Press release:
Production Underway on New Line Cinema’s 3D Family Adventure “Journey 2: The Mysterious Island”
Dwayne Johnson, Michael Caine, Josh Hutcherson, Vanessa Hudgens, Luis Guzman and Kristin Davis to Star
BURBANK, Calif.--(BUSINESS WIRE)--Filming has begun on location in Oahu, Hawaii, for the 3D family adventure “Journey 2: The Mysterious Island,” directed by Brad Peyton (“Cats & Dogs: The Revenge of Kitty Galore”).
Josh Hutcherson will reprise his role as young adventurer Sean Anderson in this exciting follow-up to the 2008 worldwide hit “Journey to the Center of the Earth 3D,” the first live-action film ever to be shot in digital 3D. Dwayne Johnson stars as Sean’s stepfather, Hank Parsons; Michael Caine as Sean’s grandfather, Alexander Anderson; Vanessa Hudgens and Luis Guzman as a father-daughter tour guide team; and Kristin Davis as Sean’s mom, Liz Anderson.
The new journey begins when Sean receives a coded distress signal from a mysterious island where no island should exist — 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” is being produced by Beau Flynn & Tripp Vinson, and Charlotte Huggins from a screenplay by Mark Gunn & Brian Gunn, 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 (“Gulliver’s Travels”), production designer Bill Boes (“Fantastic Four”), costume designer Denise Wingate (“Wedding Crashers”) and Academy Award© nominated visual effects supervisor Boyd Shermis (“Poseidon”).
Beginning in January 2011, production will move to Wilmington, North Carolina, to finish shooting after the holiday hiatus, and is scheduled to wrap principal photography in February 2011.
“Journey 2: The Mysterious Island” is a New Line Cinema presentation, a Walden Media and Contrafilm production and will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
ABOUT NEW LINE CINEMA:
New Line Cinema continues to be one of the most successful independent film companies. For more than 40 years, its mission has been to produce innovative, popular, profitable entertainment in the best creative environment. A pioneer in franchise filmmaking, New Line produced the Oscar®-winning “The Lord of the Rings” trilogy, which is a landmark in the history of film franchises. New Line Cinema is a division of Warner Bros.
Thursday, November 18, 2010
Harry Potter and the Order of the Phoenix a Lean and Mean Movie
TRASH IN MY EYE No. 108 (of 2007) by Leroy Douresseaux
Harry Potter and the Order of the Phoenix (2007)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for sequences of fantasy violence and frightening images
DIRECTOR: David Yates
WRITER: Michael Goldenberg (based upon the book by J.K. Rowling)
PRODUCERS: David Barron and David Heyman
CINEMATOGRAPHER: Slawomir Idziak (D.o.P.)
EDITOR: Mark Day
BAFTA Awards nominee
FANTASY/DRAMA/ACTION/MYSTERY/THRILLER
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Michael Gambon, Maggie Smith, Alan Rickman, Imelda Staunton, Robbie Coltrane, Jason Isaacs, Matthew Lewis, Emma Thompson, Helena Bonham Carter, Gary Oldman, David Thewlis, Brendan Gleeson, Bonnie Wright, Katie Leung, and George Harris
Harry Potter (Daniel Radcliffe) enters his fifth year at Hogwarts School of Witchcraft and Wizardry with something of a bad attitude. He’s spent another miserable summer with his sour and despicable relatives, the Dursleys, and none of his friends, especially Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint), had the decency to contact him. Feeling hungry and edgy for news from the magic world, Harry discovers that his friends have been keeping secrets from him, and Harry’s anxious to know if there is any news about the activities of the recently revived Lord Voldemort (Ralph Fiennes).
Returning to Hogwarts isn’t any relief. The new “Defense against the Dark Arts” instructor, Dolores Umbridge (Imelda Staunton) is a notorious busybody intent on bending both faculty and staff to her iron will. She does her best to discourage spell-casting and any discussion of Voldemort, who is often referred to as “He who must not be named.” Harry, however, gathers a small, loyal group of classmates and trains them to be his secret army for when (not if) Voldemort strikes. Harry also meets the remnants of the Order of the Phoenix, an organization founded by Albus Dumbledore (Michael Gambon) to counter Voldemort. Still, most of the magic community is willfully blind to the signs that Voldemort is rebuilding his army, and Harry isn’t sure that his own small army will be up to the task of stopping the Dark Lord.
Harry Potter and the Order of the Phoenix is darker than the other Potter films. It’s darker even than 2005’s Harry Potter and the Goblet of Fire, but Order of the Phoenix is much less expansive than Goblet of Fire or 2004’s Harry Potter and the Prisoner of Azkaban, both of which were large, elegant films with high production values and epic stories. Order of the Phoenix is leaner and meaner. David Yates directs some of this film as if it were a TV movie, but the Potter magic shines through Yates determination to make a terse drama. The costumes are darker, and the art direction and set decoration is mostly spare.
The film’s opening act is fast paced and edgy, and the last act is killer. In between are some truly exciting and thrilling moments, but most of the middle involves the tiresome subplot which sees Dolores Umbridge take on the status quo at Hogwarts. The Umbridge character as portrayed in the film is annoying, and not always in an entertaining manner. When Voldemort attacks in the last act, the appearance of the dark lord almost makes me forget the dour Hogwarts segment… almost.
