Set in the summer of 1957, the film revolves around a crucial period in the life of Italian car manufacturer Enzo Ferrari as he deals with his company going into bankruptcy with a race set to start as he also deals with trying to shield his wife over the fact that he has another child in his relationship with his mistress. It is a film that plays into a man who is trying to maintain some control in his life even though his relationship with his wife Laura (Penelope Cruz) is crumbling even though she continues to handle the business end of their company where she would make a discovery about certain finances that have been kept from her. All this plays during a time where Ferrari and his team are trying to refine and perfect their Formula One car for the upcoming Mille Miglia race with the rival company Maserati trying to steal all the attention from Ferrari. The film’s screenplay by Troy Kennedy Martin, with additional work by Michael Mann and David Rayfiel, is straightforward in its narrative as it focuses on this summer of 1957 as it had been a decade since the founding of the company but also one year since the death of Enzo and Laura’s son Dino.
Throughout the film, Ferrari focuses on perfecting his car while he spends time with Laura for business as well as his mistress Lina Lida (Shailene Woodley) and their son Piero (Giuseppe Festinese) who lives in another house away from the city of Modena. The arrival of Spanish racer Alfonso de Portago (Gabriel Leone) would give Ferrari some new blood for his racing team that includes the veteran Piero Taruffi (Patrick Dempsey) and the British racer Peter Collins (Jack O’Connell) though Ferrari is uneasy over the fact that de Portago is dating actress Linda Christian (Sarah Gadon) as he believes that drivers accompanied by women are cursed. The film’s script also play into the drama in a brief flashback montage of Ferrari’s life with Laura early on with their son Dino but also how Ferrari saw Lina just in the aftermath of World War II as he met her during that time. It would play into this drama that would occur where Ferrari considers doing a partnership with either Fiat or Ford to resolve any of the financial matters while also making a deal with Laura over its future.
Mann’s direction is stylish in the way he opens the film with black-and-white stock footage with a young Ferrari driving his car in the race as it plays into a man who was a decent racer but knew a lot about cars. Shot on various locations in the city of Modena and Brescia as well as additional shots in Rome and parts of Northern Italy. Mann creates a film that plays into this crucial period just more than a decade after World War II ended as Ferrari is part of the reason for the post-war economic boom. Yet, Mann would infuse a lot of unique visuals to play into the drama as well as these intense moments during the driving scenes where Mann’s usage of the close-ups and the small details to locations and how fast a car was back in 1957 showcase a lot into what Ferrari wants as well as wanting to push the envelope of what can be done in racing. While there are some wide shots of the various locations including the scale of the races including Mille Miglia. Mann would emphasize close-ups and medium shots to play into the drama and the suspense in the film as it relates to Ferrari’s personal life such as Laura driving up to the home where Lida lives in as well as an opera scene that leads to a montage of flashbacks.
The racing scenes has Mann at his most meticulous where he plays into what the mechanics, engineers, and others do to ensure that not only the car works but also to ensure that nothing goes wrong. Even as the film’s third act that revolves around the Mille Miglia where Mann also goes into detail of the race itself as it is this open-road endurance race that goes on for a thousand miles throughout Italy. There is a key sequence in the film that does play into what happened at the race where it would have Ferrari face a lot of things over what had happened. It adds to the drama of a man that is trying to save his company where it would be Laura who would decide about what to do for the company but also in his personal life as it relates to Lida and Piero. Overall, Mann crafts an exhilarating and somber film about a period in the life of one of the greatest car manufacturers of the 20th Century.
Cinematographer Erik Messerschmidt does brilliant work with the film’s cinematography with its usage of natural lighting for many of the daytime exterior scenes as well as some unique lighting schemes and textures for the interior/exterior scenes at night. Editor Pietro Scalia does excellent work with the editing with its usage of jump-cuts as well as some montages and allowing shots to linger to create some rhythmic cuts to add some intensity to the drama. Production designer Maria Djurkovic, with set decorator Sophie Phillips and supervising art director Stephan O. Gessler, does amazing work with the look of the home where the Ferraris live in as well as the villa that Lida and Piero live in and the raceway and factory that Ferrari works at. Costume designer Massimo Cantini Parrini does fantastic work with the costumes in the suits that Ferrari wears as well as the stylish dresses that the women wear at that time.
Hair & makeup designer Aldo Signoretti does terrific work with the look of the characters from the hairstyle of Ferrari including how he and his wife looked more than a decade ago along with the look of Taruffi with his white-haired look. Special effects supervisor Uli Nefzer and visual effects supervisor David Sewell do superb work with the visual effects from the opening shots of the film to the car crash scenes in the film. Sound editors Tony Lamberti and Bernard Weisner, along with sound designer David Werntz, do incredible work with the sound in the way an engine sounds up close and from afar as well as the way crowds are heard and other sparse sounds as it is a major highlight of the film. The film’s music by Daniel Pemberton is wonderful for its mixture of orchestral bombast along with some somber themes to play into the drama with the rest of its soundtrack featuring the Italian pop music of the time as well as opera music and other score pieces from Lisa Gerrard and Pieter Bourke.
The casting by Francine Maisler is marvelous as it feature some notable small roles from Benedetto Benedetti as the Ferraris’ late son Dino, Gabriel Noto and Edoardo Beraldi as the younger versions of Dino from the flashbacks, Daniela Piperno as Ferrari’s mother who doesn’t like Laura, Jonathan Burteaux as King Hussein of Jordan who is at the Ferrari offices to buy a car, Ben Collins and Wyatt Carnell as a couple of Ferrari team drivers in Stirling Moss and Wolfgang von Trips respectively, Tommaso Basili as Fiat’s head Gianni Agnelli, Marino Franchitti as a Ferrari driver in Eugenio Castellotti, Valentina Belle as Castellotti’s girlfriend Cecilia Manzini, Giuseppe Bonifati as an executive at Ferrari, Domenico Fortunato as Maserati owner Adolfo Orsi, Lino Musella as car designer Sergio Scaglietti, Michele Savoia as engine designer Carlo Chiti, and Giuseppe Festinese as Ferrari and Lina Lida’s son Piero who begins to understand his identity while also interested in his father’s work as he would eventually become the vice chairman of Ferrari.
Sarah Gadon is fantastic in a small role as the actress Linda Christian who is also de Portago’s girlfriend at the time where she helps bring in some publicity but also a moment that would be remembered in infamy. Jack O’Connell is excellent as Peter Collins as the British driver who works for Ferrari as he is a skilled driver that prefers to keep his own personal life at a distance during racing season. Patrick Dempsey is brilliant as Piero Taruffi as a veteran driver who knows about what to do while also is an eccentric that likes to smoke while driving as Dempsey brings a lot of charm despite the awful hairdo he had to sport. Gabriel Leone is amazing as Alfonso de Portago as a Spanish driver who would join Ferrari as he is someone that knows how to beat the drivers at Maserati while is also determined to prove his worth despite having Christian around him. Shailene Woodley is incredible as Lina Lardi as Ferrari’s mistress whom he had met back in World War II as she is also the mother of their son Piero as she is concerned with her son being called Ferrari while also making sure that Enzo remains grounded despite not having met Laura.
Penelope Cruz is tremendous as Laura Ferrari as Enzo’s wife and business partner as she is a woman that manages and oversees all the business and financial transactions for the company while becomes unhinged over discovering some transactions she did not know about as it would lead to her discovery of Lina and Piero. Cruz’s performance is full of fire as a woman still consumed with grief over the loss of her son as it is a performance of immense intensity while also trying to figure out how to save the company where she would make a deal that would save the company but with a condition as it relates to her own life. Finally, there’s Adam Driver in a phenomenal performance as Enzo Ferrari as the car manufacturer who is dealing with a lot in his life while still reeling from the loss of his eldest son Dino a year ago as well as losing his own company. Driver’s performance displays a lot of nuances of a man that is trying to devote time to his other son but also his business as it is one of his finest performances of his career so far.
