"5 Against the House" a Romantic, Comic Crime Drama

TRASH IN MY EYE No. 75 (of 2011) by Leroy Douresseaux

5 Against the House (1955) – B&W
Running time: 84 minutes (1 hour, 24 minutes)
DIRECTOR: Phil Karlson
WRITERS: Stirling Silliphant, William Bowers, and John Barnwell (based upon the Good Housekeeping magazine short story by Jack Finney)
PRODUCERS: John Barnwell and Stirling Silliphant
CINEMATOGRAPHER: Lester White (D.o.P.)
EDITOR: Jerome Thoms
COMPOSER: George Duning

CRIME/DRAMA with elements of romance

Starring: Guy Madison, Kim Novak, Brian Keith, Alvy Moore, Kerwin Mathews, William Conrad, Jack Dimond, and Jean Wills

Released in 1955, 5 Against the House is one of the first filmed heists and one of the first movies to depict a casino robbery. The film follows four college buddies who decide to rob a casino as a hoax. I am primarily interested in this film for two reasons. 5 Against the House is considered to be “film noir,” of which I am a fan. I am also a fan of the late actor, Alvy Moore, and this movie is one of his first big film roles.

Film noir is the term primarily used to describe a category of Hollywood crime dramas generally (but not exclusively) released in the 1940s and 1950s. I have been interested in film noir (or Film-Noir) for a long time, but it is only in the last decade or so that I have specifically sought out these films. 5 Against the House was released in 2009 as part of a five-DVD box set entitled, Columbia Pictures Film Noir Classics 1.

Jack Alvin “Alvy” Moore was born in December 1921 and died in May 1997. Primarily a light comic actor, Moore made numerous guest appearances on television shows, but he is best known for playing the incompetent county agent, “Hank Kimball,” on the CBS television series, Green Acres (1965-71). Moore served in the United States Marine Corps and saw combat in the Battle of Iwo Jima. He broke into film in the early 1950s and had a small speaking role as one of Marlon Brando’s motorcycle gang in the 1953 film, The Wild Ones. As a supporting actor, 5 Against the House was one his early major roles. At one time, Moore had a small production company and produced the cult science fiction film, A Boy and His Dog (1975), based upon the Harlan Ellison short story.

5 Against the House begins with college pals: Al Mercer (Guy Madison), Brick (Brian Keith), Ronnie (Kerwin Matthews), and Roy Cruikshank (Alvy Moore). The young men are on their way back to college from summer jobs when they take a quick side-trip to Reno, Nevada, where they visit the famous casino, Harold’s Club. While there, Ronnie and Roy get caught up in a robbery attempt. After the culprit is apprehended, the boys overhear someone lament that there is no way a casino robbery can be done.

After they return to their college, Midwestern University, Ronnie, a brainy rich kid, begins to formulate a way to successfully rob Harold’s Club. Al reconnects with his gorgeous girlfriend, Kaye Greylek (Kim Novak), who is now a singer at a local nightclub. Meanwhile, Brick, who served during the Korean War, has a psychotic episode after a fellow student goads him into a fight. Al, who served in Korea with Brick, stops the fight and begs Brick to return to a veteran’s hospital for treatment of his head injury and for post-war mental trauma, which Brick refuses.

Ronnie convinces Brick and Roy to join his plan to rob Harold’s Club after he tells them that it is a hoax and that they will return the money afterwards. They plot to find a way to get Al to participate (with Kaye tagging along), but one of them secretly wants the robbery to be real and has no intention of returning a single dime to Harold’s Club.

I wouldn’t call 5 Against the House a great film, but it is certainly a darn good one. The script, by writers Stirling Silliphant (also a producer), William Bowers, and John Barnwell), efficiently covers a lot of ground in terms of characterization, impressive for a film that barely has over 80 minutes of actual narrative. Viewers will get to know the characters, from Brick’s desperation and psychosis to talkative Roy’s ability to diffuse a situation with one quick quip. Ronnie’s rich boy machinations add nice touches to several scenes.

