Review: "The Bourne Supremacy" Was the First Greengrass-Damon Joint

TRASH IN MY EYE No. 131 (of 2004) by Leroy Douresseaux

The Bourne Supremacy (2004)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – PG-13 for violence and intense action, and for brief language
DIRECTOR: Paul Greengrass
WRITER: Tony Gilroy (based upon the book by Robert Ludlum)
PRODUCERS: Patrick Crowley and Frank Marshall
CINEMATOGRAPHER: Oliver Wood
EDITORS: Richard Pearson and Christopher Rouse

ACTION/DRAMA/MYSTERY/THRILLER

Starring: Matt Damon, Franka Potente, Brian Cox, Julia Stiles, Karl Urban, Gabriel Mann, Joan Allen, Marton Csokas, and Tom Gallop

Jason Bourne (Matt Damon) has been hiding in India with the love of his life Marie (Franka Potente) since the incidents of the film The Bourne Identity. However, the ghosts and remnants of one of his long-forgotten missions come back to haunt him, and tragedy strikes. So Jason takes the war back to the Americans who are hunting him for two murders they believe he committed during a botched CIA operation in Berlin, Germany. Once again, Jason has to take up his former life as a highly trained super assassin to survive and find out who is framing him.

The Bourne Supremacy is not quite as good as The Bourne Identity, but it’s the probably going to be the best adult-oriented action thriller for mature minds to come along in for a while. Paul Greengrass’ direction in Supremacy is as good as Doug Liman’s in The Bourne Identity, but Liman worked with a better script. The screenplay for Supremacy is high on action, but light on drama and character. The characters are good enough for the standard action thriller. The Bourne Supremacy needed more, and here, they’re mostly checker pieces moved around a board. That wasn’t the case in the first film. Supremacy has lots of actions, excellent suspense, and thrills that run the razor’s edge, but the drama and character interplay is watery. Every time, two characters are about to develop a good conflict or relationship, the film abruptly leaves for some highflying, though quite thrilling, action.

Matt Damon really makes this film. He’s a good actor and has a wonderful and endearing screen persona, and has an engaging personality – even when he’s popping caps in someone. He’s adept at playing the victim and the victimizer – the hunted and the hunter. He sells you on Bourne’s perils, but makes you anticipate that Bourne will survive anything and find his way out of any trap. It’s the modern day black ops stud as Indiana Jones. If you liked the first film or movies like Ronin (1998), you’ll be down with this.

7 of 10
A-

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The Princess and the Frog's Tiana and Naveen are New Disney Royalty

Princess Tiana & Prince Naveen join the timeless legacy of Disney Royalty!

A Timeless Royal Legacy from Disney:

1937
The gentle sweetness of Snow White draws her handsome Prince to her side.

1950
Cinderella’s goodness transfixes her Prince Charming at first sight.

1959
Princess Aurora’s melodious voice captivates the the dragon fighting Prince Phillip.

1989
Princess Ariel’s kindness engulfs the heart of Prince Eric.

1991
The gentle beauty of Belle enchants her Prince, The Beast.

1992
Love of adventure binds Princess Jasmine to her Prince Aladdin.

1995
The wise and gentle nature of Pocahontas mystifies Captain John Smith.

1998
Mulan’s selfless bravery captivates the heroic Captain Li Shang
Disney's The Princess and the Frog arrives on DVD and Blu-ray on Tuesday, March 16, 2010

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Review: "The Bourne Identity" is Classic Secret Agent

TRASH IN MY EYE No. 112 (of 2003) by Leroy Douresseaux

The Bourne Identity (2002)
Running time: 119 minutes (1 hour, 59 minutes)
MPAA – PG-13 for violence and some language
DIRECTOR: Doug Liman
WRITERS: Tony Gilroy and William Blake Herron (from the novel by Robert Ludlum)
PRODUCERS: Doug Liman, Patrick Crowley, and Richard N. Gladstein
CINEMATOGRAPHER: Oliver Wood
EDITOR: Saar Klein

