21 Years: Richard Linklater

Written and directed by Michael Dunaway and Tara Wood, 21 Years: Richard Linklater is a documentary film about the career of filmmaker Richard Linklater from his 1990 breakthrough release Slacker to the impending release of his 2014 film Boyhood told through interviews with many of the actors who had worked with him as well as animated segments where the actors describe Linklater’s approach through filmmaking. The result is an enjoyable and witty film from Michael Dunaway and Tara Wood.

Since the release of his 1990 film Slacker, Richard Linklater was considered one of the forefathers of new wave of American Independent Cinema in the 1990s yet he would continuously evolve through many films through the 2000s and beyond whether it would be experimental films, Hollywood studio films, sci-fi, period films, or whatever. All of which were films that had unique touches as the documentary film features interviews with not just the many actors he collaborated but also filmmakers such as Kevin Smith and Jason Reitman who both see him as a major influence in their work. Actors such as Matthew McConaughey, Ethan Hawke, Julie Delpy, Parker Posey, Jack Black, Anthony Rapp, Nicky Katt, Billy Bob Thornton, Zac Efron, Keanu Reeves, and several others talk about Linklater’s approach to improv and make things feel natural.

With the aid of animation directors Adam Conarroe, Megan Kluck, and Shane Minshew, many of the stories the actors talk about in their experience with Linklater is told through animation where Hawke and Delpy talk about the writing process for Before Sunset and Before Midnight where much of it had the two of them laughing a lot in the writing with Linklater. Black talks about Linklater’s approach to make things feel genuine in order to get the story feel real to an audience as Black is proud of the work he’s done with Linklater as does McConaughey who would put in his own family into the films such as one of his brothers in an appearance in The Newton Boys and his mother in Bernie. Much of the direction that Michael Dunaway and Tara Wood does is straightforward in terms of the way the interviews are presented as well as delving a lot into Linklater’s work with the Austin Film Society that had become an important society for the city of Austin.

The film does have flaws as not all of Linklater’s films are discussed heavily like Waking Life, Tape, Fast Food Nation, and subUrbia while there is no mention of his first film It’s Impossible to Learn to Plow by Reading Books. It still cover a lot of what Linklater does as many of the interviews are shot in a straightforward manner with the aid of cinematographer Aaron Brown. Editor Jeremy Ward and sound editor Evan Dunivan do excellent work in compiling the footage as well as putting the audio interview excerpts from the actors over the film. The film’s music by Graham Reynolds is pretty good as it is a mixture of rock and jazz to play into the different flavors of all of Linklater’s films.

21 Years: Richard Linklater is a pretty good film from Michael Dunaway and Tara Wood. While fans of Linklater’s work will enjoy the interviews, they would definitely feel like the film deserves more to say as well as talk about all of other films he did as well as comments from the man himself. In the end, 21 Years: Richard Linklater is a stellar film from Michael Dunaway and Tara Wood.

© thevoid99 2016

Bad Santa

Directed by Terry Zwigoff and written by Glenn Ficarra and John Requa, Bad Santa is the story of an alcoholic thief who dresses up as Santa Claus where he and his partner hope to rob a mall where he copes with his own self-loathing but also help a young kid. The film is a dark comedy where a man dressed up as Santa Claus tries to find reasons for living though he still feels like he is at odds with the world as the titular character is played by Billy Bob Thornton. Also starring Lauren Graham, Brett Kelly, Tony Cox, Lauren Tom, Bernie Mac, Cloris Leachman, and John Ritter in his final film performance as Bob Chipeska. Bad Santa is an offbeat yet exhilarating film from Terry Zwigoff.

The film revolves around a pathetic, self-loathing alcoholic who works in malls dressed up as Santa Claus as part of an act where he and his midget-partner plan to steal money from malls during the holidays until the man meets a bullied young boy and finds himself caring for him. It’s a film that is sort of an anti-Christmas film in some ways yet it is really about this man that realizes that there is good in the world and doesn’t have to go into this world of self-destruction and self-loathing while can still be perverse such as his liaisons with a bartender who has a fetish for men in Santa’s clothing. It all plays into a world that is quite odd as this man named Willie T. Soke is just someone that is quite amoral as he spends his time in smalls having sex with whoever he sees, gets drunk, or does all sorts of things much to the annoyance of his partner Marcus (Tony Cox).

