Review: "JURASSIC WORLD: Dominion" Ends Trilogy with its Best Film

TRASH IN MY EYE No. 50 of 2022 (No. 1862) by Leroy Douresseaux

Jurassic World: Dominion (2022)
Running time: 147 minutes (2 hours, 27 minutes)
MPA – PG-13 for intense sequences of action, some violence and language
DIRECTOR:  Colin Trevorrow
WRITERS:  Colin Trevorrow and Emily Carmichael; from a story by Colin Trevorrow and Derek Connolly (based on characters created by Michael Crichton)
PRODUCERS:  Patrick Crowley and Frank Marshall
CINEMATOGRAPHER:  John Schwartzman (D.o.P.)
EDITOR:  Mark Sanger
COMPOSER:  Michael Giacchino

SCI-FI/ACTION/ADVENTURE/THRILLER

Starring:  Chris Pratt, Bryce Dallas Howard, Laura Dern, Sam Neill, Jeff Goldblum, DeWanda Wise, Mamoudou Athie, Isabella Sermon, Campbell Scott, Justice Smith, Daniella Pineda, Omar Sy, Scott Haze, Dichen Lachman, and B.D. Wong

Jurassic World: Dominion is a 2022 science fiction and action-adventure and dinosaur film from director Colin Trevorrow.  It is the direct sequel to Jurassic World: Fallen Kingdom (2018) and the final film in a trilogy that began with the 2015 film, Jurassic World.  Dominion also ties up the story line that began with the 1993 film, Jurassic Park.  Dominion focuses on the heroes of two film trilogies as they try to stop a corporation's genetic experiments from endangering the world.

Jurassic World: Dominion opens three decades after the events depicted in Jurassic Park and four years after the cataclysmic volcanic eruption on Isla Nublar and the incidents at Lockwood Estate (as seen in Jurassic World: Fallen Kingdom).  Dinosaurs, no longer extinct, freely roam the Earth, causing ecological problems and the deaths of numerous humans – 37 in just the past year.  International corporation, Biosyn Genetics, has won the sole rights to collect dinosaurs, and it has created a dinosaur sanctuary in the Dolomite Mountains of Italy.

Meanwhile, Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard), former employees of the disastrous “Jurassic World” theme park, are still working to protect dinosaurs.  Claire works with a dinosaur protection organization and investigates illegal dinosaur breeding sites.  Owen works as a wrangler, relocating stray dinosaurs.  They live together in a remote cabin in the Sierra Nevada Mountains where they secretly raise 14-year-old Maisie Lockwood (Isabella Sermon), the granddaughter of the late Benjamin Lockwood and the granddaughter who turned out to a clone of Benjamin's late daughter, Charlotte Lockwood.  Living nearby is Blue, one of the Velociraptors (raptors) that Owen once trained at Jurassic World.  She is a mother, having given birth to a baby raptor that Owen named “Beta.”

It turns out that Lewis Dodgson (Campbell Scott), the CEO and owner of Biosyn, wants to possess both Maisie and Beta for the goldmine of information that their genes are.  Meanwhile, the original Jurassic heroes:  paleobotanist, Dr. Ellie Sattler (Laura Dern); paleontologist, Dr. Alan Grant (Sam Neill); and chaos theorist, Dr. Ian Malcolm (Jeff Goldblum), are also investigating Biosyn's dark plans.  But can they infiltrate Biosyn and avoid a hoard of hungry dinosaurs?

A few months ago, I read a review of Jurassic World: Dominion in which the reviewer said that the presence of the star trio of Jurassic Park:  Ellie, Alan, and Ian, diminished the presence of Jurassic World's star couple, Claire and Owen.  I disagree.  Actually, Chris Pratt and Bryce Dallas Howard make the most of every minute in which their characters are on screen.  In fact, I believe that the film is more about Claire and Owen than it is about Ellie, Alan, and Ian, although they are a huge part of the film's narrative.  I see the union of Jurassic Park's biggest characters and Jurassic World's biggest as the best of both worlds.  Frankly, this union should have happened in the first Jurassic World film.

In addition to the stars, Dominion sees the return of previous franchise supporting characters.  Omar Sy returns as Barry Sembene, Owen's fellow animal trainer from Jurassic World.  BD Wong's Dr. Henry Wu only appeared in the original Jurassic Park, but has appeared in all three Jurassic World films.  Dominion offers Henry a chance at redemption.  Dominion also offers two killer new characters, DeWanda Wise's Kayla Watts, a pilot who could be straight out of yesteryear's adventure serials – except Black women were not pulp fiction heroes.  Mamoudou Athie is espionage-cool as Ramsay Cole, the head of communications at Biosyn Genetics.

However, Jurassic World: Dominion is not really about stories or characters.  Yes, there is a lot going on; the movie is essentially a … park full of subplots, all around a basic (thin) plot – which is to stop Biosyn.  Dominion is really a science fiction action-adventure movie filled with action scenes.  There must be about twenty or so action set pieces:  a race to escape illegal breeders; a stop the poachers fight; run away from the giant, killer locusts; and running away from the dinosaurs in the forest, on a frozen pond, in plane, in a cave, etc.

And it all works.  The cast, director, writers, and crew of editors, sound, cameras, stunts, visual effects, assistants and everyone else.  They all come together to make a thrill machine of a movie with action scenes that keep the viewer too occupied to notice the lapses in logic and common sense.

In the first trilogy, the films that followed Jurassic Park were inferior to it.  In the Jurassic World trilogy, the final film is the best of the lot.  Bringing in so many characters from previous films is a good idea.  Putting them in a series of well-staged action scenes is another good idea.  Giving us a happy ending full of happy endings and heartwarming resolutions is an even better idea.  Jurassic World: Dominion is not a great film, but it is a very satisfying conclusion to what started back in 1993, when Jurassic Park made us believe that its dinosaurs were real.

7 of 10
B+
★★★½ out of 4 stars

Saturday, August 27, 2022


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Review: 2022 Version of "DEATH ON THE NILE" Is Dark and Edgy on the Nile

TRASH IN MY EYE No. 31 of 2022 (No. 1843) by Leroy Douresseaux

Death on the Nile (2022)
Running time:  127 minutes (2 hours, 7 minutes)
MPA – PG-13 for violence, some bloody images, and sexual material
DIRECTOR: Kenneth Branagh
WRITER: Michael Green (based on the novel by Agathie Christie)
PRODUCERS:  Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Kevin J. Walsh, and Ridley Scott
CINEMATOGRAPHER:  Haris Zambarloukos (D.o.P.)
EDITOR:  Una Ni Dhonghaile
COMPOSER:  Patrick Doyle

MYSTERY

Starring:  Kenneth Branagh, Gal Gadot, Armie Hammer, Tom Bateman, Annette Bening, Russell Brand, Letitia Wright, Sophie Okonedo, Emma Mackey, Rose Leslie, Ali Fazal, Rose Leslie, Jennifer Saunders, Dawn French, and Naveed Kahn

Death on the Nile is a 2022 mystery film directed by Kenneth Branagh.  It is based on the 1937 novel, Death on the Nile, written by Agatha Christie (1890-1976).  In Death on the Nile the movie, Hercule Poirot investigates the murder of a young heiress that occurs on a ship sailing the Nile

Death on the Nile finds famous detective, Hercule Poirot (Kenneth Branagh), embarking on a luxurious cruise on the Nile River in Egypt.  Poirot is delighted to discover that his friend, Bouc (Tom Bateman), will also be aboard the ship named the “Karnak.”

