Review: Brandon Routh Lifts "Superman Returns"

TRASH IN MY EYE No. 142 (of 2006) by Leroy Douresseaux

Superman Returns (2006)
Running time: 154 minutes (2 hours, 34 minutes)
MPAA – PG-13 for some intense action violence
DIRECTOR: Bryan Singer
WRITERS: Michael Dougherty and Dan Harris; from a story by Michael Dougherty and Dan Harris, and Bryan Singer (based upon the Superman characters created by Jerry Siegel and Joe Shuster and published by DC Comics)
PRODUCER: Jon Peters, Bryan Singer, and Gilbert Adler
CINEMATOGRAPHER: Newton Thomas Sigel, A.S.C.
EDITORS: John Ottman and Elliot Graham
COMPOSER: John Ottman
Academy Award nominee

SUPERHERO/ACTION/DRAMA/SCI-FI with elements of romance

Starring: Brandon Routh, Kate Bosworth, James Marsden, Frank Langella, Eva Marie Saint, Parker Posey, Kal Penn, Sam Huntington, Tristan Lake Leabu, and Kevin Spacey

To the world at large, he disappeared five years ago, but Superman (Brandon Routh) was searching for the planet of his birth, Krypton. Now, he’s back and so is his secret identity, Clark Kent. Clark returns to the city of Metropolis, where he works as a reporter for the newspaper, the Daily Planet. He discovers that the love of his life, fellow reporter, Lois Lane (Kate Bosworth), has moved on with her life, but still holds a grudge against the man she passionately loved before he disappeared, Kent’s other identity, Superman.

Lois has child Jason White (Tristan Lake Leabu) and is engaged to Jason’s alleged father, Richard White (James Marsden), nephew of Daily Planet editor-in-chief, Perry White (Frank Langella). While Lois claims that Richard, the editor of the Planet’s international desk, is Jason’s father, the child is five years old… Once upon a time – five years ago – Lois knew that Clark was Superman (before he wiped her mind of that secret) and they had an intimate affair. Clark would like to reveal his secret once more and perhaps rekindle their love, but he can’t shake the feeling that she doesn’t really want a relationship with Superman anymore.

Meanwhile, Superman’s bitterest enemy, Lex Luthor (Kevin Spacey), is out of prison and plotting both his conquest of the world and his revenge on Superman. Luthor invades Superman’s North Pole sanctum, the Fortress of Solitude, where he steals advanced technology and alien secrets from Krypton, which he in turn uses in a diabolical plan to recreate part of Krypton on earth. And if the Man of Steel interferes, he has a deadly Kryptonian item that will stop Superman once and for all.

Superman Returns is the first Superman film in 19 years (since 1987’s box office bomb, Superman IV: The Quest for Peace). Superman Returns takes place in the wake of the events of 1981’s Superman II (which saw Superman reveal his identity to Lois and the two have sexual relations). Director Bryan Singer (X-Men, X2: X-Men United, and The Usual Suspects) reuses parts of John Williams score for the 1978 film, Superman: The Movie. He also reuses parts of Marlon Brando’s performance from the original movie as Superman Kryptonian father, Jor-El. The two elements firmly connect Superman Returns with the franchise’s big budget cinematic beginnings.

Those touches are nice, but Superman Returns ends up feeling like the recent X-Men: The Last Stand, which was technically a well-made film, but had the fatal flaw of being a film in which the characters and situations were two dark or in which the characters seemed… oddly out of character. Superman Returns is also from a technical stand point very well made, and from a narrative point pretty good. Still, Bryan Singer, who not only directs the film, but also wrote the story upon which the screenplay is based, has two flaws. It’s too long and it is too obviously trying to be something important – something more than just being a movie based upon a comic book.

Singer stuffs the film with chick flick sensibilities – lots of romance, romantic entanglements, yearnings for lost love, etc. Some of it good, but it gets old after awhile. Actually it gets in the way of Superman in action, which is a bad thing because Superman is a superhero and superheroes do cool things with their powers. The film is also rife and ripe with mythic aspirations and religious symbolism. There are a few powerful speeches about Superman being Christ-like – the savior or the only son sent by powerful being (his Kryptonian father Jor-El) to Earth to help the tragically flawed humans. That’s nice, but it’s also overkill, just fluff in the way of the cool scenes of Superman being Superman.