The film’s script by Glenn Ficarra and John Requa, with re-writes by the film’s executive producers in Joel & Ethan Coen, doesn’t just explore Soke’s own disdain towards society and himself but also in the fact that he unknowingly finds himself being intrigued by this young boy who not only sees him as the real Santa but also someone he believes is actually good despite the awful shit he does. While Soke is seen early in the film being a skilled safecracker, it is clear that his attempts to be part of society fails because of his anti-social behavior which is fueled more by his alcoholism. Even as he ponders about his own purpose in life until he meets this kid where he realizes that he does have a reason to live. Still, he and Marcus have to do the job to steal things but they realize that a security officer named Gin (Bernie Mac) knows what is going on as he wants in on the action which only make things worse. Especially when Willie begins to have a change of heart as he realizes not just the true meaning of Christmas but also in doing what is right.

Terry Zwigoff’s direction is largely straightforward in terms of the compositions he creates but also finds way to create moments that are very funny. While some of the comedic moments were helmed by an unknown filmmaker for its theatrical release, there are moments that is still Zwigoff’s film in the way he presents Soke as this pathetic, unruly man that is often obsessed with sleeping with women or just getting shit-faced. Shot largely on location in Los Angeles and parts of Southern California, the film does play into a world where it is warm in an odd way considering that it is set during the Xmas holidays. The usage of wide and medium shots do play into the look of the malls and some of the locations in California as Arizona. Yet, Zwigoff finds way to convey that sense of dark humor where it can toe the line over what is profane but also what is funny. Even in scenes that play into moments that are quite natural as well as showcase that Soke can be redeemed such as a scene where he beats up a bully and feeling very good afterwards. The climatic heist is filled with tension but also a bit of unexpected sentimentality as it relates to Soke’s own revelations about himself and doing what is right as it would end in a very funny way. Overall, Zwigoff creates a bawdy yet whimsical film about a self-loathing thief finding some meaning during the Xmas holidays.

Cinematographer Jamie Anderson does excellent work with the film‘s cinematography to play into the colorful look of the locations in the day to the usage of lights for many of the interior scenes set at night. Editor Robert Hoffman does nice work with the editing as it is largely straightforward with some rhythmic cuts for some of the film‘s very funny moments. Production designer Sharon Seymour, with set decorator Robert Greenfield and art director Peter Borck, does fantastic work to the look of the mall as well as the home of the kid that Stokes befriends.

Costume designer Wendy Chuck does wonderful work with the costumes in creating some stylish costumes from the ragged look of Soke’s Santa suit to the clothes that Marcus wears as an elf. Sound editors Michael J. Benavente and Larry Kemp do terrific work with the sound from the way liquor bottles and such sound in the background along with the atmosphere of the malls. The film’s music by David Kitay is amazing for its mixture of piano-based music as well as playful orchestral touches while music supervisor Rachel Levy creates a fun soundtrack featuring a variety of Xmas standards along with some classical pieces to play into the film’s humor.

The casting by Felicia Fasano and Mary Vernieu do incredible work with the casting as it features some notable small roles from Ethan Phillips as the boy’s incarcerated father, Tom McGowan as the original mall Santa Claus who quits early in the film, Ajay Naidu as some nut job who attacks Soke over a misunderstanding, Alex Borstein as a mom from a different mall, Octavia Spencer as a prostitute Stokes know in Cleo, Matt Walsh as a neighbor who asks Soke about putting some decorations for the neighborhood, Max Van Ville as the kid’s bully, and Cloris Leachman in a very funny performance as the kid’s senile yet funny grandmother. Lauren Tom is wonderful as Marcus’ mail-order bride Lois who only cares for idiotic things.

Bernie Mac is fantastic as the mall security chief Gin Slagel as a man that is suspicious about Soke and Marcus only wanting half of what they steal in a bargain that makes Soke very uncomfortable. In his final film performance, John Ritter is excellent as the mall’s manager Bob Chipeska as a man that is trying to make sure things go smoothly as he is taken aback by Soke’s behavior as well as Marcus’ own appearance as it’s a very funny performance from Ritter. Lauren Graham is amazing as Sue as a bartender Soke befriends and goes out with as she has a fetish for guys in Santa suits while being a maternal figure for this young kid.

