The Impostors

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

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

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

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

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

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

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

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

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

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

© thevoid99 2016

The Amazing Spider-Man 2

Based on the comic by Stan Lee and Steve Ditko, The Amazing Spider-Man 2 is the sequel to the 2012 re-boot where Peter Parker deals with new foes as well as trying to protect his girlfriend Gwen Stacy while trying to uncover the secret of his parents’ disappearance. Directed by Marc Webb and screenplay by Alex Kurtzman, Roberto Orci, and Jeff Pinker from a story by Kurtzman, Orci, Pinker, and James Vanderbilt. The film has Parker struggle with his role as superhero as he also deals with elements of his family’s past as well as deal with new foes as Andrew Garfield reprises his role as Peter Parker/Spider-Man. Also starring Emma Stone, Sally Field, Dane DeHaan, Jamie Foxx, Paul Giamatti, Felicity Jones, Campbell Scott, Embeth Davidtz, and Chris Cooper. The Amazing Spider-Man 2 is an extremely messy, bloated, and very uninteresting film from Marc Webb.

The film revolves around Spider-Man not only dealing with being a superhero who saves everyone in New York City but also coping with who he is as Peter Parker as he tries to juggle a lot in his plate as his relationship with Gwen Stacy (Emma Stone) begins to suffer. Especially as he sees ghostly visions of Stacy’s father (Denis Leary) which forces Peter to keep a promise that Gwen’s father has asked. When an old friend of Peter in Harry Osborn (Dane DeHaan) returns to take over his father’s business, Peter begins to wonder about what happened to his parents and why they left him as he faces a series of villains that all have a grudge towards Spider-Man. It’s a film that could’ve been very simple but due to many subplots and stories revolving around Parker’s struggle in his relationship with Stacy as well as the secrets about his family ends up being a film that is very incomprehensible and hard to follow at times.

The film’s screenplay is an example of how messy the film is as it tries to put a lot into the story where it would move from one subplot to another. It’s one of the reasons why the film felt hollow and unsatisfying as it is unable to really do something. At the same time, there are aspects of the script that look like it wanted to say something but it ended up being cut out in the end due to time constraints and such. The villains in the film aren’t very interesting as Aleksi Sytsevich (Paul Giamatti) is just a crazed thief who only appears in an early sequence and at the film’s ending. The character Max Dillon (Jamie Foxx) starts off as this nerd whom Spider-Man saves but an accident involving electric eels where he becomes Electro has him end up being one of the lamest villains ever. While the character arc of Harry Osborn is sort of interesting, the payoff in having him become the Green Goblin is another disappointing moment.

There’s so much in the script that really fails to really do anything as the story involving Peter’s father Richard (Campbell Scott) does get unveiled but ends up raising more questions about exactly what was Norman Osborn (Chris Cooper) trying to do that led to Richard’s disappearance. Even as it relates to Harry who is succumbing from a disease that would claim Norman as it would play into this confrontation between him and Peter in the third act. There’s attempts to put in some humor in the film as it involves a captured Electro and a mad scientist in Dr. Kafka (Marton Csokas) which doesn’t work at all. While the few highlights in the script involves Peter trying to maintain his friendship with Gwen as well as trying to get answers from Aunt May (Sally Field) about his father. It’s not enough to really save the film from being interesting.

Marc Webb’s direction is definitely all over the place as it’s clear that he was trying to do something where he wants to give audiences everything they want. Instead, it’s a film that feels like several different movies that all feature Spider-Man but none of it really feels cohesive. The sequence of Spider-Man chasing Sytsevich that is inter-cut with Gwen becoming valedictorian is an example of what the film is going to be as it tries to be funny and exciting but ends up being very incomprehensible. While Webb does keep things simple for scenes involving Peter and Gwen as it includes a few funny moments, some of the humor does feel forced such as a scene where a security officer (B.J. Novak) tries to go after Gwen.

