Showing posts with label timothy dalton. Show all posts
Showing posts with label timothy dalton. Show all posts

Saturday, October 27, 2012

007 James Bond Marathon: Everything or Nothing: The Untold Story of 007




Directed by Stevan Riley, Everything or Nothing: The Untold Story of 007 is the story of the James Bond franchise and how it was made by three men who would come up with a franchise that’s now lasted for 50 years. The documentary explores the roots of the James Bond story and how it would evolve in the many years through different actors playing Bond as well as all sorts of things that nearly derailed the franchise. The result is a truly engrossing and incredible documentary from Stevan Riley about the James Bond franchise.

The documentary explores the history of James Bond dating back to the 1940s when Ian Fleming was a naval officer working for the British government in World War II. During his time working for a newspaper and vacationing in Jamaica just as the Cold War was to start, he would write the first James Bond novel in Casino Royale that would launch the James Bond books series. Throughout the course of the film, it reveals how Albert “Cubby” Broccoli and Harry Saltzman teamed up to get the rights and create one of the great film franchises in the history of films.

With interviews by the families of Fleming, Broccoli, Saltzman, and associates that includes Christopher Lee who was a step cousin of Fleming. Also interviewed are five of the six actors who played James Bond while Sean Connery’s is only presented in archival audio and video interviews. In the course of the story, things are revealed into why Sean Connery left the franchise the first time around after You Only Live Twice and why George Lazenby only did one film. Also touched upon is the split between Broccoli and Saltzman after the release of The Man with the Golden Gun in which Saltzman sold his shares to United Artists though the two made peace when Broccoli invited Saltzman to the screening of For Your Eyes Only.

Another person that is talked about is Kevin McClory who claimed to have co-written Thunderball with Fleming and Jack Whittingham as it led to all sorts of legal troubles for many years that gave McClory the chance to make Never Say Never Again in 1983 against EON’s production of Octopussy released that same year. Broccoli’s daughter Barbara and his stepson Michael G. Wilson revealed a lot more into many of the legal issues that kept Bond out of the spotlight for six years in the early 1990s which contributed to Cubby Broccoli’s ailing health. It’s among one of the most compelling tales of the Bond franchise story as well as how they got the rights to Casino Royale in the hopes to reinvent Bond in a post 9/11 world.

Stevan Riley’s direction is brilliant for the way he tells the stories through many interviews from people who were in the franchise or were involved like production designer Ken Adam along with fans like former U.S. president Bill Clinton. Through the editing of Claire Ferguson, the film reveals a lot of rare photos and video footage of the films being made in production as well as old family movies from the Saltzman and Broccoli family of their time together during the 1960s. The actors who played Bond reveal small stories about the franchise where Pierce Brosnan revealed how he almost got the part in the mid-80s after Roger Moore’s departure but was derailed when NBC bought the rights to have Remington Steele on their network. It is among the many fun stories about the film’s franchise and it has more than enough material for Bond fans to enjoy.

Everything or Nothing: The Untold Story of 007 is a phenomenal documentary from Stevan Riley that explores the history of James Bond. It is a film that Bond fans must see whether they know a lot about the franchise’s history or for those who are new to the series. It’s definitely something that serves as a great companion piece to the film’s franchise as well as reveal the story about the three men who created a franchise that is now 50 years old and is more beloved than ever. In the end, Everything or Nothing: The Untold Story of 007 is a marvelous film from Stevan Riley.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls are Forever - True Bond

© thevoid99 2012

Saturday, September 01, 2012

007 James Bond Marathon: Licence to Kill



Based on the short stories by Ian Fleming, Licence to Kill is the story of James Bond going rogue following an attack on his friend Felix Leiter by a drug lord. Directed by John Glen and screenplay by Michael G. Wilson and Richard Maibaum, the film marks a departure of sorts for the Bond franchise by delving into darker territory as Bond aims for vengeance. With Timothy Dalton playing Bond for the second and final time, the film also stars Robert Davi, Talisa Soto, Carey Lowell, David Hedison, Desmond Llewelyn, Caroline Bliss, Wayne Newton, Benicio del Toro, Priscilla Barnes, and Robert Brown as M. Licence to Kill is thrilling and intense film from John Glen.

It’s the wedding day of Felix Leiter (David Hedison) as James Bond is the best man where the two decide to help out the DEA capture a drug lord named Franz Sanchez (Robert Davi). The mission turns out to be a success just in time for Leiter to be married to Della (Priscilla Barnes) as things seem to go well. Instead, Sanchez manages to escape with the help of DEA agent Ed Killifer (Everett McGill) who was bribed $2 million as Sanchez sends his henchman Dario (Benicio del Toro) to kidnap Leiter. When Bond learns of Sanchez’s escape, he goes to Leiter’s home to find Della dead and Leiter barely alive from a shark attack. He and Leiter’s friend Sharkey (Frank McRae) investigate a secret marine lab run by Milton Krest (Anthony Zerbe) where Bond confronts Killifer and kills him.

