginer, Will Patton, Rhian Rees, Jefferson Hall, Toby Huss, Virginia Gardner, Dylan Arnold, Miles Robbins, Drew Scheid, Jibrail Nantambu, and Omar Dorsey

Halloween is a 2018 slasher-horror film from director David Gordon Green.  It is the eleventh installment in the Halloween film series and is a direct sequel to Halloween, the 1978 film that was the first in the series.  Halloween 2018 follows a post-traumatic woman as she plots the final showdown with the masked killer who has haunted her ever since he killed her friends and almost killed her forty years ago on Halloween night.

Halloween opens on October 29, 2018.  Michael Myers (Nick Castle) has been institutionalized at Smith's Grove Psychiatric Hospital for 40 years following his killing spree in Haddonfield on October 31, 1978.  Myers is being prepared for transfer to a maximum security prison, but the following day, as he is being transferred, Michael manages to escape and returns to Haddonfield.

In Haddonfield, Laurie Strode (Jamie Lee Curtis) is still living in fear of Michael Myers 40 years later.  She is drinking heavily and rarely leaves her fortified house deep in the woods.  Laurie is estranged from her adult daughter, Karen Nelson (Judy Greer), whom the state took away from Laurie when Karen was 12.  Karen's husband, Ray Nelson (Toby Huss), does not want Laurie around, but their daughter, Allyson (Andi Matichak), does keep in touch with her grandmother, Laurie.

When Laurie discovers that Michael has escape, she springs into action.  Deputy Frank Hawkins (Will Patton), who arrested Michael in 1978, seems to be the only other person who truly understands how dangerous Michael Myers is.  As they try to convince Laurie's family and the rest of Haddonfield that Michael (James Jude Courtney) is back, Laurie prepares for her final confrontation with Michael.

Halloween 2018 is called a “direct sequel” to the 1978 original, although I think the 2018 film is a hybrid that is a combination sequel, remake, reboot, and re-imagining of various elements of the Halloween film franchise.  If anything Halloween 2018 is inspired by Halloween 1978 and by the fables and culture surrounding it.

That would explain why Halloween 2018 seems incomplete in many ways.  Initially, the film presents Michael Myers as a man.  When he dons the mask, Michael becomes “The Shape,” which was how the original film's screenplay referred to him.  Ultimately, however, Myers is a slasher film villain and when he starts dispatching the denizens of Haddonfield, he becomes what he must be – a killing machine.  He kills so many other characters in this film that it just becomes pointless.  Apparently, Myers really wants to kill Laurie Strode, but while he strolls on over to his inevitable showdown with her, he must think why not kill a person or two … or three … or four.

What is this movie about, really?  I will freely admit that it is one of the most intensely scary movies that I have seen in recent years.  So is it about the post-traumatic woman that Laurie Strode is?  Is it about the multi-generational affects of violence?  Is it about Laurie vs. Michael, and if it is, why is Laurie vs. Michael a thing?  After all, Halloween 2018 “retcons” out the fact that Laurie Strode and Michael Myers are siblings, as movie audiences learned in 1981's underrated Halloween II.

The problem is that the original Halloween was a film that director John Carpenter wanted to make, while Halloween 2018 is something birthed by Halloween the cash cow film franchise.  Although, Halloween 2018 is very well directed by David Gordon Green, it is not cinematic art; it is simply film as entertainment product.

Halloween 2018 sells a familiar product to audiences, and this product is a scary movie that is supposed to deliver scares, which, once again, I will admit that it does indeed deliver.  The writers and director really deliver the horror movie wheelhouse tropes, but do so with the cost being truncated character drama and story development.  This film has some quality actors, led by Jamie Lee Curtis, and some quality acting, for instance Haluk Bilginer as Dr. Ranbir Sartain (an underutilized character).  But the actors' efforts with these characters feels abbreviated … because the film has to focus on Michael killing lots of characters in the most gruesome fashion.  Only child actor, Jibrail Nantambu, as the babysat kid, Julian Morrisey, makes the most of his character, and that is because his character has too little screen time to infer with Michael's killing spree.

However, I must state that if you, dear readers, want to be scared, Halloween 2018 will scare you.  It is a genuinely chilling, creepy, and scary film.  But I also want to make sure that I emphasize that the true “direct sequel” to Halloween 1978 is 1981's Halloween II.  Halloween 2018 was meant to be and is an effective cash cow, and if it were more that that, I would give it an even higher grade.