Ferrari is a sensational by Michael Mann that features great performances from Adam Driver and Penelope Cruz. Along with its ensemble supporting cast, intoxicating visuals, immense sound work, and study of a man facing grief and impending loss of everything. It is a film that does not play by the rules of the bio-pic while also being a study of a man trying to maintain some control despite his back against the wall as he tries to salvage all that he has left. In the end, Ferrari is a spectacular film by Michael Mann.
Michael Mann Films: The Jericho Mile - Thief (1981 film) - The Keep - Manhunter - L.A. Takedown - The Last of the Mohicans (1992 film) - Heat - The Insider - Ali
- Collateral - Miami Vice - Public Enemies - Blackhat – (Heat 2)
Related: Ford v Ferrari - The Auteurs #73: Michael Mann Pt.1 – Pt. 2
© thevoid99 2024
The film revolves around the titular baby who possesses a special gift from her parents as they had fallen in love and go through a lot following her birth while doing what they can in showing this gift from their daughter to the world. It’s a film with a simple premise yet it is told in unique fashion by Leos Carax with Ron and Russell Mael of Sparks where most of the film’s dialogue is sung as each song that is created does tell a story of an opera singer and a stand-up comedian who meet and fall in love where they create this child with a gift that would amaze the world but also reveal major cracks in their life. Notably as it play into the diverging careers of Annette’s parents in the opera singer Ann Desfranoux (Marion Cotillard) and the provocative stand-up comedian Henry McHenry (Adam Driver) who meet when both were on the rise but Annette’s birth would see Ann’s career soar and Henry going on a downward trend due to his increasing provocative ideas of the world. Following this schism in the two and tragedy, both would discover Annette’s own gift where Ann’s longtime accompanist (Simon Helberg) would play a role in showing the gift to the world but also unveiling some revelations as it relates to Annette’s gift.
Carax’s direction definitely play into elements of surrealism yet much of it is straightforward in the way it presents the life of a couple and their daughter with this amazing gift. Shot largely in Los Angeles with additional locations in Brussels, Bruges, Berlin, Cologne, and other parts of the world, the film opens Carax playing the role of a music producer where Sparks is playing the song So May We Start with the actors singing along as they all walk out of the studio as it’s sort of everyone breaking the fourth wall before they all take part in this story that is to be told. The songs that Sparks created with Carax providing additional lyrics add to the story as the song help set a mood for a scene in the film while it also play into the drama that unfolds. The songs play into elements of opera, rock, pop, and kitsch with some interludes told through tabloids as it relates to the celebrity life of Ann and Henry. With the aid of music supervisor Pierre-Marie Dru, the songs that also include other songs from Sparks and some classical musical piece do also maintain this world that Annette is a part of as she is at the center of a universe through her gift. The presentation of Annette is in the form of puppetry as she was created by Estelle Charlier and Romuald Collinet as it does play into a metaphor of sorts in how Henry views women including his wife whom he feels overshadowed by her own success and adulation.
Carax’s usage of long shots in some of the close-ups and medium shots add to the film’s intimacy as well as allowing the actors to sing their songs in an entire take as it help play into the drama while also creating intense scenes such as a scene on a boat where Henry is drunk as he dances with Ann. There are also wide shots that Carax uses that play into some of the opera scenes of Ann performing with the accompanist in the background in a few scenes as well as the scenes during the third act as it relates to Annette and her gift. Notably in how Henry wants to present Annette to the world and his own motives as opposed to what Ann wanted as it adds to this element of turmoil where it is vast in the presentation. Yet, Carax would find ways to not play into convention as its ending is more about not just loss but also something much deeper into what this child had become. Overall, Carax and Sparks create a majestic yet exhilarating film about an opera singer and a stand-up comedian and the daughter that they created.
Cinematographer Caroline Champetier does incredible work with the film’s cinematography as it often vibrant and colorful for many of the interior settings and the way the daytime/nighttime exterior settings look as it is a highlight of the film. Editor Nelly Quettier does brilliant work with the editing as it does bear some style in some jump-cuts for a few performance scenes along with montages and dissolves to help flesh out the story. Production designer Florian Sanson and set decorator Marion Michel do excellent work with the look of the home that Henry and Ann live in as well as the stage design of Ann’s shows and Henry’s performances as well as Annette’s room. Costume designers Pascaline Chavanne and Ursula Parades Choto do amazing work with the costumes from the clothes that Henry wears including his robe for his show as well as the stylish clothes that Ann wears in her own performances.
Hair/makeup designer Bernard Floch do fantastic work with the looks of Henry and Ann with the former given different haircuts throughout the film with Ann sporting different looks for her shows and at home. Special effects supervisors Thomas Desmet and Arne Normon, with visual effects supervisors Ryan Bardoul, Guillaume Pondard, and Geraldine Thiriart, do terrific work with the film’s visual effects as well as the movements of the puppet in some scenes as well as the design of some of the stage design in some parts of the film. The sound work of Thomas Gauder, Paul Heymans, Katia Boutin, Maxence Dussere, and Erwan Kerzanet is superb in the way objects sound as well as the way some of Henry’s stage performances are presented at a club and the way audiences shout at Henry as it helps add to the atmosphere in those scenes.
The casting by Carmen Cuba, Marjolaine Grandjean, and Mustapha Souaidi is wonderful as it features appearances from Sparks as themselves in the film’s opening scene and as airline pilots as well as small roles from Wim Opbrouck as an announcer for Baby Annette, Belgian singer Angele Van Laeken as one of a group of women accusing Henry of abuse, Rila Fukushima as one of three nurses, and Devyn McDowell as the older Annette with Hebe Griffiths as the singing voice for the puppet version of Annette. Simon Helberg is incredible as the accompanist as a man who often accompanies Ann in her musical performance as he strives to become a composer as he notices Annette’s gift as he helps her flesh it out while having issues with Henry over Annette while carrying a possible secret of his own.
Marion Cotillard is phenomenal as Ann Defrasnoux as an opera singer who is beloved and revered while also being this great mother to Annette as she would also deal with her husband’s faltering career and the events that happened leading to Ann becoming known to the public with Catherine Trottmann being Ann’s soprano singing voice. Finally, there’s Adam Driver in a tremendous performance as Henry McHenry as this provocative stand-up comedian with a dark sense of humor who finds his career in decline as he becomes erratic and selfish where Driver brings a lot of energy to his performance as well as being this calm and emotive singer.
Annette is a spectacular film from Leos Carax and Sparks that features great performances from Adam Driver, Marion Cotillard, and Simon Helberg. Along with its dazzling visuals, grand story about art and love, and a phenomenal music soundtrack from Sparks. The film is an unusual yet enthralling rock opera that explores two artists who fall in love and create a child with an exceptional gift that would prove to be their undoing as well as revelations about who they are as people. In the end, Annette is a tremendous film from Leos Carax.
Related: The Auteurs #36: Leos Carax - The Sparks Brothers
Leos Carax Film: Boy Meets Girl - Mauvais Sang - The Lovers on the Bridge - Pola X - Tokyo!-Merde - Holy Motors
© thevoid99 2021
(Winner of the Palm Dog Award to Einstein at the 2017 Cannes Film Festival)
The film follows the lives of a family whose patriarch is a famous sculptor in the twilight years of his life while his fame and modest success has managed to overshadow his three children who all cope with their own disappointment towards themselves and not living up to his fame. It’s a film that takes a simple premise of family dysfunction as three adult siblings cope with their own lives as they all have to tend to their father who is starting to go through health issues but also unruly behavior in the way he reacts toward certain things. Noah Baumbach’s screenplay has a structure that does focus on these three siblings but also one of the sibling’s kids who has just entered college as it showcase not just trying to cope with the family patriarch but also themselves. The eldest in Danny (Adam Sandler) had just split up from his wife as he’s in New York City taking his 18-year old daughter Eliza to Bard where she is planning to study film while Danny is moving in with his father in Harold Meyerowitz (Dustin Hoffman) and hippy stepmother Maureen (Emma Thompson).
