Review: Entertaining "Focus" Lacks Focus

TRASH IN MY EYE No. 32 (of 2015) by Leroy Douresseaux

[The review first appeared on Patreon.]

Focus (2015)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA - R for language, some sexual content and brief violence  
WRITERS/DIRECTORS:  Glenn Ficarra and John Requa
PRODUCER:  Denise Di Novi
CINEMATOGRAPHER:  Xavier Grobet (D.o.P.)
EDITOR:  Jan Kovac
COMPOSER:  Nick Urata    

CRIME/DRAMA/COMEDY/ROMANCE

Starring:  Will Smith, Margot Robbie, Adrian Martinez, Gerald McRaney, Rodrigo Santoro, BD Wong, Brenna Brown, Robert Taylor, Dotan Bonen, and Don Yesso

Focus is a 2015 crime film and romantic comedy-drama from writer-directors, Glenn Ficarra and John Requa.  The film stars Will Smith as a con man and Margot Robbie as the woman from his past who shows up in the middle of his latest con.

Focus opens in New Orleans where veteran con man, Nicky (Will Smith), meets a beautiful young woman named Jess (Margot Robbie).  Jess seduces Nicky, but he quickly sees through her ruse, and she reveals herself to be an inexperienced grifter.  Nicky allows Jess to apprentice with his crew as they plan to con and to steal their way though New Orleans during the weekend of a big football championship game.  However, Nicky eventually sends Jess away, letting her believe that he was just using her.

Three years later, Nicky is in Buenos Aires, where he is working on a con with billionaire motor sport team owner Rafael Garriga (Rodrigo Santoro).  Nicky gets thrown for a loop when he discovers that Jess is on the other side of this con job.

I am a big fan of Will Smith, so I have seen almost all of his films.  One thing that I have noticed is that in some of Will's films, especially in action movies, the filmmakers or the studio expect Will to be funny, although he is a fine dramatic actor.  So, we end up with films like Wild Wild West, which reportedly went through extensive re-shoots in order to add some comedy to the weird Western/action movie mash-up.  The final product was problematic, to say the least.

In fact, Will's 2008 hit film, Hancock, also seemed to suffer from a lack of... focus.  It wanted to be a action comedy about a disaster-prone, washed-out superhero in need of a PR guru.  Then, the film wanted to be a romantic drama about a love triangle, wherein a bad-boy superhero woos his new best friend's wife.  Then, Hancock turned into some kind of dark fantasy drama about fallen gods.

Focus starts off in New Orleans as a heist movie that lets the viewer inside the world of highly-skilled pickpockets, purse-snatchers, and con men; there is a romantic drama backdrop.  In Buenos Aires, the movie starts off as a romantic drama about reunited lovers, but that soon becomes romantic comedy with drippings of a crime thriller.

Well, the best part of this movie is the chemistry between Will Smith and Margot Robbie.  They make the romantic drama seem genuine, and when the film switches tone, they are witty and engaging star-crossed lovers with a perfect comic touch.  I loves me some Charlize Theron (who played opposite Will in Hancock), but I think that Margot Robbie is Will's best co-star to date.  Will and Margot need a better movie.

Although I am critical of Focus' shift in tone and genre-hopping, I like the many twists and turns of its plot, and its glamours backdrops and sets make Focus a gorgeous-looking movie.  Focus also has a scene-stealing star in supporting actor, Adrian Martinez as Farhad, and it is always good to see Gerald McRaney, who plays a hard-ass named Owens.  [I might be partial to McRaney because, before he died, my father was a fan of “Simon & Simon,” the 1980's CBS television series in which McRaney was one of the leads.]

My complaints aside, I really liked Focus, but I don't know if my review will be of much use to readers wondering about this film.  As I said, I am a big Will Smith fan, so that colors my reviews of his films.  And I did really like After Earth...

6 of 10
B

Monday, July 6, 2015


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Review: "Magic in the Moonlight" Does Not Cast Much of a Spell

TRASH IN MY EYE No. 23 (of 2015) by Leroy Douresseaux (support on Patreon)

Magic in the Moonlight (2014)
Running time:  97 minutes (1 hour, 37 minutes)
MPAA –  PG-13 for a brief suggestive comment, and smoking throughout
WRITER/DIRECTOR:  Woody Allen
PRODUCERS:  Letty Aronson, Stephen Tenenbaum, and Edward Walson
CINEMATOGRAPHER:  Darius Khondji
EDITOR:  Alisa Lepselter

COMEDY/ROMANCE

Starring:  Colin Firth, Emma Stone, Simon McBurney, Eileen Atkins, Hamish Linklater, Marcia Gay Harden, Jacki Weaver, Jeremy Shamos, Erica Leerhsen, and Catherine McCormack

Magic in the Moonlight is a 2014 period romance and comedy from writer-director, Woody Allen.  The film focuses on an Englishman who travels to the south of France, where he becomes smitten with the young woman that he plans to reveal as a fraud.

Magic in the Moonlight opens in Berlin, 1928, where we meet the world famous illusionist, Wei Ling Soo (Colin Firth).  Soo is actually the Englishman, Stanley Crawford (Colin Firth), in disguise.  After a performance, Stanley receives a visit from his old friend, Howard Burkan (Simon McBurney), a fellow illusionist.  Burkan wants Stanley to accompany him to Côte d'Azur where Stanley can make use of the other talent that has made him famous.  Stanley can see past and also reveal the tricks of those who claim to have magical or supernatural powers.

In Côte d'Azur, a rich American family, the Catledges, are being taken in by a clairvoyant and mystic named Sophie Baker (Emma Stone).  In fact, the son of the family, Brice Catledge (Hamish Linklater), is so in love with Sophie that he wants to marry her.  Howard wants Stanley to debunk Sophie as a charlatan mystic.  Although he initially thinks that it will be easy to reveal Sophie as a fraud, Stanley soon finds himself smitten with her.

Magic in the Moonlight is not one of the better Woody Allen films.  It falls in the class of mediocre, hapless Allen films that have been prevalent since the turn of the century.  The casting is not particularly special, and the characters are mostly uninspired.  Emma Stone seems out of place as Sophie Baker, but there is not enough of Marcia Gay Harden as Sophie's mother, Mrs. Baker.

Magic in the Moonlight is not well-written, which is disappointing considering that Allen has won three Oscars for his screenwriting.  Allen's directing is mostly... well... uninspired.  However, the film does spring to life in its last half-hour, and it suddenly seems like a different film.  Why?  I think that Magic in the Moonlight lacks a true antagonistic relationship, although the film is ostensibly about one, being that Stanley Crawford is trying to prove that Sophie is a fraud.  Perhaps, Allen makes them fall in love with each other too soon.  Once betrayal is introduced into the narrative, the film has a real conflict and that brings it to life – too late, of course.

I will recommend Magic in the Moonlight to die hard Woody Allen fans who simply have to see each and every one of his films (like me).  Beyond that, there is no amount of magic in the moonlight that will make this movie of interest to people who are not fans of Allen.

5 of 10
C+

Thursday, May 28, 2015


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Review: "The Fault in Our Stars" a Love Story for All Times (Shailene Film Fest)

TRASH IN MY EYE No. 54 (of 2014) by Leroy Douresseaux

The Fault in Our Stars (2014)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – PG-13 for thematic elements, some sexuality and brief strong language
DIRECTOR:  Josh Boone
WRITERS:  Scott Neustadter and Michael H. Weber (based on the novel by John Green)
PRODUCERS:  Wyck Godfrey and Marty Bowen
CINEMATOGRAPHER:  Ben Richardson
EDITOR:  Robb Sullivan
COMPOSERS:  Mike Mogis and Nate Walcott

ROMANCE/DRAMA

Starring:  Shailene Woodley, Ansel Elgort, Nat Wolff, Laura Dern, Sam Trammell, Willem Dafoe, Lotte Verbeek, Ana Dela Cruz, David Whelan, Milica Govich, and Mike Birbiglia

The Fault in Our Stars is a 2014 teen drama and romance from director Josh Boone.  The film is based on the 2012 novel, The Fault in Our Stars, written by author John Green.  The Fault in Our Stars the movie focuses on the unconventional romance of two teenagers battling cancer.

