Review: Villains Rule "Kingsman"

TRASH IN MY EYE No. 33 (of 2015) by Leroy Douresseaux

[This review first appeared on Patreon.]

Kingsman: The Secret Service (2015)
COUNTRY OF ORIGIN:  U.K.
Running time: 129 minutes (2 hours, 9 minutes)
MPAA – R for sequences of strong violence, language and some sexual content
DIRECTOR:  Matthew Vaughn
WRITERS:  Jane Goldman and Matthew Vaughn (based on on the comic book, The Secret Service, by Mark Millar and Dave Gibbons)
PRODUCERS:  Adam Bohling, David Reid, and Matthew Vaughn
CINEMATOGRAPHER:  George Richmond    
EDITORS:  Eddie Hamilton and Jon Harris
COMPOSERS:  Henry Jackman and Matthew Margeson

COMEDY/ACTION/SPY/SCI-FI

Starring:  Taron Egerton, Colin Firth, Mark Strong, Samuel L. Jackson, and Michael Caine, Sofia Boutella, Sophie Cookson, Hanna Alstrom, Samantha Womack, Geoff Bell, and Mark Hamill

Kingsman: The Secret Service is a 2015 British spy movie and action-comedy from director Matthew Vaughn.  It is based on the 2012 comic book, The Secret Service, by Mark Millar and Dave Gibbons, who are also both executive producers on the film.  Millar co-created the comic book, Kick-Ass, and Gibbons co-created the Watchmen comic book.  Kingsman: The Secret Service follows a street kid who is recruited into a secret spy organization.

Kingsman: The Secret Service opens in 1997 during a raid in the Middle East, in which an agent sacrifices himself to save his team.  Feeling guilt, agent Harry Hart (Colin Firth), code-named “Galahad,” visits the agent's wife and young son.  Seventeen years later, Galahad comes to the rescue of the son, Gary “Eggsy” Unwin (Taron Egerton), who is now an unemployed adult.

Galahad introduces Eggsy to the “Kingsman,” a secret intelligence agency comprised of the members of the British upper crust.  Galahad convinces Eggsy to join the Kingsman's ultra-competitive training program, but only one member of a recruiting class will become a member of the Kingsman.

Meanwhile, billionaire tech genius, Richmond Valentine (Samuel L. Jackson), has hatched a plan to save the world from environmental catastrophe.  His activities draw the attention of the Kingsman, especially Galahad.  Because Galahad is his benefactor, Eggsy gets a close-up look of the Kingsman in action, but does this unrefined “street kid” have what it takes to be in this “secret service?”

As a spy movie, Kingsman: The Secret Service is more like some of the early James Bond movies, especially the ones that featured weird sci-fi gadgets.  Or maybe Kingsman: The Secret Service is what would happen if Roger Moore's James Bond became the leader of the Impossible Missions Force (IMF) of the old television series, “Mission: Impossible.”

I must admit to enjoying Kingsman: The Secret Service quite a bit, but it is mostly a substance-free past-time.  As much as I enjoyed the film, I had mostly forgotten about it a few hours after seeing it.  If I watched it again, I would only watch certain scenes – mostly the fight scenes, especially the ones featuring the blade-legged Gazelle (Sofia Boutella).  There is not enough of her in this movie.

There are moments in Kingsman when it seems obvious to me that Colin Firth would make a good movie secret agent, not James Bond, but someone like Galahad.  [Or maybe that can be said about most quality British male actors.]  However, Samuel L. Jackson, as Valentine, seems to be the actor who most bought into the scenario.  He and Boutella make a great team and do a lot to make Kingsman a good movie; I wish their characters could return.

On the other hand, Taron Egerton may be an up-and-coming, young British actor, but as Eggsy, he lacks spark and charisma.  He is as flat as Sam Jackson is charismatic.  Kingsman's concept and story is ridiculous and contrived, but fun.  As the villain, Jackson is the one who most sells the movie, even more so than the actors playing the good guys.

A sequel to Kingsman: The Secret Service has already been announced.  As much as I enjoyed this movie, I can't imagine the sequel working without another great villainous pair like Jackson and Boutella.  I hope they find one.

6 of 10
B

Tuesday, July 14, 2015


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Review: "The Wicker Man" is Still a Creepy Masterpiece (Remembering Christopher Lee)

TRASH IN MY EYE No. 147 (of 2006) by Leroy Douresseaux (support on Patreon)

The Wicker Man (1973)
COUNTRY OF ORIGIN:  UK
Running time:  88 minutes (1 hour, 28 minutes)
MPAA – R
DIRECTOR:  Robin Hardy
WRITER:  Anthony Shaffer (based upon the novel, Ritual, by David Pinner)
PRODUCER:  Peter Snell
CINEMATOGRAPHER:  Peter Waxman (director of photography)
EDITOR:  Eric Boyd-Perkins
COMPOSER:  Paul Giovanni

HORROR/DRAMA/MYSTERY with elements of a musical

Starring:  Edward Woodward, Christopher Lee, Diane Cilento, Britt Ekland, Ingrid Pitt, Lindsay Kemp, Irene Sunter, and Geraldine Cowper

The subject of this review is The Wicker Man, a 1973 British horror and mystery film from director Robin Hardy.  The film was inspired by the 1967 British horror novel, Ritual, by author David Pinner.  The Wicker Man follows a devout Christian police sergeant who goes to a remote Scottish island to search for a missing girl and runs up against pagan islanders.

Police Sergeant Howie (Edward Woodward) travels to the remote Scottish island of Summerisle where he’s been mysteriously called to investigate the disappearance of a young girl, Rowan Morrison (Geraldine Cowper).  However, he immediately finds the locals uncooperative, and the community is nothing like he expected.

The devout Christian detective finds the islanders openly reveling in wanton lust, often having sex in public.  The pastoral community is led by Lord Summerisle (Christopher Lee) in the practice of a religion that recognizes the “old gods” and the islanders also recreate various rituals practiced by the Druids.  Offended by what he believes is pagan blasphemy, Sgt. Howie is blind to how dangerous this secret society actually is to him.

Director Robin Hardy and writer Anthony Shaffer’s The Wicker Man is one of the most popular cult films from Great Britain.  In fact, one of the film’s stars, Christopher Lee, calls it one of the 100 best British films ever made.  Although its shock ending (and it’s a doozy) would mark the film as a horror movie, in many ways, The Wicker Man is a melodrama – one with a highly usually subject matter for a mainstream film, but a melodrama, nevertheless.  Early on, The Wicker Man almost becomes a musical because the first half of the film is filled with the villagers in song (singing tunes written by Paul Giovanni, the film’s composer, and Gary Carpenter).  These Celtic folk song-like ditties (about pagan festivals and with an emphasis on ritual, metaphor, and fertility) add to the movie’s surreal air without making the film seem wholly implausible.

Ultimately, questions about the plausibility of The Wicker Man will decide how viewers receive it.  Granted, there are holes in logic, and some incidents in the movie just don’t make sense (There is also a 100-minute director’s cut that provide more explanations into the various concepts in the film.), but sometimes the movie seems like a weirdo documentary about an actually island of pagan hippies.  While the performances and filmmaking is generally good, it’s this touch of realness that makes the film so eerily… real?  The movie makes the viewer ask:  “Could this happen” or “Is this based on a real story,” and that makes The Wicker Man haunt you long after you watched it.

The film drifts in the middle of the second act and early in the third act.  However, the final ten minutes or so may leave the viewer shivering and feeling a strong sense of dread, fear, and maybe shock and confusion – just like a good horror flick should.

7 of 10
B+

Thursday, July 13, 2006

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Review: First Trip to "The Best Exotic Marigold Hotel" Was Quite Lovely

TRASH IN MY EYE No. 16 (of 2015) by Leroy Douresseaux

The Best Exotic Marigold Hotel (2012)
COUNTRY OF ORIGIN: United Kingdom
Running time:  124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for sexual content and language
DIRECTOR:  John Madden
WRITER:  Ol Parker (based on the novel, These Foolish Things, by Deborah Moggach)
PRODUCERS:  Graham Broadbent and Peter Czernin
CINEMATOGRAPHER:  Ben Davis (D.o.P.)
EDITOR:  Chris Gill
COMPOSER:  Thomas Newman
Golden Globes nominee

COMEDY/DRAMA with elements of romance

Starring:  Judi Dench, Tom Wilkinson, Bill Nighy, Penelope Wilton, Maggie Smith, Ronald Pickup, Celia Imrie, Dev Patel, Tina Desai, Lillete Dubey, Paul Bhattacharjee, Neena Kulkarni, Rajendra Gupta, and Lucy Robinson

The Best Exotic Marigold Hotel is a 2012 British comedy-drama from director John Madden.  The film is based on the 2004 novel, These Foolish Things, from English author Deborah Moggach.  The Best Exotic Marigold Hotel focuses on a group of British retirees who travel to India to take up residence in a newly restored hotel that is not quite ready for prime time.

