Battle of the Sexes (2017 film)

Directed by Jonathan Dayton and Valerie Faris and written by Simon Beaufoy, Battle of the Sexes is about the legendary 1973 tennis match between Bobby Riggs and Billie Jean King that was televised and held at the Houston Astrodome. The film is a dramatic account of the events where the legendary Riggs challenges King, who was then the top champion in tennis, as a publicity stunt as a way to get women more respect in the world of sports with Steve Carell playing Riggs and Emma Stone as King. Also starring Andrea Riseborough, Elisabeth Shue, Austin Stowell, Bill Pullman, Natalie Morales, and Sarah Silverman. Battle of the Sexes is a compelling yet exhilarating film from Jonathan Dayton and Valerie Faris.

The film is a dramatic re-telling of the 1973 Battle of the Sexes tennis match between Bobby Riggs and Billie Jean King from the events prior to the match as well as its set-up and outcome. It’s a film with a simple premise where King is the top tennis player of her time but feels that women aren’t being treated fairly in comparison to the men as she feels like women deserve equal pay or more money. Simon’s Beaufoy’s script opens with King’s sudden rise to fame in 1970 as a top tennis player but is upset that an upcoming tennis tour will have her and several other women players be paid much less than the men. This forces King and former tennis player/magazine publisher Gladys Heldman (Sarah Silverman) to create their own tournament with eight other players as they would gain a sponsor in Virginia Slim cigarettes though they would struggle early on to draw an audience despite being banned by legendary tennis player/promoter Jack Kramer (Bill Pullman) from the U.S. Lawn Tennis Association.

The first act is about King and her attempt to get equal pay for herself and other players as well as establish what Riggs was doing at the time as a man who loves to gamble much to the dismay of his wife Priscilla Whelan (Elisabeth Shue) who would kick him out of their home. Riggs who plays tennis to win cars decides to challenge the women as a publicity stunt where he would immediately challenge King who would turn him down as Riggs would challenge Australian tennis champion Margaret Court (Jessica McNamee) and defeat her prompting King to accept Riggs’ challenge. Beaufoy’s script also touch upon King’s affair with hairdresser Marilyn Barnett (Andrea Riseborough) despite the fact that King is married to a man named Larry (Austin Stowell) as it is a key part of the second act that would also play into King’s determination to beat Riggs unaware that he’s really playing a character for show.

The direction of Jonathan Dayton and Valerie Faris does have its elements of style in recreating the world of the early 1970s as it is shot mainly in Los Angeles where much of the film is set. There are some wide shots in establishing the locations as well as in the film’s climatic tennis match set at the Houston Astrodome. Yet, much of Dayton and Faris’ direction is more on the characters and their situations as well as their need to win. Particularly in the usage of close-ups and medium shots that play into the drama and some of the humor where the latter relates mainly to Riggs and his life including the things he would do in playing tennis for money. The direction would show that for all Riggs’ faults as a man, the persona as this chauvinist was really for show as he was someone that was devoted to his family including his wife. Dayton and Faris’ direction also showcase the growing air of sexism towards women’s tennis not just from men but also women as Margaret Court is more of a traditionalist who would glance at King’s relationship with Barnett with disapproval.

The direction also play into this tension between King and tennis organizations who don’t want to succeed nor want any kind of change in the world of tennis unaware that women are paying to see women play tennis. The climatic match at the Astrodome is shown in a massive scope to play up into how large the event is as well as this air of showmanship before the match is to commence. There is this air of excitement but also dramatic tension as the stakes are high while its aftermath show a sense of relief but also realization that things are to change. Overall, Dayton and Faris create an exhilarating yet engaging film about the real-life tennis match between Billie Jean King and Bobby Riggs and the events preceding this landmark tennis match.

Cinematographer Linus Sandgren does brilliant work with the film’s cinematography as its usage of colors for some of the exterior scenes as well as using grainy film stock to recreate the look of 1970s television coverage is a highlight of the film. Editor Pamela Martin does excellent work with the editing as it has bits of montages as well as some stylish moments that play into the energy of the tennis matches. Production designer Judy Becker, with set decorator Matthew Flood Ferguson and art director Alexander Wei, does amazing work with the look of the hotel/motel rooms the women players stayed in as well as the home of Riggs along with the look of the tennis court inside the Astrodome. Costume designer Mary Zophres does fantastic work with the design of the clothes of the 1970s including some of the uniforms the women tennis players chose to wear as well as some of the costumes that Riggs wear for his publicity tour.

Hair stylist Frioa S. Aradottir and makeup artist Torsten White do terrific work with the different hairstyles and looks of King and Riggs during that time as well as how they would evolve in those few years. Special effects supervisor Sam Dean and visual effects supervisor Cliff Welsh do superb work with the visual effects in some set dressing for the period as well as what footage looked like on TV. Sound designer Ai-Ling Lee does wonderful work with the sound in its creation of sound effects as well as how rackets sounded like back then and the massive layers of sounds for the film’s climatic game. The film’s music by Nicolas Britell is incredible for its rich and sumptuous music score with its lush piano and string arrangements that help play into the drama and sense of excitement into the climatic tennis match while music supervisor Steven Baker provides a soundtrack that played into the times as it includes music from Elton John, Bobbie Gentry, Ray Wills, Tommy James and the Shondells, Apollo 100, Norma Jenkins, George Harrison, and Hugh Masekala along with contemporary pieces from the Pretenders and Sara Bareilles.