The combined efforts of director Phil Karlson and director of photography Lester White yield a stylish film that can be tension-filled (casino scenes) and laid back (when the boys are on campus). The opening and closing shots of the gateway to Reno and the romantic scenes featuring Al and Kaye epitomize film noir’s alluring contrast of light and dark.

Some film noir movies have beautiful musical scores, and 5 Against the House has an excellent score from George Duning, which is by turns romantic and suspenseful. Kim Novak shimmers while giving superb singing performances of two songs, "The Life of the Party" (written by Hal Hackady and Billy Mure) and "I Went Out of My Way" (written by Helen Bliss).

I watched 5 Against the House mainly to see Alvy Moore, but I was introduced to a film I can add to my “favorite movies” list.

7 of 10
A-

Friday, August 26, 2011

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Review: "Priest" Wants to Be a Cowboy

TRASH IN MY EYE No. 74 (of 2011) by Leroy Douresseaux

Priest (2011)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – PG-13 for intense sequences of violence and action, disturbing images and brief strong language
DIRECTOR: Scott Stewart
WRITER: Cory Goodman (based on the graphic novel series Priest by Min-Woo Hyung)
PRODUCERS: Michael De Luca, Joshua Donen, and Mitchell Peck
CINEMATOGRAPHER: Don Burgess
EDITORS: Lisa Zeno Churgin and Rebecca Weigold
COMPOSER: Christopher Young
ANIMATION STUDIO: Viking Animation Studios

SCI-FI/FANTASY/HORROR/ACTION

Starring: Paul Bettany, Karl Urban, Cam Gigandet, Maggie Q, Lily Collins, Christopher Plummer, Brad Dourif, Stephen Moyer, Madchen Amick, and Alan Dale

Priest is a 2011 post-apocalyptic, vampire action movie. The film is based on the Korean comic book, Priest, by Min-Woo Hyung, which was published in the U.S. by American manga and graphic novel publisher, TOKYOPOP. The film follows a vampire-killing priest who disobeys orders to track down his niece and the vampire that kidnapped her.

Priest takes place on a world where for centuries, humans and vampires (who are bestial and don’t have eyes) have been at war. The Church (similar to the Roman Catholic Church) created an elite group of warriors called “Priests” who are blessed with special powers that allowed them to slay vampires. Humans won the war, killing most of the vampires and placing the rest in reservations. The Church built giant walled cities to protect mankind and to better control people.

The movie opens in Cathedral City and focuses on the character known only as Priest (Paul Bettany), and like other Priests, he has lived as an outcast since the end of the war. Hicks (Cam Gigandet), the sheriff of the nearby small town of Augustine, arrives to tell the Priest that his brother’s family was attacked by a pack of vampires and that Priest’s niece, Lucy Pace (Lily Collins), has been kidnapped by the vampires. Black Hat (Karl Urban), a mysterious vampire leader with a connection to Priest, now has Lucy. Disobeying the Church’s demand for him to stay in Cathedral City, Priest sets out into the Wastelands with Hicks, Lucy’s boyfriend, to recover her. Along the way, they are joined by a talented warrior, Priestess (Maggie Q), who helps them uncover a shocking vampire plot.

Although it may not be as obvious as Cowboys and Aliens, Priest is basically a post-apocalyptic, science fiction Western film. The Priests are something like sheriff’s deputies, with Paul Bettany’s Priest being a renegade Western gunslinger as hero. Of course, Karl Urban’s Black Hat is the villain in a black hat. Sadly, the film does not really do much with the very talented Karl Urban, who has terrific screen chops. By the end of this movie, I couldn’t help but think that Urban was vastly under-utilized.

In fact, Priest is a concept with a lot of good ideas, and the film under-utilizes most of them. Priest’s version of the vampire is wickedly good and the environment in which they live is cool, creepy, and scary, but this film never seems to do enough with that. Luckily, the story does make good use of Hicks, the Priestess, and even Lucy.