It’s among the many issues that the film has where Webb definitely feels overwhelmed by the scale as some sequences such as Spider-Man’s first battle with Electro in Time Square is quite bloated as would the climatic two-on-one battle between Electro and the Green Goblin. There’s very little chance for the audience to grasp into what is happening where it meanders in some places while the payoffs end up being very disappointing. Then there’s the ending which is very clear that Webb isn’t in control as it does feel over-drawn and overblown to set things up for the next film. Even as there’s parts of the film where it feels like they’ve been cut down to get things moving as it feels like they’re part of something longer. All of which is shown that it’s a studio that is in control of the film and the overall result is a film that doesn’t bring anything exciting nor anything that is remotely entertaining but rather pointless and empty.

Cinematographer Daniel Mindel does some nice work with cinematography for some of the scenes in New York City but it never really does anything to stand out visually as it often feels like it‘s dominated by visual effects. Editor Pierto Scalia does terrible work with the editing as it plays into too much fast-cutting for the action scenes while some of the montages of Spider-Man doing his duty is comically bad. Production designer Mark Friedberg, with set decorator Susan Bode and supervising art director Richard L. Johnson, does excellent work with the set pieces from the look of the Oscorp building and its main office as well a few places in the city. Costume designer Deborah Lynn Scott does good work with the costumes as it‘s mostly casual with the exception of the corporate clothes of the people at Oscorp.

Makeup designer Ve Neill does some OK work with the look of Electro in his electronic state though the look of the Green Goblin ends up being very silly. Visual effects supervisor Gregory L. McMurry does some superb work with the visual effects for the way Spider-Man moves around with his webs though some of it is very bloated such as the scenes involving Electro with all sorts of electricity that just looks dumb. Sound designers Eric A. Norris and Addison Teague do some fine work with the sound though some of the sound effects feels like they‘re trying to create sounds for dubstep records which were unnecessary. The film’s music by Hans Zimmer, Johnny Marr, and Pharrell Williams has some worthwhile moments in its orchestral score from Zimmer with some guitar flourishes by Marr yet much of the contributions from Williams as well as Junkie XL, Michael Einzinger, and a few others are awful as it ranges from bad dubstep electronic music to other bombastic moments that are terrible while some of the music contributions from Phillips Phillips and OK Go is just crap.

The casting by Kathleen Chopin definitely has some moments though many of the actors that do appear in the film definitely are wasted in some uninspiring parts such as Felicity Jones as Harry’s assistant Felicia, B.J. Novak as an Oscorp securities officer, Campbell Scott and Embeth Davidtz as Peter’s parents in the film’s opening sequence, Colm Feore as an Oscorp executive who tries to cover things up from Harry, and Denis Leary in a very silly performance as Gwen’s late father who continuously haunts Peter about keeping that vow. Marton Csokas is hilariously awful as Dr. Kafka who is this mad scientist that seems to be from another film as he’s playing music from A Clockwork Orange as it’s a performance that is just mind-numbingly stupid to watch. Chris Cooper is OK in his brief role as an ailing Norman Osborn who warns Harry about what will happen to him as it’s a good performance but definitely under-written considering Norman’s history with Peter’s father.

Paul Giamatti is horrible as Aleksi Sytsevich as this Russian criminal who battles Spider-Man early in the film as he sports a bad accent as he isn’t seen until he is part of the film’s over-drawn ending as Rhino. Sally Field is excellent as Aunt May as she is trying to cope with being all alone and caring for Peter while admitting that there’s some dark truths in relation to Peter’s father that she doesn’t want Peter to know about. Jamie Foxx is alright as Max Dillon/Electro as this nerd who thinks he’s special when he meets Spider-Man only to get into an accident as he becomes this very lame villain which doesn’t do anything for Foxx. Dane DeHaan is pretty good as Harry Osborn as this old friend of Peter who learns he is dying from a disease only to go crazy as DeHaan does goes overboard with being over the top while looking very stupid as the Green Goblin.

