Review: "Gosford Park" is Full of Intrigue and Thrills (Happy B'day, Robert Altman)

TRASH IN MY EYE No. 12 (of 2002) by Leroy Douresseaux

Gosford Park (2001)
Running time: 137 minutes (2 hours, 17 minutes)
MPAA – R for some language and brief sexuality
DIRECTOR: Robert Altman
WRITER: Julian Fellowes (from an idea by Robert Altman and Bob Balaban)
PRODUCERS: Robert Altman, Bob Balaban, and David Levy
CINEMATOGRAPHER: Andrew Dunn (D.o.P.)
EDITOR: Tim Squyres
COMPOSER: Patrick Doyle
Academy Award winner

DRAMA/MYSTERY

Starring: Maggie Smith, Michael Gambon, Kristin Scott Thomas, Camilla Rutherford, Charles Dance, Geraldine Somerville, Tom Hollander, Natasha Wightman, Jeremy Northam, Bob Balaban, James Wilby, Ryan Phillippe, Stephen Fry, Ron Webster, Clive Owen, Helen Mirren, Eileen Atkins, Emily Watson, Alan Bates, Derek Jacobi, Richard E. Grant, and Sophie Thompson

Sir William McCordle (Michael Gambon, The Insider) and Lady Sylvia McCordle (Kristin Scott Thomas) invite many family and friends to their old style, English country estate for a weekend shooting party. Sir William has been the financial benefactor for many of his guests, some needing him more than others and him rejecting the needs of some. When Sir William is discovered dead in his study, everyone: family, guests, and their servants are suspects.

Directed by Robert Altman (The Player, Short Cuts, Nashville), Gosford Park is written in the fashion of an Agatha Christie whodunit, her brand of mystery story that was sometimes set in an old country manor. Altman, a master of the ensemble cast, uses this large cast of British thespians with the flair of a wizard and the skill of great director. Altman creates a pace for Gosford Park that is as still and as measured as a Merchant Ivory production, but underneath the stiff veneer is a film that is as sharp and as full of wit as the best comedies. Every time that Altman seems to start to slip in his craft, he unleashes something that is so rare in films this day: a movie in which the story, setting, and cast are so well played that the audience is knocked off its collective feet. With each marvelous comeback, we believe in him even more. Gosford Park has the kind of execution that brought us to our feet in The Player.

The script by actor Julian Fellowes from an idea by Altman and cast member Bob Balaban is, too say the least, excellent. To use such a large cast in which each and every actors plays what amounts to a major part in the film, even on small screen time, is rarely seen, and is usually reserved for the stage. To write a script that does this in a movie that is barely over two hours long is to understand quality over quantity. There are no big named stars here waiting to chew up scenery and to have their Oscar soliloquies. Fellowes creates a story that has the density and plot lines of a novel, but the brevity of a short story. He does not waste words and scenes, and Altman ably directs the script with the same efficiency. Fellowes wry take on class and social status is uncanny; he sums up British society in the time it would take most writers to begin their introduction to the topic.

Gosford Park is a movie of good performances. Maggie Smith as Constance, Countess of Trentham and Helen Mirren as the housekeeper, Mrs. Wilson earned well-deserved Oscar nominations. Ms. Smith sets the stage and creates the atmosphere for this drama, comedy, and mystery. She embodies British reserve, attitude, and wit, but it is in those moments when she surprises with some unexpected line or sudden glance that she really defines the chameleonic nature of this film. Ms. Mirren well represents the hurt, the lies, and the secrets of Gosford Park; she is want and fulfillment so held in check that when it burst forth, someone must die.

Ryan Phillippe, Stephen Fry, Clive Owen, Ron Webster, Emily Watson, Kelly Macdonald, and Alan Bates among others of this fine cast all do wonderful work. It boggles the mind what these actors do with a great script and one of the great directors.

Gosford Park has as its foundation a well know genre, and it does not refute the trappings of this genre. While a mystery novel must play to its conventions, Gosford Park allows the human dramas to tell the story. Each character’s story and motivation underlies the story, and every character has at least one moment in the spotlight. As motives come forth, the film casts off its whodunit costume and becomes a real drama and witty satire on class. Like life, it is a comedy and mystery, and, like life, the story and its characters remains intriguing even as it ends.

It’s one of those special films that waits for a viewer hungry for some meat to go with the sugary plate most films offer as their sole course.

9 of 10
A+

NOTES:
2002 Academy Awards: 1 win: “Best Writing, Screenplay Written Directly for the Screen” (Julian Fellowes); 6 nominations: “Best Picture” (Robert Altman, Bob Balaban, and David Levy), “Best Director” (Robert Altman), “Best Actress in a Supporting Role” (Helen Mirren), “Best Actress in a Supporting Role” (Maggie Smith), “Best Art Direction-Set Decoration” (Stephen Altman-art director and Anna Pinnock-set decorator), and “Best Costume Design” (Jenny Beavan)

2002 BAFTA Awards: 2 wins: “Alexander Korda Award for Best British Film” (Robert Altman, Bob Balaban, and David Levy) and “Best Costume Design” (Jenny Beavan); 7 nominations: “Best Make Up/Hair” (Sallie Jaye and Jan Archibald), “Best Performance by an Actress in a Supporting Role” (Helen Mirren), “Best Performance by an Actress in a Supporting Role” (Maggie Smith), “Best Production Design” (Stephen Altman), “Best Screenplay – Original” (Julian Fellowes), “Carl Foreman Award for the Most Promising Newcomer” (Julian Fellowes-writer), and “David Lean Award for Direction” (Robert Altman)

2002 Golden Globes: 1 win: “Best Director - Motion Picture” (Robert Altman); 4 nominations: “Best Motion Picture - Comedy or Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Helen Mirren), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Maggie Smith), and “Best Screenplay - Motion Picture” (Julian Fellowes)

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"The Help" Wins Big at 43rd NAACP Image Awards

The NAACP Image Award an award bestowed by the National Association for the Advancement of Colored People (NAACP). The award honors outstanding achievements by people of color in film, television, music, and literature. The awards are voted on by members of the NAACP.

The 43rd NAACP Image Awards winners were announced in a ceremony, February 17, 2012 and broadcast live on NBC.  I was caught up in two basketball games broadcast on ESPN Friday night, so I had to get help from the Associated Press via the Miami Herald to get this information to you, dear readers.

2012 NAACP Image Awards winners - Motion Pictures:

Motion Picture: "The Help"

Motion Picture directing: Salim Akil, "Jumping the Broom"

Motion picture writing: Ann Peacock, "The First Grader" (National Geographic Entertainment)

Actor in a motion picture: Laz Alonso, "Jumping the Broom"

Actress in a motion picture: Viola Davis, "The Help"

Supporting actor in a motion picture: Mike Epps, "Jumping the Broom"

Supporting actress in a motion picture: Octavia Spencer, "The Help"

Independent motion picture: "Pariah" (Focus Features)

Foreign motion picture: "In the Land of Blood and Honey" (FilmDistrict)

Documentary, theatrical or television: "Sing Your Song" (HBO Documentary Films)

The 43rd NAACP Image Awards Winners: Television Categories

The 2012 NAACP Image Awards winners:

Television:

Comedy series: "Tyler Perry's House of Payne"

Actor in a comedy series: Malcolm-Jamal Warner, "Reed Between the Lines"

Actress in a comedy series: Tracee Ellis Ross, "Reed Between the Lines"

Supporting actor in a comedy series: Nick Cannon, "Up All Night"

Supporting actress in a comedy series: Keshia Knight Pulliam, "Tyler Perry's House of Payne"

Drama series: "Law & Order: Special Victims Unit"

Actor in a drama series: LL Cool J, "NCIS: Los Angeles"

Actress in a drama series: Regina King, "SouthLAnd"

Supporting actor in a drama series: James Pickens, Jr., "Grey's Anatomy"

Supporting actress in a drama series: Archie Panjabi, "The Good Wife"

TV movie, mini-series or dramatic special: "Thurgood"

Actor in a TV movie, mini-series or dramatic special: Laurence Fishburne, "Thurgood"

Actress in a TV movie, mini-series or dramatic special: Taraji P. Henson, "Taken From Me: The Tiffany Rubin Story"

Actor in a daytime drama series: Emerson Brooks, "All My Children"

Actress in a daytime drama series: Tatyana Ali, "The Young and the Restless"

News/information, series or special: "Unsung"

Talk series: "Oprah's Lifeclass"

Reality series: "Dancing With the Stars"

Variety series or special: "Oprah Presents: Master Class"

Children's program: "I Can Be President: A Kid's-Eye View"

Performance in a children's program, series or special: Keke Palmer, "True Jackson, VP"

Writing:
Comedy series: Salim Akil, Mara Brock Akil, "The Game"
Dramatic series: Lolis Eric Elie, "Treme"

Directing:
Comedy series: Leonard R. Garner, Jr., "Rules of Engagement"
Dramatic series: Ernest Dickerson, "Treme"

43rd NAACP Image Awards Winners - Music Categories

The 43rd NAACP Image Awards winners:

Recording:

New artist: Diggy Simmons (Atlantic Records)

Male artist: Cee Lo Green (Elektra Records)

Female artist: Jill Scott (Warner Bros. Records)

Duo, group or collaboration: Mary J. Blige feat. Drake (Geffen)

Jazz album: George Benson, "Guitar Man" (Concord Jazz)

Gospel album, traditional or contemporary: Kirk Franklin, "Hello Fear" (Verity Gospel Music Group)

World music album: Sounds of Blackness, "Sounds of Blackness" (Malaco Music Group)

Music video: Jennifer Hudson, "Where You At" (Arista Records)

Song: Kirk Franklin, "I Smile" (Verity Gospel Music Group)

Album: Jennifer Hudson, "I Remember Me" (Arista Records)

Lucky Fans Can Be at the World Premiere of "Titanic 3D"

Fans of Titanic are invited to win a trip to the Worldwide Premiere In London!