Bond’s activities gets the attention of the DEA and M who wants Bond to stop going after Sanchez only for Bond to resign and go rogue. With Sharkey’s help, Bond boards Krest’s boat to learn of a drug deal that is happening where Bond causes problems by foiling the deal and stealing five million dollars. After reading Leiter’s secret report, Bond meets a former CIA agent-pilot Pam Bouvier (Carey Lowell) as they team up to take Sanchez down by traveling to Isthmus with Bouvier pretending to be Bond’s secretary. The two investigate Sanchez’s banks and casino where they learn that Sanchez is making a deal after Bond hears about his from Sanchez’s girlfriend Lupe (Talisa Soto). Bond later gets help from Q (Desmond Llewelyn), who is on holiday, as they plan to do more investigating where Bond attempts to assassinate Sanchez.

Instead, the assassination is foiled by a couple of Hong Kong narcotics agents (Cary-Hiroyuki Tagawa and Diana Lee Hsu) and British agent Fallon (Christopher Neame) who wants to send Bond back to Britain. Yet, it is foiled by Sanchez’s men as Bond is taken to Sanchez’s home where he gains Sanchez’s trust by telling him what happened to the Krest deal. After getting help from Q and Bouvier to help frame Krest, Bond is able to infiltrate Sanchez’s secret base to find out how Sanchez is exporting the drugs to his rich customers. Realizing what Sanchez is going to do and profit from the drug sale, Bond has to stop him from causing trouble as he hopes to get his revenge.

The film is just simply about James Bond seeking vengeance for what happened to his longtime friend Felix Leiter by going after a drug lord as he’s forced to go rogue with very few resources. It’s a different take on the Bond formula where it’s all driven by vengeance as Bond forgoes all of his duties to his government in favor of seeking justice for his friend. Even as he has to break some rules in order to go after this ambitious drug lord that simply just wants to have a lot of money and create a powerful drug trade among international dealers. Bond would realize that things are more complicated than his vendetta when various other authorities are trying to go after Sanchez.

The screenplay’s approach to creating something different with the usual schematics of a Bond film allows the story to be more engaging but also reach into dark territory. Notably with its theme on vengeance and loyalty where the latter is often spouted upon by Sanchez. Sanchez is a very interesting villain who is willing to buy his way out of anything while wanting to profit from the drug trade. Yet, he is also ruthless if he feels betrayed and has no qualms about killing anyone. Other characters such as Pam Bouvier and Lupe Lamora are just as interesting for the way they each help Bond take down Sanchez. Notably Bouvier who is first seen talking with Leiter about Sanchez’s capture as she later meets Bond where they help each other out. While Lamora is just this abused girlfriend of Sanchez, she does manage to help Bond out by giving him information and lying for him against Krest and other Sanchez associates.

John Glen’s direction is definitely big in terms of presentation as it begins with this very expansive sequence where Bond and Leiter help the DEA capture Sanchez in the Florida Keys. Even as it would involve helicopters and Bond hooking a small plane onto that helicopter before he and Leiter jump off the helicopter to arrive to the wedding in style. With a lot of the film set in Florida and Mexico, Glen’s direction is also more aggressive in terms of the action as there’s more fights and gun battles that happen where it’s driven by Bond’s vendetta. Glen also balances it with suspense as he allows the audience to take its time to uncover Sanchez’s ideas as well as realize how complicated Bond’s plans for vengeance are. Overall, Glen crafts a very mesmerizing yet exhilarating suspense-action film.

Cinematographer Alec Mills does excellent work with the photography from the colorful shots of the Florida and Mexican exteriors to the dark interiors in Krest marine lab where Bond confronts Killifer. Editor John Grover does terrific work with the editing by creating a straightforward approach to the editing in terms of building up its suspense and flesh out the action sequences. Production designer Peter Lamont, with set decorator Michael Ford and art directors Dennis Bosher and Michael Lamont, does spectacular work with the set pieces ranging from Sanchez’s lavish home to the home base where he runs his drug lab.

Costume designer Jodie Lynn Tillen does superb work with the costumes such as the lavish dresses that Lamora and Bouvier wears to the suits the men wear. Special effects supervisor John Richardson does nice work with the special effects for the film‘s action sequences including the climatic one at Sanchez‘s home base. Sound recorder Edward Tise does wonderful work with the sound to capture the atmosphere of some of the film‘s intimate yet tense moments such as Leiter‘s torture scene. The film’s score by Michael Kamen is very good for its orchestral flourishes to play up the suspense and action as it incorporates many variations of the Bond theme. The soundtrack includes a powerful title track sung by Gladys Knight while Patti LaBelle sings the lush, closing ballad If You Ask Me To.

The casting by Janet Hirshenson and Jane Jenkins is brilliant for the ensemble that is created as it features some notable small roles from Pedro Armendariz Jr. as the President of Isthmus, Wayne Newton as Sanchez’s middle man Professor Joe Butcher, Don Stroud as Sanchez’s henchman Colonel Heller, Anthony Starke as Sanchez’s financial advisor Truman-Lodge, Grand L. Bush as the DEA agent Hawkins, Frank McRae as Leiter’s friend Sharkey, Christopher Neame as British agent Fallon, Cary-Hiroyuki Tagawa and Diana Lee Hsu as undercover Hong Kong narcotic agents, and Priscilla Barnes as Leiter’s bride Della. In their last appearances as Bond regulars, Robert Brown is excellent as M while Caroline Bliss is good as Miss Moneypenny.