The Best Exotic Marigold Hotel opens in present day Great Britain and introduces a group of British retirees and AARP types.  Recently widowed housewife, Evelyn Greenslade (Judi Dench), is forced to sell the home she shared with her late husband in order to cover the huge debts he left.  Jean and Douglas Ainslie (Penelope Wilton and Bill Nighy) are searching for a retirement they can afford; they lost most of their savings through investing in their daughter's Internet business.

Muriel Donnelly (Maggie Smith) is a retired housekeeper who is need of a hip replacement operation.  Her doctor informs her that she can have it done far more quickly and inexpensively in India than she can in the U.K., but Muriel hates Indians (as well as every other person of color).  Madge Hardcastle (Celia Imrie) is searching for another husband.  Aging lothario Norman Cousins (Ronald Pickup) still wants to have sex with young women, but now, he needs to find a new place to try and re-capture his youth.  These six people decide to spend their retirement at a hotel in India, based only on the pictures on the hotel's website.

Meanwhile, high-court judge, Graham Dashwood (Tom Wilkinson), spent the first eighteen years of his life in India; he suddenly decides to retire and return there.  When these Brits arrive at The Best Exotic Marigold Hotel, they find it dilapidated.  The hotel's energetic young manager, Sunil Indrajit “Sonny” Kapoor (Dev Patel), promises that he will make the hotel look like what the website promises.  Now, everyone has to deal with the unexpected, and some are better at that than others.

The Best Exotic Marigold Hotel is simply frothy feel-good entertainment – nothing more, nothing less.  The characters are interesting, but not especially well-developed.  There are so many of them that screenwriter Ol Parker cannot really develop them in the amount of the film's running time that actually involves storytelling, which is less than its stated 100 minutes running time.

But, boy, did I enjoy this movie anyway.  The Best Exotic Marigold Hotel is sweet and charming, and its cast of veteran (some would say “senior citizen”) actors makes it a rare treat in a landscape of movies about children and 20-somethings saving the world.  Loving and wanting-to-be-loved are not exclusively the domain of lovelorn teens and the newly-turned middle-aged.  Yearning and striving for the good life:  well, old folks can want that, also.  That is why I am glad that this funny, heartwarming, and sometimes heartbreaking film is here to be enjoyed again and again.  The Best Exotic Marigold Hotel is a good place for movie lovers to visit or even to stay.

7 of 10
B+

Friday, March 27, 2015


NOTES:
2013 Golden Globes, USA:  2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Judi Dench)

2013 BAFTA Awards:  1 nomination: “Alexander Korda Award for Best British Film” (John Madden, Graham Broadbent, Peter Czernin, and Ol Parker)

The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Snowpiercer" is Unique and Thrilling

TRASH IN MY EYE No. 11 (of 2015) by Leroy Douresseaux

Snowpiercer (2013)
COUNTRY OF ORIGIN:  South Korea
Running time:  126 minutes (2 hours, 6 minutes)
MPAA – R for violence, language and drug content
DIRECTOR:  Bong Joon Ho
WRITERS: Joon-ho Bong and Kelly Masterson; from a screen story by Joon-ho Bong (based on the comic book,  Le Transperceneige by Jacques Lob, Benjamin Legrand, and Jean-Marc Rochette)
PRODUCERS:  Tae-sung Jeong, Wonjo Jeong, Miky Lee, Tae-hun Lee, Steven Nam, and Chan-wook Park
CINEMATOGRAPHER:  Kyung-pyo Hong
EDITORS:  Steve M. Choe and Changju Kim
COMPOSER:  Marco Beltrami

SCI-FI/DRAMA/ACTION

Starring:  Chris Evans, Song Kang Ho, Tilda Swinton, Ko Asung, Octavia Spencer, Jamie Bell, John Hurt, Ewen Bremner, Vlad Ivanov, Marcanthonee Jon Reis, Emma Levie, Allison Pill, and Ed Harris

Snowpiercer is a 2013 South Korean science fiction film from director Bong Joon Ho.  The film is based on a series of French graphic novels that began in 1982 with the first book, Le Transperceneige (Snowpiercer).  Snowpiercer the movie takes place on a class strife-ridden train that is the only home of the last humans alive on Earth.

At the beginning of Snowpiercer, we learn that humans made an attempt to halt global warming by spraying the chemical, CW-7, into the atmosphere.  That backfired, and the result was the start of an ice age so severe that almost all life on Earth was destroyed.

The only human survivors are now living in Snowpiercer, a massive train that travels on a globe-spanning train track.  However, a rigid class system pervades Snowpiercer with the elites living in the front of the train; people useful to the elites occupying in the middle; and the utterly poor and destitute inhabiting the tail of the train.

In the year 2031, the tail inhabitants prepare to launch another rebellion against the elites.  Although past rebellions have failed, this new rebellion may have finally found the one man who can lead the poor people to the very front door of Wilford (Ed Harris), the creator of the train.  This new leader's name is Curtis Everett (Chris Evans), and he has a plan to get past Snowpiercer's security system and its armed guards.  In order for his plan to work, however, Curt must rely on Nam Kung Min Soo (Song Kang Ho), a drug addict who doesn't speak a word of English, and also on his kooky daughter, Yona (Ko Asung).

Snowpiercer is one of the best films of 2014.  Everything about it is high-quality, especially its beautiful cinematography and its production design, which is both imaginative and inventive.  Considering the narrow spaces with which production designer Ondrej Nekvasil had to work, he managed to recreate a diverse cross section of modern humanity's interior living environments in a way that is almost too impressive for words.

The ensemble cast is also excellent, with Tilda Swinton delivering a splendid performance as Mason.  This is a character that is so odd that anyone other than a highly-talented and skilled actor would fumble.  My favorite performance, however, is that of Chris Evans as Curtis Everett.

Evans began his rise as a movie star by showing his ability to be funny or to deliver light comic flourishes whenever a film in which he appeared desperately needed some genuine humor.  He was often the saving grace of 20th Century Fox's 2005-2007 Fantastic Four film franchise.  Evans then showed that he could be an action movie star in Marvel Studio's Captain America films by bring dramatic heft and gravitas to both Captain America films and to Marvel's The Avengers, in which he also appeared as Captain America.

In Snowpiercer, Evans puts a lock on leading man status.  He looks like a leader, and, in this performance, he carries and embodies this film's social commentary in Curtis Everett's physicality and his emotions, and especially in his spirit.  Evans leaves no doubt that he is not only the real deal as a movie star, but also as an actor.

Co-writer and director Bong Joon Ho (or Joon-ho Bong) gives Snowpiercer visual scope, creating a big picture in a setting that is both intimate and claustrophobic.  Bong shows that science fiction can be more than just imaginative and speculative about the future.  It can and should speak to the modern condition; the genre wants to be more than just escapism.  I still wish that Snowpiercer had spent more time with more of its amazing cast of characters.  That does not keep me from declaring that this is a unique science fiction film because its themes and ideas are both non-fiction and important.

8 of 10
A

Tuesday, February 24, 2015


NOTES:
2015 Black Reel Awards:  1 nomination: “Outstanding Supporting Actress, Motion Picture” (Octavia Spencer)


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Review: "Wolves" Has Surprisingly Sharp Teeth

TRASH IN MY EYE No. 3 (of 2015) by Leroy Douresseaux

Wolves (2014)
Running time:  91 minutes (1 hour, 31 minutes)
MPAA - R for bloody violence throughout, and some sexuality
WRITER/DIRECTOR:  David Hayter
PRODUCER:  Steven Hoban
CINEMATOGRAPHER:  Gavin Smith
EDITOR:  Geoff Ashenhurst
COMPOSERS:  Ilya Kaplan and Alex Khaskin

FANTASY/HORROR/DRAMA with elements of action and romance

Starring:  Lucas Till, Jason Momoa, Merritt Patterson, Stephen McHattie, Melanie Scrofano, and John Pyper-Ferguson

Wolves is a 2014 Canadian fantasy drama and werewolf film written and directed by David Hayter.  The film's creature effects were created by Oscar winner Dave Elsey (The Wolfman) and Lou Elsey.  Wolves focuses on a high school student who goes on the run and discovers a strange small town that may hold secrets about his family history.