6 of 10
B
Friday, July 27, 2007
NOTES:
2008 BAFTA Awards: 2 nominations: “Best Production Design” (Stuart Craig and Stephanie McMillan) and “Best Special Visual Effects” (Tim Burke, John Richardson, Emma Norton, and Chris Shaw)
Harry Potter and the Order of the Phoenix (2007)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for sequences of fantasy violence and frightening images
DIRECTOR: David Yates
WRITER: Michael Goldenberg (based upon the book by J.K. Rowling)
PRODUCERS: David Barron and David Heyman
CINEMATOGRAPHER: Slawomir Idziak (D.o.P.)
EDITOR: Mark Day
BAFTA Awards nominee
FANTASY/DRAMA/ACTION/MYSTERY/THRILLER
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Michael Gambon, Maggie Smith, Alan Rickman, Imelda Staunton, Robbie Coltrane, Jason Isaacs, Matthew Lewis, Emma Thompson, Helena Bonham Carter, Gary Oldman, David Thewlis, Brendan Gleeson, Bonnie Wright, Katie Leung, and George Harris
Harry Potter (Daniel Radcliffe) enters his fifth year at Hogwarts School of Witchcraft and Wizardry with something of a bad attitude. He’s spent another miserable summer with his sour and despicable relatives, the Dursleys, and none of his friends, especially Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint), had the decency to contact him. Feeling hungry and edgy for news from the magic world, Harry discovers that his friends have been keeping secrets from him, and Harry’s anxious to know if there is any news about the activities of the recently revived Lord Voldemort (Ralph Fiennes).
Returning to Hogwarts isn’t any relief. The new “Defense against the Dark Arts” instructor, Dolores Umbridge (Imelda Staunton) is a notorious busybody intent on bending both faculty and staff to her iron will. She does her best to discourage spell-casting and any discussion of Voldemort, who is often referred to as “He who must not be named.” Harry, however, gathers a small, loyal group of classmates and trains them to be his secret army for when (not if) Voldemort strikes. Harry also meets the remnants of the Order of the Phoenix, an organization founded by Albus Dumbledore (Michael Gambon) to counter Voldemort. Still, most of the magic community is willfully blind to the signs that Voldemort is rebuilding his army, and Harry isn’t sure that his own small army will be up to the task of stopping the Dark Lord.
Harry Potter and the Order of the Phoenix is darker than the other Potter films. It’s darker even than 2005’s Harry Potter and the Goblet of Fire, but Order of the Phoenix is much less expansive than Goblet of Fire or 2004’s Harry Potter and the Prisoner of Azkaban, both of which were large, elegant films with high production values and epic stories. Order of the Phoenix is leaner and meaner. David Yates directs some of this film as if it were a TV movie, but the Potter magic shines through Yates determination to make a terse drama. The costumes are darker, and the art direction and set decoration is mostly spare.
The film’s opening act is fast paced and edgy, and the last act is killer. In between are some truly exciting and thrilling moments, but most of the middle involves the tiresome subplot which sees Dolores Umbridge take on the status quo at Hogwarts. The Umbridge character as portrayed in the film is annoying, and not always in an entertaining manner. When Voldemort attacks in the last act, the appearance of the dark lord almost makes me forget the dour Hogwarts segment… almost.
6 of 10
B
Friday, July 27, 2007
NOTES:
2008 BAFTA Awards: 2 nominations: “Best Production Design” (Stuart Craig and Stephanie McMillan) and “Best Special Visual Effects” (Tim Burke, John Richardson, Emma Norton, and Chris Shaw)
TokyoScope Talks About the Ninja
TOKYOSCOPE TALK AT VIZ CINEMA EXPLORES THE HIDDEN & DEADLY WORLD OF THE NINJA NEXT WEEK
NEW PEOPLE and VIZ Cinema offer an intriguing exploration of Japan’s famed shadow warriors of legend in the next TokyoScope Talk film event. TokyoScope Talk, Vol. 7 – NINJA ATTACK! will commence on Saturday, November 20th at 7:15pm. Tickets are $10.00.
Presented by host Patrick Macias (Editor, Otaku USA) and produced in association with Matt Alt, co-author of the new book Ninja Attack! True Tales of Assassins, Samurai, and Outlaws (published by Kodansha International), this lecture will explore the historical and pop culture legacy of the original men (and women!) in black. All attendees will be entered into a raffle to win free copies of the Ninja Attack! book, which will also be for sale in the NEW PEOPLE retail store.
TokyoScope Talk will also discuss elements from the new ninja action film Kamui Gaidian, which opens at VIZ Cinema on Friday, November 19th and runs thru Wednesday, December 1st (Tickets are $10.00). Based on the legendary 1970’s manga comic by Sampei Shirato, Kamui Gaidan boasts one of the biggest budgets in the history of Japanese film. Set in 17th Century Japan, Kamui, an outcast from society who dreams of escaping his miserable existence, trains to become a deadly ninja and embarks on a bloody adventure to find eventual redemption. NEW PEOPLE will host a special opening party for the Kamui Gaidan premiere on Friday, November 19th at 7:15pm.