The casting by Justine Arteta and Kim Davis-Wagner is great as it feature some notable small roles and appearances from John C. McGinley as a friend of Riggs, Matt Malloy as Riggs’ therapist, Eric Christian Olsen as Riggs’ friend/trainer Lornie Kuhle, Fred Armisen as Riggs’ nutritionist Rheo Blair, Lewis Pullman as Riggs’ eldest son Larry, and James MacKay as Court’s husband Barry. In the roles of the members of the Original 9 players, Martha MacIsaac, Mickey Sumner, Bridey Elliott, Lauren Kline, Ashley Weinhold, Fidan Manashirova, and Kaitlyn Christian play in their respective roles as the tennis players Jane “Peaches” Bartkowicz, Valerie Ziegenfuss, Julie Heldman, Nancy Richey, Kristy Pigeon, Judy Tegart Dalton, and Kerry Melville Reid while Christian also plays the tennis double of King with Vince Spadea as the tennis double of Riggs. Natalie Morales is terrific as an Original 9 tennis player in Rosie Casals as someone who is outspoken as well as be the one to provide commentary for the game.

Jessica McNamee is wonderful as Australian tennis champion Margaret Court as a tennis player who joins the women’s tour as she is someone that is conservative and would accept Riggs’ challenge. Austin Stowell is superb as King’s husband Larry as a man who is supportive of her while he is aware that she has feelings for someone else yet keeps to himself. Elisabeth Shue is fantastic as Riggs’ wife Priscilla as a wealthy woman who isn’t fond of her husband’s gambling as well as his pursuit to challenge women players only to realize what he’s really trying to do. Alan Cumming is excellent as costumer Cuthbert “Ted” Tinling as an openly-gay designer who supports the women in making clothes for them but also help King out in her relationship with Barnett. Bill Pullman is brilliant as famed tennis legend/organization leader Jack Kramer who doesn’t believe that the women would draw as he gains the ire of King for his sexist comments.

Sarah Silverman is amazing as legendary tennis player/publisher Gladys Heldman as a woman who doesn’t take shit from anyone where Silverman provides some humor but also some grit into someone who is championing this new generation of players. Andrea Riseborough is incredible as Marilyn Barnett as a hairdresser who falls for King as she accompanies her on the tour while becomes concerned whether or not she is a distraction to King. Finally, there’s the duo of Emma Stone and Steve Carell in phenomenal performances in their respective roles as Billie Jean King and Bobby Riggs. Stone brings a charm but also a seriousness as King as someone that is striving to be the best but is also deals with her sexuality as it relates to her relationship with Barnett which she wants to keep as a secret as homosexuality was still considered taboo. Carell brings this energy and wit as Riggs as someone who loves to gamble and have fun while knowing a good financial opportunity when he sees it while playing up this persona as a male chauvinist to help sell tickets. Stone and Carell have this chemistry in the way they deal with each other but also know there is an air of respect between the two tennis legends.

Battle of the Sexes is a marvelous film from Jonathan Dayton and Valerie Faris that feature great performances from Emma Stone and Steve Carell. Along with its ensemble cast, Simon Beaufoy’s engaging script, gorgeous cinematography, and Nicolas Britell’s rich score. It’s a film that manages to be exciting as a sports film but also provide some deep insights into the world of tennis during the 1970s and how one woman wanted to make things fair by playing against one of the sports’ great champions. In the end, Battle of the Sexes is a remarkable film from Jonathan Dayton and Valerie Faris.

Jonathan Dayton/Valerie Faris Films: Little Miss Sunshine - Ruby Sparks

© thevoid99 2019

They'll Love Me When I'm Dead

Directed by Morgan Neville, They’ll Love Me When I’m Dead is the story about the making of Orson Welles’ 1970s comeback film The Other Side of the Wind as well as the film's troubled production and attempts to finish it before Welles' death in 1985. The film explore the difficulty in making the film which had a sporadic six-year shoot that ended in 1976 only to be followed by more challenges relating to its post-production and Welles’ death. Featuring interviews from two of the film’s stars in filmmaker Peter Bogdanovich and Welles’ artistic/life partner Oja Kodar as well as many others plus narration by Alan Cumming. The result is an intoxicating and entrancing film from Morgan Neville about a film that became a legend for not being released or finished until now.

In the 1970s following a near-two decade period of exile from Hollywood, Orson Welles had plans to make what he hoped to be his comeback film at a time when New Hollywood was up and running where filmmakers were making new and exciting films that felt personal rather than commercial. For Welles, it felt like the right time to return to Los Angeles to make this new film entitled The Other Side of the Wind which was to be about a filmmaker’s final day where he celebrates his 70th birthday at his home where he hosts a screening party for his new film while lamenting over the lack of funds he needed to finish the film. It’s a film that would play into the many themes that Welles had explored for much of his career from man’s determination to create something to the element of betrayal which Welles would endure professionally and personally.

The film is about the making of Welles’ attempted comeback film told by those who worked on the film such as filmmaker Peter Bogdanovich, co-writer/actress/Welles’ life partner Oja Kodar, film producer Frank Marshall who was the film’s unit production manager, actress Cathy Lucas, comedian Rich Little, actor Bob Random, and several others including actress Cybill Shepherd, filmmaker Henry Jaglom, Welles’ daughter Beatrice, and John Huston’s son in actor Danny Huston. With the exception of Kodar and a few others who appear via audio, many of the people interviewed are presented in black-and-white by director Morgan Neville and cinematographer Danny Grunes as they talk about the film’s troubled production.