Emma Stone is wonderful as Gwen Stacy as Peter’s longtime girlfriend who copes with him being the superhero as well as the vow he made with her father as she tries to uncover the things that Oscorp is hiding. Finally, there’s Andrew Garfield in a fine performance as Peter Parker/Spider-Man as Garfield has some moments where he is being cool and anguished but some of the humorous moments feel awkward as well as some of the very emotive scenes as it’s really due to the script that doesn’t do him any favors.

The Amazing Spider-Man 2 is a film that doesn’t live up to its amazing namesake. In fact, it is an absolutely horrific and extremely lifeless film that doesn’t offer very much other than elements of boredom and too many storylines that it is hard to follow. It’s a film that showcases what happens when a franchise gets re-booted for the wrong reasons and in the hands of people who don’t know a thing about films. In the end, The Amazing Spider-Man 2 is a horrendously bloated and nonsensical film from Marc Webb and the people of Sony and Marvel.

Spider Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - Spider-Man: Homecoming - Spider-Man: Into the Spider-Verse - Spider-Man: Far from Home - Spider-Man: No Way Home - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)

© thevoid99 2014

The Amazing Spider-Man

Based on the comic by Stan Lee and Steve Ditko, The Amazing Spider-Man is an origin story of how a teenage Peter Parker became Spider-Man as he searches for what happened to his parents while meeting a scientist who knew his father. Directed by Marc Webb and screenplay by James Vanderbilt, Alvin Sargent, and Steve Kloves from a screen story by Vanderbilt. The film is new interpretation into the Spider-Man saga by interpreting a new take on Spider-Man’s origin story as he is played by Andrew Garfield. Also starring Emma Stone, Rhys Ifans, Denis Leary, Campbell Scott, Irrfan Khan, Campbell Scott, Sally Field, and Martin Sheen. The Amazing Spider-Man is an enjoyable blockbuster from Marc Webb.

The film is essentially a re-telling of the origin story of how Peter Parker became Spider-Man as it relates to the disappearance of his parents and why he had to live with his uncle Ben (Martin Sheen) and aunt May (Sally Field). The film also explores his relationship with his high school classmate Gwen Stacy (Emma Stone) whose father is the police captain George Stacy (Denis Leary) who is suspicious about Spider-Man’s vigilante antics. Yet, the story follows Parker trying to find answers into why his parents disappeared which leads him to meet Oscorps scientist Dr. Curt Connors (Rhys Ifans) who had been trying to create a regeneration formula that can help restore limbs for humans where Parker helped out giving him an algorithm. Instead, things go wrong when Dr. Connors becomes the Lizard forcing Spider-Man to stop him unleash the formula all over New York City.

The screenplay by James Vanderbilt, Alvin Sargent, and Steve Kloves does allow the film to be both a superhero origin story as well as a bit of mystery where it relates to Peter Parker’s search for answers on not just about his parents but also some of the secrets his father had been hiding. Notably the algorithm in a folder that he had been hiding as he showed to Dr. Connors where Parker would unfortunately set off some things that he shouldn’t have. Along with other incidents that Peter Parker would have to endure, he realized the role he has to play along with the responsibility he would have to carry for all of his life. Still, the film is more about how Parker became Spider-Man and how he would have to bear the responsibility of his role though there are several things in the script like what really happened to Peter’s parents that remain unresolved.

While characters like Uncle Ben, Aunt May, Gwen, and Captain Stacy do get provide some key aspects to the story. It’s Dr. Connors who is the most interesting as he is a man who has good intentions for regeneration as he’s a man that had lost his right arm. Yet, there’s an ambiguity to Dr. Connors as he might know about what happened to Peter Parker’s parents or he doesn’t know what really happened as his superior Dr. Ratha (Irrfan Khan) makes a threat about revealing something that relates to Parker’s parents. Yet, Dr. Connors attempt to test his regeneration formula would have some dire consequences as he becomes this giant lizard that is wreaking havoc on New York City.