ACTION/THRILLER/MYSTERY

Starring: Matt Damon, Franka Potente, Chris Cooper, Clive Owen, Brian Cox, Adewale Akinnuoye-Agbaje, and Julia Stiles

There really aren’t any bad Matt Damon movies, just bad movies in which Matt Damon is an actor or a star. He has boyishly good looks, but there’s also something in his character that suggests a solid stand up guy upon which one can rely – probably the two big things needed to make a great male star of the screen. Doug Liman is a rising star as a director. I haven’t seen his film Swingers, but I did see his rave scene version of Pulp Fiction, Go, which is an utterly fantastic fun ride of good music and loopy violence. If you put Damon and Liman together and give them a Robert Ludlum novel to make into a film, you might get the fantastic thriller, The Bourne Identity.

A French fishing vessel finds a man (Matt Damon) floating in the middle of the stormy Mediterranean Sea, whom the crew promptly rescues. He has two bullets in his back, and when he awakes, he doesn’t remember his name. Documents reveal his identity as Jason Bourne, but Jason doesn’t remember any special significance attached to his alleged name. As he follows the few clues he has in hopes of recovering from his amnesia, he must escape a web of international intrigue and a cadre of assassins bent of killing him.

I think a lot of people were surprised that this film became a fairly big hit, and many more were surprised that it was actually so good. The key players in this film are, of course, Damon and Liman. Damon’s Bourne is for all practical purposes, almost the only important character in the film. The rest of the characters are decent, but there is nothing to them beyond their role in a paper-thin shadowy conspiracy. The presence of veteran characters like Chris Cooper and Brian Cox are delightful, but I assume that their characters would have been richer characters if Ludlum’s novel from which this is film is adapted had been made into a television mini-series. A slight supporting cast could have been a liability, but Liman has this deft touch of making his film move briskly and with such vibrancy and life. The viewer hardly has time to focus his attention on story holes. Like a good book, you can’t walk away from The Bourne Identity. You don’t want to walk away, and there are many times when the only reason I finish a boring movie is because I think that I might as well finish what I started.

In Damon, Liman has star with screen presence, and he takes full advantage of it. Although we know only a little more about Bourne that the character himself, as the camera follows Damon, the actor makes us interested in Bourne. With so many run-of-the-mill action flicks, it’s good to see the occasional action/thriller (a genre primarily aimed at older audiences) like Ronin or The Negotiator that engages the thinking and the feeling. The Bourne Identity is a bravura performance by a director and his star that’s worth seeing. It’s a moment in film history when two people come together with utter determination to take what is meant to be slight entertainment and make it into something that goes to the top of the heap. It’ll leave you wanting more.

8 of 10
A

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Review: "Coraline" a Deeply Flawed Jewel

TRASH IN MY EYE No. 13 (of 2010) by Leroy Douresseaux


Coraline (2009)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – PG for thematic elements, scary images, some language, and suggestive humor
DIRECTOR: Henry Selick
WRITERS: Henry Selick (based upon the book by Neil Gaiman)
PRODUCERS: Claire Jennings, Mary Sandell, Bill Mechanic, and Henry Selick
CINEMATOGRAPHER: Pete Kozachik (D.o.P.)
EDITOR: Christopher Murrie and Ronald Sanders
Academy Award nominee

ANIMATION/FANTASY

Starring: (voices) Dakota Fanning, Teri Hatcher, Jennifer Saunders, Dawn French, Keith David, John Hodgman, Robert Bailey, Jr., Ian McShane, Aankha Neal, Harry Selick, Marina Budovsky, and Carolyn Crawford

I am a fan of stop-motion animation films, so I was excited to hear that Henry Selick, the director of Tim Burton’s The Nightmare before Christmas, was making a stop-motion version of Neil Gaiman’s award-winning novel, Coraline. At one 1 hour and 40 minutes, director Henry Selick’s Coraline is the longest stop-motion animated feature in movie history, and it certainly seems even longer. More often than not, watching Coraline feels like a dreary chore instead of an eerie delight.