Also aboard are the newlyweds:  wealthy heiress, Linnet Ridgeway (Gal Gadot), and her husband, Simon Doyle (Armie Hammer).  While in Egypt on their honeymoon, they are being stalked and hounded by Simon's former fiancé, Jacqueline “Jackie” de Bellefort (Emma Mackey), who was also Linnet's close friend.

When Linnet is found shot to death aboard the Karnak, Jackie is the most obvious culprit, but there are others on board who have reason to want Linnet dead.  There is Linnet's maid, Louise Bourget (Rose Leslie), who was bitter because her mistress sabotaged her engagement.  Linnet's attorney and estate trustee, Andrew Katchadourian (Ali Fazal), was stealing from her, although they were cousins.  Linnet's godmother, Maria van Schuyler (Jennifer Saunders), is a socialist who gave away her wealth, but stands to inherit some of Linnet's estate.  Bowers (Dawn French), van Schuyler's nurse, blamed Linnet's father for financially ruining her family.

Salome Otterbourne (Sophie Okonedo), a brassy blues and jazz singer and guitarist, and Rosalie (Letitia Wright), her niece and manager, were once the target of a racist complaint by Linnet.  However, Rosalie became Linnet's friend in boarding school and admits that there are reasons to both hate and love Linnet.  Dr. Windlesham (Russell Brand) was once engaged to Linnet, but she left him for Simon.  Bouc's mother, Euphemia (Annette Bening), resented Linnet for introducing Bouc to Rosalie.

Poirot must uncover the identity of the killer.  He better hurry because the bodies are starting to pile up.

In this new version of Death on the Nile, there is an attention to detail.  The audience can see it in the lighting, the hair and make-up, the costumes, the art direction, the editing, and the score.  This is also to create Hercule Poirot's world of light and much darkness and shadows.  Early in the film, writer Michael Green and director Kenneth Branagh take us to the World War I life of Poirot, tragedy on the battlefield and off sets the stage for what would become the future great detective's world.  Shadowy nightclubs filled with earthy blues and showy jazz music; sumptuous desserts; lavishly appointed night people; sunny paradises; and exotic locales – everything has a dark side.  It does not matter how golden hued anything is; there is darkness.  Even the dark side has a darker side.

All the performances are topnotch; Branagh even gets a showy transformation from comedian Russell Brand, here, being his best PBS Masterpiece self.  Good acting sells Death on the Nile's central theme that envy, greed, lust, and pride will destroy friends and lovers.  They will even lead to murder most foul, of course.

Branagh takes the cynicism of post-war American Film-Noir and pours it all over Dame Agatha Christie's storytelling.  Rarely has such cinematic beauty dressed so much evil and darkness.  The lovely meets the lethal.

Death on the Nile 2022 starts slow and drags for some time.  For a time, it takes Sophie Okonedo lip-syncing Sister Rosetta Tharpe to give the film early heat.  Linnet Ridgeway's murder, however, lights a fire under Death on the Nile as it moves to its ending of triumphant tragedy.  There is no victory in the resolution of this case – only hurt and grief.  Maybe, hurt and grief are the victors.  The viewers are also victors, as Branagh orchestrates another unique and winning take on the cozy, old mysteries of Agatha Christie.

8 out of 10
A
★★★★ out of 4 stars

Saturday, May 14, 2022


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Review: 1978 Version of "DEATH ON THE NILE" Still Has Some Charms

TRASH IN MY EYE No. 29 of 2022 (No. 1841) by Leroy Douresseaux

Death on the Nile (1978)
Running time:  140 minutes (2 hours, 20 minutes)
MPAA – PG
DIRECTOR: John Guillermin
WRITER: Anthony Shaffer
PRODUCERS:  John Brabourne and Richard Goodwin
CINEMATOGRAPHER:  Jack Cardiff (D.o.P.)
EDITOR:  Malcolm Cooke
COMPOSER:  Nino Rota
Academy Award winner

MYSTERY

Starring:  Peter Ustinov, Mia Farrow, Simon MacCorkindale, Jane Birkin, Lois Chiles, Bette Davis, Jon Finch, Olivia Hussey, I.S. Johar, George Kennedy, Angela Lansbury, David Niven, Maggie Smith, Jack Warden, Harry Andrews, and Sam Wanamaker

Death on the Nile is a 1978 British mystery film directed by John Guillermin.  It is based on the 1937 novel, Death on the Nile, written by Agatha Christie (1890-1976).  Death on the Nile the movie finds Hercule Poirot investigating the murder of a newlywed heiress, committed during a luxurious cruise.

Death on the Nile finds famous detective Hercule Poirot (Peter Ustinov) embarking on a luxurious cruise on the Nile River in Egypt.  Poirot is delighted to discover that his friend, Colonel Race (David Niven), will also be aboard the Nile paddle steamer, the “S.S. Karnak.”

Also aboard are the newlyweds:  wealthy heiress, Linnet Ridgeway (Lois Chiles), and her husband, Simon Doyle (Simon MacCorkindale).  While in Egypt on their honeymoon, they are being stalked and hounded by Simon's former fiancé, Jacqueline “Jackie” de Bellefort (Mia Farrow), who was also Linnet's close friend.

When Linnet is found shot to death aboard the Karnak, Jackie is the most obvious culprit, but there are others on board who have reason to want Linnet dead.  There is Linnet's maid, Louise Bourget (Jane Birkin), who was bitter due to her mistress' refusal to grant her a promised dowry.  Linnet's shady American attorney and estate trustee, Andrew Pennington (George Kennedy), whom she called “Uncle Andrew,” was stealing from her.  Elderly American socialite, Mrs. van Schuyler (Bette Davis), is a kleptomaniac who wanted to steal Linnet's pearl necklace.  Miss Bowers (Maggie Smith), van Schuyler's nurse, blamed Linnet's father for financially ruining her own father.

Linnet was suing Salome Otterbourne (Angela Lansbury), a brassy romance novelist, for libel regarding a similarity between Linnet and one of the characters in Otterbourne's novel, “Passion Under the Persimmon Tree.”  Meanwhile, Mrs. Otterbourne's daughter, Rosalie (Olivia Hussey), was anxious to protect her mother from financial ruin.  Linnet was also threatening to expose Dr. Ludwig Bessner (Jack Warden), a Swiss psychiatrist faced with exposure because his unorthodox treatments affected one of Linnet's friends.  Finally, Jim Ferguson (Jon Finch) is an outspoken Communist, and he resented Linnet's wealth.

Can Poirot uncover the identity of the killer before the Karnak reaches the end of its journey?  He better hurry because the bodies are starting to pile up.

If I had heard of this 1978 take on Death on the Nile, I did not remember it.  I decided to watch it when I learned that director Kenneth Branagh was directing a new film version of Agatha Christie's novel, which was released to theaters earlier this year (2022).  Branagh also directed a 2017 film version of Christie's world famous novel, Murder on the Orient Express.

I enjoyed the 1978 Death on the Nile, but not as much as I enjoyed the 1974 Murder on the Orient Express, which starred Albert Finney as Hercule Poirot.  When Finney decided not to return for Death on the Nile, actor Peter Ustinov was cast to play Poirot.  Finney's Poirot had a humorous side, but he was deadly serious about his profession and did not suffer fools.  Ustinov's Poirot is playful, but conceited, and even a bit randy.

Death on the Nile is a sedate film, its narrative lazily moving through this plot to match the languid pace with which the S.S. Karnak sails the Nile.  The performances are nice, but a number of luminaries who appear in this film, including Bette Davis, Angela Lansbury, and Maggie Smith, are merely passing through this film and resting on their laurels..  However, Mia Farrow proves just how good and perfect she is at playing crazy, unbalanced, and unstable characters.