The reason it took so long wasn’t just financial issues as Welles had those interest in funding his film including Mehdi Boushehri who was the brother-in-law of the Shah of Iran during the 1970s. It was also for the fact that Welles would write the script on production and make things up as he went along. Rich Little was cast as Brooks Otterlake during the 1973-1974 production period but his inexperience in acting as well as scheduling conflicts forced him to be replaced by Bogdanovich who had filmed a different part during the film’s early filming stages in 1970 and 1971 as a boom operator. John Huston came on board for the production in 1973 when Welles had difficulty trying to find someone to play the lead role of J.J. “Jake” Hannaford as he and Welles were good friends where Danny Huston shared the similarities into their issues with Hollywood. Other issues that plagued the production was its lack of progress with crew members waiting to get paid while Welles’ cinematographer Gary Graver had to do porn films to pay the bills where Welles did edit a scene in one of those films.

Neville’s direction doesn’t just play into the events of the production as well as the important contributions Kodar and Graver (who died in 2006) had done for the film but also in the interviews by the collaborators as they all sit in a room and talk about the film. Alan Cumming's narration is definitely a highlight of the film as he narrates the film on a soundstage surrounded by rows of moviola editing machines that is created by production designer Jade Spiers with costume designer Raina Selene Mieloch Blinn providing the suit that Cumming would wear. Cumming would present the events that happened including the troubling moments after filming completed in 1976 such as the 1979 Iranian Revolution which impacted the financing as well as the post-production for the film. Adding to the problems of money that Welles owed was that he was unable to have access to material he had shot which was locked in a vault in France.

With the help of editors Aaron Wickenden and Jason Zeldes along with sound designer Peter Mullen, Neville would gather footage of Welles’ doing interviews and such about his film including the 1975 appearance at the American Film Institute in his honor where he presents a couple of clips from the film as a way to get funding which he received none. By the 1980s, Welles’ attempt to finish his film through whatever footage he had made him melancholic where Bogdanovich revealed that events would mirror the film as it’s shown on a late-night talk show hosted by Burt Reynolds talking to Welles that had him say bad things about Bogdanovich. Welles would apologize but their relationship wasn’t the same.

Visual effects supervisor Chris Holmes would provide some effects for some of photos shown on the film. The film’s music by Daniel Wohl is wonderful for its low-key ambient score that play into the melancholia and chaos that went on through the production while music supervisors Jody Friedman and Jennifer Lanchart provide a soundtrack that mixes classical, rock, punk, and other music from Yes, Suicide, the Buzzcocks, and Ludwig Van Beethoven.

They’ll Love Me When I’m Dead is a phenomenal film from Morgan Neville. Not only is the film is a fitting companion piece to the just-released The Other Side of the Wind but it’s also a riveting film about the attempt to make a film that would become legend for not being released with the world finally getting a chance to see it. It’s also a documentary film that doesn’t play by the rules as it also play up into the myth that is Orson Welles and dispel many of those myths to show a man that was driven to create something that is out of the ordinary. In the end, They’ll Love Me When I’m Dead is a spectacular film from Morgan Neville.

Morgan Neville Films: (The Cool School) – (20 Feet from Stardom) – (Best of Enemies) – Won’t You Be My Neighbor?

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello - The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2018

Titus (1999 film)

Based on the play Titus Andronicus by William Shakespeare, Titus is the story of a general who tries to seek vengeance against a queen as it would play into his own downfall. Written for the screen and directed by Julie Taymor, the film is a radicalized interpretation of the Shakespeare play where the Roman Empire is set in the mid-20th Century in a world that is very anachronistic and chaotic as it plays to this general’s downfall as the titular character is played by Anthony Hopkins. Also starring Jessica Lange, Harry Lennix, Alan Cumming, Laura Fraser, Jonathan Rhys-Meyers, Colm Feore, James Frain, Matthew Rhys, Angus MacFayden, and Geraldine McEwan. Titus is a sprawling and rapturous film from Julie Taymor.

Set in a world that mixes Fascist-era Italy and Ancient Rome into an anachronistic world, the film revolves the downfall of a general in the hands of a queen whose life he had destroyed as she would seek vengeance for the death of her son in the most graphic way. There, Titus Andronicus copes with the decisions he has made in his life as well as the decision of who would be Rome’s new emperor as it would come back to haunt him as he faces dishonor and ruin in himself and his own family. Much of it involving a plot by the Queen of the Goths in Tamora (Jessica Lange) who sways the mind of Rome’s new emperor Saturninus (Alan Cumming) while conspiring with her moor lover Aaron (Harry Lenix).

Julie Taymor’s script does explore the world of vengeance in all of its fallacies where Titus would descend to madness not only by his own hands but also in the way his own family would be affected. Much of it is observed by his young grandson in young Lucius (Osheen Jones) who is mostly silent for much of the film. The script also involves commentary by Aaron who would break the fourth wall to unveil many of his plans to destroy Andronicus and his family. Even as Aaron becomes an integral part into playing both sides for his own gain until he would become vulnerable in his attempt to play into observing Titus’ own fragile state of mind.

Taymor’s direction is definitely grand in not just the way he tells the story but in how she would fuse to different periods of Roman history into a story where it could’ve been told in any time frame. Shooting on location in various areas in Rome and nearby as well as a few of its ancient monuments. Taymor definitely aims for something that mixes decadence and surrealism in her approach to telling the story as she goes for all sorts of dazzling visuals in her compositions. Even as she isn’t afraid to put in things like video game arcades or pool floats into the film as it is obvious they weren’t around during Fascist-era Italy. Using a lot of wide and medium shots as well as some low camera angles, Taymor goes for a film that plays into a man coping with a world that is changing as the decisions he made for this next era of Rome would have some serious repercussions.

