The Impostors

Written, directed and co-starring Stanley Tucci, The Impostors is the story of two struggling actors who accidentally stow away on a cruise to run from an egomaniacal actor while meeting with an array of offbeat passengers and crew members. The film is a farcical comedy where it involves many people who pretend to be someone else while dealing the need to act in order to save themselves. Also starring Oliver Platt, Alfred Molina, Lili Taylor, Campbell Scott, Hope Davis, Steve Buscemi, Michael Emerson, Billy Connolly, Dana Ivey, Allison Janney, Richard Jenkins, Tony Shalhoub, and Isabella Rosselini. The Impostors is a rip-roaring and exhilarating film from Stanley Tucci.

Set during the Great Depression in New York City, the film revolves around the misadventure of two struggling actors who receive tickets to a show starring an egomaniacal actor where they insult him at a bar only to go on the run and find themselves as stowaways on a cruise ship. It’s a film that play into two men who are trying to make it as actors but upon learning they’re on a cruise ship where they pretend to be stewards. Stanley Tucci’s screenplay is quite loose where it plays into these misadventures of Maurice (Oliver Platt) and Arthur (Stanley Tucci) to them trying to get food as they’re unemployed as well as what goes on in the ship as they encounter a series of offbeat passenger and crew members. Among them is a deposed queen (Isabella Rosselini), a heartbroken singer (Steve Buscemi), a once-rich-turned poor widow (Dana Ivey) with her grieving daughter (Hope Davis), a possibly gay tennis pro (Billy Connolly), and other oddball characters. Adding to the turmoil is the fact that the famed but arrogant actor Jeremy Burtom (Alfred Molina) is also on the ship.

Tucci’s direction is definitely stylish starting with an opening credits sequence where Maurice and Arthur cause trouble as a way to avoid paying for coffee and food as it’s presented like a silent movie. Then it becomes partially straightforward with elements of slapstick comedy where some of it is shot partially in New York City while much of it is shot on a soundstage for the scenes set on the cruise ship. While Tucci would create some amazing compositions with the wide and medium shots, much of it presented loosely where he allows his actors to just create performances that are exaggerated. While it does help to tell the story, there is an element where it feels self-indulgent at times but Tucci wants to create something where the actors are there to have fun and allow themselves to over-act at times. Overall, Tucci creates a silly yet extremely fun film about two actors who stowaway on a cruise and try to find a way to solve problems through the power of acting.

Cinematographer Ken Kelsch does excellent work with the film‘s cinematography from the colorful and sunny look of the daytime New York City exteriors to the look of the many interiors on the cruise ship as well as some of its exteriors. Editor Suzy Elmiger does brilliant work with the editing as its usage of jump-cuts and other rhythmic cuts play into its humor and lively tone. Production designer Andrew Jackness, with set decorator Catherine Davis and art director Chris Shriver does amazing work with the look of the cruise ship with its exteriors as well as some of the interiors of the rooms and ballroom in the ship. Costume designer Juliet Polcsa does fantastic work with the design of the clothes from the clothes of the men including the lavish look of Burtom and the dresses that the women wear.

Hair stylists Victor DeNicola and Carla White do nice work with the hairstyles the women wore in those times along with some of the wigs that some of the characters wear. Sound editor Robert Hein does terrific work with the sound in the way some of the sound effects are presented as well as the sparse moment in the play scene. The film’s music by Gary DeMichele is wonderful for its ragtime/jazz-based score that played into the period of the times while music supervisor Margot Core creates a soundtrack that play into that period including some old music in French as it relates to the destination of where the ship is going to.

The casting by Ellen Lewis is incredible for the ensemble that is created as it feature some notable small roles from David Lipman as a baker Arthur harasses and gives Maurice tickets to a show, Matt Malloy as a fellow actor that Maurice and Arthur knows who had been humiliated by Burtom, Lewis J. Stadlen as a band leader, Elizabeth Bracco as an entertainment director for the cruise, Allan Corduner as the ship’s captain, Michael Emerson as Burtom’s assistant, Teagle F. Bougere as a sheik who has a fondness for a certain French song, Matt McGrath as an Italian detective named Marco who is afraid to kill as he has feelings for one of the ship’s directors in Lily, and Woody Allen in an un-credited yet funny performance as a neurotic stage director Maurice and Arthur audition for. Richard Jenkins and Allison Janney are superb in their respective roles as the con artists Johnny and Maxine as Americans who pretend to be French as they both try to woo Mrs. Essendine and the sheik. Tony Shalhoub is stellar as the ship’s first mate Voltri as a man who runs the ship but also has some very dark motives of his own.

Dana Ivey is wonderful as the widowed Mrs. Essendine who is upset that her late husband didn’t leave her a cent while Hope Davis is terrific as her daughter Emily who grieves for her father and acts melancholy until she notices the heartbroken singer. Isabella Rossellini is fantastic as the veiled queen who laments over being deposed and not want to be seen as she is fun to watch while Campbell Scott is hilarious as the German cruise director Meistrich who has a thing for Lily where he is just a hoot. Billy Connolly is excellent as the tennis pro Sparks who definitely bear some homosexual tendencies as he is fond of Maurice while Steve Buscemi is amazing as the suicidal and heartbroken singer Happy Franks. 

Lili Taylor is brilliant as a cruise director in Lily who befriends Maurice and Arthur as she tries to help them hide as well as deal with Meistrich. Alfred Molina is phenomenal as the egomaniacal actor Jeremy Burtom as a man who is quite full of himself and isn’t aware that he’s just a hack. Finally, there’s the duo of Stanley Tucci and Oliver Platt in remarkable performances in their respective roles as Arthur and Maurice as two unemployed struggling actors trying to get work where an awkward moment with Burtom leads them to accidentally stow away on a cruise where they do whatever they can to hide as they use their acting skills to save them.

The Impostors is a sensational film from Stanley Tucci. Featuring a great cast, amazing set pieces, lively music, and a willingness to just let loose and have fun. It’s a film that is aware that it’s being indulgent while giving the actors a chance to just act out and be funny. In the end, The Impostors is a spectacular film from Stanley Tucci.

Stanley Tucci Films: (Big Night) - (Joe Gould’s Secret) - (Blind Date (2007 film))

© thevoid99 2016

Love is Strange

Directed by Ira Sachs and written by Sachs and Mauricio Zacharias, Love is Strange is the story of a recently-married gay couple who are forced to live separately due to financial issues as they each deal with their new surroundings. The film is an exploration into same-sex marriage where two men who want to be together find themselves being forced to live apart and find homes with the aid of family and friends. Starring John Lithgow, Alfred Molina, Marisa Tomei, Charlie Tahan, and Cheyenne Jackson. Love is Strange is a touching and engaging film from Ira Sachs.

The film plays into two men who finally marry after being together for 40 years as they’re forced to live apart when one of them loses his job and financial issues would force the situation where the two would live among family and friends. It’s a film that plays into the world of two men who love each other as circumstances beyond their control force them to move out of their apartment and live with other people while trying to find a new home. There, the separation takes a toll on not just these two men but also the friends and family that give them a place to live. The film’s screenplay explores the dynamics of two men in different living situations as the painter Ben (John Lithgow) would live with his nephew Elliot (Darren Burrows) and his family while the music teacher George (Alfred Molina) would live with neighbors in a couple of gay cops.

