Middle of Nowhere (2012 film)

 

Written and directed by Ava DuVernay, Middle of Nowhere is the story of a woman who drops out of med school to deal with her husband’s prison sentence that leads her to a journey of self-discovery. The film is a study of a woman dealing with not just the actions of her husband but also some things about herself forcing her to find her own path. Starring Emayatzy Corinealdi, Omari Hardwick, Edwina Findley, Sharon Lawrence, David Oyelowo, and Lorraine Toussaint. Middle of Nowhere is a somber and compelling film from Ava DuVernay.

Following events that lead to her husband’s criminal activities which forces him to serve 8 years in prison, the film follows a woman who is trying to live her life while often visiting her husband who is getting a chance to be paroled. It is a film that explores a woman who had a lot going for her only for her life to fall apart as she drops out of med school and works as a nurse at a local hospital while taking care of her nephew for her sister who is struggling to find work on her own. Ava DuVernay’s screenplay does follow a straightforward narrative yet it is really more of a character study of this woman in Ruby (Emayatzy Corinealdi) who is a registered nurse a local hospital in Southern California as her husband Derek (Omari Hardwick) is serving about to serve his fifth year in an eight-year prison sentence as the news of him getting a parole brings joy for Ruby.

Yet, there are some complications for that to happen where Ruby asks her mother Ruth (Lorraine Toussaint) for help in getting their attorney Alberta Fraine (Sharon Lawrence) to help out despite her busy schedule. The script doesn’t just play into Ruby’s own dedication to helping out her husband while doing what she can to help her family but also in sacrificing aspects of her own life including what she wanted as her mother feels disappointed that Ruby never finished med school. The film’s second half involves Ruby spending time with a bus driver in Brian (David Oyelowo) whom Ruby sees on her route to work all the time as it play into revelations about her husband’s activities in prison that also relates to why he went to prison. For Ruby, the film’s second half is about a journey into herself and all of the sacrifices she made for her husband as it has her questioning many aspects of her life while spending some time with Brian.

DuVernay’s direction does bear some style in terms of its presentation of montages and flashbacks yet much of her direction is largely straightforward as it is shot on location in various areas in Los Angeles. While there are some wide shots in the film to get a scope of the prison exterior, much of DuVernay’s direction is intimate in its usage of medium shots and close-ups. Notably in the scenes where Ruby arrives in prison as she goes through a routine to enter to meet Derek as well as what she does every day where she works the night shift as a nurse. DuVernay also maintains this air of claustrophobia in her close-ups as it play into Ruby’s own world coming apart as she is trying to get her husband released for his parole hearing as well as the pressures from her family. DuVernay’s compositions do add that air of drama but also some light-hearted moments that include scenes where Ruby spends time with her sister Rosie (Edwina Findley) and her son Nickie (Nehemiah Sutton) as well as a scene in the third act where Ruby and Brian go see an art house movie that confuses the latter. Still, DuVernay does play into some of the dramatic suspense such as the parole hearing in the film’s second act that is a key moment in the film that changes everything for Ruby.

The second act does play more into DuVernay’s claustrophobic presentation in some of the dramatic moments as does the third act in a scene where Ruby, Rosie, and Nickie are having a quiet dinner with Ruth that is filled with a lot of tension. DuVernay also play up into the decisions Ruby is making for herself with those such as Derek’s friend Rashad (Troy Curvey III) who discovers what Ruby is doing with Brian as he threatens to tell Derek. It does play into this decision that Ruby needed to make for herself even though she still loves Derek despite all of the shit he put her through. Overall, DuVernay crafts a mesmerizing and compelling film about a woman dealing with her identity and her relationship with her incarcerated husband.

Cinematographer Bradford Young does brilliant work with the film’s cinematography with its usage of available and low-key natural lighting for many of the exterior and interior scenes in the day as well as using little lighting for some of the scenes at night to give it a sense of realism. Editor Spencer Averick does excellent work with the film’s editing as it is straightforward with a few montages and jump-cuts where the latter is for dramatic reasons. Production designer Claudia Roque does fantastic work with the look of the home that Ruby lives in as well as Ruth’s own home as it play into this world of modesty but also what Ruby has to live with from the life she used to have.