Marc Webb’s direction is pretty good as he does a lot of what is expected in a superhero blockbuster story while he also finds the time to make it standout a bit from the previous Spider-Man films that were helmed by Sam Raimi. Notably as he creates some engaging moments in the drama as well as some of the humor of the film that includes a hilarious scene of Spider-Man and the Lizard fighting in a library. While it is shot on location in New York City, there are some scenes where it’s a mix of real-life action and CGI where Webb creates moments that are engaging though there are some shortcomings which relates to the story. Overall, Webb creates a solid and entertaining blockbuster film that does what is needed to do though it doesn’t do enough to make it standout more against its predecessors.

Cinematographer John Schwartzman does nice work with the film‘s cinematography from the look of the day and nighttime exterior scenes to some stylish moments for some of the film‘s nighttime interiors with its lighting schemes. Editors Alan Edward Ball, Michael McCusker and Pierto Scalia do terrific work with the editing as it‘s stylized in a few montages as well as some rhythmic cuts for the film‘s action sequences. Production designer J. Michael Riva, with set decorator Leslie A. Pope and supervising art director David F. Klassen, does excellent work with the look of the Oscorp building and some of its labs inside the building.

Costume designer Kym Barrett does good work with the costumes as it is mostly casual. Visual effects supervisors Jerome Chen, Kevin Kolodinsky, and Jim Rygiel superb work with some of the visual effects of Spider-Man flinging his web from place to place as well as the look of the Lizard. Sound editor Shannon Mills and Addison Teague do wonderful work with the sound to create some nice sound effects as well as some moments in the film‘s action scenes. The film’s music by James Horner is brilliant as it is a mix of orchestral bombast as well as some somber piano pieces to play out some of the growing pains Peter Parker goes through. The soundtrack is decent as it features a few rock cuts by the Shins and Phantom Planet as well as a piece from Coldplay that is just terrible.

The casting by Francine Maisler is remarkable for the ensemble that is used for the film as it features some memorable small appearances from C. Thomas Howell as a father whose son was saved by Spider-Man as he would return the favor, Chris Zylka as school bully Flash Thompson, Hannah Marks as a classmate of Parker, Campbell Scott and Embeth Davidtz as Peter’s parents who appear early in the film, and a hilarious cameo from Stan Lee as a librarian who is oblivious to the fight Spider-Man and the Lizard. Irrfan Khan is OK as Dr. Connors’ superior Dr. Ratha where Khan doesn‘t really get much to do except be used as someone who would drive Dr. Connors into drastic situations. Sally Field is great as Aunt May who worries about Peter’s activities as she also has to remind him that she will always worry about him. Martin Sheen is superb as Uncle Ben Parker as a man who is concerned about Peter while instilling him the role that Peter would have to use as a person.

Denis Leary is excellent as Captain George Stacy as a man is trying to maintain his role as a man of law and order as he sees Spider-Man as a vigilante while trying to deal with the Lizard. Rhys Ifans is brilliant as Dr. Curt Connors as a man whose experiments on regeneration wants him to do good but has him becoming maniacal and ambitious as he nearly loses sight on himself. Emma Stone is very good as Gwen Stacy as a classmate of Peter who knows a lot about science as she also tries to deal with his role as Spider-Man as she would help him fight the Lizard. Finally, there’s Andrew Garfield in a marvelous performance as Peter Parker/Spider-Man as Garfield infuses all of the anxiety of a teenage boy as well as someone who is troubled by what he’s dealing with as Garfield adds a lot of dramatic weight to his performance that makes him a major highlight of the film.

The Amazing Spider-Man is a very stellar film from Marc Webb that features an amazing performance from Andrew Garfield. Along with a strong supporting cast and a unique take on the origin story, it’s a film that is definitely enjoyable and engaging to watch though it does have a few flaws in the shortcomings to the screenplay. In the end, The Amazing Spider-Man is a pretty good film from Marc Webb.

Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man 2 - Spider-Man: Homecoming - Spider-Man: Into the Spider-Verse - Spider-Man: Far from Home - Spider-Man: No Way Home - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)

© thevoid99 2013

Roger Dodger

Written and directed by Dylan Kidd, Roger Dodger is the story of a womanizing businessman who takes his visiting 16-year old nephew on a night on the town to meet women. There, the man tries to teach his nephew the ways to get laid and be a ladies man. Starring Campbell Scott, Jesse Eisenberg, Elizabeth Berkley, Jennifer Beals, and Isabella Rossellini. Roger Dodger is a witty yet engrossing comedy from Dylan Kidd.

Roger Swanson is a cynical and chauvinistic advertising copywriter who had just been dumped by his own boss Joyce (Isabella Rossellini). Needing to hang around in bars to tell women all of the things they’re doing with the wrong men, Roger is looking to score. Then on a workday where Joyce is having a party as he is uninvited, Roger’s 16-year old nephew Nick (Jesse Eisenberg) makes an unexpected visit as he arrived for an interview with Columbia University. The two chat as Roger decides to take the socially-awkward Nick on a night on the town to show the way to win the heart of a woman and score. After a few pointers, the two arrive at a bar where they meet two beautiful women in Andrea (Elizabeth Berkley) and Sophie (Jennifer Beals). Though Roger tries to help Nick score with the two ladies, Nick’s shy persona manages to win them over despite Roger’s aggressive behavior.

Later that night, Roger decides to crash Joyce’s party to give Nick another shot to score. There, Nick meets Joyce’s drunk secretary Donna (Mina Badie) while Roger hopes to get some revenge on Joyce after learning that is friend Donovan (Ben Shenkman) is going out with her. Though Nick takes a chance to score with Donna, he couldn’t leaving Roger upset over the night as Nick desperate pleads for one more shot. What would happen have Roger question about what he’s doing for his young nephew.

The film is essentially the tale of a man teaching his young nephew how to score with women only to get a few lessons about what kind of man he really is. It’s a plot that is quite simple as writer/director Dylan Kidd explores a man who is essentially a scorned prick that has very cynical views about women and the way he treats them. When he’s dumped by his much older yet more experienced woman who treats Roger the same way he treats women. This would lead him to find a way to exact revenge while helping out his young nephew in the ways of winning this woman over. Though there’s a lot about Roger that is un-likeable, he is still an interesting character who is trying to navigate the world of winning a woman over while telling them that they should go for a guy like him instead of the usual sleaze balls that are all over New York City.

With his nephew on board, Roger would show him how to win a girl over through confidence and a coolness though it is a bit much to the more awkward Nick. What happens is that Nick’s awkwardness and honesty manages to win over some older ladies while he also does something that his uncle is able to do. He acts like a gentleman in the most surprising way much to his uncle’s chagrin although it’s all about trying to get laid. Kidd’s screenplay is very loose in its storytelling as it’s driven by lots of dialogue that is quite engaging about the way men try to win over a woman. He also creates character that are very unique and flawed while finding a way for Roger to show that he isn’t a total prick late in the film. After all, he is an uncle who realizes he is responsible for this young kid that is way over his head in his quest to get laid.

Kidd’s direction is very engaging in its cinema verite style as he always has the camera on something. Shot on location in New York City and with a hand-held camera, Kidd goes for a style that is entrancing where he is often shooting from afar for a few scenes. Some of it is to create the kind of atmosphere that is New York City as a man takes this young teen to a world where it’s go-go-go. With these entrancing shots and amazing close-ups, Kidd definitely creates a film that is very smart but also engrossing for its compelling story of a man teaching a teen how to score.

Cinematographer Joaquin Baca-Asay does excellent work with the wonderful look of the NYC nightlife for its gorgeous exterior settings to more low-key yet atmospheric touches for the interior scenes. Editor Andy Keir does a fantastic job with the editing to play up the swift rhythm of the conversations at the bar to the methodical pacing for Roger to help teach Nick in the ways to woo a woman. Production designer Stephanie Beatrice, along with set decorator Brenna Griffin and art director Dina Varano, does nice work with the set pieces created such as Joyce‘s lavish apartment and its lobby to the more simple look of Roger in his home apartment.