Anthony Zerbe is terrific as the slimy Milton Krest while Everett McGill is quite good as the DEA agent Killifer who sold Leiter out for money. In one of his early film roles, Benicio del Toro is great as the very devious Dario who is ruthless in his duties for Sanchez. David Hedison is wonderful as Bond’s longtime friend Felix Leiter while Desmond Llewelyn is superb in his role as the gadgets inventor Q who helps Bond out. Talisa Soto gives a very fine performance as Lupe Lamora who helps Bond out in giving him information while hoping that Sanchez will be stopped. Carey Lowell is brilliant as the ex-CIA agent Pam Bouvier who helps Bond out as she deals with her feelings for Bond as well as trying to ensure that things get done.

Robert Davi is fantastic as the villainous Franz Sanchez by bringing a dark sense of charm to his character as well as a brutality to the way he gets rid of his enemies and those who betrayed him. Finally, there’s Timothy Dalton in a marvelous performance as James Bond. Dalton brings a real sense of brooding intensity to a man seeking vengeance for his friend as he’s willing to be more visceral in his pursuits while trying to maintain his professionalism as a secret agent. It’s a very complex performance from Dalton as he gives Bond a dark edge that is very captivating to watch as it’s really one of the best portrayals of James Bond.

Licence to Kill is a phenomenal film from John Glen that features an outstanding performance from Timothy Dalton as James Bond. While it’s different film of sorts in terms of what is expected from Bond as it doesn’t feature a lot of humor. It is still very compelling for the way Bond is portrayed in a revenge angle to show a side of him that isn’t seen very much. Even as he has to go on his own with very little help. In the end, Licence to Kill is a mesmerizing yet fun film from John Glen.




© thevoid99 2012

Tuesday, August 28, 2012

007 James Bond Marathon: The Living Daylights



Based on Ian Fleming’s short story, The Living Daylights is the story of James Bond traveling all over the world to retrieve a defected Soviet general where Bond finds himself being conned in the process. Directed by John Glen and screenplay by Richard Maimbaum and Michael G. Wilson, the film marks a new shift in the Bond story as it returns to more grittier territory as it is also the first film to star Timothy Dalton as James Bond. Also starring Maryam d’Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbe, Geoffrey Keen, Desmond Llewelyn, Caroline Bliss, and Robert Brown as M. The Living Daylights is a fantastic action-adventure film from John Glen.

In Bratislava, Bond aids fellow agent Saunders (Thomas Wheatley) to handle the defection of Soviet general Georgi Koskov (Jeroen Krabbe) by helping him escape to Austria. After Bond targets the assassin who is revealed the cellist Kara Miloy (Maryam d’Abo), Bond only shoots the gun as he successfully gets Koskov to Austria. Returning to London, Bond and his superiors hear Koskov’s claims about new KGB leader General Pushkin (John Rhys-Davies) reviving an old policy that targets spies including Bond. Yet, a break-in into Koskov’s secret hideout has Koskov captured as Bond is assigned to track down Pushkin and retrieve Koskov though Bond remains suspicious as he and M know Pushkin.

Bond returns to Bratislava to track down Miloy as he notices that she’s being followed by the KGB where he finds her gun in her cello trunk where he makes a discovery. After helping Miloy escape to Austria to avoid the KGB, Bond asks Saunders to figure out where Koskov bought Miloy’s cello as Bond learns that it was paid for by an arms dealer named Whitaker (Joe Don Baker). This adds more suspicions as Bond finally confronts General Pushkin in Tangiers as he would make moves to figure out what is really going on. After confessing to Miloy about what he’s really doing, Bond and Miloy are captured where they learn the truth about really happened to Koskov. With the help of a local Mujahideen leader in Kamran Shah (Art Malik), Bond would stop an illegal transaction from happening and uncover the truth about Koskov.

The film is essentially the story of James Bond trying to uncover a mysterious plot in the re-capturing of a defected Soviet general as he learns that the defection plan was really a ruse for something far more troubling. This would have Bond track down a Czech cello player, who is the girlfriend of the defected general, as she’s revealed to be a pawn in this defection plan where she would aid Bond in uncovering the truth. This plot would also involve illegal arms deals, extortion, and drug trades where Bond would eventually help the Mujahideen in defeating a group of Russians.

The screenplay succeeds in balancing both action and suspense as the screenwriters definitely wanted to do something that is a bit different as James Bond is a bit more ruthless in his pursuits. Even as he maintains an air of professionalism in his role while he’s also willing to take some risks in uncovering the truth. Helping his is Kara Miloy who is essentially this woman that’s been kept in the dark about what is happening as she would eventually become a more resourceful woman who can fight back and get things done. Then there’s General Koskov who is this ambiguous figure that makes all of these claims but there’s something about him that has Bond wondering if he’s really telling the truth. Even as Bond learns what he’s really up to as it would involve this arms dealer profiting from the Soviet-Afghan conflict.

John Glen’s direction is definitely superb for the way the film opens as it involves this training exercise that goes wrong where it would introduce Bond to do what is necessary. With the film largely shot in Vienna and Morocco, Glen does maintain a lot of straightforward shots of the locations while creating some spectacular action sequences in the Alps where it is about the stakes as Glen takes his time to capture its intensity. While there isn’t much humor in this film as it’s mostly restrained, the film’s suspense makes up for it in the way Glen builds it up and create some silent moments where Bond would play investigator to make his discoveries. Overall, Glen creates a marvelous and engaging action-suspense film that does more than what is expected in a Bond film.

