A Reel Review: HAUNTED MANSION

Since 1969, Disney has struck the perfect balance of scary and fun with their Haunted Mansion attraction; a dark ride that whisks visitors through a house of haunts packed with endless hallways, creaky doors, hundreds of ghosts, and a creepy tune that gets stuck in your head long after your exit. The attraction was given a big-screen treatment in 2003 (which died on arrival), and today gets a new version that looks to recapture that perfect balance. 

 

Gabbie (Rosario Dawson), and her nine-year-old son Travis (Chase W. Dillon), move into a mansion in New Orleans only to find it haunted. For help, she enlists Ben, a paranormal tour guide (LaKeith Stanfield), a priest (Owen Wilson), a psychic (Tiffany Haddish), and a professor (Danny DeVito). 

 

To say too much more of the plot would move into heavy spoiler territory. Directed by Justin Simien, HAUNTED MANSION starts as a standard haunted house tale, but thanks to some twists and turns raises the stakes nicely. Through some clever events, the newly assembled ghost-busting team finds themselves unable to just walk away from the Mansion, and their efforts to combat the ghosts eventually leads them to an even darker spirit…the dreaded Hat Box Ghost which is seeking just one more soul for his collection. 

 

While the team gets tossed around the house by specters, HAUNTED MANSION finds its footing by some excellent character work. Ben, having recently lost his wife in a tragic accident, is grieving heavily and is a perfect target for the Hat Box Ghost to prey upon. Ben eventually finds an unexpected ally in learning how to let go, and even Hat Box deals with the same issue. It’s a heavy theme presented lightly yet effectively, and gives the film a beating heart. 

 

HAUNTED MANSION is a film that is most definitely aimed at fans of the famed ride at Disney parks. All the famous elements from the ride are there, right down to the breathing door and the doom-buggy. But it isn’t just a cinematic Easter Egg hunt, as every one of those elements is given a story reason; a purpose for being there and gives the film depth. This HAUNTED MANSION is a loving tribute to the ride. 

 

Pacing is brisk, humor is spot-on, and the scares well-timed. The balance works between fun and scary, as the spooky parts are very effective even though they lean towards the lighter side. Visual effects are a bit cartoony, especially with all the ghosts, but it is true to the look that the spirits have in the ride. Other visual effects such as the endless hallways and stretching rooms are very well done. The film takes a bit to find its footing as the first 20 minutes or so are a bit clunky, but once it finds its story things settle in nicely. 

 

The entire cast is excellent, with LaKeith Stanfield the standout. Rosario Dawson is committed as always, and Owen Wilson and Danny DeVito are a hoot. Jamie Lee Curtis appears as the famed Madame Leota and nearly steals the show. And watch out for a few sneaky and great cameos. 

 

For those of us who endure long wait-lines to ride Haunted Mansion at the parks more than once a day, this film version offers a lot to love. Those foolish mortals who have never experienced it may not get a lot out of the setting, but the story works and should hit home for anyone who has lost a loved one; a good balance of melancholy and whimsical. That makes this HAUNTED MANSION a happy haunt. 

 

BOTTOM LINE: See it 

 

 

A Reel Preview: Everything You Need to Know About HAUNTED MANSION

In 2003, Walt Disney Pictures unleashed upon an unsuspecting world PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL; a live-action feature film based on one of their theme park attractions (read Reel Speak’s 20^th anniversary blog HERE). The film was a success and launched a lucrative franchise, and the thought back then was that we could expect even more films based on their rides. Then in the same year, they gave HAUNTED MANSION a try which was deservingly given a quick death. JUNGLE CRUISE chugged along nicely in 2021, and here in 2023, HAUNTED MANSION gets another shot at the big screen. Here is everything you need to know about it in this preview: 

 

 

What is this about? – As stated, HAUNTED MANSION is based on the theme park attraction located at Disneyland, Magic Kingdom, and Tokyo Disneyland, and the two versions at Disneyland Paris and Hong Kong Disneyland. The film follows a single mother and her son who move into a mansion, only to find that it is haunted. She hires a former paranormal investigator, priest, psychic, and college history professor to help combat the ghosts. 

 

 

Who is behind the camera? – HAUNTED MANSION is directed by Justin Simien, whose acclaimed first feature film, DEAR WHITE PEOPLE (2014), was adapted into the Netflix series of the same name. The script is written by Katie Dippold, who has writing credits in television shows such as MAD TV and PARKS AND RECREATION. In film, she wrote the GHOSTBUSTERS remake in 2016, and SNATCHED in 2017. 