It’s a situation that isn’t just tense but also quite strange as Ben finds himself chatting with Elliot’s wife Kate (Marisa Tomei) while rooming with her teenage son Joey (Charlie Tahan) who is going through growing pains. For George, living with Ted (Cheyenne Jackson) and Roberto (Manny Perez) becomes uneasy as Ted and Roberto often hold parties where George just wants something quiet. It creates not just a world where two men really long for each other but are hoping to adjust to their living situations hoping that it is temporary until they can find an affordable home. It’s a script that doesn’t have a lot of plot but rather rely more on characters and the environment they’re in as Ben and George are just two men who have been through a lot and aren’t sure if they can take another lifetime of just not being together.

Ira Sachs’ direction doesn’t feature a lot of stylistic shots but does contain some very interesting and mesmerizing compositions. Shot largely on location in New York City, Sachs goes for something that is very intimate as it’s more about the story rather than a certain landmark that is often seen in New York City. With a lot of close-ups and medium shots, Sachs maintains something that starts off lively until George’s firing where it becomes a bit more serious with some low-key humor. Sachs knows where to frame his actors for scenes which would play into the tension surrounding Ben and his nephew’s family where Ben feels like he is intruding. The scenes involving George living with his neighbors show a sense of awkwardness into how old he is and how young his neighbors are where Sachs knows where to place the camera. The scenes of Ben and George together do show a spark of life such as a scene late in the film of the two at a bar which definitely says a lot about their relationship without really saying anything. Overall, Sachs creates a mesmerizing and compelling story about a gay couple struggling to live apart.

Cinematographer Christos Voudouris does excellent work with the cinematography to capture the look of the outside exteriors in the day including a skyline that Ben is trying to paint. Editor Affonso Goncalves and Michael Taylor do terrific work with the editing as it‘s very straightforward with a few stylistic cuts including a montage of George talking about his firing to his former students. Production designer Amy Williams, with set decorator Kendall Anderson and art director Steve Grise, does fantastic work with the look of the different apartments from the quaint look of the old apartment Ben and George lived in to the more spacious but unsettling home that Ben would live in with his nephew and his family.

Costume designer Arjun Bhasin does nice work with the costumes as it‘s mostly casual with the exception of a few stylish clothes that Ben and George wear. Visual effects supervisor Lucien Harriot does good work with the minimal visual effects as it relates to the view that Ben is painting. Sound designer Kent Sparling does superb work with the sound to create some montages for George‘s letter to his student as well as creating something that feels natural though there‘s moments where some of the music on location does overwhelm the dialogue. Music supervisor Susan Jacobs creates a wonderful soundtrack that includes contemporary music as well as classical pieces by Chopin and Beethoven as much of it is played on location and on set.

The casting by Avy Kaufman is amazing as it features some notable small performances from John Cullum as George’s former boss who would fire him, Harriet Sansom Harris as a lesbian cop friend of Ted and Roberto, Christina Kirk as a family friend named Mindy who has a home in upstate New York, Christian Coulson as a young man George would meet at a party, Eric Tabach as Joey’s friend Vlad who would befriend Ben, and Manny Perez as the gay cop Roberto. Cheyenne Jackson is terrific as Ben and George’s neighbor Ted who is also a gay cop that would introduce George to Game of Thrones as well as his world of parties that George isn’t comfortable with. Darren Burrows is superb as Ben’s nephew Elliot who copes with the new situation as well as his son’s growing pains while often being away at work.

Charlie Tahan is excellent as Elliot and Kate’s teenage son Joey who copes with the living situation as he starts to act out while dealing with his own growing pains. Marisa Tomei is fantastic as Elliot’s wife who adores Ben and George but becomes annoyed with the living situation as she tries to get her own work done while helping Ben in finding a home for him and George. Finally, there’s Alfred Molina and John Lithgow in remarkable performances in their respective roles as George and Ben. Molina provides a melancholia as George who copes with his own living situation while dealing with the loss of his job as a Catholic school music teacher as Molina maintains a low-key yet evocative performance. Lithgow provides a liveliness to the role of Ben as a painter who is trying to cope with being separated as well as getting old where Lithgow displays some humility and the ability to be the quiet observer as it relates to his own family.

Love is Strange is a marvelous film from Ira Sachs that features great performances from John Lithgow and Alfred Molina. Along with a great supporting cast led by Marisa Tomei, the film is a delightful and heartwarming comedy-drama that explores the relationship of two men as they cope with being apart due to a very complicated situation. In the end, Love is Strange is a sensational film from Ira Sachs.

Ira Sachs Films: (The Delta) - (Forty Shades of Blue) - (Married Life) - (Keep the Lights On)

© thevoid99 2015

Frida (2002 film)

Based on the biography Frida: A Biography of Frida Kahlo by Hayden Herrera, Frida is a story about life of the surrealist Mexican painter and her relationship with the painter Diego Rivera that would span for many years through ups and downs. Directed by Julie Taymor and screenplay by Clancy Sigal, Diane Lake, Gregory Nava, and Anna Thomas, the film is an unconventional take on Kahlo’s life from the accident she suffered at the 18 that would plague her for the rest of her life to the people she would meet in her lifetime. Playing Kahlo is Salma Hayek while Alfred Molina would play her husband in Diego Rivera. Also starring Geoffrey Rush, Valeria Golino, Ashley Judd, Mia Maestro, Roger Rees, Diego Luna, Edward Norton, and Antonio Banderas. Frida is a lavish yet extraordinary film from Julie Taymor.

The film is an offbeat and surrealistic telling of the life of Frida Kahlo from the year she would be severely injured from a bus accident in 1922 that would plague her for the rest of her life to her final year of her life in 1954. During this time, she would meet the mural artist Diego Rivera whom she would be married to in 1929 and later remarry in 1940 after a one-year divorce where their marriage was a dysfunctional one due to his flings with other women and her bisexuality. It’s a film that plays more into the art of Kahlo and the events of her life that would drive her art as she would be appreciated as well as reviled for her art as well as views on politics due to her affiliation with Marxism as she would meet and have an affair with Leon Trotsky (Geoffrey Rush).

Since Kahlo’s life was never a conventional one, a straight-forward bio-pic on the artist wouldn’t work as there’s so much to cover as the film’s screenplay sort of deviates from that schematics to play into moments of her life and relationship with Rivera. The first act of the story plays into the accident and Kahlo’s meeting with Rivera whom he would take Kahlo as a protégé only to become his new lover and wife in 1929. Yet, their relationship is a complicated one since Kahlo knows that Rivera likes to sleep with other women which Kahlo does begrudgingly accept since she is also promiscuous. Still, it would eventually cause trouble along with their own political affiliation with Marxism is put to the test in the film’s second act when Rivera is asked by Nelson Rockefeller (Edward Norton) to paint a mural at the Rockefeller Center which would get destroyed due to Rivera’s anti-capitalist views. A move that would leave Rivera returning to Mexico with his pride and ego wounded as his actions would cause a schism between him and Kahlo.

Despite all of the trials and tribulations that Kahlo and Rivera has, the latter is still loyal to the former despite his actions as he would support her from afar just as she would gain fame of her own. It plays into what Kahlo wants as an artist but all of the trappings of fame becomes fleeting where she later gets in trouble over her encounters with Trotsky which would prompt Rivera to come back to her life. Especially as her health would decline in the film’s third act where Rivera is willing to do whatever to get her back and be there for her.