The search for the biggest TITANIC fan has launched! Fans of TITANIC can enter for a chance to win a once-in-a-lifetime trip to the World Premiere in London on March 27th. TITANIC returns to theaters on April 4 in 2D, Real D 3D and IMAX 3D.

The Titanic prize package includes:
· Two tickets to the World Premiere in London on March 27
· Roundtrip coach airfare from the U.S. or Canada for two
· Three nights hotel stay
· Passes to a “hop-on-hop-off” city tour for two
· Round-trip transfers to/from hotel while in London

To Enter:
· Visit the Titanic Facebook page at http://www.Facebook.com/TitanicMovie to get to the Biggest Fan Contest tab.
· Click “Enter”
· Select a photo to submit either from your Facebook albums or from your desktop.
· Fill out a short form with your contact information as well as a few words about the first time you saw Titanic.

· No Purchase Necessary. Enter by 3/13/12. Open to US and Canadian (excluding Quebec) residents, age 13 and older. See Official Rules for details/restrictions.”

James Cameron, who also directed the breakthrough 3D epic AVATAR, will bring TITANIC to life as audiences have never seen it before, digitally re-mastered and harnessing the innovative technology of StereoD. The re-release of TITANIC also coincides with the 100th anniversary of the Titanic setting sail on April 10, 1912. Written, directed and produced by James Cameron, TITANIC is the second highest grossing movie of all time. It is one of only three films to have received a record 11 Academy Awards® including Best Picture and Best Director; and launched the careers of stars Leonardo DiCaprio and Kate Winslet.

Called “A spectacular demonstration of what modern technology can contribute to dramatic storytelling” by Variety upon it’s release in 1997, the long in the works 3D conversion was overseen Cameron and his Lightstorm producing partner Jon Landau who produced the hit movie.

TITANIC returns to theaters for a limited engagement beginning April 4th in 2D, Real D 3D and IMAX 3D.

Learn more about TITANIC in 3D at http://www.titanicmovie.com/


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Twentieth Century Fox
One of the world’s largest producers and distributors of motion pictures, Fox Filmed Entertainment produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of FFE: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Twentieth Century Fox Animation and Fox International Productions.

About Lightstorm Entertainment
Lightstorm Entertainment is a film production company founded by Academy Award winning filmmakers James Cameron and film producer Jon Landau. The company has produced blockbuster hits including “Terminator 2: Judgment Day,” “True Lies,” as well the Academy Award® winning “Titanic” and most recently “Avatar,” which stands at the biggest grossing movie of all time.

Review: "Get Shorty" Still Stands Tall (Happy B'day, John Travolta)

TRASH IN MY EYE No. 48 (of 2005) by Leroy Douresseaux

Get Shorty (1995)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – R for language and some violence
DIRECTOR: Barry Sonnenfeld
WRITER: Scott Frank (based upon the novel by Elmore Leonard)
PRODUCERS: Danny DeVito, Michael Shamberg, and Stacey Sher
CINEMATOGRAPHER: Donald Peterman
EDITOR: Jim Miller
Golden Globe winner

CRIME/COMEDY with elements of drama

Starring: John Travolta, Gene Hackman, Rene Russo, Danny DeVito, Dennis Farina, Delroy Lindo, James Gandolfini, Jon Gries, David Paymer, Renee Props, Martin Ferrero, Miguel Sandoval, and Jacob Vargas with (uncredited) Bette Midler, Harvey Keitel, and Penny Marshall

Get Shorty is a 1995 crime comedy starring John Travolta. The film is based upon the 1990 novel, Get Shorty, by Elmore Leonard.

Ten years later, Get Shorty, is still as slick and as cool as it was the day it debuted. Although it’s 2005 sequel, Be Cool, is filled with hilarious characters and situations, Get Shorty emphasized polished filmmaking, laid back acting, and subtle comedy to make it more of a humorous comedy than the riotous laugh fest its sequel is. Get Shorty fits right in with several other adult crime films from the mid to late 90’s because it doesn’t pretend to be for everyone, so it didn’t pander to juveniles and those with juvenile mindsets. With an emphasis on sharp writing, adult situations, engaging characters, snappy dialogue, and non-gratuitous violence, these films, which included The Negotiator, Jackie Brown, and Out of Sight, were a welcomed treat for adult viewers.

In Las Vegas to collect a debt for his boss, Ray “Bones” Barboni, Chili Palmer (John Travolta), a cool Miami loan shark/shylock, agrees to collect another bad debt, this one from trash movie producer Harry Zimm (Gene Hackman) in Los Angeles. Zimm gets lucky because Chili is a movie buff and pitches a movie idea to Zimm. They become partners and Chili easily slips into the life of a film producer. He schmoozes stars, gets reservations to all the best restaurants, and romances B-movie scream queen, Karen Flores (Rene Russo). Chili however isn’t the only mobster who wants in on the movie business. Harry Zimm owes another shady lender, Bo Catlett (Delroy Lindo), money, and Catlett wants to force his way in on a deal for a hot script Zimm has. Add Catlett to a mix of angry drug dealers, relentless DEA agents, vain movie star Martin Weir (Danny DeVito), double and triple crossing, and Ray Bones showing up in town looking for him, and Chili will need to use all his wiles to get his way.

In Get Shorty, the cast members use their star power and screen personas to add zest to these characters that were born in the mind of Elmore Leonard, a novelist who creates memorable characters for his numerous novels. Director Barry Sonnenfeld gives the film an easy mood, and allows his cast to give performances that crackle. John Travolta embodies that don’t-give-a-shit attitude of confident thug. Gene Hackman is funny, sly, and adds subtle touches that make Harry Zimm zing.

In the final analysis, the film does come across as too glossy. It rushes to a tacked-on happy ending, and the characters beg to be better known or more developed. It’s because the cast make these stock characters as flavorful as they are in Leonard’s novels (although in smaller servings) that Get Shorty is still such fun to watch.

8 of 10
A

NOTES:
1996 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture - Comedy/Musical” (John Travolta); 2 nominations: “Best Motion Picture - Comedy/Musical” and “Best Screenplay - Motion Picture” (Scott Frank)

April 3, 2005

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"Be Cool" Never Heats Up

TRASH IN MY EYE No. 33 (of 2005) by Leroy Douresseaux


Be Cool (2005)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for violence, sensuality, and language including sexual references
DIRECTOR: F. Gary Gray
WRITER: Peter Steinfeld (from the novel by Elmore Leonard)
PRODUCERS: Danny DeVito, David Nicksay, Michael Shamberg, and Stacey Sher
CINEMATOGRAPHER: Jeffrey L. Kimball
EDITOR: Sheldon Kahn

CRIME/COMEDY

Starring: John Travolta, Uma Thurman, Vince Vaughn, Cedric the Entertainer, André (3000) Benjamin, Steven Tyler, Christina Milian, Harvey Keitel, Dwayne “The Rock” Johnson, Paul Adelstein, Danny DeVito, Robert Pastorelli, James Woods, and Debi Mazar with Joe Perry and Aerosmith, The Black Eye Peas with Sergio Mendes, The RZA, Kobe Bryant, and Seth Green

Be Cool is a 2005 crime comedy and is also a sequel to the 1995 film, Get Shorty. It is adapted from the 1999 novel of the same name by Elmore Leonard.

Ten years after Get Shorty, the sequel, Be Cool, shows up at theatres. Both films are based upon novels by Elmore Leonard, whose books have long been a source of film materials for Hollywood. Be Cool is not as witty and as sharp as Get Shorty, but it certainly tries to be the same blunt comic crime caper that the latter was. It has the characters, the cast, and some truly sidesplitting comedy, but ultimately, a faulty script and clunky directing mar a film that was so close to being a really fine crime comedy.

Chili Palmer (John Travolta), the Miami-based shylock who came to Hollywood and charmed and bullied his way into filmmaking, is now tired of the movie business. He’s interested in music, and when Tommy Athens (James Woods), a friend who owns a record label, is murdered by Russian mobsters before Chili’s eyes, that homicide opens the door for him. Chili meets Linda Moon (Christina Milian), a struggling singer stuck with a wannabe Negro named Raji (Vince Vaughn) for a manager. Chili, in his usual way, relieves Raji of Linda’s contract with him, and becomes her new manager.

Chili makes his next connection with Tommy’s widow, Edie Athens (Uma Thurman), who after some convincing is ready to take on Chili and Linda. However, there is the issue of Linda contract with Raji, and Raji’s partner, Nick Carr (Harvey Keitel) who isn’t crazy about letting go off a potential star. Edie also has another big problem: Tommy owed $300,000 to Sin LaSalle (Cedric Entertainer), a very successful, but violently inclined record producer. Raji, Nick, and Sin all see Chili as their problem; as they angle towards him, he’ll try to make Linda a star, woo Edie, and get his way, always dealing with violence and pressure by his motto, be cool.

There are probably a lot more belly laughs in Be Cool than Get Shorty, and that makes it worth seeing. The cast is littered with star turns and novel and hilarious supporting performances, especially Vaughn as Raji and The Rock as his gay, wannabe actor bodyguard, Elliot Wilhelm. Christina Milian holds her own; she works in this movie because her confidence makes her come across as a fine singer and actress, even if there might be stronger singing voices and better young actresses than her.