Hazel Grace Lancaster (Shailene Woodley) has terminal thyroid cancer.  Intelligent and sarcastic, she also has no friends.  Believing her to be depressed, Hazel's mother, Frannie (Laura Dern), encourages her daughter to join a cancer patients' support group for teens.  There, Hazel meets Augustus Waters (Ansel Elgort), an 18-year-old former basketball player and amputee who lost his right leg to bone cancer.  The teens' unconventional way of looking at life and their illnesses bond them, and a romance blooms, even with the specter of death looming over them.

A movie about children dying young, especially of cancer, would be expected to be difficult to watch.  However, The Fault in Our Stars is beautiful and poignant without being heartbreaking or heart-wrenching.  Perhaps, the film succeeds because it is a tale of star-crossed love about two people who happen to have cancer, rather than being a love story about cancer patients.

Scott Neustadter and Michael H. Weber's screenplay adapts the novel by focusing on love in bloom.  Of course, that comes at the cost of the supporting characters and also the nuances of the relationships between Hazel and Augustus and their respective parents.  The screenplay treats the parents as visitors, appendages rather than as the mothers and fathers who are obviously, intensely involved in the lives of their critically ill children.  Still, Neustadter and Weber capture the freshness, spark, and enchantment of young love, while making the fact that the young lovers must confront finality seem like a magical and romantic thing rather than a dreadful thing.

With this movie, Shailene Woodley gives her best performance in a leading role to date.  She is good from start to finish, and, as usual, she takes female film characters and makes them feel like real girls and young women.  In the film narrative, it takes a while for Ansel Elgort to warm as Augustus, but he eventually makes the boy with the big personality a good fit for the acerbic Hazel.  Director Josh Boone does excellent work by letting his leads grow into the spaces that their characters inhabit.  [Woodley and Elgort also played siblings in the 2014 film, Divergent.]

The Fault in Our Stars became a worldwide hit film.  Why?  This Romeo and Juliet-like film is one of those classic movie love stories in which love triumphs over darkness, with a magic that dispels whatever gloom tries to come over the audience.  Also, this film's musical score, composed by Mike Mogis and Nate Walcott (two members of the indie rock band, Bright Eyes), seems beautiful and uplifting even when it plays over sad moments.  The Fault in Our Stars is like no other recent romantic movie, but it is exceptional and exceptionally good.

8 of 10
A

Tuesday, November 25, 2014


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Review: "The Spectacular Now" a Spectacular Love Story (Shailene Film Fest)

TRASH IN MY EYE No. 52 (of 2014) by Leroy Douresseaux

The Spectacular Now (2013)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – R for alcohol use, language and some sexuality - all involving teens
DIRECTOR:  James Ponsoldt
WRITERS:  Scott Neustadter and Michael H. Weber (based on the novel by Tim Tharp)
PRODUCERS:  Michelle Krumm, Andrew Lauren, Shawn Levy, and Tom McNulty
CINEMATOGRAPHER:  Jess Hall (D.o.P.)
EDITOR:  Darrin Navarro
COMPOSER:  Rob Simonsen

DRAMA/ROMANCE

Starring:  Miles Teller, Shailene Woodley, Brie Larson, Masam Holden, Dayo Okeniyi, Kyle Chandler, Jennifer Jason Leigh, Nicci Faires, Andre Royo, Bob Odenkirk, and Mary Elizabeth Winstead

The Spectacular Now is a 2013 drama and romantic film from director James Ponsoldt.  The film is based on the 2008 novel, The Spectacular Now, by Tim Tharp.  The film follows a hard-drinking high school senior whose life changes when he meets a nice girl, the kind he previously ignored.

Sutter Keely (Miles Teller) is a high school senior who likes to drink and party.  He is charming and self-possessed, and he lives in “the now.”  He is also a budding alcoholic.  After a night of drinking, he wakes up in someone's yard, and standing over him is Aimee Finecky (Shailene Woodley).  She is the nice girl who reads science fiction and manga (Japanese comics), and does not have a boyfriend.  Sutter and Aimee start dating, but while Aimee dreams of a future with him, Sutter is not sure what he wants, other than to live in the “spectacular now.”

Much of the attention about The Spectacular Now, when it was released last year, focused on rising star, Shailene Woodley.  And she is indeed spectacular here.  She is a natural talent, and she seems like a pure movie star.  Perhaps, the camera does indeed love her, but I am sure that my eye-camera loves her.  Woodley is sincere and refreshing and makes this film sincere and refreshing – different from so many other romantic teen dramas.

However, Miles Teller also gives an exceptional performance.  Sutter Keely has soul, and he makes The Spectacular Now a truly soulful film.  Sutter has substance; there is something inside him.  He is a three-dimensional character, fighting in conflicts and holding motivation, even when it seems as if he does not have any motivation.  Teller is also a rising star, and has been cast as Reed Richards/Mr. Fantastic in 20th Century Fox's reboot of its Fantastic Four film franchise.  Teller doesn't necessarily look like a leading man, but he has the talent to take him to leading man status.

The Spectacular Now is a surprisingly good film, mainly because of its romantic leads, Teller and Woodley, but there are plenty of good supporting performances – actors that add to this film's wonderful sense of naturalism.  The always-good Kyle Chandler makes the most of his screen time in a small role as Sutter's absentee father.  Chandler is intense and coiled, as if he is ready to explode or to strike.  It isn't a showy performance; rather, it adds to this film's overall quality.  The Spectacular Now is... well, spectacular, but in a subdued and inviting manner.  In the history of American cinema, it will go down as an authentic teen movie.

8 of 10
A

Friday, November 7, 2014


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Review: I Can't Help But Love "Her"

TRASH IN MY EYE No. 40 (of 2014) by Leroy Douresseaux

Her (2013)
Running time:  126 minutes (2 hours, 6 minutes)
MPAA – R for language, sexual content and brief graphic nudity
WRITER/DIRECTOR:  Spike Jonze
PRODUCERS:  Megan Ellison, Spike Jonze, and Vincent Landay
CINEMATOGRAPHER:  Hoyte Van Hoytema (D.o.P.)
EDITORS:  Jeff Buchanan and Eric Zumbrunnen
COMPOSER:  Will Butler and Owen Pallett
MUSIC:  Arcade Fire
Academy Award winner

SCI-FI/DRAMA/ROMANCE

Starring:  Joaquin Phoenix, Scarlett Johansson (voice), Amy Adams, Rooney Mara, Chris Pratt, Matt Letscher, Olivia Wilde, Gracie Prewitt, Laura Kai Chen, and Brian Cox (voice)

Her is a 2013 romantic drama and science fiction film from writer-director Spike Jonze.  The film focus on a lonely writer who develops an unlikely relationship with the new operating system he bought for his computer and hand-held device.

Her is set in an indeterminate near-future and focuses on Theodore Twombly (Joaquin Phoenix), a lonely, introverted man.  Theodore works for BeautifulHandwrittenLetters.com, a business that writes heartfelt, intimate, and deeply personal letters for people who cannot write such letters.  Theodore is struggling with an impending divorce from his wife, Catherine Klausen (Rooney Mara), who was his childhood sweetheart.