Cinematographer Alec Mills does excellent work with the photography from the wonderful look of many of the film‘s locations including the nighttime scenes in Vienna to the array of lights in Bond‘s climatic confrontation with Whitaker. Editors John Grover and Peter Davies do nice work with the editing by creating lots of rhythmic cuts for the film‘s action scenes as well as more methodical ones for the film‘s suspenseful scenes. Production designer Peter Lamont, along with set decorator Michael Ford and art director Terry Ackland-Snow, does superb work with the set pieces from the home base of Whitaker to Q’s gadget room in the secret MI6 base.

Costume designer Emma Porteus does terrific work with the costumes from the dresses that Kara wears to the uniforms that Whitaker wears. Special effects supervisor John Richardson does splendid work with the visual effects in some of the film‘s action scenes. Sound recorder Derek Ball does wonderful work with the sound to capture the intensity of the action scenes as well as the atmosphere of the orchestra concert scenes. The film’s score by John Barry is brilliant for its mixture of orchestral flourishes and electronic rhythms to give the Bond themes a new sense of flair as they add to the film’s action and suspenseful moments. The soundtrack includes some classical pieces by Mozart, Tchaikovsky, Dvorak, and Alexander Borodin as well as a couple of songs by the Pretenders’ Chrissie Hynde as well as the wonderful mid-tempo title song by A-ha.

The casting by Debbie McWilliams is phenomenal for the ensemble that is created as it features some notable small roles from Virginia Hey as General Pushkin’s mistress, Julie T. Wallace as Bond’s Bratislava contact, John Terry as Bond’s CIA friend Felix Leiter, Thomas Wheatley as Bond’s aide Saunders, and Andreas Wisniewski as the henchman Necros. There’s also some terrific performances from such Bond regulars like Desmond Llewelyn as Q, Robert Brown as M, Caroline Bliss in her first appearance as Miss Moneypenny, and in their final appearances, Geoffrey Keen as defense minister Frederick Gray and Walter Gotell as former KGB head-turned diplomat General Gogol. Art Malik is excellent as local Mujahideen leader Kamran Shah who helps Bond in Afghanistan while John Rhys-Davies is superb as new KGB head Leonid Pushkin.

Joe Don Baker is wonderful as the scheming arms dealer Whitaker who loves guns and war as he tries to engineer a plot to profit from conflict. Jeroen Krabbe is great as General Georgy Koskov who tries to create things where he makes Bond suspicious and also leave Kara in the dark over his ideas. Maryam d’Abo is very good as Kara Miloy as a woman who has been kept in the dark by her boyfriend as she aspires to play cello all over the world as she would aid Bond in his plans to stop these schemes. Finally, there’s Timothy Dalton in a marvelous performance as James Bond. Dalton brings a real sense of cool to his character as well as restrained aggression in the way he handles his situations as there’s a bit of a dark edge to Bond as Dalton really brings a fresh take on Bond.

The Living Daylights is an incredible film from John Glen that features Timothy Dalton in a top-notch performance as James Bond. The film is definitely a return of sorts to simpler, suspenseful Bond as it strays away from the silly humor of the Roger Moore period. The film is also different for giving Bond more grit as he is more fearless in his pursuits as well as giving some of the sexual interplay a bit of break in the wake of AIDS. In the end, The Living Daylights is an extraordinary film from John Glen.




© thevoid99 2012

Wednesday, February 02, 2011

Toy Story 3/Day & Night (short)


Originally Written and Posted at Epinions.com on 6/28/10 w/ Additional Edits.


When Pixar studios unveiled Toy Story in the fall of 1995, the film changed the face of cinema altogether by being the very first feature-length, computer-animated film.  Toy Story was a revolutionary film as it launched Pixar Animation Studios into the stratosphere with help from distributors in Walt Disney Pictures. Since that landmark film, the studio would release nine more feature films to massive acclaim and box office including a sequel to Toy Story in 1999. Since the release of the widely-acclaimed Toy Story 2, plans for a third film had been in the works going back and forth as Pixar continued to create a string of massive hits. In 2010, Pixar finally unveils the third and final film of the Toy Story trilogy simply titled Toy Story 3.

Toy Story 3 tells the story of cowboy toy Woody, space commander Buzz Lightyear, and other toys dealing with the idea of Andy leaving for college. Realizing that their future is uncertain and fellow toys are no longer around, the toys suddenly find a new home at a daycare only to realize that it's a prison as it's up to Buzz and Woody with their comrades to return to their original owner. Directed by longtime Pixar cohort Lee Unkrich and screenplay by Little Miss Sunshine screenwriter Michael Arndt. The film deals with the idea of growing into adulthood along with the importance of toys to a child. The result is a fitting yet heartfelt end to one of the greatest animated stories ever told.

Day & Night


Directed by Teddy Newton, the short Day & Night is about two personalities called Day & Night meet up as they each show a different background of day and night, respectively. At first, the two don't like each other only to find positive aspects of their respective qualities. The short is truly one of Pixar's best as it combines 2D, hand-drawn animation where inside the 2D figures are 3D, computer-animated backgrounds. With music by longtime Pixar collaborator Michael Giacchino, it is one of the most ingenious and entertaining shorts as it proves that Pixar is still the best when it comes to breaking ground in animation.

