Set in a futuristic galaxy led by an entity known as the Motherland, the two-part film is about a young farmer who decides to leave her farming village with another farmer to gather some warriors to help train the farmers for an upcoming battle against these imperial forces. It is a story with a simple plot, yet it plays into this planet where a village of farmers deal with a large spaceship whose fleet is led by the sadistic Admiral Atticus Noble (Ed Skrein) who learns about what the planet does and wants all their harvest though his intentions prove to be far more sinister. Especially as it plays into a dark history of planetary domination and acts of genocide in the hands of the Motherland ever since the assassination of their king (Cary Elwes) and his royal family with a former military leader in Balisarius (Fra Fee) being the new leader. The screenplays by Zack Snyder, Kurt Johnstad, and Shay Hatten, in their extended versions, split the story into two parts with the first chapter entitled The Chalice of Blood and the second chapter entitled Curse of Forgiveness.
The Chalice of Blood establishes this sense of dread that the Motherland has impacted on various planets with a moon called Veldt being the center of this conflict within both stories as a farming village where a young woman in Kora (Sofia Boutella) lives in even though she is seen as an outsider in the village. When Admiral Noble arrives on his ship to see the village and what they had to offer, he demands that the farm give them all their grain while leaving his soldiers to watch over everything. Yet, Kora would kill all but one soldier from raping a young farmer, she would leave the village with another farmer in Gunner (Michiel Huisman) to find people who would help them deal with imperialist forces since Gunner had made secret grain trades to rebels. Meanwhile, a rogue imperial robot in JC-1435 aka (Dustin Ceithamer) would watch over the village and secretly help them out where recalls a story of the Motherland when it ruled peacefully for a time with its king and his young daughter Princess Issa (Stella Grace Fitzgerald) as the latter was believed to be this spiritual being that would bring peace. With the help of a mercenary/starship pilot in Kai (Charlie Hunnam), Kora and Gunner would gain the services of a former imperial general in Titus (Djimon Hounsou), a sword master with cyborg hands in Nemesis (Bae Doona), a former nobleman turned blacksmith in Tarak (Staz Nair), and a rebel soldier in Milius (Elise Duffy) who is part of a rebel faction lead by the siblings in Darrian and Devra Bloodaxe (Ray Fisher and Cleopatra Coleman, respectively).
In Curse of Forgiveness, the script plays more into the back stories of the rebels that Kora and Gunner had brought in as well as the past of the former whose family was killed by the Motherland where she met Balisarius who would adopt her. Kora’s last encounter with Admiral Noble would prove to be fatal for Noble as he realizes Kora’s identity hoping to capture her to gain favor from Balisarius as well as a seat in the Motherland’s senate. On Veldt, Titus, Nemesis, Milius, and Tarak not only help the farmers in preparing for battle with the rogue soldier Aris (Sky Yang) who would function as a double agent for the farmers in his reports to Motherland. They also rediscover a life they had lost due to their past encounters with the Motherland, adding more weight to what is at stake with Jimmy making a discovery that would get everyone to prepare for Noble and his forces.
Snyder’s direction is truly grand in terms of not just the massive scale he presents as if it plays into events that are inspired by the realities of war and tyranny but also a reality that those disconnected from modern-day society must deal with. With the scenes on Veldt and other exterior locations shot on location in areas in California, much of Snyder’s work is shot on studio soundstages yet he does create something that does play into a world that is in absolute and total chaos. The Chalice of Blood opens with a sequence of a family trying to defend themselves against a force of imperial soldiers where Admiral Noble coerces Aris to join the Motherland through a horrifying act. Also serving as the film’s cinematographer, Snyder does create some unique visuals some of the planets as they are drenched with unique lighting and color schemes with elements of the Motherland being heightened in their lighting to play into this false utopia they claim to portray. Shot in a 2:76:1 aspect ratio, Snyder uses that format to create images as if they are a wide canvas as the diligence in his wide and medium shots add a lot to the world that these characters live in.
Notably in the scenes on Veldt in its village setting as it has this naturalistic feel that is also heightened in its lighting reminiscent of 1970s cinema. Snyder would also maintain a sense of intimacy in his approach to medium shots and close-ups as he also plays into the way characters interact with each other or the environment they are in. Notably in some of the scenes during the harvest in Curse of Forgiveness where there is this sense of community where these outsiders take part in and deal with a world that feels idyllic and inclusive. Especially towards characters like Milius and Nemesis who both came from farming villages that they lost due to the actions of the Motherland where they reconnect with a side of themselves that they had lost long ago. Snyder also maintains some unique compositions in the way he presents the different planets the characters go to in The Chalice of Blood as well as some disparate imagery in the way Veldt is shown and the Motherland ship that Admiral Noble lives in.
In these expanded versions of the films that Snyder had intended to make, it allows him to present the violence in a more gruesome manner in some of the battles and attacks to display how extreme war is. Even in moments of conflict such as the first fight between Kora and Noble in the climax of The Chalice of Blood, while the big battle scene in Curse of Forgiveness is far more intense. Especially as there are these chilling elements where Noble has more concern for himself and making the Motherland look good as the original mission to get the grain from the farmers becomes unnecessary. It has elements of anti-war sentiment where some begin to question Noble’s views as it relates to Kora and her identity believing that capturing her would gain him favor of Balisarius. The ending does not just play into what was lost but also the beginning of something bigger in what a rebellion must do. Overall, Snyder has crafted a rapturous and enthralling film about a young woman who gathers some rebels to fight against a tyrannical force led by a madman.
Editor Dody Dorn does brilliant work with the editing where it is filled with lots of style in slow-motion cuts, fast-cuts, and jump-cuts to play into the action and drama while also knowing when to slow things down to let shots linger to establish what is happening in a scene. Production designers Stefan Dechant and Stephen Swain, along with supervising art directors Julien Pougnier and Brett McKenzie plus set decorator Claudia Bonfe, do amazing work with the look of the farm houses and the interior of some of the spaceships. Costume designer Stephanie Portnoy Porter does fantastic work with the costumes from the regal uniforms that the imperialists wear to the more ragged and simpler look of the people on Veldt as well as the different clothes that Titus, Nemesis, and Tarak wear.
Makeup artist Laura Calvo, hair stylist Miki Caporusso, and special makeup effects/puppet designer Justin Raleigh do excellent work with the look of the characters as well as some of the details in the scars that some characters sport as well as the different hairstyles of Kora. Special effects supervisor Michael Gaspar and senior visual effects supervisor Marcus Taormina, along with animation supervisors Nikki Braine, Yvon Jardel, and Nick Starcevic, do tremendous work with the visual effects with its mixture of practical effects and puppetry for some of the small creatures in the film as well as the design of the different planets and their exterior settings as it is a highlight of the film. Sound designers Scott Hecker, Bryan Jerden, and Chuck Michael do superb work with the sound in the way gunfire sounds as well as other sparse and small sounds with elements of bombastic sound effects that play into the terror of these weapons. The film’s music by Tom Holkenburg is incredible for its mixture of bombastic orchestral arrangements, electronic swirls, and folk-based music as it plays into the different worlds that the film presents with a lot of folk-based music having this sense of traditional tone to play into something that Veldt is trying to hold on to.