Gasp in amazement as Macias offers rare clips from other assorted movies, anime, and TV programs such as Shinobi no Mono, Red Mask, Shogun Assassin, Dagger of Kamui, and Alien vs. Ninja reveal the over-the-top skills, weapons, and deadly techniques of these fearsome martial artists!
In the new book, Ninja Attack! True Tales of Assassins, Samurai, and Outlaws (Kodansha International), Hiroko Yoda and Matt Alt introduce dozens of real-life ninja straight out of the annals of Japanese history. Ninja Attack! chronicles the true stories of Japan’s most famous – and feared – fighters. The book covers ninja ranging from clan leaders to solo artists, occult masters, warlords, and vicious assassins, presented with full-page illustrations along with detailed descriptions and anecdotes about their lives, weapons, weaknesses… and how each met his doom. The book includes “The Illustrated Ninja,” a guide that explains the weapons, tools, tricks and techniques of these legendary warriors; and includes a ninja tour of Tokyo. Yoda and Alt also discuss clothing styles, tools and the basics of the ninja diet.
VIZ Cinema is the nation’s first movie theatre devoted exclusively to Japanese film and anime. The 143-seat subterranean theatre is located in the basement of the NEW PEOPLE building and features plush seating, digital as well as 35mm projection, and a THX®-certified sound system.
About NEW PEOPLE
NEW PEOPLE offers the latest films, art, fashion and retail brands from Japan and is the creative vision of the J-Pop Center Project and VIZ Pictures, a distributor and producer of Japanese live action film. Located at 1746 Post Street, the 20,000 square foot structure features a striking 3-floor transparent glass façade that frames a fun and exotic new environment to engage the imagination into the 21st Century. A dedicated web site is also now available at: http://www.newpeopleworld.com/.
Wednesday, November 17, 2010
Review: "Jonah Hex" is Not Really THAT Bad
TRASH IN MY EYE No. 93 (of 2010) by Leroy Douresseaux
Jonah Hex (2010)
Running time: 81 minutes (1 hour, 21 minutes)
MPAA – PG-13 for intense sequences of violence and action, disturbing images and sexual
DIRECTOR: Jimmy Hayward
WRITERS: Mark Neveldine and Brian Taylor; from a story by William Farmer and Mark Neveldine and Brian Taylor (based upon the characters appearing in magazines published by DC Comics created by John Albano and Tony DeZuniga)
PRODUCERS: Akiva Goldsman and Andrew Lazar
CINEMATOGRAPHER: Mitchell Amundsen (D.o.P)
EDITORS: Kent Beyda, Dan Hanley, Tom Lewis, and Fernando Villena
COMPOSERS: Marco Beltrami and Mastodon
WESTERN/ACTION with elements of horror
Starring: Josh Brolin, John Malkovich, Megan Fox, Aidan Quinn, Michael Fassbender, Will Arnett, John Gallagher, Jr., Tom Wopat, Michael Shannon, Wes Bentley, John McConnell, and Lance Reddick with Jeffrey Dean Morgan (no screen credit)
Jonah Hex is a recent Western, released by Warner Bros. Pictures this past June. The title character, Jonah Hex, is one of DC Comics’ Western characters, and this anti-hero type is a bounty hunter whose face is horribly scarred on the right side. Created by writer John Albano and artist Tony DeZuniga, Jonah Hex made his first appearance in the early 1970s.
During the American Civil War, Jonah Hex (Josh Brolin) fought for the Confederacy. However, Hex turned against his commanding officer, Quentin Turnbull (John Malkovich), after Turnbull ordered him to burn down a hospital. After the war, a vengeful Turnbull killed Hex’s wife and son and branded his initials into Hex’s face.
Most of the movie takes place in 1876. As the country prepares for the Centennial celebration, Turnbull plots a July 4th terrorist attack using a devastating super weapon, an attack he believes will topple the American government and destroy the nation. President Grant (Aidan Quinn) orders the U.S. military to find Jonah Hex, who has many warrants on his head, and make him an offer he can’t refuse. In exchange for his freedom (and some cash), Hex must stop Turnbull. Hex, who can temporarily resurrect and communicate with the dead, uses all his talents and an array of firearms to fight his way through Turnbull’s men. Hex also gets help from Lilah (Megan Fox), a gun-wielding prostitute in love with him.
Jonah Hex was a critical and commercial flop during its theatrical release. I initially avoided the movie because the trailers looked dumb, and I thought that the movie was probably even dumber. When the opportunity to see it came around again, the first thing I thought was, I bet I’ll like this movie. And I did.
Jonah Hex is not really all that bad a movie. First, it really isn’t a Western. It is more a weird faux-Western like Will Smith’s 1999 flick, Wild Wild West. Also, a lot of this is clearly tongue-in-cheek. The director, Jimmy Hayward, tries too hard to make this film different. The film really doesn’t have much in the way of familiar Hollywood Western iconography, visual cues, or symbolism. The creators dress this movie to look like a Western, then, do everything to make it not a Western. Still, the film, at times, manages to have some good, Western-style action sequences.
The film’s writers, William Farmer and the team of (Mark) Neveldine and (Brian) Taylor, pack the story with a lot of ideas to ponder, including weird occult stuff, the character of revenge, and nature of war. There are also many scenes that are extraneous and/or badly staged, such as the motion comic-like origin story early in the film. In a comic book, this heap of weird ideas and scenes would likely not be a problem. In a film, it just makes the narrative move awkwardly.
Ultimately, the cast does right by this movie. Megan Fox makes the best of a poorly designed character. John Malkovich is, as always, superb in menacing, villainous role. Michael Fassbender is a scene-stealer as Turnbull’s homicidal right-hand man, Burke. Of course, Josh Brolin continues to prove himself as an exciting movie star and high-quality actor. It is remarkable what he does with the cheesy dialogue here. Brolin makes me wish for a sequel that may likely never come. For all its faults, Jonah Hex is so weird and is such kooky fun that it is not actually that bad.
5 of 10
C+
Wednesday, November 17, 2010
Jonah Hex (2010)
Running time: 81 minutes (1 hour, 21 minutes)
MPAA – PG-13 for intense sequences of violence and action, disturbing images and sexual
DIRECTOR: Jimmy Hayward
WRITERS: Mark Neveldine and Brian Taylor; from a story by William Farmer and Mark Neveldine and Brian Taylor (based upon the characters appearing in magazines published by DC Comics created by John Albano and Tony DeZuniga)
PRODUCERS: Akiva Goldsman and Andrew Lazar
CINEMATOGRAPHER: Mitchell Amundsen (D.o.P)
EDITORS: Kent Beyda, Dan Hanley, Tom Lewis, and Fernando Villena
COMPOSERS: Marco Beltrami and Mastodon
WESTERN/ACTION with elements of horror
Starring: Josh Brolin, John Malkovich, Megan Fox, Aidan Quinn, Michael Fassbender, Will Arnett, John Gallagher, Jr., Tom Wopat, Michael Shannon, Wes Bentley, John McConnell, and Lance Reddick with Jeffrey Dean Morgan (no screen credit)
Jonah Hex is a recent Western, released by Warner Bros. Pictures this past June. The title character, Jonah Hex, is one of DC Comics’ Western characters, and this anti-hero type is a bounty hunter whose face is horribly scarred on the right side. Created by writer John Albano and artist Tony DeZuniga, Jonah Hex made his first appearance in the early 1970s.
During the American Civil War, Jonah Hex (Josh Brolin) fought for the Confederacy. However, Hex turned against his commanding officer, Quentin Turnbull (John Malkovich), after Turnbull ordered him to burn down a hospital. After the war, a vengeful Turnbull killed Hex’s wife and son and branded his initials into Hex’s face.
Most of the movie takes place in 1876. As the country prepares for the Centennial celebration, Turnbull plots a July 4th terrorist attack using a devastating super weapon, an attack he believes will topple the American government and destroy the nation. President Grant (Aidan Quinn) orders the U.S. military to find Jonah Hex, who has many warrants on his head, and make him an offer he can’t refuse. In exchange for his freedom (and some cash), Hex must stop Turnbull. Hex, who can temporarily resurrect and communicate with the dead, uses all his talents and an array of firearms to fight his way through Turnbull’s men. Hex also gets help from Lilah (Megan Fox), a gun-wielding prostitute in love with him.
Jonah Hex was a critical and commercial flop during its theatrical release. I initially avoided the movie because the trailers looked dumb, and I thought that the movie was probably even dumber. When the opportunity to see it came around again, the first thing I thought was, I bet I’ll like this movie. And I did.
Jonah Hex is not really all that bad a movie. First, it really isn’t a Western. It is more a weird faux-Western like Will Smith’s 1999 flick, Wild Wild West. Also, a lot of this is clearly tongue-in-cheek. The director, Jimmy Hayward, tries too hard to make this film different. The film really doesn’t have much in the way of familiar Hollywood Western iconography, visual cues, or symbolism. The creators dress this movie to look like a Western, then, do everything to make it not a Western. Still, the film, at times, manages to have some good, Western-style action sequences.
The film’s writers, William Farmer and the team of (Mark) Neveldine and (Brian) Taylor, pack the story with a lot of ideas to ponder, including weird occult stuff, the character of revenge, and nature of war. There are also many scenes that are extraneous and/or badly staged, such as the motion comic-like origin story early in the film. In a comic book, this heap of weird ideas and scenes would likely not be a problem. In a film, it just makes the narrative move awkwardly.
Ultimately, the cast does right by this movie. Megan Fox makes the best of a poorly designed character. John Malkovich is, as always, superb in menacing, villainous role. Michael Fassbender is a scene-stealer as Turnbull’s homicidal right-hand man, Burke. Of course, Josh Brolin continues to prove himself as an exciting movie star and high-quality actor. It is remarkable what he does with the cheesy dialogue here. Brolin makes me wish for a sequel that may likely never come. For all its faults, Jonah Hex is so weird and is such kooky fun that it is not actually that bad.
5 of 10
C+
Wednesday, November 17, 2010
-----------------------
Tuesday, November 16, 2010
15 Animated Films Eligible for Oscar Consideration
Yesterday, the Academy of Motion Picture Arts and Sciences announced the 15 animated films eligible to be nominated in the category of "Best Animated Feature Film." Under Academy rules, there must be 16 eligible films in order for there to be 5 films nominated in this category. So because there are only 15 this year, there can only be 3 nominees.
Press release:
15 Animated Features Line Up for 2010 Oscar® Race
Beverly Hills, CA (November 15, 2010) – Fifteen features have been accepted for consideration in the Animated Feature Film category for the 83rd Academy Awards®.
The 15 features are:
“Alpha and Omega”
“Cats & Dogs: The Revenge of Kitty Galore”
“Despicable Me”
“The Dreams of Jinsha”
“How to Train Your Dragon”
“Idiots and Angels”
“The Illusionist”
“Legend of the Guardians: The Owls of Ga’Hoole”
“Megamind”
“My Dog Tulip”
“Shrek Forever After”
“Summer Wars”
“Tangled”
“Tinker Bell and the Great Fairy Rescue”
“Toy Story 3”
“The Dreams of Jinsha,” “The Illusionist,” “Summer Wars” and “Tangled” have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and meet the category’s other qualifying rules before they can advance in the voting process.
Under the rules for this category, in any year in which 8 to 15 animated features are released in Los Angeles County, a maximum of 3 motion pictures may be nominated. If 16 or more animated features are submitted and accepted in the category, a maximum of 5 motion pictures may be nominated.
Films submitted in the Animated Feature Film category also may qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.
The 83rd Academy Awards nominations will be announced live on Tuesday, January 25, 2011, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.
Academy Awards for outstanding film achievements of 2010 will be presented on Sunday, February 27, 2011, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
Press release:
15 Animated Features Line Up for 2010 Oscar® Race
Beverly Hills, CA (November 15, 2010) – Fifteen features have been accepted for consideration in the Animated Feature Film category for the 83rd Academy Awards®.
The 15 features are:
“Alpha and Omega”
“Cats & Dogs: The Revenge of Kitty Galore”
“Despicable Me”
“The Dreams of Jinsha”
“How to Train Your Dragon”
“Idiots and Angels”
“The Illusionist”
“Legend of the Guardians: The Owls of Ga’Hoole”
“Megamind”
“My Dog Tulip”
“Shrek Forever After”
“Summer Wars”
“Tangled”
“Tinker Bell and the Great Fairy Rescue”
“Toy Story 3”
“The Dreams of Jinsha,” “The Illusionist,” “Summer Wars” and “Tangled” have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and meet the category’s other qualifying rules before they can advance in the voting process.
Under the rules for this category, in any year in which 8 to 15 animated features are released in Los Angeles County, a maximum of 3 motion pictures may be nominated. If 16 or more animated features are submitted and accepted in the category, a maximum of 5 motion pictures may be nominated.
Films submitted in the Animated Feature Film category also may qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.
The 83rd Academy Awards nominations will be announced live on Tuesday, January 25, 2011, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.
Academy Awards for outstanding film achievements of 2010 will be presented on Sunday, February 27, 2011, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
Review: "Up" as Good as it Gets (and Belated Happy B'Day, Ed Asner)
TRASH IN MY EYE No. 7 (of 2009) by Leroy Douresseaux
Up (2009)
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – PG for some peril and action
DIRECTORS: Pete Docter and Bob Peterson
WRITERS: Pete Docter and Bob Peterson; from a story by Thomas McCarthy and Pete Doctor and Bob Peterson
PRODUCER: Jonas Rivera
COMPOSER: Michael Giacchino
Academy Award winner
ANIMATION/ADVENTURE/COMEDY/DRAMA/FANTASY
Starring: (voices) Ed Asner, Christopher Plummer, Jordan Nagai, Bob Peterson, Delroy Lindo, Jerome Ranft, John Ratzenberger, and Donald Fullilove
Pixar Animation Studios’ 10th computer-animated feature-length film is entitled Up. This visually and emotionally beautiful film is also the 10th example of how a group of animators and filmmakers can use their tools and workstations to create fully rounded stories with depth of character and storytelling. And Pixar does it better and more consistently than live action film studios. Up tells the story of a sour old man, a lonely boy, and an old house that sails through the air powered by thousands of balloons tied to the structure.
The story centers on a grouchy widower, Carl Fredricksen (voiced by Ed Asner), a squat old fellow with a box-shaped head and square glasses parked on his bulb of a nose. A retired balloon salesman in his 70s, Carl mourns the loss of his wife, Ellie. Once upon a time, the couple dreamed of traveling to the mysterious South American locale of Paradise Falls. At age 78, life seems to have passed Carl; that is until it delivers two twists of fate.
First, a misunderstood confrontation threatens Carl’s home and freedom. He decides that he will take his home to Paradise Falls by floating the house there with the help of thousands of colorful balloons tied to it. Life’s second surprise comes in the form of a persistent, 8-year-old Junior Wilderness Explorer named Russell (Jordan Nagai). Russell becomes an accidental stowaway on the floating house – one that is not welcomed as far as Carl is concerned. However, the lad – himself round, buoyant, and bouncy as a balloon – proves to be an invaluable, loyal, and trustworthy pal, especially once the house finally lands.
Shortly after landing, Carl and Russell encounter a large flightless, ostrich-like bird, which Russell names Kevin. Kevin is being hunted by a vicious pack of dogs, led by a Doberman named Alpha (Bob Peterson). However, one of the dogs, Dug (Bob Peterson), the nerd of the pack, befriends Carl and Russell. Dug, like the other dogs, can speak because of a translating collar on his neck. But things really get hairy when Carl meets his boyhood idol, famed explorer Charles Muntz (Christopher Plummer), who is obsessed with the mystery bird, Kevin.
Pixar’s films are always grounded in real emotion – whether it is a desperate father searching for his lost son (Finding Nemo), a marooned star determined to win again (Cars), or, as in this film, a grieving husband lost without his wife. Of all those films, Up seems to be the one best established on substantive ideas and themes. That might sound strange when considering (1) that Up is about a house that travels across continents by balloon power and (2) that for most of the movie, an old man with a lame hip and an eight-year-old kid drag the still floating house across rough terrain as if it were no more than a large and troublesome kite.
Yes, as is usual for a movie from Pixar (the gold standard in 3D/computer animation), the animation is superb. The sense of space (to say nothing of the composition, movement, and storytelling) in this 3D animation is superb. I’m starting to believe that 3D is the high-tech replacement for stop-motion animation. High-quality computer-animation gives the viewer the sense of watching something taking place on a stage, which is similar to the visual illusion stop-motion creates.
Yes, as is usual for a Pixar movie, the characters are also great. Only Pixar could make a animated feature that has as it star a widower who is almost 80-years-old, walks with a limp, and looks like a cross between Spencer Tracy and Walter Matthau, a great lead. But one superb character isn’t enough for a Pixar film. Up also gives Russell, a misfit boy who is braver than he’d believe himself to be; Charles Muntz, a man made dangerous and pathetic by his obsessions; and Dug, an adorable canine who personifies all that is good in a loyal dog. Even the weird bird Kevin manages to be something we’ve never seen before.
As I stated earlier, however, Up is about substance and not just flights of fantasy. In Carl and his former idol Charles, Up posits that obsession can drain away the will to truly live, and before the obsessed knows it, he is old and alone. The creators of Up dare to deal with the issue of loved ones dying and loved ones leaving us, and the film implores its viewers to have an adventure with the ones we have – the people who are with us and the people who want to be with us. The impressive thing is that this movie is hugely entertaining, but the escapism can’t cloud Up’s strong and clear messages.
10 of 10
Sunday, July 05, 2009
NOTES:
2010 Academy Awards: 2 wins: “Best Achievement in Music Written for Motion Pictures, Original Score” (Michael Giacchino) and “Best Animated Feature Film of the Year” (Pete Docter); 3 nominations: “Best Achievement in Sound Editing” (Michael Silvers and Tom Myers), “Best Motion Picture of the Year” (Jonas Rivera) and “Best Writing, Screenplay Written Directly for the Screen” (Bob Peterson-screenplay/story, Pete Docter-screenplay/story, and Thomas McCarthy-story)
2010 BAFTA Awards: 2 wins: “Best Animated Film” (Pete Docter) and “Best Music” (Michael Giacchino); 2 nominations: “Best Screenplay – Original” (Bob Peterson and Pete Docter) and “Best Sound” (Tom Myers, Michael Silvers, and Michael Semanick)
2010 Golden Globes: 2 wins: “Best Animated Feature Film” “Best Original Score - Motion Picture” (Michael Giacchino)
2010 Black Reel Awards: 1 nomination: “Best Voice Performance” (Delroy Lindo)
Up (2009)
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – PG for some peril and action
DIRECTORS: Pete Docter and Bob Peterson
WRITERS: Pete Docter and Bob Peterson; from a story by Thomas McCarthy and Pete Doctor and Bob Peterson
PRODUCER: Jonas Rivera
COMPOSER: Michael Giacchino
Academy Award winner
ANIMATION/ADVENTURE/COMEDY/DRAMA/FANTASY
Starring: (voices) Ed Asner, Christopher Plummer, Jordan Nagai, Bob Peterson, Delroy Lindo, Jerome Ranft, John Ratzenberger, and Donald Fullilove
Pixar Animation Studios’ 10th computer-animated feature-length film is entitled Up. This visually and emotionally beautiful film is also the 10th example of how a group of animators and filmmakers can use their tools and workstations to create fully rounded stories with depth of character and storytelling. And Pixar does it better and more consistently than live action film studios. Up tells the story of a sour old man, a lonely boy, and an old house that sails through the air powered by thousands of balloons tied to the structure.
The story centers on a grouchy widower, Carl Fredricksen (voiced by Ed Asner), a squat old fellow with a box-shaped head and square glasses parked on his bulb of a nose. A retired balloon salesman in his 70s, Carl mourns the loss of his wife, Ellie. Once upon a time, the couple dreamed of traveling to the mysterious South American locale of Paradise Falls. At age 78, life seems to have passed Carl; that is until it delivers two twists of fate.
First, a misunderstood confrontation threatens Carl’s home and freedom. He decides that he will take his home to Paradise Falls by floating the house there with the help of thousands of colorful balloons tied to it. Life’s second surprise comes in the form of a persistent, 8-year-old Junior Wilderness Explorer named Russell (Jordan Nagai). Russell becomes an accidental stowaway on the floating house – one that is not welcomed as far as Carl is concerned. However, the lad – himself round, buoyant, and bouncy as a balloon – proves to be an invaluable, loyal, and trustworthy pal, especially once the house finally lands.
Shortly after landing, Carl and Russell encounter a large flightless, ostrich-like bird, which Russell names Kevin. Kevin is being hunted by a vicious pack of dogs, led by a Doberman named Alpha (Bob Peterson). However, one of the dogs, Dug (Bob Peterson), the nerd of the pack, befriends Carl and Russell. Dug, like the other dogs, can speak because of a translating collar on his neck. But things really get hairy when Carl meets his boyhood idol, famed explorer Charles Muntz (Christopher Plummer), who is obsessed with the mystery bird, Kevin.
Pixar’s films are always grounded in real emotion – whether it is a desperate father searching for his lost son (Finding Nemo), a marooned star determined to win again (Cars), or, as in this film, a grieving husband lost without his wife. Of all those films, Up seems to be the one best established on substantive ideas and themes. That might sound strange when considering (1) that Up is about a house that travels across continents by balloon power and (2) that for most of the movie, an old man with a lame hip and an eight-year-old kid drag the still floating house across rough terrain as if it were no more than a large and troublesome kite.
Yes, as is usual for a movie from Pixar (the gold standard in 3D/computer animation), the animation is superb. The sense of space (to say nothing of the composition, movement, and storytelling) in this 3D animation is superb. I’m starting to believe that 3D is the high-tech replacement for stop-motion animation. High-quality computer-animation gives the viewer the sense of watching something taking place on a stage, which is similar to the visual illusion stop-motion creates.
Yes, as is usual for a Pixar movie, the characters are also great. Only Pixar could make a animated feature that has as it star a widower who is almost 80-years-old, walks with a limp, and looks like a cross between Spencer Tracy and Walter Matthau, a great lead. But one superb character isn’t enough for a Pixar film. Up also gives Russell, a misfit boy who is braver than he’d believe himself to be; Charles Muntz, a man made dangerous and pathetic by his obsessions; and Dug, an adorable canine who personifies all that is good in a loyal dog. Even the weird bird Kevin manages to be something we’ve never seen before.
As I stated earlier, however, Up is about substance and not just flights of fantasy. In Carl and his former idol Charles, Up posits that obsession can drain away the will to truly live, and before the obsessed knows it, he is old and alone. The creators of Up dare to deal with the issue of loved ones dying and loved ones leaving us, and the film implores its viewers to have an adventure with the ones we have – the people who are with us and the people who want to be with us. The impressive thing is that this movie is hugely entertaining, but the escapism can’t cloud Up’s strong and clear messages.
10 of 10
Sunday, July 05, 2009
NOTES:
2010 Academy Awards: 2 wins: “Best Achievement in Music Written for Motion Pictures, Original Score” (Michael Giacchino) and “Best Animated Feature Film of the Year” (Pete Docter); 3 nominations: “Best Achievement in Sound Editing” (Michael Silvers and Tom Myers), “Best Motion Picture of the Year” (Jonas Rivera) and “Best Writing, Screenplay Written Directly for the Screen” (Bob Peterson-screenplay/story, Pete Docter-screenplay/story, and Thomas McCarthy-story)
2010 BAFTA Awards: 2 wins: “Best Animated Film” (Pete Docter) and “Best Music” (Michael Giacchino); 2 nominations: “Best Screenplay – Original” (Bob Peterson and Pete Docter) and “Best Sound” (Tom Myers, Michael Silvers, and Michael Semanick)
2010 Golden Globes: 2 wins: “Best Animated Feature Film” “Best Original Score - Motion Picture” (Michael Giacchino)
2010 Black Reel Awards: 1 nomination: “Best Voice Performance” (Delroy Lindo)
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Sunday, November 14, 2010
Tony Scott's Skill Undeniable in "Unstoppable"
TRASH IN MY EYE No. 92 (of 2010) by Leroy Douresseaux
Unstoppable (2010)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13 for sequences of action and peril, and some language
DIRECTOR: Tony Scott
WRITER: Mark Bomback
PRODUCERS: Eric McLeod, Mimi Rogers, Tony Scott, Julie Yorn, and Alex Young
CINEMATOGRAPHER: Ben Seresin
EDITOR: Robert Duffy and Chris Lebenzon
COMPOSER: Harry Gregson-Williams
ACTION/THRILLER
Starring: Denzel Washington, Chris Pine, Rosario Dawson, Ethan Suplee, Kevin Dunn, Kevin Corrigan, Kevin Chapman, Lew Temple, Elizabeth Mathis, Meagan Tandy, Jessy Schram, and David Warshofsky
Unstoppable, a new action thriller, is the fifth collaboration between Oscar-winning actor, Denzel Washington, and director Tony Scott, known for his stylish action movies and thrillers. The two have made some entertaining films (Crimson Tide, Man on Fire), but Unstoppable is truly a fine piece of work. It is a nail-biter, an edge-of-your seat thriller, and a heart-stopping movie that has many in the audience clapping, cheering, and laughing. Unstoppable is the great summer movie that somehow missed the summer.
The film focuses on Frank Barnes (Denzel Washington), a veteran locomotive engineer, and Will Colson (Chris Pine), a rookie train conductor. As the old guy being put out to pasture and the new guy who got in because of family connections, respectively, the two naturally find tension and conflict between them. That is put aside when a half-mile freight train ends up on the loose with no humans onboard to control it. The runaway train is headed for the Stanton Curve in Stanton, Pennsylvania, at 70 miles per hour, and it is carrying combustible liquids and toxic chemicals. Any train hitting the Stanton Curve at more than 15 miles per hour will derail to disaster. When all attempts fail to stop the locomotive, Barnes and Colson are the only people who can stop the train, but can they get to it in time?