Brett Kelly is brilliant as this young kid named Thurman as someone that is constantly bullied while being fascinated by Soke as he sees someone that he can rely on. Tony Cox is great as Marcus as a midget with a fierce tongue as he is sort of the mastermind behind the thefts as he copes with Stokes’ growing incompetence and troubles where he finds himself doing a lot of the work. Finally, there’s Billy Bob Thornton in a phenomenal role as Willie T. Soke aka Bad Santa as this skilled but unhappy thief who drowns himself in self-loathing and alcohol as Thornton provides something that is very funny in its restraint and indifference but also some moments that are very somber as it relates to his yearning to find meaning in his life.

Bad Santa is a sensational film from Terry Zwigoff that features a winning and hilarious performance from Billy Bob Thornton in the leading role. Along with a great supporting cast and a witty premise, the film isn’t just an odd yet exhilarating dark comedy that is kind of the anti-Christmas film. It’s also a film that explores a man’s disdain towards society and helping this young kid stand out and not take shit from them. In the end, Bad Santa is an extraordinary film from Terry Zwigoff.

Terry Zwigoff Films: Louie Bluie - Crumb - Ghost World - Art School Confidential - The Auteurs #53: Terry Zwigoff

© thevoid99 2016

Bad News Bears (2005 film)

Directed by Richard Linklater and screenplay by Bill Lancaster, Glenn Ficarra, and John Requea from a story by Lancaster, Bad News Bears is the story of a washed-up minor league baseball player who coaches a misfit little league team as he tries to help them become a great team. A remake of the 1976 that was written by Lancaster and directed by Michael Ritchie, the film is an update of sorts on the story as it explores a man who would help this team of kids who aren’t the best players in the world with the help of a couple of talented kids. Starring Billy Bob Thornton, Greg Kinnear, and Marcia Gay Harden. Bad News Bears is a fun and engaging film from Richard Linklater.

The film is an updated yet faithful version of the 1976 film where it revolves around this former minor league baseball player who is often drunk as he works as an exterminator where he is hired by an attorney to coach a little league baseball team full of misfits. While the film’s script does play true to the original story where this man in Morris Buttermaker (Billy Bob Thornton) coaches a team that is full of kids that are the last group of kids that anyone wants in a team. Though they don’t start out well as they lose their first game badly, they do improve with each game as Buttermaker gets the help of an ex-girlfriend’s daughter in Amanda Wurlitzer (Sammi Kane Kraft) and a young troublemaker in Kelly Leak (Jeffrey Leakes). While the story if quite formulaic, it does have a sense of raunchy humor and dirty language that does pay true to the original film while not being afraid to be politically incorrect at times.

Richard Linklater’s direction is quite simple in the way he captures the world of little league baseball as well as the idea of misfits trying to make it in little league. Much of the compositions are quite simple with some unique crane shots to capture the scope of the baseball field. There’s a liveliness to the direction where Linklater even puts in little moments that pays tribute to the original film. There’s also moments where Linklater isn’t afraid to cross the line in what is acceptable for kids to behave and such as they’re with this washed-up drunk who only went to the major league for a tiny bit as he often curses and gets pissed drunk. Among the things that Linklater does do to update the story is feature the world of Austin, Texas such as its skate parks and other places to give it a new look while providing some moments that is all about the love for baseball. Overall, Linklater creates a very worthwhile yet engaging film about a former baseball player coaching a team of misfits.

Cinematographer Rogier Stoffers does excellent work with the film‘s cinematography as it‘s very simple for many of its daytime exteriors while it features some low-key lights for some of the nighttime interior scenes. Editor Sandra Adair does terrific work with the editing as it‘s very straightforward while includes a few montages to play into the evolution of the team. Production designer Bruce Curtis, with set decorator Brana Rosenfeld and art director David Lazan, does nice work with the look of the baseball field as well as the skate park where Amanda meets Kelly.

Costume designer Karen Patch does wonderful work with the costumes as it‘s mostly casual plus an updated look of the Bears uniform with a very unlikely sponsor on the back. Visual effects supervisor David Lombardi does superb work with some of the minimal visual effects that plays to the building confidence of the Bears. Sound editors Russell Farmarco and Beth Sterner do some brilliant work on the sound from the atmosphere at the ballpark to the way the bat hit’s the ball. The film’s music by Ed Shearmur is very good for its low-key approach to the score where it‘s a mixture of rock and electronic music with updated interpretations of George Bizet‘s opera Carmen while music supervisor Randall Poster brings in a fantastic soundtrack that features an array of music from rock and punk rock to play into the energy of the film as well as the spirit of Austin, Texas.

