Written and directed by Charles Burnett, To Sleep with Anger is the story of a Southern gentleman who arrives at the home of an old friend in South Central Los Angeles where his presence would shape the foundation and life of his friend and his family. The film is an exploration of a family whose attempt to retain their ideas amidst a simmer of tension within the family that is heightened more by their visitor. Starring Danny Glover, Paul Butler, Mary Alice, Carl Lumbly, Vonetta McGee, Richard Brooks, and Sheryl Lee Ralph. To Sleep with Anger is a haunting yet intoxicating film from Charles Burnett.
The film revolves around a troubled family who are visited by an old family friend from the South whose presence would only add a lot of turmoil and chaos into their lives as well as bring in a taste of the old South. It’s a film that explores a family whose life that is steeped in values and tradition that is being tested through changing times as the added presence of an old friend only stir a pot that is already boiling. Charles Burnett’s screenplay opens with a look into the life of Gideon (Paul Butler) and Suzie (Mary Alice) as they tend to their home with a garden and chicken coop in the backyard while they watch their youngest grandson in Sunny (DeVaughn Nixon) with the help of their eldest granddaughter Rhonda (Reina King). They have two adult sons in Junior (Carl Lumbly) who is married to Pat (Vonetta McGee) who is expecting another child as they’re Rhonda’s parents while the youngest son known as Babe Brother (Richard Brooks) is Sunny’s father and is married to the real estate agent Linda (Sheryl Lee Ralph). Junior is more responsible while Babe Brother is irresponsible as he barely works and often goes out late at night.
The arrival of Harry (Danny Glover) is a surprise to Gideon and Suzie as he arrives traveling from Detroit to Oakland and decided to stop by to visit them. Yet, his visit would also have him bring in ideas of the old South ranging from corn liquor, blues music, and all sorts of things where he would reminisce with Gideon and give Babe Brother advice on money. Many of Gideon and Suzie’s friends would arrive to see Harry with some feeling uneasy about his presence as Linda who admittedly isn’t entirely fond of Babe Brother’s parents is troubled more by Harry and his influence on Babe Brother. Even in the film’s second half where Harry’s presence is already created this sense of discord and atmosphere that becomes far more unsettling as the story progresses towards its third act with Suzie being aware of the darkness that is lurking in Harry.
Burnett’s direction is definitely mesmerizing in terms of the imagery that he presents where it opens with these abstract images of fire where a bowl of plastic fruit is being burned while a man on a chair is also on fire. Shot on location in Los Angeles and in the South Central area, the film does play into this world that is different from the modern world as much of it is shot in the suburbs with some locations around train station tracks and at a small rocky creek. While there are a few wide shots to establish some of the locations as well as create some recurring images such as a kid throwing pigeons around the neighborhood or another boy trying to play the trumpet correctly. Much of Burnett’s direction is emphasized on close-ups and medium shots as it play into multiple characters in a room or scenes that just involves Harry as he is alone either minding his own business or plotting something big. Still, Burnett showcases this culture of old American Southern culture during a party scene as well as a few moments involving Harry and his friends as it harkens back to a moment in time when it was simple but also dangerous.
That air of danger that looms throughout the film is what makes the drama so intriguing and why Babe Brother is attracted to the wild world that Harry offers. It is a world that is unpredictable but also enticing in the kind of rewards that Harry would get and such but also a taste that is definitely disconnected from the modern world. The atmosphere of the film through Burnett’s direction definitely becomes uneasy as it relates to Gideon being unexpectedly ill while the tension involving Babe Brother and Junior starts to increase with the former already becoming less responsible and more troubled following a walk with Harry through the woods. The film’s third act which involves a rainy night and Babe Brother’s rash decision to join Harry back to the South would be the tipping point yet it would be followed by not just revelations about the family but also a world that Gideon and Suzie are forced to confront that play into some of the darkest aspects of their old life. Overall, Burnett crafts an eerie yet rapturous film about a family’s life be shaken by a mysterious visitor.
Cinematographer Walt Lloyd does excellent work with the film’s cinematography as it is largely straightforward with its emphasis on low-key lighting for some scenes at night including the interior settings while a lot of the daytime scenes are presented in a more natural approach. Editor Nancy Richardson does brilliant work with the editing as it is largely straightforward with some stylish montages to play into the film’s entrancing tone as it relates to the recurring imagery while also help to play up the air of dramatic suspense. Production designer Penny Barrett and art director Troy Myers do fantastic work with the interior of the homes of Gideon and Suzie along with their chicken coop and garden outside of their home as well as the more modernist interiors of the home that Linda and Babe Brother live in.
Costume designer Gaye Shannon-Burnett does nice work with the costumes as it is largely straightforward with Linda wearing more posh-like clothing for her job while Harry often wears a suit and a fedora. The sound work of Patrick M. Griffith is terrific in capturing the atmosphere of some of the locations as well as the sound of the trumpet from the neighborhood boy and the way music is presented on location. The film’s music by Stephen James Taylor is wonderful for its mixture of jazz and blues that play into the dark and simmering tone of the film as well as playing up the dramatic suspense that occurs throughout the film while music supervisor Budd Carr creates a soundtrack that features a mixture of music ranging from blues, gospel, jazz, and R&B from Sister Rosetta Tharpe, Bobby Bland, Little Milton, and Z.Z. Hill.
The casting by Gail Levin and Lauren Lloyd is superb as it feature some notable small roles from Jimmy Witherspoon as a friend of Gideon and Suzie who sings a blues classic, Wonderful Smith as the local preacher, Greta Brown as the neighbor Virginia, Davis Roberts as a friend of Harry in Okra, Julius Harris as an old friend of Harry in Herman, Sy Richardson as Hattie’s husband Marsh who has a grudge towards Harry, DeVaughn Walter Nixon as Babe Brother and Linda’s young son Sunny who often observes everything around him, Reina King as Junior and Pat’s daughter Rhonda, and Ethel Ayler in a terrific performance as family friend Hattie who had a past with Harry as she is extremely uncomfortable with his presence. Vonetta McGee is fantastic as Pat as Junior’s pregnant wife who is wary of Harry while is often the mediator for everyone involved. Carl Lumbly is superb as Junior as Gideon and Suzie’s eldest and more responsible son who is always there to help as he also tries to get his younger brother to help out more and tell him to grow up. Richard Brooks is excellent as Babe Brother whose real name is Samuel as a young man that is unsure about his role as he often goes out where he is seduced by the tumultuous would that Harry has to offer.
Sheryl Lee Ralph is brilliant as Babe Brother’s wife Linda as a real-estate agent who doesn’t feel like she belongs with Babe Brother’s family yet becomes more disturbed by Babe Brother’s time with Harry who makes her uneasy forcing her to get the help from Babe Brother’s family. Paul Butler and Mary Alice are amazing in their respective roles as Gideon and Suzie as a couple who live in South Central trying to live good lives until Harry’s arrival as the former copes with becoming ill while the latter is a more reserved and quiet person who slowly realizes what kind of trouble that Harry brings. Finally, there’s Danny Glover in a tremendous performance as Harry as this charming yet devilish Southern gentleman who arrives unexpectedly as he brings in traditions and old ideas of the South where he adds to an already troubled situation involving Gideon and his family. Glover’s performance has this air of danger whenever he walks into a room as he’s also a superstitious man that holds on to these old ideas as well as carry a knife that just adds to the level of discomfort he brings into a room as it is an iconic performance from Glover.
To Sleep with Anger is a spectacular film from Charles Burnett that features an incredible performance from Danny Glover. Along with its ensemble cast, chilling music score and soundtrack, themes of family dynamics, tradition, and old ideals. It’s a film that explore a family whose visitor arrives as this embodiment of temptation and evil as well as be a man of ambiguity into his intentions. In the end, To Sleep with Anger is a sensational film from Charles Burnett.