Travolta reportedly suggested Uma Thurman as his leading lady for Be Cool because they could recapture their screen chemistry from Pulp Fiction, which restarted Travolta’s career and boosted Ms. Thurman’s, but they don’t. Yes, a rapport and friendliness exist between them, but they are sluggish here. Travolta is Chili Palmer, but he’s on automatic here, older and heavier. Even Thurman looks strained, only managing about half the time to have the perkiness, determination, and raw magnetism that show themselves in her collaborations with Quentin Tarantino.

The lion’s share of the blame from this go to writer Paul Steinfeld and director F. Gary Gray. They never seem to be able to integrate the music business element into this plot (after all it’s about Chili getting in the music business), and the film’s musical numbers (except the Aerosmith/Christina Milian performance) and music videos ring hollow. This is a gangster film with laughs, lots of them, but these hilarious and likeable characters don’t seem to be in music because the music industry isn’t in this film the way the movie business was clearly and strongly a part of Get Shorty. Still, Travolta, Ms. Thurman, and a supporting cast of wacky players make this a crime comedy worth seeing, even if you can’t make it to the theatre.

5 of 10
B-

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

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

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

SCI-FI/ACTION/THRILLER

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

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

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

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

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

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

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

6 of 10
B

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Review: "Crank" Don't Stank

TRASH IN MY EYE No. 60 (of 2007) by Leroy Douresseaux

Crank (2006)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – R for strong violence, pervasive language, sexuality, nudity, and drug use
WRITERS/DIRECTORS: Neveldine/Taylor
PRODUCERS: Tom Rosenberg, Gary Lucchesi, Richard Wright, and Skip Williamson
CINEMATOGRAPHER: Adam Biddle (director of photography)
EDITOR: Brian Berdan

ACTION/CRIME

Starring: Jason Statham, Amy Smart, Jose Pablo Cantillo, Efren Ramirez, Dwight Yoakam, Carlos Sanz, Reno Wilson, Jay Xcala, Edi Gathegi, and Keone Young

In Crank, an action movie from the team of Mark Neveldine and Brian Taylor, a hit man tears through the streets of Los Angeles to get revenge on the man who fatally poisoned him, and he has to do it before the poison kills him. It’s like Speed, except instead riding a bus, we’re following a man on a mission.

Freelance killer Chev Chelios (Jason Statham) wakes up one morning to find that Ricky Verona (Jose Pablo Cantillo), a petty mob boss wannabe, has fatally poisoned him with something called the “Chinese cocktail,” which is designed to make his heart stop. The poisoning is supposed to be some kind of payback for Chelios’ hit on Chinese crime lord, Don Kim (Keone Young).

The clocks starts ticking when Chelios realizes that to stave off death, he must keep his adrenaline pumping. With no time to waste, Chelios cuts a swatch through Los Angeles, on a rampage for Verona with the hope of getting his revenge before he dies, and he has to tie up his loose ends soon. Verona made it clear to Chelios that he plans of savaging Chev’s girlfriend, Eve (Amy Smart), so Chelios races to save Eve, wreaking havoc on anyone who gets in his way – bystanders, cops, emergency workers, store clerks, etc. His hopes of finding an antidote, if it one really exists, may rest in the hands of a debauched and loony underworld physician named Doc Miles (played with creepy mellowness by Dwight Yoakum).

I don’t know if the writing and directing team of Mark Neveldine & Brian Taylor are great filmmakers, but they’re highly skilled and bursting with enough visual tricks and shorthand that they can certainly make engaging movies. If talent borrows and genius steals, they’re somewhere in the middle. Watching Crank, I recognize the gigantic buffet of camera effects and editing techniques from other movies that the duo used, and I’m overjoyed that Neveldine/Taylor use them well. Crank is at heart like other American action films with their breakneck pace and testosterone, but look carefully a you’ll find a Whitman sampler of exploitation movies, Pacific Rim action films, and stylish British gangster flicks. Neveldine/Taylor cram it all into something that’s like a video game.

For all their visual cleverness and editing dexterity, Neveldine/Taylor benefit from having a truly great action movie star in Jason Statham. His moderate box office success as a leading man in action movies might be reminiscent of the late 80’s to early 90’s career of Steven Segal (or even Jean-Claude Van Damme), but Statham’s badass aura seems genuine. A tough guy with a balding buzz cut, he literally leaks testosterone, and the cameras that film the roughneck B-movie action flicks in which he stars lap it up.

Crank may seem like a completely disposable thriller for those in need of an adrenaline rush, but that’s not exactly entirely the case. Occasionally clumsy, Crank is well staged when it comes to getting the kicks out. What Neveldine/Taylor and Statham (their skills and style; his tough guy-ness) bring to this misbegotten movie-as-videogame is enough to make Crank stand out. You won’t forget this little movie because it’s the asshole that gave you a kick in the teeth when you thought all it was going to be was just another action movie.

6 of 10
B

Monday, April 02, 2007

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Review: "TALES FROM EARTHSEA" is Pretty Movie

TRASH IN MY EYE No. 13 (of 2012) by Leroy Douresseaux

Tales from Earthsea (2006)
Gedo senki – Original Japanese title
(U.S. theatrical release: August 2010)
Running time: 116 minutes (1 hour, 56 minutes)
MPAA – PG-13 for some violent images
DIRECTOR: Goro Miyazaki
WRITERS: Goro Miyazaki and Keiko Niwa; from a concept by Hayao Miyazaki (based upon the Earthsea novels by Ursula K. Le Guin)
PRODUCERS: Toshio Suzuki and Steve Alpert and Javier Ponton
COMPOSER: Tamiya Terashima
ANIMATION STUDIO: Studio Ghibli

ANIMATION/FANTASY

Starring: (English dub voices) Timothy Dalton, Matt Levin, Blaire Restaneo, Mariska Hargitay, Willem Dafoe, Cheech Marin, Susanne Blakeslee, Terrence Stone, Liam O’Brien, and Kevin Michael Richardson

Tales from Earthsea is a 2006 Japanese animated fantasy film produced by the Studio Ghibli, best known for the animated films of director Hayao Miyazaki (Ponyo). Tales from Earthsea is directed by Miyazaki’s son, Goro Miyazaki and is based upon the first four books in the Earthsea series by author, Ursula K. Le Guin. This movie is also inspired by Hayao Miyazaki’s manga/illustrated story, The Journey of Shuna (1983).

The film is set in the world of Earthsea and focuses on Prince Arren of Enlad (Matt Levin). Enlad, like the rest of Earthsea, is troubled by drought and pestilence. After killing his father, Arren takes his father’s sword and goes on the run. He is later rescued by Sparrowhawk the Archmage (Timothy Dalton). Sparrowhawk and Arren travel to the farm of an old friend of Sparrowhawks’s, a woman named Tenar (Mariska Hargitay). There, Arren is also reunited with Therru (Blaire Restaneo), a young woman he’d recently protected from slave traders.

Therru is hostile to Arren, but he and Sparrowhawk remain on the farm, plowing and planting the fields for Tenar. However, the quartet’s agrarian lifestyle is interrupted by Lord Cob (Willem Dafoe), a sinister wizard who plans to shatter the barrier between life and death so that he can live forever. Cob needs Arren for his plans and wants revenge against Sparrowhawk.

Apparently, there was some hullabaloo and controversy around the production of Tales from Earthsea, including author Ursula K. Le Guin’s mixed feelings about how the film adapted the source material of her original novels. I like this movie, but I can understand how some would be put off by the film’s staid manner. The characters are way too laid back, and the dialogue is delivered at such an easy pace as to suggest that this film lacks conflict. In fact, Goro Miyazaki and Keiko Niwa (co-writer) have put together something that lacks dramatic punch. Tales from Earthsea is the most easy-going battle between good and evil on film that I can remember experiencing. The film’s most energetic element is Cheech Marin’s voice performance as the lackey, Hare, which is not only funny, but also scene-stealing when this movie really needs someone to steal a scene in order to save a scene.

Still, Tales from Earthsea sure is pretty. The film’s color is a symphony of shimmering reds and glowing pinks, and green is used almost entirely to suggest pastoral, verdant splendor. The film’s central theme is the need for balance, especially the balance of life and death. I think that in Tales from Earthsea, color is meant to celebrate not just life, but also living. This is unusual thematic material for an animated feature film, but Tales from Earthsea is characteristic of Studio Ghibli’s manner of doing things in animated films that are different and unique.

7 of 10
B+

Thursday, February 16, 2012

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"Journey 2: The Mysterious Island" Now an International Box Office Success

Moviegoers Worldwide Take New Line Cinema’s “Journey 2: The Mysterious Island” beyond the $100 Million Mark

Fans Also Turn Out in Force for its Concurrent IMAX® Release

BURBANK, Calif.--(BUSINESS WIRE)--Audiences around the globe have enthusiastically embarked on the new 3D family adventure “Journey 2: The Mysterious Island,” delivering more than $112 million in combined domestic and overseas box office. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan-Rubinek, President of International Distribution, Warner Bros. Pictures.

“Journey 2: The Mysterious Island” opened in North America on Friday, February 10, going on to earn a weekend box office total of $27.3 million. That followed an international release, launched on January 19, which has taken in $85 million to date, exceeding by 85% the success achieved in the same markets by its popular predecessor, the 2008 worldwide hit “Journey to the Center of the Earth.”

“Journey 2: The Mysterious Island” is also a major hit on IMAX® screens in more than 410 locations around the world, with a strong box office performance of $8.9 million, and counting.

Fellman stated, “We are immensely happy to see this fun family film become the crowd pleaser we believed it would be and we anticipate continued success as more moviegoers join in the adventure in the weeks to come. Congratulations are in order for the talented filmmakers and cast, as well as our colleagues at New Line Cinema.”

“The strength of the film in international markets, releasing as early as three weeks prior to its successful domestic opening, shows that this is truly global entertainment,” Kwan-Rubinek said. “We’re thrilled that audiences everywhere have responded so strongly to the fantastic world brought to life by director Brad Peyton and his wonderful cast and crew.”