To help get his life in order, Theodore buys a new operating system (OS) from Element Software.  This OS is an artificially intelligent operating system that is designed to adapt and evolve.  Taking on the persona of a human female, the OS names itself “Samantha” (Scarlett Johansson).  [Of note: actress Samantha Morton originally provided the voice of the OS, before Jonze replaced her, with her consent.]  Her ability to learn and to grow psychologically fascinates Theodore.  Samantha and Theodore bond over discussions about love and life, and Samantha is constantly available and is designed to meet his every need.  She is always curious about Theodore and is interested in him and his life; she is supportive and does not make demands... at least for a while.  Theodore is in love with her, but, as she changes, can Theodore sustain this relationship?

Her is one of the best movies of 2013, and, after watching it, I can certainly see why some thought it was the best picture of 2013.  I think what Her does best is to evoke feelings in the viewer; it is as if director Spike Jonze wants viewers to feel his movie.  I did.

There is a lot that goes into making a special movie, and several people made this movie one of the best.  In Her,  Joaquin Phoenix does not give one of his best or most adventurous performances, but his subtle and nuanced take on a puppy-love struck, lonely man is endearing.  He carries this picture, as well as the viewers' expectations, so his performance is so good that even if it isn't his best, it is still better than most by other actors.

The film's score by Will Butler and Owen Pallett is oddly compelling and queerly futuristic without feeling too far-flung.  The score was apparently performed by the Grammy-winning band, Arcade Fire, of which Butler is a member.  Hoyte Van Hoytema's gorgeous cinematography is curiously in sync with the score, and it also seems like it belongs to another day.  In fact, the art direction and set decoration helps to maintain that almost futuristic, edge-of-tomorrow vibe.

The foundation of Her is Spike Jonze's screenplay, which earned him an Academy Award.  It is deeply romantic, heartfelt, and sentimental; it is like a romance novel without melodrama and schmaltz.  The writing is thoughtful and provocative, one of the best examples of a screenplay that takes on science fiction without being taken over by sci-fi genre trappings.

I often wonder if science fiction is still relevant; some of it seemed clueless about the lives that many people lived in the late 20th century.  I don't know how much science fiction can address pertinent issues in the early 21st century, but I know one science fiction film that did.  I think that by plot, by the issues it tackles, and by what it depicts, Her is relevant now and will be in the future.  With Her, Spike Jonze does not do science fiction prediction.  Instead, he addresses the unchanging aspects of humanity as it grapples with a changing world and evolving environment.  What a way to bring new life to the love story.

9 of 10
A+

Wednesday, September 3, 2014


NOTES:
 2014 Academy Awards, USA:  1 win: “Best Writing, Original Screenplay” (Spike Jonze); 4 nominations: “Best Motion Picture of the Year (Megan Ellison, Spike Jonze, and Vincent Landay), “Best Achievement in Music Written for Motion Pictures, Original Score” (Will Butler and Owen Pallett), “Best Achievement in Music Written for Motion Pictures, Original Song” (Karen O-music and lyrics and Spike Jonze-lyrics for "The Moon Song"), and “Best Achievement in Production Design) “K.K. Barrett-production design and Gene Serdena-set decoration)

2014 Golden Globes, USA:  1 win “Best Screenplay - Motion Picture” (Spike Jonze); 2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Joaquin Phoenix)

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

Review: European Actors Shine in Woody Allen's "To Rome with Love"

TRASH IN MY EYE No. 34 (of 2014) by Leroy Douresseaux

To Rome with Love (2012)
Running time:  112 minutes (1 hour, 52 minutes)
MPAA – R for some sexual references
WRITER/DIRECTOR:  Woody Allen
PRODUCERS:  Letty Aronson, Stephen Tenenbaum, Faruk Alatan, and Giampaolo Letta
CINEMATOGRAPHERS:  Darius Khondji
EDITOR:  Alisa Lepselter

ROMANCE/COMEDY with elements of fantasy

Starring:  Woody Allen, Judy Davis, Flavio Parenti, Alison Pill, Fabio Armiliato, Alessandro Tiberi, Alessandra Mastronardi, Penelope Cruz, Antonio Albanese, Jesse Eisenberg, Greta Gerwig, Ellen Page, Alec Baldwin, and Roberto Benigni

To Rome with Love is a 2012 romantic comedy written and directed by Woody Allen.  Like other Allen films, To Rome with Love has magical realist elements.  To Rome with Love follows a small group of visitors and residents of Rome and focuses on their romances and adventures and the predicaments into which they get themselves.

To Rome with Love tells four unrelated stories.  Hayley (Alison Pill), an American tourist, falls in love with Italian pro bono lawyer and Rome resident, Michelangelo (Flavio Parenti), and they become engaged.  Hayley’s parents, Jerry and Phyllis (Woody Allen and Judy Davis), arrive in Rome to meet Michelangelo and his parents.  Jerry, a retired opera director, discovers that Michelangelo’s father, Giancarlo (Fabio Armiliato), has a wonderful operatic voice, so Jerry decides to make Giancarlo an opera star in spite of everyone’s protests against that.

Newlyweds Antonio (Alessandro Tiberi) and Milly (Alessandra Mastronardi) arrive in Rome from their rustic hometown.  They are supposed to meet Antonio’s well-connected and posh uncles who have lined up a fantastic job interview for him.  However, Antonio and Milly get separated.  Antonio is accidentally forced into an encounter with a gorgeous prostitute named Anna (Penelope Cruz).  Milly meets her favorite actor, Luchino “Luca” Salta (Antonio Albanese), who immediately begins to plot to have sex with the young wife.

John Foy (Alec Baldwin) is visiting Rome and meets Jack (Jesse Eisenberg), a young architecture student.  Jack lives with his girlfriend, Sally (Greta Gerwig).  Sally’s friend, Monica (Ellen Page), a pretentious young actress, arrives in Rome to visit them.  John warns Jack about falling in love with Monica…  Finally, ordinary business man, Leopold Pisanello (Roberto Benigni), suddenly gains an extraordinary life.

To Rome with Love is a romantic, comic, and romantic comedy romp through Rome.  It is not by any means a great film, but this movie does have a kind a charm that I cannot explain.  The American actors are mostly stiff, but Allen does not give them particularly flexible characters.  There is, however, this one great moment when Alec Baldwin’s John gives Ellen Page’s Monica a fantastic death stare.  There is something potent, electric, and maybe even dangerous in this one stare that I wish the rest of the John-Jack-Sally-Monica storyline had.

On the opposite side, the European actors sparkle.  Allen gives them the best characters and also better subplots than he gives the Americans.  The Europeans get inside the shallow characters Allen gives them and make them less shallow and more attractive. One example of this is Antonio Albanese.  Bald at the top of his head and somewhat pudgy, Albanese makes Luca Salta an alluring, sexy man, which in turn makes the idea of Salta as a movie star convincing.

Penelope Cruz, who won a supporting actress Oscar for her performance in an earlier Woody Allen film (Vicky Cristina Barcelona), gives To Rome with Love’s best performance.  She deserved another supporting actor Oscar nomination (at least) for her work here.  When her Anna is onscreen, this film seems to sparkle with new energy because that is what Cruz does – enliven things.  She is an excellent actress and is also quite the spitfire.

I will recommend To Rome with Love to fans of both Woody Allen and Penelope Cruz.  It is not great, but it is worth seeing.