Charles Burnett Films: Killer of Sheep - My Brother's Wedding - (The Glass Shield) – (The Annihilation of Fish) – (Namibia: The Struggle for Liberation)
© thevoid99 2019
Directed by Jake Szymanski and teleplay by Murray Miller from a story by Miller and Andy Samberg, Tour de Pharmacy is the story of the infamous 1982 Tour de France in which five of its top contenders did whatever it took to win while raising awareness of steroid use. Told in a documentary style, the film chronicles the notorious event as well as the people who were involved in that race as it is narrated by Jon Hamm. Starring Andy Samberg, Orlando Bloom, Freddie Highmore, John Cena, Daveed Diggs, Jeff Goldblum, Julia Ormond, Dolph Lundgren, Danny Glover, James Marsden, Will Forte, Maya Rudolph, Kevin Bacon, Phylicia Rashad, J.J. Abrams, Adewale Akinnuoye-Agbaje, Mike Tyson, Joe Buck, Chris Webber, and Lance Armstrong. Tour de Pharmacy is a wild and outrageous film from Jake Szymanski.
In the 1982 Tour de France, one of the most notorious cycling races occurred as many of the riders participating in the event were all taking some kind of drugs in which five of them were able to continue as this documentary on these five racers are profiled in this film as four of them talk about the race. The film is a mockumentary about a fictional moment in racing as it’s told in a documentary style similar to what HBO sports does as well as ESPN’s 30 for 30 series. The film follow the events in the 1982 Tour de France in which many of its participants paid the then-UCI president Ditmer Klerken (Kevin Bacon) $50,000 in exchange to not be tested as Klerken would use the money to pay off his massive credit card debts. Among those that didn’t pay Klerken were the five riders who would be able to continue the race till the end as the ones who did pay Klerken were all disqualified.
Among these five participants who would continue the race are the American cyclist Slim Robinson (Daveed Robinson/Danny Glover), the Nigerian cyclist Marty Haas (Andy Samberg/Jeff Goldblum), the Austrian cyclist Gustav Ditters (John Cena/Dolph Lundgren), the French cyclist Adrian Baton (Freddie Highmore/Julia Ormond), and the Italian cyclist JuJu Peppi (Orlando Bloom). Four of them would talk about the event that happened many years ago as Baton was really a woman disguised as a man so she can participate in the Tour de France as she was also on some drugs. Murray Miller’s script doesn’t just go into this back-and-forth narrative of the riders talking about the event but also the event itself as it also features commentary from an anti-doping agency head in Stu Ruckman (Nathan Fielder) as well as filmmaker J.J. Abrams and boxing legend Mike Tyson. The latter of which reveals his own original aspirations to be a cyclist until someone stole his bike and he beat the shit out of the guy.
Jake Szymanski’s direction definitely owe a lot to not just the documentary style of most documentary sport films but also has elements of French New Wave to play into France’s own coverage of the sport but also 1980s television. Notably as Szymanski uses some grainy video footage of the race which was covered by the BBC and its reporter Rex Honeycutt (James Marsden) as many of the compositions in the film are straightforward. The present-day scenes with the older bikers and some of the people interviewed including an anonymous racer (Lance Armstrong) as that interview is played for laughs in trying to conceal the identity of this racer. The film also play into some of the outrageous moments as it’s narrated by Jon Hamm that include a few animated sequences including one story about red blood cells that is created by a controversial animator in Victoria Young (Phylicia Rashad). Szymanski’s direction becomes more outrageous as the story goes on whether it’s Ditters on roid-rage or Peppi having to urinate while riding. It all plays into craziness of what goes on in the Tour de France. Overall, Szymanski creates an over-the-top yet exhilarating film about one of the most notorious races in the history of Tour de France.
Cinematographer Craig Kief does excellent work with the film’s cinematography from the clear and stylish look of the present-day interviews to the grainy VHS look of the race itself. Editors Michael Giambra, Daniel Reitzenstein, and Bijan Shams do amazing work with the editing with its usage of jump-cuts for the French coverage as well as some of the more straightforward elements in the interviews. Production designer Almira Corey, with set decorator Izzy Ross and art director Jen Dunlap, does fantastic work with the look of the set for the interviews as well as a massage room for the five riders to be in. Costume designer Romy Itzigsohn does some nice work with the look of the spandex costumes of the riders as well as the clothes they wear when they’re older.
The hair/makeup work of Annie Cardea, K.T. Chandler, Megan Nicholl, and Adina Sullivan do brilliant work with the look of the characters from the fake-drawn mustache of the young Baton to the crazy hairstyles of some of the characters including Peppi’s blond goatee. Visual effects supervisor Daniel Barone does terrific work with some of the visual effects in some of the photos as well as the look of the VHS footage. Sound designer Ken Cain does superb work with the sound in the way some of the fighting is presented as well as the VHS tapes. The film’s music by Gregory James Jenkins is wonderful as it play into the period of cheesy music that often accompany sporting events during the 1980s.
The casting by Susie Farris is great as it feature appearances from Joe Buck, Mike Tyson, filmmaker J.J. Abrams, and basketball legend Chris Webber as themselves talking about the event while Lance Armstrong is hilarious as the anonymous racer who talks about all of the things that happened at Tour de France that involves doping. Other notable small roles include Phylicia Rashad as the controversial animator Victoria Young, Maya Rudolph as a cycling magazine editor who lusts for cyclists, Will Forte as a French policeman who accidentally injects himself with amphetamines, and Kevin Bacon in a terrific performance as the former UCI president Ditmer Klerken who would waste all of his money on things that would amass into a big credit card debt. Nathan Fielder is fantastic as an anti-doping agency head who reveal what effects the drugs would do while Adewale Akinnuoye-Agbaje is superb as Hass’ childhood neighbor who really hates Hass. James Marsden is excellent as the BBC reporter Rex Honeycutt as the man covering the event as well as doing what he can to interview the cyclists during the race.
Daveed Diggs and Danny Glover are brilliant in their respective roles as the younger and older version of Slim Robinson as the nephew of Jackie Robinson who was eager to become the first black cyclist to compete at Tour de France with Diggs being quite brash while Glover is more reserved yet both are very funny. Dolph Lundgren and John Cena are amazing in their respective roles as the younger and older version of Gustav Ditters with Lundgren as a more calm yet enjoyable approach as the older Ditters yet it is Cena who is a fucking riot as the overly-excited and roid-rage version of Ditters who would also use a mysterious substance. Freddie Highmore and Julia Ormond are marvelous in their respective roles as the younger/older version of Adrian Baton with Highmore as a young woman pretending to be a man with a drawn mustache and fake boobs while Ormond is just very straightforward as Adrianna Baton though where she’s interviewed is very surprising.
Andy Samberg/Jeff Goldblum are remarkable in their respective roles as the younger and older version of Marty Hass with Samberg as this very outrageous young version who is trying to prove that he’s a true African when he’s really hated by actual Africans while Goldblum is just funny in how laid-back he is. Finally, there’s Orlando Bloom in a hilarious performance as Juju Peppi as the Italian cyclist who is considered the best as he is willing to do whatever he can to win as Bloom just play him for laughs and delivers in every way.
Tour de Pharmacy is a phenomenal film from Jake Szymanski. Not only is it a hilarious mockumentary short about the world of doping in cycling but also play into the things that are just shocking but in a very funny way. In the end, Tour de Pharmacy is a sensational from Jake Szymanski.
Related: 7 Days in Hell
© thevoid99 2017
Originally Written and Posted at Epinions.com on 2/25/08 w/ Additional Edits & Revisions.
Based on the Broadway musical by Tom Eyen and Henry Krieger, Dreamgirls is the story of three young women from Detroit trying to make it as singers as they go from singing backup for a popular R&B singer to becoming a popular singing group with the help of a ruthless and sleazy car salesman who becomes their manager. Written for the screen and directed by Bill Condon, the film is an exploration of three women trying to succeed as they would pay a major price for their success where two of these women would embark into their own individual journeys. Starring Jamie Foxx, Beyonce Knowles, Eddie Murphy, Danny Glover, Anika Noni Rose, Keith Washington, Sharon Leal, Hinton Battle, and introducing Jennifer Hudson. Dreamgirls is a sensational and lively film from Bill Condon.