Toy Story 3 (Note: Seen in 2D, not in 3D)

After being the toys for Andy (John Morris) for many years, the toys are facing the moment they've been dreading the most. With Andy set to go to college, the toys have no idea about what is next. While Woody (Tom Hanks) is trying to remain optimistic about their future, even in the possibility that they will all go to the attic. The rest including Buzz (Tim Allen) and Jessie (Joan Cusack) are unsure. When Andy decided to put the toys in the attic while keeping Woody for himself to bring to college, a misunderstanding by Andy's mom (Laurie Metcalf) sends the toy to the trash where Woody tries to save the toys.  Fortunately, the rest of the toys including a Barbie doll (Jodie Benson), that belonged to Andy's little sister Molly, managed to escape as they go into a box after overhearing that Andy's mom suggested that Andy should donate the toys to the local daycare.

Woody doesn't believe that going to the Sunnyside daycare center is a good idea as he reluctantly joins them to Sunnyside where they're greeted by lots of toys including the a big bear named Lotso (Ned Beatty) and Ken (Michael Keaton) who is smitten by Barbie.  While Buzz, Jessie, Bulls-Eye, Mr. Potato Head (Don Rickles), Mrs. Potato Head (Estelle Harris), Rex (Wallace Shawn), Hamm (John Ratzenberger), Slinky (Blake Clark), Barbie, and the Squeeze Toy Aliens are amazed by Sunnyside.  Woody remains unsure as he decides to leave with the rest of the gang staying at Sunnyside. With Woody escaping, he almost makes it only to be found by a young girl named Bonnie (Emily Hahn). Bonnie takes him home where she plays with him along with her other toys including Trixie the Triceratops (Kristen Schaal), Buttercup the Unicorn (Jeff Garlin), a doll named Dolly (Bonnie Hunt), and a dramatic hedgehog in lederhosen named Mr. Pricklepants (Timothy Dalton).

Back at Sunnyside, the toys realize the place is a nightmare as they were abused and mistreated by toddlers. Realizing that Sunnyside is a prison, Buzz and the gang tries to figure out what's going on where Mrs. Potato Head (who now wears one eye) finds her other eye in Andy's room. Seeing Andy upset about the loss of the toys as he intended to put them in the attic, they realized that Woody was right all along.  Buzz attempts a breakout realizing that Ken along with a few other toys including Big Baby and the big purple octopus known as Stretch (Whoopi Goldberg) are part of a dark gang led by Lotso. Lotso and his gang including a glowing bookworm (Richard Kind) capture Buzz as Jessie and the gang are now trapped in cages with Buzz under Lotso's control.

After learning about the story of Lotso from an old toy named Chuckles the Clown (Bud Luckey), Woody decides to return to Sunnyside to bust his friends out only to realize that it's going to be more complicated as he learns from the Chatter Telephone (Teddy Newton) that there's no way out at night.  With Woody, Jessie, and the gang planning the breakout while trying to get Buzz out of Lotso's control, the team make an escape as they're confronted by Lotso and his gang as leads to a climatic battle to return home.

Going back to the original Toy Story in 1995, the film told a story of toys being played while being something more than just a toy to a child. Four years later with the second film, the sense of fear of not being played was being hinted as Woody, Buzz, and their friends try not to deal with it until the moment happens. In Toy Story 3, that fear and sense of dread finally arrives as the third film is the darkest of the trilogy.  Yet, it's balanced by a sense of hope as well as sadness concerning what happens in the end for the toys in which the story of Woody, Buzz, Jessie, and the rest of the gang is given a fitting close.

In Toy Story 3, the stakes are much higher than in any of the previous films as the toys not only face the idea of not being played with but also the idea of not being used at all. When they go to Sunnyside, it's a chance for the toys to be played but Woody doesn't like the idea as his loyalty towards Andy forces him to leave the rest of the gang. Woody's devotion to Andy definitely serves as a character flaw of sorts for him while he finds a new world in the arms of a young girl named Bonnie and her toys.  Realizing that there's a future for his friends in this young girl, Woody struggles with his devotion to Andy as well as his friends who are like family to him.

In Sunnyside, the loss of Woody and the danger of Sunnyside has the whole gang realize not only that they need him.  They also learn the truth about Andy's devotion to them even though he might never play with them at all. The first attempt to break out in which the truth about Sunnyside has Buzz be trapped and suddenly reprogrammed by Lotso and his gang. With Jessie and the gang now leaderless and trapped, it's Woody return that brings hope as they all hope to get Buzz out of Lotso's control and escape Sunnyside. The escape of Sunnyside is where the third act begins as it has a great mixture of humor, suspense, and drama like any great prison breakout film has.

Yet, the toys face what is probably the first true villain in any Pixar film in the form of a Strawberry-colored stuffed bear in Lotso. While Lotso starts off as this warm, welcoming kind of a bear. Underneath that sweetness is a dark, angry, manipulative toy who felt abandoned all because of a mistake. This is a toy that doesn't truly believe in love or the idea that toys hold far more value for a child. It is in that conflict that makes the third film truly a complex tale as screenwriter Michael Arndt does a wonderful job in setting up Lotso's back story and how he finds himself challenged by all of these other toys.