Wolves introduces Cayden Richards (Lucas Till), a popular high school student and football player.  His life, of late, has been complicated by horrifying nightmares and by the fact that Cayden has become unpredictable and wild.  After the brutal murder of his parents, Cayden is forced to leave town, hoping to keep what he is seemingly becoming a secret.

At a bar, Cayden meets a talkative and rundown-looking fellow who goes by the name, “Wild Joe” (John Pyper-Ferguson).  Joe points Cayden to an isolated, small town named Lupine Ridge, but upon arriving there, Cayden is initially not well-received by the townsfolk.  John Tollerman (Stephen McHattie), a local farmer, gives him work and a place to stay.  There, Cayden finds peace, but he is soon caught in a blood feud between rival clans of “wolves.”  To save his life and that of his new friends, Cayden will have to face the alpha male of a gang of wolves, Connor Slaughter (Jason Momoa), who has a shocking connection to Cayden's past.

Wolves' writer-director, David Hayter, was one of the writers on the film, X-Men (2000).  In that first X-Men movie, we are first introduced to the power of mutants, humans with extraordinary powers, when we witness young Rogue hurt a friend with a kiss.  Later, Rogue meets Wolverine (or Logan), another mutant.  It is through Wolverine that we enter the world of the X-Men, a secret band of mutants.

In Wolves, Hayter uses his lead character, Cayden, to both introduce his unique take on the werewolf and to also take the audience into the murky and secretive world of the “wolves.”  Hayter's “wolves” are a unique take on the legends and folktales about werewolves and other lupine shape-shifters.  Instead of deluging the audience with his new ideas and rules about werewolves, Hayter has us learn them as Cayden learns them, experiencing the ups-and-downs and the bumps and bruises that come with entering a new world or environment.

Wolves is not the werewolf film as an X-Men movie, nor is it Twilight.  If anything, Wolves is closer to the oddball werewolf film, Skinwalkers.  Classic werewolf movies, The Wolf Man (1941) and An American Werewolf in London (1981), treat their lead characters as cursed.  Their werewolf affliction might be the result of fate or by a fated accident, but they are cursed and only death will end the curse.

Movies like Skinwalkers and Wolves treat the werewolf as part of a person's basic make-up.  It is inheritance.  It's in the blood, and it's a DNA thing, like being a mutant of the X-Men variety.  After discovering that he is werewolf, Cayden can live by making the best of it, like John Tollerman, or become a killer and a man living like a wild animal, like Connor (who comes to life thanks to a spicy performance by actor, Jason Momoa).  Cayden does not have to be “cursed.”

Another thing that I would like to point out is that Wolves exemplifies the professionalism of the “technical” artists, craftsmen, and people who build the backgrounds and environments of low or small-budget films.  Wolves looks good, from the costumes to the sets.  The werewolf creature effects by Dave Elsey and Lou Elsey are impressive and come close to matching Dave Elsey's work on The Wolfman (2010), for which he and Rick Baker won an Oscar.

Released to VOD (video on demand) before receiving a small theatrical release, Wolves did not get the attention of a big studio release.  It is not a great movie, but, as a fan of werewolf movies, I found it to be quite enjoyable.  Wolves actually has bite, so it should not disappear into some werewolf or horror movie ghetto where mediocre films reside.

6 of 10
B

Sunday, January 18, 2015


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Review: "Taken 2" Does Not Suffer from Middle Film Blues

TRASH IN MY EYE No. 1 (of 2015) by Leroy Douresseaux

Taken 2 (2012)
COUNTRY OF ORIGIN:  France; Language:  English
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG-13 for intense sequences of violence and action, and some sensuality
DIRECTOR: Olivier Megaton
WRITERS: Luc Besson and Robert Mark Kamen (based on characters created by Luc Besson and Robert Mark Kamen)
PRODUCER:  Luc Besson
CINEMATOGRAPHER: Romain Lacourbas (director of photography)
EDITORS: Camille Delamarre and Vincent Tabaillon
COMPOSER: Nathaniel Méchaly

ACTION/THRILLER

Starring: Liam Neeson, Maggie Grace, Famke Janssen, Rade Shergedgia, Leland Orser, Jon Gries, D.B. Sweeney, and Luke Grimes

The subject of this movie review is Taken 2, a 2012 French thriller, directed by Olivier Megaton, produced by Luc Besson, and starring Liam Neeson. The film is a sequel to the 2008 film, Taken.  In Taken 2, retired CIA operative Bryan Mills finds himself facing off against the father of a man he killed while hunting for his kidnapped daughter in Paris (as seen in the first film).

Early in Taken 2, former CIA operative, Bryan Mills (Liam Neeson), is still trying to find ways to get closer to his daughter, Kim (Maggie Grace).  This time, it is by helping her pass her driving test, which she has already failed at least twice.  Meanwhile, Bryan's ex-wife and Kim's mother, Lenore (Famke Janssen), is having severe marital problems.  All three of them are about to have worse problems than they expect.

Over in Europe, specifically in Tropojë, Albania, funerals are being held for the Parisian-based, Albanian mobsters Bryan killed for kidnapping Kim in the first film.  Murad (Rade Shergedgia) is a mob boss and the father of Marko, one of the dead men.  Bryan killed Marko by electrocution, and Murad vows to capture Bryan, to bring him to the men's graves, and to kill him there.  They track Bryan to Istanbul, Turkey, where he is vacationing with Lenore and Kim.  Murad and company launch an attack and are able to abduct Bryan and Lenore.  Before Bryan can kick their attackers' asses, however, Kim will have to free his ass.

I had put off seeing Taken for about three years.  I saw it shortly before Taken 2 was released.  I put off seeing Taken 2 for three years, and decided to see it in time for the release of Taken 3.  When I finally saw Taken, I had to admit that it easily surpassed my expectations.  Taken was and remains a terrific thriller, a feisty little revenge flick that plays like a big-time, big studio thriller.

Now, that I have finally seen Taken 2, I have to admit that it surpassed my expectations.  It received such negative reviews that I avoided seeing it in a movie theater.  Taken 2 is not quite as good as Taken, but it isn't far off.  Like the original, Taken 2 strains credulity, and Liam Neeson's Bryan Mills does stuff that takes him into the fantasy realm of Jason Bourne films.  In this sequel, Bryan seems a little less human and more robotic than he was in the original movie.

Still, I like that Maggie Grace's Kim plays a bigger part.  Here, Grace approaches playing the action sidekick with the same terrified energy she used to play the first film's victim.  Yeah, Taken 2 is still a Liam Neeson vehicle, but it seems less so because of what Maggie Grace and even Famke Janssen (an underrated actress) bring to the film.  The always good  Rade Shergedgia (whose last name seems to have multiple spellings) manages to steal quite a bit of this film for himself.  So I am once again taken in by a Taken film.  Taken 2, like the first, is a tasty fast-food film.

7 of 10
B+

Sunday, January 11, 2015


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Review: "14 Blades" is Martial Arts with Western and Persian Stylings

TRASH IN MY EYE No. 41 (of 2014) by Leroy Douresseaux

14 Blades (2010)
Jin yi wei – original Chinese title
COUNTRY OF ORIGIN:  Hong Kong/China; Language:  Mandarin Chinese
Running time:  113 minutes (1 hour, 53 minutes)
Rating:  MPAA – R for violence and bloody images
DIRECTOR:  Daniel Lee
WRITERS:  Daniel Lee, Kwong Man Wai, Tin Shu Mak, and Ho Leung Lau; from a story by Daniel Lee and Siu Cheung Chan
PRODUCERS:  Xiang Dong, Zhang He-Yun, Zhang Hong, Si Jian-Jun, Zhao Ping, Xu Ping-An, Wang Qi-Shun, Yi'an Sun, Susanna Tsang, Tianyun Wang, and Cui Xiao-Wen
CINEMATOGRAPHER:  Cheung Tung Leung
EDITORS:  Ka Fai Cheung and Man To Tang
COMPOSER:  Henry Lai

MARTIAL ARTS/DRAMA/HISTORICAL

Starring:  Donnie Yen, Wei Zhao, Chun Wu, Kate Tsui, Yuwu Qi, Ma Wu, Kar-Ying Law, Xiang Dong Xu, Chen Zhi Hui, Sammo Hung, and Loi Kwan Kam

14 Blades is a 2010 martial arts (wuxia) and historical drama from director Daniel Lee.  The film, a co-production of China and Hong Kong, received a limited theatrical release in August 2014 after making a film festival appearance in 2011.  14 Blades focuses on an imperial secret agent who is hunted while he tries to stop a conspiracy against the Emperor.