The casting by Joseph Middleton is great as it features some notable small roles from Nectar Rose as a stripper-girlfriend of Buttermaker in Paradise, Carter Jenkins as the Yankees pitcher Joey Bullock, Chase Winton as the little league supervisor Ms. Cleveland, and Arabella Holzbog as Joey’s mother and Roy’s wife Shari. In the roles of the Bad News Bears, there’s Carlos and Emmanuel Estrada in their respective roles as the non-English speaking Manuel and Jose Aguilar, Aman Johal as the Indian Prem Lahiri, Troy Gentile as the wheelchair cripple Matthew Hooper, Tyler Patrick Jones as the shy Timmy Lupus, Timmy Deters as the small but fierce Tanner Boyle, Ridge Canipe as the limited but helpful Toby Whitewood, Kenneth “K.C.” Harris as the African-American Ahmad Abdul Rahim and Jeffrey Tedmori as the Armenian Garo as all of them bring a lot of spark to their roles.

Jeffrey Davies is excellent as the motorcycle-riding teen Kelly Leak who despises Roy Bullock as he helps the Bears while Sammi Kane Kraft is fantastic as Amanda Wurlitzer who is a great pitcher as she hopes to renew the broken friendship with Buttermaker. Marcia Gay Harden is wonderful as Toby’s mother Liz who asks Buttermaker to coach the Bears in the hope that she can get her son and other kids the chance to play. Greg Kinnear is super as the Yankees coach Roy Bullock who is a guy that loves to win as his competitiveness rubs Buttermaker the wrong way. Finally, there’s Billy Bob Thornton in an incredible performance as Morris Buttermaker as a washed-up minor league pitcher who is an alcoholic as he tries to coach a team of misfits as it’s a character filled with some self-loathing but also one that is trying to find some redemption for his mistakes.

Bad News Bears is a stellar film from Richard Linklater thanks in part to the superb performance of Billy Bob Thornton and a young yet marvelous cast. While it doesn’t do anything new while being a faithful remake to the 1976 film, it is still a pretty enjoyable baseball movie as it retains some of the original film’s political incorrectness. In the end, Bad News Bears is a pretty good film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - The Newton Boys - Waking Life - Tape - School of Rock - School of Rock - A Scanner Darkly - Fast Food Nation - Me and Orson Welles - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2014

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 - Gimme Danger - The Dead Don’t Die - (Father Mother Sister Brother) - The Auteurs #27: Jim Jarmusch

© thevoid99 2012

Intolerable Cruelty

Based on an original story by Robert Ramsay, Matthew Stone, and John Romano, Intolerable Cruelty is the story of a divorce lawyer who goes after a gold digger who is marrying men for their money as he suddenly falls for her. Directed by Joel and Ethan Coen with a script by Robert Ramsay and Matthew Stone that was later re-written by the Coen Brothers. The film is an exploration of a dim-witted man who tries to play a game of wits with a woman who is more than capable of beating him. Starring George Clooney, Catherine Zeta-Jones, Cedric the Entertainer, Richard Jenkins, Edward Herrmann, Geoffrey Rush, and Billy Bob Thornton. Intolerable Cruelty is a raucous comedy from the Coen Brothers.

Miles Massey (George Clooney) is a top divorce attorney who is notorious for creating pre-nups that allow his clients with everything while the other with nothing. Such as with the case TV soap opera producer Donovan Donaly (Geoffrey Rush) and wife Bonnie (Stacey Travis) where Massey represents the latter. When a millionaire named Rex Rexroth (Edward Herrmann) has been caught with another woman by private investigator Gus Petch (Cedric the Entertainer). Rexroth hires Massey as his attorney as Massey meets and falls for Rexroth’s wife Marylin (Catherine Zeta-Jones) who brought in Massey’s rival Freddy Bender (Richard Jenkins). Wanting to find as much dirt on Marylin before the case, Massey hires Gus to sneak into the home. At the trial, Massey brings a surprise in a flamboyant concierge (Jonathan Hadary) to shake things up.

After another successful win, Massey is smitten with Marylin as she makes a surprise appearance announcing she’s found a new man in oil baron Howard D. Doyle (Billy Bob Thornton). The two ask for Massey’s notorious pre-nup agreement leaving Massey confused as the wedding goes on as planned until Doyle destroys the pre-nup at the reception. Some months later when Massey and his associate Wrigley (Paul Adelstein) attend a convention in Las Vegas, Marylin reveals that she divorced Doyle as she feels lonely. Massey and Marylin then did something to express their feelings for another only for Massey to discover something horrible. Dealing with his ailing boss Herb Myerson (Tom Aldredge), Massey realizes what he must do to save his reputation.

