Brendan Gleeson Shines in "The Guard"

TRASH IN MY EYE No. 20 (of 2012) by Leroy Douresseaux


The Guard (2011)
COUNTRY OF ORIGIN: Ireland
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – R for pervasive language, some violence, drug material and sexual content
WRITER/DIRECTOR: John Michael McDonagh
PRODUCERS: Chris Clark, Flora Fernandez-Marengo, Ed Guiney, and Andrew Lowe
CINEMATOGRAPHER: Larry Smith
EDITOR: Chris Gill
COMPOSER: Calexico
BAFTA nominee

CRIME/COMEDY

Starring: Brendan Gleeson, Don Cheadle, Liam Cunningham, David Wilmot, Rory Keenan, Mark Strong, Fionnula Flanagan, Katarina Cas, Laurence Kinlan, Pat Shortt, Darren Healy, Gary Lydon, Wale Ojo, and Michael Og Lane

The Guard is a 2011 Irish crime comedy starring Brendan Gleeson and Don Cheadle (who is also one of the film’s executive producers). Written and directed by John Michael McDonagh (Ned Kelly), the film focuses on an unorthodox Garda (Irish policeman) and a tightly wound FBI agent in pursuit of international drug dealers.

Straight-laced FBI Special Agent Wendell Everett (Don Cheadle) arrives in Ireland on the trail of international drug dealers, specifically four suspects. Everett meets Sergeant Gerry Boyle (Brendan Gleeson), a wisecracking and confrontational local Garda from the village of Galway. Boyle may already have a lead on the drug smugglers, but he chooses to annoy the American instead of helping him. When the drug-related violence and murder get close to him, however, Boyle suddenly finds himself doing police work way beyond anything he has ever done before.

The Guard is a weird film. Perhaps, I did not expect an Irish film to be so quirky as to seem like a movie from Wes Anderson (Rushmore, The Royal Tennenbaums). This film is both a crime comedy and a black comedy, so it is violent and twisted. Also, every moment in the film that attempts to be poignant are sabotaged by the profane and scabrous.

Writer/director John Michael McDonagh gives the film satirical flourishes by poking fun at the Irish city of Dublin and also at the miscues of the highest law enforcement agencies in both the U.S. and the U.K. He defiantly fills his film with so many odd characters, like Eugene Moloney (Michael Og Lane), the weird kid obsessed with the Irish Republican Army (IRA), and a young odd duck who photographs crime scenes in loving, gruesome detail. That many eccentrics could ruin a movie, but McDonagh deftly keeps these characters and their strangeness in check.

He has to keep these characters under control so that they don’t stand in the way of Brendan Gleeson’s fragrantly pungent turn as Gerry Boyle. The verbally adroit Gleeson spits out the dialogue McDonagh wrote for him as if he were battling Eminem. It is a showy performance on the part of Gleeson, but he does it with such veteran ease that his seems natural. Boyle may be a loser living a crude life of lust and drink, but he isn’t doing it half-assed.

What keeps the film from being great is that it does not give us what its premise promises – a warped version of the buddy-cop movie. Gleeson and Don Cheadle are not together enough – for me, at least. When Cheadle’s Wendell Everett is with Gleeson’s Boyle, they seem perfectly matched for some mismatched comedy duo gold. The Guard only gives us Boyle/Everett in chopped up bits that never last that long, until the last act, which is a shame.

I must also note that I wish Mark Strong, Liam Cunningham, and David Wilmot’s villainous characters were more developed, as they could be the stars of their own movie. There is nothing wrong with The Guard focusing on Gleeson’s Boyle, but as the film’s final moments focus on Cheadle’s Everett, it becomes obvious that The Guard misses out on being a buddy-cop classic.