Costume designer Amy Wescott does very good work with the costumes from the stylish dresses the women wear to the more casual look of Nick. Sound recordist Theresa Radka does terrific work with the sound to capture the raucous world of the NYC nightlife in its parties, bars, and some of exterior parts of the city. The film’s score by Craig Wedren is superb for its low-key electronic-jazz score that features pieces co-written with former Nine Inch Nails keyboardist Lee Mars to play up the energy of the NYC nightlife.

The casting by Laylee Olfat and Marcia Turner is brilliant for the array of actors that is cast for this film. Among the small but notable appearances for the film, there’s Morena Baccarin as a woman in the bar Roger tries to warn, Courtney Simon as Nick’s mother, Chris Stack as a co-worker of Roger‘s, Mina Badie as Joyce’s secretary whom Nick meets at a party, and Ben Shenkman as a friend of Roger who would end up being Joyce’s new boyfriend. Isabella Rossellini is wonderful as Roger’s boss/ex-girlfriend Joyce who treats Roger in a similar way in the way he treats women only to torment him with her wisdom. Elizabeth Berkley and Jennifer Beals are great in their respective roles as Andrea and Sophie who are wowed by Nick’s awkwardness as well as his honesty.

Campbell Scott is amazing as the smarmy Roger who tries to score with women with his thoughts on life and everything else while teaching his young nephew in how to win a woman. It’s a very charismatic and broad performance from Scott as he definitely rises up to the challenge and more for this part. Finally, there’s Jesse Eisenberg in a true breakthrough performance as Nick. Bringing a real sense of low-key humor to his awkward character, there’s an innocence to Eisenberg’s performance as this young kid who has no clue on how to woo a woman while doing things in the most surprising manner. It is definitely one of the great performance for any newcomer as it’s definitely the start of a tremendous career for Eisenberg.

Roger Dodger is an extraordinary comedy from Dylan Kidd that features top-notch performances from Campbell Scott and Jesse Eisenberg. Along with a wonderful supporting female cast that features Elizabeth Berkley, Jennifer Beals, and Isabella Rossellini. It’s a film that allows audience to see how a man tries to navigate his nephew into scoring with them. In the end, Roger Dodger is a smart and entertaining film from Dylan Kidd.

© thevoid99 2012

The Sheltering Sky

Originally Written and Posted at Epinions.com on 8/17/07 w/ Additional Edits.

1987's The Last Emperor marked a triumph for Italian director Bernardo Bertolucci as the film won several Academy Awards including Best Picture and a Best Director prize for Bertolucci. Following its award-winning success, Bertolucci and producer Jeremy Thomas decided to embark on another ambitious film that was to follow The Last Emperor in a trilogy of epic films relating to outside cultures and landscapes that would conclude with 1993's Little Buddha. For the second part of his trilogy, Bertolucci released a film based on Paul Bowles' novel of a New York couple traveling to North Africa with a friend as their own marriage disintegrates where the attempt to save their marriage ends in despair. The book from 1947 was finally made into a film for 1990's The Sheltering Sky.

Directed by Bernardo Bertolucci with a script written by Mark Peploe, The Sheltering Sky is an ambitious, epic, romantic film about a couple trying to save their marriage in North Africa only to find faults and failures that also included the involvement of other people. Shot on location in Morocco, Algeria, and Niger, the film unveils some of the most breathtaking images of the desert shot by Bertolucci's longtime cinematographer Vittorio Storaro. Starring John Malkovich, Debra Winger, Campbell Scott, Timothy Spall, Jill Bennett, and Paul Bowles as the film’s narrator. The Sheltering Sky, despite its breathtaking images, is a clumsy, dense film from Bernardo Bertolucci.

It's the late 1940s as an American couple named Port (John Malkovich) and Kit Moresby (Debra Winger) arrive onto a port in North Africa accompanied by their friend Tunner (Campbell Scott). While Tunner hopes to spend a month at least in Tangier, the Moresby are travelers hoping to spend maybe a year or two in North Africa to explore its wonders. Their marriage however, is failing as they spend their time alone and sleep in different rooms. Tunner sleeps in another room while he often tries to court Kit. When Port describes a dream that upsets Kit, they receive an unexpected visit by and Englishman named Eric Lyle (Timothy Spall) and his mother (Jill Bennett). Planning to travel through the desert for their next trip, Port wanders around Tangier where he meets a man named Smail (Ben Smail).