Also at the home is his younger sister Jean (Elizabeth Marvel) who is spending time to help out her father following an injury he suffered involving the dog while Maureen often goes away for seminars only to come back drunk. Danny and Jean are upset to learn that Maureen is planning to sell the family home as well as some of Harold’s art work with their younger half-brother Matthew (Ben Stiller) handling all of the finances. The unemployed Danny and Jean agree to create a retrospective at the Bard for Harold following an event for Harold’s old friend L.J. Shapiro (Judd Hirsch) where Danny reunited with his childhood friend in Shapiro’s daughter Loretta (Rebecca Miller). Yet, that event would prompt some issues from Harold who is jealous towards Shaprio’s success claiming that Shapiro is mediocre compared to himself. The section on Matthew who visits New York City from Los Angeles where he is starting his own accounting business deals with the fact that his own success doesn’t really impress his father as it also causes resentment from his half-siblings whom he is convinced are damaged because of their father. When Harold becomes ill due to the injuries he had sustained some time earlier, the siblings and Eliza deal with the possibility of his impending death as the script also showcase dialogue where Baumbach often have characters talking over one another as it play into the dysfunction of themselves and relationship with one another.
Baumbach’s direction does have some style yet much of his compositions are straightforward as much of the film is shot on location in New York City as well as areas upstate with Sarah Lawrence College playing the role of Bard. Baumbach does use wide shots that do play into some of the locations but much of his compositions emphasize on close-ups and medium shots to play into the interaction between the characters in the film. Notably as there are these elements that feel loose such as the first scene of Danny trying to find an open parking spot as he and Eliza are about to meet Harold as Baumbach also play into some of the awkwardness that is happening that includes some of the strange cuisine that Maureen has created. Baumbach’s approach to humor doesn’t play into these sexually-provocative student films that Eliza has created for her film class but also in the way the siblings react to a situation involving their father such as a scene of Matthew trying to go after a man who had mistakenly taken Harold’s coat.
Baumbach also plays into these moments of tension as it relates to Matthew’s absentee presence as it showcases a man who is still dealing with the fact that he has issues with his dad while his mother Julia (Candice Bergen) who was Harold’s third wife feels guilty over the way she treated Danny and Jean. The scenes in the second half as it relates to Harold being hospitalized and the idea of him dying does come into play where Jean does reveal a harrowing story of what happened to her as a teenager in relation to a friend of Harold a long time ago. It is followed by a moment of comical bonding for Danny and Matthew yet it would be followed by the two going to their father’s retrospective with Jean and Eliza as it showcases the pain that their father caused towards them. The film’s chapters emphasize on Danny, Matthew, Harold’s health, Jean’s story, and a final chapter on Harold’s fate but also the future that is Eliza. Yet, its ending is about these three siblings as they try to cope with their father’s shadow and how they would break out of it. Overall, Baumbach crafts a funny yet somber film about a family coping with the disappointments of their lives and the emotional chaos laid upon them from their father.
Cinematographer Robbie Ryan does brilliant work with the film’s cinematography to capture the autumn-like season of New York City and areas upstate including Massachusetts for the scenes at the hospital while maintaining some low-key lights for some of the interior scenes at night. Editor Jennifer Lame does excellent work with the editing as its usage of jump-cuts help play into some of the film’s emotionally-intense scenes along with some stylish cuts for Eliza’s student films. Production designer Gerald Sullivan, with set decorator Kris Moran and art director Nicolas Locke, does fantastic work with the look of the home that Harold and Maureen have in the city as well as Maureen’s country home upstate as it is filled with all sorts of things including the former’s art work. Costume designer Joseph G. Aulisi does amazing work with the costumes from some of the clothes that Eliza wears to the strange and hippie clothing of Maureen.
Special effects supervisor Jeff Brink and visual effects supervisor Andrew Lim do terrific work on some of the film’s minimal effects that mainly is featured in some of Eliza’s student films. Sound editor Paul Hsu does superb work with the sound in some of the sound effects that are created for Eliza’s student films but also in being straightforward of the way a gathering sounds like or how things sound in a location such as Matthew talking to his son on the phone while at a gas station. The film’s music by Randy Newman is wonderful with its low-key yet piano-based score that plays into some of the film’s melancholia with some string-based pieces in some of the dramatic moments while Britta Phillips and Dean Wareham provide some offbeat music pieces for Eliza’s student films. Music supervisor George Drakoulias creates a fun soundtrack that features music from Lisa Lisa & Cult Jam with Full Force, Cameo, Prefab Sprouts, and a few classical pieces and some original songs written by Adam Sandler and Noah Baumbach.
The casting by Douglas Aibel and Francine Maisler is incredible as it feature some notable small roles and appearances from Sigourney Weaver as herself at Shapiro’s retrospective, Josh Hamilton as a friend of Loretta at the Shapiro retrospective, Danny Flaherty as Eliza’s boyfriend Marcus, Sakina Jeffrey as Dr. Malina Soni who watches over Harold, Gayle Rankin as the nurse Pam that also watches over Harold, Jerry Matz as an old friend of Harold in Paul whom Jean dislikes, Mickey Sumner as an attendee of Harold’s retrospective at Bard that Matthew becomes attracted to, Matthew Shear as Matthew’s colleague Gabe who tries to help out in handling Harold’s financial situations, and Adam Driver in a terrific one-scene performance as a client of Matthew’s in Randy who trying to get his dream apartment made despite the lack of finances he has. Candice Bergen is fantastic in her one-scene appearance as Matthew’s mother and Harold’s third wife Julia who hadn’t seen Harold in years while laments over the way she treated Danny and Jean feeling she only made things worse for them.
Judd Hirsch is excellent as L.J. Shapiro who is an old friend of Harold who is the embodiment of what Harold could’ve been if he wasn’t much of a prick yet Hirsch is someone who often praises Harold and his work feeling that Harold should’ve gotten more recognition. Rebecca Miller is brilliant as Shapiro’s daughter Loretta who is also an old childhood friend of Danny as the two reminisce about their childhood and being the children of artists as it prompts Danny into wanting to renew a relationship with her. Emma Thompson is amazing as Harold’s fourth wife Maureen as an alcoholic artist who often wears hippie-like clothing and cooks strange feasts as she is someone who believes she has a lot in handling Harold’s financial and health situations despite the fact that she’s kind of a flake though she does mean well.
Grace Van Patten is incredible as Eliza Meyerowitz as Danny’s daughter who is about to go to Bard to study film as she creates these sexually-provocative student films while lamenting over the idea of she can make it as an artist like her grandfather. Elizabeth Marvel is remarkable as Jean Meyerowitz as a woman who works for Xerox as she never showed any ambition while spending much of her time taking care of her father while eventually sharing a secret when she was a teenager that would shock her brothers and becoming a muse for Eliza. Dustin Hoffman is marvelous as Harold Meyerowitz as moderately-successful artist who laments over his lack of major success but also has this attitude where he thinks he’s better than many yet he is a fucking prick when it comes to his kids where he does make them feel terrible as it is one of Hoffman’s great performances.
Ben Stiller is great as Matthew Meyerowitz as the youngest of Harold’s three kids and half-sibling to Jean and Danny as someone who has found success through business and accounting while dealing with the fact that his success doesn’t mean much to his father and often brings a lot of insecurities towards his siblings whom he felt never had the chance to connect with. Finally, there’s Adam Sandler in a phenomenal performance as Danny Meyerowitz as the eldest of the three siblings as an unemployed man that was once a gifted musician but quit due to his insecurities as he copes with an unresolved limp and trying to take of his father as well as the lack of connection he has with his siblings as it is a somber yet charming performance from Sandler.