The casting by Kristy Carlson is marvelous as it features various small roles and appearances from Brandon Auret and Greg Kriek as a couple of imperial soldiers tasked in watching over the village, Derek Mears as a monstrous alien who is part of a group asked to spy for the Motherland, Tony Amendola as a king who shelters the rebellion, Rhian Rees as the queen of the Motherland in the flashbacks, Elizabeth Martinez as the young Kora, Ray Porter as a farmer from another planet that is Tarek’s master, Stuart Martin as a farmer named Den whom Kora would have sex with early in the film, Dominic Buress as a man Kora and Gunner fight with at a bar where they would meet Kai, Ingvar Sigurdsson as an elder farmer in Hagen who was the one that took Kora into the community as well as being a father figure to her, Stella Grace Fitzgerald as the princess Kora was a bodyguard for as she is the spiritual being who is believed to be the key to peace, and Cary Elwes as the king of the Motherland who would change his ways from being a tyrant into wanting to become a more peaceful leader.
Other notable small roles and appearances include Cleopatra Coleman and Ray Fisher in terrific performances as the sibling rebel leaders in Devra and Darrian Bloodaxe who agree to help Kora and her team only from afar with the latter being involved early on with the former coming in late in the film. Corey Stoll is superb as the village leader Sindri who is troubled by the appearance of the Motherland unsure of what to do while also being unaware of their extremities. Jena Malone is fantastic in her brief role as the humanoid-spider Harmada who kidnaps children and causes trouble where she gets into a fight with Nemesis in The Chalice of Blood. Alfonso Herrera is excellent as Noble’s second-in-command Cassius who runs the ground forces and everything else while finds himself questioning Noble’s intentions. Charlotte Maggi is brilliant as Sam as a water girl who nearly gets raped by some imperial soldiers only to fall for the rogue soldier Aris and become a fighter herself. Sky Yang is amazing as Aris who reluctantly serves for the imperialists after his own encounter with Noble only to go rogue and help the farmers to defy the Motherland. Fra Fee is incredible as Balisarius as the leader of the Motherland who rules the galaxy as a tyrant as he is intent on ruling the galaxy while is hoping to find Kora who is his long-lost adopted daughter.
Charlie Hunnam is great in his role as the mercenary Kai who helps Kora and Gunner travel to the galaxy to gather some people to fight with them as he is an ambiguous individual that is also a pessimist while does see the sense of hope in what Kora is fighting for. The performances of Elise Duffy, Staz Nair, and the duo of Dustin Ceithamer and the voice of Anthony Hopkins are phenomenal in their respective roles as the rebel fighter Milius, the former nobleman-turned-slave in Tarak, and the imperialist robot who has gone rogue in JC-1435/Jimmy as they all express a need to return to a life they once had with Milius as a fighter who once had a life in a farmland that was taken from her with Tarak as a prince who went into exile after his planet was taken and Jimmy as this robot who had been programmed to protect the royal family only to rebel after dealing with the abuse of the imperialists soldiers where he would help the farmers in secrecy.
Bae Doona is remarkable as Nemesis as a sword master with android hands who came from a fishing village that used to be a land of violence where she joins Kora in the rebellion where she regains a sense of what was lost in her encounters with the people of the village. Djimon Hounsou is tremendous as General Titus as a former imperialist general who had become an alcoholic as he reluctantly joins Kora where he would regain a sense of purpose while teaching the farmers how to fight with what they have while also knowing Kora’s identity. Michiel Huisman is sensational as Gunner as a farmer who joins Kora in trying to gather people for the rebellion as he secretly sold grain to the Bloodaxe where he gains a sense of bravery and purpose where he hopes to have a future with Kora.
Ed Skrein is magnificent as Admiral Atticus Noble as this monstrous military figure who is willing to do everything for Balisarius where he has this devilish charm to him that also has elements of camp where Skrein goes all out in this role as it is his greatest performance to date. Finally, there’s Sofia Boutella in a spectacular performance as Kora as a woman who had been Balisarius’s adopted daughter only to flee because of an incident where she exiled herself to become a farmer until the Motherland returns prompting her to gather people for a rebellion. Even as Boutella displays the complexities of her emotions in the guilt that she holds in her past actions while also dealing with the fact that she lost a lot in her life only to gain a new purpose and a community that has embraced her.
Rebel Moon, in their extended director’s cuts, is an outstanding film by Zack Snyder. Featuring a great ensemble cast, enthralling visuals, its exploration of war and guilt, a balance of action, suspense, and drama, and an exhilarating music score and soundtrack by Tom Holkenburg. It is a two-part film series that does not just allow Snyder to highlight his full vision of a space conflict but also shows so much more in its exploration of a community that just wants to live a peaceful life despite the threat they must deal with. In the end, Rebel Moon is a magnificent two-part film series by Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legend of the Guardians: The Owls of Ga’Hoole) – Sucker Punch
Man of Steel - Batman v Superman: Dawn of Justice - Justice League - Zack Snyder's Justice League - (Army of the Dead)
© thevoid99 2024
Based on the comic series by Stan Lee, Jack Kirby, and Larry Lieber, Thor: Ragnarok is the story of the godly figure who finds himself in danger when a mysterious figure has returned to Asgard to wreak havoc forcing Thor to seek help from an ally and other figures. Directed by Taika Waititi and screenplay by Eric Pearson Craig Kyle, and Christopher Yost, the film is an exploration of a man trying to fulfill his role but also rectify the mistakes of the past as Chris Hemsworth reprises the role of Thor. Also starring Cate Blanchett, Tom Hiddleston, Mark Ruffalo, Tessa Thompson, Idris Elba, Karl Urban, Jeff Goldblum, and Anthony Hopkins as Odin. Thor: Ragnarok is a sprawling yet witty film from Taika Waititi.
Two years after the events in Sokovia where Thor helped the Avengers saved its people, the film follows the godly figure trying to get answers about the Infinity Stones where he learns that a mysterious figure named Hela (Cate Blanchett) is returning to Asgard to make her claim to its throne and its people. It’s a film that has Thor not only try to find out the whereabouts of his father but also deal with the sins that Odin had been carrying as it include Hela who is revealed to be Thor’s older sister that was cast out of Asgard due to her dark ambitions. With the help of his adopted brother Loki (Tom Hiddleston), Thor tries to stop Hela only for things to go wrong as she takes control of Asgard while Thor finds himself in the planet of Sakaar. The film’s screenplay doesn’t just explore the sins that Odin has laid upon for his sons who are forced to work together and deal with themselves but also realize the role that Thor is destined to carry as he is Asgard’s true heir.
The script also has this unique structure that doesn’t just play into the development of the story but also the characters as Thor is first seen imprisoned by the fire demon Surtur (voice of Clancy Brown) in his search for the Infinity Stones where he also learns of the prophecy known as Ragnarok that will deal with the end of Asgard which had been in Thor’s mind for some time. Upon his return to Asgard where he learns that his father had been away, he turns to Dr. Stephen Strange (Benedict Cumberbatch) for help where he and Loki find Odin’s whereabouts who reveal his own sins and the return of Hela. The second act isn’t just about Hela taking over Asgard as well as deal with a resistance led by Heimdall (Idris Elba) who had taken the sword that controls the Bridge to all nine realms. It’s also about Thor in the planet of Sakaar where he’s captured by a woman named Valkyrie (Tessa Thompson) where he’s forced to become a gladiator for amusement of the planet’s leader in the Grandmaster (Jeff Goldblum) where its champion is none other than the Hulk/Bruce Banner (Mark Ruffalo). Thor has to convince the Hulk to join him in saving Asgard as well as Valkyrie who was once part of an army of warriors that tried to stop Hela years ago.