That’s one of the good things about Superman Returns – which is that it occasionally remembers how cool Superman is, so Singer treats us to lots of scenes of him soaring over the city, through the sky, and into space. When Superman is using his powers or even if he’s just flexing his muscles (there’s a nice flashback of a young Clark Kent learning that he can run fast, leap to dizzying heights, and also levitate), Superman Returns springs to glorious life. The film also looks good, although some of the visual effects and CGI are so obviously fake that it’s painful to spot them. The score by John Ottman (who also co-edited the film) is a worthy successor to John Williams’ music in the original film.

The cast ranges from adequate to good. Kevin Spacey is cool, vicious, and sinister as Lex Luthor (because Spacey is evil). Sam Huntington has a youthful snappiness and genuine friendliness as Clark’s cub reporter pal, Jimmy Olsen. Kate Bosworth makes a decent love interest in the film, but she is wrong as Lois Lane; she just doesn’t capture the spunkiness and boldness that defines Lois Lane as the kind of reporter who can tackle any story. On the other hand, James Marsden makes Richard White more than just an add-on to the Superman mythos. While Parker Posey seemed out of place in Blade: Trinity, she fits in here as Luthor’s “girlfriend, Kitty Kowalski.

How well did Brandon Routh fill the late Christopher Reeve’s shoes as Clark Kent/Superman. He does a damn good job. Routh makes his Clark Kent a humble and gentle soul, but he shows us the secret and barely hidden fire that burns in Clark’s eyes – that which is Superman ready to burst out. Routh’s Superman is both mythic and godlike. Routh creates an otherness about Superman – a stoic savior who takes on any task without blinking and likely not a doubt in his mind. Not only is Routh as good as other actors who’ve given the best performances playing superheroes (Christian Bale as Bruce Wayne/Batman and Tobey Maguire as Peter Parker/Spider-Man), but Routh’s performance rings with truth. It’s as if the fictional Superman of the comics has sprung to life from the pages of a comic book.

I’ll give Superman Returns the provisional six out of 10 that I gave X-Men: The Last Stand, but Routh makes this colorful and brightly lit fantasy worth seeing. He puts the super and the hero in Superman Returns.

6 of 10
B

Saturday, July 1, 2006

NOTES:
2007 Academy Awards, USA: 1 nomination: “Best Achievement in Visual Effects” (Mark Stetson, Neil Corbould, Richard R. Hoover, and Jon Thum)

2007 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (Mark Stetson, Neil Corbould, Richard Hoover, and Jon Thum)

2007 Razzie Awards: 1 nomination: “Worst Supporting Actress” (Kate Bosworth)

Review: "Superhero Movie" a MAD Spoof of Spider-Man

TRASH IN MY EYE No. 18 (of 2008) by Leroy Douresseaux


Superhero Movie (2008)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG-13 for crude and sexual content, comic violence, drug references, and language
WRITER/DIRECTOR: Craig Mazin
PRODUCERS: Craig Mazin, Robert K. Weiss, and David Zucker
CINEMATOGRAPHER: Thomas E. Ackerman
EDITOR: Craig Herring
COMPOSER: James L. Venable

COMEDY/SUPERHERO

Starring: Drake Bell, Sara Paxton, Christopher McDonald, Leslie Nielsen, Kevin Hart, Marion Ross, Ryan Hansen, Keith David, Brent Spiner, Robert Joy, Jeffrey Tambor, Tracy Morgan, Regina Hall, and Pamela Anderson

The subject of this movie review is Superhero Movie, a 2008 comedy spoof film from writer-director Craig Mazin. The film stars Drake Bell as a teen-turned-superhero.

Superhero Movie, which spoofs (of course) superhero movies, is not in the vein of such classic spoof films as Blazing Saddles and Young Frankenstein, but is certainly a sibling of films like the Scary Movie series, Date Movie, and Epic Movie. In fact, Superhero Movie’s writer/director, Craig Mazin, co-wrote Scary Movie 3 and 4, and like Scary Movie, Superhero Movie has enough fart jokes and necrophilia to charm all preteen and teen male demographics.

High school loser Rick Riker (Drake Bell) pines away for Jill Johnson (Sara Paxton), the prettiest girl in school, but she hardly knows that Rick exists since her eyes are on Rick’s tormentor, the school bully, Lance Landers (Ryan Hansen). After being bitten by a genetically altered dragonfly, Rick develops superhuman abilities like incredible strength and armored skin. Deciding to use his new powers for good, Rick becomes a costumed crime fighter known as “The Dragonfly.”

However, any superhero needs a super villain, and standing in the way of Rick’s destiny is “The Hourglass.” After an experiment goes wrong, Lou Landers (Christopher McDonald) develops the power to steal a person's life force merely by grabbing that person’s hand. In a dastardly quest for immortality, Landers/The Hourglass plots to kill 1000 people in a single life force assault. Will Rick/The Dragonfly, with his unimaginable strength, unbelievable speed and deeply uncomfortable tights, be able to stop The Hourglass? And will he stay a virgin forever or get with Jill?

Although Superhero Movie pokes fun at the X-Men film franchise, and to a lesser extent Batman Begins, Fantastic Four, and Superman Returns, most of this movie is a comic riff on 2002 film, Spider-Man. Think of Superhero Movie as a MAD Magazine spoof of the first Spider-Man film, but with the kind of raw gross out humor that is way too much in bad taste to ever make it into the modern MAD. Talk about un-PC: Rick’s Uncle Albert (played in his inimitable style by Leslie Nielsen) humps the corpse of a pretty girl!

But is this movie funny? The answer is very much so. Craig Mazin’s script could be seen as inspired lunacy or being so shamelessly in bad taste that he should be shunned from polite society. Sometimes, it seems as if this movie has a thousand visual gags, clever and otherwise, but they trigger belly laughs – even the jokes that Mazin and his cast and crew can’t quite pull off.

5 of 10
B-

Sunday, March 30, 2008

New "Transformers 4" Car - June 12, 2013

Michael Bay has unveiled the newest car from "TRANSFORMERS 4"

THE ULTIMATE SONIC RS, JUST PURE FUN!

  OFFICIAL SITE: WWW.TRANSFORMERSMOVIE.COM  

Review: "New York Minute" is Surprisingly Fun (Happy B'day, Mary-Kate and Ashley Olsen)

TRASH IN MY EYE No. 70 (of 2004) by Leroy Douresseaux

New York Minute (2004)
Running time: 94 minutes (1 hour, 34 minutes)
MPAA – PG for mild sensuality and thematic elements
DIRECTOR: Dennie Gordon
WRITERS: Emily Fox, and Adam Cooper and Bill Collage, from a story by Emily Fox
PRODUCERS: Denise Di Novi, Ashley Olsen, Mary-Kate Olsen, and Robert Thorne
CINEMATOGRAPHER: Greg Gardiner
EDITORS: Roderick Davis and Michael Jablow
COMPOSER: George S. Clinton
Razzie Awards nominee

COMEDY/FAMILY/ADVENTURE with elements of action

Starring: Ashley Olsen, Mary-Kate Olsen, Eugene Levy, Andy Richter, Riley Smith, Jared Padalecki, Dr. Drew Pinsky, Darrell Hammond, Andrea Martin, Mary Bond Davis, Jack Osbourne, and Bob Saget

I’m glad I saw Mary-Kate and Ashley Olsen’s new film, New York Minute. I don’t have to blush when saying that I had a grand time watching it. In the film, Jane Ryan (Ashley Olsen), an uptight overachiever (a 4.2 g.p.a. to boot) travels to New York City to give a major speech at Columbia University for a competition to win a scholarship to Oxford University. Her sister, the rebellious Roxy (Mary-Kate Olsen), is going to skip school so that she can attend a video shoot in NYC for the band A Simple Plan. Roxy hopes to slip demo recording of her band to Simple Plan’s A & R representatives.

The sisters don’t see eye to eye, but they have to work together for the first time in years. Jane looses her all important day planner (which held her speech note cards), and an overzealous truancy officer named Max Lomax (Eugene Levy) is hot on Roxy’s trail. A low rent thug wannabe (Andy Richter) is after the girls because they have something he wants. On the run in the Big Apple, the girls have to use every bit of their resourcefulness to overcome their obstacles, and maybe there’ll be time to find new boyfriends.

Simply put, the film is a hoot and quite fun to watch. It’s not empty or vacuous, although the (a tad bit) overly fantastic film demands that you suspend disbelief. The film has some nice messages about family, and there’s something about watching those Olsen girls working together that’s oddly appealing. They have real charisma and charm, and of course, they’re incredibly gorgeous. And we have to give it up; they’re pretty good comic actresses and together have good screen chemistry.

The director Dennie Gordon and the screenwriters have carefully crafted a film that plays to the girls’ charming screen personalities. That the filmmakers make sure that the leads can carry this delightful farce for almost an hour and a half with hardly a misstep is worthy of notice. The supporting cast is good, though this isn’t one of Eugene Levy’s better outings. Every kids/teen/family flick needs a good soundtrack, and New York Minute has a pretty good one with a (shockingly) tolerable Simple Plan song.

This will probably end up being one of the better family films of the year, and if you’re not a jaded adult, you might relax for a little while and enjoy this delightful girl romp.

7 of 10
A-

NOTES:
2005 Razzie Awards: 2 nominations: “Worst Actress” (Mary-Kate Olsen, Ashley Olsen) and “Worst Screen Couple” (Mary-Kate Olsen and Ashley Olsen)

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Cable Dominates Third Annual Critics' Choice TV Awards

Broadcast Television Journalists Association Announces Winners of the 3rd Annual Critics’ Choice Television Awards

The Big Bang Theory is Most Honored Series and HBO is Most Awarded Network

LOS ANGELES--(BUSINESS WIRE)--The Broadcast Television Journalists Association (BTJA) tonight announced the winners of the 3rd annual Critics’ Choice Television Awards. The star-studded gala awards dinner to acknowledge and honor the best in television was held at the Beverly Hilton Hotel earlier this evening.

There was a tie for Best Drama Series with Breaking Bad and Game of Thrones sharing the honor while The Big Bang Theory won in the Best Comedy Series category.

There was also a tie for Best Reality Series, which went to Duck Dynasty and Push Girls. Best Reality Series-Competition went to The Voice for the second year in a row. The Daily Show with Jon Stewart was honored as Best Talk Show, Archer was honored as Best Animated Series for the second year in a row, and Behind the Candelabra was honored as Best Movie/Miniseries. HBO was the most awarded network with five wins followed by FX with four wins.

Actors Bryan Cranston and Louis C.K. won Best Actor in a Drama Series for Breaking Bad and Best Actor in a Comedy Series for Louie, respectively, and both for the second consecutive year. Tatiana Maslany was honored as Best Actress in a Drama Series for her role in Orphan Black while Julia Louis-Dreyfus won for Best Actress in a Comedy Series for her role in Veep.

Best Supporting Actress in a Drama Series went to Parenthood’s Monica Potter. Southland’s Michael Cudlitz was named Best Supporting Actor in a Drama Series. Kaley Cuoco and Eden Sher tied for Best Supporting Actress in a Comedy for their roles in The Big Bang Theory and The Middle, respectively. Simon Helberg won Best Supporting Actor in a Comedy Series for his role in The Big Bang Theory. Jane Fonda won Best Guest Performer in a Drama Series for The Newsroom, and Patton Oswalt won Best Guest Performer in a Comedy Series for his role on Parks and Recreation, marking the second year the series was awarded in this category.

Tom Bergeron of Dancing with the Stars was honored as Best Reality Host for the second year in a row. Michael Douglas was recognized as Best Actor in a Movie/Miniseries for his work in Behind the Candelabra, while Elizabeth Moss was named Best Actress in a Movie/Miniseries for her role in Top of the Lake. Zachary Quinto won Best Supporting Actor in a Movie or Mini-Series and Sarah Paulson won Best Supporting Actress in a Movie or Mini-Series for their roles in American Horror Story: Asylum.

In addition, The Bridge, Marvel's Agents of S.H.I.E.L.D., Masters of Sex, The Michael J. Fox Show, Ray Donovan and Under the Dome were honored as Most Exciting New Series.

BTJA honored Bob Newhart with the Critics’ Choice Television Icon Award, which Henry Winkler presented to the legendary comedian.

BTJA also partnered with thalo Magazine to recognize Bunheads with the thalo’s Critics’ Choice Inspiration Award, which honors a television show for illuminating the fine arts in its subject matter and production methods, along with the individuals who infuse those productions with their artistic passions.

Presenters included: Malin Akerman (Suburgatory), Angela Bassett (American Horror Story), Laura Carmichael (Downton Abbey), Miranda Cosgrove (iCarly), Hugh Dancy (Hannibal), Cat Deeley (So You Think You Can Dance), Yossi Dina (Beverly Hills Pawn), Josh Gad (1600 Penn), Johnny Galecki (The Big Bang Theory), Seth Green (Family Guy), Allison Janney (West Wing), Tatiana Maslany (Orphan Black), Maria Menounos (Extra), Garrett Morris (2 Broke Girls), Elizabeth Moss (Mad Men), Kunal Nayyar (The Big Bang Theory), Cory Oliver (Beverly Hills Pawn), Jack Osbourne (Alpha Dogs), Adam Pally (Happy Endings), Sarah Paulson (American Horror Story), Aubrey Plaza (Parks & Recreation), Zachary Quinto (American Horror Story), Kevin Rahm (Mad Men), John Ratzenberger (Legit), Emmy Rossum (Shameless), Jimmy Smits (Sons of Anarchy), Eric Stonestreet (Modern Family) and Sam Trammell (True Blood).

The Critics’ Choice Television Awards honored programs and performances that aired between June 1, 2012 and May 31, 2013, except for the Most Exciting New Series, which are shows premiering after June 1, 2013. Two new categories debuted this year including Best Supporting Actor in a Movie or Mini-Series and Best Supporting Actress in a Movie or Mini-Series. The full winners tally is included below.

The 3rd annual Critics’ Choice Television Awards were executive produced by Bob Bain for Bob Bain Productions.

About BTJA
The Broadcast Television Journalists Association (BTJA) is a partner organization to the Broadcast Film Critics Association. BTJA includes TV, radio and Internet journalists who cover television on a regular basis. For more information, visit: www.CriticsChoice.com


WINNERS OF THE 3rd ANNUAL CRITICS’ CHOICE TELEVISION AWARDS

Best Comedy Series: The Big Bang Theory – CBS

Best Actor in a Comedy Series: Louis C.K., Louie – FX

Best Actress in a Comedy Series: Julia Louis-Dreyfus, Veep - HBO

Best Supporting Actor in a Comedy Series: Simon Helberg, The Big Bang Theory – CBS

Best Supporting Actress in a Comedy Series (Tie):
Kaley Cuoco, The Big Bang Theory – CBS
Eden Sher, The Middle – ABC

Best Guest Performer in a Comedy Series: Patton Oswalt, Parks and Recreation – NBC

Best Drama Series (Tie):
Breaking Bad – AMC
Game of Thrones – HBO

Best Actor in a Drama Series: Bryan Cranston, Breaking Bad – AMC

Best Actress in a Drama Series: Tatiana Maslany, Orphan Black – BBC America

Best Supporting Actor in a Drama Series: Michael Cudlitz, Southland - TNT

Best Supporting Actress in a Drama Series: Monica Potter, Parenthood – NBC

Best Guest Performer in a Drama Series: Jane Fonda, The Newsroom – HBO

Best Movie or Mini-Series: Behind the Candelabra – HBO

Best Actor in a Movie or Mini-Series: Michael Douglas, Behind the Candelabra - HBO

Best Actress in a Movie or Mini-Series: Elisabeth Moss, Top of the Lake – Sundance

Best Supporting Actor in a Movie or Mini-Series: Zachary Quinto, American Horror Story: Asylum – FX

Best Supporting Actress in a Movie or Mini-Series: Sarah Paulson, American Horror Story: Asylum – FX

Best Reality Series (Tie):
Duck Dynasty – A&E
Push Girls – Sundance

Best Reality Series–Competition: The Voice – NBC

Best Reality Series Host: Tom Bergeron, Dancing with the Stars – ABC

Best Talk Show: The Daily Show with Jon Stewart – Comedy Central

Best Animated Series: Archer – FX

Critics’ Choice Television Icon Award: Bob Newhart

thalo’s Critics’ Choice Inspiration Award: Bunheads – ABC Family

Most Exciting New Series:
The Bridge - FX
Marvel's Agents of S.H.I.E.L.D. - ABC
Masters of Sex - Showtime
The Michael J. Fox Show - NBC
Ray Donovan - Showtime
Under the Dome - CBS

Review: Sparky Zaps Uninspired "Frankenweenie"

TRASH IN MY EYE No. 40 (of 2013) by Leroy Douresseaux


Frankenweenie (2012) – Black and White
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – PG for thematic elements, scary images and action
DIRECTOR: Tim Burton
WRITER: John August (based on the screenplay by Leonard Ripps, which was based on an original idea by Tim Burton)
PRODUCERS: Allison Abbate and Tim Burton
CINEMATOGRAPHER: Peter Sorg
EDITORS: Mark Solomon
COMPOSER: Danny Elfman
Academy Award nominee

SCI-FI/COMEDY/FAMILY with elements of horror

Starring: (voices) Charlie Tahan, Catherine O’Hara, Martin Short, Martin Landau, Atticus Shaffer, Winona Ryder, Robert Capron, James Hiroyuki Liao, and Conchata Ferrell, with Dee Bradley Baker and Frank Welker

Frankenweenie is a 2012 black and white, stop-motion animation film, presented in 3D, from director Tim Burton. This sci-fi family film is a remake of Burton’s 1984 live-action short film, also entitled Frankenweenie. Frankenweenie the movie is a parody of and pays homage to Universal Pictures’ 1931 film, Frankenstein (an adaptation of Mary Shelley’s 1818 novel, Frankenstein: or, The Modern Prometheus). Frankenweenie is the story of a boy scientist who brings his dead dog back to life.

Frankenweenie focuses on kid filmmaker and budding scientist, Victor Frankenstein (Charlie Tahan). Victor and his parents, Susan and Edward Frankenstein (Catherine O’Hara and Martin Short), live in the quiet town of New Holland. After his dog, Sparky (Frank Welker), is hit by a car and killed, Victor falls into a depression. Inspired by his teacher, Mr. Rzykruski (Martin Landau), Victor comes up with an idea to revive Sparky’s corpse. Bringing his beloved Sparky back to life, however, has unintended and monstrous consequences.

Screenwriter John August has written two mediocre Tim Burton films, Big Fish and Corpse Bride. He also wrote Burton’s Charlie and the Chocolate Factory, but the screenplay was not the film’s strong suit. August almost wrote a third mediocre Burton film, Frankenweenie, but there are some elements in the movie’s second half that do the heavy lifting of making this at least a good movie.

As in his best films, Burton focuses on the misfits, and since Frankenweenie is filled with misfits and oddballs, it should be a great film. But Frankenweenie isn’t great, and that is because many of the characters just aren’t that interesting or engaging. It takes practically the entire picture for Victor Frankenstein to come to life, and his mom and dad are cardboard cutout versions of parents from 1950s television sitcoms. The flat monotone voice performances from much of the cast don’t help.

There are two good human characters, neither of which have enough screen time, as far as I’m concerned. There is the sly Edgar “E” Gore (Atticus Shaffer), a hunch-backed kid who would have made a nice sidekick for Victor. Next is the Vincent Price-inspired Mr. Rzykruski, who delivers this movie’s best moment in a speech before a mob-like gathering of “concerned” parents.

The star is Sparky, or, at least, Sparky should have been the star. I think this movie would be much better if it were told from the re-animated dog’s point-of-view. Sparky is proof that when used wisely, a dog can be both the star and the saving grace of a movie. There are also a few science-created monsters that liven up Frankenweenie’s last act.

Filming this movie in black and white was the wrong decision. I know that the black and white choice had to do with all the movies to which Frankenweenie pays homage, but who cares? Referencing Frankenstein and Bride of Frankenstein has been done to death. Color would have made this movie visually pop on the screen, and this often-flat flick needed some pop. Animated films, even stop-motion, are best in color.

What does give this movie some pop is the musical score by Danny Elfman, a long-time collaborator with Burton. Elfman’s score is a lovely amalgamation of textures, styles, moods, and, if you can imagine it, colors. As the story advances, I could feel Elfman imposing his will on the movie. This is his best work in years.

So Mr. Burton: no more John August, no more black and white, and no more references to the films and pop culture that filled your childhood and apparently left an indelible mark on you. Your desire to parody and to homage hurt Frankenweenie.

6 of 10
B

NOTES:
2013 Academy Awards, USA: 1 nomination: “Best Animated Feature” (Tim Burton)

2013 BAFTA Awards: “Best Animated Film” (Tim Burton)

2013 Golden Globes, USA: “Best Animated Film”

Monday, June 10, 2013

Review: "James and the Giant Peach" a Delight

TRASH IN MY EYE No. 105 (of 2005) by Leroy Douresseaux

James and the Giant Peach (1996)
Running time: 79 minutes (1 hour, 19 minutes)
MPAA – PG for some frightening images
DIRECTOR: Henry Selick
WRITERS: Karey Kirkpatrick, Jonathan Roberts, Steve Bloom (based upon the book by Roald Dahl)
PRODUCERS: Denise Di Novi and Tim Burton
CINEMATOGRAPHERS: Hiro Narita (live action) and Pete Kozachik (animation)
EDITOR: Stan Webb
COMPOSER: Randy Newman
Academy Award nominee

FANTASY/ANIMATION/MUSICAL and ADVENTURE/COMEDY/FAMILY

Starring: Paul Terry, Simon Callow, Richard Dreyfuss, Jane Leeves, Joanna Lumley, Miriam Margolyes, Pete Postlethwaite, Susan Sarandon, and David Thewlis

The subject of this movie review is James and the Giant Peach, a 1996 British-American stop-motion animation film and musical fantasy from director Henry Selick. The film is a co-production of Walt Disney Pictures and the British film production company, Allied Filmmakers.

Stop-motion animation director Henry Selick followed up his 1993 collaboration with Tim Burton, The Nightmare Before Christmas, with James and the Giant Peach. Based upon a children’s book by Roald Dahl (Charlie and the Chocolate Factory and Matilda), James and the Giant Peach is a mixture of live-action film and stop-motion animation.

While not as well done as Burton’s Nightmare Before Christmas, James and the Giant Peach is a beautiful film full of flights of fancy and imagination, and Randy Newman’s Oscar-nominated score (“Best Music – Original Musical or Comedy Score”) provides the delightful backdrop and joyous songs to carry the narrative forward. This film is also more for children than Nightmare Before Christmas (which has a large cult following among adults), but the magic of the filmmaking will still impress older viewers.

After a rogue rhinoceros kills his parents, James (Paul Terry) is forced to live with his nasty Aunt Spiker (Joanna Lumley) and Aunt Sponge (Miriam Margolyes), who make him work hard, go hungry, and bar him from having any fun, but when magic causes a giant peach to grow in his aunts’ backyard, James climbs inside the massive fruit to find adventure (at this point the film goes from live action to stop-motion animation). He befriends a group of giant insects that used to live in his yard; the same magic that grew the peach has made them human-like. Together with his new friends, James embarks on a great adventure to the place his parents had planned to take him, New York City.

Paul Terry is strong and engaging as the film’s central character, and the voiceovers are a treat. Listen for Richard Dreyfuss’ delightful turn as the brash and pugnacious Centipede.

7 of 10
A-

July 3, 2005

NOTES:
1997 Academy Awards, USA: 1 nomination: “Best Music, Original Musical or Comedy Score” (Randy Newman)

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