B+
7 of 10

Tuesday, December 1, 2020


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

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Amblin Partners Signs Deal with Universal Filmed Entertainment Group

Amblin Partners Announces New Multi-Year Film Distribution Partnership With Universal Filmed Entertainment Group

Alibaba Pictures, Entertainment One, NBCUniversal and Reliance Entertainment Continue as Amblin’s Investment Partners

Participant Transitions Out of Ownership Interest in Amblin Partners

UNIVERSAL CITY, Calif.--(BUSINESS WIRE)--Amblin Partners announced a new multi-year film distribution partnership with Universal Filmed Entertainment Group, as well as a series of new agreements that chart a clear course for the next phase of growth for one of the world’s leading independent film and television studios. The new deals were announced this morning by Steven Spielberg, Amblin’s Founder and Chairman.

    “Steven Spielberg and Amblin Partners have delivered award-winning critical and commercial hits that stand the test of time amongst films in the Universal canon. We’re proud to continue our partnership and reinvest in the future of Amblin Partners.”

Remarked Spielberg: “My decades-long relationship with Universal truly transcends any single business deal, and to once again renew our corporate vows reaffirms that Universal is Amblin’s home. In addition to Universal, we are blessed to continue forward with a global family of partners, including Alibaba, eOne and Reliance, each of which has supported us for many years and enabled our storytelling to touch the lives of millions of moviegoers around the world. I would also like to extend my deepest gratitude to my dear friends Jeff Skoll and David Linde for an incredible run as formal partners; and my congratulations on what I know will be a successful next chapter in Participant’s journey. While in a different form, we look forward to continuing our collaborations to create the type of culturally-impactful content that only Participant can deliver.”

Donna Langley, Chairman, Universal Filmed Entertainment Group, said: “Steven Spielberg and Amblin Partners have delivered award-winning critical and commercial hits that stand the test of time amongst films in the Universal canon. We’re proud to continue our partnership and reinvest in the future of Amblin Partners.”

Amblin’s continuing partnership with Universal Filmed Entertainment Group builds on a long history between the two companies, dating back to Spielberg’s arrival on the Universal lot as an intern in 1968. The new agreement further evolves the entities’ 2015 agreement that resulted in a number of critical and commercial hits, most recently Oscar Best Picture Winner Green Book, and 1917, which won three Oscars, two Golden Globes and grossed more than $385 million at the worldwide box office.

The new deal calls for multiple Amblin films to be marketed and distributed theatrically via Universal Pictures and Focus Features each year, while also providing Amblin with new opportunities in the streaming film marketplace. NBCUniversal has also agreed to re-invest in the Company, continuing its position as an equity holder and providing fresh capital to fund new production and development efforts across the Company’s film and television businesses.

Jeff Small, Amblin Partners CEO, commented: “Universal is simply the best in the business, and we are beyond fortunate to have Donna Langley and her team supporting our films. In addition, the evolution of our partnership provides flexibility for us to continue supplying the fast-growing streaming marketplace on an even greater scale, which will no doubt be a key growth driver for Amblin Partners in both film and TV in the years ahead.”

Alibaba Pictures, eOne and Reliance Entertainment will all continue as equity holders, with Alibaba releasing Amblin films in China; eOne releasing in the U.K., Spain, Australia, New Zealand and Benelux; and Reliance releasing in India.

Participant, which as a founding partner played a key role in the formation of Amblin Partners in 2015, will now exit its role as an equity holder of the Company. This transition will allow Participant flexibility with respect to distribution of its films, while still keeping open opportunities to work together with Amblin on future projects.

“We have enjoyed our relationship with Amblin Partners and are proud of the many notable films we have produced together,” stated Participant CEO David Linde. “Exiting our formal position will allow us the flexibility to evolve our business as our strategic goals and the marketplace dictates. Both Universal and Focus have been great distribution partners; and we have been incredibly fortunate to work closely with Steven, well pre-dating the formation of Amblin Partners, and look forward to finding new projects with him, Jeff Small and the entire Amblin team.”

Amblin also announced the close of an amended and restated syndicated revolving credit facility led by J.P. Morgan and Comerica. The facility continues longstanding relationships with a number of additional banking partners, and in total includes City National Bank, Union Bank, Wells Fargo Bank, Bank Hapoalim, CIT Bank, East West Bank, Fifth Third Bank, California Bank & Trust, Citizens Bank and Preferred Bank. The facility will fund ongoing corporate operations, as well as production and development activities for both film and television.

“For nearly three decades, J.P. Morgan has had the pleasure of working with Amblin through its many significant achievements and milestones,” said David Shaheen, Head of the West Region and Entertainment Industries Group for J.P. Morgan’s Corporate Client Banking business. “We are proud to support the ambitious and creative Amblin team as they write the next chapter of their impressive story.”