6 of 10
B

Tuesday, July 08, 2014


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

Review: "The Curse of the Jade Scorpion" a Nice Ode to 1940s Era Films

TRASH IN MY EYE No. 255 (of 2006) by Leroy Douresseaux

The Curse of the Jade Scorpion (2001)
Running time:  103 minutes (1 hour, 43 minutes)
MPAA – PG-13 for some sexual content
WRITER/DIRECTOR:  Woody Allen
PRODUCER:  Letty Aronson
CINEMATOGRAPHER:  Zhao Fei
EDITOR:  Alisa Lepselter

COMEDY/CRIME/MYSTERY/ROMANCE

Starring:  Woody Allen, Helen Hunt, Dan Aykroyd, Brian Markinson, Elizabeth Berkley, Wallace Shawn, Charlize Theron, David Ogden Stiers, and Carol Bayeux

The subject of this movie review is The Curse of the Jade Scorpion, a 2001 romance, crime-comedy and mystery film from writer-director Woody Allen.  The film follows an insurance investigator and an efficiency expert, both hypnotized into stealing jewels by a crooked hypnotist using a jade scorpion.

New York City – 1940:  C.W. Briggs (Woody Allen) is the top insurance investigator for North Coast Casualty and Fidelity of New York, and he is his boss, Chris Magruder’s (Dan Aykroyd) go-to-guy when it comes to solving the thefts of high value items that North Coast is insuring.  C.W. has also been sparring with the company’s latest hire, Betty Ann Fitzgerald (Helen Hunt), an efficiency expert with an eye on putting C.W. in his place.

At a dinner party, a crooked hypnotist named Voltan (David Ogden Stiers) uses a jeweled charm, the Jade Scorpion, to hypnotize C.W. and Betty Ann.  Soon, the combative co-workers are babbling like love struck kids.  Their colleagues think this is some kind of clever hypnosis gag, so no one realizes that Voltan has placed C.W. and Betty Ann under a post-hypnotic suggestion.  Voltan controls C.W. and makes the insurance investigator use his professional skills and inside information to steal a fortune in jewels from two prominent families that have insured their treasure with North Coast.  With the police after him for the robberies, will C.W. ever get a clue that he’s a hypnotized dupe?

The Curse of the Jade Scorpion is Woody Allen’s delightful ode to movies from the 1940’s, like his delightful 1987 movie, Radio Days, was.  Jade is a nod to the light mystery films of the 40’s, but here, this material isn’t particularly strong, although the acting is quite good and gives the movie a sense of earnest fun.  The entire cast seems up to recreating both the style and ambience of 40’s era movies and the characters in them, and that’s a credit to Allen’s direction.

Helen Hunt is spicy as Betty Ann Fitzgerald, and she makes an excellent foil for Allen’s C.W. Briggs, who is the typical wisecracking character Allen plays in his comedies.  Charlize Theron glams it up to create the sexy, bold, and randy Laura Kensington, a character with an unfortunately too small part because she gives this flick a much-needed kick in the rear every time she’s on screen.  Brian Markinson, Elizabeth Berkley, and Wallace Shawn also add the right touches to their parts and add flavor to this film.

The Curse of the Jade Scorpion isn’t great Allen, nor is it anywhere nearly as good as Radio Days.  It’s a minor, but good Allen flick that will entertain Allen fans to one extent or another.

6 of 10
B

Saturday, December 23, 2006

Updated:  Monday, May 19, 2014

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Review: 1940 "Pride and Prejudice" is Bubbly (Remembering Jane Austen)

TRASH IN MY EYE No. 243 (of 2006) by Leroy Douresseaux

Pride and Prejudice (1940) – B&W
Running time:  118 minutes (1 hour, 58 minutes)
DIRECTOR:  Robert Z. Leonard
WRITERS:  Aldous Huxley and Jane Murfin (based upon Helen Jerome’s dramatization of Jane Austen’s novel)
PRODUCER:  Hunt Stromberg
CINEMATOGRAPHER:  Karl Freund
EDITOR:  Robert Kern
COMPOSER:  Herbert Stothart
Academy Award winner

COMEDY/DRAMA/ROMANCE

Starring:  Greer Garson, Laurence Olivier, Mary Boland, Edna May Oliver, Maureen O’Sullivan, Ann Rutherford, Frieda Inescort, Edmund Gwenn, Karen Morely, Heather Angel, Marsha Hunt, Bruce Lester, Edward Ashley, and Melville Cooper

The subject of this movie review is Pride and Prejudice, a 1940 comedy, drama, and romance from director Robert Z. Leonard (The Great Ziegfeld).  The film is based on Pride and Prejudice, the novel by Jane Austen that was first published in 1813.

However, the screenplay is adapted from Pride and Prejudice: A Sentimental Comedy Written in Three Acts.  This was a stage adaptation of Austen’s novel that was written by Helen Jerome and was played on Broadway in 1935.  Aldous Huxley, the English writer who is best known for his novel, Brave New World (1932), is one of this film’s two screenwriters.  The 1940 film also deviates from the novel, including a change in the time period in which the story takes place.

Status-conscious Mrs. Bennet (Mary Boland) is eager to marry her five daughters, while Mr. Bennet (Edmund Gwenn) would just love a peaceful home.  The Bennets however are middle class and “penniless,” so when two upper class men become interested in her eldest daughters, Elizabeth (Greer Garson) and Jane (Maureen O’Sullivan), a furious class war begins.

The strong-willed Elizabeth or Lizzy runs up against the proud and arrogant Mr. Darcy (Laurence Olivier), a man with a large fortune.  Jane falls for Charles Bingley (Bruce Lester), whose sister, Caroline (Frieda Inescort), holds the Bennets in disdain.  Although she continuously rebuffs her suitor, Lizzy can’t help but be attracted to the smoldering Darcy, even if she is prejudiced against his prideful ways.

Warner Bros.’s DVD box set of MGM literary adaptation, Motion Picture Masterpieces, offers many delights, and I’ve been waiting a long time for one in particular: Pride and Prejudice, MGM’s adaptation of Jane Austen’s much-loved (and much filmed) novel.  This version is largely unfaithful to Austen’s book (being as the movie is adapted from an adaptation of the original novel), but this is still highly entertaining.  The film is a comic romance and light drama, with Austen’s biting insults turned into witty banter fit for a comedy and romance.  Mannered melodrama also passes as dramatic turmoil and conflict.  Still, this lively movie almost makes one forget literary accuracies.  I found myself thrilling to the amusing twists, childish feuds, and slight class warfare, as I waited for the inevitable happy ending.

Greer Garson plays Lizzy Bennet as a strong and independent woman who can give both severe and playful rebukes.  Initially, Laurence Olivier’s Mr. Darcy comes across as supremely aloof.  That is before he turns the character more benign than petty, and Darcy’s off-putting aloofness becomes delightfully aloof.  Until the 1990’s, Olivier can be considered the supreme cinematic interpreter of an Austen male character.

Surprisingly, MGM, in a bid to keep Pride and Prejudice’s budget modest, reused many of the costumes Walter Plunkett designed for Gone with the Wind, so some of women of Pride and Prejudice look like Southern belles.  However, famed MGM designer Adrian created gowns for the film’s principals, and Gile Steele designed handsome and lavish suits for the men.  Pride and Prejudice won an Oscar for its art direction (for a black and white film), and the movie’s setting and backdrops represent the best of what MGM’s 1930’s-40’s dream factory could do when it came to production values.

So when such gorgeous production values are added to witty repartee, lovable characters, and bubbly comic romance, the viewer usually gets a winner and that is what Pride and Prejudice is – a winner and a personal favorite of mine.