Taika Waititi’s direction is very offbeat not just for the fact that it’s a film with grand visuals and set in a large universe but it’s also approached with a sense of humor mixed in with bits of tragedy. Though shot mainly on soundstages at Pinewood Studios in Atlanta, the film also shoots on location in New York City and parts of Australia with the latter as the forest and mountains in Asgard. Waititi does create something that is grounded but also maintain the importance of the different lands and galaxies where it is very diverse as well as filled with all sorts of ideas of the world that Thor is encountering. Waititi would use some wide shots for those locations but also in some of the battle scenes and in the gladiator showdown between Thor and Hulk as the latter is this mixture of humor and drama. He would also use some close-ups and medium shots as it play into the situations that Thor is in whether it’s being imprisoned at Sakaar where he would befriend other gladiators including a rock-like creature named Korg (Taika Waititi) or coping with the sins of his father.
The direction doesn’t showcase the motivations of Hela in the need to claim her place in the throne as Asgard’s sole ruler but also infuse with some dark humor where Hela is someone that is just hell-bent on wreaking havoc. Waititi would also showcase Asgard when Odin isn’t available as it include this play of Thor and Loki’s adventures where Thor is watching with befuddlement. It’s among these offbeat moments in the film that add a lighter touch to the action and drama as well as the scenes in Sakaar where the Grandmaster is this oddball man that is ruling a planet yet he’s so weird. The film’s climax in which Thor, Loki, the Hulk, and Valkyrie battle Hela and her army as it does play into Thor’s own insecurities into not living up to his own claim for Asgard’s throne. All of which forces him to unveil his true powers and bring some redemption for his father to save the people of Asgard. Overall, Waititi crafts an exhilarating and evocative film about a god trying to save his people from his evil sister with the help of a few allies.
Cinematographer Javier Aguirresarobe does brilliant work with the film’s cinematography from the colorful exteriors of the scenes in Sakaar and Asgard as well as some of the interiors for the scenes at Dr. Strange’s home and at the palace of Asgard. Editors Joel Negron and Zene Baker do excellent work with the editing as it is stylized with conventional fast-cutting in the action but also use some straightforward cuts for the non-action scenes to establish what is going on. Production designers Dan Hennah and Ra Vincent, with set decorator Beverley Dunn plus art directors Bill Booth, Brendan Heffernan, Richard Hobbs, Alex McCarroll, and Laura Ng, do amazing work with the look of the different worlds from Dr. Strange’s New York home, the places in Asgard, and the coliseum at Sakaar. Costume designer Mayes C. Rubeo does fantastic work with the costumes from the design of the gladiator gear to the clothes that Hela, Valkyrie, and the Grandmaster wear to play into their offbeat personalities.
Hair designer Lucy Vannella and makeup designer Vincenzo Mastrantonio do terrific work with the look of Hela in her hairstyle as well as Thor’s haircut before the gladiator battle and the makeup some of the people at Sakaar wear. Special effects supervisors Brian Cox and R. Bruce Steinheimer, with visual effects supervisors Megan Flood, Jake Morrison, and Stuart White, do incredible work with the visual effects from the look of the Hulk and some of the creatures Thor encounters to the look of the planet that Sutur lives in. Sound designers David Farmer and Shannon Mills, with co-sound editor Daniel Laurie, do superb work with the sound in creating sound effects for some of the action as well as the way the Hulk sounds and some of the objects in the different planets such as the guns at Sakaar.
The film’s music by Mark Motherbaugh is wonderful for its mixture of electronic synth-pop with elements of orchestral bombast as the latter play into some of the adventure and action while the electronic pieces play into the world of Sakaar while music supervisor Dave Jordan provide a soundtrack that is just as offbeat from the usage of Pure Imagination from Willy Wonka & the Chocolate Factory to Led Zeppelin’s Immigrant Song which makes perfect sense for the film’s action scenes as its lyrics features a lot of Norse mythology that relates to Thor.
The casting by Sarah Finn and Kirsty McGregor is marvelous as it feature some notable small roles and appearances from Clancy Brown as the voice of the fire demon Sutur, the trio of the Warrior Three in Tadanobu Asano as Hogun, Ray Stevenson as Volstagg, and Zachary Levi as Fandral who are among the first to confront Hela at Asgard, Rachel House as the Grandmaster’s bodyguard Topaz, director Taika Waititi as the rock-like gladiator Korg who provides some funny commentary about Thor’s situation, the obligatory Stan Lee cameo as Thor’s barber, and Benedict Cumberbatch in a brief but terrific appearance as Doctor Stephen Strange who helps Thor find the whereabouts of Odin through his own powers. Karl Urban is superb as the Asgardian warrior Skurge who watches over the Biofrost as he becomes a reluctant aide to Hela where he copes with the choices he makes. Anthony Hopkins is fantastic as Odin as Thor and Hela’s father and king of Asgard who deals with his own exile as well as the regrets he made in his life where he ponders what will happen to Thor and Loki upon Hela’s return.
Idris Elba is excellent as Heimdall as the former watcher of the Biofrost who has become a fugitive due to events from the last film as he leads a resistance against Hela where he does whatever he can to help the people of Asgard. Jeff Goldblum is brilliant as the Grandmaster as the odd leader of Sakaar who rules the planet with a mighty fist but also with some eccentric ideas as he cares more about having gladiator shows than cleaning up his dirty planet. Tom Hiddleston is amazing as Loki as Thor’s adopted brother who has been trying to create mischief at Asgard due to Odin’s absence as he deals with the presence of Hela while being very conflicted into helping Thor and Asgard or himself as he also struggles with his own shortcomings. Tessa Thompson is remarkable as Valkyrie as a former Asgardian warrior who had fought with Hela a long time ago as she is reeling from bad memories while unsure if she wants to help Thor in order to find her own redemption. Mark Ruffalo is incredible as the Hulk/Bruce Banner where he appears briefly as Banner as the man who had been lost in the role of the Hulk as he tries to comprehend what has happened to him whereas the Hulk has become a figure that feels loved and appreciated at Sakaar instead of being seen as a monster on Earth.
Cate Blanchett is phenomenal as Hela as Odin’s first-born child who had been his executioner and right-hand woman until her ambitions overwhelm him as this woman that is just pissed off in being exiled as Blanchett provides a bit of camp but also has this air of charisma that makes her so interesting in being one of the best villains in the MCU. Finally, there’s Chris Hemsworth in a sensational performance as Thor as the Norse god who is trying to find answers about the Infinity Stones only to learn about the revelation that he has an evil older sister where he deals with his own shortcomings as Hemsworth displays some humility as well as some great comedic timing that adds to his sense of humility.
Thor: Ragnarok is a spectacular film from Taika Waititi that features great performances from Chris Hemsworth, Cate Blanchett, Mark Ruffalo, Tessa Thompson, Jeff Goldblum, Tom Hiddleston, and Anthony Hopkins. Along with its supporting cast, dazzling visuals, killer music soundtrack, and themes on sins and duty. It’s a film that manages to be compelling in its themes while providing moments that are exciting as well as being very funny. In the end, Thor: Ragnarok is a tremendous film from Taika Waititi.