Taymor also infuses a lot of these lavish moments about the way some of the parties emerge as well as some of the film’s violence. The latter of which involves rape and other graphic moments where it is told in a very stylistic manner. Even as the impact of what Titus would see are shown in some very eerie close-ups as while Taymor would use wide shots and some unique framing devices to play into his own confusion and the need to comprehend about what had happened. All of which would lead to some definite extremes into Titus’ own plot for vengeance as it played into its fallacies as well as the cost of what one man did for vengeance as well as Tamora’s own quest as it led to tragedy. Overall, Taymor creates a very extravagant yet harrowing film about the fallacy of revenge.

Cinematographer Luciano Tovoli does brilliant work with the film‘s very colorful and lavish cinematography with its use of stylish lights and shades for some of its nighttime interior/exterior scenes along with vibrant colors for the daytime scenes. Editor Francoise Bonnot does amazing work with the editing as it is very stylized with its jump-cuts and dissolves to play into some the craziness that goes on in the film as well as in some of the drama. Production designer Dante Ferretti, with set decorator Carlo Gervasi and supervising art director Pier Luigi Basile, does fantastic work with some of the film‘s set pieces from the palace where Saturninus lives in with Tamora to the home of Andronicus. Costume designer Milena Canonero does excellent work with the costumes as they’re lavish from the gowns that Tamora wears as well as the design of the uniforms and clothes that the men wear.

Special makeup effects artist Tony Gardner does superb work with the makeup for some of the characters in their look as well as some of things they wear to play into Andronicus‘ troubled mind. Visual effects supervisor Kent Houston does terrific work with the visual effects with its emphasis on surrealism for the dream sequences as well as some of the key elements that drive the story. Sound designer Blake Leyh does nice work with the sound to play into some of the sound effects as well as the sense of terror that occurs in the film in terms of its plotting and in Titus‘ mad state of mind. The film’s music by Elliot Goldenthal is wonderful for its orchestral-based score that features elements of bombast to play into the drama as well as some comical moments as the score features elements of electronic music and rock with contributions by Page Hamilton of the alternative-metal band Helmet.

The casting by Irene Lamb and Ellen Lewis is incredible as it features some notable small performances from Raz Degan as Tamora’s eldest son Alarbus, Geraldine McEwan as a nurse who would bring Aaron his son, and as the trio of Titus’ youngest sons, there’s Kenny Doughty, Blake Ritson, and Colin Wells as the men who become victimized in Aaron and Tamora’s plot. Jonathan Rhys Meyers and Matthew Rhys are superb as Tamora’s son in Chiron and Demetrius, respectively, who create chaos and cause trouble while James Frain is terrific as Saturninus’ brother Bassianus who is love with Lavinia as he tries to bring peace only to be a source of ire for Saturninus. Osheen Jones is wonderful as the young Lucius who is the film’s observer while Angus MacFayden is excellent as Titus’ eldest son Lucius who tries to see reason for everything while coping with the chaos that is emerging. Colm Feore is fantastic as Titus’ brother Marcus who is sort of the film’s conscious as he copes with the decisions his brother has made as well as the sense of chaos that has loomed over his entire family.

Laura Fraser is amazing as Titus’ daughter Lavinia who becomes victimized by Chiron and Demetrius in the worst way where she spends much of the film in silence to display the loss of innocence that she once represented. Harry Lennix is great as Tamora’s lover Aaron who would be the architect of the conspiracy as he often breaks the fourth wall to create elements of chaos. Alan Cumming is brilliant as Saturninus as the new emperor who is this man that represents a form of chaos as he becomes drunk with power. Jessica Lange is remarkable as Tamora as Lange brings a lot of theatricality and ferocity to her performance as a woman who felt wronged as she plots the ultimate revenge. Finally, there’s Anthony Hopkins in a tremendous performance as the titular character as a general whose decisions that he makes would come back to haunt him as he descends into madness where Hopkins brings a lot of energy to his role as well as not afraid to ham it up.

Titus is a phenomenal film from Julie Taymor. Armed with a great cast as well as dazzling visuals and sprawling set pieces. It’s a film that plays into the fallacy of revenge as it’s told with such style that pays true to the works of William Shakespeare. In the end, Titus is a spectacular film from Julie Taymor.

Julie Taymor Films: Frida - Across the Universe - The Tempest - The Auteurs #42: Julie Taymor

© thevoid99 2015

The Tempest (2010 film)

Based on the play by William Shakespeare, The Tempest is the story of a duchess who has been exiled to a remote island with her daughter as she seeks revenge through magic as well as uncover the conspiracy by those who betrayed her. Written for the screen and directed by Julie Taymor, the film is a different take of the Shakespeare play where the Prospero character is changed from a man to a woman as she is played by Helen Mirren. Also starring Russell Brand, Felicity Jones, Djimon Hounsou, Ben Whishaw, Reeve Carney, Tom Conti, Chris Cooper, Alan Cumming, David Strathairn, and Alfred Molina. The Tempest is a grand and stylish film from Julie Taymor.

Set in a remote island, the film plays into an exiled duchess who is seeking revenge through magic against those who usurped her as she hopes to reclaim what is hers as well as what her daughter is supposed to have. Much of it plays to Prospera’s thirst for vengeance as she had been wronged by many that includes the King of Naples Alonso (David Strathairn) and her own brother Antonio (Chris Cooper) as the latter was the mastermind for her exile. For 12 years, Prospera and her daughter Miranda (Felicity Jones) remain on this island as Prospera learns that Alonso’s ship is on route towards the island with his party as she sees this as an opportunity to exact her revenge. While she gets help from her spirit Ariel (Ben Whishaw), she deals with circumstances that are beyond her control once Miranda encounters Alonso’s son Ferdinand (Reeve Carney).