 

 

Who is in front of the camera? – The role of the mother is played by Rosario Dawson, with Chase W. Dillon as her son. They are joined by LaKeith Stanfield, Tiffany Haddish, Owen Wilson, Danny DeVito, Jamie Lee Curtis, Jared Leto, Winona Ryder, and Dan Levy. 

 

 

Random Facts – Development on HAUNTED MANSION goes back to 2010, with Guillermo del Toro (PACIFIC RIM, THE SHAPE OF WATER), attached to direct and write. His script was considered to be too scary * Walt Disney Imagineer Jason Surrell, who worked on the Magic Kingdom attraction, was brought in to consult * This will be the 12^th film based on a Disney theme park attraction. The first ever was the TV movie TOWER OF TERROR in 1997. The first to see the big screen was MISSION TO MARS in 2000 * Running time for HAUNTED MANSION is 123 minutes. It is rated PG-13.  

 

 

What to expect – Starting behind the camera, Justin Simien does not have a large filmography, but what he has done has been solid. Screenwriter Katie Dippold unfortunately has that GHOSTBUSTERS remake abomination on her resume, but to be fair, she was a co-writer. In front of the camera, the cast looks fun. Rosario Dawson always delivers, and any movie with Danny DeVito has got to be a hoot. The Haunted Mansion attraction has been one of Disney’s most popular rides since its opening in 1971, and is as important to the legacy of the parks as the castles. With that in mind, Walt Disney Studios should certainly feel the pressure of getting this right. It has to be scary…but it also has to be fun. 

 

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HAUNTED MANSION opens with previews on July 27^th, and opens in full on the 28^th. 

A Reel Review: BARBIE

A wise blogger once wrote that a great story can be found anywhere. The Oscar-winning ARGO was based on a magazine article, PIRATES OF THE CARIBBEAN on a ride, and MISSION IMPOSSIBLE on a TV show. Here in 2023, director Greta Gerwig takes on the massive responsibility of bringing one of the most iconic and beloved toys to its first live-action version, with BARBIE. 

Barbie (Margot Robbie), and Ken (Ryan Gosling), venture out of Barbie Land, where dolls played by humans exist in a perfect world with other Barbies and Kens…to set things right when the perfection starts to fade. 

Directed by Greta Gerwig and based on the fashion doll that has dominated toy stores since 1959, BARBIE is a film that stands not only as a loving tribute to the toy line, but also to the girls who were inspired by her. After all, this was a toy that moved dolls away from the baby-dolls and into women that could become doctors, pilots, or even astronauts. The early goings of the film spell this out nicely (and quite powerfully), before getting into its all-important world-building. Barbie Land is ruled by a diverse group of Barbies, thinking they have made the Real World a better place for women. Once Barbie and Ken hit that Real World, Barbie realizes how women are treated, and Ken embraces masculinity and takes it back to Barbie Land. 

BARBIE at first heads down familiar territory. Barbie is a fish out of water and eventually encounters a mother and daughter (America Ferrera and Ariana Greenblatt), who are the source of Barbie Land’s problems. What seems like a standard tale of recapture-your-childhood takes a few nicely placed left-turns, and BARBIE ends up full of surprises. 

While Barbie and Ken wreak havoc in the Real World and Barbie Land, Gerwig takes the opportunity to explore many important themes. A woman’s place in the world is leaned into here, and even though it hangs over the film heavily it never feels preachy. A strong family story is here too, with the mother and daughter element working very well, and quite emotionally. For as much of a fantasy film BARBIE is, it always feels grounded and relevant. 

Visuals are eye-popping and is a Barbie playtime brought to life. The dream-houses, vehicles, and accessories are lovingly re-created, and the deep-pulls and Easter Eggs are everywhere; right down to the dolls that were discontinued ages ago. The existence between Barbie Land and the Real World isn’t fleshed out very much, and it really doesn’t need to. BARBIE is a metaphor for a lot of things, and that is just one of them. Pacing is brisk, the humor is great, and there isn’t a dull moment to be found.