Coraline Jones (voice of Dakota Fanning) is a curious and adventurous 11-year-old girl who is also feisty beyond her years. Coraline and her parents, Mel and Charles Jones (Teri Hatcher and John Hodgman) have just relocated from Michigan to Oregon. Coraline misses her friends, and her parents are too distracted by their work as writers to entertain her. Coraline tries to find some excitement in her new environment, the Pink Palace, a boarding house on top of a hill. Her neighbors include the eccentric British actresses, Miss April Spink (Jennifer Saunders) and Miss Miriam Forcible (Dawn French), and an even more eccentric Russian acrobat, Mr. Sergie Alexander Bobinsky (Ian McShane). The only local close to her age is an annoying boy named Wyborne “Wybie” Lovat (Robert Bailey, Jr.) and his equally annoying semi-pet, The Cat (Keith David).

Coraline seriously doubts that her new home can provide anything to interest her – that is until she uncovers a small, secret door in the house. She crawls through the door and into an eerie passageway, which takes her to an alternate version of her life and existence. On the surface, this parallel reality, called Other World, is similar to her real life, but it is much better. The adults are cool, especially Other Mother (Teri Hatcher), a version of Coraline’s mother who pays more attention to Coraline and actually cooks delicious meals and tasty sweets. Coraline thinks that she could stay there forever, but when Other Mother starts to make shocking demands, Coraline wants no part of this off-kilter world. With the help of the mysterious Cat, Coraline makes a bid for freedom, but it will take all her bravery, grit, and ingenuity to save her real family and get back home.

Coraline is the first 3D stop-motion animated film, and for the most part, its ideal audience would be people who admire the art of stop-motion animation. Like Selick’s collaboration with Tim Burton (The Nightmare before Christmas), Coraline is darkly inventive, but not as snappy and clever. In fact, the first half of this film is practically a disaster. The plodding narrative and flat voice performances suggest that Coraline was a short film disastrously stretched to a feature-length film. Even the animation is listless. It is more jerky-motion than stop-motion animation.

It is not until the Other Mother (also known as Beldam) shows her true nature that Coraline’s eerie nature really comes to life. This film has a creepiness that is so unsettling (perhaps because it deals with child abduction), but even then, this story, with its Venus flytrap and spider web allusions, can only limp through a somewhat exciting resolution and last act.

Coraline has the makings of being an exciting cross between the classic fairy tale and a spooky horror story with a contemporary sensibility, but it mostly fails to reach its potential. The only really good characters are Coraline, Other Mother, and the Cat, and the others are feeble, which could be a result of Selick’s surprisingly anemic screenplay. This movie even manages to waste Keith David’s exceptional talents as a voice actor. I admire what the filmmakers tried to do more than I actually like this film. I cannot quite embrace this clunky, clumsy riff on Alice in Wonderland. Still, I can’t dismiss Coraline, because I am one of those people smitten with the art of stop-motion animation.

5 of 10
C+

Saturday, March 13, 2010

NOTES:

2010 Academy Awards: 1 nomination: “Best Animated Feature Film of the Year” (Henry Selick)
2010 BAFTA Awards: 1 nomination: “Best Animated Film” (Henry Selick)
2010 Golden Globe: 1 nomination: “Best Animated Feature Film”
2010 Black Reel Awards: 1 nomination: “Best Voice Performance” (Keith David)

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Disney's The Princess and the Frog FUN FACTS

Walt Disney's The Princess and the Frog FUN FACTS

· FROG FUN -- Animators and visual development artists invited a host of real frogs into the studio in order to truly appreciate what makes frogs frogs.

· DISNEY’S NINTH PRINCESS – Disney’s newest princess, Tiana, joins ranks with Snow White, Sleeping Beauty, Cinderella, Belle, Ariel, Pocahontas, Jasmine and Mulan. The Princess and the Frog is Disney’s first princess film since Mulan, which was released in June 1998.