The film’s screenplay does retain much of the dialogue that Shakespeare wrote while Julie Taymor does create new interpretations in order to play into this drama about betrayal, conspiracies, and redemption. Even as Prospera is dealing with the betrayal from her brother as she was supposed to be in power as well as Miranda. Through a shipwreck that Prospera would cause from her magical powers, the survivors in Alonso, Antonio, Alonso’s brother Sebastian (Alan Cumming), and Alonso’s counselor Gonzalo (Tom Conti) go on a journey to find Ferdinand who was shipwrecked on another part of the island. There’s also another subplot involving a disgruntled slave of Prospera in Caliban (Djimon Hounsou) who would conspire with two of Alonso’s servants in Stephano (Alfred Molina) and Trinculo) into overthrowing Prospera. It all plays into people trying to get something while underestimating this duchess who finds herself dealing with not just her thirst for revenge but also for the future of her own daughter.

Taymor’s direction is definitely ambitious in terms of its visual scale while she would shoot the film entirely on islands in Hawaii and Lanai to play into its rugged look as well as its different settings such as woods and blacks sands. While Taymor’s use of wide shots are very prevalent, she does maintain a sense of intimacy in terms of the presentation of the performances. Notably in the use of close-ups and medium shots along with some inspiring usage of low-angles to play into the location where the actors use it as a stage and more. Taymor’s approach to directing actors doesn’t just have them recite Shakespeare but also in allowing the actors to create their own interpretations to those roles where there’s a looseness in the direction that is quite engaging to watch. Overall, Taymor creates a very thrilling and evocative film about a duchess seeking revenge from those who betrayed her.

Cinematographer Stuart Dryburgh does excellent work with the film‘s cinematography from the usage of lights for some of the interiors along with some of the nighttime exteriors as well as some colorful scenes set in the forests. Editor Francoise Bonnot does brilliant work with the editing with its usage of fast-cuts, dissolves, and other elements of style to play into the looseness of the film and its offbeat rhythm. Production designer Mark Friedberg and set decorator Alyssa Winter do amazing work with the look of Prospera‘s home and her workshop where she would create her own spells. Costume designer Sandy Powell does fantastic work with the costumes from the white dress that Miranda wears to the lavish cape and dress that Prospera wears.

Prosthetics makeup designer Mike Marino does superb work with the look of Caliban in his rugged look to play into his personality as well as the look of Ariel. Visual effects supervisor Mike Cooper does wonderful work with the visual effects as it plays into the world of mysticism and magic that surrounds Prospera. Sound designer Blake Leyh does nice work with the sound to convey the atmosphere of the locations as well as the sound effects from the spells that Prospera would make. The film’s music by Elliot Goldenthal is terrific for its mixture of bombastic orchestral music with elements of rock as it plays into its extravagance and some of its humor.

The film’s marvelous cast features some notable comic performances from Alfred Molina and Russell Brand in their respective roles as Stephano and Trinculo as two men who are eager to gain the riches of their employers while conspiring with Caliban in overtaking Prospera. Ben Whishaw is terrific as the spirit Ariel as he brings some humor as a figure who helps Prospera while Djimon Hounsou is excellent as the disgruntled slave Caliban who feels unappreciated by Prospera as he hopes to get rid of her. Tom Conti is superb as Alonso’s counselor Gonzalo who was a mentor of Prospera as he tries to make sense of the situation. Alan Cumming is wonderful as Alonso’s brother Sebastian who is a conspirator of Prospera’s exile as he is coerced into trying to do the same to his own brother.

David Strathairn is amazing as King Alonso of Naples as a king who is concerned with finding his son while dealing with some issues in the past as it relates to Prospera. Chris Cooper is brilliant as the devious Antonio who masterminded the exile on his sister as he tries to maintain some power for himself in the hopes that he can be important. Reeve Carney is fantastic as Ferdinand as Alonso’s son who meets Miranda and Prospera as he tries to win over the latter as he reveals to be a good person and a worthy match for Miranda. Felicity Jones is an absolute delight as Miranda as this young woman who falls for Ferdinand while trying to aid her mother in the plans as she knows the role that she is destined to play. Finally, there’s Helen Mirren in an incredible performance as Prospera as Mirren is just so commanding in everything she does while bringing a lot of gravitas to a woman betrayed and seeking vengeance while displaying some sensitivity as it relates to her daughter as Mirren is the star of the film.

The Tempest is a marvelous film from Julie Taymor that features a phenomenal performance from Helen Mirren. The film isn’t just a unique and stylish take on the William Shakespeare play but also a dazzling interpretation that manages to be funny and dramatic. In the end, The Tempest is a rapturous film from Julie Taymor.

Julie Taymor Films: Titus (1999 film) - Frida - Actross the Universe - The Auteurs #42: Julie Taymor

© thevoid99 2014

007 James Bond Marathon: GoldenEye

Based on the stories of Ian Fleming, GoldenEye is the story of James Bond going up against an old 00 agent from destroying London with a satellite weapon. Directed by Martin Campbell and screenplay by Michael France, Jeffrey Caine, Kevin Wade, and Bruce Feirstein from a story by France. The film marks James Bond return to the big screen following a six-year hiatus due to legal disputes as playing the role of Bond is Irish actor Pierce Brosnan. Also starring Sean Bean, Izabella Scorupo, Famke Janssen, Robbie Coltrane, Alan Cumming, Tcheky Kayro, Joe Don Baker, Desmond Llewnlyn, Samantha Bond, and Judi Dench as M. GoldenEye is an exhilarating yet fun film from Martin Campbell.