Acting is very good. Margot Robbie gives Barbie some true life and is a delight. Ryan Gosling feels like he’s going through the motions but still makes it work. America Ferrera and Ariana Greenblatt are both excellent. Comedy actors Will Ferrell (as the CEO of Mattel), and Kate McKinnon (as Weird Barbie, the doll that has been drawn on and messed up), steal every scene they’re in. The rest of the cast, including Issa Rae, Simu Liu, Kingsley Ben-Adir, Michael Cera, Rhea Perlman, and Connor Swindells are great…and watch out for a few cool cameos. 

There are two powerful moments in BARBIE that sum up the film: a scene where the Mattel CEO tries to get Barbie “back in the box”, and a stunning monologue by America Ferrera which sums up the state of womanhood in this century. The former is a heavy metaphor, and the latter is not, but both hit hard and elevate Barbie to some upper-tier filmmaking. This Blogger has always written that a great story can be found anywhere, and this is one of those places. 

BOTTOM LINE: See it 

 

A Reel Review: OPPENHEIMER

Director Christopher Nolan has always been fascinated by the concept of time. He has manipulated it throughout his impressive filmography; starting with the reverse-thinking MEMENTO (2000), the mind-bending INCEPTION (2010), the WWII epic DUNKIRK (2017), and even his take on the Caped Crusader in BATMAN BEGINS (2005). He has challenged and frustrated audiences, and this year throws down his heaviest gauntlet to date with OPPENHEIMER.

 

In 1942 with WWII raging, Dr. J. Robert Oppenheimer (Cillian Murphy), a brilliant theoretical physicist, is recruited by General Leslie Groves (Matt Damon), to assemble a team of scientists who will work in secret to develop America’s first atomic bomb.

 

Written and directed by Nolan and based on the book American Prometheus by Kai Bird and Martin J. Sherwin, OPPENHEIMER covers the entirety of Oppenheimer’s life (or Oppie, as his friends and loved ones call him), with the bulk of the film tracking his work to create the bomb that will win WWII. It is no great spoiler to say that Oppie will succeed in creating the world’s first weapon of mass-destruction, and despite how grand of an achievement that is, OPPENHEIMER nearly moves that into the shadows by deep-diving into the fallout after the bomb is dropped. Oppie can taste the blood on his hands and doesn’t fall in-line with U.S. Government desires to build more bombs and an eventual arms race with Russia. His defiance leads him to conflict with Lewis Strauss (Robert Downey, Jr.), a fellow physicist who works in secret to derail Oppenheimer’s career.

 

To present this massive story, Nolan goes back to his time-bending method that he used in BATMAN BEGINS and his magnificent THE PRESTIGE (2006). OPPENHEIMER unspools in three different time periods of Oppie’s life: his building of the bomb (presented in standard color), Strauss’ confirmation hearing to become Secretary of Commerce (in glorious black-and-white), and Oppie’s torturous grilling in front of the U.S. Atomic Energy Commission (in a washed-out color). The competing timelines are used as a framing device to tell Oppie’s life-story. It is a challenge to keep up, but the color shifts work.

Just like Nolan used the structure of a magic trick to put together THE PRESTIGE, here he uses the concept of nuclear fission to create OPPENENHEIMER. Nuclear fission is the energy released when an atom is split, and here Nolan uses his fragmented story as elements that keep colliding. The energy that comes off that structure burns off the screen and makes OPPENHIEMER a dense, yet mind-scrambling experience.

 

Nolan paints an impressive visual canvas. As the first film shot completely in 70mm, every shot is impressive. Pacing is slow in the beginning but really picks up once the work to build the bomb starts. The film does feel like it could have used another pass in the editing room. Some scenes continue on needlessly long after the point has been made, and with so much time put into the aftermath of the first bomb detonation, there is a slight feeling of anticlimactic. Visual effects are tremendous; the film boasts zero use of CGI, and the actual miniature nuclear explosion they created is stunning. Nolan does some clever editing for that first detonation, and is presented in a totally unexpected way. Ludwig Goransson’s score is outstanding.

 

Also outstanding is the acting from the entire cast. Cillian Murphy takes hold of Oppie and makes it his own; complicated, arrogant, and aware of the important work he is doing. The show is stolen by Robert Downey Jr., who for the first time in 20 years doesn’t act like Tony Stark. Emily Blunt comes in as Oppie’s wife and is excellent as always, and Florence Pugh steals her scenes in more ways than one. Josh Hartnett is nearly unrecognizable, as is David Krumholtz. The rest of the cast is also excellent: Matt Damon, Casey Affleck, Rami Malek, Kenneth Branagh, Matthew Modine, Tom Conti, Dane DeHaan, Alden Ehrenreich, Jason Clarke…and watch out for one hell of a cameo from the man who plays President Truman.