7 of 10
A-

Tuesday, November 28, 2006

Updated:  Friday, July 18, 2014

NOTES:
1941 Academy Awards, USA:  1 win: “Best Art Direction, Black-and-White” (Cedric Gibbons and Paul Groesse)

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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

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Remembering Clyde Geronomi: "Lady and the Tramp"

TRASH IN MY EYE No. 62 (of 2006) by Leroy Douresseaux

Lady and the Tramp (1955) – animation
Running time:  76 minutes (1 hour 16 minutes)
DIRECTORS:  Clyde Geronomi, Wilfred Jackson, and Hamilton Luske
WRITERS:  Erdman Penner, Joe Rinaldi, Ralph Wright, and Don DaGradi (based upon the story Happy Dan, the Whistling Dog by Ward Greene)
PRODUCERS:  Walt Disney with Erdman Penner
EDITOR:  Don Halliday
COMPOSER:  Oliver Wallace
BAFTA Award nominee

ANIMATION/COMEDY/MUSICAL/ROMANCE with elements of drama

Starring:  (voices) Peggy Lee, Barbara Luddy, Larry Roberts, Bill Thompson, Bill Baucom, Stan Freberg, Verna Felton, and Lee Millar

Lady and the Tramp is a 1955 animated romantic film from Walt Disney Pictures.  It was the 15th full-length animated feature film from Disney.  The film is based in part on "Happy Dan, the Whistling Dog" by Ward Greene, a short story originally published in Cosmopolitan Magazine.  The film centers on the growing romantic relationship between two dogs, a female American Cocker Spaniel, who is from an upper middle-class family, and a male mutt who is a stray.

Because of drama and turmoil in her owners’ home, Lady (Barbara Luddy), a pampered and sheltered cocker spaniel, wanders away from the safety of her neighborhood and meets Tramp (Larry Roberts), a jolly, freedom-loving, and streetwise mutt with a heart of gold.  They share romantic adventures that occasionally imperil their safety while they move towards an inevitable union.  Memorable songs (written by Sonny Burke and Peggy Lee) and memorable characters including the twin Pekingese cats, Si and Am (Peggy Lee), highlight this classic, Disney’s fifteenth animated feature.

Lady and the Tramp remains Walt Disney’s signature romantic animated film; although romance often plays a part in their full-length animated films; this is the Disney animated love story.  It exemplifies two particular elements that really stand out in a Disney animated features – the art of beauty and technical skills.  The character animation is beautifully drawn making even characters meant to be ugly or villainous quite gorgeous and handsome eye candy.  The background art, backdrops, and sets are also elegant, even stunning.  The technical virtuosity on display is simply dazzling; this is text book work on animating animals.  Characters move with such grace and precision that the film looks, on one hand, like museum quality high art, and, on the other hand, has such striking realism in terms of movement and rhythm.

Lady and the Tramp is probably best known for its romantic heart.  A melodic score, charming and adorable songs, and the star-crossed pair of Lady and the Tramp make this an animated film that captures the romantic in the hearts of young and old viewers.  That’s why this film is so memorable and also well-remembered by adults who first saw it as a child – a true Disney classic.

9 of 10
A+

Sunday, April 2, 2006

NOTES:
1956 BAFTA Awards:  1 nomination: “Best Animated Film” (USA)

Updated:  Thursday, April 24, 2014


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Review: "High Fidelity" is Endearing, Refreshing (Happy B'day, Nick Hornby)

TRASH IN MY EYE No. 68 (of 2003) by Leroy Douresseaux

High Fidelity (2000)
Running time:  113 minutes (1 hour, 53 minutes)
MPAA – R for language and some sexuality
DIRECTOR:  Stephen Frears
WRITERS:  D.V. DeVincentis, Steve Pink, John Cusack, and Scott Rosenberg (based upon the book by Nick Hornby)
PRODUCERS:  Tim Bevan and Rudd Simmons
CINEMATOGRAPHER:  Seamus McGarvey
EDITOR:  Mick Audsley
COMPOSER:  Howard Shore
BAFTA Award nominee

COMEDY/DRAMA/ROMANCE

Starring: John Cusack, Iben Hejejle, Todd Louiso, Jack Black, Lisa Bonet, Catherine Zeta-Jones, Joan Cusack, Tim Robbins, Shannon Stillo, Joelle Carter, Lili Taylor, Alex Desert, and Bruce Springsteen

The subject of this movie review is High Fidelity, a 2000 comedy, drama, and romance from director Stephen Frears.  The film is based on the 1995 novel, High Fidelity, from author Nick Hornby.  High Fidelity focuses on a record store owner, who is a compulsive list maker, as he recounts his top five breakups, including the one that just occurred.

After seeing Identity, I decided to go back and see some John Cusack movies that I hadn’t seen.  I can call them “John Cusack movies” in the sense that Cusack’s personality pretty much dominates almost any film in which he stars.  He’s presence is simply quite dynamic and magnetic.  When he first came on the scene, many predicted that he’d be a huge star, and for some reason, his star isn’t as big as it should be.  However, few actors of his generation have a combination of tremendous acting talent and the sense about him that the camera loves.  Some have one or the other, but having both is rare.

In High Fidelity, John is Rob Gordon, owner of Championship Vinyl, a record store the specializes in collectible LP’s, emphasizing vinyl over compact disc, although the store does have a selection of hip and cool cd’s.  As the movie begins, his current girlfriend, Laura Lydon (Iben Hejejle) is leaving him.  So Rob, the film’s very dominate character and a compulsive list maker recounts his top five breakups, all the while trying to regain Laura’s companionship.

The film is based on a novel by Nick Hornby (the film About a Boy is also from one of his novels) and co-written by four writers including Cusack.  Although the film has a director with a pedigree, Stephen Frears (Dangerous Liaisons, The Grifters), and a Hollywood hotshot as one of its screenwriters Scott Rosenberg (Con Air), this is John Cusack’s show.  In the beginning, the character Rob is a little hard to take.  It’s easy to see why he’d have problems with women, although Rob seems to think that his problems stem from his girlfriends.  Cusack builds Rob Gordon slowly, layer upon layer, before our eyes.  Rob talks a lot, and quite a bit of him is a mystery, but Cusack brings us in really close.  He totally breaks the mythical fourth wall between fictional character/performer and viewer, and though Rob remains something of an enigma, we learn enough about him to love him and to root for him.

There are quite a few interesting characters in the film that we don’t see more of because this is Rob’s show.  They might strengthen the story, but the storytelling is still excellent solely because of Cusack’s Rob.  Laura remains as elusive as Rob is, so we might need her version of High Fidelity to get her side of the relationship.

The film is funny, touching, and in its own quirky way, very romantic.  The supporting performances give Cusack’s Rob room to do his thing and give us enough to make Rob’s environment beyond his musings interesting.  High Fidelity could have been a disaster because in many ways, Rob ain’t going anywhere.  He doesn’t have any plans, and he is unsatisfied with his life, but not enough to do something – to act, so we could have brushed him off as a loser.  I didn’t because I want to hear every word he has to say.  Kudos to Cusack for making Rob so endearing and this film so refreshing.