Death on the Nile 1978 is a nice whodunit film and cozy mystery movie, and I would probably watch it again.  At times, it seems to be a surprisingly average and somewhat uninspired film, but, on the other hand, it has its charms.

5 out of 10
B-
★★½ out of 4 stars

Tuesday, May 10, 2022


NOTES:
1979 Academy Awards, USA:  1 win: “Best Costume Design” (Anthony Powell)

1979 BAFTA Awards:  1 win: “Best Costume Design” (Anthony Powell); 3 nominations: “Best Actor” (Peter Ustinov), “Best Supporting Actress” (Angela Lansbury), and “Best Supporting Actress” (Maggie Smith)

1979 Golden Globes, USA:  1 nomination: “Best Foreign Film” (England)


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Review: "NIGHTMARE ALLEY" is One of 2021's Very Best Films

TRASH IN MY EYE No. 27 of 2022 (No. 1839) by Leroy Douresseaux

Nightmare Alley (2021)
Running time:  150 minutes (2 hours, 30 minutes)
MPA – R for strong/bloody violence, some sexual content, nudity and language
DIRECTOR:  Guillermo del Toro
WRITERS: Guillermo del Toro and Kim Morgan (based on the novel by William Lindsay Gresham)
PRODUCERS:  Guillermo del Toro, J. Miles Dale, and Bradley Cooper
CINEMATOGRAPHER:  Dan Laustsen (D.o.P.)
EDITOR:  Cameron McLauchlin
COMPOSER:  Nathan Johnson
Academy Award nominee

DRAMA/FILM-NOIR

Starring:  Bradley Cooper, Cate Blanchett, Rooney Mara, Toni Collette, Willem Dafoe, Richard Jenkins, Ron Perlman, Mary Steenburgen, Peter MacNeill, David Strathairn, Mark Povinelli, Holt McCallany and Paul Anderson

Nightmare Alley is a 2021 neo-noir crime thriller and drama directed by Guillermo del Toro.  The film is an adaptation of the 1946 novel, Nightmare Alley, which was written by William Lindsay Gresham.  Nightmare Alley the film focuses on a drifter who works his way from low-ranking carnival employee to acclaimed psychic medium on his way to his self-made doom.

Nightmare Alley opens in 1939 and introduces Stanton “Stan” Carlisle (Bradley Cooper).  A drifter, Stan gets a job at a carnival operated by Clement “Clem”Hoatley (Willem Dafoe).  He begins working with the carnival's clairvoyant act, “Madame Zeena,” (Toni Collette) and her alcoholic husband, Peter “Pete” Krumbein (David Strathairn).  They use coded language and cold reading tricks, which Pete keeps in a secret book.  Although Pete teaches tricks to Stan, he also warns him against using these tricks to be a mentalist that pretends to speak to the dead, known as a “spookshow.”

Stan becomes attracted to a fellow performer, Mary Margaret “Molly” Cahill (Rooney Mara), and he eventually convinces her to leave with him.  Two years later, Stan has successfully reinvented himself with a psychic act for the wealthy elite of Buffalo, and Molly is his assistant.  His act has attracted the attention of consulting psychologist, Dr. Lilith Ritter (Cate Blanchett), and she is determined to reveal him as a fraud.  Thus, begins a cat and mouse game between Stan and Lilith that will destroy lives.

Nightmare Alley is not the first film adaptation of William Lindsay Gresham's novel.  Hollywood legend Tyrone Power starred in a 1947 version in a bid to escape from the kinds of films (romance and adventure) that had made him a Hollywood star, but had also relegated him to the same kinds of roles (romantic leads and swashbuckling heroes).  From what I have read, Guillermo del Toro's 2021 version is more faithful to original novel than the 1947 film.

Some excellent and even great films are ruined or nearly ruined by their endings.  Del Toro's Nightmare Alley is solidified as a great film because of its ending, which brings back elements from the beginning of the film.  Bradley Cooper's Stan Carlisle is a doomed fool, a man consumed by greed and self-interest.  As his lust for power and greed for money and fame become more evident, Nightmare Alley turns truly prophetic.  A con man's ultimate mark is himself, and Stan never paid attention to the warnings, especially those that came when he first started working for Clem.

Although Cooper's status as the lead actor playing the lead character allows him to deliver a powerful performance, others in Nightmare Alley are also quite good.  Toni Collette, always good, is lovely here as the saintly, whorish, motherly Madame Zeena, while David Strathairn, also always good, is excellent as the pitiful prophet and father figure, Pete.  Cate Blanchett, decked in top notch hair and make-up and costumes, is the femme fatale as demoness, Lilith Ritter.  The film's best performance, however, is delivered by Rooney Mara, who in subtle shades and quiet gestures represents kind people in this film.  In a film determined to be dark and condemning, Mara's Molly is the film's humanity and hope.

As usual, Nightmare Alley offers Del Toro's haunting gothic visuals.  The production design, cinematography, costume design, and hair and make-up all capture this film's clash of vistas:  Depression-era destitution against a world of wealth, opulence, privilege, and corruption that ignored the poverty and decay right under their noses.  From ragged carnival garb to fabulous raiment; from the rundown world of carnies to the glow of swanky nightclubs:  Nightmare Alley is a vision of the darkness beneath the American dream and its illusions of wealth and power.  I have a few quibbles with Nightmare Alley, finding it a bit too dry, cold, and brittle in places.  Still, Nightmare Alley is another great film by the master of illusions, director Guillermo del Toro.

9 of 10
A+
★★★★+ out of 4 stars

Thursday, May 5, 2022


NOTES:
2022 Academy Awards, USA:  4 nominations: “Best Motion Picture of the Year” (Guillermo del Toro, J. Miles Dale, and Bradley Cooper); “Best Achievement in Production Design” (Tamara Deverell-production design and Shane Vieau-set decoration); “Best Achievement in Costume Design” (Luis Sequeira), and “Best Achievement in Cinematography” (Dan Laustsen)

2022 BAFTA Awards:  3 nominations: “Best Cinematography” (Dan Laustsen), “Best Costume Design” (Luis Sequeira), and “Best Production Design” (Tamara Deverell and Shane Vieau)


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Review: "Murder on the Orient Express" 2017 is More Dark Than Cozy

TRASH IN MY EYE No. 6 of 2022 (No. 1818) by Leroy Douresseaux

Murder on the Orient Express (2017)
Running time:  114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for violence and thematic elements
DIRECTOR: Kenneth Branagh
WRITER: Michael Green (based on the novel by Agathie Christie)
PRODUCERS:  Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Michael Schaefer, and Ridley Scott
CINEMATOGRAPHER:  Haris Zambarloukos
EDITOR:  Mick Audsley
COMPOSER:  Patrick Doyle

MYSTERY

Starring:  Kenneth Branagh, Penelope Cruz, Willem Dafoe, Judi Dench, Olivia Colman, Daisy Ridley, Leslie Odom, Jr., Tom Bateman, Manuel Garcia-Rulfo, Josh Gad, Derek Jacobi, Sergei Polunin, Lucy Boynton, Marwan Kenzari, and Johnny Depp

Murder on the Orient Express is a 2017 mystery film directed by Kenneth Branagh.  It is based on the 1934 novel, Murder on the Orient Express, written by Agatha Christie (1890-1976).  Murder on the Orient Express the movie focuses on a celebrated detective who is recruited to solve a murder that occurs on a train in which he is traveling.