On a trip to Monte Carlo, James Bond follows a mysterious woman named Xenia Onatopp (Famke Janssen) who is rumored to be part of a secret crime syndicate called Janus. Bond tracks her down as she had just killed an admiral to steal a helicopter that can withstand electromagnetic pulse. The helicopter arrives at a Russian bunker where Onatopp and General Ourumov (Gottfried John) kill the people at a satellite command station to take control of a satellite known as GoldenEye that can destroy locations with an electromagnetic pulse. Witnessing this is a computer programmer named Natalya Simonova (Izabella Scorupo) as she hides from the massacre and manages to survive the collapse of the building. Bond is asked by M to investigate the matter as he travels to St. Petersburg to find out more about Janus.

With the help of CIA agent Jack Wade, Bond meets an old adversary in Russian mafia head Valentin Zukovsky (Robbie Coltrane) who decides to help Bond by setting up a meeting between Bond and Janus. After an encounter with Onatopp, Bond finally gets to meet the head of Janus as it’s revealed to be former 00 agent Alec Trevelyan (Sean Bean) who Bond thought was killed in a mission they took part in nine years ago. Trevelyan with help of Onatopp and Ourumov trap Bond in the helicopter that was stolen as Bond and Simonova manage to escape as they’re eventually captured by Russian authorities as they meet Russian defense minister Dimitri Mishkin (Tcheky Kayro) where Bond reveals what’s going on.

Ourumov would end up causing trouble as he takes Simonova leading to a chase as Bond boards Trevelyan’s train where Bond has another confrontation with Trevelyan. After another escape with Simonova, the two travel to Cuba to stop Trevelyan from using the GoldenEye satellite as Bond learns what Trevelyan is planning to do.

The film is essentially another story of James Bond trying to save the world but this time around, he faces up against someone who was a friend and ally who knows Bond better than anyone else. It’s also a film where Bond has to deal with changing times as the Cold War is over and he has a new M that is very different from her predecessors who isn‘t fond of Bond and his antics. This would allow Bond to face hard facts about himself and his company as he discovers that the man who was once his ally has now become the enemy whose motivation is simply vengeance in the most extreme way.

The screenplay explores this new post-Cold War world where it’s clear that people like Ourumov is still trying to uphold the old prestige of the Soviet Union as he plans to threaten the new, fragile peace that Russia wants. Yet, it’s the Alec Trevelyan character that is the most interesting as he is the brains behind the scheme as he wants to destroy London for what they did to his parents. With Ourumov’s help as well as Xenia Onatopp and a computer programmer named Boris Grishenko (Alan Cumming), Trevelyan would not only get his revenge but also something more as he also wants to humiliate Bond. Still, the script allows Bond to re-think his strategies as he gets help from another computer programmer in Natalya Simonova who knows what the Janus crime group are up to and can stop the GoldenEye satellite from creating chaos.

Martin Campbell’s direction is definitely big in the way he presents the film as he is aware that this is a James Bond film and it has to be big. The film opens with this amazing prologue of Bond and Trevelyan teaming up to stop Ourumov at a Soviet chemical plant where it establishes Bond’s friendship with Trevelyan and the unexpected betrayal that would follow nine years later. With the locations set in Russia, London, Monte Carlo, and Puerto Rico, the direction establishes that the world is far grander in this post-Cold War period as computers also play a part in the scheme where Trevelyan and Grishenko would do things to control this deadly satellite.

With these spectacular action sequences that includes a few chase scenes, Campbell does manage to create a film that is thrilling while taking its time to establish what is going on. Campbell also balances the action with bits of humor as well as a lot of suspense as he makes sure that is about Bond doing his job to investigate where he would uncover many secrets about what he’s facing. Even as it would lead to a climatic face-off between Bond and Trevelyan in a grand sequence that pits 00 against 00. Overall, Campbell creates a truly solid yet exciting film that lives up to the James Bond name.

Cinematographer Phil Meheux does excellent work with the film‘s photography from the lighting schemes in the spa fight scene to some of the day and nighttime exteriors of the locations in the film. Editor Terry Rawlings does nice work with the editing by creating some rhythmic cuts for the film‘s action scenes along with some more methodical cuts for the film‘s suspense. Production designer Peter Lamont, with set decorator Michael Ford and art director Neil Lamont, does fantastic work with the set pieces such as MI6 base, the train car that Trevelyan chills out at, and the main base for the film’s climatic confrontation. Costume designer Lindy Hemming does superb work with the costumes such as the lavish dresses and clothes that Xenia Onatopp wears.

Special effects supervisor Chris Corbould does brilliant work with the special effects created for the action scenes along with visual effects miniatures made by Derek Meddings, whom the film is dedicated to. Sound editor Jim Shields does terrific work with the sound to capture the atmosphere of action scenes to the more intimate moments in the meetings Bond would have. The film’s music by Eric Serra is wonderful for its mix of orchestral flourishes and electronic music to create an air of suspense as well as utilizing the Bond themes to play out the action scenes. The title song by U2’s Bono and the Edge that is sung by Tina Turner is among one of the most fascinating songs of the Bond catalog.