The film is about a top divorce attorney who is notorious for winning numerous cases leaving his client with everything and the other with nothing while protecting richer clients with a pre-nup. When he falls for a woman whose husband he’s representing, he starts to question his motives as she starts to hire him where the two also deal with their own attraction. While the film is largely a black comedy of sorts that opens with a TV producer catching his wife cheating on him. It’s a comedy that involves a lot of people doing despicable things while there are those who feel duped about what happen to them. The screenplay features a lot of the Coen Brothers quirks and hi-jinks that is synonymous with their comedies. Yet, the characters aren’t as totally fleshed out as there’s not much development in many of them with the exception of Miles Massey who ends up becoming a buffoon for his actions.

The direction of the Coen Brothers is pretty straightforward in terms of its compositions as there aren’t a lot of moments that really stand out in terms of framing. Yet, they do create some amazing comedic moments such as the film’s opening scene, the court room scene, and anything involving Howard D. Doyle. In many ways, the film is Coen Brothers-light where they restrain the over-the-top zaniness of their humor to complement the romantic-comedy genre. While the script does have plot formulas that is expected, the Coen Brothers don’t really do enough to subvert it. Despite the shortcomings of the script and not enough emphasis to make it more daring. The Coen Brothers still provide a very solid and entertaining romantic comedy.

Cinematographer Roger Deakins does an excellent job with the film‘s very sunny and lush photography that is awash with lots of yellow lights to compliment the locations in Los Angeles and Las Vegas along with more stylized lighting schemes for some of the nighttime interior scenes. Under the Roderick Jaynes alias, Joel & Ethan Coen do some nice work in the editing in utilizing rhythmic cuts for the film’s opening scene as well as stylized transitions to help smooth things out while maintaining a tightened pace for the film. Production designer Leslie McDonald, along with set decorator Nancy Haigh and art director Tony Fanning, does some fantastic work with the set pieces such as the lavish mansion of some of Massey’s clients as well as the extravagant hotel room that Massey and Marylin stay at in Las Vegas.

Costume designer Mary Zophres does a fantastic job with the costumes in creating the stylish and posh dresses that Marylin wears including her denim-laced clothes she wears when she introduces Howard to Massey. Sound editor Skip Lievsay does a terrific job with the sound work from the intimate setting of the meetings to the convention center where Massey is the key speaker. Music composer Carter Burwell creates a wonderful score that is filled with lots of playful folk music and flourishing orchestral pieces to play up the humor and tense moments of the film. Music supervisor David Diliberto creates a very fun soundtrack that includes music by Elvis Presley, Tom Jones, Simon & Garfunkel, Edith Piaf, Chuck Mangione, Melissa Manchester, and many others to bring a pop element to the film.

The casting by Ellen Chenoweth is brilliant for the ensemble that is created as it includes a cameo appearance from Bruce Campbell as well as small roles from Julia Duffy as a rich friend of Marylin, Blake Clark as a convention secretary, Irwin Keyes as a sickly hitman, Jonathan Hadary as a flamboyant baron/concierge, Stacey Travis as Donovan’s cheating wife whom Miles takes a client, and Tom Aldredge as Miles’ ailing yet intimidating boss. Richard Jenkins is really good as Marylin’s underachieving lawyer Freddy Bender while Paul Adelstein is really funny as Miles’ associate Wrigley. Edward Herrmann is very good as Marylin’s duped husband Rex Rexroth who has a fondness for trains while Geoffrey Rush has a fabulous small appearance as scorned TV producer in the film’s opening scene. Cedric the Entertainer is very funny as a private investigator who always get what he wants while sporting a great one-liner in “nailin’ yo ass”.

Billy Bob Thornton gives a very hilarious performance as a possibly dim-witted oil baron named Howard D. Doyle who is hopelessly in love with Marylin who would do anything to prove his love for her as it’s Thornton at his best. Catherine Zeta-Jones is pretty good as Marylin, a gold-digger who proves to be a match for Massey as she tries to charm him as it’s Zeta-Jones proving that she can be funny in a light-hearted way. Finally, there’s George Clooney in a superb performance as Miles Massey as Clooney brings his swagger to the role of a devious lawyer who then becomes a total buffoon over what he’s done. He and Zeta-Jones have some good chemistry in the film’s romantic moments though Clooney does act a bit cartoonish at times late in the film as it’s still a notable performance in his career.