About Amblin Partners:
Amblin Partners is a film and television production company, led by Steven Spielberg, that develops and produces films using the Amblin Entertainment and DreamWorks Pictures banners, and includes Amblin Television. The Company’s investment partners include Reliance Entertainment, Entertainment One (eOne), Alibaba Pictures and Universal Pictures.

www.amblin.com

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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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Universal and Cinemark Sign Release Window Agreement for Exhibiting Universal Films

Universal Filmed Entertainment Group and Cinemark Theaters Announce Dynamic Release Window Agreement for Exhibition of Universal Films

This Dynamic Window Provides Flexibility by Allowing Films that Open to More Than $50 Million at the Box Office to Have At Least 31 Days of an Exclusive Theatrical Window, with All Other Titles Receiving a Minimum of 17 Days of Theatrical Exclusivity

UNIVERSAL CITY, Calif. & PLANO, Texas--(BUSINESS WIRE)--Building on the two companies’ shared commitment to the theatrical experience, while capitalizing on the opportunity to further adapt to changing consumer behavior, particularly in light of the current COVID-19 environment, Universal Filmed Entertainment Group (UFEG), a division of Comcast Corporation (NASDAQ: CMCSA), and Cinemark Holdings, Inc. (NYSE: CNK) today announced a multi-year agreement under which UFEG films will be exhibited in Cinemark theaters in the U.S.

    “We are extremely pleased to further enhance our strong partnership with Universal as we evolve the exclusive theatrical window”

The agreement includes at least three full weekends (17 days) of theatrical exclusivity for all Universal Pictures and Focus Features theatrical releases, at which time the studio will have the option to make its titles available across premium video on demand (PVOD) platforms. Under the terms of the deal, any title that opens to $50 million or more, including many franchise titles, will play exclusively in theaters for at least five full weekends (31 days) before the title may become available on PVOD.

“Universal’s century-long partnership with exhibition is rooted in the theatrical experience, and we are more committed than ever for audiences to experience our movies on the big screen,” said Donna Langley, Chairman, UFEG. “Mark Zoradi and the team at Cinemark have been outstanding partners, and Peter Levinsohn [Vice Chairman & Chief Distribution Officer, UFEG] has done a remarkable job on the studio’s behalf in making deals that give us the confidence to release our movies in the marketplace, keep the content pipeline moving, and provide consumers with the optionality that they are looking for.”

“We are extremely pleased to further enhance our strong partnership with Universal as we evolve the exclusive theatrical window,” said Mark Zoradi, Cinemark CEO. “We believe a more dynamic theatrical window, whereby movie theaters continue to provide an event-sized launching platform for films that maximize box office and bolsters the success of subsequent distribution channels, is in the shared best interests of studios, exhibitors and, most importantly, moviegoers.”

The full terms of the deal are confidential and are not being disclosed.

UFEG’s film slate, including titles from Universal Pictures, Focus Features and DreamWorks Animation, has five theatrical releases remaining on the 2020 calendar: The Croods: A New Age, Half Brothers, All My Life, News of the World, and Promising Young Woman.

About Universal Filmed Entertainment Group:

Universal Filmed Entertainment Group (UFEG) produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms. The global division includes Universal Pictures, Focus Features, Universal Pictures Home Entertainment, DreamWorks Animation Film and Television. UFEG is 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 networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

 

About Cinemark Holdings, Inc.:

Headquartered in Plano, TX, Cinemark (NYSE: CNK) is one of the largest and most influential movie theater companies in the world. Cinemark’s circuit, comprised of various brands that also include Century, Tinseltown and Rave, operates 534 theaters with 5,977 screens globally (332 theaters and 4,522 screens across 41 states domestically; 202 theaters and 1455 screens in 15 countries throughout South and Central America). Cinemark consistently provides an extraordinary guest experience from the initial ticket purchase to the closing credits, including Movie Club, the first U.S. exhibitor-launched subscription program; the highest Luxury Lounger recliner seat penetration among the major players; XD - the No. 1 exhibitor-brand premium large format; and expansive food and beverage options to further enhance the moviegoing experience. For more information go to https://ir.cinemark.com/.