 

At three hours and an unconventional challenging structure, OPPENHEIMER is another Nolan film that pushes the mental (and physical) limits of his audience. The film ends on a stunner of a note; bittersweet yet somewhat devastating as we, along with Oppie, realize what has been done. As a historical piece it is essential, as it has themes and lessons that are very relevant today. OPPENHEIMER will be talked about and analyzed, and it seems like ages since we’ve had a movie that leaves such a big impact crater. And it’s about time.

 

BOTTOM LINE: See it 

A Reel Preview: BARBENHEIMER

This week, two of the most anticipated films of the year are releasing on the same weekend: Greta Gerwig’s BARBIE, and Christopher Nolan’s OPPENHEIMER. The two films, which could not be more drastically different, will be in a box office showdown that has captivated social media, with users literally combining the films into BARBENHEIMER (all in good fun). The enthusiasm for both films has resulted in strong tracking numbers for both films, with reports of many people opting into a double-feature. Here now is a preview for both films: 

 

BARBIE

Based on the classic fashion dolls by Mattel, BARBIE is directed by Greta Gerwig from a screenplay she penned with Noah Baumbach. It is the first live-action film based on the toy after decades of animation. Gerwig, who started her career as an actress, has had a string of successful films as a director, including Oscar-nominees LADY BIRD (2017), and LITTLE WOMEN (2019). Noah Baumbach’s writing credits include the Oscar-nominated MARRIAGE STORY (2019), and has collaborated with Wes Anderson on FANTASTIC MR. FOX (2009), and THE LIFE AQUATIC WITH STEVE ZISSOU (2004). The cast of BARBIE is as strong as it’s filmmakers, with Oscar-nominated actors Margot Robbie (I, TONYA) as Barbie, and Ryan Gosling (BLUE VALENTINE) as Ken. The cast also includes America Ferrera, Rhea Perlman, Will Ferrell, Michael Cera, Helen Mirren, and Kate McKinnon. The running time is 114 minutes and is rated PG-13.

 

OPPENHEIMER

Based on the life of Robert J. Oppenheimer, the scientist who invented the atomic bomb, and the novel American Prometheus by Kai Bird and Martin J. Sherwin, OPPENHEIMER tracks the main character’s trials, successes, and failures in bringing the bomb to life. The film is directed by Christopher Nolan, who has helmed some of the most acclaimed films of the last 20 years, including INCEPTION (2010), DUNKIRK (2017), and his three Batman films known as THE DARK KNIGHT TRILOGY (2005-2012). The ensemble cast includes Cillian Murphy as Oppenheimer, and he is joined by Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Matthew Modine, Dane DeHaan, Alden Ehrenreich, Gary Oldman…and much more. The running time is 180 minutes and is rated R. 

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For many reasons, this is one of the most exciting weekends for cinema in years. Even before the mishandled pandemic, studios were very reluctant to open their films against stiff competition, leaving us with movies spread out over weeks and months. It is a call-back to earlier times when big movies would open against each other: In 1995 Pixar’s TOY STORY and Martin Scorsese’s CASINO opened on the same weekend, as did JUMANJI and HEAT that same year. Also, DIE HARD and A FISH CALLED WANDA in 1988, and in 2008 Nolan’s own THE DARK KNIGHT went up against the musical MAMMA MIA!. People who love cinema also love options, and a packed lineup is how it should be. 

BARBIE and OPPENHEIMER could not be more different. One is based on a toy, the other on a real-life icon. One is loaded with CGI, the other none whatsoever. One looks funny and light, the other none whatsoever. However, both boast two excellent directors and casts, and together are in a position to make for one of the most memorable weekends in cinema. 

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BARBENHEIMER opens with limited showings on July 20th, and a full release on the 21^st.

 

A Reel 25: SAVING PRIVATE RYAN

“This time the mission is a man”

 

This month marks the 25^th anniversary of Steven Spielberg’s SAVING PRIVATE RYAN. 

 

A WWII epic, SAVING PRIVATE RYAN was inspired by the books of Stephen E. Ambrose and the accounts of the Niland Brothers; four American brothers who served in WWII with only one surviving. The plot follows in the days after the Allied invasion of Normandy, with a platoon sent out into enemy territory to find Private James Ryan, who has been ordered home after his three brothers were killed in action. 