Costume designer Stacy Beverly does nice work with the costumes as it is largely straightforward including some of the expensive clothes she wore for the parole hearing. Sound editor Kunal Rajan does terrific work with the sound as it is straightforward but also to capture the hollow textures of the prison rooms as well as the exterior scenes in the streets. The film’s music by Kathryn Bostic is wonderful as it is a largely ambient-based score that play into the drama while music supervisor Morgan Rhodes creates a soundtrack that features elements of hip-hop, R&B, and indie including cuts from Little Dragon, Afua Richardson & Alexa Edmonds Lima, Jimi James, Goapele, J Mitchell & Melodious Fly, Aybee featuring Omega, Fink, Natalie Gardiner, Trek Life & Oddisee, the Nonce, and Spektrum.

The casting by Aisha Coley is remarkable as it feature some notable small roles from Maya Dunbar as a former girlfriend of Derek in Gina who confronts Ruby early in the film, Troy Curvey III as Derek’s friend Rashad who is not happy with Ruby’s social activities, Nehemiah Sutton as Rosie's’ son Nickie who is fond of Ruby and asks when his uncle is coming home, and Sharon Lawrence in a terrific small role as the attorney Alberta Fraine who arrives for the parole hearing despite her ever-busy schedule. Edwina Findley is superb as Rosie as Ruby’s sister who is trying to find work as she also deals with Ruby’s own situation knowing that Derek did a lot to hurt her. Lorraine Toussaint is excellent as Ruby and Rosie’s mother Ruth as a woman who spends time taking care of her grandson while lamenting over the unfulfilled promises that her daughters had including Ruby whom she felt was meant for so much more.

David Oyelowo is brilliant as Brian as a bus driver whose bus Ruby rides as he befriends her at a party and later meet her at another party as the two begin a relationship despite knowing that she’s married and he’s divorced with a child while offering her something stable. Omari Hardwick is amazing as Derek as Ruby’s incarcerated husband who is serving an eight-year sentence as he is given a chance to be paroled where he finds himself doing things as well as keeping secrets from Ruby that puts his chance to be released in jeopardy. Finally, there’s Emayatzy Corinealdi in an incredible performance as Ruby as a former med student who works as a registered nurse at a local hospital that is desperate to try and get her husband out while dealing with the things she sacrificed her life as it is a fierce and somber performance as it play into the sacrifices of a woman who lost part of her life due to her love for her husband.

Middle of Nowhere is a marvelous film from Ava DuVernay that features a phenomenal leading performance from Emayatzy Corinealdi. Along with its ensemble cast, character study, naturalist visuals, and its haunting music score. The film is definitely a compelling drama that explores a woman who is trying to get her husband home but also deal with the sacrifices she made for herself. In the end, Middle of Nowhere is a remarkable film from Ava DuVernay.

Ava DuVernay Films: (This is the Life (2008 film)) – (I Will Follow) – Selma - 13th (2016 film) - (A Wrinkle in Time (2018 film))

© thevoid99 2022

A Most Violent Year

 

Written and directed by J.C. Chandor, A Most Violent Year is the story of an immigrant businessman who is trying to expand his small business into something bigger amidst one of the most tumultuous years filled with violence and corruption in New York City. The film is an exploration of a man and his wife who are forced to take action when their small business is being threatened by the competition leading to a dark wave of violence. Starring Oscar Isaac, Jessica Chastain, Alessandro Nivola, David Oyelowo, Catalina Sandino Moreno, and Albert Brooks. A Most Violent Year is a gripping and harrowing film from J.C. Chandor.

It’s the winter of 1981 during one of its tumultuous years as an immigrant businessman is trying to buy a refinery as he finds himself being targeted by competitors where many of his trucks are stolen as it leads to harrowing acts of violence. It is a film that explore a moment in time just as this man who had worked his way to become an American citizen as he owns a small heating oil company as he’s managed to become successful and with a wife and family but he is also an idealist who wants to do things the right way. J.C. Chandor’s screenplay follows a month in the life of Abel Morales (Oscar Isaac) who is about to embark on a major deal that would expand his empire but the theft of trucks by hoodlums threaten this deal as well as questions about his business dealings where an assistant district attorney in Lawrence (David Oyelowo) believes Abel is hiding something.