Julie Taymor’s direction definitely plays to much of the surrealistic images that Kahlo creates in her paintings where it is filled with a sense of style as well as an extravagance that is off the wall. Especially as Taymor is playing to a sense of style which feels true to the world that Khalo lives in as she would shoot the film on location in Mexico in order to make the country as a character in the film that would influence Kahlo’s own work. Some of the paintings in the film that are Kahlo’s or re-creation of Kahlo’s work help tell the story into the events that would shape her life including own injury and her marriage as it’s expressed through her own art. Most notably the sequence of the bus accident that would be the cause of Kahlo’s life-suffering injury as it’s presented with an air of style from where the camera is at and the impact of its crash where it mirrors the painting that Kahlo would make later on in her life.

The direction also includes some unique elements of surrealism and humor such as a sequences where Kahlo and Rivera would each play into their own vices as well as the former’s interpretation of the latter’s taste for fame which includes a scene where she imagines Rivera as King Kong. Much of the direction includes some unique compositions in the simple and intimate moments where Taymor knows where to frame Kahlo as if she is recreating one of Kahlo’s paintings where its usage of close-ups and medium shots add to that sense of style. Even the use of wide shots in the scenes at Tenochtitlan at the pyramids where Kahlo shows Trotsky the sites as it displays Mexico at its most beautiful. Even in how Kahlo would view the country as her home which is exactly who she is no matter all of the riches and acclaim she would receive everywhere else. Overall, Taymor creates a very majestic and rapturous film about the life of one of the greatest painters in the 20th Century.

Cinematographer Rodrigo Prieto does amazing work with the film‘s dazzling and colorful cinematography for many of the film‘s exterior settings in the day while using some unique dark shadings and lighting schemes for some of the film‘s daytime and nighttime interior scenes. Editor Francoise Bonnot does fantastic work with the editing as it‘s very stylish with its usage of jump-cuts, montages, and dissolves as it plays into the frenetic energy of Kahlo‘s art as well as in some of the dramatic moments in the film. Production designer Felipe Fernandez del Paso, with set decorator Hania Robledo and art director Bernardo Trujillo, does brilliant work with the look of the Kahlo family home where Frida lived with her family as well as the Rivera studio and other places in Mexico as well as the look of the New York City apartment where Rivera and Kahlo lived during Rivera‘s period working for Rockefeller.

Costume designer Julie Weiss does excellent work with the costumes to play into the look of the times as well as the clothes that Rivera wore as well as the dresses and suits that Kahlo would wear. Makeup artist Judy Chin and hairstylist Beatrice De Alba, with prosthetic makeup designer John E. Jackson, do incredible work with the makeup from the look of the unibrow of Kahlo‘s face as well as into the aging makeup of the characters throughout the years. Visual effects supervisors Jeremy Dawson and Dan Schrecker do superb work with the visual effects to play into the surreal look of Kahlo‘s paintings as they would come to life along with some strange sequences including a hospital scene that is full of macabre animation by Stephen and Timothy Quay. Sound designer Blake Leyh does terrific work with the film‘s sound to play into the atmosphere of some of the locations including the very chilling moment in the bus accident scene. The film’s music by Elliot Goldenthal is wonderful for its mixture of lush orchestral music with traditional Mexican music to play into the drama of the film while music supervisors Sarah Botstein and Kathy Nelson bring in a soundtrack filled with jazz and traditional Mexican music of those times.

The film’s marvelous cast includes some notable small appearances from Saffron Burrows as a British woman Kahlo seduces in New York City, Lila Downs as a tango singer at a party, Omar Rodriguez-Lopez as the surrealist Andre Breton, Diego Luna as a schoolmate of the young Kahlo in Alex, Patricia Reyes Spindola as Kahlo’s mother, and Valeria Golino as Rivera’s second wife Lupe Marin whom Kahlo would befriend and paint a portrait of her. Antonio Banderas is terrific in a small role as the artist David Alfaro Siqueiros whom Rivera would argue with over politics while Ashley Judd is wonderful as the Italian photographer/artist Tina Modotti. Roger Rees is superb as Kahlo’s father Guillermo is also an artist as he copes with the injury that his daughter suffered while encouraging her to become an artist. Mia Maestro is excellent as Kahlo’s loyal sister Cristina who would later become Rivera’s assistant as it would later cause trouble.

Edward Norton is fantastic as Nelson Rockefeller who asks Rivera to make a mural at the Rockefeller Center until he sees whom Rivera would put in the mural. Geoffrey Rush is brilliant as Leon Trotsky as the Marxist revolutionary who is granted political asylum in Mexico as he befriends Rivera and Kahlo while having an affair with Kahlo. Alfred Molina is amazing as Diego Rivera as this mural painter who is large both in look and in personality as he’s an artist that is big on ideas while displaying Marxist ideals to help the people yet is a total contradiction since he also likes to party with the rich and famous as Molina showcases a man that is flawed yet full of charm and humility. Finally, there’s Salma Hayek in an incredible performance as the titular character as she displays not just charm but also a person that is willing to make a name for herself on her own terms while displaying a sense of individuality as it’s definitely Hayek at her most lively in terms of humor and drama.

Frida is a phenomenal film from Julie Taymor that features a remarkable performance from Salma Hayek in the titular role. Along with a very strong supporting performance from Alfred Molina as well as a great look and an offbeat yet engaging script. It’s a film that doesn’t just tell the story of a great artist but also a person who deals with all of the trappings of fame as she is willing to not make compromises on who she is or where she came from. In the end, Frida is a dazzling film from Julie Taymor.

Julie Taymor Films: Titus (1999 film) - 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

Monsters University

Directed by Dan Scanlon and written by Scanlon, Daniel Gerson, and Robert L. Baird, Monsters University is a prequel film to 2001’s Monsters Inc. in which Mike Wazowski meets Sulley at Monsters University where they start out as rivals and later become friends. It’s a film that explores two different monsters trying to find themselves in college and hope to make it into the big leagues as Billy Crystal and John Goodman respectively reprise their roles as Mike and Sulley as does Steve Buscemi as Randall. Also featuring the voices of Joel Murray, Sean Hayes, Dave Foley, Peter Sohn, Nathan Fillion, Charlie Day, Aubrey Plaza, Tyler Labine, Alfred Molina, and Helen Mirren as Dean Abigail Hardscrabble. Monsters University is a witty and enjoyable film from Dan Scanlon and Pixar Animation Studios.

The film is about how Mike Wazowski and James “Sulley” Sullivan became friends as they first met as freshmen college students at the prestigious Monsters University where they started out as rivals. Especially as Wazowski’s roommate was none other than future nemesis in Randall Boggs where they were friends at first. Yet, it’s a film where both Mike and Sulley not only become friends through a series of unfortunate events as they try to major the Scare program at the university. It’s also in how they try to get back into the program by being part of the annual Scare Games where they reluctantly team up with a fraternity full of outcasts to compete with other fraternities and sororities. During that process, the two would become friends but also realize how much they need each other to make it in the big leagues.

The film’s screenplay definitely explore a lot of the motivations and complexities of the two characters as Mike had always wanted to be a scarer since he was a kid during a school field trip as he studied hard to get to Monsters University. Despite his knowledge and determination to be a scarer in the Scare program, what he lacks is the look to really be scary. While Sulley has that look and the skills to be a scarer as he comes from a family of scarers, he doesn’t have the patience to learn which makes him arrogant and foolish. Due to an incident in a final program, the two are kicked out of the program where they reluctantly become part of this fraternity full of oddballs that don’t look or act scary. With Mike’s determination and Sulley’s natural ability, the two would make Oozma Kappa not just the surprise underdogs but also find a brotherhood that Mike and Sulley would later cherish.