Murder on the Orient Express opens in 1934 and finds renowned Belgian detective, Hercule Poirot (Kenneth Branagh), in the midst of solving a case in Jerusalem.  When Poirot is ready to return to London, his friend, Bouc (Tom Bateman), the nephew of the director of the luxury Orient Express train service, arranges a berth for him aboard the train.

Poirot boards the train with Bouc and thirteen other passengers.  There is the talkative American widow, Caroline Hubbard (Lauren Bacall).  The English governess, Mary Debenham (Daisy Ridley), and physician, Dr. John Arbuthnot (Leslie Odom, Jr.), seem to be previously acquainted.  Spanish missionary, Pilar Estravado (Penelope Cruz), is prayerful.  American businessman, Edward Ratchett (Johnny Depp), is on a business trip with with his secretary/translator, Hector McQueen (Josh Gad), and his English manservant, Edward Masterman (Derek Jacobi).

There is a Cuban-American car salesman, Biniamino Marquez (Manuel Garcia-Rulfo).  Elderly Russian Princess Natalia Dragomiroff (Judi Dench) travels with her maid, Hildegarde Schmidt (Olivia Colman).  Hungarian Count Rudolf Andrenyi (Sergei Polunin) and his wife, Elena (Lucy Boynton), are always together.  Austrian university professor, Gerhard Hardman (Willem Dafoe), has theories about different “races” and nationalities.  The train's French conductor, Pierre Michel (Marwan Kenzari), attends to the passengers' numerous needs.

That first night, an avalanche derails the train.  The next morning, Poirot discovers that Edward Ratchett has been murdered and stabbed 12 times.  Poirot and Bouc begin investigating the passengers in order to discover Ratchett's killer, but this case will be quite trying for the esteemed Monsieur Poirot.  He does not lie, and this case may force him to do just that.

The first film adaptation of Agatha Christie's novel, Murder on the Orient Express (1974), was one of only two films adapted from her work that she liked.  [The other was the 1957 film, Witness for the Prosecution, which was based on Christie's 1953 play, The Witness for the Prosecution.]  In the first film, the late actor Albert Finney gives a tremendous performance as Hercule Poirot, one that earned him an Oscar nomination.  The 1974 film is a classic murder mystery film made classier and more artful by its stellar cast of stars from Hollywood films and international cinema.

Murder on the Orient Express 2017 is stylish and modern with plenty of production values created by computers.  Its cast is a mix of established stars, Oscar-winning actors, and up-and-coming talent.  The 2017 film is so stylish that it often comes across as too cold and too determined to be an Oscar-worthy period piece and costume drama.  Kenneth Branagh, as the film's director and as its leading star (playing Hercule Poirot), sometimes seems lost in the technical details of directing his showy, award-winning cast and in creating an eccentric, OCD, smarter-than-everyone-else detective.

However, Murder on the Orient Express 2017 really shows its power in the last thirty minutes of the film.  The 1974 film offered a tidy happy ending.  The 2017 offers a thoroughly messy happy ending that is more befitting of these troubled, modern times.  Branagh and writer Michael Green turn the last act's revelation of whodunit into an edgy, dark exercise.  Truth be told, dammit!  But it will be done so with all the rawness of grief and the bitterness and hatred of revenge.  No one gets out of this resolution unscathed, and the healing will likely leave painful scabs.

I like Murder on the Orient Express 2017.  I like that the ethnicity and national origins of the cast are more diverse than what is in the 1974 film and in the original novel.  I like that it plainly leaves us with the message that murder is murder – no matter how good the intentions are – and that pain will temporarily make killers of those who are not really killers at heart.  I wonder what Agathie Christie would think of this take on Murder on the Orient Express.

I like Murder on the Orient Express 2017 mainly because it decides not to be cozy about the murder mystery.  I hope the follow up to this film, the just released Death on the Nile, is also this aggressive.

7 out of 10
A-

Thursday, February 10, 2022


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Review: Albert Finney and a Star-Studded Cast Power 1974 "Murder on the Orient Express"

TRASH IN MY EYE No. 5 of 2022 (No. 1817) by Leroy Douresseaux

Murder on the Orient Express (1974)
Running time:  128 minutes (2 hours, 8 minutes)
MPAA – PG
DIRECTOR: Sidney Lumet
WRITER: Paul Dehn
PRODUCERS:  John Brabourne and Richard Goodwin
CINEMATOGRAPHER:  Geoffrey Unsworth
EDITOR:  Anne V. Coates
COMPOSER:  Richard Rodney Bennett
Academy Award winner

MYSTERY

Starring:  Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, Martin Balsam, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely, George Coulouris, and Denis Quilley

Murder on the Orient Express is a 1974 British mystery film directed by Sidney Lumet.  It is based on the 1934 novel, Murder on the Orient Express, written by Agatha Christie (1890-1976).  Murder on the Orient Express focuses on a revered detective who tries to solve a murder on a snow bound train, while dealing with a multitude of suspects.

Murder on the Orient Express finds acclaimed detective, Hercule Poirot (Albert Finney), ready to board the transcontinental luxury train, “the Orient Express,” in December 1935.  Having solved a case for a British Army garrison in Jordan, he is due to travel to London on the Orient Express from Istanbul.  There, he encounters his old friend, Signor Bianchi (Martin Balsam), a director of the company which owns the line.

There are other notable passengers traveling in the same coach as Poirot and Bianchi.  There is the assertive and talkative American widow, Harriet Belinda Hubbard (Lauren Bacall).  The quiet English governess, Mary Debenham (Vanessa Redgrave), and Colonel John Arbuthnott (Sean Connery) of the British Indian Army have apparently struck up a relationship.  Swedish missionary, Greta Ohlsson (Ingrid Bergman), is on a trip to raise charity funds so that she can continue to take care of “little brown babies.”  American businessman Samuel Ratchett (Richard Widmark), is on a business trip with with his secretary/translator, Hector McQueen (Anthony Perkins), and his English valet, Edward Beddoes (John Gielgud).

There is an Italian-American car salesman, Antonio Foscarelli (Denis Quilley).  Elderly Russian Princess Natalia Dragomiroff (Wendy Hiller) travels with her stout German maid, Hildegarde Schmidt (Rachel Roberts).  Hungarian Count Rudolf Andrenyi (Michael York) and his wife, Elena (Jacqueline Bisset), are always together.  American theatrical agent, Cyrus Hardman (Colin Blakely), is always in the background.  The train's French conductor, Pierre Michel (Jean-Pierre Cassel), attends to the passengers' numerous needs.

On the second morning of the journey, Samuel Ratchett is found dead.  Signor Bianchi asks the esteemed Monsieur Poirot if he can discover the identity of the murder before the train arrives in Brod, where the Yugoslavian police will take over the investigation.  With the assistance of Bianchi and the Greek physician, Dr. Constantine (George Coulouris), Poirot discovers that the victim was stabbed 12 times.  Now, he must investigate 13 suspects.  Who has committed this murder?  Who is lying?  Where is the truth?  And what is the real story behind the mysterious American who is the victim?  Poirot must discover the answers before the murderer strikes again aboard a train that becomes snowbound.

Agatha Christie died about 14 months after the release of Murder on the Orient Express.  Apparently, this film and Witness for the Prosecution were the only movie adaptations of her books that she liked.  She was also apparently pleased with Albert Finney's performance as Hercule Poirot.