· PAYING HOMAGE – During “Down in New Orleans” early in the film, the carpet from Aladdin is being shaken up on a wrought-iron balcony. Mama Odie comes across the lamp from Aladdin during “Dig a Little Deeper.” A Mardi Gras parade float is modeled after King Triton from The Little Mermaid—on it are caricatured versions of directors John Musker and Ron Clements (who also directed The Little Mermaid, Louis realizes his dream of playing with a jazz band and the band is called the Firefly Five Plus Lou after a Disney Animation ragtime band from the 1940s-50s known as the Firehouse Five Plus Two (the film’s piano player is even modeled after Disney Legend Frank Thomas was the piano player for the Firehouse Five Plus Two).

· ALL IN GOOD TIME -- It took about 20 minutes for an animator to create one drawing for The Princess and the Frog. It took animators 20-40 hours to create the basis of an individual scene in The Princess and the Frog. That same scene then took another two–three months in the production pipeline before becoming a final scene in color.

· ALL THAT RAIN -- Ron Clements was at the New Orleans Jazz & Heritage Festival when he got caught in a downpour and took cover under a table. Clements later added the scene in the bayou in which Tiana and Prince Naveen get caught in the rain.

· LATER GATOR -- The well-known chef Emeril Lagasse voiced the part of Marlon the Gator.

· BLOWING HIS OWN HORN -- Terrence Blanchard, who is a native New Orleans jazz legend and trumpet player, played all of alligator Louis’ trumpet parts in the film. He also voiced the role of Earl the bandleader in the riverboat band.

· PICTURE THIS -- Filmmakers took more than 50,000 photos of local iconic images to use as reference and inspiration including places like the buildings, restaurants and the garden district.

· EVERYBODY LOVES A PARADE – Filmmakers were invited to participate in Mardi Gras aboard a float. At the end of the film, there are caricatures of the directors throwing beads off the float during the wedding parade.

· A GOOD CAUSE -- During their time in New Orleans, directors Ron Clements and John Musker, and producer Peter Del Vecho volunteered for Habitat for Humanity to help rebuild New Orleans.

· ALL IN THE FAMILY -- Some of the background characters were based on members of the production crew. The man with the horse in the opening sequence was based on supervising animator Eric Goldberg. Producer Peter Del Vecho’s likeness can be seen doing the tango across the dance floor at the Masquerade Ball. The girls swooning after Prince Naveen are all based on members of the production team. Marlon West (EFX supervisor) and Bruce Smith (supervising animator) inspired Tiana’s friends in the café, and writer Rob Edwards’ likeness is part of the band. Head of story Don Hall voices the character of Darnell. Storyboard artist Paul Briggs voices the character of Two Fingers.

· LOCAL TALENT -- “Trombone Shorty,” a well-known local musician, played on “Down in New Orleans.” Al Hebron who was the filmmakers’ local tour guide was tapped to provide the voice of the riverboat captain.

· MULTI-TALENTED -- Terence Simeon, Grammy Award®-winning local musician, played the accordion, rub board, triangle and squeezebox on the Zydeco song "Gonna Take You There."

· ALL LIT UP INSIDE -- Randy Newman provides the voice of firefly cousin Randy, who is a caricature of the composer. Newman was actually cast to voice several characters in the film—a raccoon, a turtle—but only the firefly made the final cut.

· PLAY IT AGAIN -- One of the most thrilling moments for director Ron Clements was when he got a personal performance from Randy Newman. Clements arrived early to the session at Newman’s house and the Oscar®-winning composer played the first song he wrote for the film.

· MUSIC TO MY EARS -- Music plays such an integral part of New Orleans lifestyle that filmmakers felt it important to reflect that diversity in the film. Oscar®-winning composer Randy Newman (Cars, Monsters, Inc., Toy Story) created an all-new score for the feature in a range of styles, including jazz, blues, gospel and zydeco; and featuring seven new songs.