The Meyerowitz Stories (New and Selected) is a sensational film from Noah Baumbach. Featuring a great ensemble cast with standout performances from Adam Sandler, Ben Stiller, Dustin Hoffman, Elizabeth Marvel, Grace Van Patten, and Emma Thompson, insightful and witty observation on family dysfunction and art, gorgeous visuals, and a terrific music score from Randy Newman. It is a rich and compelling film that explores family dysfunction as well as the idea of a family who are dealing with man’s legacy who is filled with complications and their own shortcomings but also themselves as they try to find ways to be together. In the end, The Meyerowitz Stories (New and Selected) is a spectacular film from Noah Baumbach.
Noah Baumbach Films: Kicking and Screaming (1995 film) - Highball - Mr. Jealousy - The Squid & the Whale - Margot at the Wedding - Greenberg - Frances Ha - While We're Young - Mistress America - De Palma - Marriage Story - (White Noise (2022 film)) - The Auteurs #41: Noah Baumbach
© thevoid99 2021
Written and directed by Noah Baumbach, Marriage Story is the story about a theater director and an actress trying to have amicable divorce as it lead to a troubled custody battle for their son. The film is a study of a marriage disintegrating with two people who care about each other as they both go into different directions and cities but also want to be civil only to get into an ugly custody battle. Starring Adam Driver, Scarlett Johansson, Azhy Robertson, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, and Merritt Wever. Marriage Story is a witty yet touching film from Noah Baumbach.
The marriage between a theater director and his leading lady is ending as the two try to maintain an amicable divorce as the latter moves to Los Angeles to star in a pilot only for the show to be picked up leading to a chaotic custody battle for their young son. That is the film’s overall plot as it’s more about two people falling out of love and trying to understand what is best for their son but also for themselves just as they start to see the flaws in themselves in their marriage. Noah Baumbach’s screenplay is set into two different cities in New York and Los Angeles as the former is where Charlie Barber (Adam Driver) does much of his theater work as he’s about to get a prestigious grant that would help his theater company financially as well as be on Broadway. The latter is where Nicole (Scarlett Johansson) is about to star in a TV pilot as she once known as an actress of raunchy teen movies as her work in Charlie’s avant-garde plays have given her acclaim yet she wanted to branch out into doing different things.
The first act is about Charlie and Nicole trying to raise their eight-year old son Henry (Azhy Robertson) with the latter going to L.A. and live temporarily with her mother Sandra (Julie Hagerty) with Henry living with her. The two try to work out a long-distance relationship with Charlie staying in New York City to get his play on Broadway but Nicole’s series gets picked up and Charlie’s plans for his play with Nicole’s involvement falls by the wayside leaving to problems and Nicole hiring Nora Fanshaw (Laura Dern) as her divorce attorney. Charlie is taken aback by the news of Nora prompting him to find a lawyer as he hires retired family lawyer Bert Spitz (Alan Alda) who is more about civility as he would be replaced another attorney Charlie met earlier in the brash Jay Marotta (Ray Liotta). Through many legal things and other things that forces Charlie to buy an apartment in Los Angeles, Charlie and Nicole’s desire for civility and making things work start to fall apart as their own faults come into play.
Baumbach’s direction does have elements of style in some of the compositions he creates yet much of his direction is straightforward. Shot on location in New York City and in Los Angeles as they’re both characters in the film. Baumbach does use close-ups and medium shots to play into the characters conversing with one another yet there are also a lot of wide shots for some of the rooms and places they’re in whether it’s Charlie’s L.A. apartment or Nora’s office. Baumbach does use the wide shots to play into this growing dissolution between Charlie and Nicole as well as their own sense of loneliness as they cope with the divorce. The direction has Baumbach emphasize on locations as it play into Charlie being lost in Los Angeles as he doesn’t know much about the city while he has a hard time trying to do things both in New York and in L.A. It’s one of the film’s comical moments as it play into Charlie’s own awkwardness towards L.A. as well as the fact that he always turns to Nicole’s mother for help as she likes Charlie as she doesn’t want to end their relationship.
The direction does intensify as it reaches the third act in the first court case as Baumbach has some unique compositions where it’s Jay and Nora in the foreground while Charlie and Nicole are in the background as Baumbach would use close-ups of Charlie and Nicole to understand what they’re dealing with. Even to the point that they are forced to realize why they broke up and are in this situation during an intensely dramatic scene as it is clear that both of them do love each other but also hate each other. Baumbach maintains that air of realism as well as not being afraid of painting both Charlie and Nicole as flawed people with good intentions as they want what is best for their son and for each other. Overall, Baumbach crafts a compelling and rapturous film about a couple divorcing each other and dealing with an ugly custody battle.
Cinematographer Robbie Ryan does brilliant work with the film’s cinematography with the usage of low-key colors and lights for some of the scenes in New York City to the more vibrant look of Los Angeles in the daytime with some low-key looks for the scenes at night. Editor Jennifer Lame does excellent work with the editing as it is largely straightforward with some jump-cuts to play into some of the humor while there’s an inventive montage sequence in the beginning to play into Charlie and Nicole’s notes for each other. Production designer Jade Healy, with set decorators Lizzie Boyle, Nickie Ritchie, and Adam Willis plus art directors Andrew Hull and Josh Petersen, does fantastic work with the look of Charlie and Nicole’s home in New York City as well as the home of Nicole’s mother’s house as well as the apartment that Charlie would live in in Los Angeles. Costume designer Mark Bridges does nice work with the costumes as it is largely casual with the exception of the Halloween costumes Charlie, Nicole, and Henry would wear
Special effects supervisor Joe Pancake and visual effects supervisor Vico Sharabani do terrific work with the look of the design in Charlie’s play as well as in Nicole’s TV pilot as much of the visual effects are minimal as they serve as set-dressing. Sound editor Christopher Scarabosio does superb work with the sound in the way airplanes sound as well as the sound of certain locations that add to the tense atmosphere of the film. The film’s music by Randy Newman is incredible for its somber piano-based score and lush orchestral pieces that play into some of the humor and drama as well as the melancholic tone of the film while music supervisor George Drakoulias provides a fun soundtrack that features mainly bits of instrumental pieces from Dean Wareham and Britta Phillips and Bill Evans along with show tunes that include songs by Stephen Sondheim.
The casting by Douglas Aibel and Francine Maisler is wonderful as it feature some notable small roles from Jasmine Cepha Jones, Mickey Sumner, and Wallace Shawn as actors in Charlie’s theater company, Mark O’Brien as a man Nicole meets late in the film in Carter, Brooke Bloom as Charlie’s theater manager whom he supposedly had a brief tryst with, Rich Fulcher as a judge, and Martha Kelly in a terrific one-scene performance as a court-appointed evaluator who watches Charlie’s time with Henry in an awkwardly-funny scene. Merritt Wever is superb as Nicole’s sister Cassie who is trying to help Nicole out while having a funny moment involving trying to hide the divorce papers for Charlie. Julie Hagerty is fantastic as Nicole’s mother Sandra as a former actress who is trying to maintain peace as she also helps Charlie find a lawyer in the hope to continue her own relationship with Charlie. Azhy Robertson is excellent as Charlie and Nicole’s son Henry as a young boy trying to find his role in the world where he finds joy in Los Angeles while having a hard time trying to understand what his parents are going through.
Alan Alda is brilliant as Bert Spitz as a retired family lawyer Charlie hires as he is a sensible lawyer who had seen a lot as he gives Charlie some advice on what to do and wanting to make it civil as it would play into Charlie’s frustrations. Ray Liotta is amazing as Jay Marotta as an attorney Charlie meets during the first act and eventually hire him as he’s a more ruthless attorney who also provides Charlie some harsh insights about what he is about go through as Liotta provides a lot of energy into his performance. Laura Dern is incredible as Nicole’s attorney Nora Fanshaw as a woman who understand what Nicole is going through but also has to find angles and such while is full of charisma as is it is Dern in one of her best performances of her career.