Taika Waititi Films: Two Cars, One Night - Eagle vs. Shark - Boy (2010 film) - What We Do in the Shadows - Hunt for the Wilderpeople - Jojo Rabbit - Next Goal Wins (2023 film) - (Klara and the Sun) - Auteurs #64: Taika Waititi
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers (2012 film)
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Post-Infinity Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2017
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
Based on the novel and play by Joseph Hayes, Desperate Hours is the story of an escaped criminal who breaks into a house and takes over while terrorizing a family with two of his friends. Directed by Michael Cimino with a screenplay by Hayes, Lawrence Konner, and Mark Rosenthal, the film is a remake of the 1955 film by William Wyler that starred Humphrey Bogart and Fredric March as it’s set in a more modern setting. Starring Mickey Rourke, Anthony Hopkins, Mimi Rogers, Kelly Lynch, Elias Koteas, David Morse, Shawnee Smith, Matt McGrath, Danny Gerard, and Lindsay Crouse. Desperate Hours is an eerie though somewhat uneven film from Michael Cimino.
The film is a home invasion story about an escaped criminal who hides out at the home of a man who has become estranged from his wife as they’re taken hostage at home. Yet, it’s a film about control and trust where the criminal Michael Bosworth (Mickey Rourke) is waiting for his lawyer/lover Nancy Breyers (Kelly Lynch) to be cleared from accusations that she was the one who broke him out of jail as he is being charged for all sorts of crimes. With the help of his brother Wally (Elias Koteas) and an unhinged, half-wit criminal Albert (David Morse), Bosworth would hide out at the home of Nora Cornell (Mimi Rogers) who is selling her home as she and her husband Tim (Anthony Hopkins) are estranged due to Tim’s infidelity with a young woman. Once Bosworth takes control of the Cornell home, he would instill elements of trust where Nora is more likely to trust Bosworth than Tim as it relates to her life and the life of their kids in the 15-year old May (Shawnee Smith) and the eight-year old Zack (Danny Gerard).
The film’s screenplay does take its time to explore a family being invaded by criminals where in control is this sociopath who is trying to make sure everything goes normal until he can flee with his girlfriend and associates with some money. Yet, the actions of Nancy Breyers only gets the attention of a very intelligent and no-nonsense FBI special agent in Brenda Chandler (Lindsay Crouse) who doesn’t buy Nancy’s act and knows where she’s going as she hopes to nab Bosworth. Though the script is pretty uneven as part of it is set at the Cornell home where Tim tries to reconcile with Nora only for things to go wrong with the Bosworth brothers and Albert taking over where Nora has trust issues with Tim. The other part of the script involves Chandler’s pursuit and watching over Nancy where it has this element of the road movie but it never really gels since Nancy is a very underwritten character who is just lovesick over Bosworth and is put into very tense situations. The scenes at the Cornell home is interesting where there is a sense of psychology as the family isn’t sure who to trust as Bosworth doesn’t try to hurt anyone while Tim tries to do something only to get himself into trouble.
Michael Cimino’s direction is pretty engaging for the way he conveys this element of suspense and dread inside a family’s home as it’s taken over by criminals. Especially as he maintains that sense of tense intimacy with some close-ups and unique medium shots where Cimino’s framing is always there to play into the drama as well as some of tension that goes on. The scenes outside of the Cornell home is shot in various locations in Utah where it plays into Cimino’s sensibilities in terms of the mountains, deserts, and such that does have this sense of beauty in the locations where Cimino is able to display them in a wide canvas. Yet, it adds to film’s uneven tone where it does feel like it’s two different films being made in some aspects though it would come together in a very intense third act. Especially as it becomes a battle of wits and trust where the FBI is also involved in Chandler who takes a more cautious but unconventional approach to let the fates play out. Overall despite a few inconsistencies in its tone, Cimino does craft a very captivating and solid thriller about a family’s home invaded by criminals.
Cinematographer Douglas Milsome does brilliant work with the film‘s cinematography with the gorgeous lighting for many of the daytime exteriors in the Utah desert/mountain locations to more ominous lighting schemes and such to play into the dramatic tension at the Cornell house. Editors Peter R. Hunt and Christopher Rouse do excellent work with the editing to create some methodical cuts to play into the film‘s suspense along with some rhythmic cuts for some of the car chase scenes involving Nancy and the FBI. Production designer Victoria Paul, with set decorator Crispian Sallis and art director Patricia Klawonn, does nice work with the look of the Cornell house to play into its sense of intimacy and the terror that Bosworth would bring.
Costume Charles DeCaro does terrific work with the costumes from the clothes of the Cornell family that is quite casual to the Armani suits that Bosworth wears. Sound editor James J. Klinger does superb work with the sound from the way the helicopters, planes, and cars sound in the exteriors to the intense atmosphere of the Cornell home as it has this air of terror in the film. The film’s music by David Mansfield is amazing for its soaring orchestral score to play into its suspense and drama along with some low-key pieces to showcase the estrangement between Tim and Nora.
The casting by Mary Colquhoun is wonderful as it features some notable small roles from James Rebhorn as a prosecutor, Matt McGrath as May’s boyfriend Kyle, Gerry Bamman as a real-estates agent, and Dean Norris as Chandler’s FBI associate Maddox. Shawnee Smith is alright as Tim and Nora’s teenage daughter May who tries to antagonize Bosworth and his gang while Danny Gerard is quite good as May’s younger brother Zack who deals with the terror of being taken hostage. Kelly Lynch is pretty terrible as Nancy Breyers where it’s not just the character that is terrible but Lynch never really does anything to make anyone care about her as she spends half the film topless and often be worried. Elias Koteas is terrific as Bosworth’s brother Wally who keeps things in control while trying to make sure that the family has nothing to worry about. David Morse is excellent as the more troubled criminal Albert who becomes anxious as he would later become a liability to the situation.
Lindsay Crouse is amazing as the no-nonsense FBI special agent Brenda Chandler who is this very offbeat character that talks in a Southern accent as she knows how to handle situations and can read people better than her fellow agents. Mimi Rogers is fantastic as Nora Cornell as this woman who becomes aware of the situation as she tries to keep things from not going wrong while being very unsure on who to trust. Anthony Hopkins is superb as the Tim Cornell as a man trying to regain his wife’s trust after cheating on her as he deals with Michael Bosworth’s presence and the situation that is happening as he is goaded to take action only to figure out what to do to not hurt his family. Finally, there’s Mickey Rouke in an incredible performance as Michael Bosworth as this very smart sociopath who takes control of an entire house as he tries to play a game of trust on Nora to turn against her own husband as it’s a very fiery and intense performance from Rourke.
While it is a film with some flaws and an inconsistent tone, Desperate Hours is still a solid film from Michael Cimino. Armed with great performances from Mickey Rourke, Anthony Hopkins, Mimi Rogers, and Lindsay Crouse. It’s a film that plays into the world of home invasion as well as a compelling look into the world of trust and guilt. In the end, Desperate Hours is a pretty good film from Michael Cimino.
Michael Cimino Films: Thunderbolt & Lightfoot - The Deer Hunter - Heaven’s Gate - Year of the Dragon - The Sicilian - The Sunchaser - To Each His Own Cinema: No Translation Needed - The Auteurs #35: Michael Cimino
© thevoid99 2014
Based on the novel by Kazuo Ishiguro, The Remains of the Day is the story of a butler whose devotion to his master has him cut off from reality as the estate’s new housekeeper tries to find the humanity within him. Directed by James Ivory and screenplay by Ruth Prawer Jhabvala, the film is an exploration into the life of a man who maintains his servitude while not giving in towards his own emotions that would later come back to haunt him. Starring Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve, Hugh Grant, Lena Headey, and Ben Chaplin. The Remains of the Day is a somber yet exquisite film from James Ivory and the Merchant-Ivory team.