It's 1962 in Detroit as three girls named Effie White (Jennifer Hudson), Deena Jones (Beyonce Knowles), and Lorrell Robinson (Anika Noni Rose) are about to perform as the Dreamettes at a talent competition in a Detroit theater. Along with Effie's brother C.C. (Keith Robinson) who is their songwriter, they hope to win big. Instead, they’re defeated as they managed to catch the attention of an ambition Cadillac dealer named Curtis Taylor Jr. (Jamie Foxx) who decides to give them a break. After talking to a man named Marty (Danny Glover) who is the manager to popular R&B singer James "Thunder" Early (Eddie Murphy), the Dreamettes become his backup group. The married Early falls for Lorrell as they tour around the country in African-American theaters. Hoping to break into the mainstream, Curtis decides to employ C.C. to write a song for Early called Cadillac Car that becomes a R&B hit. Unfortunately, the song was then remade into a pop song by a white act that steals its thunder. Deciding to resort to payola with help from Wayne (Hinton Battle), Curtis manages to get another C.C. White-penned song Steppin' To The Bad Side for James Early that becomes a smash hit. Forming a new label called Rainbow Records, Curtis hopes to make the label big with James as his premier act.
With Marty out of the picture, Curtis reinvents James as a crooner by premiering his act at a Miami nightclub. Curtis then notices that a young white man taking a look at Deena. Deciding to break the Dreamettes from James to form their own act. He makes a decision to have Deena sing lead instead of the full-figured Effie, who has a superior voice. Effie reluctantly goes with the move at the insistence of everyone including C.C. Now called the Dreams, they become a huge hit all over the world as their success in the mid-60s nearly rivals the popularity of the Beatles. Yet with success mounting, Effie becomes frustrated as she is convinced that Curtis, who is her boyfriend, is sleeping with Deena. The mounting tension finally leads to Effie being kicked out of the group and replaced by Curtis' secretary Michelle Morris (Sharon Leal) for a New Years Eve performance at a Las Vegas nightclub.
Eight years later in 1973, Deena Jones and the Dreams become a huge success but Deena suddenly finds herself unhappy with her success as Curtis has huge plans to have her star in a film version about Cleopatra. With Rainbow Records now based in Los Angeles, Curtis hopes to go into bigger territory as he has other acts making money for him. Back in Detroit, Effie has now become a single mother with a child named Magic (Mariah I. Wilson) living on welfare with her father Ronald (Alexander Folk) looking on them as he maintains contact with her brother C.C. Effie eventually, swallows her pride as she gets help from Marty to revitalize her career. Back in Los Angeles, C.C. becomes disillusioned with Curtis tampering his music and the direction Rainbow Records is heading. Even as Curtis loses interest in helping James Early's career in which his star has faded and has succumbed to drug abuse, things start to fall apart. C.C. finally leaves Los Angeles to help Effie with her career as he writes a song called One Night Only that starts to climb up the charts in Detroit. Yet, Curtis strikes back when he has Deena and the Dreams to record a disco-version of the song that becomes a smash. When Deena learns what Curtis did and all of the things he's been doing to her, she makes a move that not only helps Effie but also would find inspiration for her own individuality.
The film is essentially inspired by Motown and the rise of the Supremes that included some legendary myths about Diana Ross' affair with Motown's Berry Gordy who chose her to sing lead in the Supremes instead of Florence Ballard who tragically died in the 70s after being kicked out of the group in the late 60s. While screenwriter and director Bill Condon doesn't make any actual references to that truth, the film is really a focus on these three talented young women who become a singing group and hoping to make it as well as the harsh reality that is the music industry. While the film's sense of glossy lavishness and high-production musical numbers might not be for everyone. It still helps carry the story while underneath all those songs is a study of greed in the industry that is now becoming more relevant than ever as the music industry itself, is starting to shoot itself in the foot.
Yet, Condon's focus on the Dreams rise from pop to disco as well as other characters including James Early and Curtis Taylor Jr. Condon's direction plays like a true musical with amazing musical numbers that are often either a band-like performance, a recording, or some kind of lavish production. While Condon lets the audience know that a musical number is coming, it doesn't come out forced and flows naturally as if it's part of the story. The use of wide shots to emphasize the lavish productions, dance numbers, and performances works to convey that feel of the musical. The result is a solid film from the mind of Bill Condon.
Cinematographer Tobias A. Schleissler does an excellent job in the film's look from the stylish lighting of the musical performances to the colorful exteriors of the locations including Detroit and Los Angeles. Editor Virginia Katz does a solid job in the film's cutting without resorting to fast-paced cutting styles in most mainstream features. Instead, Katz maintains the film's spontaneity for its musical performances. Production designer John Myhre and set decorator Nancy Haigh do a fantastic job in creating the set designs for the musical numbers, the nightclub scenes, and the first Rainbow Records building to capture the sense of period of the 60s and the 70s. Costume designer Sharen Davis does a wonderful job in capturing the look of the period with the costumes from the glam-like dresses, 60s go-go clothing, 70s glam with afros, and sparkles with help from a team of make-up and costume designers.
Sound designer/editor Richard E. Yawn does an excellent job in capturing the essence of performance in the staging and dancing along with the differing atmospheres of Detroit and the polished places. Choreographer Fatima Robinson does a wonderful job on the dancing to help capture the rhythm and melody of the songs. The songs of Tom Eyen and Henry Krieger from the musical return as they're definitely memorable with such songs as Fake Your Way To The Top, Cadillac Car, Steppin' To The Bad Side, Family, Dreamgirls, Heavy, When I First Saw You, One Night Only (and its disco reprise), and the famous, And I Am Telling You I'm Not Going. New songs for the film like the thumping soul song Love You Like I Do by Henry Krieger and Sediah Garrett for Jennifer Hudson, Listen by Henry Krieger, Scott Cutler, Anne Preven, and Beyonce Knowles, Patience by Henry Krieger and Willie Reale for Anika Noni Rose, Keith Robinson, and Eddie Murphy, and Perfect World by Krieger and Sediah Garrett for the Jackson 5 dopplegangers the Campbell Connection. The new songs are great to convey the mood of the times and its connection to the film's story.
The casting by Debra Zane and Jay Binder is wonderfully assembled with notable appearances from Jaleel White as a talent booker, Dawnn Lewis as James' wife Melba, Yvette Carson as Deena's mother May, Ken Page as a club owner who lets Effie sing, and cameo appearances from John Krasinski and John Lithgow as filmmakers talking to Deena about a project and one of the original Dreamgirls stage actresses Loretta Devine as a jazz singer. Mariah I. Wilson is excellent as Effie's daughter Magic along with Alexander Folk as Effie and C.C.'s father. Hinton Battle, another actor who appeared in the Broadway version, is excellent as Curtis' cohort who is forced to do bad deeds for Curtis including payola. Sharon Leal is terrific as the Cindy Songbird-inspired Michelle Morris who replaces Effie unaware of what she's doing to the group.
Keith Robinson is excellent as songwriter C.C. White who tries to create great songs for James Early and the Dreams only to get up in success and then become disillusioned by Curtis' view of music and its purpose. Anika Noni Rose is wonderful as Lorrell Robinson who is the glue of the group trying to keep the dreams together while falling for James and becomes his mistress as she is trying to figure out their relationship. Danny Glover is great as James' manager Marty who tries to help him make it and without any kind of seedy business moves like payola as he later becomes Effie's mentor as he tries to help revive her career. Beyonce Knowles is good and appropriately cast as Deena Jones who is known more for her beauty and pop-like voice as a woman who is trying to find her true identity. Knowles is good when she's singing though her work as a dramatic actress is a bit spotty. She's engaging but lacks the depth in being very dramatic.
Eddie Murphy is in excellent form as the James Brown-inspired James "Thunder" Early who is filled with charm and wit about being an original and a star. Then when he is forced to become a commercial singer, he becomes frustrated turning to drug addiction while trying to reclaim his identity and stardom. Murphy's performance both acting wise and in musical performance is brilliant, even in his singing that is top-notch. Jamie Foxx is great as the sleazy, ambitious Curtis Taylor Jr. who wants to make in the business at any cost as he has a lot of charm and bravado in his role while doing an amazing rendition of When I First Saw You that proves Foxx's many talents. The film's best and breakthrough performance definitely goes to Jennifer Hudson as Effie White. Hudson manages to be both engaging and powerful as the big girl with an attitude who knows that all she can do is sing. Hudson is great and subtle in her dramatic acting while it's her work as a singer that is just divine
Dreamgirls is a phenomenal film from Bill Condon that features brilliant performances from Jamie Foxx, Jennifer Hudson, Eddie Murphy, and Danny Glover. It's a film that manages to be more than just an entertaining musical but also a compelling piece into the cynical world of the music industry. It's also a film about control and how those become compromised as they want to find their own voice in the world. In the end, Dreamgirls is a remarkable film from Bill Condon.