The primary treat of Murder on the Orient Express is its star-studded cast, led by Albert Finney, who earned a “Best Actor” Oscar nomination for his performance.  Ingrid Bergman won the “Best Supporting Actress” Oscar for her role as Greta Ohlsson, a performance that is so immersed in technical detail that it seems more fitting for some high-minded, serious dramatic film.  In general, the women here give strong performances in character roles.  Wendy Hiller is a delight as Princess Natalia Dragomiroff, and Lauren Bacall chews up the scenery as the assertive and talkative Mrs. Hubbard.

The cast of this film is comprised of the some of the biggest movie stars of the middle twentieth century.  Some were not known for playing character roles, but in Murder on the Orient Express, they flexed their character acting chops.  The result of these star performances is a hugely entertaining whodunit with a shocking murder and plenty of terrific intrigue.

I thoroughly enjoyed this film, and although I was initially put off by Albert Finney as Poirot, I soon found myself unable to stop watching him.  Yes, 1974 Murder on the Orient Express shows its age, but fans of whodunits, of Agatha Christie, of murder mystery films will want to see this film.

7 out of 10
A-

Wednesday, February 9, 2022


NOTES:
1975 Academy Awards, USA:  1 win:  “Best Actress in a Supporting Role” (Ingrid Bergman); 5 nominations: “Best Actor in a Leading Role” (Albert Finney), “Best Writing, Screenplay Adapted From Other Material” (Paul Dehn), “Best Cinematography” (Geoffrey Unsworth), “Best Costume Design” (Tony Walton), and “Best Music, Original Dramatic Score” (Richard Rodney Bennett)

1975 BAFTA Awards:  3 wins:  “Anthony Asquith Award for Film Music” (Richard Rodney Bennett), “Best Supporting Actor” (John Gielgud), and “Best Supporting Actress” (Ingrid Bergman); 7 nominations:  “Best Actor” (Albert Finney), “Best Art Direction” (Tony Walton), “Best Cinematography” (Geoffrey Unsworth – also for “Zardoz”), “Best Costume Design” (Tony Walton), “Best Direction” (Sidney Lumet – also for “Serpico”), “Best Film,” and “Best Film Editing” (Anne V. Coates)


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Review: In "TARZAN, the Ape Man," Bo Derek Could Drive a Man Ape

TRASH IN MY EYE No. 74 of 2021 (No. 1812) by Leroy Douresseaux

Tarzan, the Ape Man (1981)
Running time:  115 minutes (1 hour, 55 minutes)
MPAA – R
DIRECTOR:  John Derek
WRITERS:  Tom Rowe and Gary Goddard (based on characters created by Edgar Rice Burroughs)
PRODUCER:  Bo Derek
CINEMATOGRAPHER:  John Derek (photographed by)
EDITOR:  James B. Ling
COMPOSER:  Perry Botkin

FANTASY/ADVENTURE

Starring:  Bo Derek, Richard Harris, Miles O'Keefe, John Phillip Law, Akushula Selayah, Maxime Philoe, Leonard Bailey, and Steve Strong

[I am working my way through the films that I first saw in a movie theater for which I have not previously written a movie review.  The first time I saw a movie in an in-door theater (as opposed to a drive-in cinema) was in 1980 – likely The Empire Strikes Back.  However, I am starting this process in the year 1981, and it turns out that there are only two movies left from that year that I saw in a theater for I which I have never written a formal review.  Tarzan, the Ape Man is one of them.]

Tarzan, the Ape Man is a 1981 fantasy-adventure film and Tarzan movie directed by John Derek.  The film is loosely based on the 1912 novel, Tarzan of the Apes, by Edgar Rice Burroughs.  Tarzan, the Ape Man is told from the point of view of Jane Parker, who meets Tarzan while on an African expedition with her estranged father.

In 1910, Jane Parker (Bo Derek) arrives in West Africa.  She is looking for passage deep into the jungle where she hopes to find her long estranged father, James Parker (Richard Harris), whom she has never met.  When she does arrive at “Parker's camp,” she discovers that James Parker is the typical “great white hunter,” loud and boastful, full of songs and stories.

James is searching for the legendary “elephants' graveyard,” which is also known as the “escarpment.”  James reluctantly allows Jane to accompany him and his photographer, Harry Holt (John Phillip Law), on the expedition.  During the journey they also hear the call of Tarzan, the mythical “white ape.”  James declares that he will kill this Tarzan and have him mounted as a trophy, but James does not realize that he is also being hunted.  Meanwhile, Jane finds herself captured by Tarzan (Miles O'Keefe), but she is as fascinated by him as she fears him.

Film critics generally panned Tarzan, the Ape Man upon its initial release to movie theaters.  Some called it “one of the worst movies ever made” or “the worst movie ever.”  It is certainly not highly considered among the decades of feature films based on the Tarzan character.  However, the late Pulitzer Prize-winning film critic, Roger Ebert, was correct when he wrote that Tarzan, the Ape Man has a certain charm or disarming charm, although it is ridiculous in many ways.

I saw it as a 15-year-old in a local theater four decades ago, and I liked it then, although I was not crazy about it.  The reason I saw the film was because of Bo Derek, and I wanted to see her have sex on screen.  That did not happen, but there was a lot of sexual playfulness, some of which I can say, as an adult, has a wrongness to it.  I did not think that at the time; I just wanted as much Bo Derek as I could get, especially nude Bo Derek.

Watching it 40 years later and for the first time since then, I can say that I appreciate Bo Derek even more.  When this film was made and screened, she was in her mid-20, and Derek in her 20s was at the height of her powers, in terms of her looks, her body, and her sexual appeal.  Then and now, some women (and men) would sell their souls to have a her lithe, sexy body and those perfectly plump breasts.  I don't think I lusted for her as a teen as much as I did this time around.  I thought I would have a heart attack when, as Jane Parker, she emerged from the water in a white gown turned see-through when it got wet.  As Booger says in Revenge of the Nerds:  We got bush!

Bo Derek's husband, the late John Derek, made four films featuring his wife:  Fantasies and Tarzan, the Ape Man, both released in 1981; Bolero, released in 1984; and Ghosts Can't Do It, released in 1989.  Other than this Tarzan film, the only other one I saw was Bolero, which was, quite frankly, terrible.

Tarzan, the Ape Man is certainly a Bo Derek film, but a few other actors manage to stand out.  Richard Harris, in some ways, saves the film by giving a mad, over-the-top performance in order to create Jane's father, James Parker.  John Phillip Law as the photographer Harry Holt is good; Law certainly makes obvious Holt's naked lust for Jane Parker.

Miles O'Keefe was not the first choice to play Tarzan in this film, but he was intended to be the stunt double for the actor that would take the role.  Well, the actor who was to play Tarzan was fired or quit the film, and I don't know his identity.  O'Keefe stepped in to play Tarzan, and at that time, his body was the perfect male equivalent of Bo Derek's.  Lean, sinewy, muscular, and possessing perfectly sculpted abs, O'Keefe was an eye-appealing Tarzan, even if he was a really odd one.

If I remember correctly, the estate of Tarzan's creator, Edgar Rice Burroughs, was not pleased with this film, which made significant changes to the source material.  For instance, Jane Parker is really Jane Porter in the books, and her father is the professor, Archimedes Q. Porter, and not James Parker, the great white hunter.  Still, I hope that Tarzan, the Ape Man is not completely forgotten.  Future generations of men and teen boys should be able to partake of the opportunity that this film gives them to appreciate what, for a time, was one of American cinema's most beautiful women.  I plan to partake of that opportunity, again...