 

Development on the film began in 1995 with producers Mark Gordon and writer Robert Rodal, with Rodal inspired heavily by the novel D-Day June 6, 1944: The Climactic Battle of World War II by Ambrose. The project was brought to Paramount Pictures with action director Michael Bay hired to direct. Bay would eventually leave the project and the script would go to Tom Hanks, who would share the idea with Steven Spielberg who immediately signed on. 

 

Spielberg’s initial approach to SAVING PRIVATE RYAN was to make it a basic, men-on-a-mission WWII flick, but changed things around after interviewing WWII veterans, who convinced him to tell their stories as opposed to the old Hollywood treatment. The cast would be an ensemble collection of actors, with Hanks as the leader of the platoon and Matt Damon as Pvt. Ryan. The rest of the outstanding cast would include Edward Burns, Tom Sizemore, Jeremy Davies, Vin Diesel, Adam Goldberg, Barry Pepper, Giovanni Ribsi, Dennis Farina, Ted Danson, Harve Presnell, Bryan Cranston, Nathan Fillion, Paul Giamatti, and Ryan Hurst. 

 

Filming began in Ireland in June of 1997. The actors were required to go through a six-week boot camp prior to filming. Cinematographer Janusz Kaminski spent several weeks perfecting the film’s unique visual aesthetic. The harrowing opening battle at Normandy had many shots on hand-held, 16mm film, giving it a newsreel, as-its-happening look and feel. Scenes were also shot at the Normandy American Cemetery and Memorial at Omaha Beach. John Williams provided the score. 

 

On release, SAVING PRIVATE RYAN would earn high praise from critics and from veterans. It would finish as the highest grossing film of the year, beating out the action summer blockbusters ARMAGEDDON and GODZILLA. At the 71^st Academy Awards, it would win Best Director (Spielberg), Cinematography (Kaminski), Editing, Sound, and Sound Effects Editing. It would also be nominated for Best Picture, Actor (Hanks), Music (Williams), Screenplay, Production Design, and Makeup. The film would later be credited with renewing interest in WWII leading into the 21^st century. The opening battle scene would hold influence over action films. Today it is considered to be one of the greatest war films of all time, with the American Film Institute (AFI), ranking it as the 71^st greatest American Film. 

 

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Many of us can probably still remember our first big-screen experience with SAVING PRIVATE RYAN, especially the horrific, yet terrific opening battle scene of the Invasion of Normandy…a scene that had us ducking for cover and would eventually change the way action scenes would be filmed for the next 25 years. From there, we would expect the standard Hollywood treatment for a war film; assemble a group of soldiers to take on an impossible mission, usually a hill or a bunker. But this was where Spielberg and RYAN smashed expectations. This time the mission was to bring one man home, and to spare a grieving mother being handed another folded American flag. 

Flag-waving and American bravado had been the standard Hollywood blueprint for war films for decades, and the grounded tale here, brought to life by Spielberg’s unique direction and the committed cast, is one that resonates and is timeless. Although the war and all of its horrors are in the film, it balances things out by telling a human story; the stories of the many men who fought in WWII. With that, it becomes a tribute to veterans from all wars.

From a technical standpoint, SAVING PRIVATE RYAN is a grand achievement in filmmaking. The look and cinematography brought us images we had never seen before, and today it still haunts. The script is surprisingly simple; just 10 total scenes/locations, and should be taught in every Screenwriting 101 class. And lest we forget John Williams’ magnificent theme, Hymn to the Fallen. From the breathtaking opening scene to the stunning final sequence, when the mission is to name some of Spielberg’s greatest works, or the best war films, or the all-time great movies in history, the answer comes down to one man.

 

“James, earn this. Earn it.” 

A Reel Review: MISSION IMPOSSIBLE - DEAD RECKONING PART ONE

One of the biggest challenges for the MISSION IMPOSSIBLE franchise, now in its 57^th year, is how to stay relevant in today’s technology-driven world. After all, this was all based on a TV show where rubber masks and exploding tape recorders were its calling cards. Since its big-screen debut in 1996, the series has found many ways to avoid being dated, and here in 2023, director Christopher McQuarrie and producer/star Tom Cruise take their biggest leap yet with DEAD RECKONING PART ONE. 

Ethan Hunt (Cruise), agent for the IMF (Impossible Mission Force), is assigned to track down the two halves of a key which can disable a powerful Artificial Intelligence program (called the Entity), which has reached sentience and is a threat to every government in the world. 