© thevoid99 2015
Directed by Richard Donner and screenplay by Channing Gibson from a story by Alfred Gough, Jonathan Lemkin, and Miles Millar, Lethal Weapon 4 is the story of Martin Riggs and Roger Murtaugh leading an investigation into a Chinese smuggling ring involving slave laborers and other things involving triad gangs. The fourth and final film of the series has Riggs and Murtaugh not only deal with personal changes in their life but also aging as it’s finally catching up with Riggs as Mel Gibson and Danny Glover reprise their roles as Riggs and Murtaugh, respectively, while being joined by series regulars Joe Pesci, Rene Russo, Darlene Love, Traci Wolfe, Damon Hines, Ebonie Smith, Mary Ellen Trainor, and Steve Kahan. Also starring Chris Rock, Kim Chan, Eddy Ko, Calvin Jung, and Jet Li. Lethal Weapon 4 is a good though very messy film from Richard Donner.
The fourth film has Martin Riggs and Roger Murtaugh not only get promoted as captains due to a technicality over the years of chaos and destruction the two caused as they lead an investigation into a Chinese criminal syndicate involving slave labor and smuggling. During their investigation into the world of Chinese triad gangs, Riggs and Murtaugh also endure some changes in their personal life as the former learns he is going to be a father while the latter is going to be a grandfather. While Murtaugh tries to find out who is the father of his new grandchild that only Riggs, Lorna Cole (Rene Russo), and Murtaugh’s family know, Riggs ponders about being a father as well as marrying Lorna as he wonders if it will dishonor the union he previously had with his first wife a long time ago. Yet, the two are joined by Detective Lee Butters (Chris Rock) in the case with help from friend Leo Getz (Joe Pesci) who has become a private detective in uncovering this Chinese smuggling ring as they deal with a ruthless triad negotiator in Wah Sing Ku (Jet Li).
The film’s screenplay retains many elements of the first three films that were very lively and fun yet it lacks substance where it wants to be funny as well as be an action film. There’s no balance to the script which really hurts the story while some of the humor at times can get meandering such a scene where Butters and Getz complain about cell phones that goes on for too long. It’s among the issues that the film has as well as gags about some of the extra money that Murtaugh has been carrying which Riggs has been asking about. Still, there’s aspects of the script that is compelling such as Riggs’ anxiety about having a family as well as the fact that he is getting older which makes him insecure about his duties as a cop. With Murtaugh there for him, Riggs copes with these changes as he also helps Murtaugh cope with becoming a grandfather. There’s also a subplot where Murtaugh finds a Chinese family whom he takes in as he feels like he’s making a difference. All of which leads to this showdown between the LAPD and this Chinese triad organization.
Richard Donner’s direction is quite frenetic in terms of its action sequences as it opens with this rainy scene where Riggs and Murtaugh try to subdue a pyromaniac. It all plays into the sense of elaborate approach to action with doses of humor as it’s clear that Donner wants to kick the film off with a bang. While Donner wants to maintain that balance between humor, action, and suspense in his compositions and set pieces, he doesn’t succeed entirely due to the messiness of the script. Though many of the shots he creates doesn’t do anything new, some of it does feel uninspired where Donner wants to put more humor where it tends to drag the film at times. Still, there’s elements of the film that are engaging such as Murtaugh bonding with a Chinese man whose family he took in as well as Riggs dealing with the expectations of fatherhood and being there for Lorna who occasionally helps out in the investigation. Yet, Riggs and Murtaugh have to do whatever to protect those they care about in a very sprawling climax involving gunfights and kung fu as it shows that if they’re going to do something stupid. They’ll do it together and do it with style. Overall, Donner creates an enjoyable though overly familiar film about two guys leading the way to face off a Chinese criminal organization.
Cinematographer Andrzej Bartkowiak does excellent work with the look of the nighttime exterior scenes such as the opening sequence while taking the advantage to use stylish lighting schemes for some of its interiors. Editors Frank J. Uroste, Dallas Puett, Kevin Stitt, and Eric Strand do nice work with the editing as it‘s straightforward in terms of its fast-paced cutting approach to action while slowing things down for the suspenseful moments of the film. Production designer J. Michael Riva, with art directors David F. Klassen and Richard F. Mays and set decorator Lauri Gaffin, does fantastic work with the renovated looks of Riggs‘ trailer home and Murtaugh‘s home as well as the Chinese restaurants in Chinatown.
Costume designer Ha Nguyen does terrific work with the costumes as it‘s mostly casual with the exception of the clothes that Ku wears that is more traditional Chinese gear to display his ferocity. Visual effects supervisor Michael L. Fink does wonderful work with the minimal visual effects which involves much of the film‘s action sequences including the opening scene. Sound designer John Pospisll, along with sound editors Mark A. Mangini and George Simpson, does superb work with the layers of sound from the waves of explosions and fisticuffs as well as the layers of gunfire and things that occur in the different locations of the film. The film’s music by Eric Clapton, Michael Kamen, and David Sanborn is pretty good for its mixture of blues, orchestral, and jazz to play into some humor and suspense along with some blues-based cuts by Clapton while the film‘s soundtrack features songs from War and Van Halen with vocals by Gary Cherone.
The casting by Marion Dougherty is brilliant as it features notable small roles from Conan Lee as a triad leader that Ku wants to free, Eddy Ko as a man named Hong that Murtaugh meets as he takes him and his family to his home, Kim Chan in a hilarious performance as a triad boss named Uncle Benny, Calvin Jung as a detective who knows a lot about the Chinese world and their tactics, Ebonie Smith and Damon Hine in their respective roles as Murtaugh’s younger children Carrie and Nick, Traci Wolfe as Murtaugh’s eldest daughter Rianne who is pregnant, and Mary Ellen Trainor as Dr. Stephanie Woods whom Riggs decides to harass in a humorous manner after she refuses to help him. Steve Kahan is terrific as Captain Murphy who would promote Riggs and Murtaugh to captains in the hope they can do less damage and lead the investigation due to insurance reasons. Darlene Love is excellent as Murtaugh’s wife who would help Lorna and Rianne with their pregnancies as well as deal with the Chinese family that is staying with them as she raises question about all the money she and her husband have been giving away.
Rene Russo is superb as Lorna Cole as Riggs’ girlfriend as she ponders if he will marry her as she begins to embrace the idea of motherhood while helping Riggs and Murtaugh with bits on the case. Jet Li is fantastic as the ruthless Triad negotiator Wu who is a true master of kung fu as he proves to be a very challenging opponent for everyone involved. Chris Rock is pretty good as Detective Lee Butters who aids Riggs and Murtaugh in the case as he provides some funny moments while making Murtaugh uncomfortable in how affectionate he is towards him suggesting that Butters is gay. Joe Pesci is wonderful as Leo Getz as a longtime friend turned private detective who also help out in finding clues while being put into some very dangerous and funny situations. Finally, there’s Mel Gibson and Danny Glover in amazing performances in their respective roles as Martin Riggs and Roger Murtaugh as two men who not only cope with old age but also personal changes in their lives as they try to take down a Chinese criminal organization in the only way they can which is through mayhem.
Lethal Weapon 4 is an entertaining yet flawed film from Richard Donner that features excellent performances from Mel Gibson and Danny Glovers. Along with a strong supporting cast that features Jet Li in his American film debut, it’s a film that has things that made audiences love those character though the story is lacking in times in terms of creating a tighter story as it ends up being more of a comedy than an action film. In the end, Lethal Weapon 4 is a worthwhile yet messy film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and screenplay by Jeffrey Boam and Robert Mark Kamen from a story by Boam, Lethal Weapon 3 is the third film of the film series where Martin Riggs and Roger Murtaugh team up with an internal affairs officer in pursuit of a former LAPD detective who has turned into an arms dealer. The film has Riggs and Murtaugh not only deal with a former cop who is selling guns to young men but also for the fact that the latter is retiring as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh while being joined by franchise regulars Joe Pesci, Darlene Love, Traci Wolfe, Damon Hines, Ebonie Smith, Jack McGee, Mary Ellen Trainor, and Steve Kahan reprising their roles from previous films. Also starring Rene Russo, Gregory Millar, and Stuart Wilson as Jack Travis. Lethal Weapon 3 is a sensational film from Richard Donner.