14 Blades opens in China during the late Ming dynasty (a period taking place from 1368 to 1644).  It is a time when the imperial court is plagued by corruption, and the young emperor is incompetent and seems more interested in pleasure than in governing.  He is protected by the Jinyiwei (the Brocade Guard), a secret police force and clandestine royal guard.  They ensure peace and stability and have the authority to execute almost anyone.  Their leader is called Qinglong (Donnie Yen), and he carries with him the Fourteen Blades, a box containing 14 different steel blades with which he executes his duties... and people.

Far from the imperial Forbidden City, the Emperor's uncle, Prince Quing (Sammo Hung), hatches a conspiracy with the traitorous royal eunuch, Jia Jingzhong (Kar-Ying Law).  Their plot involves taking control of the Jinyiwei and betraying Qinglong.  They succeed, and Qinglong soon finds himself wounded, hunted, and on the run.  He finds shelter with Boss Yong Qiao (Ma Wu) and his men in the Justice Escort Agency.  Boss' daughter, Hua Qiao (Wei Zhao), becomes attracted to Qinglong and is determined to assist him in his fight to protect the Emperor and the country from chaos and destruction.

My summary of 14 Blades does not do this epic film justice.  There are enough supporting characters with their own causes and motivations to turn 14 Blades into a television miniseries.  However, the film's core, Qinglong, remains strong, and when the beautiful Hua is added, 14 Blades suddenly has heart, an emotional center to go with the lust for revenge and the film's blistering marital artist action.

Donnie Yen and Wei Zhao give heartfelt, deeply emotional, thoughtful, and strong performances.  They make everything about their respective characters:  external conflicts, internal struggles, motivations, ideals, wants, and love seem genuine and honest.  They are believable and likeable; they draw the viewer to this film.  In fact, like a superstar athlete does for his teammates, Yen and Zhao make their fellow actors betters.  Their characters make the other characters even more interesting and engaging.  I would love to see these two actors in another movie similar to 14 Blades or in a romantic drama.

14 Blades is obviously a martial arts film, but the film also has suggestions of an Ancient Persian romance and an American Western film.  The former comes through in some of the locales, in the costumes, and in certain musical strains in Henry Lai's score.  The latter is also suggested by some of the settings, but also by the staging of some scenes and sequences and in the poses and attitudes of both heroes and villains.  Most notable is the Clint Eastwood-like pose and attitude that Donnie Yen frequently strikes.

That makes 14 Blades something different, even if the story occasionally becomes a bit muddled.  Still, its colorful characters and lavish costumes; to say nothing of the flashy fight choreography makes this movie thoroughly enjoyable.  With its attractive lead couple, 14 Blades, while different enough to stand out from other marital arts films, tells a familiar story of love and bravery that will captivate audiences.

7 of 10
B+

Saturday, September 6, 2014


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Review: "Pompeii" an Enjoyable Historical Spectacle

TRASH IN MY EYE No. 31 (of 2014) by Leroy Douresseaux

Pompeii (2014)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA – PG-13 for intense battle sequences, disaster-related action and brief sexual content
DIRECTOR:  Paul W.S. Anderson
WRITER:  Janet Scott Batchler and Lee Batchler, and Michael Robert Johnson
PRODUCERS:  Paul W.S. Anderson, Jeremy Bolt, Robert Kulzer, and Don Carmody
CINEMATOGRAPHER:  Glen MacPherson (D.o.P.)
EDITOR:  Michele Conroy
COMPOSER:  Clinton Shorter

HISTORICAL/DRAMA/ACTION/ADVENTURE

Starring:  Kit Harrington, Emily Browning, Carrie-Anne Moss, Adewale Akinnuoye-Agbaje, Kiefer Sutherland, Jessica Lucas, Jared Harris, Joe Pingue, Currie Graham, Sasha Roiz, Dalmar Abuzeid, and Dylan Schombing

Pompeii was an ancient Roman town-city near modern Naples in the Italian region of Campania.  Pompeii and the surrounding area (including another town) were destroyed by the eruption of Mount Vesuvius in 79 AD.

Pompeii is a 2014 historical drama and disaster film from director Paul W.S. Anderson, perhaps best known for his work on the Resident Evil film franchise.  Theatrically released in 3D, this film is a German and Canadian co-production.

Pompeii is set during the last two or three days before Vesuvius destroys the city.  The film focuses on a slave-turned-gladiator who finds himself in Pompeii and fighting to protect a nobleman’s young daughter from a corrupt Roman Senator, while nearby, Mount Vesuvius rumbles ominously.

Pompeii opens in Brittania in 62 AD.  Roman soldiers brutally wipe out a tribe of Celtic horsemen, and a young Celtic boy named Milo (Dylan Schombing) watches as his parents are murdered.  By 79 AD, the boy is a grown man known as “The Celt” (Kit Harrington), who is a Roman slave and talented gladiator.

Milo is taken to Pompeii during the “Festival of the Vinalia” in order to entertain the crowds.  He has an encounter with Cassia (Emily Browning), the daughter of Pompeii's ruler, Marcus Severus (Jared Harris) and his wife, Aurelia (Carrie-Anne Moss).  Milo and the young woman are drawn to each other.  However, Milo must focus his attention on Atticus (Adewale Akinnuoye-Agbaje), a champion gladiator who wants to use “the Celt” to gain his freedom.

Meanwhile, the arrival of Senator Quintas Attius Corvus (Kiefer Sutherland), a close ally of Roman emperor, Titus, changes everyone’s plans.  All that planning might be why Pompeii’s people and visitors are ignoring the noise and rumbles coming from Mount Vesuvius, which towers over the area.

In the history of films set in or during the Roman Empire, Pompeii won’t be memorable.  It’s no Gladiator (2000), nor is it even on the level of a recent favorite of mine, The Eagle (2011).  Pompeii is a sword and sandal film that mixes several genres, including action-adventure, romance, the disaster film, the swashbuckler, and the historical, among others.  Each of those genres offers something enjoyable to watch in Pompeii, but overall this film is not well acted, directed, or written.

It looked to me like some of the film’s actors were struggling not to laugh during scenes when they were supposed to convey anger or pain.  Kit Harrington as Milo the Celt is cute, but he is not much of an actor, at least here.  Emily Browning as Cassia is seemingly quite passionate about this film and gives it her best effort.  Why should you watch this movie?  I don't know.

I found myself enjoying Pompeii.  I have always liked Roman Empire movies, so obviously I was going to give this film a chance.  I am glad that I did, but I won’t lie and pretend that this is an especially good film.

5 of 10
C+

Tuesday, July 08, 2014


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

Review: "Topsy-Turvy" Goes Behind the Scenes (Happy B'day, Jim Broadbent)

TRASH IN MY EYE No. 224 (of 2004) by Leroy Douresseaux

Topsy-Turvy (1999)
COUNTRY OF ORIGIN:  UK
Running time:  160 minutes (2 hours, 40 minutes)
MPAA – R for a scene of risqué nudity
WRITER/DIRECTOR:  Mike Leigh
PRODUCER:  Simon Channing-Williams
CINEMATOGRAPHER:  Dick Pope
EDITOR:  Robin Sales
Academy Award winner

COMEDY/DRAMA/MUSIC

Starring:  Allan Corduner, Jim Broadbent, Lesley Manville, Wendy Nottingham, Dexter Fletcher, Sukie Smith, Roger Heathcott, Timothy Spall, Adam Searle, Martin Savage, Kate Doherty, Kenneth Hadley, Ron Cook, Eleanor David, Sam Kelly, and Andy Serkis

The subject of this movie review is Topsy-Turvy, a 1999 musical drama and comedy film from writer-director, Mike Leigh.  The film is a fictional account of the relationship between Gilbert and Sullivan, following a failed opera and leading to the creation of the duo’s masterpiece, The Mikado.