Finally, there’s the duo of Adam Driver and Scarlett Johansson in phenomenal performances in their respective roles as Charlie and Nicole Barber. Driver provides this element of quirkiness as a man who tends to live in his own head a lot yet is a good father and a good cook as he copes with having to move to Los Angeles to be near his son though he’s a New York person who loves what he does in theater. Johansson’s performance is filled with unique facial mannerisms but also a woman who is becoming melancholic over her marriage but also in what she wants for herself as she tries to find ways to be civil and a good mother to her son. Driver and Johansson together have this amazing chemistry in the way they deal with each other including in an intense argument scene that showcases two people who have a lot to vent but also realize how much they do care each other as it is a major moment for both of them who definitely give career-defining performances.
Marriage Story is an outstanding film from Noah Baumbach that feature sensational performances from Adam Driver and Scarlett Johansson. Along with its ensemble cast, study of divorce and dissolution, gorgeous photography, Randy Newman’s amazing score, and Baumbach’s willingness to showcase the many highs and lows of divorce. It’s a film that is willing to explore a family coming apart but also wanting what is best for a child who is caught in the middle despite the parents’ attempt to be civil and fair. In the end, Marriage Story is a magnificent film from Noah Baumbach.
Noah Baumbach Films: Kicking and Screaming (1995 film) - Highball - Mr. Jealousy - The Squid & the Whale - Margot at the Wedding - Greenberg - Frances Ha - While We're Young - Mistress America - De Palma - The Meyerowitz Stories (New and Selected) - (White Noise (2022 film)) - The Auteurs #41: Noah Baumbach
© thevoid99 2020
Based on the works and characters of George Lucas, The Rise of Skywalker (Star Wars Episode IX) is the final film series of the Skywalker saga as it follows the conclusion of the conflict between the Resistance and the First Order with ties to their respective allegiances in the Jedi and the Sith. Directed by J.J. Abrams with a screenplay by Abrams and Chris Terrio from a story by Abrams, Terrio, Derek Connolly, and Colin Trevorrow, the film follows the Resistance rebuilding itself to go into a final stand with the First Order while Rey deals with Kylo Ren for the final time. Starring Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Naomi Ackie, Domhnall Gleeson, Richard E. Grant, Lupita Nyong’o, Keri Russell, Joonas Suotamo, Anthony Daniels, Kelly Marie Tran, Billy Dee Williams, Ian McDiarmid, Mark Hamill, and Carrie Fisher in her final film appearance as Leia Organa. The Rise of Skywalker is an exhilarating yet clunky film from J.J. Abrams.
The film follows events after the previous encounter as the remaining forces of the Resistance learn about the dark secret that Palpatine (Ian McDiarmid) is alive as Kylo Ren (Adam Driver) finds Palpatine learning what he’s created prompting Rey (Daisy Ridley), Poe Dameron (Oscar Isaac), Finn (John Boyega), and Chewbacca (Joonas Suotamo) to find out where Palpatine is and why he’s alive. That the film’s main plot as it focuses on Rey making a discovery about her own identity but also what Ren discovered as it relates to Palpatine. The film’s screenplay by J.J. Abrams and Chris Terrio is largely straightforward in its narrative but considering the risks that the previous story had done with its narrative. It feels more of a step backwards by going back to something that calls back to other narratives of previous films as well as rely on exposition at times that does hinder the narrative.
The revelation about Palpatine and how he survived the events that led to his supposed death reveal a secret cult that relates to the Sith and the Empire along with other revelations about the First Order’s leader Snoke (Andy Serkis). Ren at first wants to destroy Palpatine but realizes that Palpatine is too powerful and influential to destroy as one of the film’s main plot points involves finding an object that reveals the location of where Palpatine is and his big secret as it’s part of the narrative that involves Rey, Finn, Poe, Chewbacca, and the droids in BB-8 and C-3P0 (Anthony Daniels) as they also go in the search for another mysterious object that Luke Skywalker (Mark Hamill) had been trying to find many years ago. It is in that narrative where Rey makes some discovers about herself while still finds herself connected with Ren who had discovered her true identity. Though the narrative does manage to flesh out some of the characters but at the disservice of others in favor of playing into a formula of emphasizing on action scene to another action scene with little time for characterization.
J.J. Abrams’ direction is sprawling in terms of its set pieces, action scenes, and in the many different locations the film is set with much of the film shot at Pinewood Studios in London and some of the desert locations in Jordan. Abrams’ direction does use a lot of wide and medium shots to get a scope of these locations that include a celebration on a planet that happens every 42 years while establishing the rule of the First Order as they venture into many planets of the galaxy to find Rey, Finn, and Poe who have become major targets for the First Order prompting Ren to send the Knights of Ren to find them. Abrams does at least establish what is going on while many of the action sequences and lightsaber battles are thrilling. Those scenes are fun to watch including the film’s climax between the Resistance and the First Order in a massive final battle scene that does have a lot of callbacks to the films of the past including a few notable characters from those past films.
There are some intimate moments that have elements of humor and drama in some of the scenes that Abrams creates with the usage of close-ups and medium shots yet it is hampered by the film’s script and narrative where it never does enough to get the characters to figure out what to do next. Though there are scenes that do play into revelations about Poe’s own background as well as Finn meeting a woman in Jannah (Naomi Ackie) who shares a similar background that Finn had endured. Abrams unfortunately underwhelms when it comes to the scenes involving Palpatine in its third act as there are also a few moments in the third act that are cheesy. Still, Abrams does succeed in creating a fitting conclusion to the series as it is about a young woman understanding who she is but show she chooses to be in the end. Overall, Abrams crafts a thrilling although derivative film about a conflict that reaches its breaking point.
Cinematographer Dan Mindel does brilliant work with the film’s cinematography with its usage of dark-bluish light for some of the scenes on the planet of Exegol along with scenes on a planet where Poe meets an old friend along with some colorful lighting for some of the daytime exterior scenes including some gorgeous work in the film’s ending. Editors Maryann Brandon and Stefan Grube do nice work with the editing as it is does play into the thrill of the action and the rhythm of the lightsaber battles along with some straightforward cuts for some of the non-action scenes. Production designers Rick Carter and Kevin Jenkins, along with set decorator Rosemary Brandenburg and supervising art director Paul Inglis, do amazing work with the look of the planet that Palpatine lives in as well as the design of a few ships and the home base of the Resistance. Costume designer Michael Kaplan does fantastic work with costume designs in the look of Poe’s old ally Zorri Bliss (Keri Russell) as well as the ragged look of the Resistance.
Creature designer Neal Scanlan does excellent work with the look of some of the creatures Rey, Poe, and Finn encounter including a tiny hacker named Babu Frik (voice of Shirley Henderson) who would decode something relating to ancient Sith translation. Special effects supervisor Dominic Tuohy and visual effects supervisor Roger Guyett do incredible work with the special effects in the usage of practical effects along with computer-based effects for some scenes including a flashback scene of Luke training Leia as it play into a major plot-point for Rey in the film’s third act. Sound editors David Acord and Matthew Wood do superb work with the sound in creating many sound effects and textures into the sound including a collage of voices during Rey’s confrontation with Palpatine. The film’s music by John Williams is phenomenal for its orchestral-based score that feature some familiar themes relating to his work from the past but also some thrilling pieces in the string arrangements and bombastic moments that play into the sense of adventure and drama.