The casting by Debbie McWilliams is amazing for the ensemble that is created as it features appearances from Minnie Driver as Zukovsky’s mistress, Serena Gordon as Bond’s Monte Carlo evaluator, Robbie Coltrane as Russian gangster Valentin Zukovsky, Joe Don Baker as CIA agent Jack Wade, and Tcheky Kayro as Russian defense minister Dmitri Mishkin. Alan Cumming is very funny as the cocky computer programmer Boris Grishenko while Gottfried John is very good as the villainous General Ourumov. In her first appearance as Miss Moneypenny, Samantha Bond is wonderful as M’s personal secretary who revels in her dating life while Desmond Llewelyn is fantastic as the very witty inventor Q who provides Bond some amazing gadgets.

Famke Janssen is superb as the villainous Xenia Onatopp as she has this great presence that is alluring while being very dangerous in the way she deals with men physically. Judi Dench is great as Bond’s superior M where Dench provides a very different approach to the character in her disdain towards Bond’s antics while making sure he maintains his professionalism in his mission. Izabella Scorupo is excellent as computer programmer Natalya Simonova who helps Bond to deal with the Janus crime syndicate as she is also a very smart individual who can deal with Grishenko. Sean Bean is phenomenal as Alec Trevelyan who organizes a plan to destroy London while trying to defeat Bond in every game while anticipating everything else Bond does as Bean does solid work.

Finally, there’s Pierce Brosnan in his first of four outings as James Bond. Brosnan brings a sense of wit and charm to the character that is very engaging as well as a physicality that is also startling to watch as he makes Bond a guy who isn’t afraid to throw down. Brosnan also manages to make Bond more human by having show a bit of humility for the fact that he’s facing an old friend adding a bit of new edge to the character as Brosnan definitely gives a very memorable portrayal of Agent 007.

GoldenEye is a marvelous film from Martin Campbell that features Pierce Brosnan in a remarkable performance as James Bond. Along with wonderful supporting work from Sean Bean, Famke Janssen, Izabella Scorupo, and Judi Dench. It’s a film that lives up to a lot of elements of the Bond films of the past while bringing something new to make Bond fresh and exciting. In the end, GoldenEye is a mesmerizing and spectacular film from Martin Campbell.

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

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

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

X2: X-Men United

Originally Written and Posted at Epinions.com on 8/12/04 w/ Extensive Revision.

When the first X-Men film arrived in 2000, it was a hit in the box office as director Bryan Singer helped create a wave of comic-book superhero films that was followed by Sam Raimi's 2002 film Spider-Man. Realizing that a franchise could be made with the X-Men series, Singer went ahead to create a sequel that would improve some of the shortcomings of the first film but also broaden the story more. The result would be 2003's X2: X-Men United.

X2: X-Men United picks up where the first one was left as the story centers around Wolverine who is trying to find clues of his past and his transformation into becoming a mutant. At the same time, a failed assassination on the U.S. president by a mutant makes those in the X-Men team suspicious as they interrogate their nemesis Magneto while being in pursuit from an army colonel. Based on the comic book with the screen story co-written with director Singer before turning into a script by David Hayter, Dan Harris, and Michael Dougherty, X2 is a film that allows the X-Men series to go into bigger ideas along with themes of prejudice and chaos. With a cast that includes those from first film like Hugh Jackman, Patrick Stewart, Ian McKellan, Halle Berry, James Marsden, Anna Paquin, Famke Janssen, Rebecca Romijn-Stamos, Bruce Davison, and Shawn Ashmore with new actors to the franchise, Brian Cox, Kelly Hu, Alan Cumming, Cotter Smith, and Aaron Stanford. X2: X-Men United is one of the smartest and entertaining of Hollywood blockbusters.

Despite the repeal the Mutant Registration Act that was led by one of its original supporters in Senator Kelly (Bruce Davison), a teleporting mutant named Nightcrawler/Kurt Wagner (Alan Cumming) has made an attempted assassination on President McKenna (Cotter Smith). With suspicions arising that the attack was orchestrated by Magneto/Erik Lehnsherr (Ian McKellan) who is currently in a special prison. McKenna asks Col. William Stryker (Brian Cox) to investigate as Senator Kelly makes a visit asking about Lehnsherr's whereabouts. Meanwhile, Charles Xavier (Patrick Stewart), Storm (Halle Berry), Jean Grey (Famke Janssen), and Scott Summers (James Marsden) learn about the president's attack during a field trip with students as Xavier looks for Wagner's whereabouts. Logan/Wolverine returns to Xavier's school following a failed search for a base at Alkali Lake as he asks Xavier for help to search for lost memories. Xavier reluctantly refuses as he asks Logan to watch over the students as he and the rest of the X-Men investigate the attack.

With Jean and Storm trying to find Wagner to asks questions as it's revealed that he doesn't know what he's done. Xavier and Scott go to the compound to meet with Magneto. Magneto is under the influence of a drug as he reveals to Xavier he gave some information to Stryker leading to a trap as Xavier and Scott are captured by Stryker's assistant Yuriko Oyama/Lady Deathstrike (Kelly Hu). Back at Xavier's mansion, a raid led by Stryker happens as Logan helps many of the students escape only to be met with Stryker who knew Logan from many years ago. Haunted by Stryker's presence, he is saved by Rogue (Anna Paquin) and Bobby Drake/Iceman (Shawn Ashmore) to escape with their friend Pyro (Aaron Stanford) where they hide out at the home of Bobby's family.