Topsy-Turvy is writer/director Mike Leigh’s fictional account of the comic opera team of Gilbert & Sullivan during a particular period in their partnership.  After the lukewarm critical reception of the comic opera, Princess Ida, in 1884, English composer Sir Arthur Sullivan (Allan Corduner) has grown weary of his 13-year partnership with playwright and comic librettist William Schwenck “Willie” Gilbert (Jim Broadbent) and of Gilbert’s topsy-turvy scenarios.

Sullivan embarks on a tour of Europe and when he returns he begins to work on what he calls serious musical compositions.  However, the musical partners have a contract to fulfill with their producer Richard D’Oyly Carte (Ron Cook) for the Savoy Theatre (which had been built to house Gilbert & Sullivan’s operas).

After much disagreement among Sullivan, Gilbert, and Carte, Gilbert writes the scenario for The Mikado, a story inspired by Gilbert’s experiences from his visits to an exposition of Japanese culture, history, and art held in London in 1885.  Topsy-Turvy (a term used to describe the kind of fictional scenarios that involved ordinary humans encountered magic and sorcery) follows the creation, development, and staging of The Mikado.  Leigh’s fictional account shows Sir Arthur Sullivan working on the music and Willie Gilbert struggling with the actors to get the staging, acting, and singing just right.  His attention to detail also brings him into conflict with actors over costumes and the assignment of roles.

The film should be a treat to fans of Gilbert & Sullivan, and Topsy-Turvy is an excellent look at both the creative process and all the work that goes into staging an opera, everything from conducting the music and designing the sets to staging the cast and preparing for opening night.  There are a lot of very good performances in this film, but nothing from the leads (Broadbent and Corduner) stand out other than from the fact that they are the leads.  Andy Serkis (Gollum and Smeagol of The Lord of the Rings trilogy) makes a nice turn as the opera’s choreographer.

Leigh gives a look at the behind-the-scenes struggles and politics of raising a staged work that is quite interesting and almost academic in its details.  The film, however, does come off as a bit cool, and Leigh does too much teasing about the private lives of Gilbert & Sullivan, without revealing anything but tidbits.  Still, Leigh manages to make a unique and exceptional film that shines in spite of a few flaws.

7 of 10
A-

NOTES:
2000 Academy Awards, USA:  2 wins: “Best Costume Design” (Lindy Hemming) and “Best Makeup” (Christine Blundell and Trefor Proud); 2 nominees:  “Best Writing, Screenplay Written Directly for the Screen” (Mike Leigh) and “Best Art Direction-Set Decoration” (Eve Stewart-art director and John Bush-set decorator)

2000 BAFTA Awards:  1 win: “Best Make Up/Hair” (Christine Blundell); 4 nominations: “Alexander Korda Award for Best British Film” (Simon Channing Williams and Mike Leigh), “Best Screenplay – Original” (Mike Leigh), “Best Performance by an Actor in a Leading Role” (Jim Broadbent), and “Best Performance by an Actor in a Supporting Role” (Timothy Spall)

Updated:  Saturday, May 24, 2014

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

Review: "My Beautiful Laundrette" Tackles Social Issues (Happy B'day, Daniel Day Lewis)

TRASH IN MY EYE No. 16 (of 2004) by Leroy Douresseaux

My Beautiful Laundrette (1985)
COUNTRY OF ORIGIN:  United Kingdom
Running time:  97 minutes (1 hour, 37 minutes)
MPAA – R
DIRECTOR:  Stephen Frears
WRITER:  Hanif Kureishi
PRODUCERS:  Tim Bevan and Sarah Radclyffe
CINEMATOGRAPHER:  Oliver Stapleton
EDITOR:  Mick Audsley
COMPOSER:  Ludus Tonalis
Academy Award nominee

DRAMA/ROMANCE with elements of comedy

Starring:  Saeed Jaffrey, Roshan Seth, Daniel Day-Lewis, Gordon Warnecke, Derrick Blanche, Rita Wolf, Souad Faress, Richard Graham, Shirley Ann Field, Dudley Thomas, Winston Graham, and Garry Cooper

The subject of this movie review is My Beautiful Laundrette, a 1985 British comedy-drama directed by Stephen Frears and written by Hanif Kureishi.  The movie, which was originally intended for television, was one of the first films released by Working Title Films.  My Beautiful Laundrette focuses on an ambitious Asian Briton and his white male lover as they strive to find success with a glamorous launderette (Laundromat).

In My Beautiful Laundrette, director Stephen Frears (The Hit) and screenwriter Hanif Kureishi don’t tackle issues, so much as they present a story that involves the entanglement amongst class, economics, family, politics, race, and sex.  My Beautiful Laundrette subtly presents the issues, but presents them nonetheless.  Because the issues of the film tie everyone together, every character is a legitimate player, and the viewer has to always pay attention to all the characters.  That’s heady stuff in a world where the most popular and publicized pictures are glossy films with lots of throwaway appendages.

Omar (Gordon Warnecke) is an ambitious young Asian Briton of Pakistani decent who convinces his uncle to let him manage his uncle’s laundrette.  He convinces Johnny (Daniel Day Lewis, The Bounty), an old school chum and his gay lover, to join him.  They convert the dilapidated business into a colorful and glamorous establishment as they strive for success amidst familial and social politics – Omar’s mostly immigrant family and Johnny’s racist thug friends.

Warnecke and Lewis are excellent as the young businessman who leaps at every opportunity and the disaffected youth at odds with the world respectively.  In this early role, Lewis smolders, as he would so often in the future, showing the audience that there is more, much more, beneath the surface of his character, unseen and real – the window to the character’s soul.  However, the best part belongs to an actor seldom seen in film since My Beautiful Laundrette, Derrick Branche as Omar’s cousin Salim.  Every bit as racist as Johnny’s buddies and as ambitious as any of his relatives, he is the ruthless and blunt looking glass of this story.

My Beautiful Laundrette takes a while to get going, but its documentary approach to storytelling in which the characters are like real people and not actors acting like people is worth the wait.  Much of the love and romance is tepid, probably because the filmmakers wished to convey how difficult love can be amongst people straddling the borders between warring social groups.  Perhaps, the film could have been a bit more emotional, but maybe the filmmakers wanted to play down the passion of love in favor of presenting a broader picture of the societal pressures weighing upon the characters.  The viewer can decide for himself, especially if he likes films that focus on the common everyman.

7 of 10
B+

NOTES:
1987 Academy Awards, USA:  1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (Hanif Kureishi)

1986 BAFTA Awards:  2 nominations: “Best Actor in a Supporting Role” (Saeed Jaffrey) and “Best Screenplay – Original” (Hanif Kureishi)

Updated:  Tuesday, April 29, 2014

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

Review: Visually Splendid "The Merchant of Venice" is Soft on Story (Happy B'day, Shakespeare)

TRASH IN MY EYE No. 93 (of 2006) by Leroy Douresseaux

The Merchant of Venice (2004)
COUNTRY OF ORIGIN: U.K., Italy, Luxembourg
Running time:  131 minutes (2 hours, 11 minutes)
MPAA – R for some nudity
DIRECTOR:  Michael Radford
WRITER:  Michael Radford (based upon the play by William Shakespeare)
PRODUCERS:  Cary Brokaw, Michael Lionello Cowan, Barry Navidi, Jason Piette,
CINEMATOGRAPHER:  Benoît Delhomme
EDITOR:  Lucia Zucchetti
COMPOSER:  Jocelyn Pook
BAFTA Awards nominee

DRAMA with elements of romance

Starring:  Al Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins, Zuleikha Robinson, Kris Marshall, Charlie Cox, Heather Goldenhersh, and David Harewood

The subject of this movie review is The Merchant of Venice, a 2004 romantic drama from writer-director Michael Radford.  The film is based upon the comedy play, The Merchant of Venice, written by William Shakespeare around 1596.  Radford’s film adaptation is apparently the first full-length, theatrical, sound film version of The Merchant of Venice.  The Merchant of Venice the film is set in 16th century Venice and finds a merchant having to pay a gruesome price after he must default on a large loan he borrowed from a Jewish moneylender for a friend.