6 of 10
B

Monday, December 27, 2021


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Review: Walt Disney's "TARZAN" is Something Old, Something New, and Sometimes Amazing

TRASH IN MY EYE No. 114 (of 2004) by Leroy Douresseaux

Tarzan (1999)

Running time:  88 minutes ( hour, 28 minutes)

MPAA – G

DIRECTORS:  Chris Buck and Kevin Lima

WRITERS:  Tab Murphy and Bob Tzudiker & Noni White; from a story by numerous writers (based upon the Edgar Rice Burroughs novel Tarzan of the Apes)

PRODUCER:  Bonnie Arnold

EDITOR:  Gregory Perler

COMPOSER:  Mark Mancina

SONGS:  Phil Collins

Academy Award winner

ANIMATION/ACTION/ADVENTURE/FAMILY

Starring:  (voices) Tony Goldwyn, Minnie Driver, Glenn Close, Brian Blessed, Lance Henriksen, Wayne Knight, Alex D. Linz, Rosie O’Donnell, and Nigel Hawthorne

The subject of this movie review is Tarzan, a 1999 animation fantasy-adventure film and musical directed by Chris Buck and Kevin Lima.  The film is based on Tarzan of the Apes, the first Tarzan novel written by Tarzan creator, Edgar Rice Burroughs.  Walt Disney’s Tarzan focuses on a man who was raised by gorillas, but who must decide where he really belongs when he discovers that he is a human.

Tarzan, Walt Disney’s animated version of Edgar Rice Burroughs’ classic character Tarzan, was one of the best films of the year 1999.  In fact, it was better than the Academy Award winner for Best Picture that year, American Beauty.  Many film fans and critics point to 1989’s The Little Mermaid as Disney’s return to the kind of high quality animation that made the studio so famous from the later 1930’s to the early 1950’s.  From 1989 to 2004 (when Disney stopped making feature length animated films for theatrical release, for the foreseeable future), Tarzan stands as a high water mark, being one of the best efforts of that second golden age of Disney animation (known as the “Disney Renaissance”).

However, the film isn’t just a great effort in animation, it’s also a great film, period.  Like classic Disney films, there is something for everyone.  The drama, humor, action, and adventure reach across generations to entertain anyone, especially if adults have open minds about opening up to the story of an animated film.

In this version of the classic tale, the gorilla Kala (Glenn Close) rescues an orphaned human after she finds its parents’ murdered bodies.  She names him Tarzan (Alex D. Linz) and takes him as her own because she is left childless after a leopard killed her infant.  Years later, the adult Tarzan (Tony Goldwyn) discovers he is human when he falls in love with Jane Porter (Minnie Driver), who comes to Tarzan’s jungle home with her father, Professor Porter (Nigel Hawthorne).  His love for Jane forces Tarzan to decide where he belongs when he has to choose between staying with his gorilla family or following Jane back to England.

Unlike many Disney animated films, Tarzan is thoroughly a boys’ action/adventure tale filled as it is with jungle chases over trees and through dense foliage and with combat fought to the death.  He is a boy’s man, having fun all day, surfing by his feet over thick and long tree branches, and he’s a whirling dervish of flips, twists, spins, leaps, dives, etc.  The film is, however, also quite poignant in its drama, particularly in the romance between Tarzan and Jane and in the relationship between Tarzan and his mother, Kala.

What would a Disney cartoon be without laughter and songs?  There is plenty of humor, some of it surprisingly provided by Rosie O’Donnell as Tarzan’s gorilla playmate, Terk (performed when she was still the “Queen of Nice.”).  The musical score is also very good, soaring and emotional.  However, it is Phil Collins’ song score that really makes the film, and Collins finally won his long sought after “Best Music, Original Song” Oscar® for a track entitled, “You’ll Be in My Heart.”

9 of 10

A+

NOTES:

2000 Academy Awards, USA:  1 win: “Best Music, Original Song” (Phil Collins for the song “You'll Be In My Heart”)

2000 Golden Globes, USA:  1 win: “Best Original Song - Motion Picture” (Phil Collins for the song “You'll Be In My Heart”)

Updated:  Saturday, August 02, 2014

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Review: "TARZAN and the Lost City" is Entertaining in Spots

TRASH IN MY EYE No. 117 (of 2006) by Leroy Douresseaux

Tarzan and the Lost City (1998)

Running time:  84 minutes (1 hour, 24 minutes)

MPAA – PG for adventure violence

DIRECTOR:  Carl Schenkel

WRITERS:  Bayard Johnson and J. Anderson Black (based upon the stories by Edgar Rice Burroughs)

PRODUCERS:  Stanley S. Canter, Dieter Geissler, and Michael Lake

CINEMATAGRAPHER:  Paul Gilpin

EDITOR:  Harry Hitner

COMPOSER:  Christopher Franke

FANTASY/ACTION/ADVENTURE

Starring:  Casper Van Dien, Jane March, Steven Waddington, Winston Ntshona, Rapulana Seiphemo, and Ian Roberts

The subject of this movie review is Tarzan and the Lost City, a 1998 fantasy and adventure film from Village Roadshow Productions and Warner Bros. Pictures.  It was the first Tarzan movie shot entirely in Africa.  The film is loosely based on the Tarzan stories that were written by the character’s creator, Edgar Rice Burroughs.  In Tarzan and the Lost City, Tarzan returns to his African homeland to save it from destruction.

John Clayton, Lord Greystoke (Casper Van Dien) is about to marry his love, Jane Porter (Jane March), in London, when he learns through a kind of psychic connection with a lion that his old African homeland is in danger.  You see, Clayton is also Tarzan, Lord of the Apes, the famous jungle king who was orphaned on the Dark Continent (Africa) as an infant and raised by apes.

Tarzan puts off his wedding, much to Jane’s chagrin, and returns to Africa to stop the pillaging and animal poaching by the explorer, Nigel Ravens (Steve Waddington).  Raven has embarked on a quest to discover the lost city of Opar, said to by the birthplace of civilization.  While Tarzan begins his gorilla war against Waddington, Jane arrives in Africa and joins Tarzan in his bid to stop Waddington from finding Opar and looting it of its secrets and treasures.

Tarzan and the Lost City was the first Tarzan movie filmed entirely in Africa, and that gives the film a sense of realism, which isn’t necessarily a good thing.  Tarzan, who first appeared in the 1912 novel Tarzan of the Apes by Edgar Rice Burroughs, is a fantasy.  He’s larger than life, and he belonged to an era when people still romanticized the mythical great white hunter and the idea that a smart white man could, just on his superior intellect and physical superiority, conquer the mysterious and unexplored jungle worlds.

That said, this is a mildly entertaining flick, a few steps above a TV movie, and Christopher Franke’s score (which recalls strains of John Williams’ Raiders of the Lost Ark music) gives this film the feel of an epic adventure.  Casper Van Dien (Starship Troopers) is a credible Tarzan, and he almost, but not quite, copies the famous yell of the most famous film Tarzan, Johnny Weissmuller.

5 of 10

C+

Original:  Saturday, May 27, 2006

Update:  Saturday, August 02, 2014

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Review: Tyrone Power Struts Through Original "NIGHTMARE ALLEY"

TRASH IN MY EYE No. 71 of 2021 (No. 1809) by Leroy Douresseaux

Nightmare Alley (1947)
Running time:  111 minutes (1 hour, 51 minutes)
DIRECTOR:  Edmund Goulding
WRITER:  Jules Furthman (based on the novel by William Lindsay Gresham)
PRODUCER:  George Jessel
CINEMATOGRAPHER:  Lee Garmes (D.o.P.)
EDITOR:  Barbara McLean
COMPOSER:  Cyril Mockridge

DRAMA/FILM-NOIR

Starring:  Tyrone Power, Joan Blondell, Coleen Gray, Helen Walker, Taylor Holmes, Mike Mazurki, and Ian Keith

Nightmare Alley is a 1947 American film noir drama directed by Edmund Goulding and starring Tyrone Power.  The film is an adaptation of the 1946 novel, Nightmare Alley, which was written by William Lindsay Gresham.  Nightmare Alley the film focuses on the rise and fall of a con man.