7 of 10
A-

NOTES:
2012 BAFTA Awards: 1 nomination: “Best Original Screenplay” (John Michael McDonagh)

2012 Golden Globes: 1 nomination: “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Brendan Gleeson)

2012 Black Reel Awards: 1 win: “Outstanding Supporting Actor” (Don Cheadle)

2012 Image Awards: 1 nomination: “Outstanding Supporting Actor in a Motion Picture” (Don Cheadle)

Don Cheadle Turns "Traitor" into a Hot Thriller

TRASH IN MY EYE No. 19 (of 2012) by Leroy Douresseaux


Traitor (2008)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – PG-13 for intense violent sequences, thematic material and brief language
DIRECTOR: Jeffrey Nachmanoff
WRITERS: Jeffrey Nachmanoff; from a story by Steve Martin and Jeffrey Nachmanoff
PRODUCERS: Don Cheadle, David Hoberman, Todd Lieberman, and Jeffrey Silver
CINEMATOGRAPHER: J. Michael Muro (D.o.P.)
EDITOR: Billy Fox
COMPOSER: Mark Kilian

DRAMA/THRILLER

Starring: Don Cheadle, Guy Pearce, Saïd Taghmaoui, Neal McDonough, Alvy Khan, Archie Panjabi, Raad Rawi, Lorena Gale, and Jeff Daniels

Traitor is a 2008 drama and thriller starring Don Cheadle. Based on an idea by Steve Martin (yes, that Steve Martin), who is also an executive producer on this film, Traitor focuses on a U.S. citizen turned terrorist and the FBI agent who is tracking him.

Born in Sudan and a naturalized Arabic-speaking, U.S. citizen, Samir Horn (Don Cheadle) is working as an arms dealer when he is arrested in Yemen and thrown in a Yemeni prison. There, he meets Omar (Saïd Taghmaoui), who is part of the Al-Nathir terrorist network. Omar befriends Samir, and after they escape from prison, Omar gets Samir to join the Islamic Brotherhood.

Meanwhile, FBI Special Agent Roy Clayton (Guy Pearce) has been hunting Samir, who is also former U.S. Special Operations Forces, through numerous countries. After he learns that Samir has returned to America, Clayton must discover the secrets behind this complicated man before the mysterious Risala Shukra Al-hiba event begins. Samir is a traitor, but exactly who or what is he betraying.

While it examines the beliefs and motivations behind terrorism, Traitor operates like a spy thriller similar to the 2010 Angelina Jolie film, Salt. Traitor is also a kind of dual procedural thriller, as it depicts how an FBI international terrorism investigation works and how terrorists plan (recruiting, financing, infiltrating, etc.). This is a film that seems to really know its subject matter. Of course, this is a bare-bones version of the inner workings of a terrorist organization, but the audience will get the idea that this movie isn’t something thrown together like an exploitation film.

Traitor has lots of twists and turns, and not only does it have one major reveal, but it also has a few big ones in the last half-hour, alone. Don Cheadle, who gives another high-quality performance, holds the story together, so this fast-moving narrative has dramatic heft. Sometimes, Traitor made me feel uncomfortable because it seems so plausible, and credit that to Cheadle’s performance. Traitor is his movie, and he makes it a good one. It also doesn’t hurt that the radiant Archie Panjabi appears in this film in a nice supporting role.

7 of 10
A-

NOTES:
2009 Black Reel Awards: 3 nominations: “Best Actor” (Don Cheadle), “Best Breakthrough Performance” (Saïd Taghmaoui), and “Best Film” (Jeffrey Silver, Kay Liberman, Steve Martin, Todd Lieberman, David Hoberman, Ashok Amritraj, Steve Gaub, Don Cheadle, and Arlene Gibbs)

2009 Image Awards: 1 nomination: “Outstanding Actor in a Motion Picture” (Don Cheadle)

Sunday, March 11, 2012

Review: "Daddy Day Care" is Eddie Murphy Empty Calories

TRASH IN MY EYE No. 91 (of 2003) by Leroy Douresseaux


Daddy Day Care (2003)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – PG for language
DIRECTOR: Steve Carr
WRITER: Geoff Rodkey
PRODUCERS: Matt Berenson, John Davis, and Wyck Godfrey
CINEMATOGRAPHER: Steven Poster
EDITOR: Christopher Greenbury
COMPOSER: David Newman

COMEDY/FAMILY with elements of fantasy

Starring: Eddie Murphy, Jeff Garlin, Steve Zahn, Regina King, Kevin Nealon, Anjelica Huston, Jonathan Katz, Leila Arcieri, Khamani Griffin, and Max Burkholder

Once upon a time Eddie Murphy starred in movies people couldn’t get enough of like Trading Places and Beverly Hills Cop. Then, according to bigoted critics, Murphy turned his back on his “white audience” with films like Harlem Nights and Boomerang, which were not blockbusters but were nevertheless both excellent films featuring mostly African-American casts. Since the mid-90’s Murphy has starred in a number of “family-oriented” films that have been huge hits: The Nutty Professor, Mulan, Dr. Doolittle, and Shrek, etc. Frankly, I wouldn’t mind a combination of the star that appeared in Trading Places and Boomerang, but I can deal with the family friendly fare like Murphy’s recent hit, Daddy Day Care.