The film takes place in two different time periods where a butler reflects on his life of service to a lord as he’s about to meet the housekeeper he worked with back in the 1930s. During his trip to meet Miss Sarah “Sally” Kenton (Emma Thompson), Mr. James Stevens (Anthony Hopkins) reflects on the years he served Lord Darlington (James Fox) and how he had been very compulsive in his duties to his lord while not pretending to listen to any conversations or state his own opinions. It’s a role that he’s accepted as Miss Kenton begrudgingly accepts his cold demeanor except in moments where she feels that something had to be said. It’s a film that explores a man’s devotion to his life in service where the only moments he has time to himself is in reading books as a way to connect with the world.
Ruth Prawer Jhabvala’s screenplay, with additional contributions from Harold Pinter, has a unique narrative structure where it moves back-and-forth from Mr. Stevens’ traveling to see Miss Kenton in the 1950s and their time together serving for Lord Darlington in the 1930s. It’s a narrative that Mr. Stevens reflecting on that time where he was at his most useful where he would supervise everything that goes on in the estate while ensuring that everything is in tip-top shape. It is there that Miss Kenton arrives as the new head housekeeper as she is aware of how to act and perform duties. Even as the younger maids and butlers know that rule as well though some of them would have romantic trysts during breaks with the exception of Miss Kenton and Mr. James as the former often observes while the latter just oversees what goes on in the house.
The film also features a subplot where Lord Darlington would hold a meeting to appease Nazi Germany to the world over the unfair treatment they got in the Treaty of Versailles in the aftermath of World War I. Though it has nothing to do with the main narrative, it would play into Mr. James’ sense of disconnect with the real world and his lack of opinion about the state of the world where he’s later confronted by Darlington’s godson Reginald Cardinal (Hugh Grant) in the film’s third act over Darlington’s meetings with Germany as it’s a crime of treason. Most notably as Darlington would later regrettably dismiss a couple of young maids because of their Jewish backgrounds which was a decision that Miss Kenton wasn’t fond of. It would play to the sense of restraint in the role of Mr. Stevens who could’ve done something but sit back and let it happen where he would reflect on that moment with regret as well.
James Ivory’s direction is truly intoxicating in the way he explores the world of servitude in a posh, English estate where a lord lives there and he’s got a large staff of people tending to the house. While Ivory would create scenes where it would play into whatever meetings Lord Darlington is holding, Ivory always make sure that Mr. Stevens and his fellow staff are in the background maintaining their role of servitude. Even where they would find themselves listening to some secret conversations and such but maintain their place as if they never heard anything. Still, Ivory makes sure that it’s a film about the servants where Mr. Stevens is the leader as he’s often seen in a medium shot or in a close-up where he has very little idea about the world outside.
Since much of the film takes place in a lot of estates in England, they do serve as a character in the film where it’s a place where the servants know where to go and what to do when the bell rings. The use of slow zoom lenses for close-up and some of the tracking shots showcase Ivory playing into that world where these servants run the house like clockwork and make sure things are intact. Even as the scenes in the 1950 where it begins with Mr. Stevens working with his new boss in the retired American politician Trent Lewis (Christopher Reeve) who knew Mr. Stevens as he was a visitor during a key meeting in the film. The house is still a character but a shell of its former self as it reflect the sense of loss and disconnection of Mr. Stevens with the rest of the world and in his relationship with Miss Kenton. Overall, Ivory creates a very rich yet heartbreaking film about a man’s devotion to service as he becomes unable to express himself to the people who are closest to him.
Cinematographer Tony Pierce-Roberts does fantastic work with the film‘s photography from the way many of the house interiors in day and night are lit to play into its natural atmosphere as well as some of the exteriors to show the richness of the countryside. Editor Andrew Marcus does brilliant work with the film‘s editing as it‘s filled with stylish dissolves and slow-motion cuts as well as some jump-cuts to play with its drama. Production designer Luciana Arrighi, with set decorator Ian Whittaker and art director John Ralph, does amazing work with the look of the house from its library to the dining halls and silver room to play into the sense of richness that Mr. Stevens takes great care into.
Costume designers Jenny Beaven and John Bright do excellent work with the costumes from the suits that Mr. Stevens and the other butlers wear to the uniforms of Miss Kenton and the other maids wear. Sound editor Colin Miller does nice work with the sound from the way things sound during the cleaning process to some of the way conversations are heard from the outside. The film’s music by Richard Robbins is just marvelous for its very low-key yet elegant orchestral score that plays to some of the film’s drama as well as some of the emotional moments in the film.
The casting by Celestia Fox is incredible for the ensemble that is created as it features some superb small performances from Michael Lonsdale as a French aristocrat Lord Darlington invites, Emma Lewis and Johanna Joseph as the two German-Jewish maids that Miss Kenton hires, and Tim Pigott-Smith as a former servant named Benn that Miss Kenton meets in her days off. Other notable small roles include Ben Chaplin in a terrific performance as the under-butler Charlie, Lena Headey in a wonderful performance as the young maid Lizzie, and Peter Vaughn in a fantastic performance as Mr. Stevens’ father who would work with his son early on only to be stricken by age. Hugh Grant is excellent as Lord Darlington’s godson Reginald Cardinal as he brings some subtle humor to the film while commenting to Mr. Stevens about the trouble Lord Darlington is getting himself into.
James Fox is amazing as Lord Darlington as a man who tries to create peace between Germany and the rest of the world while later finding himself in ruins over what he’s done while he often asks Mr. Stevens on any opinions on his role. Christopher Reeve is great as Trent Lewis as a former American congressman who arrives at a 1930s dinner displaying his opinion about the meeting while later becoming Mr. Stevens’ new boss in the 1950s as it’s a truly fine performance from the late actor.
Finally, there’s Anthony Hopkins and Emma Thompson in magnificent performances as Mr. James Stevens and Miss Sarah Kenton, respectively. Thompson has the more showier role yet it is told with such passion as a woman who tries to get Mr. Stevens to express himself while dealing with her feelings for him. Hopkins’ performance is entrancing for the sense of restraint and lack of emotion he displays as a man just trying to do his duty no matter what kind of situation is happening. Hopkins and Thompson have a chemistry that is just undeniable to watch as they showcase the sense of heartbreak and desire to be with each other but also the internal conflicts in the two as it’s truly some of their best work.
The Remains of the Day is a tremendous film from the Merchant-Ivory team that features outstanding performances from Anthony Hopkins and Emma Thompson. Not only is this one of the best films from Merchant-Ivory but also in the way the explore a man’s blind devotion to his duties and the sense of disconnect he would have with the world and the people around him. In the end, The Remains of the Day is a remarkable film from James Ivory.
James Ivory Films: The Householder - (The Dehli Way) - Shakespeare Wallah - (The Guru) - Bombay Talkie - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - A Room with a View - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - Howards End - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)
© thevoid99 2014
Based on the novel by E.M. Forster, Howards End is a multi-layered story revolving around different social classes in early 20th Century Edwardian-Britain where a poor woman’s friendship with an industrialist’s wife leads to all sorts of trouble for her family as well as the people they’re connected to. Directed by James Ivory and screenplay by Ruth Prawer Jhabvala, the film is an exploration into the world where a man tries to save the one thing of his wife unaware that she gave it to someone else. Starring Emma Thompson, Anthony Hopkins, Helena Bonham Carter, Vanessa Regrave, Samuel West, and James Wilby. Howards End is a remarkable film from James Ivory and the Merchant-Ivory team.