After encountering a little village and tribe where he encounters a hooker (Amina Annabi), she attempts to steal his wallet but fails as he nearly gets mugged. Upon returning to the Grand Hotel, Port begins to suspect a possible affair between Kit and Tunner. With Kit deciding to travel with Tunner by train, Port is accompanied by the Lyles on their trip through the desert to a nearby town. With both parties arriving, it's clear that Kit has been attracted to Tunner as they keep their affair a secret. Port meanwhile, is often asked by Eric for a loan about a possible endeavor. Port gives him a bit of money to be rid of the Lyles as he and Kit go on a bike ride through the desert. In another attempt to save their marriage, they go to a spot where they see the beautiful Sahara Desert. Unfortunately, their lack of passion and the years they've been in have made them cold.

Now going through the desert by bus, the Moresby and Tunner travel yet again as Tunner finds everything to be frustrating as he decides to leave the journey. Port and Kit continue their North African journey unaware of an epidemic coming through the various villages as flies are surrounding them. Port finds himself ill all of a sudden as Kit begins to worry. They continue on their trip to another town but Port is becoming increasingly ill. Things get worse as they find themselves in the middle of a sandstorm. With Kit now worried, she now fears for her own future as she suddenly finds herself being seduced and accompanied by a mysterious young man named Belqassm (Eric Vu-An). Taken to another village, she finds herself in the middle of a culture clash wondering what has this journey really been about.

Given Bertolucci's love of exotic cultures and existential explorations, the film is really about a journey gone wrong with jaded intellectuals being completely unaware of the world that is foreign to them. With the text from this famous novel by Paul Bowles, it's clear that the film's major weakness is in its adaptation. Those who haven't read the book (including myself), definitely will be bewildered by the film's unique narrative. Yet, it makes for a very awkward and detached sense of wonder for the audience who haven't read this book. Even for someone who might've read this book will notice a lot of missing subplots and things from that book.

The film's major weakness is the script by Bertolucci and brother-in-law Mark Peploe, largely because there's not much back story for the film’s protagonists nor is there any are they very interesting in some ways. Port is a self-indulgent and very pretentious though he has some redeeming qualities. Kit is also as detached since she often spends her time in a hotel room alone or with Tunner. Bertolucci, the director, does seem to make up for it with his visual composition and staging. Yet, because of the material he's working on, some of the drama doesn't feel right and the dialogue between Kit and Port is very dense that it seems that a character like Tunner and the audience have a hard time understanding their motives.

The film's narrative is wonderfully structured but uneven as well. Yet, it is unique in some ways since the first part is about Kit's unconventional take on the journey to Africa, the second act being about Kit and Port's disintegrating marriage. Yet, it all goes well despite some road bumps and then comes this third act. All of a sudden, it starts to feel and look like a different film with Kit now being the center of attention. Yet, it makes the entire film feel clunky despite some great scenes that Bertolucci has created and such. Yet, despite all of his intentions and his approach to the storytelling, Bertolucci does create a film that is interesting yet very flawed.

Longtime cinematographer Vittorio Storaro brings a majestic, gorgeous look to the film that makes up for any flaw that it has. Some of the film's interiors including a shot of sunlight in a hotel room looks very close to the old-school, Technicolor cinematography of late 50s/early 60s cinema. The exteriors also has an old-school feel that includes amazing shots of the desert with wonderful set-ups and epic scopes that has to be seen on a widescreen format. Storaro's use of colors whether it would be the blue-evening light or yellow sunlight is always jaw-dropping as his work with Bertolucci as well as other directors like Francis Ford Coppola and Warren Beatty is often top-notch.