Priest does make great use of its lead character, Priest, and of the film’s lead actor, Paul Bettany. Priest is the strong, silent type – part Wesley Snipes’ Blade and part Clint Eastwood’s the Man with no Name. Bettany is a talented actor with movie star looks and skills, and he also has a great speaking voice. Director Scott Stewart, who worked with Bettany on the recent horror movie, Legion, recognizes this and makes great use of his star. Bettany makes the journey through Priest’s kooky world of gruesome vampires and creepy Church officials an entertaining road trip. Priest could have been a B-movie hot mess; instead, Stewart and Bettany make it hot stuff.

5 of 10
B-

Saturday, August 27, 2011

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Review: "Drag Me to Hell" is Gross-Out Fun

TRASH IN MY EYE No. 5 (of 2009) by Leroy Douresseaux

Drag Me to Hell (2009)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – PG-13 for sequences of horror violence, terror, disturbing images, and language
DIRECTOR: Sam Raimi
WRITERS: Ivan Raimi and Sam Raimi
PRODUCERS: Grant Curtis and Sam Raimi
CINEMATOGRAPHER: Peter Deming
EDITOR: Bill Murawski

HORROR with elements of comedy and thriller

Starring: Alison Lohman, Justin Long, Lorna Raver, Dileep Rao, David Paymer, Adriana Barraza, Chelci Ross, Molly Cheek, and Reggie Lee

The Sam Raimi who directed The Evil Dead films has returned to his demonic spirits-gone-wild roots with the new film, Drag Me to Hell. Before he directed the Spider-Man films, Raimi unleashed ghoulish, comic horror movies that featured, among other things, preposterous scenes of mutilation and slapstick dismemberment, in flicks like Evil Dead II (1987) and Army of Darkness (1992). Drag Me to Hell is essentially from the same family as those scary movies. It’s like EC Comics on crack with a steroid chaser – and rated PG-13!

This film focuses on the soft-hearted Christine Brown (Alison Lohman), an ambitious L.A. loan officer for WilshirePacific Bank. Christine also has a charming boyfriend, Clay Dalton (Justin Long), who has recently become a philosophy professor, but all is not well. The winsome girl with a dazed look in her eyes is tired of being life’s punching bag. She knows that Clay’s mother doesn’t like her (although they’ve never met), and at work, a cheesy co-worker, Stu Rubin (Reggie Lee), is scheming to snatch a promotion from her. When the mysterious, one-eyed Mrs. Ganush (Lorna Raver) shows up at the bank and begs Christine for an extension on her home loan, Christine decides not to follow her instincts and give the old woman a break. Instead, Christine denies the extension in order to impress her boss, Mr. Jacks (David Paymer), and, in turn, get an edge in the battle for the promotion.

Christine’s fateful choice shames Mrs. Ganush and essentially dispossesses Ganush of her home. In retaliation, Ganush, a rotten-toothed old gypsy woman, places the powerful curse of the Black Lamia on Christine, which transforms the young woman’s life into a living hell. Almost immediately, the evil spirit starts to haunt and torment Christine, and her plight is misunderstood by her skeptical boyfriend. Christine seeks the aid of a seer, Rham Jas (Dileep Rao), in hopes that he can tell her what’s happening. What Christine learns is that after three days of tormenting her, the Lamia will drag her soul to hell to burn for eternity.