The film has Martin Riggs and Roger Murtaugh not only deal with a former cop who has become an illegal arms dealer to fund his own real estate venture as they’re joined by an internal affairs officer who is investigating the case. Meanwhile, Murtaugh is set to retire in less than a week as he isn’t just coping with the need to retire but is also confronted with the severity of his case which involves armor-piercing bullets known as “cop-killers”. Teaming up with the internal affairs officer Lorna Cole (Rene Russo) and getting help from friend Leo Getz (Joe Pesci), Riggs and Murtaugh not only take on the case but also deal with how intense it is as their antagonist is Jack Travis who is a man that knows every police code and how to get around them. Yet, he is driven by greed and chaos as he used to be one of the good guys only to be so corrupt that he was kicked out of the force.
The film’s screenplay, which features additional contributions from Carrie Fisher, doesn’t just explore these two cops trying to uncover this case of illegal arms dealing but also for the fact that young African-American men are the ones who are buying these guns. Even as Murtaugh would shoot a young man with one of those guys who is revealed to be one of his son’s friends as he becomes consumed with guilt as he would withdraw himself from everyone including his own family. This would force Riggs to continue the investigation with Cole for a while as the two develop a rapport with one another over their love of violence and the Three Stooges. Once Riggs gets Murtaugh back in the game as he reveals how Murtaugh’s retirement affects Riggs, it becomes clear how special this partnership is as Riggs knows Murtaugh is teetering on the edge as he would protect him.
By the film’s second half, Murtaugh starts to display a bit of craziness as his grief becomes the driving force to confront those who had been dealing weapons as it would lead to some discoveries about Travis’ real-estate ventures as they seek Getz’s help. Getz’s appearance in the film definitely adds a lot of humor as he has reinvented himself as a real estate dealer as he tries to sell Murtaugh’s house while he is someone that can get connections about Travis’ line of work which does lead to this explosive third act where Riggs, Murtaugh, and Cole confront Travis and his men not only to save their friends in the police force but also stop Travis from killing men on the force.
Richard Donner’s direction starts off with a bang where Riggs and Murtaugh try to defuse a bomb only to make things worse as it plays to that mix of action and humor. Especially as it takes place in the span of more than a week as Murtaugh is spending his final days as a detective until he retires. Much of the compositions are simple as Donner keeps much of the humor light-hearted and natural for gags such as Riggs trying to quit smoking or Murtaugh dealing with an admirer he met during a chase. Still, there is a balance to the humor and action in the way Donner plays out as well as some light-hearted moments where Riggs is definitely part of Murtaugh’s family as he would be the one to find Murtaugh at his lowest as it’s one of the most powerful moments of the film.
The direction is also sprawling in terms of the action set pieces from the opening sequence of a bomb destroying a building to some chase scenes. Notably a chase scene in the third act where Riggs and Murtaugh save Captain Murphy from Travis as Riggs borrows a motorcycle to chase Travis and one of his goons onto an unfinished highway. All of which leads to this very violent and elaborate climax that shows why Riggs and Murtaugh are the last two cops that should be messed with. Add Cole to the mix and there is more trouble as she is a total ass-kicker as the result is an explosive climax that also includes bits of humor. Overall, Donner creates a very exciting and funny film about two detectives who are joined by an internal affairs officer in taking down a former cop who has gone bad.
Cinematographer Jan de Bont does excellent work with the cinematography to capture the sunny look of the scenes set in Los Angeles including the nighttime climax scene with its use of fire and elaborate lights. Editors Robert Brown and Battle Davis do brilliant work with the editing with its use of rhythmic cuts to play into the action and suspense including the chase scenes as well as some of the film‘s funnier moments. Production designer James H. Spencer, with set decorator Richard C. Goddard and art director Greg Papalia, does fantastic work with the look of Murtaugh‘s home as well as Riggs‘ trailer home in a renovated state as well as some of the places such as the precinct where Riggs and Murtaugh work at.
Sound editor Robert G. Henderson does nice work with the sound to play into the sense of chaos that goes in the gunfights as well as some scenes set in the Los Angeles subways and at a hockey game. The film’s music by Eric Clapton, Michael Kamen, and David Sanborn is superb as its mixtures of blues, orchestral music, and jazz play into the air of suspense and action as well as some humor that includes variations of the Three Stooges theme while the soundtrack features songs by Sting and Elton John.
The casting by Marion Dougherty is incredible as it features notable small roles from Andrew Hill Newman as a jaywalker Riggs and Murtaugh harass, Gregory Millar as an associate of Travis in Tyrone, Nick Chinlund as an arms dealer working for Travis, Jason Rainwater as a young rookie cop that would help in saving Captain Murphy, Mark Pellegrino as an associate of Travis who gets arrested early in the film, Bobby Wynn as Nick’s friend Darryl, Jack McGee reprising his role as the carpenter from the previous film as he helps Riggs renovate his home, Delores Hall as the bank security driver who is attracted to Murtaugh, and Mary Ellen Trainor as the police psychiatrist Dr. Stephanie Woods who keeps asking Murtaugh to come see her in a very awkward moment with him and Riggs.
Ebonie Smith and Damon Hines are terrific in their respective roles as Carrie and Nick Murtaugh who are hoping for the dad would retire while Traci Wolfe is wonderful as the eldest daughter Rianne who is trying to make it as an actress as she asked Riggs to find her dad when he didn’t come home over the shooting of Darryl. Darlene Love is excellent as Murtaugh’s wife Trish who is anxious about her husband’s impending retirement as, in the extended cut of the film, has him not forget his bulletproof vest while asking Riggs to keep her husband out of trouble. Steve Kahan is superb as Captain Murphy who knew Travis when he was once a cop as he is later captured by Travis in order to get access to some weapons. Stuart Wilson is fantastic as Jack Travis as this former cop who has become an arms dealer in order to fund his own real estate ventures as he is a really fun and sly antagonist.
Rene Russo is great as Lorna Cole as this internal affairs officer who leads the investigation over what Travis is doing as she proves to be an absolute ass-kicker who doesn’t take shit from anyone making Riggs fall for her. Joe Pesci is brilliant as Leo Getz as he brings in that great sense of humor as he tries to help Murtaugh sell his house while aiding them in finding clues relating to the case. Finally, there’s Mel Gibson and Danny Glover in marvelous performances in their respective roles as Martin Riggs and Roger Murtaugh as the two maintain that sense of chemistry of mayhem and hilarity while also showing their vulnerable side during an intense moment involving a grief-stricken Murtaugh. Even as the two switch personas for a bit where Murtaugh gets a bit crazy and Riggs being the straight man as Gibson also displays a lot of humor in his performance that includes a very funny scene where he tries to win over a guard dog by acting like a dog.
Lethal Weapon 3 is a remarkable film from Richard Donner that features thrilling performances from Mel Gibson and Danny Glover plus strong supporting performances from Rene Russo, Joe Pesci, and Stuart Wilson. The film isn’t just one of the finest action blockbusters of the 1990s but also one of the funniest. It’s a film that has something for everyone while also having something for the smart audiences as well as audiences that want some excitement. In the end, Lethal Weapon 3 is a phenomenal film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and screenplay by Jeffrey Boam from a story by Shane Black and Warren Murphy, Lethal Weapon 2 is the follow-up to the previous film from 1987 where Martin Riggs and Roger Murtaugh who are tasked to protect a federal witness who is involved with a smuggling operation from South African dealers who are protected by diplomatic immunity. The film is another mixture of action with buddy comedies as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh as they‘re joined by Darlene Love, Traci Wolfe, Mary Ellen Trainor, Damon Hines, Ebonie Smith, and Steve Kahan who all reprise their roles from the previous film. Also starring Joe Pesci, Patsy Kensit, Derrick O’Connor, and Joss Ackland. Lethal Weapon 2 is an explosive and enthralling film from Richard Donner.