While the film's darkness is something new that Pixar is exploring in some respects, notably a climatic scene involving all of the toys that creates what is truly a symbolic, emotional moment. The film is balanced by its humor that is key to the franchise. While a few jokes do come back from previous films, new ones involved Buzz being reprogrammed the second time around as he ends up speaking in Spanish (through the voice of Javier Fernandez-Pena). Another funny moment involves the Ken doll who is convinced he's a boy's toy as he's often ridiculed by members of Lotso's gang while he finds love in Barbie.

If the script maintains the humor, drama, and suspense in all of its complexities of the entire trilogy. A lot of the credit should go for Lee Unkrich in presenting all of those elements in more for this third and final film. Having been involved with the trilogy from the beginning as an editor in the first film and as a co-director and editor in the second. Unkrich makes sure that the film has a sense of familiarity for the audience to feel nostalgic but also explore new worlds. At the same time, he creates new worlds for the Sunnyside sequence while opening the film with an intense, spectacular action scene where Woody, Buzz, Jessie, and Rex battle their fellow toys in an amazing fantasy sequence. When its revealed that it's a young Andy playing with his toys, it establishes the good old days with the other toys that appeared in the past.

When it comes to the main story, Unkrich maintains the film's sense of dread, anxiety, and suspense while balancing it with humor and hope.  For the back story on Lotso, the look of the film starts off light and then becomes very dark along with a lot of the second act. Scenes in the third act including a climatic scene involving a dump and an incinerator becomes one of the most haunting and emotionally intense moments. For the ending, Unkrich creates a moment that audiences knew would be emotional but not overly manipulative.  In that presentation, he creates something that is subtle and heart wrenching as the overall approach for the film becomes fitting.  Even as Unkrich finds a way to light things up for the credits scenes in the film.

The film's technical work in terms of its cinematography and look is truly pristine for many of the film's daytime scenes whether it's in Andy's room or Sunnyside. The nighttime scenes are filled with shades and dark lights to convey the dark mood for some of the scenes including some intense suspenseful moments. A lot of the animation supervised by animation director Michael Stocker is wonderful for the look of the characters and the environments they're surrounded by. Editor Ken Schretzmann does amazing work with the film's editing in terms of creating suspense and spontaneous, comedic moments. The rhythm of the humor along with some well-paced dramatic and subtle moments as the editing overall is superb.

The sound design of Tom Myers along with sound editor Michael Silvers is excellent in terms of the environment the toys are in. Notably Sunnyside for its surroundings and everything else outside of Sunnyside. Particularly the intense and climatic dumpster scene that is wall-to-wall sound design for the machines and objects around them as the sound work is exquisite. The music by Randy Newman, who had previously done work in the previous films, is filled with score pieces to convey the emotions of the film. From orchestral flourishes for the suspenseful and dramatic scenes to some comical scenes that is presented in a flamenco style.  The new original song by Newman in We Belong Together is an upbeat song that recalls the good old days of Andy and the toys while there's an amazing, flamenco-style cover of You've Got A Friend in Me by the Gypsy Kings that get things going.

The voice cast that is assembled is truly one of the film's highlights. Small voice appearances include an archived voice of Hannah Unkrich as Molly when she was a baby plus Erik Von Detten returning as Sid in a cameo role and as the young Andy, Charlie Bright. From the Pixar troupe, there's voice appearances from Bonnie Hunt as Dolly and Jeff Garlin as Buttercup the Unicorn as they are two of Bonnie's toys. Other small voice roles include Whoopi Goldberg as a sleazy octopus named Stretch, Richard Kind as a glowing bookworm, Brianna Maiwand as a peas-in-a-pod toy named Peanelope, Teddy Newton as Chatter Telephone, Bud Lackey as Chuckles the Clown, Jack Angel as a henchmen of Lotso named Chunk, and Kristen Schaal as Trixie the Triceratop.  Supporting standouts include Michael Keaton as clothes-loving Ken who is convinced that he's a boy's toy while falling for Barbie. Yet, the newest voice cast to the series that really makes an impression is Timothy Dalton as the dramatic, thespian-like Mr. Pricklepants.

Returning to the voice as Andy is John Morris who provides all of the anxieties of a teenager trying to move on without his beloved toys while Laurie Metcalf also returns as Andy's mom. Beatrice Miller provides the voice of Andy's young sister Molly as they all do a splendid job in voicing the characters. A new character in a shy little girl named Bonnie is wonderfully voiced by Emily Hahn who provides a warmth and hope Woody didn't expect from another child. Ned Beatty provides a wonderful voice for the character of Lotso where he starts off warm and cuddly only to be a man filled with anger and hate as Beatty hits all the right notes for the voice. Longtime Disney voice actress Jodi Benson brings a lot of spark and wit in the role of Barbie as she has great voice chemistry with Michael Keaton.

For the main roles that have been to the franchise for all three films, the characters are all given great moments to do as provided by the people who voice them. Taking over for the late Jim Varney as Slinky the Dog is comedian Blake Clark who does a fantastic job in providing the voice while making it a tribute to the late Varney. Jeff Pidgeon is excellent as the multi-tracked voices of the Squeeze Toy Aliens while R. Lee Ermey makes a brief appearance as the Sarge of the green soldiers. Don Rickles and Estelle Harris are funny in the respective roles of Mr. & Mrs. Potatohead as they're given some great lines and scenes while John Ratzenberger plays it cool as Hamm the Piggy Bank. Wallace Shawn is fun to hear as Rex while great non-voice roles come from such characters like the horse Bulls-Eye, a scary monkey, and from Hayao Miyazaki's Tonari no Totoro is Totoro as one of Bonnie's toys.