Charlie Hinton (Eddie Murphy) and Phil (Jeff Garlin) are laid off (fired) from their well paying jobs. As the weeks of being unemployed blow by they are spending more time with their sons, not that that’s a bad thing; they’re just not used to being employed. Like a light bulb exploding in his head, Charlie gets the idea of opening a daycare center, partly because he can no longer afford the posh Chapman Academy his son was attending when he was working. After initial skepticism, a growing number of mothers begin to rely on the affordable care that Charlie and Phil provide. However, the Chapman dowager, Mrs. Haridan (Anjelica Huston), doesn’t like the competition and schemes to have Charlie and Phil’s increasingly popular Daddy Day Care closed.

There’s no point in beating around the bush. Daddy Day Care is an entertainment delivery vehicle meant to give the “family audience” a few chuckles while affirming the bushy middle-class, suburban lifestyle. If that’s sounds like a criticism, it isn’t, not quiet. It’s simply that this film doesn’t have to be so vapid. Even the menace of Mrs. Haridan’s attempt to close the school is at best a lukewarm threat. If not for Ms. Huston’s ability to chew into even the most cardboard cutout characters, there would have been no dramatic tension in this film. The two male leads have lost their well-paying jobs, for chrissakes. That resonates with much of the audience in these shaky-as-ever economic times. Hell yeah, there are lots of laughs; I certainly found many, but this film could have been about something – about two dads struggling with new roles, roles men are not used to playing.

Oh well, I don’t regret seeing Daddy Day Care, and there are lots of warm and fuzzy feelings. It’s a safe trip to the movies for the entire family. Steve Zahn as Marvin, Daddy Day Care’s first new employee is an absolute show stealing delight. Impossible as it might seem, I like him more each time I see him in a movie. His inspired performance and off-kilter character were more than worth my time.

P.S. Two characters speak Klingon (a language from the Star Trek television and film franchise, for those who don’t know) in this movie; that alone is worth $1 of your admission price.

6 of 10
B

Review: Refn and Gosling "Drive" to Greatness

TRASH IN MY EYE No. 18 (of 2012) by Leroy Douresseaux

Drive (2011)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for strong brutal bloody violence, language and some nudity
DIRECTOR: Nicolas Winding Refn
WRITER: Hossein Amini (based upon the novel by James Sallis)
PRODUCERS: Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker, and Adam Siegel
CINEMATOGRAPHER: Newton Thomas Sigel (D.o.P.)
EDITOR: Mat Newman
COMPOSER: Cliff Martinez
Academy Award nominee

CRIME/DRAMA/ACTION/THRILLER with elements of romance

Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman, and Kaden Leos

I kept hearing good things about the film Drive, a 2011 crime drama and action thriller starring Ryan Gosling. Directed by critically-acclaimed Danish filmmaker, Nicolas Winding Refn, Drive centers on a mysterious getaway driver who lands himself in trouble when he helps out his neighbor’s troubled husband. The good things I heard about this film turned out to be true, and it is one of the very best films of 2011.

In the film, he is only known as The Driver (Ryan Gosling), and he is a supremely skilled getaway driver for those who need to get away after pulling off a heist or robbery. The Driver is also a Hollywood stuntman and mechanic, working on both jobs for garage owner, Shannon (Bryan Cranston). Shannon wants to get involved in stock car racing with The Driver as the man behind the wheel, so Shannon brings in mobster, Bernie Rose (Albert Brooks), as an investor in this venture.

The Driver lives in a low-rent apartment building where he meets and befriends his neighbor, Irene (Carey Mulligan), and her son, Benicio (Kaden Leos). The Driver begins to date Irene, but she is actually married to a man named Standard Gabriel (Oscar Isaac), who is about to be released from prison. After Standard is released, he must find a way to pay back protection money that he owes to a gangster. The Driver tries to help Standard and things go bad on all sides.

Drive is a hard-edged crime thriller with a neo-Film-Noir pedigree. Those who watch it may see the influence of a lot of Los Angeles-based films, including Pulp Fiction and various Michael Mann films. There is also more than a touch of John Carpenter – from the atmospheric, 1980s synth-pop score (created by the always interesting Cliff Martinez) to the somewhat Michael Myers-like Driver. I also see this as partially a blend of Carpenter’s original Halloween (1978) and The Transporter film series.

Whatever its influences are, Drive is simply brilliant. It is cool without being slick and overly produced (like many Hollywood crime movies). Drive is more modern than retro, but it has a timeless quality that also makes it seem to be from a vague near-future. Director Nicolas Winding Refn turned in one of the year’s best feats of film directing simply by making a movie that takes so many influences and inspirations and turns them into an original vision and a film apart from the rest.

This movie has a number of good performances. Of course, Ryan Gosling is the centerpiece. At first, he may come across as flat and too cool, but he slowly unveils a great big darkness that lives just under the surface. Gosling also shows a gentle, romantic, and human side that surprisingly breaks through in the most surprising moments. Plus, Gosling creates, in The Driver, a most memorable man-of-few-words anti-hero. The Driver is another performance that shows just how much talent Gosling has.

Carey Mulligan is solid in a relatively quiet and restrained performance, but she sells every scene in which she appears and matches Gosling when they appear in the same scene. Everything Albert Brooks does in this movie seems fresh and sensational, even when he does something that a movie mobster typically does. He makes the old mobster stereotypes edgy, contemporary, and original.

Drive is a crime flick that is also a dark L.A. fairy tale. It makes violence and brutality seem as if it could be no cooler than it is in Los Angeles. I would have enjoyed seeing more action sequences with cars, but I like Drive too much to complain.

9 of 10
A+

NOTES:
2012 Academy Awards: 1 nomination: “Best Achievement in Sound Editing” (Lon Bender and Victor Ray Ennis)

2012 BAFTA Awards: 4 nominations: “Best Film” (Marc Platt and Adam Siegel), “Best Director” (Nicolas Winding Refn), “Best Editing” (Matthew Newman), “Best Supporting Actress” (Carey Mulligan)

2011 Cannes Film Festival: 1 win: “Best Director” (Nicolas Winding Refn); 1 nomination: “Palme d'Or” (Nicolas Winding Refn)

2012 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Albert Brooks)

Friday, March 09, 2012

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Robert Sherman, "Mary Poppins" Songwriter, Dies at 86

(From left to right: Robert Sherman, Richard Sherman, and Walt Disney.  Courtesy of of Walt Disney Company.)

Oscar®-Winning Mary Poppins Songwriter Robert B. Sherman, of the Legendary Sherman Brothers, Dies in London at Age 86; His Credits Include Beloved Songs for The Jungle Book, Winnie the Pooh, Plus “it’s a small world (after all)”

BURBANK, Calif.--(BUSINESS WIRE)--Robert B. Sherman, half of the acclaimed and prolific Sherman Brothers songwriting team, passed away in London, England, on March 5 at The London Clinic, from an age-related illness. He was 86 years old. In collaboration with his brother, Richard M. Sherman (who survives him), Robert wrote some of the most memorable and beloved songs in the history of modern family entertainment. Personally selected by Walt Disney to write songs for his films, television shows, and theme parks, the Sherman Brothers had perhaps their biggest career milestone with the 1964 Disney masterpiece Mary Poppins, for which they received two of the film’s five Oscar® wins for Best Song (“Chim Chim Cher-ee”) and Best Original Score. They are responsible for more motion picture musical song scores than any other songwriting team in film history.

Throughout their incredible 50-year career as a songwriting team, the Sherman Brothers garnered nine Academy Award® nominations; won three Grammy Awards®; were inducted into the Songwriters Hall of Fame; received a remarkable array of 24 gold and platinum albums; and were the recipients of a star on the Hollywood Walk of Fame. Robert and his brother were the subject of an acclaimed 2009 documentary, the boys: the sherman brothers story, and recipients of the National Medal of Arts (the highest honor the United States government bestows on artists). In recent years, the Shermans have enjoyed great success on the London and Broadway stage with twin theatrical productions of two of their most beloved films: Mary Poppins and Chitty Chitty Bang Bang.

Commenting on Robert’s passing, Richard Sherman said, “My brother Bob was a poetic soul with limitless imagination and talent. He was my loyal friend all through the years. We were fortunate to have been blessed by two great men, our key inspirations—our father, Al, who teamed us up and taught us the craft, and Walt Disney, who provided us with an opportunity to realize our greatest dreams. Bob will be lovingly missed by all of us in his family.”

“Today, on behalf of everyone at Disney, we mourn the loss of an extraordinary talent, Robert Sherman,” said Disney President and CEO Bob Iger. “One of the world’s greatest songwriters and a true Disney legend, his legacy will endure forever through the magic of his music. From Mary Poppins and it’s a small world to Winnie the Pooh and The Jungle Book, Robert, along with his brother Richard, wrote many of Disney’s most memorable and beloved songs, which continue to enchant millions of people around the world to this day.”

Robert’s son, Jeff Sherman, who co-directed the documentary, the boys, noted, “My dad passed away peacefully in London on Monday night. He was an incredible man who loved life and lived it to the fullest. As he often said, he wanted to bring happiness into the world, and unquestionably he succeeded. His love and his prayers, his philosophy and his poetry will live on forever. Forever his songs and his genius will bring hope, joy, and love to this small world.”

Multiple Oscar®-winning composer/songwriter Alan Menken said, “The Sherman brothers legacy goes far beyond the craft of songwriting. There is a magic in their songs and in the films and musicals they breathed life into. My thoughts and prayers are with Robert’s family, and with Richard Sherman, who has become a dear and precious friend to me.”

Leonard Maltin, film historian and author of the book The Disney Films, observed, “Robert Sherman and his brother Richard spent a decade providing lively, tuneful, and memorable songs for Walt Disney’s movies, TV shows, and theme parks—and worked their way into the hearts of millions of fans all over the world. Their songs have the unusual—and inimitable—ability to make you feel good. No wonder people took to them when they were new and still respond to them today.”

Jeff Kurtti, co-author of the 1998 Sherman Brothers biography, Walt’s Time: From Before to Beyond, said, “Bob, along with his brother Dick, wrote the songbook of youth for generations. I am often confronted with the idea that Sherman songs are ‘kiddie songs.’ This couldn’t be further from the truth. Bob in particular had an affection for, and a felicity with, words that gave the illusion of simplicity to truly complex works. He was a quiet center of intellect and feeling, and nothing revealed his inner life more than when he and his brother expressed rich ideas and deep emotions through music.”

Born in New York City on December 19, 1925, Robert Sherman was the son of popular Tin Pan Alley songwriter Al Sherman. His father was famous for composing such early 20th century song hits as “You’ve Got to Be a Football Hero,” “Potatoes are Cheaper, Tomatoes are Cheaper (Now’s the Time to Fall in Love!)” and “No! No! A Thousand Times, No!” But perhaps father Sherman’s greatest achievement was in the teaming of his sons to form one of the most successful and enduring songwriting partnerships in music history.

After a series of fits and starts the brothers found themselves composing numerous top-10 tunes for teen star and original Mouseketeer Annette Funicello, including the 1959 hit “Tall Paul” (marking the first time that a female singer reached a top ten slot for a rock ‘n’ roll single). The Shermans penned songs for such popular Funicello record albums as Hawaiianette (including “Pineapple Princess”), Dance Annette and The Story of My Teens, all presented on Buena Vista Records, a music subsidiary of Walt Disney Productions.

In December 1960, the Sherman brothers debuted their classic rock and roll song “You're Sixteen.” The tune carries the distinction of having twice gone to Billboard's No. 1 spot: once with Johnny Burnette and then an unprecedented second time with Ringo Starr in 1974. This seminal Sherman Brothers song hit, along with their tunes that helped to make Annette Funicello Disney’s first-ever musical teen star, caught the attention of Walt Disney himself and he quickly hired them as staff songwriters for his studio in 1960.
The early 1960s saw the Shermans compose a number of songs for such classic Disney films and TV productions such as Zorro, The Absent-Minded Professor, The Parent Trap (“Let’s Get Together,” performed by Hayley Mills), Walt Disney’s Wonderful World of Color (theme song), In Search of the Castaways, Summer Magic (their first film musical) and The Sword in the Stone (their first Disney animated feature).

When Walt Disney produced four shows for 1964-65 New York World’s Fair, he turned to the Sherman brothers to provide memorable music for three of the attractions. For the General Electric Carousel of Progress, they penned the show's optimistic theme song “There’s a Great Big Beautiful Tomorrow.” The Ford Motor Company sponsored the Disney attraction Magic Skyway, featuring the song “Get the Feel of the Wheel of a Ford.”

The New York World’s Fair also provided the Shermans with the opportunity to create perhaps their most famous song. After Walt Disney decided that his salute to the children of the world, being developed for the UNICEF pavilion and sponsored by Pepsi-Cola, needed a catchy theme song, he turned to his trusted songwriting team of Richard and Robert. The brothers composed “it’s a small world (after all).” Since then, it has become one of the most perennially translated and performed songs on earth.

In 1964, the Sherman brothers began work on what they affectionately refer to as their “magnum opus,” Walt Disney's 1964 musical film fantasy Mary Poppins. The film was nominated for a Disney-record 13 Academy Awards, including Best Picture. On April 5, 1965, at the 37th Annual Academy Awards the film won five Oscars, including two statuettes for the Shermans—Best Song (“Chim Chim Cher-ee”) and Best Original Score.

The remainder of the 1960s and early 70s saw the Sherman brothers contributing popular songs and scores to numerous classic Disney films. Some of their memorable Disney top box-office film credits of the era include The Monkey’s Uncle (1965), That Darn Cat! (1965), Winnie the Pooh and the Honey Tree (1966), The Gnome-Mobile (1967), The Jungle Book (1967), The Happiest Millionaire (1967), Winnie the Pooh and the Blustery Day (1969), The One and Only Genuine Original Family Band (1969), The Aristocats (1970) and Bedknobs and Broomsticks (1971).

In the early 1970s, the Sherman brothers left the Walt Disney Studios to pursue other film projects. They went on to provide an array of music, songs and occasional screenplays to such memorable family films as Chitty Chitty Bang Bang (1968), Snoopy Come Home (1972) Charlotte’s Web (1973), The Adventures of Tom Sawyer (1973), Huckleberry Finn (1974) and The Slipper and the Rose (1976).

In 1990, the Sherman brothers received the prestigious Disney Legends Award given by The Walt Disney Company. The award is given to individuals whose body of work has made a significant impact on the Disney entertainment legacy. They were also honored in 1991 with BMI’s (Broadcast Music Incorporated) Lifetime Achievement Award and share a star on the Hollywood Walk of Fame directly across from Grauman’s Chinese Theatre, where Mary Poppins premiered in 1964.

In 1999, Camphor Tree Publishers released the Sherman brothers’ autobiographical book entitled Walt’s Time: From Before to Beyond. The impressive family album-style book chronicles their amazing career(s) from childhood through their current endeavors using personal recollections and rarely seen family photos, film production photos and artwork.

The following year the Sherman brothers marked the new millennium with their fifth score for a Disney animated Winnie the Pooh film—The Tigger Movie (released in February 2000). For the film’s keynote song “Your Heart Will Lead You Home,” they shared composing credits with famed pop star Kenny Loggins.

Accolades continued in September 2002 as the Sherman brothers received the Lifetime Achievement Award from the Themed Entertainment Association in a ceremony at Hollywood’s historic El Capitan Theatre. In February 2003, Richard and Robert received the Windsor McCay Lifetime Achievement Award during the 30th Annual Annie Awards, presented by the International Animated Film Society.

In March 2010, the Disneyland Resort in California saluted the Shermans for their musical contributions to Disney Parks around the world. They were honored with their very own “window” on Main Street, U.S.A., which states: “Two Brothers Tunemakers – Richard M. Sherman and Robert B. Sherman: We’ll Write Your Tunes For a Song.”

In November 2006, a stage musical of their 2004 Olivier Award winning London West End production of Mary Poppins, produced by Disney and Cameron Mackintosh, opened on Broadway to acclaim and received seven Tony Award® nominations. The show combines the stories of P.L. Travers and the Academy Award-winning film to create an unforgettable theatrical experience and is currently playing to packed theaters on Broadway and on tour across North America and Australia.

In April 2002, the stage version of their classic 1968 film musical Chitty Chitty Bang Bang opened to acclaim at the historic London Palladium. Nominated for three Olivier Awards in the United Kingdom and five Tony Awards on Broadway, the show won Best Musical at the 2002 Variety Awards and the coveted 2006 Manchester Evening News Theatre Award for Best Family Show. The popular show is currently on tour throughout North America and the United Kingdom.