7 of 10
A-

NOTES:
2001 Golden Globes, USA:  1 nomination: “Best Performance by an Actor in a Motion Picture - Comedy/Musical” (John Cusack)

2001 BAFTA Awards:  1 nominations:  “Best Screenplay – Adapted” (D.V. DeVincentis, Steve Pink, John Cusack, and Scott Rosenberg)

2001 Black Reel Awards:  1 nomination: “Theatrical - Best Supporting Actress” (Lisa Bonet)

Updated:  Thursday, April 17, 2014


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Review: Reese Witherspoon is the Heart of "Legally Blonde" (Happy B'day, Reese Witherspoon)

TRASH IN MY EYE No. 115 (of 2003) by Leroy Douresseaux

Legally Blonde (2001)
Running time:  96 minutes (1 hour, 36 minutes)
MPAA – PG-13 for language and sexual references
DIRECTOR:  Robert Luketic
WRITERS:  Karen McCullah and Kirsten Smith (based upon the novel by Amanda Brown)
PRODUCERS:  Ric Kidney and Marc Platt
CINEMATOGRAPHER:  Anthony B. Richmond (D.o.P.)
EDITORS:  Anita Brandt Burgoyne and Garth Craven
COMPOSER:  Rolfe Kent
Golden Globe nominee

COMEDY with elements of romance

Starring:  Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber, Jennifer Coolidge, Holland Taylor, Ali Larter, Bruce Thomas, and Raquel Welch

The subject of this movie review is Legally Blonde, a 2001 comedy starring Reese Witherspoon.  The film is based on the 2001 novel, Legally Blonde, from author Amanda Brown.  The film focuses on a blonde sorority queen who follows her ex-boyfriend to law school after he dumps her and discovers that she has more legal savvy than she or anyone ever imagined.

Legally Blonde is trash.  Let’s get that straight, so we don’t fool ourselves.  Another fish out of water story with the stereotypical dumb blonde, sorority/fraternity cardboard cutouts, Ivy League elitists, lecherous bosses etc.  It does have one redeeming element – the incomparable and very talented Reese Witherspoon.

Ms. Witherspoon is Elle Wood, a blonde sorority queen, fully prepared to receive an engagement ring from her boyfriend Warner (Matthew Davis), when he suddenly dumps her, pleading that he needs someone smarter than her – someone who would better fit his law career and political ambitions.  Elle decides to follow Warner to Harvard Law School in order to win him back.  Of course, Harvard admits her so that we can even have a movie, although, in reality, they would have ignored her.  But one can understand that Reese/Elle’s charm and bubbly personality not mention her knockout body, would win over even the most conservative and pickiest college admissions officers.

Ms. Witherspoon is a talented actress, and, not only is she likeable, she is outright engaging and has an aura of pure friendliness.  Her movies are a win-win situation for the audience.  Legally Blonde is unadulterated B-movie material that she elevates to uproarious comedy.  Being funny isn’t enough.  The audience has to like her, and she has to sell them on her personality because the movie is all about her.  She does the job winningly.  Notice how I can’t stop gushing.

What else is there to say?  Sometimes, the star is the movie, and the star is so good that she can make a diamond out of a handful of coal dust.  Even when the movie stumbles, Ms. Witherspoon is still a delight to watch.

6 of 10
B

NOTES:
2002 Golden Globe (USA):  2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Reese Witherspoon)

Updated:  Saturday, March 22, 2014


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Review: "Legally Blonde 2" is Officially Bad

TRASH IN MY EYE No. 116 (of 2003) by Leroy Douresseaux

Legally Blonde 2: Red, White & Blonde (2003)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG-13 for some sex-related humor
DIRECTOR:  Charles Herman-Wurmfeld
WRITERS:  Kate Kondell; from a story by Eve Ahlert, Dennis Drake, and Kate Kondell (based upon characters created by Amanda Brown)
PRODUCERS:  David Nicksay and Marc Platt
CINEMATOGRAPHER:  Elliot Davis (D.o.P.)
EDITOR:  Peter Teschner
COMPOSER:  Rolfe Kent

COMEDY

Starring:  Reese Witherspoon, Sally Field, Regina King, Jennifer Coolidge, Bruce McGill, Dana Ivey, Bob Newhart, Luke Wilson, J Barton, and Alanna Ubach

The subject of this movie review is Legally Blonde 2: Red, White & Blonde, a 2003 comedy starring Reese Witherspoon.  The film is a sequel to the 2001 film, Legally Blonde, which also starred Witherspoon.  In the sequel, Elle Woods heads to Washington D.C. in order to join a congresswoman’s staff and to try and get a bill that bans animal testing passed into law.

If the summer of 2003 tells Hollywood film studios anything it is that sequels don’t always succeed commercially or artistically.  Of course, studio bosses have known that for a while, but to them making sequels seems like a safe bet.  A sequel is a known property with brand awareness, and with the ridiculous cost of making and marketing a movie rising to absurd heights monthly, they go for the safe bet.

Legally Blonde 2: Red, White & Blonde will more than likely make a profit for MGM, even with the kind of tricky accounting the film studios usually invoke to claim that their films are flops so they don’t have to honor profit sharing agreements with actors and producers.  Artistically, it’s not even worth talking about, as an examination of subject matter, theme, and characters is an utter waste of time.

As for it’s entertainment value (you know, the simple judgment of whether you like it), Legally Blonde 2 has none.  I’m quite sure that somewhere there are people who really like this, and I did laugh a sort of painful, dry, desperate-to-find-something-to-justify-the-cost-of-my-ticket laugh a few times.  However, I left the theatre ashamed, praying that no one would ask me what movie I’d just left.  I don’t know what would have been worse, having some nappy-headed homeboy call me a faggot for seeing it or having one of the theatre’s employees laugh at me behind my back because they knew.  Lord, they knew how bad it was.  And they never told me.

There’s a plot, or something like a plot, but right now I only feeling like telling you that this film is just plain awful.  Elle Woods (Reese Witherspoon) goes to Washington D.C. to work for her friend Rep. Victoria Rudd (Sally Field) so that Elle can fight for a law that outlaws cosmetic companies from testing their products on animals.  Apparently, it’s okay for Reese and her studio compatriots to test poisonous cinema products on us.  Regina King plays the most pathetic traitorous Negro since Billy Dee played Lando in The Empire Strikes Back, but at least she was better than the rest of the supporting cast, whom the film reduced to playing naked paper dolls.  Sally Field, her face shockingly showing such age and wear, looked as if she wanted to cry every time she had to be in front of the camera.  I feel you, sista girl.

1 of 10
D-

Updated:  Saturday, March 22, 2014

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Review: "The White Countess" Does Not Quite Capture Old Merchant Ivory Magic (Remembering Natasha Richardson)

TRASH IN MY EYE No. 131 (of 2006) by Leroy Douresseaux

The White Countess (2005)
Running time:  136 minutes (2 hours, 16 minutes)
MPAA – PG-13 for some violent images and thematic elements
DIRECTOR:  James Ivory
WRITER:  Kazuo Ishiguro
PRODUCER:  Ismail Merchant
CINEMATOGRAPHER:  Christopher Doyle (director of photography)
EDITOR:  John David Allen
COMPOSER:  Richard Robbins

DRAMA/HISTORICAL with elements of romance

Starring:  Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Hiroyuki Sanada, Lynn Redgrave, Allan Corduner, Da Ying, and Madeleine Daly

The subject of this movie review is The White Countess, a 2005 period drama from director James Ivory and producer Ismail Merchant for their Merchant Ivory Productions.  This is the last film produced by Merchant, who died during production of the film.  Written by Kazuo Ishiguro, The White Countess is set in 1930s Shanghai and focuses on a blind American diplomat and a young Russian trying to support members of her dead husband’s aristocratic family.

A traumatic political event took the lives of both his wife and son, and a second one killed his daughter and blinded him.  Now, 40-something, disenchanted, ex-U.S. diplomat Todd Jackson (Ralph Fiennes) lives a lonely life amid the political turmoil of 1930’s Shanghai, and dreams of owning a gentleman’s club – the kind that he can still see in his mind and quite unlike the hotels and clubs in which he currently languishes.

However, his life changes when he crosses paths with Countess Sofia Belinskya (Natasha Richardson), a widowed Russian countess living in impoverished exile with her in-laws and her daughter.  Where once she lived the life of nobility, now, she accepts sordid jobs to support her family.  When fortune strikes and gives Jackson the means to open his bar, he names it The White Countess, and convinces Sofia to accept a job as the club’s hostess.  But will he have the strength to admit his love before a coming Japanese invasion of Shanghai separates them forever?