· ANIMAL BEHAVIOR -- Directors John Musker and Ron Clements visited the New Orleans Audubon Zoo for inspiration. They saw indigenous alligators, which inspired the film’s trumpet playing alligator, and spoon-billed birds, which influenced the birds in Mama Odie’s gospel song “Dig A Little Deeper.”

· NOW HEAR THIS -- Sound designer Oden Benitez went to Jackson Square in New Orleans to record the sounds of the church bell and streetcar.

· LEGENDS -- One of the most thrilling trips to New Orleans for directors Ron Clements and John Musker was when they recorded Dr. John and Randy Newman at the local recording studio The Music Shed (which looked like a corrugated steel shed). The Gospel Choir was also recorded in the studio, where artists such as Robert Plant, Fats Domino and Norah Jones have all recorded. Both Dr. John and Newman have strong connections to New Orleans.

· INDEPTH RESEARCH -- Filmmakers took the Nanchez Riverboat tour to ensure the authenticity of the riverboat scenes. They also took a private tour of the streetcar system in New Orleans.


The Princess and the Frog arrives on Disney DVD and Blu-ray on Tuesday, March 15, 2010.

X-Men Origins: Wolverine a Solid Superhero Flick

TRASH IN MY EYE No. 12 (of 2010) by Leroy Douresseaux


X-Men Origins: Wolverine (2009)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG-13 for intense sequences of action and violence, and some partial nudity
DIRECTOR: Gavin Hood
WRITERS: David Benioff and Skip Woods
PRODUCERS: Hugh Jackman, John Palermo, Lauren Shuler Donner, and Ralph Winter
CINEMATOGRAHER: Donald A. McAlpine (D.o.P.)
EDITOR: Nicolas De Toth and Megan Gill

SUPERHERO

Starring: Hugh Jackman, Liev Schreiber, Danny Huston, will.i.am, Lynn Collins, Kevin Durand, Dominic Monaghan, Taylor Kitsch, Daniel Henney, and Ryan Reynolds

The fourth film in the X-Men franchise is X-Men Origins: Wolverine, a film that delves into the history of Wolverine, the Canadian-born mutant with the super healing factor and those awesome metal (adamantium) claws. As he did in the X-Men trilogy, Hugh Jackman portrays Logan a.k.a. Wolverine.

Telling the story of Wolverine’s violent and romantic past, X-Men Origins: Wolverine opens in 1845 in the wilds of Canada. A boy named James experiences the activation of his mutant powers and ends up on the run with his older half-brother. James (Hugh Jackman) and his brother, Victor Creed (Live Schreiber), spend the next century as soldiers in the American army, fighting in the Civil War, both World Wars, and the Vietnam War.

Eventually imprisoned, the brothers enter the custody of Major William Stryker (Danny Huston), who offers them a membership in Team X. This is a military black operations unit comprised of mutants, including the mercenary Wade Wilson (Ryan Reynolds) and a teleporter named John Wraith (will.i.am). James eventually leaves Team X and moves back to Canada, where he assumes the identity, Logan. He and his girlfriend, Kayla Silverfox (Lynn Collins), live in peace until Stryker and Victor, separately, find them. Two things happen. Logan is suddenly plunged into a diabolical conspiracy to create the ultimate mutant weapon, and Wolverine is born.

In terms of quality, X-Men Origins: Wolverine is almost, but not quite as good as the original X-Men film (2000), and it is better than X-Men: The Last Stand. X-Men Origins: Wolverine’s character drama – relationships, personal history, conflicts – is not as good as in the first X-Men film, and some of it, such as the origin story at the beginning of this movie, is awkward and poorly done. Some of it, like Wolverine’s brief time with an elderly couple is very good and should have had more screen time or at least replaced some of this film’s other “quiet,” character moments.

The actions scenes are… well, let me just come out and say that I thought they were kick ass. They are by no means perfect, and some of the CGI is a little too obvious. However, the action scenes and fights were so good that they made everything about this film which seemed mediocre leave my mind. The action made me ready for a sequel.