Thanks to their musical contributions to the Disney Parks around the world, the sun never sets on a Sherman Brothers song—their tunes are heard daily in California, Florida, Japan, France and China. Through the years many popular Disney Park attractions and entertainment spectaculars have featured Sherman brothers tunes, including Walt Disney's Enchanted Tiki Room, Carousel of Progress, it’s a small world, Adventure Thru Inner Space, Innoventions, The Many Adventures of Winnie the Pooh, Meet the World, Journey into Imagination, Fantasmic! and, most recently, World of Color.

Following the successful West End debut of Chitty Chitty Bang Bang, and the death of his beloved wife of 50 years, Joyce, Robert moved to London in 2002 to embark on a life filled with personal projects that included painting, writing poems and completing a long gestating collection of short stories entitled Moose.
In addition to his brother, Richard M. Sherman, Robert is survived by four children—Jeff Sherman, Robert J. Sherman, Laurie Sherman, and Tracy Sherman; as well as five grandchildren: Alex and Ryan (Jeff’s sons), and Josh, Amy and Sarah (Laurie’s children).

A public funeral service is planned at Hillside Memorial Park and Mortuary in Culver City on Friday, March 9 at 1 p.m. in the Large Chapel. Plans for a life celebration will be announced shortly.

Review: "The Rules of Attraction" Breaks Rules (Happy B'day, James Van Der Beek)

TRASH IN MY EYE No. 49 (of 2003) by Leroy Douresseaux

The Rules of Attraction (2002)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for strong sexual content, drug use, language and violent images (edited for re-rating)
DIRECTOR: Roger Avary
WRITER: Roger Avary (based upon the novel by Bret Easton Ellis)
PRODUCER: Greg Shapiro
CINEMATOGRAPHER: Robert Brinkmann
EDITOR: Sharon Rutter
COMPOSERS: tomandandy

DRAMA

Starring: James Van Der Beek, Ian Somerhalder, Shannyn Sossamon, Jessica Biel, Kate Bosworth, Jay Baruchel, Clifton Collins, Jr., Faye Dunaway, Swoosie Kurtz, Eric Stoltz, Fred Savage, and Kip Pardue

Roger Avary’s (who won an Oscar for co-writing Pulp Fiction) film The Rules of Attraction, an adaptation of Bret Easton Ellis’s novel of the same name, initially received an NC-17 rating before being edited to an R, and I have to say that I’d be afraid to see the “harsher” version that was too much for the tepid appetites of the MPAA rating board. It’s an apocalyptic love story about a love triangle involving three very self-absorbed students at a small New England college. It’s not for everyone, but it’s a bracing movie that throws safe filmmaking conventions to the wind and takes the viewer on a helter-skelter ride into the lust lives of hedonistic youth.

Paul Denton (Ian Somerhalder) is in love with Sean Bateman (James Van Der Beek, Varsity Blues, “Dawson’s Creek”), while Sean is in love with Lauren Hynde (Shannyn Sossamon) who is in love with the mostly absent Victor Johnson (Kip Pardue). Sean and Lauren manage to cobble up some kind of relationship, and while Sean really starts to dig Lauren, he can’t help but screw it up. Meanwhile, the beautiful, bisexual Paul has the extreme hots for Sean, but Sean barely even notices him. So Paul pursues; Sean pursues, and Lauren kind of pursues, but she’s in sort of a zone of indecision – attracted to Sean and pining for Victor.

The novel was apparently told from several points of view, so to keep that spirit, Avary breaks linear time, shifts between varying points of view, compares and contrasts POV, and allows interior communication between character and viewer. In Sean’s case, we get a jumble and confusing mess of interior monologues that serve to establish his inability to relate to others beyond his need of them. Avary gives the film the running theme of that no one really ever knows anyone else and that maybe people don’t really want other people to know them. And to ask another for such an intimate entry is looked upon as disingenuous. Each character is so caught up in his desire for his object of attraction that he never really tries to know that person.

The Rules of Attraction is a fascinating, satiric, and darkly comic look at attraction and at obtaining the object of attraction. If it has a fault, it’s is that the film lapses into small, but periodic dry spells and moments of pointless observation that stop the movie instead of moving the story forward. However, the acting is very good, particular Van Der Beek in one of those roles that supposed to show the world that the pretty boy actor can be grim and gritty.