In this follow-up to the 2008 worldwide hit “Journey to the Center of the Earth,” the new adventure begins when young Sean Anderson receives a coded distress signal from a mysterious island where no island should exist. It’s a place of strange life forms, mountains of gold, deadly volcanoes, and more than one astonishing secret. Unable to stop him from going, Sean’s new stepfather joins the quest. Together with a helicopter pilot and his beautiful, strong-willed daughter, they set out to find the island, rescue its lone inhabitant and escape before seismic shockwaves force the island under the sea and bury its treasures forever.

“Journey 2: The Mysterious Island” stars Dwayne Johnson, Michael Caine, Josh Hutcherson, Vanessa Hudgens, Luis Guzmán and Kristin Davis. It is directed by Brad Peyton and produced by Beau Flynn & Tripp Vinson and Charlotte Huggins, from a screenplay by Brian Gunn & Mark Gunn, screen story by Richard Outten. Serving as executive producers are Michael Bostick, Evan Turner, Marcus Viscidi, Richard Brener, Samuel J. Brown and Michael Disco. The creative filmmaking team includes director of photography David Tattersall; production designer Bill Boes; costume designer Denise Wingate; and Academy Award® nominee Boyd Shermis ("Poseidon") as visual effects supervisor. The music is composed by Andrew Lockington.

“Journey 2: The Mysterious Island” is a New Line Cinema presentation of a Contrafilm Production and is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company. Concurrently, the film is being released in IMAX® theatres worldwide.

It is rated PG for some adventure action and brief, mild language.

http://www.themysteriousisland.com/

"Daffy's Rhapsody" Cartoon Showing with "Journey 2: The Mysterious Island"

New Looney Tunes Cartoon “Daffy’s Rhapsody” Debuts in Theaters February 10 with “Journey 2: The Mysterious Island”

BURBANK, Calif.--(BUSINESS WIRE)--Moviegoers seeing the 3D family adventure “Journey 2: The Mysterious Island” are in for a bonus reel of laughs and action with “Daffy’s Rhapsody.” The original Looney Tunes cartoon short makes its theatrical debut in tandem with the feature film release from New Line Cinema and Warner Bros. Pictures, opening nationwide Friday, February 10th.

In “Daffy’s Rhapsody,” a brand new escapade starring Elmer Fudd and Daffy Duck, a relaxing evening at the theater turns into hunting season when Fudd is surprised by the unexpected appearance of his perpetual and ever-elusive target, Daffy. As Elmer gives chase, Daffy cleverly evades him while regaling the audience with a song that illustrates his plight—how hunters never leave him alone.

Featuring an original story and all-new animation, the short stars the voice of the late, legendary Mel Blanc in Daffy’s song, recorded in the 1950s, alongside acclaimed voice actor Billy West’s current characterization of Elmer Fudd.

Directed by Matthew O’Callaghan, it is the second in a new series of three original 3D cartoon shorts created for theatrical release, in keeping with Warner Bros. Animation’s commitment to present the Looney Tunes on the big screen as they were first enjoyed and embraced by audiences around the world.

Sam Register, Executive Vice President, Creative Affairs, Warner Bros. Animation, served as executive producer on “Daffy’s Rhapsody,” as well as the first short of the series, last year’s “I Tawt I Taw a Puddy Tat.” He says, “Everyone grew up loving the Looney Tunes characters, and it has been both a great honor and an enormous challenge to continue the legacy of these animation icons and introduce them to a new generation of fans. To hear the incomparable Mel Blanc voicing these characters once more is nothing short of a dream come true.”

As with “Journey 2: The Mysterious Island,” “Daffy’s Rhapsody” will screen in both 2D and 3D, and in IMAX where available, in theaters across the country.

"The Help" Sweeps Up at the 2012 Black Reel Awards

My favorite Negro-American film awards organization (and my favorite film critics awards, for that matter) is The Black Reel Awards.  The Black Reel Awards annually honors African-Americans in feature, independent and television film. The awards were launched in 2000, and this is the 12th year the awards will be handed out. The Black Reel Awards are now given out by the Foundation for the Advancement of African-Americans in Film (FAAAF).

More 50 film critics from television, radio, print and the Internet comprise the voting members of the Black Reel Awards. Winners were announced on Friday, February 10, 2012 in ceremony held in Washington D.C.  The Help dominated this year's awards winning six, including "Best Film."

2012 Black Reel Award Winners:

Theatrical
Outstanding Film – The Help

Outstanding Director – Steve McQueen / Shame

Outstanding Actor – John Boyega / Attack the Block

Outstanding Actress – Viola Davis / The Help

Outstanding Supporting Actor - Don Cheadle / The Guard

Outstanding Supporting Actress – Octavia Spencer / The Help

Outstanding Screenplay, Original or Adapted – Steve McQueen / Shame

Outstanding Breakthrough Performance – Adepero Oduye / Pariah

Outstanding Ensemble – The Help

Outstanding Original Song – “The Living Proof” / Mary J. Blige (The Help)

Outstanding Score – Thomas Newman / The Help

Outstanding Foreign Film – Attack the Block

Outstanding Feature Documentary – Beats, Rhymes & Life: The Travels of a Tribe Called Quest / Michael Rapaport

Independent
Outstanding Independent Feature Film – My Last Day Without You / Stefan C. Schaefer

Outstanding Independent Short Film – Wake / Bree Newsome

Outstanding Independent Documentary – Infiltrating Hollywood: The Rise and Fall of the Spook Who Sat By the Door / Christine Acham and Clifford Ward

Television
Outstanding Television or Mini-Series Performance, Male – Idris Elba / Luther

Outstanding Television or Mini-Series Performance, Female – Taraji P. Henson / Taken From Me: The Tiffany Rubin Story

Outstanding Television Documentary – Planet Rock: The Story of Hip Hop and the Crack Generation / VH1 (Richard Low and Martin Torgoff)

Outstanding Television or Mini-Series Film – Thurgood / HBO (Michael Stevens)

http://blackreelawards.wordpress.com/

Muddled "Twist of Faith" Still a Timely Documentary

TRASH IN MY EYE No. 50 (of 2006) by Leroy Douresseaux


Twist of Faith (2004)
Running time: 87 minutes (1 hour, 27 minutes)
Not rated by the MPAA
DIRECTOR: Kirby Dick
PRODUCER: Eddie Schmidt
EDITOR: Matthew Clark
Academy Award nominee

DOCUMENTARY

Starring: Tony Comes, Wendy Comes, and various

Twist of Faith is a 2004 documentary film from director Kirby Dick. This American documentary film earned a 2005 Oscar nomination for “Best Documentary, Features.” It takes a close look at one of the stories to come out of the 2002 Catholic Church child sexual abuse scandals.

The focus of this film is on Tony Comes who claimed to have been sexually molested by a priest who taught at the Catholic school Comes attended in the 1980’s. Now, a husband, father, and firefighter, Comes discovers that the now ex-priest, whom he claims abused him, lives five houses down the street from the home into which Tony, his wife, Wendy, and his two children have just moved. Tony must suddenly deal with his past, and he chooses to do so publicly. That decision brings pain and embarrassment into his life, causing marital strife and disagreements with the rest of his friends and family. He comes to distrust his Church and faith, especially when the local diocese hires a high-powered law firm to combat his and others’ lawsuits. However, Tony does get to meet and form a bond with five other men who claim to be former victims of the same priest. Much of the film deals with events that occurred in 2003 and 2004.

Twist of Faith’s publicity sold them film as being a documentary about how Tony Comes struggled with the public fallout from him going public with his claims of being sexually abused by a Catholic priest. That would have been a good film, but director Kirby Dick actually focuses on Tony Comes. Dick gave Comes and his wife hand-held cameras that allowed them to directly record their thoughts and feelings. Wendy Comes does just that – talking mostly about what Tony’s situation is doing to their marriage. Tony carries the camera around wherever he goes, so we do get to see him interact with people outside his home – fellow abuse victims, friends, and his mother (including an ugly argument Tony has with her about her continuing support of the church in spite of the wrongs Tony claims the church has done to him). However, it’s all about Tony and not really about public reaction to his personal business made private.

Wendy comes across as sympathetic, a wife trying very hard to help her husband through a bad time. Tony, on the other hand, comes across as being as pathetic as he is sympathetic. I tend to believe that he was molested, but his status as a victim doesn’t change the fact that he comes across as whiny, self-righteous jerk. He is petulant, always lashing out at his wife and mother – so bitter, and immature. He plays the victim to the hilt – a drama queen who would be right at home in some 1930’s or 1940’s era film melodrama. He is the epitome of a type we’ve seen much of since the revelations of Catholic Church sex abuse scandals: a grown-ass, 30-something white man pissing and moaning about the priest that got in his pants. That’s the kind of man who could make someone wonder if he wanted Father So-and-so in his pants.

There are some good moments in the film. Many involve Tony Comes, but many more bad ones also involve him. So anyone who has a bleeding heart for victims – any victims – will find this documentary poignant. Others may find it dull, or even – dare I say – embarrassing.

5 of 10
C+

Monday, March 07, 2006

NOTES:
2005 Academy Awards: 1 nomination: “Best Documentary, Features” (Kirby Dick and Eddie Schmidt)

"Margin Call" Sure as Heck Ain't Marginal

TRASH IN MY EYE No. 12 (of 2012) by Leroy Douresseaux


Margin Call (2011)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for language
WRITER/DIRECTOR: J.C. Chandor
PRODUCERS: Robert Ogden Barnum, Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, and Zachary Quinto
CINEMATOGRAPHER: Frank G. DeMarco
EDITOR: Pete Beaudreau
COMPOSER: Nathan Larson
Academy Award nominee

DRAMA

Starring: Kevin Spacey, Paul Bettany, Jeremy Irons, Zachary Quinto, Penn Badgley, Simon Baker, Stanley Tucci, Demi Moore, Aasif Mandvi, and Mary McDonnell

Margin Call is a 2011 ensemble drama written and directed by J.C. Chandor. This independent film takes place over a 36-hour period and is set in an investment firm during the early days of the 2008 financial crisis.