Dan Scanlon’s direction is definitely filled with a lot of the ideas that is expected in a college film with frat parties and such. Much of it is full of humor and hijinks while it is balanced by drama and moments that help shape the characters and the story. Much of it involves images that play into the building friendship between Mike and Sulley while adding a few references of things to come in Monsters Inc. that would include the seeds of the eventual rivalry between Sulley and Randall. With the help of animation directors Andrew Gordon and Robert H. Huss, the look of the animation is definitely lively as it’s definitely what is expected from the animation team at Pixar with Scanlon providing lots of interesting framing and such to play into the humor and drama. Overall, Scanlon creates a very solid and entertaining film about two different monsters who become best friends in college.

Cinematographers Matt Aspbury and Jean-Claude Kalache do amazing work with some of the lighting schemes for some of the film‘s interior settings to add to the visual flair of the film. Editor Greg Synder does fantastic work with the editing in terms of creating a few montages and rhythmic cuts to play into the film‘s humor and party atmosphere. Production designer Ricky Nievra does brilliant work with the look of the University where it has this Ivy League look but also a world that is like a party and an institution to learn.

Sound designer Tom Myers does superb work with the film‘s sound to play into the sound effects that occur in some of the games as well as the places the monsters go to. The film’s music by Randy Newman is excellent for its mixture of low-key and suspenseful orchestral music to a lot of the playful drumline music of colleges as the soundtrack includes a mix of pop, electronic music, and metal music from the band Mastodon.

The voice casting by Natalie Lyon and Kevin Reher is incredible as it features an amazing ensemble that features voice appearances from Pixar regulars John Ratzenberger as the Yeti, Bonnie Hunt as young Mike’s schoolteacher, and Bob Peterson as Roz. Other notable small voice roles include Bobby Moynihan as the Roar Omega Roar member Chet, Beth Behrs as the Python Nu Kappa sorority girls, John Krasinski as a top-scarer that the young Mike meets, Tyler Labine and Aubrey Plaza as the Greek Council leaders hosting the Scare Games, Noah Johnston as the young Mike, Bill Hader as a slug student trying to get to class, and Julia Sweeney as Squishy’s sweet mother Sherri who loves to clean and listen to Mastodon. Nathan Fillion is terrific as the Roar Kappa Roar fraternity leader who is arrogant as the quintessential jock while Steve Buscemi is excellent in reprising his role as the slick and skillful Randy who starts out as a nerd to a member of the Roar Omega Roar fraternity.

Alfred Molina is superb as scare professor Derek Knight who looks at what kind of skills that Mike and Sulley have early on and see if it can elevate them. Helen Mirren is amazing as Dean Hardscrabble as this no-nonsense monster who knows who has what it takes to be a scarer as she watches over what Mike and Sulley can do to see if they can prove her wrong. In the roles of the Oozma Kappa fraternity members, there’s Joel Murray as the middle-aged octopus ex-salesman Don Carlton, Sean Hayes and Dave Foley as the two-headed twin brother monster Terri and Terry Perry, Charlie Day as the wild and furry Art, and Peter Sohn as the very unconventional Squishy as they’re all fantastic in their roles. Finally, there’s Billy Crystal and John Goodman in brilliant performances in their respective roles as Mike Wazowski and James “Sulley” Sullivan as they bring that sense of fun and complexity that makes them so endearing to watch as a reminder into why they were a great duo in Monsters Inc.

Monsters University is an excellent film from Dan Scanlon and Pixar Animation Studios. While it may not reach the heights as its predecessor or other films of Pixar, it is still an entertaining and heartfelt film that has all of the tropes that made Pixar one of the best animation studios ever. Even as it’s a film that just wants to give its audience something to enjoy and have characters to root for. In the end, Monsters University is a superb film from Dan Scanlon and Pixar.

Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters Inc.) - (Finding Nemo) - The Incredibles - Cars - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Brave - Inside Out - The Good Dinosaur - (Finding Dory) - (Cars 3) - Coco - Incredibles 2 - Toy Story 4 - (Onward) - (Soul (2020 film))

© thevoid99 2014

Magnolia

Originally Written and Posted at Epinions.com on 10/8/05 w/ Additional Edits & Revisions.

Written and directed by Paul Thomas Anderson, Magnolia is a multi-layered story that chronicles a day in the life of various people in Los Angeles. Among them is a loser salesman, a cop, a gold-digging wife who realizes her love for her husband while his estranged son is a conflicted self-help guru. Other stories include a child in a game show while its host is dealing with personal problems that include his daughter's self-destructive behavior. The film explores the world of coincidences, chance, redemption, and failure that connects these characters in this very fascinating drama. With an all-star cast that includes P.T. Anderson regulars like Julianne Moore, Philip Seymour Hoffman, Ricky Jay, Philip Baker Hall, John C. Reilly, Melora Walters, William H. Macy, Luis Guzman, and Alfred Molina plus Jason Robards, Felicity Huffman, Melinda Dillon, Michael Bowen, April Grace, Michael Murphy, Jeremy Blackman, and Tom Cruise. Magnolia is an ambitious yet engrossing drama from P.T. Anderson.

Jimmy Gator (Philip Baker Hall) is a TV game show host who is about to reach 12,000 hours of broadcasting while his daughter Claudia (Melora Walters) is binging on sex and drugs in another part of Los Angeles. Set to be on Gator's TV show is a kid named Stanley Spector (Jeremy Blackman) who is intent to study while his father Rick (Michael Bowen) is doing auditions. A man named Donnie Smith (William H. Macy) is about to get corrective teeth surgery as he reflects on his time back in 1968 when he won Gator's show back in 1968 at the age of 10. Meanwhile, Earl Partridge (Jason Robards) is dying as he's in the care of nurse named Phil (Philip Seymour Hoffman) while Earl's wife Linda (Julianne Moore) run errands. Jim (John C. Reilly) is a police officer whose day starts off strange due to a disturbance by a woman named Marcie (Cleo King) over a dead body as he later meets a young rapping boy named Dixon (Emmanuel Johnson).

With Earl on his deathbed, he ponders about his life as he asks Phil to find his estranged son Frank (Tom Cruise), who has re-invented himself as seminar guru Frank T.J. Mackey as he's being interviewed by a reporter named Gwenovier (April Grace). Jimmy makes an unexpected visit to Claudia's apartment to reveal some startling news as the meeting doesn't go well as he hoped to be as he later calls his wife Rose (Melinda Dillon) about what happened. Claudia would react badly to the news as she causes a disturbance where she attracts the attention of Jim as the two fall for each other where they later see each other for a date. After visiting a doctor and her lawyer Alan Kligman Esq., Linda would make a confession of her own as she asks to be removed from Earl's will. After being fired by his boss Solomon (Alfred Molina) over lateness and incompetence, Donnie goes to a bar to cope with failure where he reveals some stories of his own as he tries to profess his love to the bartender Brad (Craig Kvinsland) while talking to a man named Thurston Howell (Henry Gibson).

Later that night on Jimmy's show, Stanley shows up to the studio nearly late as he gets ready to play the game. Yet, Jimmy starts to feel sick during the show while Stanley also succumbs to pressure leaving the show in trouble. Frank's meeting with Gwenovier starts off fine until she starts to press questions about his past as he gets a call from his assistant about Phil. Frank reluctantly talks to Phil as he hears the news while Linda comes home to learn that Phil contacted Frank. Just before his date with Claudia, Jim has a run-in with a supposed killer as he loses his gun as it would be a horrible moment for him as he later talks to Claudia about it during their date. After the show, Jimmy makes a confession to rose about a dark family secret while Donnie decides to do something about his job as everyone starts to face their own conscious in one big moment.