The casting by Nina Gold, April Webster, and Alyssa Weisberg is marvelous as it feature some notable small roles and appearances from Jamie Comer and Billy Howle as a couple protecting a young Rey, Mike Quinn and Kipsang Rotich in their respective work as performer and voice of Nien Nunb, music composer John Williams as a bartender, Dominic Monaghan as a Resistance trooper, Greg Grunberg as Resistance pilot Snap Wexley, Shirley Henderson as the voice of hacker Babu Frik, and Billie Lourd as Lt. Connix. The performances of Hassan Taj and Lee Towersey as R2-D2 and the duo of Dave Chapman and Brian Herring as BB-8 are terrific in providing the puppeteer work of the droids with J.J. Abrams as the voice of a droid BB-8 befriends in D-O. Kelly Marie Tran is good as Resistance mechanic/fighter Rose Tico though she doesn’t really much to do while Naomi Ackie is superb as Jannah as a Resistance ally who is part of a group of people that shared similar experiences that Finn went through as a Stormtrooper.
Joonas Suotomo, Anthony Daniels. and Billy Dee Williams are fantastic in their respective roles as Chewbacca, the droid C-3P0 and Lando Calrissian as two war veterans with Chewbacca helping Rey, Poe, and Finn in their mission with C-3P0 joining along as he also provides key information that would help them find their destination while Calrissian appears to give them advice as well as some inspirational words before he rejoins the fight. Richard E. Grant is brilliant as General Pryde as a First Order leader who was also part of the Empire while Domnhall Gleeson is alright as General Hux as a First Order leader who tries to find ways not to get into Ren’s bad side. Keri Russell and Lupita Nyong’o are amazing in their respective roles as an old friend of Poe in Zorri Bliss and the space pirate Maz Kanata with former having some issues with Poe over things from the past while the latter is aware of what is going on as she tries to reach out to other allies. Ian McDiarmid is remarkable as Palpatine as he doesn’t appear much in the film except in the opening sequence and in the third act as the former Sith lord and leader of the Empire who is trying to manipulate and mastermind everything around him while carrying a major secret of his own.
Oscar Isaac and John Boyega are marvelous in their respective roles as Poe Dameron and Finn with the former as a Resistance pilot who becomes concerned with what to do and how to be a leader while the latter becomes more confident in his role yet expresses his own concern for Rey who admits to feeling troubled by her own visions. Mark Hamill is incredible in his brief appearance as Luke Skywalker as the former Jedi master who appears in one key scene to give Rey guidance as well as admit to his own failures. Through a series of archival appearances from previous films, Carrie Fisher is phenomenal as Leia Organa as the Resistance leader who helps Rey in her Jedi training but also is aware of what is happening where she makes a major decision to reach out to Kylo. Daisy Ridley is sensational as Rey as a young scavenger turned Jedi who becomes troubled by her visions and her past leading questions about her true identity as she becomes conflicted and lost. Finally, there’s Adam Driver in a tremendous performance as Kylo Ren as the First Order’s leader who finds Palpatine hoping to end him only to align with him as he struggles with his own issues concerning Rey and her true identity along with the need to prove to himself to the dark side of the Force.
The Rise of Skywalker is a superb though flawed film from J.J. Abrams. Despite its shortcomings in its script and emphasis to play it safe rather than take risks, the film still manages to be exciting and adventurous. Notably as it features great performances from its ensemble cast as well as dazzling visuals. In the end, The Rise of Skywalker is a stellar film from J.J. Abrams.
Star Wars Films: Star Wars - The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi
Anthology Series: Rogue One - Solo
Related: The Star Wars Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas
George Lucas Films: THX 1138 – (American Graffiti)
© thevoid99 2019
Based on the autobiographical novel Black Klansman by Ron Stallworth, BlacKkKlansman is the real-life story about detective Ron Stallworth who manages to infiltrate a local chapter of the Ku Klux Klan with the help of a white detective as its face. Directed by Spike Lee and screenplay by Lee, David Rabinowitz, Charles Wachtel, and Kevin Willmott, the film is a look into how an African-American detective in Colorado somehow infiltrated a local chapter of the white supremacist group and eventually be a head of one of its chapters with John David Washington starring in the role of Stallworth Also starring Adam Driver, Laura Harrier, Topher Grace, Corey Hawkins, Robert John Burke, Harry Belafonte, and Alec Baldwin as Dr. Kennebrew Beaureguard. BlacKkKlansman is a rapturous and witty film from Spike Lee.
Set in 1972, the film is about the real-life story of rookie cop Ron Stallworth who becomes the first African-American officer to work for the local precinct at Colorado Springs, Colorado where he would move up to intelligence where he finds himself making contact with a local chapter of the Ku Klux Klan. It’s a film that play into this man who would find himself be part of the notorious white supremacist group as he and another undercover officer in Flip Zimmerman (Adam Driver) would both play this man wanting to join the KKK in Stallworth’s name. The film’s screenplay does take a few dramatic liberties as the real-life events took place in 1979 yet given the context of the times and the struggle for black identity in the early 1970s. The script does play into this tension that is looming with Stallworth in the middle as a man who just wants to be a good cop and protect all kinds of people.
While he would encounter some racism from a fellow cop who likes to bust other African-Americans in Colorado Springs, Stallworth knows when to not say anything as he is given an opportunity to make a difference in the local precinct. While he knows when to keep his mouth shut, Stallworth would eventually get some serious work as an undercover officer where he first attends a student rally where civil rights leader Kwame Ture (Corey Hawkins) was speaking to see if Ture is planning something that could cause trouble. Stallworth would get his first serious assignment when he answers an ad from the Ku Klux Klan where he talks in a Caucasian accent as he would fool several leaders but knows that he needs a white face to get in. Zimmerman does it despite the fact that he’s Jewish as he takes Stallworth’s name as he would meet the local chapter’s leader Walter Breachway (Ryan Eggold) as well as the psychotic Felix Kendrickson (Jasper Paakkonen). Through their frequent contacts, Stallworth would eventually get to chat on the phone with KKK’s grand wizard in David Duke (Topher Grace).
Much of the film’s second and third act has Stallworth and Zimmerman play as the former to the meetings with the latter having to attend meetings and at shooting ranges as well as the ceremony during the film’s third act. The film does have elements of humor in some of the dialogue as the script doesn’t just play into this idea of how idiotic some of the people in the KKK are but also how it parallels with events that are happening in the 21st Century including this rhetoric of making America great again. It would play into a moment in the film as its climax involves Duke’s appearance at this event but also plans to disrupt an event nearby held by Colorado College’s black student union president Patrice Dumas (Laura Harrier) whom Stallworth is embarking on a relationship with.
Spike Lee’s direction is gripping for the way he plays up this idea of white power as it opens with a scene of Dr. Kennebrew Beaureguard making a scientific explanation about the dangers of racial integration while using images from films like Gone with the Wind and Birth of a Nation as examples as it would inspire these ideas of white supremacy with African-Americans, Jews, and other racial/ethnic groups as inferior. Shot on location in Ossining, New York as Colorado Springs with some exteriors shot at Colorado Springs, Colorado, the film does play into this small town that is like any other town in America but with this undercurrent of rampant racism that is emerging. Lee would use some wide shots for the locations but also create something that is also intimate with the medium shots and close-ups. Even in some striking compositions and stylistic shots in the way he play into people meeting with one another as well as some of the humor that is created in scenes that has Stallworth talking the KKK on the phone as if he wants to join.
Lee’s direction also play up into the idea of Blaxploitation as an idea of African-American identity as well as the fascination of African-American culture from a few of Stallworth’s colleagues including Zimmerman who is a big fan of Willie Mays. While the character of Dumas is someone who has legit reasons for her disdain for cops, she is forced to listen to reason from Stallworth as well as be aware that not all white cops are bad. Especially as someone like Zimmerman has to listen to anti-Semitic rhetoric from Kendrickson and take it though Zimmerman admits to not acting Jewish or practicing Judaism yet does feel the need to stand up to this idea of hate. The film’s climax is unique in the way Lee presents these two different meetings where one involves the KKK and the other meeting involving black students as there’s a great contrast to how they conduct themselves and such.