The team of director James Ivory and producer Ismail Merchant are known to the film world as Merchant Ivory Productions and have produced such Oscar-winning and Oscar-nominated films as A Room with a View, Howard’s End, and Remains of the Day.  The Indian born Merchant (who also directed films) died in May of 2005, and The White Countess was his final collaboration with James Ivory.  The film is quiet and lacks the grandeur of the better-known Merchant Ivory Production like Howard’s End.  It’s very low key, and dialogue moves the narrative.  It’s almost as if The White Countess is more a historical epic made for television than it is a work for the cinema.

Ralph Fiennes and Natasha Richardson give strange, quiet performances.  Fiennes is as usual quite good, and Richardson is mysterious and detached.  One would think that the two couldn’t have any chemistry, but their facial expressions and subtle physical movements give their characters and their relationship a deeply evocative tone.  They essentially define this slow moving, but classy period piece, as all the other actors seem to follow their tranquil acting.

In fact, there are a number of fine supporting performances including a rare appearance in the same film by famous acting sisters, Vanessa Redgrave and Lynn Redgrave (real life mother and aunt respectively of Natasha Richardson), in small but well-done roles.  Hiroyuki Sanada gives an excellent turn as the mysterious Mr. Matsuda, who establishes the film’s exotic, but politically volatile setting, 1930’s Shanghai.  The White Countess may seem overly serene at times, but the impeccable cast makes it a good choice for fans of fine acting and Merchant Ivory films.

6 of 10
B

Saturday, June 17, 2006

Updated:  Tuesday, March 18, 2014

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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


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Review: "House of Flying Daggers" is a Martial Arts Spectacle (Happy B'day, Ziyi Zhang)

TRASH IN MY EYE No. 71 (of 2005) by Leroy Douresseaux

Shi mian mai fu (2004)
International English title: House of Flying Daggers
COUNTRY OF ORIGIN:  China/Hong Kong; Language: Mandarin
Running time:  119 minutes (1 hour, 59 minutes)
MPAA – PG-13 for sequences of stylized martial arts violence and some sexuality
DIRECTOR:  Zhang Yimou
WRITERS:  Feng Li, Bin Wang, and Zhang Yimou
PRODUCERS:  William Kong and Zhang Yimou
CINEMATOGRAPHER:  Xiaoding Zhao
EDITOR:  Long Cheng
COMPOSER:  Shigeru Umebayashi
Academy Award nominee

MARTIAL ARTS/DRAMA/ROMANCE/FANTASY

Starring:  Takeshi Kaneshiro, Andy Lau, Ziyi Zhang, and Dandan Song

The subject of this movie review is Shi mian mai fu, a 2004 Chinese and Hong Kong wuxia film that is known in English as House of Flying Daggers.  A romantic drama and martial arts-fantasy, the film is directed by Zhang Yimou (Raise the Red Lantern).  House of Flying Daggers follows a police captain and the beautiful member of a rebel group he breaks out of prison.

China, 859 A.D. – it is near the end of the Tang Dynasty, and corrupt leaders rule over the country.  However, a revolutionary faction known as the Flying Daggers challenges authority, robbing from the rich to give to the poor.  Jin (Takeshi Kaneshiro) and Leo (Andy Lau), two police detectives, believe Mei (Ziyi Zhang), a blind dancer, is a member of the group.  They hatch a plan for Jin to pretend to be a rebel-of-sorts who rescues Mei from jail.  He then accompanies her to the north country in the hopes that she will take him to the House of Flying Daggers.  However, Mei’s beauty bowls over Jin, and he finds himself determined to protect her on their perilous journey; on the other hand, it seems as if no one is who he or she says he or she is.

As a follow up to his internationally acclaimed film known as Hero (2002, but released wide theatrically to U.S. audiences in 2004), director Zhang Yimou once again delves into China’s legendary martial past in Shi mian mai fu or House of Flying Daggers.  House of Flying Daggers is similar to the 2002 film except that House is more like a musical poem with romantic trappings, with romance having both the modern connotations and its 19-century literary and artistic meanings.  Hero was an epic tale of espionage, romance and revenge that looked at China’s mythical past as a celebration of Chinese nationalism.  Flying Daggers is more emotional; the stunning cinematography (by far the best of 2004), the luxuriant costumes, the abundantly colorful back drops are meant to evoke feelings more than to get the viewer to think about the film’s surprising plot twists and turns.

Action choreographer Tony Ching Siu-Tung, who worked with Yimou on Hero, once again turns in some delicious fight scenes that are different from his work in Hero and meant to fit the mood and impressionistic flavor of Flying Daggers.  The cast is also quite good, and it’s a shame that Ziyi Zhang was once again ignored by Oscar, as she was for Crouching Tiger, Hidden Dragon.  She has a wonderful talent for playing dualities:  coy to aggressive, innocent to beguiling, weak to strong, and helpless to fully capable.  Her face is a small mask, capable of a seemingly endless array of subtle shifts that embellish both the character and the story.  Takeshi Kaneshiro, who almost gets lost next to Ziyi Zhang, plays Jin with his heart on his sleeve and his soul open for the audience to see the conflicting emotions within him, a performance that really drives this film’s tricky plot.

House of Flying Daggers is a visually arresting film (frame after frame of breathtaking, mind-bending beauty), maybe more so than Hero.  However, the film does seem to dry up on several occasions, and the script is careless with some of the character motivation.  Still, the film’s intense and overwhelming visual beauty makes it a must see for lovers of cinema, and fans of Asian cinema and hot martial arts will also certainly like this.

8 of 10
A

NOTES:

Saturday, April 23, 2005

Updated: Sunday, February 09, 2014


NOTES:
2005 Academy Awards, USA:  1 nomination: “Best Achievement in Cinematography” (Xiaoding Zhao)

2005 Golden Globes, USA:  1 nomination: “Best Foreign Language Film (Hong Kong)

2005 BAFTA Awards:  9 nominations: “Best Film not in the English Language” (William Kong and Yimou Zhang), “Best Performance by an Actress in a Leading Role” (Ziyi Zhang), “Best Cinematography” (Xiaoding Zhao), “Best Editing” (Long Cheng), “Best Production Design” (Tingxiao Huo), “Best Costume Design” (Emi Wada), “Best Sound” (Jing Tao and Roger Savage), “Best Achievement in Special Visual Effects” (Angie Lam, Andy Brown, Kirsty Millar, and Luke Hetherington), and “Best Make Up/Hair” (Lee-na Kwan, Xiaohai Yang, and Siu-Mui Chau)

2005 Image Awards: “Outstanding Independent or Foreign Film”

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

Reivew: Sayles Draws Viewers in "LIMBO" (Happy B'day," David Strathairn)

TRASH IN MY EYE No. 34 (of 2003) by Leroy Douresseaux

Limbo (1999)
Running time:  126 minutes (2 hours, 6 minutes)
MPAA – R for language
EDITOR/WRITER/DIRECTOR:  John Sayles
PRODUCER:  Maggie Renzi
CINEMATOGRAPHER:  Haskell Wexler
COMPOSER:  Mason Daring
Palme d'Or nominee

DRAMA/THRILLER/ROMANCE

Starring:  Mary Elizabeth Mastrantonio, David Strathairn, Venessa Martinez, Kris Kristofferson, and Casey Siemaszko

The subject of this movie review is Limbo, a 1999 drama and crime-thriller from writer-director John Sayles.  The film focuses on a fisherman who tries to protect his new girlfriend and her daughter from his past and his brother’s present.  The film was nominated for the Palme d'Or at the 1999 Cannes Film Festival, and at the 1999 Seattle International Film Festival, Sayles received the “Golden Space Needle Award” for “Best Director.”  The National Board of Review, USA also gave Limbo a “Special Recognition” award “For excellent in filmmaking.”