While the film and its overlapping storylines might include many influences from Robert Altman, P.T. Anderson definitely goes for that style to bring something that is very ambitious while using that to make a film about one simple theme, love. Some might call this an existential film of sorts or a psychological drama or an epic drama or anything yet it's definitely one of the most original films of the decade. Particularly the way the film carries so many stories without losing track of its theme and major characters. Every character in that film is connected to another, one way or later on.

What makes the film so interesting is its epic-length structure where none of the subplots lose itself or becomes a distraction. Anderson carefully constructs each scene and each act into what the film's theme is about. The first six minutes has an eerie prologue that returns later on in the third act with a narrator (the voice of Ricky Jay) talking about coincidences. Then, eight minutes go by into the first act where Anderson introduces all of the major characters in the film. The first act is really about all of those characters, their troubles, and what kind of people they are. The second act is them exposing themselves, trying to hide from reality or deal with simple problems like Stanley wanting to go to the bathroom or Phil trying to reach Frank. The dialogue throughout the film, though stylized is very real once it comes to an emotional breaking point which leads to the film's third act.

The third act of the film is those characters dealing with confrontation, guilt, failure, and desperation while the emotions and situations become more complex. With the rain being a part of the second act of the film, the rain dies down and we see every character stripped-down to their real selves no matter what the audience thinks of them, it's the payoff that matters in the end. This would lead to one of these moments that can be described as What the fuck? There, the film shifts into something that is really mind boggling and then talking about it afterwards into an understanding, particularly with the film's prologue.

If Anderson's ambitions as a writer reaches new heights, so does his directing as he continues to create long, running steadicam shots that would go on for a few minutes in one take. His presentation is very linear though it shifts back and forth into one story and into another where in the second act, it creates all sorts of tension that definitely sets up a classic moment in terms of its emotions. Even in the some scenes, he creates tense atmosphere for the characters that would lead to them reaching some emotional breaking point. It's some of the finest directing that has been captured onto a film.

Helping Anderson in his vision is longtime cinematographer Robert Elswit. Elswit's cinematography is filled with amazing lighting, notably in the exterior night sequences that is filled with a lot of atmosphere with a bit of grainy yet dreamy imagery that complements Los Angeles in its beauty. In interior scenes, the film is well-lit which helps create the tension of the film. Editor Dylan Tichenor helps create the multiple storyline of Anderson's script, notably the second act where the film is cut very swiftly but is given enough time for each character to tell their story. Production designers William Arnold and Mark Bridges help create atmosphere in the film's look including the bar scene that is filled with an intimacy and tension to the film. Mark Bridges also brings in some great costume, notably the loser clothing for William H. Macy, and the posh clothing of Julianne Moore.

The film's soundtrack even helps to tell the story whether its Emmanuel Johnson rapping or Gabrielle playing in Donnie Smith's car. Even Supertramp appears in a couple of songs in the bar that Donnie goes to. Yet the score is dominated by the score of Jon Brion that brings a lot of atmosphere and tension to the film with additional contributions from P.T. Anderson's then-girlfriend Fiona Apple who adds a lot of piano flourishes to Brion's score. Then there's the music of Aimee Mann who dominates many of the film's music including a cover of Harry Nilsson's One as well as a few cuts including the Oscar-nominated Save Me and the song Wise Up where each major character gets to sing a verse in one of the film's most emotional scene.

Then there's the film's amazingly glorious ensemble cast that includes great small performances from Anderson regulars like Luis Guzman, Alfred Molina, and Ricky Jay who also does a fine job in the narration of the prologue. Also noted for small performances are the kids Emmanuel Johnson, Natalie Marston and Bobby Brewer as Stanley's partners in the game, plus pre-Desperate Housewife maiden Felicity Huffman in a small role as a production assistant, Henry Gibson as a rival for Donnie for the affections of a bartender, Michael Bowen as Stanley's greedy father, and Michael Murphy as Linda's attorney. In smaller but very important roles, April Grace does an excellent job in her performance as Frank Mackey's interviewer who doesn't get herself intimidated by Mackey's presence. Cleo King is also wonderful as Marcie, the woman who is suspected of a murder in the film's first major scene. Melinda Dillon is amazing as Jimmy Gator's wife who has her moment in the scene when Jimmy confesses about his secrets as she brings her best dramatic moment.

Phillip Baker Hall gives a great performance as the dying, regret-filled Jimmy Gator who starts off with an iconic status but his exterior is stripped down as Hall brings a performance that is nothing short of brilliance. Another veteran actor who shines in one of his final performances is Jason Robards as the dying Earl Partridge who is filled with regret and anger in a way that only Robards can do as he gives a performance that goes out in a graceful, masterful way. Melora Walters is also excellent as the troubled, lonely Claudia with her desire to self-destruct and not be with anyone until John C. Reilly comes and gives her a bit of hope as Walters shines in her performance. Reilly is also amazing as the lonely cop Jim who tries to do the right thing but one mental mistake brings him to an emotional breakdown as he leans to Claudia for support. William H. Macy gives another great performance in playing another loser as Macy brings a lot of angst and heartbreak into his performance as a lonely man who is filled with a lot of conflict and his desire to bring love.

Jeremy Blackman gives a riveting performance as Stanley who is smart but once the pressure to continue comes in, all he wants to do is go to the bathroom. Blackman brings a lot of sympathy and angst to his role as a kid whose simple desire is ignored as he realizes that he's become a puppet of sorts with only one man sympathizing with him. Phillip Seymour Hoffman gives a great supporting performance as Phil who nurses Earl and is always at his side. Hoffman has great scenes with Robards as he desperately takes care of him, no matter how bad he is as Hoffman brings a character who doesn't go into a change but it's his heart and role that shows a true example of a true supporting character.

Julianne Moore gives another amazing performance in a P.T. Anderson film as a guilt-ridden woman who is desperately realizing her sins. Moore brings a lot of theatrics to her role as well as a lot of emotions as she plays a character whose actions are unforgivable as she asks to be punished for her sins. It's truly one of her more remarkable performances that leads to a troubling aftermath as Moore's desperation truly gives her character something that she really needed in the film's theme. Tom Cruise gives one of the best performances of his career as Frank T.J. Mackey. Cruise early brings in a lot of intensity with a winning personality and presence with one great line. "Respect the cock and tame the cunt!" Cruise goes for intimidation and fire early on but once his true character is revealed, he brings a lot of restraint to his role until the third act when he gives out some great, fiery emotions in his scene with Jason Robards.

Magnolia is a sprawling yet magnificent film from Paul Thomas Anderson. Armed with an outstanding ensemble cast, great technical work, and a captivating story, the film is definitely unlike anything out there in terms of the themes it presents and what it wanted to say. It's a very smart and ambitious ensemble-driven film with multiple storylines that manages to not lose sight of what it wants to say while giving characters that audiences can be engaged by. In the end, Magnolia is a phenomenal film from Paul Thomas Anderson.

Paul Thomas Anderson Films: Sydney/Hard Eight - Boogie Nights - Punch-Drunk Love - There Will Be Blood - The Master - Inherent Vice - Junun - Phantom Thread

The Short Films & Videos of P.T. Anderson - The Auteurs #15: Paul Thomas Anderson

© thevoid99 2012

An Education

Originally Written and Posted at Epinions.com on 12/5/09 w/ Additional Edits.