Nightmare Alley opens at a seedy traveling carnival and introduces the carnival's barker, Stanton “Stan” Carlisle (Tyrone Power), who is fascinated by everything at this place where he works.  Stan works with Zeena Krumbein (Joan Blondell), who performs as the mentalist, “Mademoiselle Zeena,” with her alcoholic husband, Peter “Pete” Krumbein (Ian Keith).  At one time, Zeena and Pete were a top-billed vaudeville act, and the two of them used an ingenious code to make it appear that she had extraordinary mental powers.  However, the duo has been reduced to working in carnivals, and Pete is a severe alcoholic.

When Stan learns that many people want to buy the code that Zeena and Pete once used, he wants it, too.  Zeena rebuffs Stan's attempts to get the code, but one night, while the carnival is in Burly, Texas, a terrible accident provides Stan with the opportunity to get the code.  With Molly (Collen Gray), a young carnival worker by his side, Stan becomes “The Great Stanton” the acclaimed mentalist.  But can this “uncommonly shrewd young trickster” (as one character refers to him) escape his troubled past, his guilt, and his fate?

I became interested in Nightmare Alley when I heard that Oscar-winning director Guillermo del Toro was going to remake it.  Actually, del Toro's film is less a remake and more a new adaptation of William Lindsay Gresham's novel.

Regarding the 1947 film:  apparently, Tyrone Power (1914-1958) wanted to play the role of Stanton Carlisle in order to expand his career beyond playing romantic leads and swashbucklers.  These were the roles that made him a matinee idol in Hollywood in the mid-1930s and early 1940s, his star being born with 1936's Lloyd's of London.  Stan is a good character to play.  He is complicated and complex because he is not one thing.  Stan can be ruthless and cruel and kind and considerate from one moment to another.  He is highly skilled at the things in which he endeavors, but his greatest skill is his ability to con even the most skeptical people.

Stan is the kind of character who is perfect for a story of the “rise and fall” of an ambitious person, and this film is about the rise and fall of Stanton Carlisle, except that isn't a plot.  The film follows Stan around, but the movie does not have a hook that really captures the audience's interest.  It is not until an hour into the film when the narrative finally engages a conflict, which involves a psychiatrist, Lilith Ritter (Helen Walker), who is also Nightmare Alley's “femme fatale.”  That's when we get the hook in the form of con job that is brilliant if it is successful and disastrous if even one thing goes wrong.

Upon its initial release, Nightmare Alley proved to be scandalous, in part because of the way religion plays a part in Stan's cons, and it was not a box office success.  Over time, the film has apparently gained a following and is considered a classic of the film noir genre.  Whether or not it is classic film noir is up to the viewer, although I don't consider it a classic.  Nightmare Alley is not a great film, but there are times when it is really good.

However, I cannot help but find myself impressed by Tyrone Power's layered performance.  Power really does make Stanton Carlisle feel like a genuine person, and he conveys Stan's dark side in a way that makes me pity him rather than dislike him.  I am certain that over the years, other viewers felt the same way.  I think that film noir fans will want to see this, and if there are any Tyrone Power fans still out there, they will want to see Nightmare Alley.

7 of 10
B+

Monday, December 13, 2021


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Review: 2021 "DUNE " is Both Tremendous and Tedious

TRASH IN MY EYE No. 63 of 2021 (No. 1801) by Leroy Douresseaux

Dune (2021)
Running time:  155 minutes (2 hours, 35 minutes)
MPAA – PG-13 for sequences of strong violence, some disturbing images and suggestive material
DIRECTOR:  Denis Villeneuve
WRITERS:  Denis Villeneuve, Jon Spaihts, and Eric Roth (based on the novel by Frank Herbert)
PRODUCERS:  Denis Villeneuve, Cale Boyter, Joseph M. Caracciolo, and Mary Parent
CINEMATOGRAPHER:  Greg Fraser (D.o.P.)
EDITOR:  Joe Walker
COMPOSER: Hans Zimmer

SCI-FI

Starring:  Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgard, Stephen McKinley Henderson, Josh Brolin, Javier Bardem, Sharon Duncan-Brewster, Chen Chang, Dave Bautista, David Dastmalchian, Charlotte Rampling, Babs Olusanmokun, Benjamine Clementine, and Golda Rosheuvel

Dune is a 2021 science fiction film directed by Denis Villeneuve.  It is based on the 1965 novel, Dune, written by author Frank Herbert.  This the third screen adaptation of Herbert's novel after writer-director David Lynch's 1984 film and writer-director John Harrison's 2000 television miniseries.  Dune 2021 focuses on the male heir to a noble family who finds himself in the middle of conspiracy and prophecy on a desert planet where is found the most vital element in the universe.

Dune opens in the far future in the year 10,191.  The most valuable substance in the universe is “Spice,” which extends human vitality and life and is absolutely necessary for space travel.  Spice is only found on the desert planet, Arrakis.  For over eighty years, House Harkonnen, one of the noble houses of the “Landsraad,” has mined the planet for Spice.

Now, the Emperor of the Known Universe has ordered House Harkonnen to withdraw from the planet.  The Emperor has appointed Duke Leto I (Oscar Isaac) of House Atreides and ruler of the ocean planet, Caladan, as the new fief ruler of Arrakis and the one responsible for the mining of Spice.

However, Paul Atreides (Timothée Chalamet), the son of Leto and his concubine, Lady Jessica (Rebecca Ferguson), is the focus of the Bene Gesserit, a powerful sisterhood who wield advance mental and physical abilities, to which Jessica belongs.  The Bene Gesserit have a prophecy concerning a “superbeing,” called the  “Kwisatz Haderach,” and Paul may be this superbeing because of the machinations of his mother.  Meanwhile, Paul has dreams and visions, most of them set on Arrakis and involving the natives of Arrakis, the “Fremen.”  And of the Fremen, Paul dreams most of a mysterious young woman (Zendaya) with blue in her eyes.  Paul knows that his fate lies on Arrakis, and he will discover it if he survives the plot against his family.

Although the title of this film is “Dune,” when the movie starts the credits read “Dune: Part One.”  That's right, director Denis Villeneuve refused to adapt Frank Herbert's novel as one long film when he preferred to do it as two long films.  I have seen Herbert's novel referred to as “unwieldy” source material, but the truth is that like Robert A. Heinlein's novel, Starship Troopers (1959), which was adapted into a 1997 film, Dune is philosophical and thoughtful.  Much of the narrative takes place in the minds of its major characters, and I don't think that big-budget, event Hollywood films are really good at internal philosophical monologues.

Denis Villeneuve's Dune is visually ambitious.  It is pomp and circumstance.  It focuses on the rituals of the Landsraad (the empire's noble houses) and of the Fremen – to the point of being anthropological.  Dune is costumes, uniforms, makeup, hairdos, and lavish spectacle.  Dune offers some of the most imaginatively designed space crafts, flying contraptions, utility machines, and personal devices outside of the Star Wars films.  It leans towards opulence in its breathtaking landscapes and astonishing vistas.  This visual and design aesthetic creates the kind of overwhelming cinematic sensory experience that is exactly why we need to see some films in movie theaters.