William Shakespeare is once again brought to the screen, this time in The Merchant of Venice, another film adaptation of his play about passion, justice, and anti-Semitism.  Set in late 16th century Venice, the story finds Bassanio (Joseph Fiennes) lacking money to woo an heiress, Portia of Belmont (Lynn Collins), because his lavish lifestyle has left him deeply in debt.  So he turns to his merchant friend, Antonio (Jeremy Irons), for the money.  Antonio, however, has his cash tied up in ships and overseas trade, so he secures a loan of 3,000 ducats from Shylock (Al Pacino), a Jew.

In Venice, Jews cannot own property, and they are forced to live in a “geto” (a walled-off section of the city), having only limited access to the city.  Antonio has publicly abused Shylock and other Jews for the practice of usury – money lending.  Spiteful and bitter, Shylock is glad to have Antonio in his debt.  In order to secure the money he wants to give Bassanio, Antonio promises that if he defaults on the loan, he’ll pay Shylock with a pound of flesh – literally.

Bassanio leaves with his friend Gratanio (Kris Marshall) to woo his love, but finds that Portia and her lady-in-waiting, Nerissa (Heather Goldenhersh), have been entertaining other suitors.  Like them, Bassanio must engage in a game of chance (blindly choosing which of three caskets holds the prize that earns Portia’s hand).  However, Jessica (Zuleikha Robinson), Shylock’s daughter, elopes with Bassanio’s friend, Lorenzo (Charlie Cox), and takes a large amount of her father’s personal wealth with her.  Wounded to his very soul, Shylock focuses on Antonio’s debt to him, and when Antonio does default on the loan, Shylock demands his pound of flesh.

I’ve never seen a previous film version of Shakespeare’s The Merchant of Venice (such as the 1973 version starring Laurence Olivier), and I’m only familiar with the text in passing, having never read the entire work.  Thus, I can only judge this film on its contents or merits.  Michael Radford’s version is a somber narrative with occasional explosions of passionate arguments about prejudice, bigotry, and discriminations, and only a few moments of genuinely harmonious scenes of romantic love.  Despite a diverse range of elegant and sumptuous costumes (for which costume designer Sammy Sheldon earned a 2005 BAFTA Award nomination), evocative sets, and stunning locales set on sunny isles (Venice, Italy), Radford’s film is marred by mumbled dialogue, dour characters, and an air of mean-spiritedness that permeates even the most pleasant moments.

The performances are adequate for transforming Shakespeare to the screen, but only Pacino gives a memorable performance as the righteous and wronged Shylock.  If you, dear reader, need to cheat for an English lit class, Cliff Notes would be better than this.  The film merits as a visual treat, but limps as a narrative.

5 of 10
C+

Saturday, May 06, 2006

NOTES:
2005 BAFTA Awards:  1 nomination: “Best Costume Design” (Sammy Sheldon)

Updated:  Wednesday, April 23, 2014

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Review: "The Tin Drum" is a Masterpiece (Remembering Maurice Jarre)

TRASH IN MY EYE No. 118 (of 2004) by Leroy Douresseaux

Die Blechtrommel (1979)
The Tin Drum (1980) – U.S. release
COUNTRY OF ORIGIN:  West Germany
Running time:  142 minutes (2 hours, 22 minutes)
MPAA – R
DIRECTOR:  Volker Schlöndorff
WRITERS:  Jean-Claude Carrière, Franz Seitz, and Volker Schlöndorff, with Günter Grass providing additional dialogue (based upon the novel by Günter Grass)
PRODUCER:  Franz Seitz
CINEMATOGRAPHER:  Igor Luther
EDITOR:  Suzanne Baron
COMPOSER:  Maurice Jarre
Academy Award winner

DRAMA

Starring:  David Bennent, Mario Adorf, Angela Winkler, Katharina Thalbach, Daniel Olbrychski, Tina Engel, Berta Drews, Roland Teubner, Tadeusz Kunikowki, and Heinz Bennent

The subject of this movie review is The Tin Drum (original title: Die Blechtrommel), a 1979 West German drama and black comedy from director Volker Schlöndorff.  The film is an adaptation of the 1959 novel, The Tin Drum, written by author, Günter Grass, which is the first book in Grass’ Danzig Trilogy.  The Tin Drum the movie follows a most unusual boy who, on his third birthday, decides not to grow up.

The 1979 West German film Die Blechtrommel won the 1980 Academy Award for “Best Foreign Language Film.”  It is the story of Oskar Matzerath (David Bennent), a young boy in 1930’s Danzig, Germany who decides to stop growing at the age of three.  Oskar carries a small tin drum around his neck that he beats often, much to the chagrin of the adults, and Oskar has the unique physical gift of being able to scream at such a high pitch that he can break glass.

Although Oskar’s body stops growing, mentally and psychologically he keeps aging, and as he grows he witnesses the rise of Nazism and the beginning and the end of World War II.  With everything going on around him, however, Oskar’s world revolves around pleasing himself.  Despite Oskar’s self-centeredness, the film also examines the chaotic and tumultuous lives of the adults around him, especially his mother, Agnes (Angela Winkler), and his mothers two lovers, a German shopkeeper named Alfred (Mario Adorf) and Jan Bronski (Daniel Olbrychski), a handsome Polish man who works at a Polish post office in Danzig, either of whom could be Oskar’s biological father.

Many consider The Tin Drum to be one of the great films to come out of West Germany in the last quarter century.  The film, however, isn’t one of those beautiful and genteel foreign films or one of those French films shot to mimic the immediacy of realism.  The Tin Drum is an unflinching and dense psychological examination of people caught in complicated relationships who also have to navigate the narrow straights of their own interior lives.  It’s also a sweeping cinematic observation of Nazi Germany that unfurls its ideas simultaneously through symbolism and blunt literalism.  Like some glossy, Hollywood eye candy flick, The Tin Drum doesn’t allow the audience to look away; it’s like watching a miraculous apparition unfurl before one’s eyes or like watching a mesmerizing accident.

The focus of the story is, of course, Oskar, who is mostly not likeable.  In fact, there’s something menacing or even evil about him.  He seeks to shut himself off from the world or at least totally funnel existence through his wants, but what’s most fascinating is watching Oskar’s life grow (his personality doesn’t change) with the rise of Nazism.

This is powerful stuff, the kind of thing that stands out amidst all the pedestrian films.  The Tin Drum has had a somewhat controversial existence in the United States because there is both full and partial nudity of children, which some people saw as kiddie porn.  The film is not pornography or pornographic; this film is art.  The nudity and frank sex (including a sex scene between children) is actually handled quite carefully and with imagination by director Volker Schlöndorff, as he handles everything in his masterpiece.

9 of 10
A+

Updated:  Saturday, March 29, 2014


NOTES:
1980 Academy Awards, USA:  1 win: “Best Foreign Language Film” (West Germany)

1979 Cannes Film Festival:  1 win: “Palme d’Or” (Volker Schlöndorff – tied with Apocalypse Now1979)

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

Review: "Seven Samurai" is One of the Best Films Ever (Happy B'day, Akira Kurosawa)

TRASH IN MY EYE No. 81 (of 2006) by Leroy Douresseaux

Shichinin no samurai (1954) – B&W
Seven Samurai (1954) – USA title
COUNTRY OF ORIGIN:  Japan
Running time:  206 minutes (3 hours, 26 minutes) - USA restored version
DIRECTOR/EDITOR:  Akira Kurosawa
WRITERS:  Shinobu Hashimoto, Hideo Oguni, and Akira Kurosawa
PRODUCER:  Sojiro Motoki
CINEMATOGRAPHER:  Asakasu Nakai
COMPOSER:  Fumio Hayasaka
Academy Award nominee

DRAMA/HISTORICAL/MARTIAL ARTS/ACTION

Starring:  Takashi Shimura, Toshirô Mifune, Yoshio Inaba, Seiji  Miyaguchi, Minoru Chiaki, Daisuke Katô, Isao Kimura, Keiko Tsushima, Kamatari Fujiwara, Yoshio Kosugi, Bokuzen Hidari, Yoshio Tsuchiya, Yukiko Shimazaki, and Kokuten Kodo

The subject of this movie review is Seven Samurai (original Japanese title: Shichinin no samurai), a 1954 samurai drama and period adventure film from director Akira Kurosawa.  Set during Japan’s Sengoku period (warring states period), the film focuses on a poor village, the bandits that attack the village, and the seven unemployed samurai that the villagers recruit to help defend themselves.