Based on a memoir by Lynn Barber, An Education tells the story of a 16-year old schoolgirl living in a quaint yet disciplined suburban home. The girl's life changes when she meets an older man who would take her away from her restrictive life of school and ambition for a world that is broader only to later be hit with a dose of reality. Directed by Lone Scherfig and screenplay by Nick Hornby, the film is a tale of a girl coming of age in the 1960s as she is introduced to a new world. Starring Carey Mulligan, Peter Sarsgaard, Alfred Molina, Cara Seymour, Dominic Cooper, Rosamund Pike, Sally Hawkins, Olivia Williams, and Emma Thompson. An Education is a brilliant coming-of-age drama from Lone Scherfig & co.

It's 1961 in Twickenham, England as a 16-year old schoolgirl named Jenny Miller (Carey Mulligan) is working hard to go to Oxford. She has great grades and is one of the top students of her class. Though she lives a quiet life with her parents Jack (Alfred Molina) and Marjorie (Cara Seymour) as Jack hopes she goes to Oxford to have a great education. Jenny isn't so sure if studying and going to Oxford is the way to go. Even as she's pursued by another young student named Graham (Matthew Beard) who Marjorie likes though Jack felt isn't good enough for Jenny. Then on rainy day following a rehearsal for a youth orchestra, Jenny encounters an older man named David (Peter Sarsgaard) who takes Jenny home to school along with her cello.

Jenny befriends the older yet cultured David who shares a love of French music and films along with books and other fine things. David introduces himself to Jenny's parents whom he charms them while he introduces Jenny to his friends Danny (Dominic Cooper) and Helen (Rosamund Pike). Jenny starts to go into clubs and orchestras as she is having fun. Once she learns what David and Danny does to maintain their posh lifestyle, she is reluctant to leave but stays so she can have fun. Though her grades start to drop much to the concern of her teacher Mrs. Stubbs (Olivia Williams) and headmistress Ms. Walters (Emma Thompson). Jenny continues to live a world of fun with David as he takes to her Paris once she turns 17.

Even Jenny's parents seem to enjoy David's company as Jenny's own academic future becomes troubles as Stubbs and Walters know she has much more to offer. Even Danny becomes worried as David makes a move to the surprise of Jenny and her parents. All of this is changed when David's past starts to catch up with him leaving Jenny pondering about all she had been through.

The film is a coming of age tale based on real life events in the life of its author Lynn Barber. With Nick Hornby, a renowned author in his own right with such works as Fever Pitch, High Fidelity, and About a Boy, taking on the adaptation. It plays up as a coming of age story from the mind of a young girl who is bound for Oxford until she encounters this mysterious yet worldly man. The relationship between Jenny and David seems taboo since she was 16 and he in his early 30s. David's sense of charm and wit manages to win her over as well as her parents despite Jack's supposed anti-Semitic feelings. Even though Hornsby creates a film that centers around this young girl. He creates supporting characters that are just as interesting and all providing some sort of guidance to Jenny whether it's right or wrong.

In David, he's a man interested in Jenny because she's intelligent and isn't like other girls while wanting to show her a world that dreams about going to. Paris is among them while David's friends like to play along though Danny seems to the more cautious while Helen is a bit vapid but fun to be around. The parents are portrayed in a multi-dimensional way as Marjorie is a woman who wants Jenny to do well but also have fun though it's Jack that seems to have more to say. He's a man determined for Jenny to have a great education but after meeting David, he realizes that there might be another alternative for Jenny. Only later to realize she might sacrifice something that she will regret and it will be his fault. Other characters like Mrs. Stubbs and Ms. Walters are authority figures who are more sympathetic though Walters is a bit more hard-nosed as she reveals possible consequences. Mrs. Stubbs meanwhile, is also cautious for Jenny while revealing that life without an education won't really mean anything.

All of these characters Jenny interacts with are crucial to her development in life. She starts out as a young girl wanting a life out of school and studying and end up a young woman trying to figure out what she had just went through. Along the way, she is enamored with all of the excess of a rich lifestyle and begins to question about educated life and at times, becomes ignorant on certain things. It's a character that is truly memorable and certainly wonderfully written in the mind of Nick Hornby.

Director Lone Scherfig does an amazing job in recreating 1960s England in its pre-swinging days where things are a bit reserved, calm, and still coming out of the era of World War II with the Cold War still looming around them. A departure from Scherfig's more looser filmmaking style that came from the world of Dogme 95. There is something enchanting of the way Scherfig shoots and composes a scene while presenting the dramatic moments quite intimately while leaving more space for happier, humorous sequences. Scenes like an entire sequence of Jenny and David in Paris is very dream-like as if it gives the audience a feeling they're seeing Paris for the first time while it has a French New Wave feel. Though Scherfig does still employ a hand-held style in more intense sequences where David and Danny do what they do. It's told through an engaging yet intimate style of filmmaking as it is clearly the best work that Scherfig has done so far in her filmmaking career.

Cinematographer John de Borman does a splendid job in capturing the drab yet low-color look of 1960s English suburbia for the film's early sequences with more lighter colors in scenes near London. The work of de Borman works in conveying the mood of the film as it progresses where by the 2nd act, it has a colorful feel only to dim down once the third act begins as the camera work is phenomenal. Editor Barney Pilling does an excellent job with the film's editing with the use of smooth transitions and rhythmic cuts while giving the film a nice, leisurely pace that works overall in its 95-minute feel.

Production designer Andrew McAlpine along with set decorator Anna Lynch-Robinson and art director Ben Smith do a fabulous job in recreating the look of 1960s England. From the look of the cars and shops to the look of the objects at the home of the Millers. Even the recreation of paintings and objects that David has obtained for his rich lifestyle. The costume design by Odile Dicks-Mireaux is truly wonderful in the more conservative, schoolgirl look for Jenny early on to fancy, colorful dresses and hairdos while the clothes that Helen wears are gorgeous to look at. In recreating the look of 1960s dresses and suits, the costume design is definitely a huge technical highlight of the film. Sound editor Glenn Freemantle does an excellent job in the sounds of school halls and ballrooms that Jenny encounters with along with the city of London itself as Freemantle captures the atmosphere of those locations.

The music by Paul Englishby is wonderful in its orchestral feel with flourishing arrangements of strings to convey Jenny's new sense of freedom along with more low-key, dramatic pieces for the heavy drama. The soundtrack features a slew of early, pre-Beatles 1960s pop and classical pieces while the closing song is a track sung by Duffy that she co-wrote with Suede's Bernard Butler.

The casting by Lucy Bevan is wonderful with an amazing ensemble that is truly fun to watch. Small roles such as Matthew Beard as Jenny's friend Graham along with Amanda Fairbank-Hynes and Ellie Kendrick as a couple of Jenny's schoolmates are memorable along with a one-scene performance from Sally Hawkins as a mysterious woman. Rosamund Pike is funny as the vapid, superficial Helen who loves living the high life while wanting to look good throughout. Dominic Cooper is very good as Danny, David's partner-in-crime who is reserved and quiet while being the most cautious as he was wondering when is going to go too far for Jenny. Olivia Williams is superb as Mrs. Stubbs, Jenny's English teacher who sees Jenny going down a troubling path while warning her about what will happen as Williams is wonderfully understated in a very sympathetic authority figure.

In a small but memorable role, Emma Thompson is great as Jenny's headmistress. A stern though sympathetic figure who warns Jenny about the implications of leading a life without an education while reluctantly admitting to the flaws of an educated lifestyle. Cara Seymour is very good as Jenny's mother Marjorie, a woman who is the more sympathetic parent while still a no-nonsense woman who just wants Jenny to succeed but also live a nice life. Alfred Molina is brilliant as Jack, Jenny's strict but caring father who hopes for Jenny to succeed only to be charmed by David into letting Jenny have a carefree life only to realize the consequences and his own faults. Peter Sarsgaard is excellent as David, a charming man who is also mysterious as Sarsgaard plays with him a bit of creepiness but also wit while sporting a fine British accent since he's the only American actor in the film.