Set in early 20th Century Britain during the Edwardian era, it’s a film where a middle-class woman who unknowingly inherited a country house by an industrialist’s wife whom she had become friends with in the final days of that woman’s life. When her husband reads the handwritten will that his late wife wrote, he schemes to get the house back where he meets the woman only to fall for her. Yet, things become complicated when that woman’s sister tries to help a poor man and his wife whose fortunes have gone bad where it would create dissension between the two sisters. It’s a film that isn’t just about connections between three different families from three different social classes but also in the way they would affect one another and their fortunes in a world where there’s a lot of expectation in Edwardian society.
Ruth Prawer Jhabvala’s screenplay takes it time to flesh out the story where she reveals the lives of these three different families. The very rich Wilcoxes led by Henry (Anthony Hopkins) and Ruth (Vanessa Redgrave) with their elder children Charles (James Wilby) and Evie (Jemma Redgrave). The middle-class siblings Margaret (Emma Thompson), Helen (Helena Bonham Carter), and Tibby Schlegel (Adrian Ross Magenty). The last couple is the working-class couple Leonard Bast (Samuel West) and his wife Jacky (Nicola Duffett). All of which are trying to play roles in societies yet they all face struggles with trying to advance themselves with the exception of the Wilcoxes. When Margaret meets the ailing Ruth, the two strike a friendship where Margaret reveals to Ruth about the lease of her home expiring as Ruth wants to help Margaret out where she would hand-write a will leaving Margaret the home that she loved that is called Howards End.
This would later set-up a series of trouble where Henry and his children are dismayed over what Ruth had written as it would play into this second act where Margaret and Helen would diverge due to the involvement of different men. Margaret formally meets Henry where the two fall in love though the latter did decide to help Margaret find a home nearby only for his plans to lose way. Helen meanwhile meets and falls for the working-class clerk Leonard Bast who has been trying to find a job as he accepts the help of Helen and Margaret only for Henry’s presence to cause trouble as it would play to the growing tension between the sisters. It would all play to a troubling third act where there’s more to the connection between Henry and the Basts as well as Margaret being torn in her devotion to Henry and her siblings. It’s not just the way Jhabvala plots everything but also her approach to the language and dialogue that adds more spice and suspense to the story.
James Ivory’s direction is truly ravishing in the way he presents the period of Edwardian Britain at a time where the rich try to maintain their status while looking down at those beneath them. Though the Wilcoxes aren’t entirely bad people, they do have this sense of entitlement that makes them somewhat disconnected from reality. Ivory has unique framing devices in the way he presents them as well as scenes where Charles would eavesdrop into whatever conversations his father would have with Margaret where it’s clear he is going to cause trouble for many. Even as Charles’ somewhat-dim wife Dolly (Susie Lindeman) would also eavesdrop as she knows something isn’t right. It would play to some moments of suspense that occurs in the film while much of the direction in terms of its humor and drama is quite understated.
The approach to putting characters in the frame wouldn’t just play to the dramatic tension that occurs between some of the characters but also to display a sense of a social order that would make Leonard Bast feel uneasy about. Many of the scenes involving Bast has him in places where he either doesn’t fit in or is surrounded by a place of despair in comparison to the world that the Wilcoxes and Schlegel siblings live in. Still, Ivory creates scenes of a dream-world that Bast wants to live in as if he wants to be in a world where he can happy where Helen would be that person who would help him. Even as the house that is Howards End is a major character in the film as a place of comfort that is a major escape from the real world as Margaret would learn why Ruth cherishes it. Especially as Henry and his family would try to hold on to it for very selfish reasons as it would lead to a dramatic climax that would involve tragedy. Overall, Ivory creates a very captivating yet touching film about pride and connections in the Edwardian period of Britain.
Cinematographer Tony Pierce-Roberts does amazing work with the film‘s lush and gorgeous cinematography from the way some of the film‘s interiors are lit in some of the scenes as well as the exteriors to play into the different moods of the film. Editor Andrew Marcus does fantastic work with the editing with its use of dissolves, abrupt fade-outs, and other stylized cuts to play into some of the drama and suspenseful moments of the film. Production designer Luciana Arrighi, with set decorator Ian Whittaker and art director John Ralph, does brilliant work with the set pieces from the look of the apartment the Schlegel siblings live in to the quaint yet lavish home that is Howards End.
Costume designers Jenny Beaven and John Bright do splendid work with the costumes from the suits that Henry wears to the stylish dresses that the women wear. Hair stylist Carol Hemming does excellent work with the look of the different hairstyles the women had in that period. Sound editor Campbell Askew does nice work with the sound to play into the different atmosphere of the locations including the scenes set in the British countryside. The film’s music by Richard Robbins is truly delightful for its somber yet enchanting orchestral score that includes some piano pieces as well as some music from Percy Grainger to open and close the film as well as a piano piece by Beethoven.
The casting by Celestia Fox is just simple marvelous for the ensemble that is created as it features some notable small roles from Simon Callow as a music lecturer, Jo Kendall as the Schlegel’s maid Annie, Joseph Bennett as Charles’ brother Paul whom Helen was briefly engaged to, Prunella Scales as Schlegel’s Aunt Juley, and Susie Lindeman as Charles’ naïve wife Dolly. Other noteworthy performances include Adrian Ross Magenty as Margaret and Helen’s younger brother Tibby who finds himself having to defend his sisters’ generosity, Jemma Redgrave as the very snobbish and cruel Evie Wilcox, and James Wilby as the eldest Wilcox child Charles whose nosiness and pride would cause trouble for the whole family. Nicola Duffett is wonderful as Leonard’s wife Jacky as this troubled woman trying to do whatever to help them while being suspicious over Leonard’s time with the Schlegels. Vanessa Redgrave is radiant as Ruth Wilcox as an ailing woman who is full of life as she finds a true friend in Margaret and does something that she feels is a good thing.
Samuel West is superb as Leonard Bast as a man trying to find work amidst the adversity he faces where he finds himself becoming close with Helen. Helena Bonham Carter is amazing as Helen Schlegel as a woman that simply wants to help Leonard while becoming suspicious over Henry’s intentions for Margaret as it’s a role that has a lot of bite and wit. Anthony Hopkins is great as Henry Wilcox as a man who prides himself as someone with power as he tries to hold on to his wife’s house only to be impressed by Margaret where he becomes unsure if he’s doing the right thing. Finally, there’s Emma Thompson in a radiant performance as Margaret Schlegel as a woman who deals with her own financial issues while trying to help Leonard and befriend the Wilcoxes where she becomes torn in her devotion to Henry and her family as it’s a powerful performance from Thompson.
Howards End is an exquisite and enchanting film from the Merchant-Ivory team. Thanks to a splendid cast led by Emma Thompson, Anthony Hopkins, Helena Bonham Carter, and Vanessa Redgrave along with fantastic technical work, Richard Robbins’ mesmerizing music, and Ruth Prawer Jhabvala’s potent screenplay. It’s a film that isn’t just an exploration into human connections and the sins that forces people to do horrific things but it’s a film that plays into the understanding of humanity and how they can be similar. In the end, Howards End is a spectacular film from James Ivory.
James Ivory Films: The Householder - (The Dehli Way) - Shakespeare Wallah - (The Guru) - Bombay Talkie - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - A Room with a View - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - The Remains of the Day - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)
© thevoid99 2014
Directed by Darren Aronofsky and written by Aronofsky and Ari Handel, Noah is a dramatic re-telling of Noah’s Ark in which Noah sees an apocalyptic vision as he decides to build an ark with his family before a great flood emerges. The film is a grand vision of the Noah’s Ark story where it plays into a man trying to save his family and animals from a world that is being ravaged by terror and the fault of mankind. Starring Russell Crowe, Jennifer Connelly, Emma Watson, Logan Lerman, Douglas Booth, Ray Winstone, and Anthony Hopkins. Noah is an extravagant yet intense film from Darren Aronofsky.