At an unnamed investment firm, a typical morning in 2008 turns atypical with a round of layoffs. One of these fired employees, Eric Dale (Stanley Tucci), passes a USB drive to one of his former subordinates, Peter Sullivan (Zachary Quinto). While perusing the data on the drive, Sullivan makes a shocking discovery, so he alerts the firm’s trading desk bosses, Sam Rogers (Kevin Spacey) and Will Emerson (Paul Bettany). The news goes to more senior executives, including division head, Jared Cohen (Simon Baker), and finally to CEO John Tuld (Jeremy Irons). How they fix this crisis could damage the firm, to say nothing of the damage done to people and entities outside the firm.

Not only is Zachary Quinto a cast member of Margin Call, but his production company, Before the Door Pictures (owned with fellow Margin Call producers, Neal Dodson and Corey Moosa), is also one of the companies behind this film. Because he produced this movie, I think it means that Quinto may have a good sense for quality screenplays. Margin Call is sharply written, and rather than bogging down the audience in the jargon of mortgage back securities and investment trading, the script looks at the characters, personalities, and people behind the decisions that rock the financial foundations of both our nation and also of the entire world.

Writer/director J.C. Chandor has earned an Oscar nomination for this screenplay, but the more impressive feat is directing this cast. There are three Oscar wins between Kevin Spacey and Jeremy Irons and a lot of superb work on the theatre stage. Stanley Tucci has years of excellent performances behind him, and he deserves an Oscar. The rest of the cast is rock solid.

Chandor gives each actor a chance not only to shine as an individual performer, but also to help bring all the performances together to tell a riveting story. Chandor and his cast turn this character drama into a Wall Street thriller. There are some hiccups in the script, and there are also moments when the performances seem like stiff dialogue reading, but they don’t hurt this excellent film. Overall, Margin Call has a better story and screenplay than Oliver Stone’s Wall Street (1987), although Margin Call doesn’t have a monster performance like what Michael Douglas gives Wall Street. Thus far, however, Margin Call is this new century’s signature film about the callous greedy.

8 of 10
A

NOTES:
2012 Academy Awards: 1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (J.C. Chandor)

Friday, February 10, 2012

2012 Grammy Awards - Complete Winners List

The Grammy Awards (or Grammys) are given out by the National Academy of Recording Arts and Sciences (NARAS) of the United States. The Grammy is an accolade that recognizes outstanding achievement in the music industry. It is the music industry equivalent to the Academy Awards for film, the Emmy Awards for television, and the Tony Award for stage.

The 54th Grammy Awards were held on February 12, 2012 at the Staples Center in Los Angeles and broadcast live on CBS.  Adele won six awards including the big three: Album, Record, and Song of the Year.

54TH ANNUAL GRAMMY AWARDS (2012) – Complete List of Winners:

1. Record of the Year
"Rolling in the Deep" - Adele

2. Album of the Year
"21" - Adele

3. Song of the Year
“Rolling in the Deep” - Adele Adkins & Paul Epworth, songwriters (Adele)

4. Best New Artist
Bon Iver

5. Best Pop Solo Performance
"Someone Like You" - Adele

6. Best Pop Duo/Group Performance
"Body And Soul" -Tony Bennett & Amy Winehouse

7. Best Pop Instrumental Album
"The Road From Memphis" - Booker T. Jones

8. Best Pop Vocal Album
"21" - Adele

9. Best Dance Recording
"Scary Monsters And Nice Sprites" - Skrillex

10. Best Dance/Electronica Album
"Scary Monsters And Nice Sprites" - Skrillex

11. Best Traditional Pop Vocal Album
"Duets II" - Tony Bennett & Various Artists

12. Best Rock Performance
"Walk" - Foo Fighters

13. Best Hard Rock/Metal Performance
"White Limo" - Foo Fighters

14. Best Rock Song
"Walk" - Foo Fighters, songwriters (Foo Fighters)

15. Best Rock Album
"Wasting Light" -Foo Fighters

16. Best Alternative Music Album
"Bon Iver" - Bon Iver

17. Best R&B Performance
"Is This Love" - Corinne Bailey Rae

18. Best Traditional R&B Performance
"Fool For You" - Cee Lo Green & Melanie Fiona

19. Best R&B Song
"Fool For You" - Cee Lo Green, Melanie Hallim, Jack Splash, songwriters (Cee Lo Green & Melanie Fiona)

20. Best R&B Album
"F.A.M.E." - Chris Brown

21. Best Rap Performance
"Otis" - Jay-Z & Kanye West

22. Best Rap/Sung Collaboration
"All of the Lights" - Kanye West, Rihanna, Kid Cudi and Fergie

23. Best Rap Song
"All of the Lights," Jeff Bhasker, Stacy Ferguson, Malik Jones, Warren Trotter & Kanye West, songwriters (Kanye West, Rihanna, Kid Cudi & Fergie)

24. Best Rap Album
"My Beautiful Dark Twisted Fantasy" - Kanye West

25. Best Country Solo Performance
"Mean" - Taylor Swift

26. Best Country Duo/Group Performance
"Barton Hollow" - The Civil Wars

27. Best Country Song
"Mean" - Taylor Swift, songwriter (Taylor Swift)

28. Best Country Album
"Own The Night" - Lady Antebellum

29. Best New Age Album
"What's It All About" - Pat Metheny

30. Best Improvised Jazz Solo
"500 Miles High" - Chick Corea, soloist

31. Best Jazz Vocal Album
"The Mosaic Project" - Terri Lyne Carrington & Various Artists

32. Best Jazz Instrumental Album
"Forever" - Corea, Clarke & White

33. Best Large Jazz Ensemble Album
"The Good Feeling" - Christian McBride Big Band

34. Best Gospel/Contemporary Christian Music Performance
"Jesus" - Le'Andria Johnson

35. Best Gospel Song
"Hello Fear" - Kirk Franklin, songwriter (Kirk Franklin)

36. Best Contemporary Christian Music Song
"Blessings" - Laura Story, songwriter (Laura Story)

37. Best Gospel Album
"Hello Fear" - Kirk Franklin

38. Best Contemporary Christian Music Album
"And If Our God Is For Us..." - Chris Tomlin

39. Best Latin Pop, Rock, Or Urban Album
"Drama Y Luz" - Maná

40. Best Regional Mexican Or Tejano Album
"Bicentenario" - Pepe Aguilar

41. Best Banda Or Norteño Album
"Los Tigres Del Norte And Friends" - Los Tigres Del Norte

42. Best Tropical Latin Album
"The Last Mambo" - Cachao

43. Best Americana Album
"Ramble At The Ryman" - Levon Helm

44. Best Bluegrass Album
"Paper Airplane" - Alison Krauss & Union Station

45. Best Blues Album
"Revelator" - Tedeschi Trucks Band

46. Best Folk Album
"Barton Hollow" - The Civil Wars

47. Best Regional Roots Music Album
"Rebirth Of New Orleans" - Rebirth Brass Band

48. Best Reggae Album
"Revelation Pt 1: The Root Of Life" - Stephen Marley

49. Best World Music Album
"Tassili" - Tinariwen

50. Best Children's Album
"All About Bullies... Big And Small" - (Various Artists); Jim Cravero, Gloria Domina, Kevin Mackie, Steve Pullara & Patrick Robinson, producers

51. Best Spoken Word Album (Includes Poetry, Audio Books & Story Telling)
"If You Ask Me (And Of Course You Won't)" - Betty White

52. Best Comedy Album
"Hilarious" - Louis C.K.

53. Best Musical Theater Album
"The Book Of Mormon" - Josh Gad & Andrew Rannells, artists; Anne Garefino, Robert Lopez, Stephen Oremus, Trey Parker, Scott Rudin & Matt Stone, producers; Robert Lopez, Trey Parker & Matt Stone, composers/lyricists (Original Broadway Cast)

54. Best Compilation Soundtrack For Visual Media
"Boardwalk Empire: Volume 1" (Various Artists); Stewart Lerman, Randall Poster & Kevin Weaver, producers

55. Best Score Soundtrack For Visual Media
"The King's Speech" - Alexandre Desplat, composer

56. Best Song Written For Visual Media
"I See The Light (From Tangled)" Alan Menken & Glenn Slater, songwriters (Mandy Moore & Zachary Levi)

57. Best Instrumental Composition
"Life In Eleven" - Béla Fleck & Howard Levy, composers (Béla Fleck & The Flecktones); Track from: Rocket Science

58. Best Instrumental Arrangement
"Rhapsody In Blue" - Gordon Goodwin, arranger (Gordon Goodwin's Big Phat Band); Track from: That's How We Roll

59. Best Instrumental Arrangement Accompanying Vocalist(s)
"Who Can I Turn To (When Nobody Needs Me)" - Jorge Calandrelli, arranger (Tony Bennett & Queen Latifah); Track from: Duets II

60. Best Recording Package
"Scenes From The Suburbs" - Caroline Robert, art director (Arcade Fire)

61. Best Boxed Or Special Limited Edition Package
"The Promise: The Darkness On The Edge Of Town Story" - Dave Bett & Michelle Holme, art directors (Bruce Springsteen)

62. Best Album Notes
"Hear Me Howling!: Blues, Ballads & Beyond As Recorded By The San Francisco Bay By Chris Strachwitz In The 1960s" - Adam Machado, album notes writer (Various Artists)