Directed by Christopher McQuarrie and the 7^th film in the franchise, DEAD RECKONING quickly begins as a globe-trotting chase with Hunt on the (ahem), hunt for the two halves of the key. Things get complicated quickly when he finds himself once again disavowed by his own agency, has one-half of the key stolen by a pickpocket named Grace (Hayley Atwell), crosses paths with an old foe (Esai Morales), and finds himself hunted by a deadly assassin (Pom Klementieff). All this while the Entity has the ability to hack into every piece of tech Hunt and his team (Ving Rhames, Simon Pegg), rely on to complete their mission. 

The film is loaded with misdirection and twists and turns, all of which work extremely well. The film also focuses on the moral quandaries of Ethan, his team, and Grace. Grace is in the game for the money and often wrestles with the choice of cash over honor, while Ethan, who has a personal grudge against his old foe, has to choose between the mission and revenge. It’s a solid theme, and gives DEAD RECKONING a lot to work with. 

Working overtime here is McQuarrie and Cruise in the outstanding action sequences, ranging from fistfights, gunfights, knife fights, car chases, train chases, and foot chases…taking place in airports, city streets, trains, mountainsides, cliffsides, and inside top security locations. The tension (and fun) is up to the max with many sequences having more than one thing going on, and just when we think one action sequence is headed for the door, something else happens to take it a few steps more. Much has been made of Tom Cruise doing his own stunts in the last few films, with a stunning motorcycle jump off a cliff a highlight here. That highly publicized jump is just the tip of the ‘berg…as the film is relentless in dishing out the spectacle. McQuarrie keeps things tight as the film rockets along and doesn’t feel like its hefty 163 minutes. The score by Lorne Balfe is excellent. 

Tom Cruise is a powerhouse here but isn’t afraid to show some vulnerability. He knows that his Ethan character has been in the spy game for 30 years, and there are subtle moments showing that Ethan has become world-weary. Hayley Atwell steals the show as a pro thief who is in over her head in this world-wide game of espionage. The rest of the cast is excellent: Esai Morales, Ving Rhames, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, Cary Elwes, Pom Klementieff, and Henry Czerny. 

Ten years ago, DEAD RECKONING could have been lumped into a sci-fi category with its increasingly evil AI ready to take over the world’s technology. Today, it seems like we are just days away from that actually happening, which makes this 7^th MISSION IMPOSSIBLE film hit home hard. That, and the action and character moments are the best in the half-century old franchise. DEAD RECKONING PART ONE is a pure adrenaline blast of entertainment that will have us more than ready for PART TWO next year. 

BOTTOM LINE: See it

 

A Reel 20: PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL

“You best start believing in ghost stories, Miss Turner. You’re in one!”

This month marks the 20^th anniversary of PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL. 

 

A box office monster and Oscar nominee, BLACK PEARL was based on Walt Disney’s Pirates of the Caribbean attractions at Disney theme parks. It follows pirate Captain Jack Sparrow and his uneasy alliance with blacksmith Will Turner as they seek to rescue Will’s love Elizabeth from the clutches of a supernatural crew of cursed pirates, led by Captain Barbossa. 

 

The voyage to bring BLACK PEARL to the screen began as far back as the early 1990’s, when screenwriters Ted Elliot and Terry Rossio were working on a way to bring supernatural elements into the pirate genre; a genre that had not seen major studio support since the infamous bomb CUTTHROAT ISLAND of 1995. After several stops and starts and script drafts which saw the supernatural elements removed and then put back in, BLACK PEARL finally set sail for real in 2002, with producer Jerry Bruckheimer and director Gore Verbinski coming on board. 

 

For the casting of Captain Jack Sparrow, names such as Jim Carrey, Michael Keaton, and Christopher Walken were considered. Johnny Depp would eventually win the role. The rest of the cast was filled out by Orlando Bloom, Kiera Knightly, Geoffery Rush, Jonathan Pryce, and Jack Davenport. Zoe Saldana, years before her Marvel fame, appeared in one of her first film roles. Klaus Badelt would provide the score, and the famed Industrial Light and Magic (ILM), would handle the bulk of the demanding visual effects, which included complex CGI and model work. Filming began in 2002 in St. Vincent in the Caribbean. 