Not only do I consider Seven Samurai to be one of the ten best films every made, but I also love it as one of my all-time favorite movies.  I was surprised to learn that the film is believed to have contributed structural narrative innovations to film storytelling or was among the first to use those innovations.  That’s great, but I don’t need that information on innovations to know that Kurosawa’s film overwhelms me.

Late 16th century, Japan:  a small farming village finds itself annually besieged by bandits, who usually arrive just after harvest so that they can steal the villagers’ crops.  Tired of being beaten into starvation, a small group of farmers leaves the village and heads for a town in hopes of convincing a large number of samurai to defend their village from the encroaching bandits.  The farmers happen upon a scene wherein a master samurai, Kambei (Takashi Shimura), disguises himself as a monk in order to save a child kidnapped by a madman.

Impressed by his bravery, the villagers convince Kambei to help their village, although the only payment that the farmers can offer the samurai is enough rice to eat.  Kambei and the farmers make the same offer to a number of samurai, many of whom are greatly insulted by the offer.  However, six others eventually accept, including a scruffy ronin (Toshirô Mifune) and a novice samurai.  The seven samurai and the farmers return to the village, where together they build the rest of the villagers into a militia, while the bandits lurk in the nearby forest.  Eventually, the bandits’ raids on the village begin, and it culminates in an epic, bloody battle pitting the samurai and villagers against the bandits.

Akira Kurosawa’s Seven Samurai is one of the ultimate auteur films, coming from a director, who like Stanley Kubrick, is an ultimate auteur.  It’s hard to believe that there is anything on the screen that Kurosawa didn’t want, and everything is so carefully considered:  the composition of scenes, the cinematographer, the execution of the action, the editing, the lighting, etc.  The film filled my senses, controlled my emotions, and had my mind on overdrive as I tried to figure out the next move, the next scene, or the narrative flow.  I have found very few films to so move me with such power, exhilaration, fear, anticipation, and Seven Samurai even has a few laughs.

If you’re looking for flying, super powered samurai, this isn’t it.  If you want an epic film about honor, sacrifice, and duty set in a romantic past, Seven Samurai is it.  This is easily one of the ten best motion pictures ever made.

10 of 10

NOTES:
1957 Academy Awards:  2 nominations:  “Best Art Direction-Set Decoration, Black-and-White (Takashi Matsuyama) and “Best Costume Design, Black-and-White” (Kôhei Ezaki)

1956 BAFTA Awards:  3 nominations:  “Best Film from any Source (Japan), “Best Foreign Actor” (Toshirô Mifune of Japan), and “Best Foreign Actor” (Takashi Shimura from Japan)

Friday, April 21, 2006

Updated:  Sunday, March 23, 2014


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

Review: "Videodrome" Still Dazzles (Happy B'day, David Cronenberg)

TRASH IN MY EYE No. 31 (of 2004) by Leroy Douresseaux

Videodrome (1983)
Running time:  87 minutes (1 hour, 27 minutes)
MPAA – R
WRITER/DIRECTOR:  David Cronenberg
PRODUCER:  Claude Héroux
CINEMATOGRAPHER:  Mark Irwin (D.o.P.)
EDITOR:  Ronald Sanders
COMPOSER:  Howard Shore

SCI-FI/HORROR/THRILLER with elements of fantasy

Starring:   James Wood, Sonja Smits, Deborah Harry, Peter Dvorsky, Les Carlson, Jack Creley, and Lynne Gorman

The subject of this movie review is Videodrome, a 1983 Canadian science fiction and horror film from writer-director, David Cronenberg.  Possessing elements of the “body horror” genre, this film focuses on a sleazy cable television programmer who acquires a new kind of programming for his station then, watches as everything, including his life, spins out of control.  The film received eight Genie Award nominations (once Canada’s top film award), and won four, including a best director honor for Cronenberg (who shared the win with Bob Clark of A Christmas Story).

Although the term “visionary director” is bandied about so often (even more so now with so many movie reviewers and film critics crowding information space via the Internet, print, and televised media), Canadian filmmaker David Cronenberg is truly a visionary as displayed in his film Videodrome.

Max Renn (James Woods) is a low-level cable TV operator who runs a television station and is looking for new material when he stumbles upon a kind of “snuff film” and porno TV broadcast called Videodrome.  Max wants to acquire the rights to Videodrome, but has a hard time finding out who owns the rights or from where exactly the program’s signal originates.  He finally discovers the creator of Videodrome, only to learn there is a larger conspiracy involved, and that watching Videodrome also causes the viewer to experience strange hallucinations.

The film has the usual characteristics of a Cronenberg production:  bodily invasion and penetration, body alteration, hallucinations, rape paranoia, and altered realities.  While certainly heavy with sci-fi and horror themes, Videodrome is firmly rooted in everyday reality.  The film deals with how television and video images can physically, as well as mentally, alter and affect the human body.  Cronenberg’s most successful experiment in this film is to make the viewer as totally lost and confused as Max Renn is.  We truly don’t know anymore than he does, and he holds no clues secretly in head from the viewer.

The film’s third act is one of the most brilliant film portrayals of altered perception, as it becomes almost impossible to say what is the real world and what is imagination and hallucination.  Even more brilliant, Cronenberg creates this sense of detachment from reality without loosing the viewer.  We may never know what is meant to be “real,” as this film draws to its shocking finale, but we can’t look away.

Videodrome does drag a little in the first act, but Cronenberg is a smart filmmaker of smart films that unveil slowly and intelligently before our eyes.  It is a dazzling examination of how TV has and is changing humanity – truly a movie masterpiece of the late 20th Century.

9 of 10
A+

Updated:  Saturday, March 15, 2014


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Review: "Tsotsi" a Familiar Tale from Another Place

TRASH IN MY EYE No. 168 (of 2006) by Leroy Douresseaux

Tsotsi (2005)
COUNTRY OF ORIGIN:  South Africa and the U.K.; Languages:  Zulu, Afrikaans, and others
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – R for language and some violent content
DIRECTOR:  Gavin Hood
WRITER:  Gavin Hood (based upon the novel by Athol Fugard)
PRODUCER:  Peter Fudakowski
CINEMATOGRAPHER:  Lance Gewer
EDITOR:  Megan Gill
COMPOSERS:  Paul Hepker and Mark Kilian
Academy Award winner

DRAMA

Starring:  Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe, Zola, Rapulana Seiphemo, Nambitha Mpumlwana, Jerry Mofokeng, Ian Roberts, Percy Matsemela, and Thembi Nyandeni

The subject of this movie review is Tsotsi, a 2005 South African drama adapted for the screen and directed by Gavin Hood.  The film is based on the 1980 novel, Tsotsi, from author Athol Fugard.  “Tsotsi” is apparently a slang word in Johannesburg, South Africa that can be translated to mean “thug.”  Tsotsi the film follows six days in the violent life of a young Johannesburg gang leader.

Tsotsi (Presley Chweneyagae) is a ruthless hood living in an impoverished township in Johannesburg, South Africa, where he leads the trio of miscreants that make up his gang.  One night he shoots a woman (Nambitha Mpumlwana) in a well-to-do suburban neighborhood and drives off in her car, but he discovers that he isn’t alone.  The woman’s infant son is in the backseat, so he grudgingly takes the infant to his humble abode.  Through his efforts to care for the baby, Tsotsi (his nickname is urban slang that loosely translates to “thug”) rediscovers compassion, self-respect, and the capacity to love, but he still struggles with his old ways.

Tsotsi won the 2006 Oscar for “Best Foreign Language Film of the Year” as a representative of South Africa. The film is sturdy and earnest, and maybe a little too melodramatic in its too obvious determination to spend a yarn of moral redemption.  Still, the film is powerful and the emotions run deep and are raw, primarily because of the lead character’s hardened criminal life.  It’s kind of hard to be sympathetic towards Tsotsi because his decisions lead to the murder of an innocent man and the wounding of several others.

What makes Tsotsi rise above preachy, well-meaning social drama is that this is basically a familiar tale, but set in an unfamiliar place with strange and exotic characters.  In that way, Tsotsi engages the viewer to discover a new way of looking at a familiar premise.  The performances are good, though not great.  Presley Chweneyagae, however, is a solid actor and carries the film like a veteran movie star.