While Abel’s wife Anna (Jessica Chastain) is looking into their books and their attorney Andrew Walsh (Albert Brooks) is trying to handle all of the legal issues. Both Anna and Andrew urge Abel to fight fire with fire as they suspect their competitors are involved as it lead to the assault of one of their drivers in Julian (Elyes Gabel) and one of their young salesman in Alex (Ben Rosenfield). Abel however is convinced that violence isn’t the answer as he knows Lawrence is after him while he is trying to ask his competitors to stop the violence unaware that these hired thugs are just trying to hurt his business. Then there’s Julian who would have another encounter with thugs that lead to trouble where Abel asks Julian’s wife Luisa (Catalina Sandino Moreno) about his whereabouts as his activities would threaten everything Abel is hoping to have.

Chandor’s direction definitely echoes a lot of the films of the 1970s in terms of the crime drama as it play into this man trying to expand his small business empire into something bigger but without trouble and violence during a period of violence in New York City. Shot on location in New York City and areas around the city, the film does play into this cold winter where there is a lot of chaos that include these trucks being stopped either during traffic jams or coming out of a toll booth. Chandor’s usage of wide and medium shots do play into the scope of the city as well as an intense chase scene during the third act through a tunnel and later into a subway is among these moments in the film where there is a lot of suspense. The film also has these small moments that do play into the drama as it relates to a handgun that one of Abel and Anna’s daughters had found following an attempted attack on Abel that got botched. Chandor also play into the stakes of what Abel is trying to do as this piece of property he acquired and his intentions for it yet he has 30 days to make the down payment or else the owners will sell the property to one of Abel’s competitors.

Chandor also play into this underworld that Abel refuses to be a part of but it is a world that Anna’s father used to be in and it’s a world that Walsh is aware of as he talks to a teamster chief in Bill O’Leary (Peter Gerety) about the need to bear arms which Walsh agrees with but Abel refuses to go into that route. Even as he has to deal with Lawrence where Chandor definitely uses some unique camera angles and medium shots to play into their conversations where it is about power play as Lawrence is just someone that wants to uphold the law but he too is a man of ambition like Abel. The film’s ending is about this idea of what to do to achieve that goal but for someone like Abel who wants to maintain some morals and ideals about doing things without illegal means. There is no such thing as morals and ideals when it comes to running a business and dealing with other competitors as it is also about having it all or having nothing at all. Overall, Chandor crafts an astonishingly eerie yet intense film about an immigrant businessman trying to expand his empire in 1981 New York City amidst an era of violence.

Cinematographer Bradford Young does brilliant work with the film’s cinematography from the usage of natural lighting for some scenes in the day to bits of sepia for a few interior/exterior scenes at night including some eerie low-key lighting for the tunnel chase scene. Editor Ron Patane does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the suspense as well as a few intense moments of violence. Production designer John P. Goldsmith, with set decorator Melanie J. Baker and art director Doug Huszti, does amazing work with the look of the lavish home that Abel and Anna live in with their family as well as the offices and places they go to as it play into the early 80s aesthetics. Costume designer Kasia Walicka-Maimone does fantastic work with the costumes from the designer clothes that Anna wears as well as the suits and expensive winter coat that Abel wears.

Makeup artist Stephanie Pasicov does nice work with the look of Anna from her hairstyle and the makeup that she wears at times to play into the period of the times. Visual effects supervisors Luke DiTommaso, Jason Forster, and Mark Russell do terrific work with the visual effects as it is largely set-dressing for some of the exteriors to play into the period that is 1981 New York City. Sound designer Steve Boeddeker does superb work with the sound as it help play into the atmosphere as well as add to the suspense including scenes such as the chases and the tunnel scene. The film’s music by Alex Ebert is wonderful for its low-key music score with some orchestral flourishes that play into the drama and bits of suspense while music supervisor Linda Cohen creates a soundtrack that is largely low-key that includes a song from Marvin Gaye early in the film and a classical piece.

The casting by Tiffany Little Canfield and Bernard Telsey is marvelous as it feature some notable small roles and appearances from Jerry Adler and Quinn Meyers as a couple of Hasidic businessmen who are making a deal with Abel, Ashley Williams as Lawrence’s deputy Lange, the trio of Daisy Tahan, Taylor Richardson, and Giselle Eisenberg as Abel and Anna’s daughters, Nick Bailey and Jenilyn Rodriguez as a couple of sales recruits, Linda Marie Larson as Abel’s secretary Debbie, David Margulies and Annie Funke as a couple of business people whom Abel asks for a loan, Ben Rosenfeld as a young sales recruit who gets mugged by a thug, Pico Alexander as Abel’s younger brother Elias, Peter Gerety as a teamster manager in Bill O’Leary, Elizabeth Marvel as a party guest at a birthday party for one of Abel and Anna’s daughters, Christopher Abbott as a thug that Abel confronts late in the film, Glenn Flesher as a competitor that Abel sees at a barbershop, and Catalina Sandino Moreno in a fantastic one-scene performance as Julian’s wife Luisa who is aware of what her husband has done but also the stakes of how it will affect Abel’s business.