Production designers Gianni Silvestri and Ferndinando Scarfiotti along with art director Andrew Sanders create a unique look to the film's period design from the cars to the cramped hotel rooms the Moresby lives. Given the locations they're in, each set piece is wonderfully decorated to give that sense of authenticity. Costume designer James Acheson also brings wonder to the costumes with the sheik-like clothing in the third act, the suits that the men wear, and the 40s dresses that Debra Winger wears throughout for almost the entire film. Editor Gabriella Cristiani brings a nice, elliptical pacing of sorts to the film while using intense cuts to convey the suspense of drama of some of the film's scenes. Sound editor Don Sharpe helps with the film's amazing sound to convey the horror of sandstorms and other surroundings in the desert.

Then there's the amazingly haunting, intensely dramatic score by Ryuchi Sakamoto that is filled with bass-heavy arrangements, lots of strings, and chords that convey the film’s bleak tone. Sakamoto's score is really one of the film’s highlights that also includes traditional, North African music from Richard Horowitz that is filled with a lot of rhythm and mysticism as the land itself. Along with several different kinds of music from the late 1940s, the film's soundtrack is rich in its diversity.

Finally, there's the film's cast that doesn't exactly feature a large ensemble but memorable performances and appearances. There's a few notable small roles from Amina Annabi and Ben Smail as Tangier natives along with a cameo from Italian film starlet Nicoletta Braschi as a French woman in a cafe scene early in the film. Eric Vu-An is good in his mysterious role as a nomad traveler who makes most of his appearance with just his look. A very exotic look who manages to charm Debra Winger. Jill Bennett and Timothy Spall are fine as the irritating Lyle with Bennett as this posh, smug photographer and Spall as a slimy, wormy thief who wants to be rid of his mother. In many ways, maybe this is why Spall got the role of Wormtail in the Harry Potter films.

In one of his early film roles, Campbell Scott is good as the charming, somewhat ignorant Tunner who seduces Kit while trying to understand their fascination with traveling. Scott makes the most of his role despite the fact that it's very underdeveloped. It's just a caricature of a lot of tourist-like characters as Scott would later do better work in the years to come. Debra Winger is fine in her role as Kit but doesn't seem give any real kind of life to the role. I'm not sure whether it's the character or Winger's performance but the character of Kit isn't that interesting. Sure, she looks pretty but her character just seems very detached from everything. Winger is a fine actress and is still better than most stars, it's just that she often seems overlooked.

John Malkovich is actually the film's best performance but that isn't saying much either. While there's some scenes where he and Winger are great together. There's some that don't work which is due to the script. Yet, Malkovich makes the most of it with his self-absorbed, pretentious performance that is always fun to watch. Malkovich usually often would rise above the material, especially as clunky as a film like this. Though his character isn't that interesting, Malkovich does pull all the stops, even as his character starts to become ill that shows wonderful dramatic range.

When the film was released in 1990, expectations were very high considering that it's a film by Bernardo Bertolucci and that he had just come off winning 9 Oscars for The Last Emperor. Instead, the film received mixed reviews and mediocre box office that it was a huge disappointment. Though there were praises towards the film's score and Vittorio Storaro's cinematography, it was a disappointment of sorts from Bertolucci. While he would return with a somewhat better film for 1993's Little Buddha, it was clear that Bertolucci had seen better days.

Despite some of the film's major flaws, The Sheltering Sky is still an interesting yet clunky film from Bernardo Bertolucci and company. While compared to some of his masterpieces like The Conformist, Last Tango in Paris, and The Last Emperor along with other great films like 1900 and The Dreamers, this film is really minor in some ways. Fans of Bertolucci will enjoy the film's epic scope and scenery, unless they hadn't read the book, they will feel like this is minor work. In the end, despite some of those triumphs. The Sheltering Sky is a good film from Bernardo Bertolucci but one would expect a lot more from the Italian auteur.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider's Stratagem) - The Conformist - Last Tango in Paris - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - Little Buddha - Stealing Beauty - (Besieged) - The Dreamers - (Me & You)

© thevoid99 2011