63. Best Historical Album
"Band On The Run (Paul McCartney Archive Collection - Deluxe Edition)" Paul McCartney, compilation producer; Sam Okell & Steve Rooke, mastering engineers (Paul McCartney & Wings)

64. Best Engineered Album, Non-Classical
"Paper Airplane" - Neal Cappellino & Mike Shipley, engineers; Brad Blackwood, mastering engineer (Alison Krauss & Union Station)

65. Producer Of The Year, Non-Classical
Paul Epworth:

1. Call It What You Want (Foster The People) (T)
2. I Would Do Anything For You (Foster The People) (T)
3. I'll Be Waiting (Adele) (T)
4. Life On The Nickel (Foster The People) (T)
5. No One's Gonna Love You (Cee-Lo Green) (S)
6. Rolling In The Deep (Adele) (T)

66. Best Remixed Recording, Non-Classical
"Cinema (Skrillex Remix)" - Sonny Moore, remixer (Benny Benassi); Track from: Electroman

67. Best Surround Sound Album
"Layla And Other Assorted Love Songs (Super Deluxe Edition)" - Elliot Scheiner, surround mix engineer; Bob Ludwig, surround mastering engineer; Bill Levenson & Elliot Scheiner, surround producers (Derek & The Dominos)

68. Best Engineered Album, Classical
"Aldridge: Elmer Gantry" - Byeong-Joon Hwang & John Newton, engineers; Jesse Lewis, mastering engineer (William Boggs, Keith Phares, Patricia Risley, Vale Rideout, Frank Kelley, Heather Buck, Florentine Opera Chorus & Milwaukee Symphony Orchestra)

69. Producer Of The Year, Classical
Judith Sherman:

1. Adams: Son Of Chamber Symphony; String Quartet (John Adams, St. Lawrence String Quartet & International Contemporary Ensemble)
2. Capricho Latino (Rachel Barton Pine)
3. 85th Birthday Celebration (Claude Frank)
4. Insects & Paper Airplanes - Chamber Music Of Lawrence Dillon (Daedalus Quartet & Benjamin Hochman)
5. Midnight Frolic - The Broadway Theater Music Of Louis A. Hirsch (Rick Benjamin & Paragon Ragtime Orchestra)
6. Notable Women - Trios By Today's Female Composers (Lincoln Trio)
7. The Soviet Experience, Vol. 1 - String Quartets By Dmitri Shostakovich & His Contemporaries (Pacifica Quartet)
8. Speak! (Anthony De Mare)
9. State Of The Art - The American Brass Quintet At 50 (The American Brass Quintet)
10. Steve Reich: WTC 9/11; Mallet Quartet; Dance Patterns (Kronos Quartet, Steve Reich Musicians & So Percussion)
11. Winging It - Piano Music Of John Corigliano (Ursula Oppens)

70. Best Orchestral Performance
"Brahms: Symphony No. 4" - Gustavo Dudamel, conductor (Los Angeles Philharmonic)

71. Best Opera Recording
"Adams: Doctor Atomic" - Alan Gilbert, conductor; Meredith Arwady, Sasha Cooke, Richard Paul Fink, Gerald Finley, Thomas Glenn & Eric Owens; Jay David Saks, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)

72. Best Choral Performance
"Light & Gold" - Eric Whitacre, conductor (Christopher Glynn & Hila Plitmann; The King's Singers, Laudibus, Pavão Quartet & The Eric Whitacre Singers)

73. Best Small Ensemble Performance
"Mackey: Lonely Motel - Music From Slide" - Rinde Eckert & Steven Mackey; Eighth Blackbird

74. Best Classical Instrumental Solo
"Schwantner: Concerto For Percussion & Orchestra" - Giancarlo Guerrero, conductor; Christopher Lamb (Nashville Symphony)

75. Best Classical Vocal Solo
"Diva Divo" - Joyce DiDonato (Kazushi Ono; Orchestre De L'Opéra National De Lyon; Choeur De L'Opéra National De Lyon)

76. Best Contemporary Classical Composition
"Aldridge, Robert: Elmer Gantry" - Robert Aldridge & Herschel Garfein

77. Best Short Form Music Video
"Rolling In The Deep" – Adele; Sam Brown, video director; Hannah Chandler, video producer

78. Best Long Form Music Video
"Foo Fighters: Back And Forth" - Foo Fighters; James Moll, video director; James Moll & Nigel Sinclair, video producers

http://www.grammy.com/

2012 Black Reel Awards Nominations - Complete List

The Black Reel Awards annually honor African-Americans in feature, independent and television film. The awards were launched in 2000, and this is the 12th year the awards will be handed out. The Black Reel Awards are now given out by the Foundation for the Advancement of African-Americans in Film (FAAAF).

More 50 film critics from television, radio, print and the Internet comprise the voting members of the Black Reel Awards. 2012 winners were announced on Friday, February 10, 2012 in ceremony held in Washington D.C.  I'll have the results soon.

The nominations for the 2012 Black Reel Awards:

Outstanding Film
Pariah
Shame
The Help
Attack the Block
Jumping the Broom

Outstanding Director
Steve McQueen – Shame
Dee Rees – Pariah
Qasim Bashir – Mooz-Lum
Ava DuVernay – I Will Follow
Salim Akil – Jumping the Broom

Outstanding Actor
John Boyega – Attack the Block
Demián Bichir– A Better Life
Laz Alonso – Jumping the Broom
Oliver Litondo – The First Grader
Evan Ross – Mooz-Lum

Outstanding Actress
Viola Davis – The Help
Adepero Oduye – Pariah
Zoe Saldana – Columbiana
Nia Long – Mooz-Lum
Naomie Harris – The First Grader

Outstanding Supporting Actor
Anthony Mackie – The Adjustment Bureau
Don Cheadle – The Guard
Isiah Whitlock Jr. – Cedar Rapids
Laurence Fishburne – Contagion
Mike Epps – Jumping the Broom

Outstanding Supporting Actress
Octavia Spencer – The Help
Maya Rudolph – Bridesmaids
Kim Wayans – Pariah
Pernell Walker – Pariah
Angela Bassett – Jumping the Broom

Outstanding Screenplay, Original or Adapted
Steve McQueen and Abi Morgan – Shame
Qasim Bashir – Mooz-Lum
Dee Rees – Pariah
Ava DuVernay – I Will Follow
Elizabeth Hunter and Arlene Gibbs – Jumping the Broom

Outstanding Breakthrough Performance
Octavia Spencer – The Help
Adepero Oduye – Pariah
John Boyega – Attack the Block
Kim Wayans – Pariah
Gugu Mbatha-Raw – Larry Crowne

Outstanding Ensemble
Pariah
Attack the Block
The Help
Mooz-Lum
Fast Five
Jumping the Broom

Outstanding Original Song
The Living Proof – Mary J. Blige (The Help)
Walkin’ Blues – Cee-Lo Green featuring Kenny Wayne Shepherd (Footloose)
Furiously Dangerous – Ludacris (Fast Five)
Fly Love – Jamie Foxx (Rio)
My Last Day Without You – Nicole Beharie (My Last Day Without You)

Outstanding Score
Harry Escott – Shame
Steven Price – Attack the Block
Misha Segal – Mooz-Lum
Thomas Newman – The Help
Alex Heffes – The First Grader

Outstanding Foreign Film
Attack the Block
The First Grader
Kinyarwanda
Life, Above All
Viva Riva!

Outstanding Feature Documentary
Being Elmo: A Puppeteer’s Journey – Constance Marks
Beats, Rhymes & Life: The Travels of a Tribe Called Quest – Michael Rapaport
The Black Power Mixtape 1967-1975 – Goran Olsson
Undefeated – Daniel Lindsay and T.J. Martin
The Interrupters – Steve James

Outstanding Independent Feature Film
My Last Day Without You – Stefan C. Schaefer
The Tested – Russell Constanzo
Mamitas – Nicholas Ozeki
Besouro – João Daniel Tikhomiroff
Billy – Winston Washington Moxam

Outstanding Independent Short Film
Fig – Ryan Coogler
Wolf Call – Rob Underhill
Wake – Bree Newsome
The Abyss Boys – Jan-Hendrik Beetge
The Tombs – Jerry Lamonthe

Outstanding Independent Documentary
Infiltrating Hollywood: The Rise and Fall of the Spook Who Sat By the Door – Christine Acham and Clifford Ward

Gang Girl: A Mother’s Journey to Save Her Daughter – Valerie Goodloe

Brown Babies – Regina Griffin

Zero Percent – Tim Skousen

The Manuscripts of Timbuktu – Zola Maseko

Burn: The Evolution of An American City – Harold Jackson III

Outstanding Television or Mini-Series Performance, Male
Idris Elba – Luther
Laurence Fishburne – Thurgood
Samuel L. Jackson – The Sunset Limited
Eric Benet – Trinity Goodheart
Mykelti Williamson – Have A Little Faith

Outstanding Television or Mini-Series Performance, Female
Taraji P. Henson – Taken From Me: The Tiffany Rubin Story
Anika Noni Rose – Bag of Bones
Rosario Dawson – Five
Jenifer Lewis – Five
Tracee Ellis Ross – Five

Outstanding Television Documentary
Planet Rock: The Story of Hip Hop and the Crack Generation – VH1 (Richard Low and Martin Torgoff)

Pray the Devil Back to Hell – PBS (Gini Reticker)

The Fab Five – ESPN (Jason Hehir)

Black in Latin America – PBS (Henry Louis Gates)

The Latino List – HBO (Timothy Greenfield-Sanders)

Outstanding Television or Mini-Series Film
Thurgood – HBO (Michael Stevens)
Luther – BBC (Katie Swinden)
Five – Lifetime (Nellie Nugiel)
The Sunset Limited – HBO (Barbara A. Hall)
Taken From Me: The Tiffany Rubin Story – Lifetime (Harvey Kahn)

2012 BAFTAs Name "The Artist" Best Film

The Orange British Academy Film Awards (also known as the BAFTAs) are presented in an annual award show hosted by the British Academy of Film and Television Arts (BAFTA). It is the British counterpart of the Oscars.