Intolerable Cruelty is a funny and heartwarming film from the Coen Brothers that features stellar performances from George Clooney, Catherine Zeta-Jones, and Billy Bob Thornton. While it’s a film what will appeal to audiences that enjoy romantic comedies that features a bit of quirks. It’s a film that does try a bit hard to be a lot of things despite its emphasis to entertain. For fans of the Coen Brothers, the film is definitely one of their weakest but it’s still better than a lot of other films that try to be a quirky romantic-comedy. In the end, Intolerable Cruelty is an enjoyable romantic comedy from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn't There - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

The Man Who Wasn't There (2001 film)

Originally Written and Posted at Epinions.com on 9/13/03 w/ Additional Edits & Revisions.

Written, produced, and directed by Joel & Ethan Coen, The Man Who Wasn't There is about a quiet, rigid barber who suspects his wife of having an affair with her boss. When he gets into a scam-deal, he blackmails his wife's lover and it backfires as he accidentally kills him. The film harkens back to the Coen Brothers' love for film noir dating back to their 1984 debut film Blood Simple while setting it on post-war 1940s in Northern California. Starring Billy Bob Thornton, Frances McDormand, James Gandolfini, Jon Polito, Michael Badalucco, Richard Jenkins, Scarlett Johansson, and Tony Shalhoub. The Man Who Wasn't There is a gorgeous yet eerie film from the Coen Brothers.

Ed Crane (Billy Bob Thornton) is a quiet barber who works at a barbershop owned and managed by his talkative brother-in-law Frank (Michael Badalucco) as Ed is married to Frank's sister Doris (Frances McDormand) who works at a department store run by a big-shot named Big Dave (James Gandolfini). During a dinner with Doris, Big Dave, and Dave's wife/store heiress Ann Nirdlinger (Katherine Borowitz), Ed suspects that Doris is having an affair with Dave as he prefers to keep it to himself. When a traveling businessman from Sacramento named Creighton Tolliver (Jon Polito) arrives into town about a business proposal involving dry cleaning, Ed becomes interested and wants to be involved as a silent partner. To get the money, Ed decides to blackmail Dave at a store party only to deal with a tense Dave who is having other issues.

Despite pondering over what he's doing, Ed gets the money in secrecy as he gives it to Tolliver hoping things would go well. After returning home from a wedding reception for Doris' cousin as Doris got drunk, Ed gets a call from Dave who asks him to come to the store. Dave reveals what he found out as a fight led to bad consequences as Ed returns home thinking nothing happened until the next day when Doris was arrested for Dave's murder. With Ed and Frank searching for a lawyer, Ed turns to his neighbor Walter Abundas (Richard Jenkins) whose teenage daughter Birdy (Scarlett Johansson) has wowed Ed with her classical piano playing. After Walter suggests in getting hot-shot lawyer Freddy Riedenschneider (Tony Shalhoub) to defend Doris despite his hefty price tag. Ed's guilt starts to consume him as he confesses to Doris and Riedenschneider about what happened only for Riedenschneider to dismiss Ed's claim.

Following a strange visit from Ann Nirdlinger who claims that UFOs has taken Dave, Ed tries to deal with all that's happened as he finds comfort in Birdy's piano playing. On the day of Doris' trial, something happens leaving Ed ruined as he discovers some startling secrets from a private detective (Jack MeGee). Wanting to find redemption, Ed decides to invest in Birdy's future as a pianist as he gets her to audition for a music expert named Carcanogues (Adam Alexi-Malle) where its aftermath brings Ed some surprising revelations over everything that he's been through.

What makes The Man Who Wasn't There such a different film from previous efforts was the restraint the film took. While there's bits of humor involving UFOs and a strange fantasy sequence near the end of the film. It adds to some of the offbeat quirks needed to provide the character of Ed Crane a sense of surrealism that he's dealing with in the aftermath of what he's done. The directing of the film is as evocative than any other films with imaginative, subtle images that really gives the film a 1940s look. Even with shots where everything is stilted and all of these symbols come into a room. The Coen Brothers' writing is as potent as ever with not just clever, witty dialogue but extremely moving moments while their narrative flows in a smooth, comforting way. The overall work is an entrancing yet meditative piece from the Coen Brothers.