When a group of South African dealers catch the attention of Martin Riggs and Roger Murtaugh and the rest of the LAPD, what happens becomes a war between good and bad in a film where these two men try to do whatever to get these men despite their protection under diplomatic immunity. Once they are reassigned to protect an obnoxious federal witness in Leo Getz (Joe Pesci) who is connected to this smuggling case involving these South African government officials led by this consulate. Riggs and Murtaugh do whatever to nab these men and find evidence that can allow them to be tried under American jurisdiction but complications ensue once these men make the war with the LAPD very personal which only push Riggs and Murtaugh to the edge.
The film’s screenplay definitely shows these two mismatched partners not only becoming closer and bring out the best in each other but also give them a chance to have an element of balance into their different personalities. Especially as Riggs often goes to Murtaugh’s home where he reveals to Murtaugh’s wife Trish (Darlene Love) about his wife’s death years ago which shows Riggs opening up more to Murtaugh and his family. Upon getting assigned to protect Getz, the element of comedy starts to get more into play where Riggs and Murtaugh find a foil in the often irritating Getz who is this accountant that always curse and complain about things as he also knows a lot as he proves to be a vital asset to Riggs and Murtaugh in their case.
The antagonist in these South African smugglers and criminals led by this consul-general named Arjen Rudd are men who are driven by money and power as they transport illegal currency to apartheid-era South Africa. Even as the case would have revelations about Riggs’ own past in laundering money for smugglers which he wasn’t proud of as it played into his decisions to join the police force. Rudd and his men not only use devious tactics to intimidate Riggs and Murtaugh where they would break-in the latter’s home to scare him and his family. Even the rest of the LAPD get pushed to the breaking point as Riggs and Murtaugh’s superior Captain Murphy (Steve Kahan) wants to go after them but various jurisdiction issues prevent them from doing what is right. Once the film’s third act had the LAPD pushed to the breaking point where both Riggs and Murtaugh realize that these men don’t respect the law. The two would do whatever it takes to carry out their own brand of justice.
Richard Donner’s direction is quite extravagant in terms of action sequences and the fact that he has something to say about the idea of apartheid. Even where he would put some humor such as a scene where Murtaugh and Getz enter the South African consulate embassy where they would harass officials in order to get Riggs to antagonize and confront Rudd and his men. While much of the humorous moments are shot in intimate manners as it would include some very funny gags such as reaction to Murtaugh’s daughter Rianne (Traci Wolfe) making her acting debut in a condom commercial. It is balanced by this air of suspense and action that plays out in the film where it adds to the stakes of what Riggs and Murtaugh have to deal with.
The action sequences are very explosive that includes this montage where Rudd’s men do horrific things to try and wipe out the LAPD as there’s some dark elements that play into the drama. Even as Getz becomes a target which adds to Riggs and Murtaugh to take the law into their own hands where it’s third act features some of the most elaborate sequences ever created. Presented in a wide shot with some unique camera angles, it is definitely a highlight that would be followed by a major climax as it reveals that diplomatic immunity or not. One must never ever fuck with Riggs and Murtaugh. Overall, Donner creates a very thrilling and compelling film about two guys going up against a group of politically-racist criminals.
Cinematographer Stephen Goldblatt does excellent work with the cinematography from the usage of lights for many of the scenes set at night to the array of interior lights for the cold offices that Rudd works at. Editor Stuart Baird does brilliant work with the editing from the fast-paced cuts of the opening chase sequence to the slower moments for its humor and suspense. Production designer J. Michael Riva, with art directors Richard Berger and Virginia L. Randolph and set decorator Marvin March, does amazing work with the set design from the look of Rudd‘s home as well as the office he has in the South African embassy.
Sound editor Robert G. Henderson does superb work with the sound from the layer of sounds of gunfire and explosions to the quieter moments involving conversations and in some of the film‘s humor. The film’s music by Michael Kamen, Eric Clapton, and David Sanborn is fantastic for its mixture of orchestral bombast courtesy of Kamen to the sound of blues and jazz from Clapton and Sanborn to play into the humor and drama while the soundtrack features a cover of Bob Dylan‘s Knockin‘ on Heaven‘s Door by Clapton, Sanborn, and Randy Crawford and songs by the Beach Boys and George Harrison.
The casting by Marion Dougherty and Gail Levin is great as it features notable small roles from Jack McGee as a carpenter fixing Murtaugh‘s home, Dean Norris and Jenette Goldstein as a couple of fellow detectives, Traci Wolfe, Damon Hines, and Ebonie Smith as Murtaugh‘s three children, and Mary Ellen Trainor in a wonderful role as the police psychiatrist Dr. Stephanie Woods who is treated with humor by Riggs. Steve Kahan is terrific as Captain Murphy who tries to make sure Riggs and Murtaugh keep themselves in check as they will be in big trouble if they interfere with Rudd who is protected by diplomatic immunity. Darlene Love is superb as Murtaugh’s wife Trish who accepts Riggs into her family as she learns about what happened to his wife. Patsy Kensit is fantastic as Rudd’s secretary Rika who secretly despises Rudd and his views as she would fall for Riggs and his antics. Derrick O’Connor is excellent as Rudd’s henchman Pieter Vorstedt who is a man that proves to be extremely devious with his own tactics as he also has some revelations for Riggs which would motivate him for vengeance.
Joss Ackland is brilliant as Arjen Rudd as this consul official for the South African government who masterminds many of the schemes for the sake of profit as he carries an air of arrogance over how’s protected by diplomatic immunity. Joe Pesci is hilarious as Leo Getz as this accountant whom Riggs and Murtaugh has to protect as he knows a lot about what Rudd is doing as he brings a lot of charm to his role as well as the fact that he is a great foil for both Riggs and Murtaugh. Finally, there’s Mel Gibson and Danny Glover in remarkable performances in their respective roles as Martin Riggs and Roger Murtaugh. Gibson maintains the very crazy and funny approach to his character while also revealing elements of how sensitive he is. Glover continues in playing the straight man as well as bring very funny as he and Gibson continue to have this electric chemistry.
Lethal Weapon 2 is a marvelous film from Richard Donner that features great performances from Mel Gibson, Danny Glover, and Joe Pesci. The film isn’t just a sequel that manages to just as good as its predecessor as well as be very entertaining. Even as it play into the world where two guys trying to beat up the bad guys in some of the most explosive moments in the film. In the end, Lethal Weapon 2 is phenomenal film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and written by Shane Black, Lethal Weapon is the story of two very different Los Angeles detectives who become partners as they battle a retired general who has become a drug smuggler and his psychotic enforcer. The film is a strange mixture of the buddy comedy films with high-octane action as it is led by two men who have nothing in common as Mel Gibson plays the crazed, suicidal Martin Riggs and Danny Glovers as the straight-laced veteran Roger Murtaugh. Also starring Gary Busey, Mitchell Ryan, Darlene Love, Traci Wolfe, Tom Atkins, Mary Ellen Trainor, and Steve Kahan as Captain Murphy. Lethal Weapon is an explosive yet extremely entertaining film from Richard Donner.
What happens when a middle-aged family man who is straight as an arrow is teamed up with a lonely and crazed man with a death wish as they go around chasing bad guys? That is basically the premise of the film as it plays into this odd world where two guys who have nothing in common other than being part of the LAPD as they deal with a drug smuggler who was once a general in the Vietnam War who also has an enforcer that is extremely insane in terms of dealing with situations. Especially as the veteran Roger Murtaugh is asked to investigate the death of a young woman whose father is an old friend of Murtaugh as he and Martin Riggs deal with many revelations about the drug trade that is connected with this woman’s death. During this investigation, Riggs and Murtaugh would become this unlikely duo that takes name and kick some ass as they also find more to like about each other outside of their work.
Shane Black’s screenplay definitely has this strange mix of action, suspense, and humor all rolled into a story that is offbeat but also filled with a lot of excitement. At the heart of the script is this unlikely partnership between Riggs and Murtaugh as they’re different in many ways not just in age, personalities, skills, morals, backgrounds, and in lifestyles. Yet, this duo manage to become partners that get things done as well as be there for one another. In Murtaugh, he’s this middle-aged veteran who lives in the suburbs as he’s been in the force for many years as he has three children as one of whom in Rianne (Traci Wolfe) is becoming a young woman. In being this veteran, he copes with being middle-aged as he often states that he’s too old for this shit which is among the many aspects of the film’s humor.