Elyes Gabel is superb as the truck driver Julian who gets mugged by muggers and later gets himself in trouble following another confrontation that puts himself and Abel in serious trouble. Alessandro Nivola is excellent as Peter Forente as a competitor of Abel who also has connections with organized crime as he is aware of what is happening to Abel though is cagey about his involvement where he tries to make a deal with Abel that is in his favor. David Oyelowo is brilliant as Lawrence as the assistant DA who is investigating Abel’s activities though he knows that Abel is a good man but has a job to do while he is also an idealist of sorts but is aware of what needs to be done. Albert Brooks is amazing as Abel’s attorney Andrew Walsh as a man who is trying to handle all sorts of business but is also aware of what needs to be done as he is someone who had seen a lot and knows that not everything is clean.

Jessica Chastain is incredible as Anna Morales as Abel’s wife who has been supportive in his ambitions but is also aware that her husband needs to play dirty as she is annoyed by his idealism as she also watches over their books and finances as it’s something she’s done in working with her father. Finally, there’s Oscar Isaac in a phenomenal performance as Abel Morales as an immigrant businessman who owns a heating oil business as he hopes to expand his business only to deal with the chaos and violence that is looming around him as it is this fierce yet calm performance of a man that is just trying to do the right thing only to learn that there is no straight arrow when it comes to ambition.

A Most Violent Year is a tremendous film from J.C. Chandor that features phenomenal leading performances from Oscar Isaac and Jessica Chastain. Along with its ensemble cast, eerie visuals, and its study of ambition along with its dangers and complexities. It is a film that explores a period in time in New York City that showcases what some will do to get ahead in business and how an immigrant businessman is trying to maintain some morality in a world that is immoral. In the end, A Most Violent Year is a magnificent film from J.C. Chandor.

J.C. Chandor Films: Margin Call - All is Lost - (Triple Frontier) – (Kraven the Hunter) – (The Auteurs #73: J.C. Chandor)

© thevoid99 2021

Selma

Directed by Ava DuVernay and written by Paul Webb, Selma is the story of the events leading to the 1965 march led by Dr. Martin Luther King Jr. and several other Civil Rights leaders trying to make a difference during the Civil Rights movement in the American South. The film is a dramatic account of the non-violent march from Selma to Montgomery in the state of Alabama as it is considered a key turning point in the American Civil Rights movement. Starring David Oyelowo, Tom Wilkinson, Carmen Ejogo, Giovanni Ribisi, Tim Roth, Tessa Thompson, Wendell Pierce, Alessandro Nivola, and Oprah Winfrey. Selma is a mesmerizing and riveting film from Ava DuVernay.

The film is a dramatic account of the events that preceded the non-violent march from Selma to Montgomery led by Dr. Martin Luther King Jr. (David Oyelowo) in an attempt for African-Americans to have the right to register to vote that would eventually lead to the Voting Rights Act of 1965. Told in a straightforward manner, the film follows Dr. King and fellow Civil Rights leader who prepare for this march just as Dr. King is having frequent meetings with President Lyndon B. Johnson (Tom Wilkinson) about allowing African-Americans to have the right to register to vote without any issues. Johnson is reluctant as he has other things to deal with where he is also dealing with some opposition like FBI director J. Edgar Hoover (Dylan Baker) who thinks King is up to no good while King would also have to deal with Alabama’s Governor George Wallace (Tim Roth).

Paul Webb’s screenplay doesn’t just explore Dr. King’s attempt to get the march going with several other Civil Rights leaders but also dealing with the authority in Alabama where a lot of planning occurs. Even as Dr. King ponders if the media will see what happens as he also deals with the church bombing in Birmingham that killed four young girls and other events that includes the death of Malcolm X (Nigel Thatch). The script also plays in moments behind the scenes where Dr. King becomes weary and unsure of what is doing as his own personal life would nearly unravel when the FBI tries to create discord between Dr. King and his wife Coretta (Carmen Ejogo) over the former’s supposed extramarital affairs. Still, Dr. King tries to get the march forward where he also deals with members of the Student Nonviolent Coordinating Committee who don’t agree with Dr. King’s views.