The story of Noah and his ark is a story that’s been told for ages as this film is a dramatic interpretation of that story where Noah (Russell Crowe) builds an ark to save his family and animals. Yet, it’s a film that explores a world where humanity has taken advantage of the world they live in as Noah and his family try to live in peace until Noah sees a vision of a world where humanity is wiped out. Once Noah builds his ark with his family and a small group of fallen angels who became stone-like creatures called the Watchers. Noah has to contend with the presence of Tubal-cain (Ray Winstone) who only sees the cruelty of the Creator as he would try to sway Noah’s young son Ham (Logan Lerman) into giving in towards temptation. What Darren Aronofsky and Ari Handel do is tell the story in a dramatic form while playing into the myth of Noah and where he’s descended from.
The film begins with a story of Adam and Eve and the three sons they created in Cain, Abel, and Seth. Tubal-cain is a descendant of Cain while Noah is a descendant of Seth as the latter would seek guidance from his grandfather Methuselah (Anthony Hopkins) who would also help the rest of his family. While the screenplay does take some liberties into the story where it would only focus on Noah, his wife Naameh (Jennifer Connelly), their three sons, and adopted daughter Ila (Emma Watson). It would play into the internal struggles that Noah deals with as he becomes confused about whether to save the rest of humanity as those he had encountered including Tubal-cain are filled with sin and temptation that had destroyed the world and ravaged the things that the Creator has made.
Aronofsky’s direction is truly vast in not just its scope but also in the way he presents the world that is coming apart by temptation and cruelty where only Noah and his family are the few who have been good towards the Earth and its surroundings. With much of the location set in Iceland with scenes of the ark construction set in upstate New York, Aronofsky goes for something that could’ve been set anywhere in the world while he does utilize visual effects for some dazzling sequences where Noah plants a seed where trees are created for the wood he needed for the ark. Much of the direction has Aronofsky go for a lot of spectacular wide shots and massive scenes involving crowds and such to play into the dark world that Noah needed to protect his family from.
The direction also includes scenes where it is set on the ark as Aronofsky wanted the ark to look as realistic as possible where it’s a place where animals and plants can be salvaged while Noah’s family can be safe and look for some message of hope after the rain dies down. Yet, there’s also a sense of tension that occurs over Noah’s sense of hopelessness and doubt as the element of suspense and drama is raised where Naameh and Ila become much more prominent in trying to get Noah to see reason. Especially when he completes his task and deals with what was gained and what got lost. Overall, Aronofsky creates a very compelling yet glorious film about the story of Noah and his ark.
Cinematographer Matthew Libatique does excellent work with the film‘s cinematography with its use of natural lights for some of the exteriors with some usage of grey in the rainy scenes along with some low-key lighting schemes and sepia tones for the scenes inside the ark. Editor Andrew Weisblum does incredible work with the editing with its use of montages, jump-cuts, and other stylistic cuts to play into the suspense and drama that occurs in the film. Production designer Mark Friedberg, with supervising art director Dan Webster and set decorators Nicholas DiBlasio and Debra Schutt, does amazing work with the set pieces from the design of the ark in its interior and exteriors to the tents that Noah and his family lived in.
Costume designer Michael Wilkinson does nice work with the costumes as it plays the ragged look of the characters as it plays into a world that is in its infancy. Visual effects supervisors Ben Snow and Joe Takai do terrific work with the visual effects for the look of the flood and the design of the creatures and Watchers though some of it does look a bit wobbly at times. Sound editor Craig Henighan does superb work with the sound from the way some of the action in the locations sound to the sounds of people screaming during the flood where Noah and his family are listening from inside. The film’s music by Clint Mansell is fantastic for its bombastic orchestral score and serene pieces to play into the drama and sense of adventure as the soundtrack includes performances by the Kronos Quartet and a closing song sung by Patti Smith.
The casting by Lindsay Graham and Mary Vernieu is great as it features voice work from Mark Margolis and Kevin Durand as a couple of Watchers, Nick Nolte as the leader of the Watchers, and Frank Langella as the voice of a Watcher who immediately recognizes Noah as a human to trust. Other notable small roles include Gavin Casalegno, Nolan Goss, and Skylar Burke in their respective roles as the younger versions of Shem, Ham, and Ila along with appearances from Marton Csokas as Noah’s father Lamech, Madison Davenport as a refugee that Ham meets, and Dakota Goyo as the young Noah. Anthony Hopkins is superb as Noah’s grandfather Methuselah as a man who often gives Noah and his family some guidance while providing some bits of humor in his craving for berries. Leo McHugh Caroll is terrific as Noah and Naameh’s young son Japheth who watches over the birds he cares for.
Douglas Booth is excellent as Noah’s eldest son Shem who tries to deal with his love for Ila and watch over the family whenever Noah does other things. Logan Lerman is fantastic as Noah’s middle son Ham who becomes lost in the idea of being alone after the flood as he becomes tempted by Tubal-cain about the realities of humanity. Ray Winstone is amazing as the very cunning Tubal-cain as a man who tries to talk to the Creator as he deals with the chaos and despair of the world where he goes after Noah and later manipulates Ham. Emma Watson is brilliant as Noah’s adopted daughter Ila as a young woman who deals with the fact that she can’t have a child as she also would later cope with some of the decisions Noah would make.
Jennifer Connelly is remarkable as Naameh as the wife of Noah who is also the voice of reason as someone who tries to get Noah to look closer at his surroundings as she knows what he’s dealing with as she also thinks about her family and their future. Finally, there’s Russell Crowe in a marvelous performance as the titular character as a man who realizes what is going to happen as he tries to salvage all that is good in the world while becoming lost over his task and what it all means as it’s a performance that has Crowe being tough but also display a sensitivity that doesn’t get seen much from him.
Noah is a phenomenal film from Darren Aronofsky that features amazing performances from Russell Crowe, Jennifer Connelly, Emma Watson, and Ray Winstone. While it does have a few flaws, it is still an engrossing story that manages to bring a lot of humanity and stakes into a story that’s been told so many times. Especially as Aronofsky infuses it with a lot of visual spectacles and ideas that will captivate a wide audience as well as bring something to religious audiences. In the end, Noah is an incredible film from Darren Aronofsky.
Darren Aronofsky Films: Pi - Requiem for a Dream - The Fountain - The Wrestler - Black Swan - mother! - The Auteurs #2: Darren Aronofsky
© thevoid99 2014
Based on the comics by Stan Lee, Jack Kirby, and Larry Lieber, Thor: The Dark World is the story about Thor facing an ancient enemy who threatens to destroy his home planet of Asgard following a chilling discovery from Jane Foster that would threaten everything. Directed by Alan Taylor and screenplay by Christopher Yost, Christopher Markus, and Stephen McFeeley from a screen story by Don Payne and Robert Rodat. The film is a sequel to 2011’s Thor where the titular character deals with new enemies and the responsibility of taking over the throne of Asgard from his father Odin as Chris Hemsworth reprises the role of Thor. Also starring Natalie Portman, Tom Hiddleston, Stellan Skarsgard, Rene Russo, Idris Elba, Jaimie Alexander, Christopher Eccleston, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Chris O’Dowd, Zachary Levi, Tadanobu Asano, and Anthony Hopkins as Odin. Thor: The Dark World is a sensational yet entertaining film from Alan Taylor.