 

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Review: "Hellboy II: The Golden Army" is Magical and Imaginative

TRASH IN MY EYE No. 33 (of 2008) by Leroy Douresseaux

Hellboy II: The Golden Army (2008)
Running time:  110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for sequences of sci-fi action and violence and some language
DIRECTOR:  Guillermo del Toro
WRITERS:  Guillermo del Toro; from a story by Guillermo del Toro and Mike Mignola (based upon the comic book by Mike Mignola)
PRODUCERS:  Lawrence Gordon, Lloyd Levin, Mike Richardson, and Joe Roth
CINEMATOGRAPHER:  Guillermo Navarro
EDITOR:  Bernat Vilaplana
COMPOSER:  Danny Elfman
Academy Award nominee

FANTASY/ACTION/HORROR with elements of comedy and drama

Starring:  Ron Perlman, Selma Blair, Doug Jones, Luke Goss, Anna Walton, Jeffrey Tambor, John Hurt, Roy Dotrice and Seth MacFarlane (voice)

In Hellboy II: The Golden Army, the breaking of an ancient truce between humankind and the denizens of the invisible realm means Hellboy, the big, red, horned hero, will have to face his toughest challenges to date – save the world and save his relationship with his favorite flammable chick.

In distant, ancient times, there was a war between humans and mythical creatures.  A Goblin built an unstoppable clockwork army for Balor, King of the Elves (Roy Dotrice), but Balor grieved when he saw the carnage inflicted upon humanity by this “Golden Army” of 4900 mechanical fighters.  Balor called for a truce that would allow humans to live in their cities and that would allow the mythical creatures to keep to the forests.  The Golden Army was locked away in a secret location.

Cut to present day, Balor’s son, Prince Nuada (Luke Goss), has returned from exile.  Having never agreed with the original truce between humanity and his father, Nuada sets about reuniting the three pieces of King Balor’s crown, the device that will allow him to raise the Golden Army.  This time, Prince Nuada will not stop the Golden Army until it has destroyed humanity.

Meanwhile, Hellboy (Ron Perlman) is having relationship issues with his girlfriend, Liz Sherman (Selma Blair), and chafing under a government order that the existence of Hellboy and the Bureau for Paranormal Research and Development (BPRD) must remain a secret.  When Prince Nuada launches his first attack on the human world, Hellboy, Liz, and their BPRD comrade, Ape Sapien (Doug Jones), a fish-man, must put aside their domestic issues.  Joined by Prince Nuada’s twin sister, Princess Nuala (Anna Walton), Hellboy and company take on the fight of their lives, but find their job complicated by a strange new special agent, Johann Krauss (voice of Seth MacFarlane), a gaseous being living in a containment suit.

Some filmmakers make movies that seem right out of a dream, one of them being Guillermo del Toro, the brilliant creator of such films as The Devil’s Backbone and Pan’s Labyrinth.  Hellboy II: The Golden Army is a sequel to del Toro’s 2004 movie Hellboy; both films are based upon the Hellboy comic books from creator Mike Mignola (who co-wrote this film’s story).  Hellboy II is a daydream, nightmare, hallucination and reverie right out of the deepest parts of minds, which still holds onto the fear of mythical creatures.  Del Toro mixes the gossamer-spun enchantment of a fairytales, the elegant gothic mood of old-school monster movies (especially from Universal Studios), and the kooky, but grand comic book monsters of Jack Kirby to create probably the most vivid and imaginative fantasy film since Lord of the Rings.

Hellboy II certainly has fanboy wit, the kind that will bring in fans of the Hellboy comic books, of comic books in general, and of fantasy and horror films.  Hellboy II, however, is an exercise in old-fashioned monster movie style; even the CGI creatures move like they were created by Ray Harryhausen.  And imagination: this film has imagination to burn.  Every nook and cranny, seemingly every frame of film, and every scene is occupied by fantastical creatures, weird people, bizarre beings.  Del Toro’s film doesn’t just claim that there is a shadowy other world next to ours, existing mostly unseen; Hellboy II brings that world to life.  From a “goblin market” under the Brooklyn Bridge to a giant, green forest god with tentacles and a mantis’ face stomping through New York City, the fantastic is made flesh.  And Hellboy II: The Golden Army is made great.

This film isn’t just another big budget special effects bonanza.  The heart of the film’s narrative is a tale of misfits that can’t hide what makes them bizarre-looking, outsider oddballs.  The public might initially embrace their fantastic looks, but the novelty soon wears off.  Does it make sense to save a world that doesn’t want you in it?  Because it asks this question and because of the way it tries to find answers, Hellboy II takes its place next to such magnificent fairy tale-based fantasy films as The Wizard of Oz and La belle et la bête.  Hellboy II is certainly among this year’s very best.