Complementing the directing style in the cinematography department is longtime regular Roger Deakins. Deakins' masterfully, lush black-and-white photography gives the film a noir-like feel that hadn't been felt since the Coens' 1985 debut Blood Simple. With help from production designer Dennis Gassner and costume designer Mary Zophres, the film captures the look of late 1940s with the right detail and tone that helps Deakins' photography shine.

The editing of Roderick Jaynes (the alias of the Coen Bros.) is wonderfully paced in its slow but mesmerizing style that helps to convey the genre. With the piano sonnets of Beethoven played throughout the film, longtime Coen Brothers composer Carter Burwell brings a dark, eerie score with his lush orchestral arrangements to capture the noir, restrained tone of the movie.

Then there's the film rich cast with wonderful cameos from Christopher McDonald and The Hudsucker Proxy star Jennifer Jason Leigh, in an un-credited cameo that plays up to the film's quirks. Smaller performances from Adam Alexi-Malle as Carcanogues and Richard Jenkins as Walter Abundas are wonderfully performed while Katherine Borowitz give a haunting performance as Big Dave's wife Ann. Scarlett Johansson delivers an amazing yet entrancing performance as Birdy Abundas. Johansson brings a complexity to her role as the innocent, bright Birdy who has purity to Ed Crane but also has a haunting presence with her piano playing that has a dark element to the film. Coens regular Michael Badalucco brings a comical performance as Frank, who seems to know everything but is really a childlike character. Tony Shalhoub is the film's best supporting performance as the fast-talking Freddy Riedenschneider with his over-the-top persona and egomaniacal tone.

Coen regular Jon Polito also brings a comical presence to the film as Creighton Tolliver while James Gandolfini brings a wonderful performance as Big Dave with his big-man persona and complex emotions when he's threatened before going to his mean, Tony Soprano mode. Longtime Coens regular (and Joel's wife) Frances McDormand delivers another masterful performance as Ed's wife Doris. McDormand brings a role as the cheating wife who is in an unhappy lifestyle but when she realizes what Ed has done for, McDormand makes her character be filled with regret and sadness as she also combines comedic elements early on. Billy Bob Thornton is the film's greatest performance as the chain-smoking Ed Crane with his restrained, quiet performance of a man who is trying to find a way out of his dismal life. Thornton gives an understated tone while having wonderful scenes with all the actors, notably Gandolfini, McDormand, Johansson, and Shalhoub. This is by far one of Thornton's best performances.

***Updated, DVD Tidbits on 9/20/04***

The film’s regional 1 DVD comes in two formats with many preferring the wide screen format. With 5.1 Digital Surround Sound for English and French plus French and Spanish subtitles, the film has loads of features. With a theatrical trailer and two TV spots, the film also includes a lovely photo gallery and a filmography of several of the film's cast and crew.

The making of feature includes interviews with Thornton, McDormand, Gandolfini, Badalucco, and Shalhoub along with the Coen Brothers and cinematographer Roger Deakins, who all give insight on what the film is about along with a few outtakes. The five deleted scenes don't add a lot to the film except three styles of haircuts and Doris' idea of a salad along with an alternate first argument scene of the courtroom with Tony Shalhoub in top form.

The film also includes two great features for fans of the Coen Brothers. One is a near-hour interview with cinematographer Roger Deakins, who had worked with Coens since 1991's Barton Fink. Deakins gives insight on the art of cinematography along with his influences and how The Man Who Wasn't There came together. While it's long, the interview is a must-see for fans and aspiring filmmakers, notably cinematographers.

The other big feature is a feature-length audio commentary from the Coen Brothers and Billy Bob Thornton, which is by far one of the funniest commentaries heard on DVD. The trio talk a lot of things in the movies including references of a story Gandolfini are telling which is true based on the life of former Coen Brothers cinematographer Barry Sonnenfeld's father. Plus, Thornton makes fun of his Sling Blade persona where he goes "Ed Crane does..." "Ed Crane kills Big Dave and talks to wife again"; "Ed Crane has a boner". Thornton also gives praises to a lot of the crew and cast, notably Scarlett Johansson who he calls "a tough kid" and the Coens admit, they find her intimidating, especially in a scene where she was supposed to eat sunflower seeds and Joel says, she looked at him as if he did something idiotic where Thornton calls her one of the best actresses around.