One thing that did surprise me about this film was the acting. It’s good across the board – from the top line stars (Jackman, Schreiber) to the smaller players (Dominic Monaghan as Chris Bradley). Jackman is a good actor, and his performances going back to the original X-Men film are what turned a wildly popular comic book character named Wolverine into a bankable action movie character.

It seems as if it is easy to forget how good an actor Liev Schreiber is, but he reminds us with his Victor Creed. In Schreiber’s hands, Creed is deliciously evil, a rare superb performance as a villain in a superhero movie, and Schreiber will make you miss him every time Creed leaves the story.

X-Men Origins: Wolverine takes the generic explosions, motorcycle stunts, and screaming blood feuds of the action movie and makes them cool and compelling the way a summer popcorn movie should make them. It may have its problems, but what X-Men Origins: Wolverine does, it does well enough to earn our attention.

6 of 10
B

Friday, March 12, 2010

"Pirate Radio" to Debut on DirecTV

DIRECTV Premieres ‘Pirate Radio’ More Than A Month Before DVD Release

Academy Award Winners Philip Seymour Hoffman and Emma Thompson Star in the Film Available to DIRECTV Customers in Crystal-Clear HD

EL SEGUNDO, Calif.--(BUSINESS WIRE)--DIRECTV Cinema™, the ultimate in-home movie experience, will premiere the motion picture, Pirate Radio, to DIRECTV customers more than a month before the film’s DVD release date. Beginning today, customers will have access to the ensemble comedy with an all-star cast including Academy Award winners Philip Seymour Hoffman and Emma Thompson – at the click of a button from the comfort of their couch.

“DIRECTV Cinema strives to deliver the highest-quality movie experience by offering unique content that is above-and-beyond what consumers find on the usual pay-per-view platform”

Written and directed by Richard Curtis, Pirate Radio tells the true story of a band of rogue radio DJs that captivated Britain in the 1960s, blasting rock and pop music from a boat off-shore in direct defiance of the government. Dubbed ‘pirate radio,’ the non-stop underground broadcast reached nearly half the UK's population and helped deliver the music that has defined a generation. The movie will be available to DIRECTV customers in crisp HD* or in standard-definition (SD). Pricing starts as low as $4.99, for SD, on the DIRECTV Cinema and DIRECTV on Demand platforms.

“DIRECTV Cinema strives to deliver the highest-quality movie experience by offering unique content that is above-and-beyond what consumers find on the usual pay-per-view platform,” said Sarah Lyons, vice president of Marketing for DIRECTV. “DIRECTV is thrilled to continue raising the bar with Pirate Radio, by offering it to our customers more than a month before the film’s DVD release. We will continue to deliver an unmatched in-home movie experience that can only be found on DIRECTV.”

The DVD release of Pirate Radio is currently scheduled for April 13. However, it debuts on DIRECTV Cinema more than a month earlier, on March 11. For more information on movies available through the DIRECTV Cinema platform, visit directv.com/cinema.

* HD equipment and HD Access fee are required.


About DIRECTV
DIRECTV (NASDAQ: DTV) is the world’s most popular video service delivering state-of-the-art technology, unmatched programming, the most comprehensive sports packages available and industry leading customer service to its more than 25 million customers in the U.S. and Latin America. In the U.S., DIRECTV offers its more than 18.5 million customers the capacity for more than 200 HD channels in Dolby 5.1 theater-quality sound, access to exclusive sports programming such as NFL SUNDAY TICKET™, award winning technology like its DIRECTV® DVR Scheduler and higher customer satisfaction than the leading cable companies for nine years running. DIRECTV Latin America, through its subsidiaries and affiliated companies in Brazil, Mexico, Argentina, Venezuela, Colombia, and other Latin American countries, leads the pay-TV category in technology, programming and service, delivering an unrivaled digital television experience to 6.5 million customers. DIRECTV sports and entertainment properties include three Regional Sports Networks (Northwest, Rocky Mountain and Pittsburgh) as well as a 65 percent interest in Game Show Network. For the most up-to-date information on DIRECTV, please call 1-800-DIRECTV or visit directv.com.