At Stryker's secret hiding facilities, Xavier learns what Stryker is up to as he is forced to be under the control of Stryker's son Jason (Michael Reid McKay) who gets into Xavier's mind. After finding a device in a car that belonged to Scott, Logan makes contact with Jean and Storm as cops surround Bobby's family home after a call from Bobby's younger brother leading to Pyro to attack the cops that is stopped by Rogue. When Jean and Storm arrive with the X-Jet that includes Wagner, they try to evade the air force as they're eventually saved by the escaped Magneto and his henchwoman Mystique (Rebecca Romijn). Realizing what Stryker is up to, the X-Men realize they have to work with Magneto and Mystique in order to stop Stryker while Logan learns about what happened to him years ago in Stryker's hands. With the X-Men retrieving the students that were captured and trying to stop Stryker, one of them makes the ultimate sacrifice.

While the plot formula is similar to the likes of Spider-Man and other comic book stories, what sets X-Men apart is the fact that the X-Men are reluctant superheroes and in the second one, their reluctance is challenged more than ever. The story in the second one is far more superior, especially with the storyline of Wolverine trying to find his past that is the key story that moves the story. It allows that character to be more fragile as he yearns for the company of the X-Men and students that gives him a reason to fight. There's also more development in the characters along with themes of faith that is carried by Wagner who develops a relationship based on faith with Storm. The credit really should go to director Bryan Singer for tightening up the film's story and his eye-wielding direction that is crafty with fast camera angles and intense action and dramatic moments.

With cinematographer Thomas Newton Siegel, the film has this amazing, cold look in many of the scenes while its complemented with the work of production designer Guy H. Dyas, who helps brings an eerie, bleak look in many of the film's dark scenes in the Alkali Lake sequences. Helping with the film's spectacular visuals are the visual effects from supervisor Michael Fink who helps bring in intense, wondrous effects, notably for the Nightcrawler and Mystique characters who often do a lot of teleporting or in Mystique's case, change into other characters. With a film score by John Ottman, who also serves as an editor, the film plays up to what a comic-book action movie should be in style and substance as the score just helps move with the story and scenes.

Then you have the film's wonderful ensemble cast that includes some wonderful small performances from Bruce Davison, Cotter Smith, and Daniel Cudmore as Colossus who shines in the school raid scene with his powers while Ty Olsson stands out in his role as Magneto's prison guard Laurio is excellent, especially in a scene that involves him making with Rebecca Romijn-Stamos. Though Anna Paquin had a bigger role as Rogue in the first film, her role is cut down a bit though Rogue in this film seems a bit more comfortable despite her powers while she has nice scenes with Shawn Ashmore's Iceman, who really gets more time than the first since he's having trouble dealing with being a mutant while is the only person who uses his powers for good. Aaron Stanford is a bit more of the conflicted character as Pyro who seems cocky for his fiery power and when he meets with Magneto, you see how easily he can be seduced with power.

Rebecca Romijn does an excellent job as Mystique by just projecting a lot of movement and spark into her performance while Kelly Hu is excellent as the villainous Yuriko with her own powers despite rarely having any dialogue when she uses actions rather than words, notably in her fight scene with Wolverine. James Marsden is excellent in his role, despite not being scene for an hour in the film, as the more disciplined Cyclops who still has some tension with Wolverine, even for the affections of Dr. Jean Grey. Famke Janssen is really amazing in her more difficult role as Grey since she has trouble with her telepathy and her feelings over Wolverine while she becomes more and more reluctant about her own powers. Halle Berry meanwhile, is very good in her performance as Storm, especially by getting rid of a classy accent in the first film, where she has really wonderful scenes with Alan Cumming's Nightcrawler. Cumming is a notably standout as he is thought of a villain at first but then he comes out as a character of morality and goodwill, including in the jet crash scene where he risks his own life to save someone. Cumming brought a depth and conscious that is rarely seen in an action film.

Then you have four of the film's greatest performances starting off with the always-amazing Brian Cox as William Stryker. Cox brings a demeaning charm and intelligence to a villain who isn't just hell bent on destroying mutants but in his scenes with Hugh Jackman's Wolverine, we see how far he'll go to destroy Wolverine's mind. Cox is devious and just a great villain who isn't a stereotypical villain but one that is enjoyable and hateful at the same time. Ian McKellan is another enjoyable villain but in X2, he kind of plays a good guy for a bit since he knows that mutants are in trouble and wants to help battle Stryker despite his own intentions for humans. McKellan brings a sly wit and charisma that is seductive even though he's a villain but one that is smart and cares for his group of people.

Patrick Stewart is also amazing in his classy performance as Professor X as he tries to find clues to the president's assassination attempt while trying not to be manipulated by Stryker's methods as he himself, becomes reluctant in trying to help Wolverine. Hugh Jackman is the easily the film's star and his performance in X2 outdoes the first as he displays more dramatic textures with a balance of action. Jackman brings humanity to Wolverine who tries to find clues to his past and when he does, we see how anguished and troubled he's become where he is forced to accept the role he will take part in.

X2: X-Men United is a fantastic film from Bryan Singer and definitely the best film of the X-Men franchise so far. Featuring a great ensemble cast and amazing technical work, it's a film that surpasses the first film in terms of a stronger story and a broader vision. Fans of the franchise will no doubt see this as the best of the film as it has more action and more engaging characters for them to relate to. In the end, X2: X-Men United is a fantastic film from Bryan Singer.

Bryan Singer Films: (The Usual Suspects) - (Apt. Pupil) - X-Men - (Superman Returns) - (Valkyrie) - (Jack the Giant Slayer) - X-Men: Days of Future Past - X-Men Apocalypse - (Bohemian Rhapsody)

X-Men Films: X-Men III: The Last Stand - X-Men Origins: Wolverine - X-Men: First Class - The Wolverine - Logan (2017 film) - Deadpool 2 – (X-Men: Dark Phoenix) - (New Mutants)

© thevoid99 2011