Finally, there's Carey Mulligan in a real breakthrough performance as Jenny. Mulligan's performance is definitely the heart and soul of the film as she displays wit, charm, humor, naivete, and vulnerability all in this incredible journey of a young woman coming of age. Early on, she looks like a young 16-year old girl and then ends up a 17-year old woman who had just been through a lot. It's a radiant yet mesmerizing performance for the 24-year old actress and certainly one of the year's best.

An Education is a smart yet brilliant film from Lone Scherfig with a great screenplay by Nick Hornby and a wonderful performance from Carey Mulligan. Featuring a wonderful cast that also includes Peter Sarsgaard, Alfred Molina, Cara Seymour, Emma Thompson, Olivia Williams, Dominic Cooper, and Rosamund Pike. It is definitely of 2009's best films as An Education is a must-see for anyone that wants to see a coming-of-age story that is worth exploring.

Lone Scherfig Films: (Dogme 12-Italian for Beginners) - (Wilbur Wants to Kill Himself) - (Just Like Home) - One Day

(C) thevoid99 2012

2012 Cannes Marathon: Dead Man

(Played in Competition for the Palme D’or at the 1995 Cannes Film Festival)

Written and directed by Jim Jarmusch, Dead Man is the story of an accountant who travels to the West in 19th Century America as he encounters an Indian who makes claims that the man is a killer. The film is a period western that plays with elements of the genre while adding surreal imagery to the genre. Starring Johnny Depp, Gary Farmer, Gabriel Byrne, Crispin Glover, Iggy Pop, Alfred Molina, Billy Bob Thornton, John Hurt, Michael Wincott, Lance Henriksen, Mili Avital, and in his final film appearance, Robert Mitchum as John Dickinson. Dead Man is an entrancing yet stylish western from Jim Jarmusch.

Arriving to the company town of Machine from Cleveland, an accountant named William Blake (Johnny Depp) arrives to work for man named John Dickinson. Instead, he is rejected by Dickinson and his business manager John Scholfield (John Hurt) forcing Blake to drown his sorrows at a saloon where he meets a young prostitute named Thel Russell (Mili Avital). After a misunderstanding with her lover Charlie (Gabriel Byrne) forces Blake to defend himself as he flees with a pinto as Charlie is revealed to be Dickinson’s son. Wanting revenge, Dickinson hires three notorious killers in Cole Wilson (Lance Henrikson), Conway Twill (Michael Wincott) and Johnny “The Kid” Pickett (Eugene Byrd) to track down Blake while prompting others to find him with a huge reward in hand.

Meanwhile, the wounded Blake meets an American Indian named Nobody (Gary Farmer) who believes that Blake is the famed poet of the same name. Though Blake tries to tell Nobody that it isn’t true, the two go on a journey to a spiritua world as they would encounter a trio of men (Billy Bob Thornton, Iggy Pop, and Jared Harris) and a missionary (Alfred Molina) where Blake eventually embraces this strange role. While he is still in pursuit of those wanting Dickinson’s reward, Blake continues to his strange journey as he and Nobody briefly separates while dealing with other strange forces prompting Blake to have Nobody take him to this strange, mystical land of the spirits.

Jim Jarmusch’s screenplay is filled with a lot of quirks and dark humor such as the back stories for the three men who are hired to hunt Blake as well as Nobody where his story is the most interesting. Here is this man who is a mix of two different tribes who was captured by white men and exploited for entertainment where he gains knowledge and a deep perspective on his disdain for the white man. Throughout the film, people ask Blake if he’s carrying any tobacco as it would lead to a lot of things while the film opens with this amazing train sequence where a boiler man (Crispin Glover) tells Blake that where he’s going is hell. Some of the film’s dialogue that Jarmusch uses has characters like Blake and Nobody often quoting the poetry of William Blake whether it’s to establish the spiritual journey Blake is embarking or to create some kind of humor that is told.

Jarmusch’s direction is truly hypnotic in the way he presents the film as it’s shot on location in parts of Arizona and Oregon. While Jarmusch does stay true to some of the visual ideas of the western with some eerie close-ups on the characters along with intense shoot-outs. A lot of the film definitely harkens more towards a European style of filmmaking with wandering shots of the skies and locations along with more entrancing shots of some of the locations such as a forest of dead trees. The latter of which is a visual tribute to the works of Russian filmmaker Andrei Tarkovsky as there’s other compositions that reeks of Tarkovsky’s visual style. Many of it is to play out Blake’s journey where it intensifies once he starts to embrace this role that he is destined to play. Overall, Jarmusch truly creates a rich yet evocative western that goes for the unconventional rather than play by the genre’s rules.

Cinematographer Robby Muller does an amazing job with the film‘s black-and-white photography from the way the scenes in the train are lit to many of the film‘s exterior settings for day and night where this a great degree of style. Some of it definitely plays to visual look of Andrei Tarkovsky while many of the nighttime exteriors have an array of lighting schemes from the use of campfires and lanterns to add something that is truly ethereal as Muller’s work is truly seductive to watch. Editor Jay Rabinowitz does incredible work with the film’s very stylized editing from using fade-outs to move the film’s transitions in an unconventional manner to playing with dissolves for some of the film’s more surreal moments when Blake starts to have strange visions.

Production designer Bob Ziembicki, along with set decorator Dayna Lee and art director Ted Berner, does brilliant work from the set pieces created from the frontier town of Machine that Blake first comes across to the beauty of the Makah village in the film‘s third act. Costume designer Marit Allen does excellent work with the costumes from the suit that Blake wears along with the rest of the clothing of the west to the Native American wardrobe that is created. Visual effects supervisors Randall Balsmeyer and Jon Farhat do nice work with the film‘s minimal visual effects that includes a shot where Nobody sees a talking skeleton that he believes is Blake. Sound editor Robert Hein does fantastic work with the film’s sound from the calm atmosphere of the forest scenes to the more raucous world of the saloon that Blake attends early in the film.

The film’s music by Neil Young is marvelous for the way it Young creates sparse moods with his guitar from chugging riffs to melodic jangles to help maintain a tense atmosphere for the film. With bits of folk guitars in the mix, Young’s score also knows how to build up suspense in a few chilling scenes as the overall work is among one of the film’s highlights.

The casting by Ellen Lewis and Laura Rosenthal is phenomenal for the ensemble that is created as it includes small but notable appearances from Jimmy Ray Weeks and Mark Bringleson as two marshals, Butthole Surfers vocalist Gibby Haynes as a man at the train, and in the roles of the young Nobody, Thomas Bettles and Daniel Chas Stacy. Other noteworthy small but memorable parts include Mili Avital as a friendly prostitute named Thel, Gabriel Byrne as Thel’s heartbroken former boyfriend Charlie, Crispin Glover as an eccentric boiler man, Alfred Molina as a dishonest missionary salesman, John Hurt as Dickinson’s cruel manager, and Robert Mitchum in a fantastic final performance as the very intimidating John Dickinson.