While the Region 1 DVD has some great moments, there is something that the Coen Brothers fans must have which is the Region 2 DVD. The Region 2 DVD has a colored-version of the movie that looks like a somewhat-bad colorization of black-and-white films but the Coens gave it some lush coloring to make it look plausible.

***End of DVD Review***

The Man Who Wasn't There is a ravishing yet dark film from Joel & Ethan Coen led by a chilling performance from Billy Bob Thornton. Featuring amazing technical work and an outstanding ensemble cast that includes Frances McDormand, James Gandolfini, Scarlett Johansson, Richard Jenkins, Michael Badalucco, Jon Polito, and Tony Shalhoub. It's a film that isn't conventional due to its unique approach to film noir while it is a film that does manage to make more sense through repeated viewings. In the end, The Man Who Wasn't There is a mesmerizing film from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

The Badge (2002 film)

Originally Written and Posted at Epinions.com on 11/9/03 w/ Additional Edits & Revisions.

The Badge is a crime drama about a divorced sheriff who investigates a murder of a transsexual prostitute who has some strange connection to the upcoming governor elections in Louisiana. Along the way, he finds himself at odds with a friend of the prostitute, his ex-wife, and authorities as he loses his badge and tries to do the right thing and uncover the truth. Written and directed by Robby Henson, The Badge is a decent crime film despite its slow pacing and unoriginal storylines. Still, with a cast led by Billy Bob Thornton, Patricia Arquette, William Devane, Sela Ward, Tom Bower, Hill Harper, Julie Hagerty, Thomas Haden Church, and Jena Malone, it’s still a very mediocre crime film.

After finding the body of a transsexual prostitute named Mona (Cindy Roubal), a local sheriff in Darl Hardwick (Billy Bob Thornton) investigates what happened as he as various locals including church leader Sister Felica (Julie Hagerty) and his deputy C.B. (Ray McKinnon) about the body. While continuing work, Darl's personal life is in shambles as he's already divorced from his district attorney wife Carla (Sela Ward) while barely having a relationship with his teenage-Goth daughter Ashley (Jena Malone). Carla wants to have higher authorities to handle the case while Darl manages to get the approval of a local judge (William Devane) to continue the investigation. Darl then meets a woman from New Orleans named Scarlett (Patricia Arquette), who is revealed to be Mona's wife. A conversation with the two is interrupted by Darl's father Bull (Tom Bower) who remains despondent over the loss of his badge as Darl wonders about the secret his father is hiding.

Scarlett decides to help Darl with the investigation as he believes something is wrong as he's convinced as it's to do with the upcoming governor election that the judge is running for against current governor Joe Breraton (Michael Arata) whom Carla is dating. Darl crashes the party the governor is having as his suspicions is raised as he asks for Carla's help who refuses to help him. With news of a new casino arriving that Sister Felicia has been protesting against, Darl gets in trouble as he's forced to give up his badge and to stay in his local parish so he can stop the investigation. After learning from his dad what is going on, Darl risks his probation to help Scarlett as they meet her friends David (Thomas Haden Church) and Gizmo (Hill Harper) as they all learn that Mona's death was all part of a conspiracy involving corruption within the government.

What makes The Badge frustrating is Robby Henson’s approach to try to make a crime drama fresh but in the process, finds itself messy in one too many subplots involved. The revealed murderer isn’t just a disappointment but the story as a whole is a mess since there’s no real background to the murder or the corruption other than the fact that these candidates wanted power. Henson’s direction is mediocre at best despite the fact he can shoot some excellent dramatic scenes that get overshadowed by its plot. The problem with the film is a lack of a narrative structure, which makes the whole film uninteresting due to its slow pacing.

On the performance front, Billy Bob Thornton is excellent as Darl as he brings out a man who is trying to do the right thing while trying to fix whatever mess in his life. Patricia Arquette is brilliant as well, since she not only plays an excellent stripper, but someone smart and demanding and she brings in some great chemistry with Thornton. William Devane is fun and sly as the villainous judge although at first, he doesn’t seem bad towards the middle of the film. As for the rest of the cast, well despite their excellent performances, it’s overall a total waste. Sela Ward is only in a few scenes in the film, often arguing with Thornton while Jena Malone is excellent as a Goth teen though her screen time throughout the film is a disappointing ten minutes. Thomas Haden Church, Hill Harper, Tom Bower, and Julie Hagerty are all underused in their roles and are just wasted throughout the entire film. In the end, The Badge is a disappointing crime drama despite a great but underused cast.

(C) thevoid99 2011