The 2012 Orange British Academy Film Awards ceremony was held on Sunday, February 12, 2012 at London's Royal Opera House.  To no one's surprise, the black and white, silent film, The Artist, was the big winner, capturing the best film prize and winning in 7 of the 12 categories in which it was nominated.

2012 Orange British Academy Film Awards winners:

BEST FILM
WINNER: THE ARTIST - Thomas Langmann

OUTSTANDING BRITISH FILM
WINNER: TINKER TAILOR SOLDIER SPY - Tomas Alfredson, Tim Bevan, Eric Fellner, Robyn Slovo, Bridget O'Connor, Peter Straughan

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
WINNER: TYRANNOSAUR - Paddy Considine (Director), Diarmid Scrimshaw (Producer)

DIRECTOR
WINNER: THE ARTIST - Michel Hazanavicius

DOCUMENTARY
WINNER: SENNA - Asif Kapadia, James Gay-Rees, Eric Fellner, Tim Bevan, Manish Pandey

ORIGINAL SCREENPLAY
WINNER: THE ARTIST - Michel Hazanavicius

ADAPTED SCREENPLAY
WINNER: TINKER TAILOR SOLDIER SPY - Bridget O'Connor, Peter Straughan

FILM NOT IN THE ENGLISH LANGUAGE
WINNER: THE SKIN I LIVE IN - Pedro Almodóvar, Agustin Almodóvar

ANIMATED FILM
WINNER: RANGO - Gore Verbinski

LEADING ACTOR
WINNER: JEAN DUJARDIN - The Artist

LEADING ACTRESS
WINNER: MERYL STREEP - The Iron Lady

SUPPORTING ACTOR
WINNER: CHRISTOPHER PLUMMER - Beginners

SUPPORTING ACTRESS
WINNER: OCTAVIA SPENCER - The Help

ORIGINAL MUSIC
WINNER: THE ARTIST - Ludovic Bource

CINEMATOGRAPHY
WINNER: THE ARTIST - Guillaume Schiffman

EDITING
WINNER: SENNA - Gregers Sall, Chris King

PRODUCTION DESIGN
WINNER: HUGO - Dante Ferretti, Francesca Lo Schiavo

COSTUME DESIGN
WINNER: THE ARTIST - Mark Bridges

SOUND
WINNER: HUGO - Philip Stockton, Eugene Gearty, Tom Fleischman, John Midgley

SPECIAL VISUAL EFFECTS
WINNER: HARRY POTTER AND THE DEATHLY HALLOWS – PART 2 - Tim Burke, John Richardson, Greg Butler, David Vickery

MAKE UP & HAIR
WINNER: THE IRON LADY - Mark Coulier, J. Roy Helland, Marese Langan

SHORT ANIMATION
WINNER: A MORNING STROLL - Grant Orchard, Sue Goffe

SHORT FILM
WINNER: PITCH BLACK HEIST - John Maclean, Gerardine O'Flynn

ORANGE WEDNESDAYS RISING STAR AWARD
WINNER: ADAM DEACON

ACADEMY FELLOWSHIP
Martin Scorsese

OUTSTANDING BRITISH CONTRIBUTION TO CINEMA
John Hurt

A Round of Lost Stars - Peter Breck and Whitney Houston

Coming off the losses of Grammy-winning singer Etta James and Soul Train founder and host, Don Cornelius, comes word of the death of two more people who brought me joy and happiness with their work and performances.

I was not a big fan of Whitney Houston's work in movies, but I am a big fan of her music.  Ms. Houston (who was born in 1963) was found dead (at the age of 48) in a room at the Beverly Hills Hilton in Beverly Hills, California, yesterday (Saturday, February 11, 2012).  My favorite Whitney Houston album is My Love is Your Love (1998), her last multi-platinum studio album.  Ms. Houston was set to appear in a remake of the 1976 film, Sparkle, which is currently slated for an August 2012 release.  R.I.P. Whitney.

I've also learned that American actor, Peter Breck, died Monday, February 6, 2012 at the age of 82.  I am a big fan of Breck because of his work in the 1960s ABC Western television series, The Big Valley, playing hot-tempered Nick Barkley, the middle son of Victoria Barkley (played by Barbara Stanwyck).  The handsome, rugged, dark-haired Breck was perfect for the part of Nick, playing a character that is basically the ramrod and de factor boss of the Barkley ranch.  Breck also played "Doc Holliday" on six episodes of the ABC Western television series, Maverick.  Thanks to MeTV, I can watch Breck at least five times a week on The Big Valley, forever young and strapping.  R.I.P. Mr. Breck.

Review: "C.S.A.: The Confederate States of America" is Unforgettable

TRASH IN MY EYE No. 198 (of 2006) by Leroy Douresseaux

C.S.A.: The Confederate States of America (2004)
Running time: 90 minutes (1 hour, 30 minutes)
Not rated by the MPAA
WRITER/DIRECTOR: Kevin Willmott
PRODUCER: Rick Cowan
CINEMATOGRAPHER: Matt Jacobson
EDITORS: Sean Blake and David Gramly

COMEDY/DRAMA/HISTORICAL

Starring: Evamarii Johnson, Larry Peterson, Patti Van Slyke, and Rupert Pate

Writer/director Kevin Willmott’s blistering comedy, C.S.A.: The Confederate States of America, is a so-called “mockumenatry” (a mock documentary). Willmott (an assistant professor at the University of Kansas) puts forth a provocative vision in which the South (or the Confederacy or the Confederate States of America) won the Civil War (the War Between the States?), and slavery is still legal and liberals and free blacks have fled to Canada.

In this film within a film, a C.S.A. television station, Channel 6, decides to show the controversial British documentary, C.S.A., a documentary history of the Confederate States of America, which begins with the Civil War and ends in present day C.S.A. In between the documentary, the station broadcasts commercial advertisements for a number of products with racist brand names and logos and/or inherently racist in nature as they are geared towards pacifying slaves (including a prescription drug available from veterinarians, Contrari, which makes troublesome darkies docile). The C.S.A. documentary features archival footage of the capture of the disposed Union President Abraham Lincoln (in black face and on the run with Harriet Tubman), of the C.S.A. conquering Latin America and exporting its own brand of apartheid there, and of a C.S.A. alliance with Adolf Hitler, among other things.

The best-known “mockumentary” is probably This is… Spinal Tap. Christopher Guest, one of Spinal Tap’s co-creators, has also directed a trio of critically acclaimed mockumentaries including the recent Oscar-nominated A Mighty Wind (a fourth is due Fall 2006). Other examples of mockumentaries are CB4 and Fear of a Black Hat. While C.S.A.: The Confederate States of America is in the tradition of the aforementioned films, it more closely resembles two Robert K. Weiss-produced comedies, The Kentucky Fried Movie and Amazon Women on the Moon both in tone and in temperament. The alternative racial history aspect of C.S.A. is very much like some of pseudo-historical sketches from Dave Chappelle’s now-defunct Comedy Central series, “Chappelle’s Show,” like the one in which black Americans received reparations for slavery.

C.S.A. is, in the end, its own beast. Using humor, some of it relentlessly scathing and much of it surprisingly droll, Willmott comments on more than just race (read: skin color), racism, and race relations in the United States with the C.S.A. as an allegorical stand in. Willmott also discusses imperialism, war, greed, nationalist propaganda, crass commercialism, and ethnic and religious bigotry. Many of the racist products featured in the faux commercials are actual racist products from American history including the ones for the fried chicken franchise, Coon Chicken Inn, and the furniture polish, the Gold Dust Twins.

Keeping in mind what George Bernard Shaw said about using comedy to tell truths because it keeps the audience from killing the storyteller (which Willmott quotes at the beginning of this movie), Willmott exposes the ugly truths about bigotry, doing it all with a disarming sense of humor. Some people will automatically be defensive about this film (especially hypersensitive white Southerners), but this is simply an excellent political and social comedy. It stumbles a bit, and its low budget only occasionally hurts the movie. Still, C.S.A.: The Confederate States of America is an exceptional, offbeat film for those with a taste for black, bold and outspoken.

7 of 10
A-

Sunday, September 17, 2006

You can watch C.S.A. on Amazon's PRIME VIDEO.

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

Review: Aniston is Money in "Friends with Money: (Happy B'day, Jennifer Aniston)

TRASH IN MY EYE No. 196 (of 2006) by Leroy Douresseaux

Friends with Money (2006)
Running time: 88 minutes (1 hour, 28 minutes)
MPAA – R for language, some sexual content, and brief drug use
WRITER/DIRECTOR: Nicole Holofcener
PRODUCER: Anthony Bregman
CINEMATOGRAPHER: Terry Stacey
EDITOR: Robert Frazen

COMEDY/DRAMA

Starring: Jennifer Aniston, Frances McDormand, Joan Cusack, Catherine Keener, Greg Germann, Simon McBurney, Jason Isaacs, Scott Caan, Ty Burrell, and Bob Stephenson

Set in present day Los Angeles, writer/director Nicole Holofcener’s bittersweet movie, Friends with Money follows the lives of four women in their late 30’s and early 40’s. Jane (Frances McDormand) is a financially secure designer of a popular clothing line, but she’s emotionally insecure and a bit shaky mentally. Her husband, Aaron (Simon McBurney), has little tolerance for her antics. Franny (Joan Cusack) is rich, and she and her husband, Matt (Greg Germann), spend lavishly on gifts and give generously to charity. Christine (Catherine Keener) and her husband, David (Jason Isaacs), are a husband and wife screenwriting team whose marriage and creative partnership is on the rocks. Olivia (Jennifer Aniston) is their single friend who is still struggling to find herself, while Jane, Franny, and Christine struggle with the complexities and annoyances of married life.