7 of 10
B+

NOTES:
2006 Academy Awards, USA:  1 win: “Best Foreign Language Film of the Year” (South Africa)

2006 BAFTA Awards:  2 nominations:  “Best Film not in the English Language” (Gavin Hood and Peter Fudakowski) and the “Carl Foreman Award for Most Promising Newcomer” (Peter Fudakowski-producer)

2006 Golden Globes:  1 nomination for “Best Foreign Language Film” (South Africa)

2007 Image Awards:  1 nomination: “Outstanding Independent or Foreign Film”

Monday, August 07, 2006

Updated:  Thursday, March 06, 2014

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

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Review: "De Tweeling" (Twin Sisters) a Powerful Sister Act

TRASH IN MY EYE No. 27 (of 2006) by Leroy Douresseaux

De Tweeling (2002)
Twin Sisters – English title
COUNTRY OF ORIGIN:  Netherlands and Luxembourg; Language:  Dutch, German and English
Running time:  118 minutes (1 hour, 58 minutes)
MPAA – R for a brief sexuality and a scene of violence
DIRECTOR:  Ben Sombogaart
WRITER:  Marieke van der Pol (based upon the novel by Tessa de Loo)
PRODUCERS:  Hanneke Niens and Anton Smit
CINEMATOGRAPHER:  Piotr Kukla
EDITOR:  Herman P. Koerts
COMPOSER:  Fons Merkies
Academy Award nominee

DRAMA/ROMANCE/WAR

Starring:  Nadja Uhl, Thekla Reuten, Gudrun Okras, Ellen Vogel, Sina Richardt, Julia Koopmans, Jeroen Spitzenberger Betty Schuurman, Jaap Spijkers, Roman Knizka, Margarita Broich, and Hans Somers

The subject of this movie review is De Tweeling (Twin Sisters), a 2002 Dutch drama, romance, and war movie from director Ben Sombogaart.  The film is based on the 1993 novel, De Tweeling, by Tessa de Loo.  The film received a theatrical release in the United States in May 2005.

De Tweeling or Twin Sisters earned a 2004 Academy Award nomination for “Best Foreign Language Film” (Netherlands).  The film opens in 1925 and introduces us to German twin sisters, Anna (Sina Richardt) and Lotte (Julia Koopmans), who live with their well to do, widower father.  When he dies of consumption in 1926, competing relatives with different agendas separate the girls.  Anna remains in Germany on her uncle’s farm where he basically uses her as cheap labor.  A rich aunt and uncle take Lotte to Holland, where she lives a privileged life of culture, education, and opportunity.

The bulk of the story takes place between 1936 and 1947, when the sisters, now young women find themselves on opposite sides of World War II.  The young adult Anna (Nadja Uhl) marries a young Austrian soldier, Martin (Roman Knizka), who goes on to become an SS officer.  The young adult Lotte (Thekla Reuten) falls in love with a Jewish musician, David (Jeroen Spitzenberger), who ends up in a concentration camp.  The film later finds the sisters estranged from one another as old ladies, with Old Anne (Gudrun Okras) trying to reconcile her differences with Old Lotte (Ellen Vogel).

Twin Sisters is a compelling drama that is at its heart a bittersweet romance about two sisters who dearly love each other, but find that not only are their home countries at odds, but also their choice in lovers.  Indeed, the sisters’ lives during WWII are the center of this tale with the sequences involving Anne and Lotte as old women being nothing more than TV movie-of-the-week melodrama.  The opening segment with the sisters as six-year olds is sentimental and darkly sweet, while being something like a surreal and tragic fairy tale of kidnapped princes.

The film seems to jump around too much, but director Ben Sombogaart and writer Marieke van der Pol do their best work chronicling the sisters’ painfully desperate attempt to hold onto their lovers.  That’s the film right there, and although this adapts a novel, the movie should have focused exclusively, except for maybe a framing sequence, on the sisters as young women.  Here is the best acting both on the part of the actresses playing the sisters and the supporting cast portraying their family, friends, and acquaintances.  The horror the Holocaust creeps around the edges of the film here giving it a solid dramatic impact.  The tenuous relationship of the sisters at this point makes compelling drama – almost compelling enough to make you forget there aren’t enough of the best parts of Twin Sisters.

7 of 10
B+

Friday, February 03, 2006

NOTES:
2004 Academy Awards, USA:  1 nomination: “Best Foreign Language Film” (Netherlands)

Updated:  Wednesday, February 19, 2014


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

Review: Andreas Wilson Makes Star Turn in "Ondskan" (Evil)

TRASH IN MY EYE No. 205 (of 2006) by Leroy Douresseaux

Ondskan (2003)
Evil – 2006 U.S. theatrical release
COUNTRY OF ORIGIN:  Sweden; Languages:  Swedish and Finnish
Running time:  113 minutes (1 hour, 53 minutes)
Not rated by the MPAA
DIRECTOR:  Mikael Håfström
WRITERS:  Hans Gunnarsson and Mikael Håfström (from the novel by Jan Guillon)
PRODUCERS:  Ingemar Leijonborg and Hans Lönnerheden
CINEMATOGRAPHER:  Peter Mokrosinski
EDITOR:  Darek Hodor
COMPOSER:  Francis Shaw
Academy Award nominee

DRAMA

Starring:  Andreas Wilson, Henrik Lundström, Gustaf Skarsgård, Linda Zilliacus, Jesper Salén, Filip Berg, Johan Rabaeus, and Marie Richardson

The subject of this movie review Ondskan (Evil), a 2003 private school drama from director, Mikael Hafstrom.  The film is based on the 1981 Swedish autobiographical novel, Ondskan (The Evil) by Jan Guillon.  The film received a limited theatrical release in the United States in 2006.

After numerous fights in which he brutalized his victims, a rebellious teenager, Erik Ponti (Andreas Wilson), is expelled from high school after the headmaster declares him “Evil,” while also noting what a good student Erik is.  Erik also has a pitiful home life, in which his bullying Stepfather (Johan Rabaeus) beats him while his Mother (Marie Richardson) suffers in silence.  Erik’s mother sells off some of her family heirlooms to send Erik to the prestigious boarding school, Stjärnsberg.  This is Erik’s last chance to finish high school, which will allow him to move to the next class (called “forms”), the “Sixth Form.”  However, if Stjärnsberg expels him, his chance at law school is finished.

Erik is determined to live in peace at his new school, but after having endured so many beatings from his stepfather, Erik is shocked to learn Stjärnsberg has a similar attitude of abuse.  He faces a constant barrage of verbal and physical threats from the school’s senior class, in particularly a group of students (whose families are nobility) – led by a pompous bully named Otto Silverhielm (Gustaf Skarsgård).  They torment the younger students mercilessly, but Erik refuses to accept a low place on the totem pole and just wants to be left alone.  Although he takes some of their punishment, they want to crack him, but he won’t crack or lash out in violence.  When Otto turns his anger towards Erik’s best friend and roommate, Pierre Tanguy (Henrik Lundström), Erik must face the evil within him and the evil of Otto and his gang of bullies.  Erik also has a romantic entanglement with Marja (Linda Zilliacus), a member of the school’s kitchen staff, which, if discovered, will get him expelled and her fired.

Mikael Håfström’s film Ondskan – English title Evil – received a 2004 Academy Award nomination for “Best Foreign Language Film” as a representative of Sweden.  Although the film may remind some U.S. viewers of Dead Poets’ Society because both share an elite boarding school the setting, Ondskan is probably closer to the 1992 prep school drama, School Ties.  Based on Jan Guillon’s novel (which in turn was based upon some of his experiences as a boarding school student), Ondskan is a rumination on both the evil in people (as manifested by their actions) and the evil they accept (the actions of others that they tolerate out of habit or because of social conventions).  Mikael Håfström manages to delve into the script’s, which he co-wrote, more thoughtful pursuits, while extracting the tense drama the setting – a boarding school full of conflicting ideologies, social classes, cliques, motivations, etc. – allows him.

He has a star in Andreas Wilson, the kind of young actor with the fierce charisma needed to play a screen tough like Erik.  Wilson’s ability to portray quite determination and also hate, rage, and evil boiling under the surface with such subtlety both drives and carries this film.  Hollywood taking notice of him would be a good thing.

8 of 10
A

Saturday, September 30, 2006

NOTES:
2004 Academy Awards, USA:  1 nomination:  “Best Foreign Language Film” (Sweden)

Updated: Wednesday, February 19, 2014


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