Perhaps, it is Allison Lohman loveable, huggable, girl-next-door quality that makes it easier for the viewer to sympathize with her and even want to take on her troubles. Maybe it’s Raimi’s ability to scare the hell out of his audience with cartoonish, ghoulish nightmares – or maybe both. Whatever the reasons are, Drag Me to Hell gets in your head. Raimi does that by creating a hellish carnival atmosphere: the kind where the ticket salesman is a hideous, curse-spewing crone; where the fun house is a level of hell; and where the cotton candy maker is a jack-in-the-box full of wormy devils. The film is also very old school; Raimi often creates the sense of creeping dread by using atmospherics like shifty shadows and sound effects. This film even features a favorite Raimi trademark – a demonic possession

Drag Me to Hell is also filled with wonderfully deranged sequences. The first physical altercation between Christine and Mrs. Ganush is film’s best confrontation, and it involves nothing but hands, feet, and teeth – nothing supernatural until the end of it. In fact, Mrs. Ganush is a great character, conceived to be a physically aggressive granny who is as delightfully vindictive as she is demonic and ghoulish.

You’ll laugh. You’ll scream. You may even laugh at your own gullibility, but Sam Raimi has returned to the wretched roots of his filmmaking – bugf*ck crazy horror movies. Drag Me to Hell isn’t perfect; there’s too much of a focus on Alison Lohman’s Christine to the detriment of the other quality characters (like Justin Long’s Clay and Dileep Rao’s Rham Jas, for instance). Still, its mixture of blood-curdling terror, gross-out horror, and inspired lunacy make Drag Me to Hell one of the most entertaining horror flicks in years.

7 of 10
A-

Sunday, June 21, 2009

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John Pilger on the Recent Riots in London

"Damn It or Fear It, the Forbidden Truth Is There's an Insurrection in Britain"

In an age of public relations as news, the clean-up campaign, however well meant by many people, can also serve the government's and media's goal of sweeping inequality and hopelessness under gentrified carpets, with cheery volunteers armed with their brand-new brooms and pointedly described as "Londoners" as if the rest are aliens.

Go. Read.

 

Review: "Queen of the Damned" is a Mere Curiosity Piece (Remembering Aaliyah)

TRASH IN MY EYE No. 175 (of 2003) by Leroy Douresseaux

Queen of the Damned (2002)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – R for vampire violence
DIRECTOR: Michael Rymer
WRITERS: Scott Abbott and Michael Petroni (based on The Vampire Chronicles by Anne Rice)
PRODUCER: Jorge Saralegui
CINEMATOGRAPHER: Ian Baker
EDITOR: Dany Cooper
COMPOSERS: Jonathan Davis and Richard Gibbs

HORROR/FANTASY/MUSIC

Starring: Stuart Townsend, Aaliyah, Marguerite Moreau, Vincent Perez, Paul McGann, and Lena Olin

Some may remember the furor and excitement over the unintentionally campy costume drama, quasi horror/fantasy, vampire movie, Interview with a Vampire, based upon the Anne Rice novel of the same title. Released in 1994, it featured Tom Cruise miscast as one half of a vampire duo with Brad Pitt, who wasn’t as miscast, as the other half. At the time, I liked Interview with a Vampire, but I have never been able to watch the film in its entirety since then.

Now comes a sequel of sorts – Queen of the Damned. This 2002 horror film is an adaptation of the third novel in author Anne Rice’s The Vampire Chronicles, The Queen of the Damned, with some plot elements from the second book in the series, The Vampire Lestat. While the first film had its controversy, Queen of the Damned is mostly remembered because it is the last screen appearance of R&B singer and actress, Aaliyah Dana Haughton, best known simply as Aaliyah.

In this film, sexy Stuart Townsend replaces Cruise as the vampire Lestat. Queen of the Damned also depicts Lestat’s rebirth as a vampire (which had been hinted at in the first film) at the hands of a noble dilettante vampire named Marius (Vincent Perez). Marius also possesses the (un)earthly remains of the King and Queen of Vampires (they’re frozen like alabaster statues). Lestat arouses the Queen, Akasha (Aaliyah), from her slumber and that panics Marius. The nobleman takes the remains before Akasha is fully revived and disappears, leaving Lestat alone. This is told in flashback.