In Riggs, there’s a man who is an absolute mess as he is known for being very crazy in his tactics where he has no qualms in killing criminals as he has an offbeat sense of humor inspired by the Three Stooges. Yet, he’s also someone that is suicidal due to the death of his wife as he would often put himself or anyone else near him in danger. Having these two men as partners definitely seems like a combustible partnership but once they deal with revelations of this young woman’s death as well as it plays into this world of drug smuggling run by General Peter McAllister (Mitchell Ryan) whose enforcer in Joshua (Gary Busey) is a man that doesn’t just get things done but he has tactics that are far more brutal. Even as it would involve Murtaugh’s family which would have Riggs and Murtaugh go into great lengths to stop these two men at any cost.
Richard Donner’s direction starts off with a bang as it opens with aerial shots of Los Angeles and moves into a close-up of a drugged-out young woman in her hotel room as she would then jump off the building. It sets up the tone of what kind of film it would be as Donner infuses a lot of style from high-octane aerial shots as well as some unique camera angles to play into the action. Much of the action is often intense as it also include some moments of dark humor as it relates to the mismatched partnership of Riggs and Murtaugh in the things they would encounter. While many of the action sequences are elaborate in its presentation with wide shots and stylistic camera angles to play into the vast look of the film. It is balanced by the intimate approach to humor and suspense for the film.
Donner’s use of close-ups and medium shots play into the humor as well as the developing friendship between Riggs and Murtaugh as the former gets to know the latter and his family. It adds to something that feels very intimate as well as special into something that Riggs is in need of as he is a man that lives in a trailer on a beach with his dog. Once the two are in great danger as they meet their adversaries, the sense of drama and suspense do intensify where Murtaugh would realize that he needs to play dirty if he is to make sure the world is a safer place. It adds to the dramatic stakes where Riggs needs Murtaugh to keep him in control and Murtaugh needs Riggs to push his buttons. Overall, Donner creates a very riveting yet exhilarating film about two mismatched detectives who work together and kill some bad guys.
Cinematographer Stephen Goldblatt does excellent work with the cinematography from the colorful and sunny look of the scenes set in the daytime in Los Angeles and the Californian deserts to more stylish usage of lights for its nighttime interior/exterior scenes. Editor Stuart Baird does brilliant work with the editing with its usage of stylish slow-motion cuts as well as jump-cuts to play into the action and suspense. Production designer J. Michael Riva and set decorator Marvin March do terrific work with the set pieces from the look of the homes of some of suspects as well as the different homes of Riggs and Murtaugh to play into their different lifestyles.
Costume designer Mary Malin does nice work with the clothes to play into the different looks of Riggs and Murtaugh with the former wearing street clothes and the latter wearing a shirt and tie. Sound editors Robert G. Henderson and Alan Robert Murray do amazing work with the sound to play into layers of gunfire as well as explosions and other moments to play into the film‘s humor and action scenes. The film’s music by Michael Kamen, Eric Clapton, and David Sanborn is superb for its mixture of Kamen‘s soaring orchestral music to play into the film‘s suspense while Clapton brings in some blues-based guitar to showcase the sense of melancholia surrounding Riggs and Sanborn bringing some snazzy jazz with his saxophone for some of the film‘s humorous moments.
The casting by Marion Dougherty is phenomenal for the ensemble that is created as it features some small performances from Jackie Swanson as the young woman who would jump off a building in the film’s opening sequence, Grand Bush and Jack Thibeau as a couple of fellow detectives, Blackie Dammett as a thug Riggs beats up early in the film, Lycia Naff as a hooker Riggs and Murtaugh interrogate, Al Leong as Joshua’s man of torture, and Sally Field in an un-credited cameo as a TV news reporter. Other notable small roles include Ebonie Smith and Damon Hines in their respective roles as Murtaugh’s younger children Carrie and Nick, Mary Ellen Trainor as the police psychiatrist Dr. Stephanie Woods, and Steve Kahan in a terrific performance as Riggs and Murtaugh’s superior Captain Murphy.
Traci Wolfe is wonderful as Murtaugh’s teenage daughter Rianne who has a crush on Riggs while taken hostage by McAllister. Darlene Love is excellent as Murtaugh’s wife Trish who is has this sense of warmth and comfort that intrigues Riggs while being the person that grounds her husband from doing dangerous things. Tom Atkins is superb as Michael Hunsaker as the old friend of Murtaugh who asks for his help following his daughter’s death as he would reveal some things about why his daughter jumped off a building to her death. Mitchell Ryan is fantastic as General Peter McAllister as a once-revered army leader who decides to go into the world of drug smuggling as he sees money in the operation and will do anything to be rich.
Gary Busey is brilliant as the devious enforcer Joshua who knows Riggs via reputation as he is very insane guy who can push people’s buttons and do things to get the job done. Finally, there’s the duo of Mel Gibson and Danny Glover in incredible performances as Martin Riggs and Roger Murtaugh. Gibson brings that mix of craziness and vulnerability to his character as this man that is teetering on the edge as he tries to find something to live for. Glover is the perfect straight man as he has these little moments that make him very funny as well as very serious in the way he does his job. Gibson and Glover have a chemistry that is often fun to watch in the way Riggs makes Murtaugh tick or how Murtaugh tries to show Riggs how it’s done as they are the heart and soul of the film.
Lethal Weapon is an outstanding film from Richard Donner that features top-notch performances from Mel Gibson and Danny Glover. Featuring an inventively witty script from Shane Black as well as a noteworthy supporting performance from Gary Busey. The film is definitely a standard bearer for not just buddy cop films as well as action-comedies but it’s also one of the most enjoyable films that still holds up since its initial release. In the end, Lethal Weapon is a gloriously enthralling and exciting film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Tom Donahue, Casting By is the story about legendary casting director Marion Dougherty and her impact into how she shaped the film industry with her casting ideas from the 1960s to the 1980s. Notably as she would help set a wave of many casting directors to come as filmmakers and actors talk about the importance of Dougherty’s contribution to the film industry as well as why there’s a need for an Oscar category for best casting. The result is a fascinating documentary from Tom Donahue.
The documentary is about the unsung heroes in film which are the casting directors where their impact happened during the late 1950s and early 1960s when the old Hollywood system began to die out and actors who were in contract with the studios were becoming obsolete. One of the individuals who would make some great discoveries for the films that were to come in the 1960s through the 1980s was Marion Dougherty who worked in New York City as she discovered Jon Voight, Gene Hackman, Al Pacino, Robert de Niro, and many others. Her discovery of those actors would be crucial as she would later find a Hollywood counterpart in Lyn Stalmaster who would also make discoveries like John Travolta and Jeff Bridges as the former was originally supposed to be in Hal Ashby’s 1973 film The Last Detail but then Randy Quaid came in and got the part.
Dougherty’s brilliance in casting led to a great collaboration with George Roy Hill that not only got her to cast people like Robert Redford, Glenn Close, and John Lithgow but also help various individuals who would also be key players in the casting process. Among these individuals who would be Dougherty’s associates like Wally Nicita and Juliet Taylor as they would bring key importance to many films as Taylor would become one of Woody Allen’s most important collaborators. When Dougherty moved to Hollywood in the mid-70s to be the head of casting at Paramount for a few years until joining Warner Brothers. Her decision to cast Danny Glover as Murtaugh in the first Lethal Weapon film was a surprise as Richard Donner owes a great debt of gratitude towards her.
Tom Donahue’s direction showcases the importance of casting director and why Dougherty’s influence should be noted as the Academy Awards still refuse to put a casting category in the list. While there were several actors and filmmakers who tried to plea to the Academy to give Dougherty a special Oscar, they refused. Even as filmmaker Taylor Hackford explains his side about why casting directors shouldn’t have director in their title while filmmakers like Martin Scorsese and Clint Eastwood disagree with Hackford’s views as they also give credit to their casting directors.