Billy Bob Thornton, Iggy Pop, and Jared Harris are hilarious as a trio of fur traders who tell strange stories with Pop wearing a dress to add more humor. Eugene Byrd is excellent as the young killer known as “The Kid” while Michael Wincott is terrific as the very talkative killer Conway Twill. Lance Henriksen is superb as the very quiet but far more dangerous killer Cole Wilson who carries a horrifying secret that even spooks the other bounty hunters. Gary Farmer is great as the eccentric Nobody who often quotes William Blake’s poetry while providing some humor to the film as it’s a fun performance. Finally, there’s Johnny Depp in an odd but entrancing performance as William Blake where Depp is quite restrained in his role as a meek accountant turned killer where Depp provides this amazing presence for a man that is pretty quiet in dealing with his situations as it’s definitely one of Depp’s best performances.

Dead Man is an extraordinary yet visually-astonishing western from Jim Jarmusch. Featuring a spectacular ensemble cast led by Johnny Depp, it’s a film that really gives fans of the western genre something that is very different but also something that does capture the spirit of the genre. For those who interested in the works of Jim Jarmusch, this film is definitely one of the best works of his career. In the end, Dead Man is a mesmerizing film from Jim Jarmusch.

Jim Jarmusch Films: Permanent Vacation - Stranger than Paradise - Down By Law - Mystery Train - Night on Earth - Year of the Horse - Ghost Dog: The Way of the Samurai - Coffee & Cigarettes - Broken Flowers - The Limits of Control - Only Lovers Left Alive - Paterson - (Gimmie Danger) - The Auteurs #27: Jim Jarmusch

© thevoid99 2012

Rango

Directed by Gore Verbinski and screenplay by John Logan from a story by Verbinski, Logan, and James Ward Byrkit, Rango is about a pet chameleon who finds himself in a desert town where he becomes an unlikely sheriff to fight off villains. The animated film is a modern-day approach to the western as it features various film references while making it accessible for a wider audience. With a voice cast led by Johnny Depp, Isla Fisher, Abigail Breslin, Ned Beatty, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, and Timothy Olyphant. Rango is a stylish and very entertaining animated-western from Gore Verbinski.

An unnamed pet chameleon (Johnny Depp) gets stranded somewhere in the middle of the desert where he meets a wounded armadillo named Roadkill (Alfred Molina) who is trying to find the mysterious Spirit of the West. With the chameleon trying to survive the hot desert and its surroundings, he meets up with a desert iguana named Bean (Isla Fisher) who is a rancher’s daughter trying to save her land. She takes the chameleon to a town called Dirt as the locals are trying to deal with a water shortage where the chameleon ends up calling himself Rango where he deals with a small posse led by Bad Bill (Ray Winstone) and later a hawk whom he accidentally kills. Rango’s antics impress the town’s mayor (Ned Beatty) who appoints him as sheriff as Rango’s claims of his adventures has him trying to figure out the water shortage.

Rango gathers a posse that includes Bean to figure out what’s going on as the water jug bank had been stolen by a group of moles led by Balthazar (Harry Dean Stanton). During the journey, Rango and the posse makes some discovery as they retrieve the jug only to realize something is up where Balthazar isn’t the one they’re after. Rango suspects that the mayor is involved since he states that he who controls the water controls everything where Rango is forced to deal with a vicious gunslinger named Rattlesnake Jake (Bill Nighy). After revealing what he really is, Rango reluctantly leaves town until he meets the mystical Spirit of the West (Timothy Olyphant) who provides him with the answers Rango needs.

The film is essentially a modern-day genre-bending film where a pet chameleon, with a wild sense of imagination, suddenly finds himself in a Western town where he faces a world of corruption where a bunch of locals are finding hope in this horrible drought. That’s pretty much what the film is about as it’s filled with numerous film references including the classic westerns of Sergio Leone and Roman Polanski’s Chinatown in relation to the drought storyline. Screenwriter John Logan does manage to infuse these storylines and film references to create a very compelling yet fun western that is filled with lots of silly humor and character development. Notably for the titular character who is just a lizard that likes to act as indicated in the opening scene while he realizes that he might have to go full-on with this role.

While the script is sort of predictable in its set-up and creating characters that are essentially archetypes of various characters in the western genre. They all manage to still be very interesting and engaging while Logan also adds surreal elements that play up with the genre. Overall, Logan creates a very crafty and thrilling script that doesn’t get boring and create a western that does a lot for what is expected in its genre.

Gore Verbinski’s direction is definitely full of style as he creates lots of wide compositions, character close-ups and scenery where some of it is really a tribute to the visual style of Sergio Leone. The animation from supervisor Hal T. Hickel is truly whimsical in the way Verbinski wants to create this world where it’s a clash between the old world and a new one that the mayor wants. With additional help from renowned cinematographer Roger Deakins for the visuals, Verbinski is able to create a look that is true to the western but also dream-like for some of its nighttime scenes. Overall, Verbinski creates a truly engaging and visually-astonishing film that brings more to what an animated-western does and make it a whole lot of fun.

Editor Craig Wood does superb work with the editing to play up with some of the film‘s humor and suspense along with some amazing rhythmic cuts for a huge chase scene and stylized ones for the showdowns. Production designer Mark “Crash” McCreery, along with art directors John Bell and Aaron McBride, does excellent work in the set pieces created for the town of Dirt where everything looks decayed. Visual effects supervisor John Knoll does fantastic work with the visual effects to play up some of the surreal imagery that Rango encounters in his journey. Sound designer Peter Miller and sound editor Addison Teague do amazing work with the sound to help set a mood for some of the film‘s suspense and in the showdowns that occur.

The film’s score by Hans Zimmer is marvelous for its mixture of bombast and orchestral flourishes that is also very operatic. Notably as the score is very similar to the music of Ennio Morricone with its huge arrangements, twangy guitars, and blaring trumpets to help set the mood. Along with some contributions from Johann Strauss and Richard Wagner to play with the score and contributions from Los Lobos for some of the original songs and the industrial band Lard in the score. The music that Zimmer creates is definitely one of his best as it’s a major highlight of the film.

The voice casting by Denise Chaiman is brilliant for the cast that is assembled as the actors that contribute to smaller characters in the film include Beth Grant, Vincent Kartheiser, Alana Ulbach, Chris Parsons, Blake Clark, Patrika Darbo, director Gore Verbinski, and Stephen Root who voices some of the characters including the bank manager Merrimack. Other notable small voice roles include Timothy Olyphant as the mysterious Spirit of the West, Alfred Molina as the Don Quixote armadillo Roadkill, Abigil Breslin as the witty cactus mouse Priscilla, Ray Winstone as the gila monster Bad Bill, and Harry Dean Stanton as the old-timer mole Balthazar. Bill Nighy is excellent as the cool, Lee Van Cleef-inspired villain Rattlesnake Jake while Ned Beatty is funny in doing a great John Huston impression as the town’s corrupt mayor. Isla Fisher is wonderful as the cunning desert Iguana Beans who tries to fight for her land while helping Rango out. Finally, there’s Johnny Depp in a fantastic performance as the titular character as he brings a lot of humor and swagger to his character making it one of the most enjoyable animated characters on film.

Rango is an extraordinarily rich and whimsical animated film from Gore Verbinski. Thanks to a very talented voice cast led by Johnny Depp, the film is truly an animated film that appeals more than just a young audience. Notably as it features numerous film references that film buffs can enjoy and elements of the western that western aficionados can love. In the end, Rango is a superb animated-western from Gore Verbinski.

Gore Verbinski Films: (MouseHunt) - (The Mexican) - (The Ring (2002 film)) - (Pirates of the Caribbean: Curse of the Black Pearl) - (The Weather Man) - (Pirates of the Caribbean: Dead Man’s Chest) - (Pirates of the Caribbean: At World’s End) - (Lone Ranger (2013 film))

© thevoid99 2012