 

Upon release, BLACK PEARL would defy expectations and the reputation of CUTTHROAT ISLAND to be a box office hit, and would finish as the 4^th highest earner of the year. The film was praised for its trailblazing visual effects and Depp’s performance. Depp would win a SAG award, and earn Oscar and BAFTA nominations. The film would earn four other Oscar nominations: Best Makeup, Sound Editing, Sound Mixing, and Visual Effects. BLACK PEARL would spawn four sequels, with the most recent being released in 2017. 

 

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When director Gore Verbinski took the helm of BLACK PEARL, he was attracted to the opportunity to resurrect a genre that had faded after the Golden Age of Hollywood; the swashbuckling romances that had a balance of action, adventure, and a grand sense of scale. Thanks to dazzling visual effects (that still hold up to this day, 20 years later), an inspired cast, and Verbinski’s eye for framing a perfect shot, BLACK PEARL accomplished all that and more. It strikes the right balance of action and humor, keeps the stakes high, and delivers everything that an audience looks for in a Summer blockbuster. 

In a larger viewport, BLACK PEARL shifted cinema and pop culture. It arrived in the early days of big-budget, effects-driven, long-term franchise filmmaking. In 2003 franchises such as HARRY POTTER, STAR WARS, and THE LORD OF THE RINGS were the only games in town. BLACK PEARL advanced things and paved the way for itself and future mega-franchises such as Marvel. In culture, kids wanted to be Captain Jack Sparrow for Halloween, and the character’s popularity was so big that Disney eventually inserted him into their theme park rides. But perhaps the greatest accomplishment of BLACK PEARL was rekindling the spirit of adventure for audiences. It made us want to cross swords with buccaneers, seek treasure, set sail, and uncork the rum. The anchor was lifted on our imaginations, and that’s what great movies do.

“Drink up me hearties, yo ho!”

 

 

 

A Reel Preview: The Year in Film 2023 - Episode VII

Believe it or not, we are past the half-way point of 2023. The cinematic month of July this year is light on quantity, but it does have some of the heaviest hitters in the game taking big swings along with some horror entries. Here’s what’s coming to the big screen for the second month of the Summer Movie Season:  

 

 

 

INSIDIOUS: THE RED DOOR – The fifth and final (ha), installment in the INDSIDIOUS horror series, with a father and son being tormented by demons. Patrick Wilson, who has starred in the series, helms this film in his directorial debut. The rest of the cast includes Ty Simpkins and Rose Byrne. 

 

 

MISSION IMPOSSIBLE – DEAD RECKONING PART ONE – Tom Cruise reprises his role of secret agent Ethan Hunt in the seventh film in the MI series that began way back in 1996. This time, Ethan and his team tracks down a terrifying new weapon while dark forces from his past return. The cast includes Hayley Atwell, Vanessa Kirby, Ving Rhames, Simon Pegg, Rebecca Ferguson, and Henry Czerny. It is directed by Christopher McQuarrie, who has helmed the last two MI films. 

 

 

OPPENHEIMER – Director Christopher Nolan (THE DARK KNIGHT, INCEPTION), returns to the big screen with this biopic about the man who developed the first nuclear weapons. The ensemble cast includes Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey, Jr., Florence Pugh, Rami Malek, Josh Hartnett, Kenneth Branagh, Dane DeHaan, Alden Ehrenreich, Matthew Modine…and much more. 

 

 

BARBIE – Director Greta Gerwig (LADY BIRD, LITTLE WOMEN), brings the classic toy to cinema for the first time, with Barbie and Ken venturing away from Barbie Land into the real world. The cast includes Margot Robbie, Ryan Gosling, Kate McKinnon, Rhea Perlman, and Will Ferrell. 

 

 

THEY CLONED TYRONE – In this genre-busting homage to the Blaxploitation films of the 1970’s, a series of spooky events sends a trio into a web of conspiracy. It stars John Boyega (THE FORCE AWAKENS), and Jamie Foxx. 

 

 

HAUNTED MANSION – Disney’s second theatrical try at their famed theme park attraction, with a single mother and son moving into a mansion, only to find that it’s already occupied. It stars Rosario Dawson, Owen Wilson, LaKeith Stanfield, Tiffany Haddish, Danny DeVito, and Jamie Lee Curtis.

 

 

SYMPATHY FOR THE DEVIL – Nic Cage stars in this supernatural thriller about a man being forced to drive a mysterious passenger at gunpoint. Joel Kinnaman co-stars. 

 

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Next month, Reel Speak previews the final month of the Summer Movie Season.