For many moviegoers, Friends with Money must be a shock to the system, being that it is a well-cast drama with skilled actors portraying adults in real life situations. Holofcener mines the film’s humor from that generous vein we know as human foibles. Not all of the characters are interesting (Franny and Matt are dullsville.), and some of the characters come across as standard oddballs added just to be oddballs (Scott Caan’s Mike, for instance). Overall, the film works, although even at 88 minutes, it tends to meander.

Jennifer Aniston makes this movie. Whenever she’s onscreen, Friends with Money springs to life like a J.V. football player who just learned he’s made the varsity squad. There’s something in Aniston’s performance as Olivia and in Holofcener’s writing for that character that makes both the story appealing and the rest of the characters relevant mainly in the context of Olivia’s struggles. I’m not ready to call her a great actress, but Aniston is pretty darn good. See this flick for her.

7 of 10
B+

Wednesday, September 13, 2006

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Review: "Star Wars: Episode I - The Phantom Menace" Retains Its Innocence"

TRASH IN MY EYE No. 31 (of 2002) by Leroy Douresseaux

Star Wars: Episode I – The Phantom Menace (1999)
Running time: 136 minutes (2 hours, 16 minutes)
MPAA – PG for sci-fi action/violence
WRITER/DIRECTOR: George Lucas
PRODUCER: Rick McCallum
CINEMATOGRAPHER: David Tattersall (D.o.P.)
EDITORS: Ben Burtt and Paul Martin Smith
COMPOSER: John Williams
Academy Award nominee

SCI-FI/FANTASY/ACTION/ADVENTURE with elements of a thriller

Starring: Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Pernilla August, (voice) Frank Oz, Ian McDiarmid, Oliver Ford Davies, Hugh Quarshie, (voice) Ahmed Best, Anthony Daniels, Kenny Baker, Terrence Stamp, Brian Blessed, Andrew Secombe, Ray Park, (voice) Lewis Macleod, Steven Spiers, Silas Carson, Ralph Brown, and Samuel L. Jackson

The 1999 film, Star Wars: Episode I – The Phantom Menace, is the fourth release in the Star Wars film franchise. It is also the first film in the Star Wars prequel trilogy, a series of three movies in which the stories take place before the events depicted in the original Star Wars trilogy: Star Wars (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983). The Phantom Menace has been recently re-released as a 3D feature.

Back in 1999, Star Wars: Episode I – The Phantom Menace was highly-anticipated release, and although it was a tremendous success at the box office, the movie received mixed reviews from professional film critics and reviewers. The Phantom Menace received criticism from Star Wars fandom, some of it intense. However, I am a fan of The Phantom Menace, and it is my favorite of the three prequel films. My feelings about it are similar to a statement that Ewan McGregor, who starred in the film, made, and that is that The Phantom Menace is just a little fairy tale about a group of people running from one side of the galaxy to the other, having adventures. And I like going along with them on these adventures.

Qui-Gon Jinn (Liam Neeson) and Obi-Wan Kenobi (Ewan McGregor) are two Jedi Knights who must help Queen Padme Amidala (Natalie Portman) save her planet Naboo from the Trade Federation, which is determined to take it. Jar Jar Binks (Ahmed Best) is a Naboo outcast who joins the Jedi on their quest. After the group escapes from a Trade Federation-controlled Naboo, they land on the planet Tatooine, where they meet Anakin Skywalker (Jake Lloyd), a boy with the potential to be a powerful Jedi. Dark forces, however, hunt them in the guise of Darth Maul (Ray Park), an apprentice of the Sith, the Jedi’s ancient enemies.

Directed by George Lucas, The Phantom Menace is the first of three prequels to the original Star Wars movies (Star Wars, The Empire Strikes Back, and Return of the Jedi). Lucas doesn’t give his cast the room to stretch their characters, and his dialogue is mostly wooden and awkward. It is often painfully obvious in how unpolished both the acting and the writing is. Neeson has the most room to roam, but McGregor’s talent is sadly wasted. The driest performance has to be that of Lloyd as the young Anakin Skywalker, he his moments. Jar Jar Binks is a computer-generated character, and while Best does excellent work in creating a unique voice for the character, Jar Jar is an annoying character.

Other than that, TPM is a blast. In a way, it is like a fairy tale in which the cast runs from one hot spot to another, barely staying ahead of the bad guys. In the pod race sequence that occurs in the middle of the film, one can see Lucas’s ability to craft scenes of breath taking intensity that match the best car chases and chase scenes with the flair of the movie serials of Hollywood’s bygone era. Maul’s attack on Qui-Gon and, later, the final battle between the two Jedi and the Sith apprentice are exciting and beautifully staged. In fact, the action sequences are so good that they make up for TPM’s duller moments.

Although it doesn’t recall the excitement of Star Wars or have the dramatic impact of The Empire Strikes Back, Star Wars: Episode I – The Phantom Menace is fun. It doesn’t try to be quality filmmaking so much as it dares to be quality, lightweight entertainment. And at that, it is very good.

7 of 10
A-

NOTES:
2000 Academy Awards: 3 nominations: “Best Effects, Sound Effects Editing” (Ben Burtt and Tom Bellfort), “Best Effects, Visual Effects” (John Knoll, Dennis Muren, Scott Squires, and Rob Coleman), and “Best Sound” (Gary Rydstrom, Tom Johnson, Shawn Murphy, and John Midgley)

2000 BAFTA Awards: 2 nominations: “Best Achievement in Special Visual Effects” (John Knoll, Dennis Muren, Scott Squires, and Rob Coleman) and “Best Sound” (Ben Burtt, Tom Bellfort, John Midgley, Gary Rydstrom, Tom Johnson, and Shawn Murphy)

2000 Razzie Awards: 1 win: “Worst Supporting Actor” (Ahmed Best, the voice of Jar-Jar Binks); 6 nominations: “Worst Picture” (20th Century-Fox), “Worst Director” (George Lucas), “Worst Screen Couple” (Jake Lloyd and Natalie Portman), “Worst Screenplay” (George Lucas), “Worst Supporting Actor” (Jake Lloyd), and “Worst Supporting Actress” (Sofia Coppola)

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9th Annual Irish Film and Television Awards Takes Place Feb. 11th

IRISH FILM & TELEVISION AWARDS - ALL EYES ON THE EMERALD ISLE - 11th February 2012

Michael Fassbender, Brendan Gleeson, Chris O’Dowd, Dana Delany, AJ Buckley, Armand Assante, Stephen Rea, Brenda Fricker, Maria Doyle Kennedy and more at the Irish Film & Television Awards

(Dublin Ireland) – February 10, 2012: Ireland’s finest screen creative talent descend this weekend on Dublin, Saturday 11th of February 2012, for the 9th Annual Irish Film & Television Awards celebrations, taking place at the spectacular Convention Centre Dublin (CCD).

The President of Ireland Michael D. Higgins leads the celebrations, showcasing Ireland’s screen talent with IFTA Awards presented in categories across film and television. IFTA 2012 will see Ireland’s directors, writers, actors, craftspeople and television programme makers in attendance.

Guests scheduled to attend include Brendan Gleeson (The Guard), Michael Fassbender (Shame), Chris O’Dowd (Bridesmaids), Brenda Fricker (Albert Nobbs), Brían F. O'Byrne (Mildred Pierce, Prime Suspect), Stephen Rea (Underworld Awakening), Ruth Negga (Shirley, Misfits), Maria Doyle Kennedy (The Tudors, Albert Nobbs), Liam Cunningham (The Guard), Emmett J. Scanlan (Charlie Casanova), Amy Huberman (Threesome, Stella Days), Brendan O’Carroll (Mrs Brown’s Boys), Antonia Campbell Hughes (Lead Balloon), Colin Morgan (Merlin), Martin McCann (The Pacific), Charlene McKenna (RAW), Olivia Tracey (Agnes Browne), Allen Leech (Downton Abbey), Pat Shortt (Garage), Marcella Plunkett (Stella Days), Bronagh Gallagher (Albert Nobbs).

Veteran Irish actress Fionnula Flanagan (Some Mother’s Son, The Divine Secrets of the Ya Ya Sisterhood, LOST) is to receive Lifetime Achievement Award from the Irish Academy on the night and international guests presenting top Awards include Dana Delany (Desperate Housewives), Armand Assante (Gotti) and AJ Buckley (CSI NY).

Hosted by Simon Delaney (The Good Wife) the Irish Film & Television Awards show will broadcast primetime on Irish television RTÉ One at 9.40pm GMT.

Speaking ahead of the 9th Annual Irish Film & Television Awards this weekend, IFTA Chief Executive Áine Moriarty said: “Despite economic setbacks, Ireland can be proud of its creative talent who continue to deliver world class production, entertaining audiences both at home and around the world. The 9th Annual Irish Film & Television Awards promises to be a terrific evening of entertainment for the viewers at home, and a very special night of celebration for the 2012 nominees and Ireland’s film and television industry.”

New Release Dates for Three Upcoming Paramont Movies

Updated release date information is now available for the following Paramount films below:

A THOUSAND WORDS will now open on Friday, March 9, 2012 (wide).

JEFF, WHO LIVES AT HOME will open on Friday, March 16, 2012 (*limited*).

TITANIC in 3D will now open on Wednesday, April 4, 2012 (wide).