Through the cinematography of Peter Bolte and Jill Schweitzer’s editing, the interviews are presented quite simply with Dougherty being the big star as she shows pictures and such including a scene where she watches Slaughterhouse Five which was the first film where she got a big credit for her work. With the sound editing of Steve Bucino and Leigh Roberts’ low-key yet playful score, the film shows the evolution of casting and how it kind of lost importance by the late 90s as studios were starting to be run by corporations who are more concerned with faces and money rather than who is right for a part.
Casting By is a marvelous documentary from Tom Donahue about the world of casting directors and the influence that the late Marion Dougherty had provided. It’s a film that showcases not just their importance to the world of films but also the discoveries they made and the actors who are grateful towards them as well as the filmmakers. In the end, Casting By is a wonderful documentary from Tom Donahue.
© thevoid99 2013
Originally Written and Posted at Epinions.com on 1/19/09 w/ Additional Edits.
Written and directed by Michel Gondry, Be Kind Rewind tells the story of a junkyard worker whose attempts to sabotage a power plant goes haywire. When he accidentally creates a magnetic field, he goes to his best friend's video store and accidentally erases the contents of the video tapes. In order to keep the store going, they create new versions of the films that become cult hits only to later deal with authorities. The film explores not just Gondry's love of spontaneity but also his themes of imagination and innocence told through a couple of bumbling men. Starring Jack Black, Mos Def, Danny Glover, Mia Farrow, Melonie Diaz, and Sigourney Weaver. Be Kind Rewind is a funny, imaginative, and heartwarming film from Michel Gondry.
In Passaic, New Jersey, a man named Mr. Fletcher (Danny Glover) runs a VHS-rental video store with his assistant Mike (Mos Def). The two muse about jazz musician Fats Waller whom Mr. Fletcher claims was born in the building where he runs the video store. One of the regulars who attends the store is Mike's klutzy friend Jerry (Jack Black) who often causes accidents while wanting to sabotage a nearby power plant. With the video store losing money and in danger of being demolished to become a condo unless Mr. Fletcher can provide money. Mr. Fletcher decides to go out of town for several days to attend a Fats Waller memorial with Mike running the store with his order to keep Jerry out of the story. Unfortunately, Jerry's attempt to sabotage the power plant went badly where he goes to the video store unknowingly erasing all of the content of the video tapes.
When one of the store's regular customers in Mrs. Falewicz (Mia Farrow) wants to see Ghostbusters, Mike and Jerry decide to make their own version with cheap special effects and the two playing the characters themselves. When another customer wanted to see Rush Hour 2, Mike and Jerry make their own version where they get help from a local named Alma (Melonie Diaz) to help. The film versions they created have become successful as Mike, Jerry, and Alma decide to create their own versions of the films as the demands suddenly increase with the community being involved. When Mr. Fletcher returns to the store, he reveals that he's planning to get the store going as a DVD-rental place.
For Mike, it's disheartening but Jerry and Alma press on where they make more to Mr. Fletcher's surprise as the films they make help raise money to save the story. When a couple of bailiffs (Sigourney Weaver and Paul Dinello) arrive, they decided to have the tapes destroyed due to copyright infringement forcing the store's future to look even bleaker with Mr. Fletcher revealing some harsh truths. Yet, it would take an entire community to rally for one final hurrah to save the store as it's time is running out.
The film is about two things in one whole film. One is the decline of the VHS-rental, mom-and-pop video stores and the rise of corporate, DVD-rental chains. The other is about a community rallying together to watch and make home films of the movies they always wanted to be in and such. While some of the film's humor might seem a little childish with a few moments that don't work along with the script often delving into conventional and sentimental territory. Yet, Michel Gondry manages to create a film that is filled with some of the thematic qualities of his work with innocence, light-humor, and heart in his script.
While the script has a nice story despite a few flaws, the direction that Gondry definitely raises the script's weakness with his imaginative presentation. Bringing his music video background to the forefront, Gondry truly is a director in his own world where he proves that anyone could make a film with shabby sets and such. Even in the use of home video cameras with night vision is an example of Gondry's unique vision. Even in one of the film's big moment, he goes for something that is black-and-white or scenes with one take for a movement of Mike, Jerry, and Alma making one film and then move to another. It's Gondry proving that he can create something whimsical with a lot of heart and humor for audiences who love the power of film and wish they can be in them in their own remakes.
Cinematographer Ellen Kuras does a wonderful job with the film's cinematography with the use of the home video camera with its grainy look and cheesy night vision along with scratchy black-and-white footage. Kuras' work is phenomenal in how she captures the look of Passaic, New Jersey in its actual location along with some wonderful nighttime exterior shots. Notably in the film's final scene with its sepia-like exterior and intimate, low-light interior scenes. Editor Jeff Buchanan does excellent work with the film's editing with rhythmic and jump-cuts to get the film moving in such a unique pace that it's all done leisurely and without going into style-over-substance. Production designer Dan Leigh along with set decorator Ron von Blomberg, and art director James Donahue do spectacular work with the film's set designs of the sets created for the film and cheesy special effects made for a homemade feel that looks wonderful and imaginative.
Costume designers Rahel Afiley and Kishu Chand do fantastic work with the costumes that are imaginative in the cheap remake versions of the films that are made, notably the Robocop suit that Jack Black wears in their remade version. Visual effects supervisor Fabrice Lagayette does an excellent job with the film's minimal special effects scenes like the buzzing screens and the scene where Jerry gets electrocuted by the power plant that would cause him to create a magnetic field. Sound editor Paul Hsu with mixer Pawel Wdowczak do excellent work with the film's sound effects and location sounds to create a whimsical atmosphere for the film. Music composer Jean-Michel Bernard brings a light-hearted, whimsical score to play up to the film's humor and heartfelt moments with smooth, elegant arrangements. The soundtrack consists of music from Fats Waller, the Gap Band, Ray Parker Jr., Billy Preston, and other jazz cuts to complement the film's devotion to jazz.
The casting by Jeanne McCarthy is excellent for its casting choices that includes Arjay Smith as a local DVD store owner named Manny, Chandler Park as Mrs. Falewicz's nephew Craig, Paul Dinello as a bailiff, Irv Gooch as a mechanic named Wilson, and I'm Not There star Marcus Carl Franklin as a local kid. Sigourney Weaver is excellent in a cameo-like role as a bailiff who shuts down the store while Mia Farrow is great as a neighbor/loyal customer who is amazed by the remakes as she finds hope in them. Danny Glover is wonderful as Mr. Fletcher, an elderly video store owner trying to deal with changing times and developments as he thinks about conforming while trying to salvage whatever hopes and dreams he have.
Melonie Diaz is brilliant as Alma, a local girl who originally becomes an actress and later help run the video store with rules as Diaz's performance truly shines. Even as she steals scenes from the always boisterous Jack Black where Diaz has great chemistry with both Black and Def. Mos Def is wonderful as Mike, the straight man who is trying to save a video store for Mr. Fletcher while becoming an unlikely visionary in the films he and Jack Black make. Def is more restrained that Black while having a few funny moments in his performance. Jack Black is very good in his usual Jack Black-type of character as a clumsy, boisterous, and innocent character who likes to play around and be the funny guy. Yet, Black wisely under play his persona in order to give his co-stars more to do while being the typical funny guy. Though it's a typical performance from Black, it's one that works for what the film is needed and only a guy like Jack Black could play a character like Jerry.
While the film doesn't live up to the brilliance of films like Eternal Sunshine of the Spotless Mind or The Science of Sleep, Be Kind Rewind is still an entertaining, funny, and heartwarming film from Michel Gondry. While fans of Gondry's work will enjoy his imaginative vision and thematic quality, the film doesn't exactly live up to expectations in comparison to his previous films. Still, Gondry does manage to make something that is enjoyable to watch thanks in part to the cast led by Jack Black and Mos Def. In the end, Be Kind Rewind is a whimsical film from Michel Gondry that plays up to his themes of innocence and imagination.
Michel Gondry Films: Human Nature - Eternal Sunshine of the Spotless Mind - Dave Chapelle's Block Party - The Science of Sleep - Tokyo!: Interior Design - (The Thorn in the Heart) - The Green Hornet - The We & the I - (Mood Indigo) - (Is The Man Who is Tall Happy?)
© thevoid99 2013