The film does have an epilogue as it relates to the KKK and how it’s managed to transform into something bigger and more dangerous where despite Stallworth’s effort to make fools out of them and reveal what they’re about. Little has changed with more now trying to stop this idea of hate and bigotry from a group of people who have nothing good to offer to the world. Overall, Lee creates an entertaining yet gripping film about an African-American police officer who would find his way into the Ku Klux Klan and discover the inner-workings of the hateful organization.
Cinematographer Chayse Irvin does excellent work with the film’s cinematography as it emphasizes on low-key colors for many of the film’s interior and exterior settings with much of the former using some stylish lights to play into the look that is similar to 1970s cinema. Editor Barry Alexander Brown does brilliant work with the editing with its usage of jump-cuts, dissolves, and some split-screen cuts to play into Stallworth’s conversation with Duke on the phone as it help create some comic effects into their conversations. Production designer Curt Beech, with set decorator Cathy T. Marshall and art director Marci Mudd, does amazing work with the look of the police building interiors as well as some of the local places including the home of Kendrickson with his collection of guns and stuff including a lie detector machine as well as the look of the hall where Duke has his ceremony. Costume designer Marci Rodgers does fantastic work with the period costumes that is set in the 70s from the stylish look of Dumas and other students as well as the more ragged look that some of the KKK members wear aside from the KKK robes.
Hair stylist Shaun Perkins, along with makeup artists Janine JP Parrella and Yasmina Smith-Tyson, does wonderful work with the hairstyles and look of the characters as it play into the world of the 1970s including the look of David Duke in the 1970s with his mustache. Visual effects supervisor Randall Balsmeyer does terrific work with the visual effects as it is appears on a few set pieces including in the montage of close-ups during Ture’s speech. Sound editor Philip Stockton does superb work with the sound as it help play into the atmosphere of some of the meetings and rallies as well as some of the intense moments at Kendrickson’s home and in the film’s climax in how the meetings are presented. The film’s music by Terence Blanchard is incredible for its usage of jazz and funk with elements of soul as it help play into the times as it also includes an orchestral piece that play into the drama while music supervisor Rochelle Claerbaut provides a soundtrack that features an array of diverse music from Emerson, Lake, & Palmer, the Cornelius Brothers and Sister Rose, the Edwin Hawkins Singers, the Temptations, Looking Glass, and a traditional music piece performed by Prince.
The casting by Kim Coleman is great as it feature some notable small roles from Isiah Whitlock Jr. as an African-American official in Mr. Turrentine who works with the police to meet with Stallworth, Nicholas Turturro as a bomb maker named Walker, Frederick Weller as the racist cop Landers, Ashlie Atkinson as Kendrickson’s wife Connie who also hates African-Americans, Michael Buscemi as a cop in Jimmy Creek who helps out Stallworth and Zimmerman, Ken Garito as Sgt. Trapp whom Stallworth and Zimmerman report to as he gets a kick out of Stallworth’s conversations with Duke, and Robert John Burke as Chief Bridges as the Colorado Springs police chief who wants to ensure that Stallworth stays out of trouble as he wants to make sure things go well. The cameo appearances from Alec Baldwin and Harry Belafonte in their respective roles as Dr. Kennebrew Beaureguard and Jerome Turner are superb to play into some of the historical context in what is at stake as Baldwin’s performance is sort of played for laughs while Belafonte is more reserved in how he talks about what African-Americans endured after the Civil War with lynching being common in those days.
Ryan Eggold is terrific as Walter Breachway as the local chapter head of the KKK in Colorado Springs who would be the first to contact Stallworth unaware of his true identity as he’s a more level-headed person who wants nothing to go wrong. Paul Walter Hauser is fantastic as the dim-witted Ivanhoe as a KKK member who often says dumb things while always saying some unintentionally funny stuff. Jasper Paakkonen is excellent as Felix Kendrickson as a wildcard member of the KKK who is always suspicious of those who want to join the KKK as it’s a darkly comical performance that is full of energy and wit. Corey Hawkins is brilliant in his small role as civil rights activist Kwame Ture as a man who wants to help his community though he is aware of the police brutality that he and others are dealing with but also hoping to make some kind of change. Topher Grace is amazing as David Duke as the infamous Grand Wizard of the Ku Klux Klan who is trying to make the organization look friendlier but also has this dark idea of what he wants America to be like.
Laura Harrier is marvelous as Patrice Dumas as a student union president for Colorado College as she is trying to get people together to rally against some of the oppression other students face while starting to become less political upon meeting Stallworth as she shows a more human side. Adam Driver is incredible as Flip Zimmerman as a Jewish cop who becomes Stallworth’s face in his infiltration of the KKK where he gets a closer look to what he sees as well as be disturbed by its idea of hate. Finally, there’s John David Washington in a phenomenal breakthrough performance as Ron Stallworth as an African-American rookie cop who finds an ad from the KKK and ends up infiltrating the KKK via phone as it’s a charismatic and grounded performance where he provides some humor but also an idea of what is at stake for himself and everyone who just wants to bring good to the world.
BlacKkKlansman is a tremendous film from Spike Lee that features great performances from John David Washington, Adam Driver, Laura Harrier, and Topher Grace. Along with its ensemble cast, stylish visuals, compelling script, and an incredible music score and soundtrack. It’s a film that captures a moment in time when an African-American would find himself in an organization that provides hate and fear in the hope he can put a stop to them even if it’s something small despite the fact that it would escalate into something far worse. Notably as it’s a film that showcases what hate can bring and how a man is willing to put a stop to it for the good of the world. In the end, BlacKkKlansman is a magnificent film from Spike Lee.
Related: Birth of a Nation
Spike Lee Films: (She’s Gotta Have It) – (School Daze) – Doing the Right Thing - Mo' Better Blues - Jungle Fever - (Malcolm X) – Crooklyn - (Clockers) – (Girl 6) – (Get on the Bus) – 4 Little Girls - (He Got Game) – Freak - Summer of Sam - (The Original Kings of Comedy) – (Bamboozled) – (A Huey P. Newton Story) – 25th Hour - (Jim Brown: All-American) – (She Hate Me) – (Inside Man) – (When the Levees Broke: A Requiem in Four Acts) – (Miracle at St. Anna) – (Kobe Doin’ Work) – (Passing Strange) – (If God is Willing and Da Creek Don’t Rise) – (Red Hook Summer) – Bad 25 - Mike Tyson: The Undisputed Truth - (Oldboy (2013 film)) – (Da Blood of Jesus) – (Chiraq) – Michael Jackson's Journey from Motown to Off the Wall - Da 5 Bloods - (American Utopia)
© thevoid99 2018
Directed, shot, and edited by Steven Soderbergh and written by Rebecca Blunt, Logan Lucky is the story of a trio of siblings who try to end their family’s streak of bad luck and underachievement by robbing the Charlotte Motor Speedway and hope they don’t get caught by the FBI. The film marks a return from Soderbergh following a four-year break from films as he returns to a genre that has brought him success and mixing it with humor. Starring Channing Tatum, Adam Driver, Riley Keough, Katie Holmes, Hilary Swank, Sebastian Stan, Katherine Waterston, Seth McFarlane, Jack Quaid, Brian Gleeson, Dwight Yoakam, and Daniel Craig. Logan Lucky is an exhilarating and whimsical film from Steven Soderbergh.
The film follows two brothers whose lives haven’t gone well as they conspire with their younger sister about stealing money at the Charlotte Motor Speedway with the help of an incarcerated safecracker they know. It’s a film with a simple premise with some complexities and intrigue yet it is about a family trying to change their fortunes and hope to give themselves a better life. Yet, they know they can’t do it by themselves as it’s not just this safecracker they need but also his brothers who aren’t very smart but are dependable. Rebecca Blunt’s screenplay does follow a simple three-act structure as the first act is about the Logan family with the eldest in Jimmy (Channing Tatum) was once a promising football star until his right knee gave out as he works in construction and wanting to be a good dad to his daughter Sadie (Farah Mackenzie) whom he has shared custody with his ex-wife Bobbie Jo Chapman (Katie Holmes).