10 of 10

Sunday, August 03, 2008

Revised:  Friday, June 12, 2020

2009 Academy Awards, USA:  1 nomination: “Best Achievement in Makeup” (Mike Elizalde and Thomas Floutz)


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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Review: "Queen & Slim" Lives in Power

TRASH IN MY EYE No. 4 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Queen & Slim (2019)
Running time:  132 minutes
MPAA – R for violence, some strong sexuality, nudity, pervasive language, and brief drug use.
DIRECTOR:  Melina Matsoukas
WRITERS:  Lena Waithe (from a story by James Frey and Lena Waithe)
PRODUCERS:  Pamela Abdy, Andrew Coles, James Frey, Michelle Knudsen, Melina Matsoukas, Lena Waithe, and Brad Weston
CINEMATOGRAPHER:  Tat Radcliffe
EDITOR:  Pete Beaudreau

DRAMA

Starring:  Daniel Kaluuya, Jodie Turner-Smith, Bokeem Woodbine, Chloe Sevigny, Flea, Sturgill Simpson, Indya Moore, Benito Martinez, Jahi Di'Allo Winston, Soledad O'Brien, and Gayle King

Queen & Slim is a 2019 American drama, road movie, and romance film from director Melina Matsoukas and screenwriter Lena Waithe.  The film follows an African-American couple whose first date turns into a race for their lives after a confrontation with a violent white police officer.

Queen & Slim introduces Queen (Jodie Turner-Smith), a criminal defense attorney, and Slim (Daniel Kaluuya).  After three weeks of asking, Slim finally convinces Queen to have dinner with him.  After eating at an Ohio diner, Slim is driving Queen home when his presumably erratic driving attracts the attention of a police officer.  The white police officer (Sturgill Simpson) not only pulls the two over, but also makes Slim step out of the car.

Agitated, the officer draws his gun on Slim and shoots and wounds Queen.  In an attempt to save their lives, Slim tackles the officer, before grabbing the cop's gun and shooting him to death in self-defense.  At the urging of Queen, the couple go on the run, headed for God knows where... but it is a journey of self-discovery and maybe even of finding love where there was none.

Queen & Slim offers three excellent performances, by Daniel Kaluuya and Jodie Turner-Smith in leads roles and by Bokeem Woodbine in a supporting role.  Kaluuya portrays Slim as a man who feels that what happens in his life has already been decided by fate.  Turner-Smith presents Queen as a woman who has a view of life that is not so much cynical as it is matter-of-fact.  She seems to believe that people, to some extent, can shape their own lives, rather than be subjected to fate.

As a couple, Queen and Slim don't fit, so what the actors present is the evolution of two characters that see the other side on the way to understanding one another.  There isn't really a magic moment, so much as there is an evolution – a kind of romantic journey of discovery.

On the other hand, as Queen's Uncle Earl, Bokeem Woodbine offers an eye-opening performance as a man who has found his kingdom inside, away from an outside that has no regard for him.  The last several years as seen Woodbine finally getting roles in larger and in more prestige projects, ones that both show off his star quality and his acting range.

Queen & Slim is also, in many ways, the creation of its writer Lena Waithe and director Melina Matsoukas.  Waithe's screenplay, based on a story Waithe concocted from James Frey's initial idea and story, offers more than just an “African-American take on the infamous killer couple, Bonnie Parker and Clyde Barrow.”  It is a love story in which two people are forced to first discover and then plum the depths of each other's individual humanity in a way that much of country would refuse to do for either of them.  That is why this movie is not a crime drama, although the impetus for Queen and Slim's journey involves a crime.  Waithe's screenplay is a road movie that is also a romance, showing the power of Black romantic love to survive even when a maelstrom surrounds it.

In Queen & Slim, Melina Matsoukas presents a film of striking visual power.  Via Tat Radcliffe's gorgeous cinematography and Pete Beaudreau's sultry editing, Matsoukas drinks in the environments – from waterways and countrysides to rundown urban places and the interiors of old house – and finds the aching, painfully beauty in everything that surrounds the characters.  Even the off-kilter moments, shot at odd angles, draw the reader into the story.

And in the end that is what makes Queen & Slim an exceptional film – the story.  What begins as a contemporary tale of the kind of strife that seems timeless and eternal in the history of America becomes a story that hatches and becomes whole in the end.  Waithe and Matsoukas dare to make something different and are different enough to be daring.  So Queen & Slim is one of the best films, not only in 2019, but also in recent memory, and perhaps it will eventually be one for the ages.

9 out of 10
A+

Sunday, December 8, 2019


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Comedy Central Retains Its Exclusive Cable Rights to "The Office"

Viacom Renews The Office Through 2025

Comedy Central Extends (That’s What She Said) Exclusive Cable Rights for The Office Through 2021

Viacom Also Renews Parks and Recreation Cable Rights through 2024

http://www.cc.com/

NEW YORK--(BUSINESS WIRE)--Viacom (NASDAQ: VIAB, VIA) announced continued stays in Scranton, Pennsylvania and Pawnee, Indiana. Under the new pact with NBCUniversal, Comedy Central extended its exclusive cable deal for legendary comedy The Office through 2021. After that, the series will continue to air through 2025 in a non-exclusive window on Viacom Media Networks. Additionally, Viacom renewed its cable deal for equally iconic sitcom Parks and Recreation. All 125 episodes will be able to air on Comedy Central, the #1 brand in comedy, through 2024.

“Keeping the exclusive rights to The Office through 2021 is a coup for Comedy Central and Viacom,” said Tanya Giles, GM of Comedy Central, Paramount Network, TV Land and Assistant to the Regional Manager of Dunder Mifflin. “Since acquiring it, we’ve reinvigorated the franchise on linear, drawing big audiences throughout our full day schedule. It’s also been a key lead-in to help drive viewers to our own original, acclaimed comedies. We’re so excited to keep it on our air that we wouldn’t even trade it for an iPod.”

For Viacom, the deal was closed by Barbara Zaneri, EVP, Viacom Program Acquisitions Group (VPAG) for an undisclosed sum, along with a World’s Best Boss mug and a new statue of Li’l Sebastian for the NBCUniversal lot. Previously this year VPAG acquired the exclusive cable rights to Seinfeld.

The Office is an American television sitcom that aired on NBC from March 24, 2005 to May 16, 2013, lasting nine seasons and 201 episodes. It is an adaptation of the original BBC series of the same name and was adapted for American television by Greg Daniels, a veteran writer for “Saturday Night Live.” It was produced by Universal Television in association with Daniels’ Deedle-Dee Productions and Reveille Productions. The series depicts the everyday lives of office employees in the Scranton, Pennsylvania branch of the fictional Dunder Mifflin Paper Company. To simulate the look of an actual documentary, it was filmed in a single-camera setup, without a studio audience or a laugh track. The Office starred Steve Carell, Rainn Wilson, John Krasinski, Jenna Fischer, B.J. Novak, Melora Hardin, Ed Helms, Mindy Kaling, Craig Robinson, Ellie Kemper, Kate Flannery, Angela Martin, Phyllis Smith, Leslie David Baker, Oscar Nunez, Brian Baumgartner, Creed Bratton, Paul Lieberstein, Rashida Jones, Amy Ryan and others.

Parks and Recreation is an American political satire television sitcom that aired on NBC from April 9, 2009 to February 24, 2015, lasting for seven seasons and 125 episodes. The series was created by Greg Daniels and Michael Schur and produced by Universal Television in association with Deedle-Dee Productions and Fremulon. It presents a documentary-style look into the everyday lives and antics of public officials, who work in the local Parks and Recreation office and pursue various projects to make their fictional town of Pawnee, Indiana, a better place. To simulate the look of an actual documentary, it was filmed in a single-camera setup without a studio audience or a laugh track. The series starred Amy Poehler, Rashida Jones, Aziz Ansari, Nick Offerman, Aubrey Plaza, Chris Pratt, Adam Scott, Rob Lowe, Retta, Jim O’Heir, Paul Schneider, Billy Eichner, amongst others.


About VPAG
Viacom Program Acquisitions Group (VPAG) is responsible for the coordination of program acquisitions across multiple Viacom platforms and brands. VPAG harnesses the collective buying power of Viacom in negotiating series and movie licenses by synchronizing multi-channel deals and program buys across the Company portfolio.

About Viacom
Viacom creates entertainment experiences that drive conversation and culture around the world. Through television, film, digital media, live events, merchandise and solutions, our brands connect with diverse, young and young at heart audiences in more than 180 countries.

For more information on Viacom and its businesses, visit www.viacom.com. Keep up with Viacom news by following us on Twitter (twitter.com/viacom), Facebook (facebook.com/viacom) and LinkedIn (linkedin.com/company/viacom).

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Movie Review: "Hobbs & Shaw" a Good Start for a Spin-Off Series

TRASH IN MY EYE No. 15 (of 2019) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Fast & Furious Presents: Hobbs & Shaw (2019)
Running time: 135 minutes; MPAA – PG-13 for prolonged sequences of action and violence, suggestive material and some strong language
DIRECTOR:  David Leitch
WRITERS:  Chris Morgan and Drew Pearce; based on Chris Morgan (based on the characters created by Gary Scott Thompson)
PRODUCERS:  Hiram Garcia, Dwayne Johnson, Chris Morgan, and Jason Statham
CINEMATOGRAPHER:  Jonathan Sela
EDITORS:  Christopher Rouse
COMPOSER:  Tyler Bates

ACTION

Starring:  Dwayne Johnson, Jason Statham, Idris Elba, Vanessa Kirby, Helen Mirren, Eiza Gonzalez, Eddie Marsan, Eliana Su'a, Cliff Curtis, Rob Delaney, and Lori Pelenise Tuisano,  with (no screen credit) Kevin Hart and Ryan Reynolds

Fast & Furious Presents: Hobbs & Shaw is a 2019 action movie from director David Leitch.  It is a spin-off from The Fast and the Furious movie franchise.  Hobbs & Shaw focuses on a federal agent and a mercenary who are forced to work together to keep a super-human villain from obtaining a deadly virus that could lead to human extinction.

Fast & Furious Presents: Hobbs & Shaw opens in London where Hattie Shaw (Vanessa Kirby) and her team of MI6 agents attempt to retrieve a virus, known as “Snowflake.”  This virus can be programmed to decimate millions of people, and the mysterious terrorist and tech organization, “Eteon,” wants it.  Brixton Lore (Idris Elba) is an Eteon operative with advanced cybernetic implants inside his body that allow him to perform superhuman feats.  Eteon has assigned Lore to obtain Snowflake, but before he can do so, Agent Shaw escapes with the virus.  So Lore uses Eteon's media sources to brand Shaw a traitor who killed her team.

Lawman Luke Hobbs (Dwayne Johnson) is a federal agent working for the DSS (Diplomatic Security Service).  Deckard Shaw (Jason Statham) is a former British Special Forces assassin-turned-mercenary.  Hobbs and Shaw are both informed of the missing Snowflake virus and are assigned to work together to find it and Hattie Shaw, who is Deckard's estranged sister.  Hobbs and Shaw have a troubled history together and refuse to team-up.  However, Brixton Lore's advanced cybernetic implants give him strength and speed far beyond that of normal humans.  He is practically a “Black Superman,” and if Hobbs and Shaw want to stop him, they will have to stop him together.

Fast & Furious Presents: Hobbs & Shaw is not a great movie, but it is an entertaining action movie.  If you, dear reader, like the crazy car chases offered by The Fast and Furious franchise, Hobbs & Shaw offers wreck-filled automobile chase scenes that recall the great Mad Max: Fury Road.  Luxury sports cars, souped-up trucks, military vehicles, motorcycles, drones, and more tear across roads, onto walls, and over buildings.  This is a non-stop thrill-machine of car chases, crashes, and wrecks.

I do have to be honest.  I think Dwayne Johnson and Jason Statham's screen chemistry seems forced.  It will probably get better in potential sequels.  Personally, I am not crazy about actress Vanessa Kirby; she just doesn't work for me.  Idris Elba delivers a good performance, but he could have made Brixton Lore a remarkable villain is this film's screenwriting were better.

Hobbs & Shaw also offers some surprise appearances by actors who are not featured or emphasized in any of the film's trailers and previews:  Ryan Reynolds, Kevin Hart, and Helen Mirren.  Reynolds and Hart are actually quite good in their supporting roles; Mirren's role (as Magdalene Shaw, Deckard and Hattie's mother) feels contrived and forced.  If there is a sequel to this film, Reynolds and Hart must return in bigger roles.

I do think that Fast & Furious Presents: Hobbs & Shaw runs too long by about 15 or 20 minutes.  The last act is mixed – exciting action set pieces, but the family reunion melodrama is forced.  Maybe the thing that keeps Hobbs & Shaw from being as good as the best Fast & Furious films is that too much of it feels forced.  The filmmakers want this movie to be “2 fast, 2 furious,” but the movie often feels too forced and too contrived.  They need 2 relax.

Fast & Furious Presents: Hobbs & Shaw has the ingredients to start a quality action movie franchise.  Warts and all, this first movie is a good start.

6 out of 10
B

Saturday, August 3, 2019


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Amblin Announces Sigourney Weaver and Kevin Kline for "The Good House"

Sigourney Weaver and Kevin Kline to Star in Adaptation of New York Times Best Seller The Good House for Amblin Partners

LOS ANGELES--(BUSINESS WIRE)--Amblin Partners announced today that three-time Oscar®-nominee Sigourney Weaver and Oscar®-winner Kevin Kline will star in the adaptation of the New York Times Best Seller, The Good House, which begins production in Canada this week.