The film really begins centuries later, as the sounds of rock music awaken the despondent Lestat, who eventually joins a band of Goth rockers. Still feeling very lonely, Lestat deliberately commits one of the greatest sins a vampire can commit against his kind; he goes public with his vampirism. Marius, who had been secretly following Lestat since he’d abandoned his apprentice, reappears to warn his “child.” However, Lestat’s rock star fame has earned him a death sentence from several vampires who want to destroy him for going public. Worst of all, Akasha finally awakens completely. She has her eyes on Lestat as her royal consort, but she also wants to destroy humanity again, as she did during her first reign.

Queen of the Damned is an occasionally delightful horror film with a heavy fantasy atmosphere, but it also has an equally heavy campy atmosphere. Still, I found it to be an oddly fascinating monster movie. The script is weak, and all the characters are little more than fancy and stylish ciphers. Like its predecessor, Interview with a Vampire, Queen of the Damned manages to have a peculiar kind realism or verisimilitude, as if the world of this movie could actually exist. Director Michael Rymer does a good job grounding this film in reality, which it makes the film’s more fantastic elements really stand out.

A really nice extra from this film is that Jonathan Davis, leader singer of the rock band Korn, and film composer Richard Gibbs provide some nice music and songs for Lestat’s rock band. Davis even sings the songs in the film, but contractual difficulties forced others to sing the songs for the film’s soundtrack CD release. The music adds a nice touch to this campy movie, which is worth seeing when you’re hungry for trash and laughs. I’ll remember Queen of the Damned for Aaliyah, the singer who became an actress with potential. Her beauty radiates in this film, and that makes me think more of it than I would without her.

5 of 10
C+

NOTES:
2003 Black Reel Awards: 1 nomination: “Best Film Poster”

Wednesday, August 24, 2011

Montreal International Black Film Festival Announces Spokesman

Charles Biddle Jr will be the spokesperson of the 7th edition of the Montreal International Black Film Festival

The Montreal International Black Film Festival (MIBFF), presented by Global Montreal, is proud to announce that the spokesperson for its 7th edition will be Charles Biddle Jr.

Charles Biddle Jr has been shining on the cultural scene for many years, as both an actor and singer-songwriter. Since being awarded the 2001 Félix for Best Artist for his performance in the musical Notre-Dame de Paris, where he played the role of Clopin, the king of truands, he toured the world and then joined the American cast of Notre-Dame de Paris in Las Vegas.

Born into Black culture, jazz, motown and rhythm & blues, the incredibly versatile artist with an extremely diverse cultural background is proud to represent the Montreal International Black Film Festival: “As a society, it's important to broaden our horizons and reflect on the reality of others. The mission of the MIBFF allows us to do so in an entertaining way. Cinema is the perfect medium to bring awareness to issues we might not be confronted with on a daily basis. I cannot wait to take part in the festivities and enjoy the festival's full program.”

“Just like the MIBFF, Charles Biddle Jr is a perfect mix of African-American and Quebec cultures. We're proud that our spokesman is the son of the famous jazz man Charles Biddle, who contributed a lot to Montreal's musical heritage”, said Emile Castonguay, programming director and co-founder of the MIBFF.

Charles Biddle Jr. succeeds renowned Columnist Francine Grimaldi, who has been the MIBFF's spokesperson for the past 5 years and who will now be the Honorary Ambassador of the Festival.

The 7th MIBFF will take place from September 22 to October 2, 2011!


About the Montreal International Black Film Festival - MIBFF
Presented by Global Montreal, the Montreal International Black Film Festival (MIBFF) was created in 2005 by the Fabienne Colas Foundation, a nonprofit organization dedicated to promoting Cinema, Art and Culture. The mission of the Montreal International Black Film Festival is to stimulate the development of the independent film industry and to encourage more films on the realities of Blacks from around the world. The Festival wants to promote a different kind of cinema, cinema that hails from here and from abroad and that does not necessarily have the opportunity to grace the big screen, groundbreaking cinema that moves us, that raises awareness and that takes us all by surprise. The MIBFF wants to deal with issues and present works that raise questions, that provoke, that make us smile, that leave us perplexed, that shock us... A fresh new look at black cinema from the four corners of the globe! http://www.montrealblackfilm.com/.