Joan Cusack is superb as the voice of Jessie with her determination and wit to get things going when Woody is out and Buzz is under Lotso's control as Jessie is one of the few female Pixar characters that girls can root for. Tim Allen is in brilliant form as Buzz as he tries to maintain some hope for the other toys at Sunnyside while later being reset into Spanish mode as the voice of Javier Fernandez-Pena adds a lot of great humor. Tom Hanks is also in excellent form as Woody who tries to remain optimistic while providing the sense of internal conflict his character is dealing with.

While it may not be the best of the three films, Toy Story 3 is still a brilliant, complex, and entertaining film that gives the story of Woody, Buzz, Jessie, and the rest of the gang a fitting finale. Fans of the franchise will definitely be happy to see the characters return while be given a sequel that lives up to its predecessor. With the previous films, Toy Story 3 creates what is truly one of the best trilogies ever told where there's no weak story or anything to make it feel like it fell short in comparison to the other films. With a great voice cast, a memorable score, a fantastic script, and Lee Unkrich's sprawling direction. Toy Story 3 proves once again that Pixar is one of the best studios to make films that reaches all kinds of people. Even as the film is the first great film of the year and the new decade. In the end, Toy Story 3 is a marvelous film that captures the joy of the first two films while giving these beloved characters a bow worthy of those films.

Pixar Films:  Toy Story - A Bug's Life - Toy Story 2 - (Monsters, Inc.) - (Finding Nemo) - The Incredibles - Cars - Ratatouille - WALL-E - Up - Cars 2 - Brave - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) - (Cars 3) - Coco - Incredibles 2 - Toy Story 4 - (Onward) - Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)

© thevoid99 2011

Wednesday, August 11, 2010

Hot Fuzz


Originally Written  at Epinions.com on 4/21/07 with minor edits.



In 2004, British director Edgar Wright and his co-screenwriter Simon Pegg scored a massive cult hit with a zombie movie spoof Shaun of the Dead. The film, that also starred their Spaced co-stars Nick Frost and Jessica Stevenson, was a spoof and homage to the zombie films of George Romero that brought laughs and new energy to the genre. The film's cult success grew as fans anticipated for the next Wright/Pegg project. In 2007, the duo along with Frost re-teamed to create another spoof, the buddy cop movies for the film Hot Fuzz.

Directed by Edgar Wright and co-written with Simon Pegg, Hot Fuzz is about a cop who gets transferred to a quiet British town where his new partner is the chief's inept son. Learning of a crime plot going on in the quiet little town, the two action-film loving cops decide to take on the crime itself with style. An homage yet satire of every cop film and its cliches, Hot Fuzz revels in its humor and love of action with Pegg and Nick Frost playing the lead characters. Also starring Jim Broadbent, Paddy Considine, Anne Reid, Bill Nighy, Timothy Dalton, Billie Whitelaw, along with cameos from Steve Coogan, Martin Freeman, Stephen Merchant, and two other cameos by big stars (not going to tell ya). Hot Fuzz is a funny, satirical action-comedy that pays homage and laughs to the American action film genre.

Nicholas Angel (Simon Pegg) is a police officer in London. So good, so dedicated, that he makes everyone in the police force look bad. Really bad. Angel's dedication is so powerful that his superiors (Martin Freeman, Steve Coogan, and Bill Nighy) decide to transfer him to a sleepy village in the North of England called Sandford. Angel is forced to move as his ex-girlfriend (Ecat Chettblan) has moved on with a new boyfriend. Arriving into Sandford, his new superior Inspector Frank Butterman (Jim Broadbent) introduces him to the local force that includes Angel's new partner and Butterman's son Danny (Nick Frost). The town hasn't had a recorded murder for twenty years as Angel finds himself out of place with the town. Even by his local forces that included detectives Andy Wainwright (Paddy Considine) and Andy Cartwright (Rafe Spall), officers Doris Thatcher (Olivia Colman) the aging Bob Walker (Karl Johnson) and Tony Fisher (Kevin Eldon).

Angel also has gotten the attention of local supermarket owner Simon Skinner (Timothy Dalton), who has been saying mysterious things, while being head of the Neighbourhood Watch Alliance along with Joyce Cooper (Billie Whitelaw), Dr. Robin Hatcher (Stuart Wilson), Reverend Phillip Shooter, (Paul Freeman) and Tom Weaver (Edward Woodward) who surveys everything in the town. Angel also meets local florist Leslie Tiller (Anne Reid), journalist Tim Messenger (Adam Buxton), and local millionaire George Merchant (Ron Cook). Angel finds himself getting into weird situations including trying to get a swan for its owner (Stephen Merchant) as he wonder where is the crime. Then after stopping a couple (David Threlfall & Lucy Punch) for speeding, he learns that Inspector Butterman wants Angel and Danny to go see them at their play. Then, a murder has occurred but has been covered up as an accident. Angel doesn’t believe it was an accident though the rest of the police staff laugh it off.