Villeneuve apparently also said that Dune has “power in details,” and his obsession with details, both in terms of visuals and narratives, is a problem for Dune, much in the way it was a problem for his acclaimed 2016 film, The Arrival … to a lesser extent.  For Dune, he builds a big world in pictures and images, and then, he and his co-writers Jon Spaihts and Eric Roth (the ones who are credited onscreen), drag the movie out by drowning every key scene and sequence in detail.  There is no better example of this than the scene with the “Herald of the Change” (Benjamin Clementine), when Duke Leto formerly excepts his assignment to Arrakis.  It was pointless scene about the pointlessness of the Emperor and his rituals.

At one point while watching this film, I checked my phone and realized that there was still an hour to go.  I wasn't sure if I could make.  I could not understand how a film could be so visually dazzling as Dune is and have a story that frustratingly seems to be going somewhere … slowly.  And Dune's wonderful cast goes right along with this, delivering performances that are earnest in their grimness.  Still, the actors didn't make me want to connect with their characters, and Rebecca Ferguson's Lady Jessica is just fucking tiresome.

I am giving this film a B+ because of two things – the sometimes unbelievable visuals and, surprisingly, Hans Zimmer's amazing musical score, for which he supposedly created new musical instruments.  Without his constantly inventive score, this film would put people to sleep.  If I were focusing only on story, I'd give Dune a B- or a B, because there are some characters that are fascinating the few times they are on screen, such as Baron Harkonnen (Stellan Skarsgard) and his nephew, Rabban (Dave Bautista).  There are also a few scenes that resonate.  I really don't know how to recommend a film that will impress you almost as much as it will tire you, but that Denis Villeneuve's Dune in a nutshell.

7 of 10
B+

Friday, October 22, 2021


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Review: 1984 "Dune" Retains its Cult Cinema Charms

TRASH IN MY EYE No. 62 of 2021 (No. 1800) by Leroy Douresseaux

Dune (1984)
Running time:  136 minutes (2 hours, 16 minutes)
MPAA – PG-13
DIRECTOR:  David Lynch
WRITER:  David Lynch (based on the novel by Frank Herbert)
PRODUCER:  Raffaella De Laurentiis
CINEMATOGRAPHER:  Freddie Francis (photographed by)
EDITOR:  Antony Gibbs
COMPOSER: TOTO
Academy Award nominee

SCI-FI

Starring:  Kyle MacLachlan, Francesca Annis, Jürgen Prochnow, José Ferrer, Kenneth McMillan, Sting, Paul Smith, Everett McGill, Sean Young, Patrick Stewart, Siân Phillips, Dean Stockwell, Max von Sydow, Linda Hunt, Richard Jordan, Brad Dourif, Virginia Madsen, and Alicia Witt

Dune is a 1984 science fiction film written and directed by David Lynch.  It is based on the 1965 novel, Dune, written by author Frank Herbert.  Dune the film focuses on a young nobleman who becomes the leader of a band of desert warriors as he attempts to free their planet from the clutches of a despotic galactic emperor.

Dune opens in the far future in the year 10,191.  The known universe is ruled by Padishah Emperor Shaddam the Fourth (José Ferrer). The most valuable substance in the universe is the spice, “melange.”  It is a drug that extends life and expands consciousness, and it is vital to space travel.  An “orange spice gas” gives the navigators of the “Space Guild” the ability to fold space, which permits safe and instantaneous interstellar travel.  The spice is only found on the desert planet, Arrakis, which is also called “Dune.”

The Emperor appoints a noble family of the “Landsraad” (the empire's noble houses) to mine and produce spice on Arrakis.  He fears the growing popularity of Duke Leto Atreides of the House Atreides and also the secret army Leto is supposedly amassing.  He appoints the House Atreides as the new stewards of Arrakis, replacing the current controllers, the House Harkonnen, let by Baron Vladimir Harkonnen (Kenneth McMillan), who is also Leto's enemy.  Ceding control of Arrakis to Duke Leto is just part of a plot by the Emperor and Baron Harkonnen to destroy the House Atreides.

However, Paul Atreides (Kyle MacLachlan), the son of Leto and his concubine, Lady Jessica (Francesca Annis), is the focus of both the Space Guild and the Bene Gesserit, a powerful sisterhood.  For there is a prophecy concerning the “Kwisatz Haderach,” a messiah who will liberate Arrakis and its people, the “Fremen.”  The Bene Gesserit are afraid that Paul is this messiah.  On Arrakis, Paul will find his destiny, and he will find “Muad'Dib,” if he survives the conspiracies against him.

Until recently, I had not watched Dune in its entirety since I first saw it in a movie theater back in Fall 1984.  In spite of its many fault, I still like it.  The film has wonderful, unique, and even eccentric production values, which I can also say about its special effects and sound.  People like Kit West (mechanical special effects), Carlo Rimbaldi (creature creation), Barry Nolan (special photographic effects), Albert J. Whitlock (special effects), Bob Ringwood (costumes), Anthony Masters (production design), (Freddie Frances), and the Grammy Award-winning rock band, Toto (score) all do the work that makes Dune look, feel, and sound like no other film in American cinematic history.  Regardless of my conflicted feelings about the film, dear readers, I want these find artists, craftsman, and technicians to get at least some praise for their work on Dune.

I have read that the producers behind Dune hoped to make it the first of a film series that would be like “Star Wars for adults.”  In a few ways, Dune is as good as Star Wars.  The difference is that Star Wars is an original film story, and its plot, characters, and settings are simple, straightforward, and are narrowly focused for a two-hour film.  Dune is the adaptation of a complex science fiction novel that is packed with plots and subplots.  Dune the novel has settings that span a universe, including several planets, environments, and human habitats.  Star Wars' back story is briefly mentioned, while Dune's back story spans time in blocks – from decades to millennia – and is very important to the story in the present.

Watching Dune the movie the first time, one can feel that a lot of important parts of the story have been left out.  When I first saw Dune, that was obvious to me, although I had, at the time, never read the novel, but I was aware of it and its sequels.  [I would read the original novel about twenty years after I first saw the film]  Dune the movie has a narrator, Princess Irulan, the Emperor's daughter (played by a young Virginia Madsen), and multiple characters speak in voice-overs.  Frequent narration and constant voice-overs basically tell you that this film has too much story for its own good.  In fact, when Dune was first released, movie theaters handed out an information sheet that explained terms and names that would be featured in the film.  My copy of this Dune fact sheet has been lost to time, but I have never received such a sheet for any other film that I've seen in a movie theater.

[I must also note that I liked writer-director John Harrison's “Frank Herbert's Dune,” a three-part, television miniseries adaptation that aired on the Sci Fi Channel in December of 2000.]

As I said, however, there are things about the film that I really like, and even Kyle MacLachlan's amateurish performance as Paul Atreides does not keep me from enjoying Dune.  Actually, several actors deliver good performances in the film, even in small roles.  I watched Dune again in preparation for Warner Bros' new version, directed by acclaimed filmmaker, Denis Villeneuve, for which I have high hopes.  However, I suspect that I will return to David Lynch's Dune again.

6 of 10
B

Tuesday, October 19, 2021


NOTES:
1985 Academy Awards, USA:  1 nomination: “Best Sound” (Bill Varney, Steve Maslow, Kevin O'Connell, and Nelson Stoll)

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: "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.

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

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).