John Sayles is a true independent filmmaker, rarely dealing with the major studios to produce his pictures, although they have distributed them, as is the case with Limbo.  Upon seeing this film, one can understand why he remains an independent.  Most directors can do this kind of film once or twice, but to make a career out of films like this, a director has to have an iron will.

Joe Gastineau (David Strathairn, a veteran of several Sayles films) lives, but that’s all he does.  He merely lives, working a few odd jobs in a small Alaska town.  He meets and helps out Donna De Angelo (Mary Elizabeth Mastrantonio, Robin Hood: Prince of Thieves) a lovelorn lounge singer and the mother of one of Joe’s coworkers Noelle (Vanessa Martinez), and Joe gently falls for Donna.  When Joe’s self-inflated half-brother Bobby (Casey Siemaszko, Young Guns) blows into town, the four take a journey to up-country Alaska that changes and endangers their lives.

The acting is good, especially from the trio of Strathairn, Ms. Mastrantonio, and Ms. Martinez.  Strathairn is a vulnerable and moody character, but a quite approachable guy, a strong and supportive man when he has to be.  Ms. Mastrantonio is punch drunk from the love of broken relationships, but she never gives up on the positive, even when things keep falling apart.  Ms. Martinez is the sullen, self-pitying teen; quiet and withdrawn, she is an imaginative storyteller who can take elements of her life and create metaphorical delights.  Sayles has affection for these characters, and, because he takes time to give them depth, we care about them.

Sayles, a novelist and short story writer, creates films with characters that are very much like real people.  Each and every character has their own story, and a Sayles movie is actually of composition containing all these characters’ stories.  His gift is to show the viewers enough of each story so that they can get a feel for the film.  We see more of the lead characters’ stories, but we get a taste of every person’s story.  He is a visionary, able to weave stories with the same complexities and depth of a novel into the visual shorthand of a film.

Critics have accused his films of not having passion, but they have sold their souls for the press junkets and star interviews of the major studios and their product.  A Sayles film is vibrant and engaging.  He makes you think, and he lets you be part of the film, to put yourself inside the story.  This is as vicarious a thrill as any adrenalin-monkey action movie.

8 of 10
A

NOTE:
1999 Cannes Film Festival:  1 nomination: “Palme d'Or” (John Sayles)

Updated:  Sunday, January 26, 2014


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

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

Review: "High School Musical" is a Feel-Good Classic (Happy B'day, Vanessa Hudgens)

TRASH IN MY EYE No. 116 (of 2007) by Leroy Douresseaux

High School Musical (2006) – TV movie
Running time:  98 minutes (1 hour, 38 minutes)
TV-G
DIRECTOR:  Kenny Ortega
WRITER:  Peter Barsocchini
PRODUCERS:  Bill Borden and Barry Rosenbush (executive producers) and Don Schain
CINEMATOGRAPHER:  Gordon C. Lonsdale (D.o.P.)
EDITOR:  Seth Flaum
COMPOSER:  David Lawrence

MUSICAL with elements of comedy, drama, romance, and sports

Starring:  Zac Efron, Vanessa Anne Hudgens, Ashley Tisdale, Lucas Grabeel, Corbin Bleu, Monique Coleman, Bart Johnson, Alyson Reed, Chris Warren, Jr., Olesya Rulin, and Socorro Herrera

When it debuted on the Disney Channel on January 20, 2006, High School Musical was just another “Disney Channel Original Movie” …to some.  To others, especially the so-called “‘tween” audience (usually described as 10 to12-years old), the telefilm was something special.  It was a smash hit in its time slot when just under eight million viewers tuned in to watch the premier, and the numerous repeat broadcasts since then also remain highly watched.  The High School Musical soundtrack album has been certified quadruple platinum, and the various DVD releases have also sold almost 8 million copies.  So what’s it all about?

High School Musical (HSM) is a twist on Romeo & Juliet and a kind of 21st century take on the hugely successful 1978 film, Grease (itself adapted from a Broadway musical).  HSM is set in Albuquerque, New Mexico and takes place mostly on the campus of East High School, home of the Wildcats.  Troy Bolton (Zac Efron), the basketball team’s star player, and Gabriella Montez (Vanessa Anne Hudgens), a brainiac and the new girl in school, fall in puppy love.  They also end up auditioning for the school winter musical, performing a duet that earns them a call back.

However, Troy and Gabriella find themselves at odds with their family and friends who think that the two should “stick to what they know.”  For Troy, that means devotion to the Wildcats basketball team and the upcoming championship game against West Side High.  Troy feels the most heat from Coach Jack Bolton (Bart Johnson), who is also Troy’s father, and Chad Danforth (Corbin Bleu), Troy’s best friend who is devoted to basketball.  For Gabriella, her friends in the Science Club, especially Taylor McKessie (Monique Coleman), think that Gabriella should focus on the upcoming Scholastic Decathlon.

Meanwhile, the school’s reigning musical duo, fraternal twins, Sharpay Evans (Ashley Tisdale) and her brother, Ryan (Lucas Grabeel, who has a strong, beautiful singing voice), don’t want anyone competing with them for the leads in the winter musical.  Also, Ms. Darbus (Alyson Reed), the school’s drama teacher, isn’t sure she wants a basketball player in her musical, especially Troy because Ms. Darbus and Coach Bolton are often at odds.

Despite that, Troy and Gabrielle get together with fellow student Kelsi Nielsen (Olesya Rulin), a pianist and the winter musical’s composer, and practice their singing.  When Troy’s teammates and Gabriella’s fellow science clubbers learn that the duo is serious about the musical, they conspire to break them apart, but will they end up wishing they’d kept Troy and Gabriella together.

Simply put, I’m a fan of this hugely fun and highly entertaining movie.  I don’t really know why it works.  Perhaps, it’s Disney magic.  I’m not being silly.  Shortly into the film, after two strangers, Troy Bolton and Gabriella Montez, come together and start singing in harmony as if it were always meant to be, one has to believe only Disney can get away with this.  Just feel the magic and charm of this flick and go with it.

The songs are really good, and some of them are just good enough to move the narrative forward or flesh out a plot point, character, or mood.  The acting is credible if not often very good, but when the cast sings or when a song becomes an elaborate song and dance number, the move becomes even more fun.  Maybe, part of its appeal is that many wish their high schools were like East Side High, but since we can’t have that, we can dream.  High School Musical is that happy dream.

7 of 10
B+

NOTES:
2006 Primetime Emmy Awards:  2 wins: “Outstanding Children’s Program” (Bill Borden, Barry Rosenbush, and Don Schain) and “Outstanding Choreography” (Kenny Ortega, Charles Klapow, and Bonnie Story); 4 nominations: “Outstanding Casting for a Miniseries, Movie or a Special” (casting by Jason La Padura and Natalie Hart), “Outstanding Directing for a Miniseries, Movie or a Dramatic Special” (Kenny Ortega), “Outstanding Original Music and Lyrics” (Ray Cham, Greg Cham, and Drew Seeley for the song: "Get'cha Head In The Game"), and “Outstanding Original Music and Lyrics” (Jamie Houston-writer and producer for the song "Breaking Free")

2007 Image Awards:  2 nominations: “Outstanding Children's Program” and “Outstanding Performance in a Youth/Children's Program - Series or Special” (Corbin Bleu)

Friday, August 17, 2007

Updated:  Saturday, December 14, 2013

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