Yet, he would be laid off due to insurance liabilities relating to his knee as it add to his growing misfortunes that would include his younger brother Clyde (Adam Driver) who lost part of his left arm in the Iraq War and is wearing a prosthetic while working as a bartender. The first act doesn’t just play into the Logans’ misfortune and Jimmy’s motivation to rob the Charlotte Motor Speedway but also wanting to change it as he knows what to do, where to steal, and when as they recruit their younger sister Mellie (Riley Keough), the incarcerated safecracker Joe Bang (Daniel Craig), and Bang’s younger brothers Sam (Brian Gleeson) and Fish (Jack Quaid). The second act isn’t just about the heist but also how Joe and Clyde, who would put himself in prison to help Joe, break out and later get back in to serve their sentences but there are also complications as it relates the day of the heist forcing Jimmy to change plans. The third act is about its aftermath where the no-nonsense FBI agent Sarah Grayson (Hilary Swank) come in and figure what is going on as she would prove to be a match for all involved.
Steven Soderbergh’s direction is definitely stylish in some respects in terms of some of the compositions and set pieces he creates yet much of it is still straightforward as it play into the simple world of a trio of unfortunate siblings. Shot on various locations in North Carolina as well as Charlotte including the Charlotte Motor Speedway and parts of the Atlanta Motor Speedway. Soderbergh does use the locations to play into this world of the American South as it is set mainly in the border between West Virginia and North Carolina where Jimmy did some of his construction work in the latter though he lives in the former. Soderbergh would emphasize on a simple approach to the compositions such as the opening scene of Jimmy fixing his truck while talking to Sadie about a John Denver song. It’s among these moments where Soderbergh can bring so much by doing so little which would also include a key scene of Sadie doing her pageant performance as the simplicity of the shots are captivating in establishing what is happening but also would serve as a key motivation for the few involved in that scene.
Also serving as cinematographer and editor in respective pseudonyms as Peter Andrews and Mary Ann Bernard, Soderbergh’s approach to the visuals as there are some stylistic approach to lighting for some of the interiors and scenes at night whether it’s the usage of dark-yellowish colors or something natural for some scenes set in the daytime. Soderbergh’s editing does have style such as this usage of dissolves in a montage for some characters during the third act but also in some stylish cuts as it play into the heist and its aftermath. The heist sequence has elements of comedy but also intrigue into the attention to detail of what is going on and how they get the money but there’s also some twists and turns along the way such as what is happening at the prison Joe and Clyde are serving at. Soderbergh would also infuse bits of comedy as it relates to a snobbish British businessman in Max Chaliban (Seth MacFarlane) who would rile up the Logan brothers but also put himself into some serious shit. All of which play into two sets of siblings trying to pull off a heist without having the authorities wonder who it is. Overall, Soderbergh crafts as mesmerizing and fun film about a trio of siblings trying to rob the Charlotte Motor Speedway to end their family curse.
Production designer Howard Cummings, with set decorators Barbara Munch plus art directors Eric R. Johnson and Rob Simons, does brilliant work with the look of the homes that some of the characters live in as well as the interior of the tube system inside the Charlotte Motor Speedway. Costume designer Ellen Mirojnick does fantastic work with the costumes from the dresses that Sadie wears for her pageant as well as some of the stylish clothing that Mellie wears. Visual effects supervisors Christina Mitrotti and Lesley Robson-Foster do terrific work with the visual effects as it relates to Clyde without his prosthetic as well as a few set dressing scenes. Sound designer Larry Blake does excellent work with the sound as it play into the way the tube system sounds from the inside as well as the scenes at the race track. The film’s music by David Holmes is amazing for its electronic-jazz score that has a lot of energy in the way it play into the suspense and humor with some blues and rock in the mix while music supervisor Season Kent provides a fun soundtrack of blues, rock, and country from artists and acts like Bo Diddley, John Denver, the Groundhogs, Lord John Sutch, John Fahey, LeAnn Rimes, Dr. John, and Creedence Clearwater Revival.
The casting by Carmen Cuba is great as it feature some notable small roles and appearances from real NASCAR racers Carl Edwards and Kyle Busch as state troopers, Jon Eyez as an inmate friend of Joe in Naaman, Kyle Larson as a limo driver, LeAnn Rimes as herself singing America the Beautiful, Brad Keselowski and Joey Logano as security guards, the trio of Jeff Gordon, Darrell Waltrip, and Mike Joy as themselves commentating the race, Charles Halford as a friend of the Logans in Earl, Macon Blair as Grayson’s partner, Jim O’Heir as Jimmy’s boss early in the film who reluctantly lays him off, David Denman as Bobbie Jo’s husband Moody Chapman, Boden and Sutton Johnston in their respective roles as Moody’s sons Dylan and Levi, Ann Mahoney as a woman working security named Gleema, and Sebastian Stan in a terrific small role as NASCAR racer Dayton White who tries to live a healthy lifestyle despite working for Chaliban.
Katherine Waterston is fantastic in a small role as a former classmate of Jimmy in Sylvia who runs a mobile clinic where she gives Jimmy a tetanus shot. Dwight Yoakam is superb as Warden Burns as a prison warden who tries to uphold some order during a prison riot that lead to Joe and Clyde’s brief escape. Jack Quaid and Brian Gleeson are hilarious in their respective roles as Joe’s dim-witted brothers Fish and Sam as two guys who aren’t smart but are still guys who can get the job done. Katie Holmes is wonderful as Bobbie Jo Chapman as Jimmy’s ex-wife who is still bitter about Jimmy’s shortcomings as she is also concerned about her daughter’s performance at the pageant. Farrah Mackenzie is brilliant as Sadie as Jimmy and Bobbie Jo’s daughter who is entering a beauty pageant as she turns to her Aunt Mellie for help while wondering what song to sing at the pageant. Hilary Swank is excellent as Sarah Grayson as a no-nonsense FBI agent who arrives in the film’s third act as she knows something is up but is also aware that whoever stole the money are a lot smarter than anyone realizes.
Seth MacFarlane is a joy to watch as Max Chaliban as a pretentious businessman from Britain with awful hair and a mustache who insults the Logan brothers as well as try to get his racer to drink his awful energy drink as he is just fun to watch. Riley Keough is amazing as Mellie Logan as a hairdresser who doesn’t believe in the family curse but is aware that the family hasn’t done great as she helps her brothers with the robbery in her own way while being there for her niece Sadie for the upcoming pageant. Daniel Craig is incredible as Joe Bang as a safecracker who is doing time in prison that knows how to open safes while Craig is given the chance to be funny and charming as he is a joy to watch. Adam Driver is marvelous as Clyde Logan as a former Iraq War veteran with a prosthetic left arm who also works as a bartender where he is reluctant to be part of the bank robbery as he had gotten arrested before as a kid yet is hoping to reverse the family curse. Finally, there’s Channing Tatum in a remarkable performance as Jimmy Logan as a former football star turned construction worker who decides to rob the Charlotte Motor Speedway in the hope to change his family fortunes but also give his daughter a chance for a future as it is a low-key but charismatic performance from Tatum.
Logan Lucky is a phenomenal film from Steven Soderbergh. Featuring a great cast, gorgeous visuals, a killer music soundtrack, and a witty take on the caper/heist film. The film is definitely one of Soderbergh’s most entertaining films but also one that is full of engaging characters and moment that are full of heart and joy. In the end, Logan Lucky is a spectacular film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray’s Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-Equilibrium - Ocean’s Twelve - Bubble - The Good German - Ocean’s Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - (Unsane) – (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Part 1 - Part 2
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