I find it strange to write that Unstoppable is a Denzel Washington movie that is actually not quite a Denzel Washington movie. Of course, Washington is, as usual, good, and so is Chris Pine. The veteran Washington doesn’t steal thunder from his younger costar, as Pine’s Colson has plenty of opportunities to be heroic and shine. Both Barnes and Colson, however, are regular guys; they’re working stiffs. They are not necessarily hero types, although they do heroic things, and that serves this movie well, because, as I just said, this is not just a Denzel Washington movie. Unstoppable is a runaway-train-of-doom movie.
Director Tony Scott and screenwriter Mark Bomback (Live Free or Die Hard) have transformed the locomotive into something as exciting and as mesmerizing as any Hollywood movie star. Scott not only makes the threat of annihilation by train seem real, but also the working class small towns threatened by the train and the gritty train yards where the mechanical beast originated.
This movie probably won’t win any Oscars, although composer Harry Gregson-Williams’ pounding, textured score (which at one pointed mimicked the sound of a panicked heartbeat) should get some consideration. With this film, Scott puts forth a directorial effort that doesn’t take second place to any of this year’s most popular action-oriented films like Alice in Wonderland and Inception. Bomback has fashioned a story that we need now – the tale of two men way over their heads and out of their league who put their lives on the line for people they don’t even know. Without a load of fancy CGI, Scott has reminded us that real world threats are every bit as scary as aliens and evil wizards.
Tony Scott has crafted a superb film. It’s one of those good movies we’re always demanding. Unstoppable, don’t stop yourself from seeing it.
8 of 10
A
Sunday, November 14, 2010
Unstoppable (2010)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – PG-13 for sequences of action and peril, and some language
DIRECTOR: Tony Scott
WRITER: Mark Bomback
PRODUCERS: Eric McLeod, Mimi Rogers, Tony Scott, Julie Yorn, and Alex Young
CINEMATOGRAPHER: Ben Seresin
EDITOR: Robert Duffy and Chris Lebenzon
COMPOSER: Harry Gregson-Williams
ACTION/THRILLER
Starring: Denzel Washington, Chris Pine, Rosario Dawson, Ethan Suplee, Kevin Dunn, Kevin Corrigan, Kevin Chapman, Lew Temple, Elizabeth Mathis, Meagan Tandy, Jessy Schram, and David Warshofsky
Unstoppable, a new action thriller, is the fifth collaboration between Oscar-winning actor, Denzel Washington, and director Tony Scott, known for his stylish action movies and thrillers. The two have made some entertaining films (Crimson Tide, Man on Fire), but Unstoppable is truly a fine piece of work. It is a nail-biter, an edge-of-your seat thriller, and a heart-stopping movie that has many in the audience clapping, cheering, and laughing. Unstoppable is the great summer movie that somehow missed the summer.
The film focuses on Frank Barnes (Denzel Washington), a veteran locomotive engineer, and Will Colson (Chris Pine), a rookie train conductor. As the old guy being put out to pasture and the new guy who got in because of family connections, respectively, the two naturally find tension and conflict between them. That is put aside when a half-mile freight train ends up on the loose with no humans onboard to control it. The runaway train is headed for the Stanton Curve in Stanton, Pennsylvania, at 70 miles per hour, and it is carrying combustible liquids and toxic chemicals. Any train hitting the Stanton Curve at more than 15 miles per hour will derail to disaster. When all attempts fail to stop the locomotive, Barnes and Colson are the only people who can stop the train, but can they get to it in time?
I find it strange to write that Unstoppable is a Denzel Washington movie that is actually not quite a Denzel Washington movie. Of course, Washington is, as usual, good, and so is Chris Pine. The veteran Washington doesn’t steal thunder from his younger costar, as Pine’s Colson has plenty of opportunities to be heroic and shine. Both Barnes and Colson, however, are regular guys; they’re working stiffs. They are not necessarily hero types, although they do heroic things, and that serves this movie well, because, as I just said, this is not just a Denzel Washington movie. Unstoppable is a runaway-train-of-doom movie.
Director Tony Scott and screenwriter Mark Bomback (Live Free or Die Hard) have transformed the locomotive into something as exciting and as mesmerizing as any Hollywood movie star. Scott not only makes the threat of annihilation by train seem real, but also the working class small towns threatened by the train and the gritty train yards where the mechanical beast originated.
This movie probably won’t win any Oscars, although composer Harry Gregson-Williams’ pounding, textured score (which at one pointed mimicked the sound of a panicked heartbeat) should get some consideration. With this film, Scott puts forth a directorial effort that doesn’t take second place to any of this year’s most popular action-oriented films like Alice in Wonderland and Inception. Bomback has fashioned a story that we need now – the tale of two men way over their heads and out of their league who put their lives on the line for people they don’t even know. Without a load of fancy CGI, Scott has reminded us that real world threats are every bit as scary as aliens and evil wizards.
Tony Scott has crafted a superb film. It’s one of those good movies we’re always demanding. Unstoppable, don’t stop yourself from seeing it.
8 of 10
A
Sunday, November 14, 2010
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