The film is about an ancient enemy known as Dark Elves who suddenly find themselves returning after Jane Foster (Natalie Portman) discovered some portals that led her to a world where a dark mystical power was seeped into her. When Thor learns about what Jane discovered, he takes her back to Asgard so that his father King Odin can see if he can help only to realize that the Dark Elves led by Malekith (Christopher Eccleston) is only keen on destroying the universe after being nearly wiped away by Odin’s father Bor (Tony Curran). What the film does is have Thor take risks in not just saving his planet and Jane but also the universe where he realizes that he has to do things that his father wouldn’t do that would include getting the help from his estranged adopted brother Loki (Tom Hiddleston).
The film’s screenplay does take its time to showcase Thor’s growth into this warrior who definitely seems more grounded in the previous film as he becomes a much more mature individual who is also quite witty but still longs for Jane. When Heimdall (Idris Elba) tells Thor that he couldn’t see Jane, it has Thor trying to figure what is happening to her while there’s something far more sinister that is happening just as all nine realms are to line up for this event known as the Convergence where all portals from the nine realms are to open. With Malekith re-awaken, he decides to use this moment as well as Jane’s discovery of the dark power known as Aether to rebuild the world of the Dark Elves and regain darkness back to the universe. While the script does have a lot of exposition that occurs in order to make sense of the film’s plot. The script does manage to showcase a lot of the other characters such as Thor’s mother Frigga (Rene Russo) who is an important link to Thor’s relationship with Loki.
There’s also some comical moments that occur that includes Jane’s mentor Dr. Erik Selvig (Stellan Skarsgard) going crazy as he’s still recovering from the events that occurred in The Avengers prompting Jane’s intern Darcy (Kat Dennings) and Darcy’s intern Ian (Jonathan Howard) to get Selvig who makes a discovery about the Convergence. It would lead to some very intense moments that mixes action and humor where there’s a showdown between Thor and Malekith in London that also involves the Dark Elves and portals. Notably as it’s Thor trying to do whatever he can to just save the world and realizes the kind of attributes that he needs to succeed his father as King of Asgard.
Alan Taylor’s direction is definitely sprawling in terms of the set pieces that is created as it is a film that is big but also some intimate moments. Notably as Taylor makes sure that many of the visual effects and large set pieces don’t overwhelm the story. Even as Taylor does create some intimate moments that takes place in London where Jane tries to deal with her feelings for Thor as well as the scientific discovery that she and Darcy make that would lead to Jane being teleported into another world that has her discovering the Aether. The scenes in London are very simple with Taylor going for something straightforward but also add some comedy into the mix.
The scenes set in the Dark Elves’ planet as well as other places outside of Asgard is shot in Iceland where it has this very desolate world that is a total representation that Malekith wants. Especially that is sharp contrast to the more sprawling and regal world that is Asgard that Thor wants to protect as he isn’t just concerned for its people that he cares for but also everything his father and grandfather had fought for. Even as he has to get Loki to help him in the hopes as Thor can re-forge the bond that he had with the man whom he had called brother. Most notably as it leads to this massive climax where Taylor knows how to mix humor and action into the mix. Overall, Taylor creates a very extravagant yet exciting film about a hero taking more risks in what to do to save the world.
Cinematographer Kramer Morgenthau does excellent work with the film‘s cinematography from the straightforward look for the scenes in London to some of the more eerie lighting schemes for the scenes set at the Dark Elves‘ old home planet. Editors Dan Lebental and Wyatt Smith do terrific work with the editing by using some fast, rhythmic cuts for some of the film‘s action and humor while slowing down for the dramatic moments. Production designer Charles Wood, with supervising art director Ray Chan and set decorators Gueni Lindal Benediktsson and John Bush, does fantastic work with the set pieces from the look of Asgard as well as the design of the Dark Elves ship that would bring terror to Earth and Asgard.
Costume designer Wendy Partridge does amazing work with a lot of the costumes for the scenes set in Asgard as it has this mixture of old medieval look that Thor and his people wear. Makeup designer Elizabeth Yianni-Georgiou does brilliant work with some of the makeup including the look of Malekith. Visual effects supervisor Mark Breakspear does nice work with the visual effects for some of scenes set in space as well as some of the exteriors of Asgard. Sound designer Will Files and Shannon Mills do superb work with the sound to create some unique sound effects as well as play into some of the chaos that goes in the fight scenes. The film’s music by Brian Tyler is wonderful for its orchestral bombast to play into some of the film’s action and suspense as well in some of the more somber pieces for the dramatic moments.
The casting by Sarah Finn does marvelous work with the casting as it includes some notable small roles from Tony Curran in a prologue scene as Odin’s father Bor, Alice Krige as an Asgardian physician, Chris O’Dowd as a man Jane meets early in the film for a lunch date, Jonathan Howard as Darcy’s intern Ian, and Adewale Akinnuoye-Agbaje as Malekith’s lieutenant Algrim who causes havoc in Asgard. The casting also features some pretty funny cameos such as Stan Lee as a mental ward patient and Chris Evans as Loki pretending to be Captain America. As the members of the Warrior Three, Ray Winstone, Tadanobu Asano, and Zachary Levi are all terrific in their respective roles as Volstagg, Hogun, and Fandral with Winstone and Levi providing some humor. Jaimie Alexander is wonderful as Thor’s friend Sif who aids Thor while dealing with the presence of Jane Foster as she also has feelings for Thor.
Rene Russo is fantastic as Frigga as Thor’s mother who ensures that Loki stays alive following his actions in The Avengers as she becomes a key crucial point in the film for Thor and Loki as she also proves to be a total badass. Stellan Skarsgard is excellent as Dr. Erik Selvig who is still trying to deal with the post-traumatic stress of the events in The Avengers where he makes a big discovery while doing some funny things that involve him not wearing pants. Kat Dennings is hilarious as Jane’s intern Darcy as she not only has some of the film’s funny one-liners but also does things to help ensure that Thor’s plan to stop Malekith would work in some funny results. Idris Elba is incredible as Heimdall as the watcher of the Nine Realms who realizes the magnitude of the situation as he helps Thor out in defeating the Dark Elves. Christopher Eccleston is amazing as Malekith as this very dark individual who seeks revenge for what happened to him and his people as he does whatever it takes to take Thor down.
Anthony Hopkins is great as Odin where he’s still a bit of a cantankerous old man but also tones it down a bit as he still struggles to balance his role as king and father while aware of what Thor is trying to do. Tom Hiddleston is awesome as Loki as Thor’s adopted brother as a man who is slimy but fun as he helps Thor out in dealing with Malekith as well as trying to find something that he can gain. Natalie Portman is superb as Jane Foster as she does more than in the previous film as young woman who makes a chilling discovery while trying to deal with all of the chaos as well as finding ways to help save the world. Finally, there’s Chris Hemsworth in a remarkable performance as Thor as Hemsworth brings some humor to the role that is quite low-key but also a humility as a man who still questions his worth to become a king as it helps make Thor more engaging proving that Hemsworth is right for the part.
Thor: The Dark World is an excellent film from Alan Taylor that features brilliant performances from Chris Hemsworth, Natalie Portman, and Tom Hiddleston. The film isn’t just a much looser and more entertaining film than its predecessor but allows the audience to be engaged by its protagonist as well as find ways that makes him relatable. In the end, Thor: The Dark World is a extraordinarily broad yet stellar film from Alan Taylor.
Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Marvel Phase Two Films: Iron Man 3 - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Marvel Phase Three Films: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
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