If there are rules of attraction, no one here seems to know them; the characters seem to play it by the seats of the pants they’re so quick to drop. I love this film. It’s a stunning visual testament to the ugliness and unbridled power of pursuit, a love story that’s different yet uncomfortably familiar.

7 of 10
B+

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The Empty Calories of "Into the Blue" are Surprisingly Tasty

TRASH IN MY EYE No. 150 (of 2005) by Leroy Douresseaux


Into the Blue (2005)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for intense sequences of action violence, drug material, some sexual content, and language
DIECTOR: John Stockwell
WRITER: Matt Johnson
PRODUCER: David Zelon
CINEMATOGRAPHERS: Shane Hurlbut with Peter Zuccarini (underwater)
EDITORS: Nicolas De Toth and Dennis Virkler

ACTION/ADVENTURE/CRIME/THRILLER

Starring: Paul Walker, Jessica Alba, Scott Caan, Ashley Scott, Josh Brolin, James Frain, Tyson Beckford, and Dwayne Adway

The subject of this movie review is Into the Blue, an underwater action movie and crime thriller starring Paul Walker and Jessica Alba. The film follows a group of friends who find both a sunken treasure and trouble from drug smugglers.

Recently fired from his job as a guide on scuba diving tour boat, Jared (Paul Walker) decides to pursue his dream of salvaging for lost treasure galleys in the deep, shark-infested waters of the Bahamas. His girlfriend, Sam (Jessica Alba), believes in him, of course, and is along for the ride, and so are his best friend, Bryce (Scott Caan), a young hotshot lawyer from New York City, and his latest conquest, Amanda (Ashley Scott), a young woman he just met a few days before. When the four young divers discover what may be a legendary shipwreck containing untold millions in gold, Jared believes his dream of finding buried treasure has come true.

However, near their salvage is a sunken plane containing the dead crew… and a large cargo of cocaine that may have a street value in the hundreds of millions. The friends make a vow to keep silent about both discoveries so that they can excavate the shipwreck and file a claim on it before rival treasure hunters (namely a challenger named Bates played by Josh Brolin) learn of their find and beat them to the gold. When two of the divers make a fatal decision regarding the cargo plane, drug smugglers looking for the plane turn the young treasure hunters into the hunted.

Into the Blue is the Sport’s Illustrated swimsuit issue version of a hard-edge action movie, but it has a campy edge that would make it suitable for the CBS Sunday Night Movie or a made-for-TV USA cable network action thriller; plus its PG-13 rating makes Into the Blue safe for all but those… well, 13-year olds. Director John Stockwell doesn’t turn Matt Johnson’s screenplay into a hyper-kinetic video game, but instead makes the film into a kind of crime film, imagine a R-rated, dumbed-down heist or caper film like Out of Sight for teens or for those who can’t stomach R-movie violence. Another good thing about Matt Johnson’s screenplay is that it emphasizes characters over action. Put a competent cast and crew behind a script like this and the audience gets a nice character-driven piece that makes the audience invest itself in the players – that’s Into the Blue. The script’s glaring error is that it seems stretched out, thus giving it a few huge dry patches in which the narrative is literally spinning its wheels or drowning.

Paul Walker (The Fast and the Furious franchise) and Jessica Alba aren’t close to being good actors. Walker comes from the Keanu Reeves school of acting, which means awkward and stiff dialogue delivery, but quite frankly, he’s beautiful and looks good on screen. His face can express more emotion that he ever could through speaking, and Walker’s eyes are indeed the windows into the soul of his characters. You learn just as much about what kind of man Jared is by watching Walker’s physical acting as you could by listening to Paul struggle with lines. Alba tries to be a serious actress, but her body is the Gromit to her acting’s Wallace. You don’t want her off screen; you want to see her, whether you’re a man or woman.

The setting and beautiful locations really sell this flick. I never thought I’d enjoy seeing people diving in and jumping out of the water so much (about 60 to 70 percent of the film); this is truly an underwater action/adventure. Add Josh Brolin’s Mephisto-like turn to the mix of lithe young bodies in motion, in danger, and in the water, and Into the Blue is a very entertaining thriller – fun in the water, the movie theatre, or at home.

6 of 10
B