Get all the festival news on:
http://www.montrealblackfilm.com/
www.facebook.com/festivalfilmblack
www.twitter.com/filmblackmtl

Transformers: Dark of the Moon Returns to IMAX

PARAMOUNT PICTURES’ 3-D MOVIE TRANSFORMERS: DARK OF THE MOON LAUNCHES BACK INTO IMAX® THEATRES FOR EXTENDED TWO-WEEK RUN

Film Grosses $1,095 Billion to Date

Los Angeles, CA (August 23, 2011) – IMAX Corporation (NYSE:IMAX; TSX:IMX) and Paramount Pictures announced today that Transformers: Dark of the Moon, the third film in the blockbuster Transformers franchise, is returning to 246 IMAX® domestic locations for an extended two-week run from Friday, Aug. 26 through Thursday, Sept. 8. During those two weeks, the 3-D film will play simultaneously with other films in the IMAX network.

Since its launch on June 29, Transformers: Dark of the Moon has grossed $1,095 billion globally, with $59.6 million generated from IMAX theatres globally.

“The fans have spoken and we are excited to bring Transformers: Dark of the Moon back to IMAX theatres,” said Greg Foster, IMAX Chairman and President of Filmed Entertainment. “The film has been a remarkable success and we are thrilled to offer fans in North America another chance to experience the latest chapter in this history making franchise.”

Transformers: Dark of the Moon: An IMAX 3D Experience has been digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology for presentation in IMAX 3D. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique immersive environment that will make audiences feel as if they are in the movie.

About Transformers: Dark of the Moon
Shia LaBeouf returns as Sam Witwicky in Transformers: Dark of the Moon. When a mysterious event from Earth's past erupts into the present day it threatens to bring a war to Earth so big that the Transformers alone will not be able to save us.

Transformers: Dark of the Moon is the third film in the Transformers franchise and the first shot in 3D. It is directed by Michael Bay, written by Ehren Kruger and produced by Don Murphy & Tom DeSanto, Lorenzo di Bonaventura and Ian Bryce. The executive producers are Steven Spielberg, Michael Bay, Brian Goldner and Mark Vahradian. The film has been rated PG-13. © 2011 Paramount Pictures Corporation. All Rights Reserved.

HASBRO, TRANSFORMERS and all related characters are trademarks of Hasbro. © 2011 Hasbro. All Rights Reserved.

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. The company's labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group and Paramount Television & Digital Distribution.

About IMAX Corporation
IMAX Corporation is one of the world's leading entertainment and technology companies, specializing in the creation and delivery of premium, awe-inspiring entertainment experiences. With a growing suite of cutting-edge motion picture and sound technologies, and a globally recognized entertainment brand, IMAX is singularly situated at the convergence of the entertainment industry, innovation and the digital media world. The industry's top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and as such, the IMAX network is among the most important and successful theatrical distribution platforms for major event films around the globe. The Company's new digital projection and sound systems - combined with a growing blockbuster film slate - are fueling the rapid expansion of the IMAX network in established markets such as North America, Western Europe, and Japan, as well as emerging markets such as China and Russia. IMAX theaters deliver the world's best cinematic presentations using proprietary IMAX®, IMAX 3D®, and IMAX DMR® (Digital Re-Mastering) technologies. IMAX DMR enables virtually any motion picture to be transformed into the unparalleled image and sound quality of The IMAX Experience®.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo and Shanghai. As of June 30, 2011, there were 560 IMAX theatres (417 commercial multiplex, 25 commercial destination and 118 institutional) operating in 46 countries.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience® and The IMAX Experience® are trademarks of IMAX Corporation. More information about the Company can be found at http://www.imax.com/. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies).