Reviews, Reports + Comments

Monday, June 25, 2012

Review of film: “MADAGASCAR 3: EUROPE’S MOST WANTED”


 
2012, 06-21:


Review of film:  MADAGASCAR 3EUROPE’S MOST WANTED



I very much ENJOYED the previous versions of this animated-film series, as indicated by my posted review of the 2nd in the series (as seen at = http://voice-of-film.blogspot.com/2011/02/review-of-film-madagascar-escape-2.html )…

...  I saw this 93-minute film (directed by people such as ERIC DARNELL & TOM McGRATH) in “regular2-D…

…  It brings back the main characters from the last film:  now-fully-grown LION Alex (voiced by BEN STILLER), GIRAFFE Melman (DAVID SCHWIMMER), HIPPO Gloria (JADA PINKETT SMITH), & their nutty ZEBRA friend Marty (CHRIS ROCK)…

…  Also returning are 3 natives of the island of Madagascar--  self-important ring-tailed LEMUR “King” Julien XIII (SACHA BARON COHEN), overweight big-eared AYE-AYE lemur Maurice (CEDRIC THE ENTERTAINER), & a small MOUSE LEMUR named Mort (ANDY RICHTER)…

…  Also in the cast are the PENGUINS, led by Skipper (TOM McGRATH), 2nd-in-command tall KOWALSKI (CHRIS MILLER), & others…

…  The gist of the story is, the main characters want to get back to their zoo home in NEW YORK CITY, & feel the only way they can do that is via traveling by way of EUROPE (hence the name)… 


…  Since they are “illegal” immigrants, they are constantly pursued by a French POLICE-type woman named Captain Chantal Dubois (voiced by FRANCES McDORMAND)…

…  To try to flee from the “authorities”, the characters try to join a traveling CIRCUS.  The leader of that group is a TIGER named Vitaly (BRYAN CRANSTON).  David starts to fall for that show’s JAGUAR named Gia (JESSICA CHASTAIN)…

…  Also in the circus is an optimistic Italian SEA LION named Stefano (MARTIN SHORT), & a bike-reading BEAR named Sonya (FRANK WELKER) who becomes a “temptation” to Sacha....    

…  The action in the movie is based about the main characters trying to escape from Captain France’s clutches, mainly by learning how to be CIRCUS performers (which they never were before)…

…  While the trailers for the movie made it look quite good, the film turned out to be considerably BETTER than that:  As I said about the # 2 film, the animation comes across with wonderful colors & creativity...

...  As in the previous film, the characterizations are unusually well done, immersed with lots of nutty humor, fine “SPECIAL-EFFECTS”, clever little touches & “relationships”, believability and individuality

…  Accordingly, because it effectively gave the PUBLIC good reason to make it a film it “WANTED” to see, I’m rating this ENJOYABLE excursion at 8.75 of 10 stars…


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Review of movie: “PROMETHEUS”



2012, 06-20:

     
Review of movie:  PROMETHEUS


Regular readers of this probably know that I’m very FOND of sci-fi films, & especially if they’re really WELL-DONE--  as this RIDLEY SCOTT pre-quel to “ALIENS is:

  Scientists Charlie Holloway (LOGAN MARSHALL-GREEN) & Elizabeth Shaw (NOOMI RAPACE, from the original Swedish version of “Girl With The Dragon Tattoo”) have discovered strangely-similar signs of “ALIEN” visitation in artwork done by various civilizations on earth…

  They are hired by skeptical / tough businesswoman Meredith Vickers (CHARLIZE THERON) to lead an exploration to try to find the original “SOURCE” of the drawings out in the “alien” world…

  Helping on the quest is the ship’s captain, Janek (IDRIS ALBA), & especially an android-like character named David (MICHAEL FASSBENDER) who in-effect “controls” the basic technology on the spaceship…

  In time, they arrive on a planet that seems to hold the “SECRETS” to the drawings, &, in-effect, the “key” to the “ORIGINS” of humanity on Earth (& possibly elsewhere)…

  Various earthlings & “other” creatures (such as Peter Weyland, played by GUY PEARCE) have various divergent “agendas” during the trip, & we soon see what PROBLEMS that can cause…

  Will the explorers FIND the “source” of humanity?...  If so, will they be “pleased” what they discover, or will it prove to be a “THREAT” overall?...

  I saw the 2-D version, & found the conception, set-designs & especially the SPECIAL-EFFECTS to be jaw-droppingly EXCEPTIONAL

 This is not a “perfect” film in all ways (& that it’s unclear what “causes” certain problems the earthlings encounter, etc.)--  but, overall, I found it to be EXCELLENTLY acted & designed, EXCITING, thought-provoking & a real DELIGHT to experience…

  Accordingly, I’m rating this at 9.00 out of 10 stars for sci-fi lovers…


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Review of episode 1 re: “DALLAS” -- the NEW “rebooted” TV series on TNT




2012, 06-20:


Review of episode 1 re:  DALLAS --  the NEW “rebooted” TV series on TNT



In 1978, my character-actress friend IRMA P. HALL (“Big Mama” in “SOUL FOOD”, the “Lady” in Tom Hanks’ “THE LADYKILLERS”, etc. =  irmaphall.com) appeared on TV as a MAID at the home of a rich TEXAS family named the “Ewings” (as seen in the photo below)…


…  That original TV series was a PHENOMENON in the annals of American TV, running all the way until 1991 (with 356 episodes)…

…  After years of “promises”, America has finally been given a “NEW” version of “DALLAS”, featuring some of the original stars (such as LARRY HAGMAN as J.R. Ewing & PATRICK DUFFY as his brother Bobby)…

…  But, the main “thrust” of the show is to introduce us to the CHILDREN of those stars, namely, JOSH HENDERSON as JR’s evil son John Ross, & JESSE METCALF (from “Desperate Housewives”) as Bobby’s “good-guy” environmentally-friendly adopted son Christopher…

…  I went to see an advance screening of the new show, & found it very well-done, with the usual “melodramatic” underpinnings of the original & even MORE mingled “twists & turns” & machinations in one episode than the “old” one…


…  There was a very interesting Q&A following the show, with JESSE & BRENDA STRONG (who plays his mother Ann Ewing), as shown in a PHOTO I shot below…   


...  I personally asked JESSE a question, the answer to which is planned for inclusion in part of one of my upcoming “FOLLOW-UP articles on being an ACTOR

…  Overall, I’d rate the show like 8.00 out of 10 stars…


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Sunday, June 24, 2012

Review of movie: “ROCK OF AGES” = No matter your “Age”, TOO MUCH “ROLL” with ineffective “ROCK”



2012, 06-20: 

Review of movie:  ROCK OF AGES” =  No matter your “Age”, TOO MUCH “ROLL” with ineffective “ROCK”




COMMENTS on some RECENTLY-seen films

As mentioned previously, since the end of 2011, I’ve been involved in a number of SPECIALprojects which have taken a great deal of time & effort…  That work has been interrupted by things such as a “CRASHED” computer with various defects that required “rebuilding” & renovating, etc.…

  Recently, because it’s so extensive, I’ve “divided-up” part of my already-written work on the HISTORY of FILM FESTIVALS, & posted a “Section 1” on that subject at = http://voice-of-film.blogspot.com/2012/06/report-on-history-part-2-re-history-of.html ... 

  In time, I want to post the OTHER sections on the subject, along with an in-process follow-up to my previously-posted info on “How” to be an “EXTRA” in films (which can be seen at = http://voice-of-film.blogspot.com/2012/06/report-on-how-to-be-extra-in-films.html ...  )…

  At this point, because of limited TIME to finish things, I’m going to make some “THUMBNAIL” type of “commentaries” re some recently-seen (& in some cases purposely-avoided) movie / TV projects…  The FIRST of those thumbnails is below, concerning ROCK OF AGES:

This is a movie I found sadly DISAPPOINTING:

  The film had some to-me GOOD elements, such as:

  The unusual & periodically-impressive (tho admittedly purposely-“limited” characterization) by TOM CRUISE as an old-time rock “god” Stacee Jaxx;  a strong performance by the “up-&-coming” rock-star character played by DIEGO BONETA (currently filming the TV series “UNDEREMPLOYEDin Chicago);  & some good MUSICAL numbers from the 1980’s (generally by the guys;  JULIANNE HOUGH’s numbers are UNFORTUNATELY recorded in a “wispy” way making it so she usually comes across as “actively” LIP-SYNCHING)…

  The film is (in my opinion) crippled by a series of HORRIBLE choices: 

  Its writing & “set-up” is often POORLY done:  while her acting is OK, having CATHERINE ZETA-JONES play a character (a mayor’s wife named Patricia Whitmore) “railing” against the “evils” of rock ‘n roll in 1987 --  which is like 20-30 years “TOO LATE historically – makes her come across as way “out-of-place”, extreme & UNBELIEVABLE 

  Using periodic musical numbers as “introductions” to plot “points” also comes across as “OLD-fashioned” & ineffective;  it would’ve been “smoother” to use plain DIALOGUE in many of those spots…

  It may’ve been a “lark” for ALEX BALDWIN & RUSSELL BRAND to PLAY their characters involved with running the night-club.  But, using such “well-known” people in OVER-THE-TOP & dreadfully-written characters with a plot “twist” makes their personalities especially IMPLAUSIBLE & a (“pardon”-the-pun) DRAG on what there is of the story-line…

  I’m one of those “rare” people who tends to LIKE musicals in general.  The director of this (ADAM SHANKMAN) did a FINE job with the energetic & enjoyable HAIRSPRAYin 2007--  but THIS movie is a MISH-MOSH, & I’m being quite generous in rating it 5.50 out of 10 stars (tho lovers of ‘80’s music might rate it a point or so higher)…


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Report on: History PART 2, re the HISTORY of FILM FESTIVALS = Section # 1 on subject, covering Fests in VENICE, CANNES, & CHICAGO (incl. info on its UPCOMING Fest # 48)




2012, 04-29;  updated 06-24 after computer crash, etc.:


Report on:  History PART 2, re the HISTORY of FILM FESTIVALSSection # 1 on subject, covering Fests in VENICE, CANNES, LOCARNO, KARLOVY VARY, EDINBURGH, MELBOURNE, BERLIN, COLUMBUS, SAN FRANCISCO, VIENNA, NEW YORK, & CHICAGO (incl. info on its UPCOMING Fest # 48)


 
Previously, in History PART 1, I covered the HISTORY of MOVING-IMAGES [ = FILMS]:  I gave the background on the INVENTIONS & GROWTH in the world of movie-making (as seen at http://voice-of-film.blogspot.com/2012/04/report-on-part-1-of-history-of-moving.html )...

...  As I said in Part 1, the growth of appreciation for films in the early 20th Century helped lead to the development of groups who gathered to value films...

...  In the 1920’s, as silent movies became increasingly wide-ranging in their subject matter, variety, & levels of quality, people set up various “cine-clubs” and film societies to celebrate and foster further UNDERSTANDING & ADMIRATION of certain genres, types (documentaries, “avant-garde”, etc.), & of specific directors and films...

...  It’s been stated that some of these groups were started in part to try to fight against things the people DIDN’T like, such as the growing power of the “HOLLYWOOD” (American) movie industry...

...  Such movements arose in Europe (especially France), Brazil, the U.S. and other places...

...  In time, the group gatherings became a place to share ideas and promote the rise of certain FILMMAKERS (who at times were MEMBERS of such groups as a means to learn more about the craft & to “network” as a means of furthering their movie-making CAREERS)...


...  Since late 1922, Italy was run by a nationalistic Fascist dictator named BENITO MUSSOLINI.  He was an enthusiastic lover of movies, & saw them as a possible instrument for PROPAGANDA & to improve public relations...

...  He set to work at trying to build-up the ITALIAN film industry, by pouring government MONEY into it and heavily taxing the dubbing of foreign films (thereby hindering their being exhibited)... 

...  To further his goals, Mussolini cast his “eyes” at the “Biennale” exhibition in the city of VENICE.  Since 1895, the city held that show which highlightied contemporary ART every two years in odd years.  The Fascist government took the event away from the city itself in 1930 & moved under its own control...

...  In 1932, Mussolini supported having the Biennale add an “International Exhibition of Cinematographic Art”--  which thus became the world’s first real FESTIVAL of film... 

...  Ignoring the power POLITICS actually behind the Exhibition, it was stated that the intention of the event was to let "the light of art to shine over the world of commerce"...

...  That festival featured entries of 25 films from 7 countries (including the premiere of Rouben Mamoulian’s “Dr. Jekyll and Mr. Hyde”)...     

...  The Festival became a yearly event in 1935, & there was an annual award for Best ITALIAN film...  It was probably more than “coincidence” that, between 1936 & 1942,  the best Foreign film award went to Nazi GERMANY four times (including to Leni Riefenstahl)--  given that Mussolini was allied with its dictator HITLER at that time...

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...  The politics inherent in the choices eventually caused WALKOUTS by British, American & French members in the festival, & led to France starting its OWN film festival (via a group which utilized film pioneer LOUIS LUMIÈRE [mentioned in PART 1 of my Report] as its President)...

...  Thus, with money from the French government, an International Film festival started being held in the Mediterranean Riviera city of CANNES as of September, 1939...  MGM in Hollywood happily sent a bunch of its stars to the event...

...  Ironically, only ONE film was able to be shown at the Fest--  since things were called-off due to the start of WORLD WAR II caused by Germany’s suddenly invading Poland... 

...  The Cannes fest wasn’t re-started until 1946, AFTER the War--  & Italy’s Venice film festival ALSO restarted that year (after a 3-year closure)...

...  Cannes had some problems with subsequent Festivals, due to a lack of participation by certain countries such as the Soviet Union & England...  It was only as of 1951 that you could “rely” on Cannes holding its Festival:  it changed its run-dates to Spring time, & became the most prominent & ESTEEMED International film festival on the planet...

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...  With the growing popularity of movies, OTHER cities and groups started their OWN Film Festivals, including the following:

1946:  Festival del film in LOCARNO, Switzerland (held in August in an open-air screening place;  known for discovering newtrends” & directors).

1946:  KARLOVY VARY (Carlsbad) Int’l. Film Festival in the Czech Republic (held in July;  after running in alternating years with a MOSCOW Film Festival for almost 40 years, as of 1994 [with the full independence of Czechoslovakia], it starting running YEARLY on its “own”)... 

...  This is an “A” level festival;  it screens documentaries, but shows only feature films that have NOT screened at any OTHER international Festival...  It also holds seminars on European films...

1947:  EDINBURGH Int’l Film Festival, in Scotland;  held each June, it is the oldest film Festival continually-run (without some interruption)...  It shows shorts, documentaries, animated films, feature films, and even music videos...

 1951:  MELBOURNE Int’l. Film Festival (MIFF), in Australia.  It tends to be held in late July & early August, & in 2011 showcased around 400 films from approximately 50 countries...

...  It’s affiliated with 3 OTHER Festivals held there, including the Int’l. Animation Festival (MIAF), the Queer Film Festival (MQFF) and the Underground Film Festival (MUFF)...  One bit of trivia:  in 1906, Melbourne was the setting for the first-ever full-length FEATURE film, “The Story of the Kelly Gang”...


1951:  BERLIN Int’l. Film Festival, in Germany (founded in what was then West Berlin at the urging of a Film officer from the USA).  It’s held every February, & is considered the film Festival having the world’s largest public ATTENDANCE (with nearly 500,000 admissions)...

...  It’s held in conjunction with its European Film MARKET (EFM), a trade fair designed to in-effect “match”-up financiers, co-production agents, producers, distributors & film BUYERS... 

...  There’s also a TALENT Campus affiliated with the Festival.  In-effect a kind of round-table for “up-&-coming” film-makers, it features workshops & lectures held over a week...

1953:  COLUMBUS Int’l. Film & Video Festival, in Ohio.  It’s also known by the name The CHRIS AWARDS”, &, rather than specialize in feature films, it highlights contests in business, documentary, educational & informational films...


1957:  SAN FRANCISCO Int’l. Film Festival (SFIFF) in California, which is held in March...  This was set-up emphasizing foreign films (especially feature-length dramas), & introduced a number of famous overases directors to American audiences, including Satyajit Ray from India & Akira Kurosawa from Japan...

...  It also features VIDEO productions, & shows around 150 films from 50 or so countries over a 2-week period.  This Fest particularly seeks foreign films that have not yet gotten distribution deals in the U.S...  They claim they’re the oldest continuously-run Festival in the Americas dedicated to FILMS...


1960:  VIENNA Int’l. Film Festival (“Viennale”), held each October in Austria. Info can be found at:  http://www.viennale.at ...

1963:  NEW YORK Film Festival (NYFF), a NON-competitive Fest which features films recommended by the Film Society of Lincoln Center in New York City...  It has various “SIDEBAR” programs which run at the same time as the main Fest...  Since 1997, it’s shown non-narrative experimentalfilms under the name “Views from the Avant-Garde”...


...  Over time, it’s shown numerous “ART” films and documentaries.  It prefers showing a purposely-LIMITED number of films, namely, around 12 or so shorts and around the same number of “quality” features...

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1964:  CHICAGO Int’l. Film Festival (CIFF), in Illinois.  Founded by Michael Kutza (a filmmaker & graphic artist, who still is its Artistic Director), it claims to be North America’s LONGEST-running competitive Film Festival...  It holds its Fest for around 2 weeks, usually in early October... 

...  Using their online archives ( at chicagofilmfestival.com ), I’m going to quote some things (with the emphasis being mine):  “The Festival opened in 1965 at the Carnegie Theater, where King Vidor, Bette Davis, and Stanley Kramer were honored for their contributions to American cinema. Since then, the Festival has grown to become a world-renowned annual event. The Festival is dedicated to fostering better understanding between cultures and to making a positive contribution to the art form of the moving image.

“ ...  The Festival has a rich history of discovering hundreds of ground-breaking directors such as: Martin Scorsese, John Carpenter, Taylor Hackford, Susan Seidelman, Victor Nunez ([all from the] United States); Wim Wenders, Rainer Werner Fassbinder (Germany); Bertrand Tavernier (France); Peter Weir (Australia); Dariush Mehrjui (Iran); Mike Leigh, Alan Parker, Michael Apted, Peter Greenaway (Great Britain); Vincent Ward (New Zealand); Krzysztof Kieslowski, Krzysztof Zanussi (Poland); Dusan Makavejev (Yugoslavia); Victor Erice (Spain); Jan Troell (Sweden); and Maria Louisa Bemberg (Argentina), to name just a few!...”


...  Their 2011 Festival featured 142 feature films, including 20 feature-length documentaries, and 54 short subjects from more than 55 countries.  Mr. Kutza stated this about that Festival (with the emphasis being mine): 

“...  We founded the Festival 48 years ago not only to introduce audiences to the daring work of new filmmakers from around the world but to share with other moviegoers that electrifying sense of discovery. This Festival is really for and about you: the filmmaker. This is the one place where artists and the public come together and engage in a conversation about their number one passion. And as the oldest competitive Festival in North America, your film will compete alongside first-time and established filmmakers.”... 


...  Since it’s in my “home” city, I’ve long been a Member of the Festival & attended & reported on MANY of their films, including fascinating TALKS with many of the directors and stars...

...  You can find Reports & Reviews I’ve done by using the Google search box at the top of the right-hand column of this web-site:  just type in the abbreviation “ CIFF ”, & it will bring up a list of write-ups you can “click” on to view individually...


...  As time has gone on, they’ve expanded their “repertoire” of films--  such as by holding a yearly Black Perspectivesseries (including honoring such important people as directors SPIKE LEE & ROBERT --, actresses IRMA P. HALL (shown below + in other photos over the years) & RUBY DEE), SEMINARS, an encouragement of first-time feature directors, shorts & documentaries, etc...


...  The Festival just recently held a special event to present their “Hugo” awards at a TELEVISION awards ceremony (at which it presented a Career Achievementaward to KELSEY GRAMMAR (famous for the TV comedies “CHEERS” & “FRASIER”, & currently appearing as a Chicago mayor in the dramatic cable-TV series “BOSS”)...


...  Starting in 2003, it started cooperating with various foreign Consulates & cultural attaches in Chicago to present a FREE series of “SUMMER” International films, shown to the public at Chicago’s Cultural Center...

...  Originally, those films were shown from July thru early September.  But, the series proved so popular, it’s been regularly expanded, to the point that this year, they’re showing films from April 11 thru September 29, normally at 6:30 pm each Wednesday, & most are repeated the following Saturday at 2 pm...

...  For example, on May 5, 2012, I attended a screening of the Italian comedy “Chill!” about a lazy 15-year-old male student who is tutored by an older ex-teacher.  The film was introduced by the the screening’s sponsor, Silvio Marchetti of the Italian Cultural Institute of Chicago (who was presented by the CIFF’s Artistic Director, VIVIAN TENG (as shown in the photo below)...


...  The Festival’s affiliated “CineYouth 2012” program will be held May 31 – June 2, & the main Festival # 48 will run from October 11-25 in 2012... 


…  There’s a call for entries to the upcoming main Fest (with an online entry form available at:  http://chicagofilmfestival.com/entries_and_requirements/entry_form/ ), & here’s what they say about their plans for 2012:

COMPETITIONS AND PROGRAM SECTIONS =


Films are programmed for public screening in a diverse selection of competitions and categories. Each film is presented in one or more of the following sections and is placed at the discretion of the programming committee.

After Dark Competition:

Gathering genre films from horror and thrillers to edgy animation and dark comedy, this competitive section showcases films not often presented in the Festival context for the chill seekers and lovers of camp.


Black Perspectives:


Now in its 16th year, this program, created through a collaboration with director Spike Lee, showcases films that celebrate the richness and diversity of black cultures around the world and the filmmakers responsible for them.

Cinema of the Americas:

From the Bahamas and Panama to Brazil, Chile, and Argentina, this program spotlights the fresh and vibrant work of emerging and established filmmakers from South and Central America, Mexico, and the Caribbean.


City & State:

Illinois has a rich filmmaking tradition second to none. This program showcases the best features, documentaries, and short films with their roots right here in Illinois.


Docufest:

Real stories, real people, real emotions. This selection of international documentaries competing for the Gold Hugo go beyond the headlines in telling those true stories that surprise, entertain, and challenge us. To be eligible for the competition, films may not have U.S. distribution.


International Feature Film Competition:

Representing a wide variety of styles and genres, these works compete for the Festival’s top honor, the Gold Hugo— as well as awards for best actors, director, and writer— in North America’s longest-running competitive film festival.



New Directors Competition:

This selection of first and second feature films receiving their U.S. premiere in Chicago celebrates the spirit of discovery and innovation upon which the Festival was founded. To be eligible for the competition, films may not have U.S. distribution and must be a U.S. premiere if selected for the Festival.


OUTrageous:

From the edgy to the tender, these bold LGBT-themed films fearlessly exhibit new artistic perspectives on sexuality.


ReelWomen:

Spotlighting the contribution that female writers and directors continue to make to film around the world, this program features films as diverse as the women who made them.


Short Film Competition:

Annually showcasing the best short films from around the globe, this competition highlights the work of both upcoming artists and established masters in the short subject form. The winner of the Short Film Competition is eligible to be considered by the Academy of Motion Pictures Arts and Sciences for the Academy Awards®.


Sport on Screen:

Sport on Screen celebrates athleticism on film in one of the world's greatest sports cities. The Chicago International Film Festival has a long history of showcasing films from around the world featuring strong sports themes, and this section will bring together audiences, united in their passion for sport and cinema. The program will include compelling narratives driven by the excitement, challenge, and intrigue of sport as well as provocative documentaries presenting genuinely great (and not-so-great) moments in sport in both the short film and feature-length forms. 


World Cinema:

A mix of classic narratives and cutting edge forms, this program offers a snapshot of the contemporary cinematic landscape. Serving up the sights, sounds and stories from cultures around the globe, the films represent the latest from established masters, festival award winners, box-office hits, and hidden gems.

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The already-partially-completed continuation of my Report on the HISTORY of Film FESTIVALS is planned for a FUTURE time…


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