Feeling no respect for his work, only Danny seems to become his friend despite his lack of experience. Yet, Danny’s love for American action films including Point Break and Bad Boys II gives Angel something to take a break off. Then when another murder occurred at George Merchant's home, Angel becomes suspicious. Even more when more are murder including one witnessed by Angel, Angel wants to know what goes on. He suspects Skinner for the killings but doesn't get any proof. With Danny being the only help he has, he doesn't get any respect from anyone including Inspector Butterman who believes it's all a bunch of accidents. Angel continues his investigations where after an attack by one of Skinner's henchmen. He then learns not only that Skinner is involved but other people as well including those from the N.W.A. and a surprise member. There, Angel, Danny, and the rest of the force decide to get the law into order and with a bang.

When people see action films, they don't expect anything serious but blow-them-up and lots of stunts. Yet, they can get too serious and end up becoming parody. In the case of this film, Edgar Wright and Simon Pegg doesn't exactly take a p*ss on the American action genre. They glorify them while making fun of every cliche that's been seen in those films and have fun with them. The film's plot is easy to follow though a bit slow at times to move the story. It's only because the character of Angel is merely a satire of the cops seen on action films who takes himself too seriously at times and not be loose at the same time. Then when he is influenced by the action films Danny shows him, he becomes a different animal.

Edgar Wright clearly goes for style with this film rather than substance. Yet, it all works to convey the humor of what he's trying to do. He’s taking a p*ss at every cliche, every action film shot, every buddy cop movie. Yet, it's all in good fun. Even getting the likes of respected, British actors like Billie Whitelaw, Anne Reid, Jim Broadbent, Stuart Wilson, Ron Cook, and Edward Woodward to do something that isn't expected of them. It's because he knows that these actors are often seen in British dramas or Shakespeare but here, he lets them have guns, shoot people, and whatever. All in good fun. Plus, there's moments of gore that's also a bit extreme for the American action fan but that's the way the British does it. In some respects, Wright knows what he's doing and he's giving the audience something to have fun with while paying some respect to action directors and such.

Cinematographer Jess Hall does excellent work with the stylish, slow-mo camera work that's often done in action films while bringing a colorful look the British village. Editor Chris Dickens even goes for style with the kind of rapid-cutting that's seen in a lot of action films that are hyper-kinetic. There at least, the editing is all in good fun and plays to that action film style. Production designer Marcus Rowland and Liz Griffiths add a nice look to the film’s countryside while costume designer Annie Hardinge brings a nice look to the British cop clothes. Makeup artist Candice Banks does great work in playing with the gore as well as those cool mustaches Paddy Considine and Rafe Spall wear. Sound designer Craig Butters and sound editor Julian Slater play off to the film's action style in its sound while visual effects supervisor Richard Briscoe does some great special effects for some of the film's action scenes. Composer David Arnold also plays off to the genre with a stylish, orchestral score. The film's soundtrack also has kick with music by Adam Ant, XTC, Supergrass, the Kinks, Sweet, Arthur Brown, and Jon Spencer to add energy to the film.

The film's cast couldn't have been inspiring. The cameos from Steve Coogan, Martin Freeman, Bill Nighy, Stephen Merchant, and an Academy Award-winning director (ain't telling you), along with an Academy Award-winning actress (still ain't telling you) are funny to watch. The performances from veteran actors like Stuart Wilson, Anne Reid, Ron Cook, Edward Woodward, Billie Whitelaw, and Paul Freeman are fun to watch as they engage themselves in gore and have fun shootouts without taking themselves too seriously. Other small performances from Tim Barlow as Skinner's henchmen, Alice Low as Skinner's secretary, David Threlfall, Lucy Punch, and Adam Buxton are excellent. Fellow cops Olivia Colman, Karl Johnson, and Kevin Eldon are given some great funny moments as well as some great action scenes. Paddy Considine and Rafe Spall are hilarious as the mustache Andys who play the detective who love to make fun of Angel and his city-ways.

Jim Broadbent is wonderfully funny as the easy-going yet shady Inspector Butterman who doesn't want to believe anything that's wrong while trying to make Angel fit in. Broadbent is given great moments in both the action scenes and in the funny stuff where's given a lot to do and have fun at the same time. Playing against the James Bond role he's known for, Timothy Dalton is great as another shady individual as the villainous Skinner who is trying to do anything but to cover up his plans. Dalton is great while getting to do things he wouldn't have done as Bond, where he looks like he's having fun.

Nick Frost is really the funniest person on film. His character doesn't take things seriously and is like a kid when it comes to action movies and idolize them. He's like the cop that wants to be the superbad cop he idolizes in the cop movies. Frost brings a lot of fun to the role and makes himself relatable to audiences. Simon Pegg is also great as the straight man of the film who takes himself too seriously when doing things as Pegg really shows more of a dramatic side. When his character decides to go badass, he really sells it with a lot wit and humor. The chemistry of Frost and Pegg are just a joy to watch as they make themselves one hell of a comedy duo.

While not as funny as Shaun of the Dead, Hot Fuzz is still a hilarious, witty action-comedy from the duo of Edgar Wright and Simon Pegg. With great comedy assistance from Nick Frost and a great cast of respected British actors, it's a film that gives the audience what they want. Loads of laughs and lots of violence, it's just a film that action fans can enjoy without taking it too seriously. In some ways, the British just know how to do the genre a bit better without being too serious while adding more gore to the festivity. In the end, for a film that brings laughs and a great experience to cheer, Hot Fuzz is the film to see.


© thevoid99 2010