    Amblin Partners announces Sigourney Weaver and Kevin Kline in film adaptation of New York Times Best Seller THE GOOD HOUSE.

The film will be directed by four-time Emmy®-nominee Maya Forbes ("The Larry Sanders Show") and two-time Emmy®-winner Wally Wolodarsky,("The Simpsons," "The Tracey Ullman Show") based on a script they co-wrote, adapted from Ann Leary’s novel The Good House.

The Good House follows Hildy Good (Weaver), a wry New England realtor and descendant of the Salem witches, who loves her wine and loves her secrets. Her compartmentalized life starts to unravel as she rekindles an old romance and becomes dangerously entwined in one person’s reckless behavior.

The project is produced by Emmy® Award-winner Jane Rosenthal (The Irishman, When They See Us), Emmy® Award-nominee Berry Welsh (The Irishman, Wizard of Lies) and Oscar®-nominee Aaron Ryder (Arrival, The Prestige) of FilmNation Entertainment. Executive producers are Erika Hampson, Christos V. Konstantakopoulos and Steve Samuels.

Weaver is well known for her Oscar®-nominated roles in Aliens, Working Girl, and Gorillas in the Mist: The Story of Dian Fossey, as well as her leading role as Dr. Grace Augustine in the Avatar franchise.

Kline won an Oscar® for his supporting role in A Fish Called Wanda and is recognized by audiences worldwide for his roles in Sophie’s Choice, The Big Chill, De-Lovely and Beauty and the Beast. He is a three-time Tony Award®-winner, most recently being awarded Best Actor in a Play for his role in the 2017 revival of Present Laughter.

Weaver and Kline previously appeared on screen together in 1993’s Oscar®-nominated comedy Dave and the 1997 drama The Ice Storm.

The film will be released by Universal Pictures domestically. Amblin Partners and Universal will share international distribution rights.

Weaver and Kline are both represented by the United Talent Agency. Kline is managed by Berwick & Kovacik.


About Amblin Partners
Amblin Partners is a film and television production company, led by Steven Spielberg, that develops and produces films using the Amblin Entertainment, DreamWorks Pictures and Participant Media banners and includes Amblin Television, a longtime leader in quality programming. The company’s investment partners include Participant Media, Reliance Entertainment, Entertainment One (eOne), Alibaba Pictures and Universal Pictures.

www.amblin.com

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"No Time to Die" is the Title of the Next James Bond Film

NO TIME TO DIE is the official title of Bond 25

Daniel Craig returns in his fifth 007 film

James Bond Producers, Michael G. Wilson and Barbara Broccoli today released the official title of the 25th James Bond adventure, NO TIME TO DIE. The film, from Albert R. Broccoli’s EON Productions, Metro Goldwyn Mayer Studios (MGM), and Universal Pictures International is directed by Cary Joji Fukunaga (Beasts of No Nation, True Detective) and stars Daniel Craig, who returns for his fifth film as Ian Fleming’s James Bond 007.

Written by Neal Purvis & Robert Wade (SPECTRE, SKYFALL), Cary Joji Fukunaga, Scott Z. Burns (Contagion, The Bourne Ultimatum) and Phoebe Waller-Bridge (Killing Eve, Fleabag) NO TIME TO DIE is currently in production. The film will be released globally from April 3, 2020 in the UK through Universal Pictures International and in the US on April 8, 2020, from MGM via their United Artists Releasing banner.

NO TIME TO DIE also stars Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Billy Magnussen, Ana de Armas, Rory Kinnear, David Dencik, Dali Benssalah with Jeffrey Wright and Ralph Fiennes.

In NO TIME TO DIE, Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.

Other members of the creative team are; Composer Dan Romer, Director of Photography Linus Sandgren, Editors Tom Cross and Elliot Graham, Production Designer Mark Tildesley, Costume Designer Suttirat Larlarb, Hair and Make up Designer Daniel Phillips, Supervising Stunt Coordinator Olivier Schneider, Stunt Coordinator Lee Morrison and Visual Effects Supervisor Charlie Noble. Returning members to the team are; 2nd Unit Director Alexander Witt, Special Effects and Action Vehicles Supervisor Chris Corbould and Casting Director Debbie McWilliams.

Press release from https://www.007.com/no-time-to-die-is-the-official-title-of-bond-25/

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