There is a structure where much of the first half is about Dr. King and members of the Southern Christian Leadership Conference trying to plan for the march as well as deal with all sorts of legal and social issues. Even as Dr. King copes with loss and other things as well having to go back to his home in Atlanta and flying to Washington D.C. to meet with President Johnson. The second half is about the first two attempts for the march as the first one ends in violence where it is captured by the press while the second one would end abruptly by Dr. King due to an act of faith. Especially where he would hear that those who would march with him including whites would be targeted in this small Alabama town where racial tension is very high. The third act is about President Johnson’s decision as he is aware of the role he is playing where he knows what might happen if he doesn’t act.

Ava DuVernay’s direction is largely straightforward in terms of the fact that she doesn’t go for anything grand nor play too much into exposition which is often the case with a lot of films based on historical events. While much of it is shot in Atlanta and other parts in the nearby city including a few key shots in Selma and Montgomery. The film is more about the American South as a whole where it plays into a landscape that is changing where you have a group of people that want change but you have this other group that opposes change. DuVernay’s usage of wide and medium shots help play into this tension that is happening in Alabama which is the centerpiece of this old idea of the American South dating back to the 1800s. Even as Dr. King would meet this old man who is in his 80s as he is waiting for the right to vote as it is this very simple moment where this old man just endured loss as he ponders if he has a say in anything in this country that is supposed to be about equality. The direction also has DuVernay create moments that are quite intense such as a non-violent confrontation against a county sheriff that does unfortunately turn violent because the old man couldn’t sit down where a woman would hit that sheriff and all hell breaks loose.

The usage of close-ups and hand-held cameras play into that chaos as well as a moment where people are attempting a march at night where it turns very violent in the hands of the police. There are also moments during these meetings where DuVernay does create something where there is tension but also the need to resolve something not just in the meetings President Johnson would have with his staff and Dr. King but also a scene with him and Governor Wallace that plays into a world that is changing. The latter of which is actually afraid of change but is also indifferent in what history will think of him as it’s something President Johnson is aware of. While its ending is predictable, it does have something to say in what Dr. King has done to make the world better no matter how troubling it is but it’s also in the idea that one person does have a say. Overall, DuVernay creates a gripping yet engaging film about one of the most watershed moments in American history.

Cinematographer Bradford Young does excellent work with the film‘s cinematography from its usage of low-key lights for some of the interiors in many of the scenes set day and night to the look of the towns in the daytime including the famous Edmund Pettus Bridge in Selma. Editor Spencer Averick does nice work in creating some unique rhythmic and jump-cuts to play into some of the drama as well as some of the intense moments in the film. Production designer Mark Friedberg, with set decorator Elizabeth Keenan and art director Kim Jennings, does fantastic work with the look of the home of Dr. King and his family as well as some church interiors including the scene in Birmingham where the four little girls would be killed on that day. Costume designer Ruth E. Carter does wonderful work with the costumes as it play into the period of the times as well as the dresses the women wear.

Visual effects supervisors Anup Shakya and Dottie Starling do brilliant work with some of the minimal visual effects such as the Birmingham church bombing sequence as well as a few other moments that is essentially set dressing. Sound editor Greg Hedgepath does superb work with the sound as it play into some of the chaos in some of the protests as well as some chilling moments in the conversations. The film’s music by Jason Moran is terrific as it‘s mostly low-key and doesn’t appear very much as it is largely a mixture of orchestral, folk, and gospel to play into the times while music supervisor Morgan Rhodes provides a intoxicating soundtrack that mixes a lot of the music of the times from folk, gospel, soul, and blues from artists like Joyce Collins & Johnita Collins, Duane Eddy, Sarah Vaughan, the Staple Singers, Otis Redding, Odetta, the Impressions, and a new song called Glory by John Legend and Common.

The casting by Aisha Coley and Cynthia Stillwell are incredible as it features a massive ensemble with notable small roles from Jeremy Strong as white Boston pastor James Reeb, Tara Ochs as white Civil Rights activist Viola Liuzzo, Stan Houston as Selma’s sheriff Jim Clark, Nigel Thatch as Malcolm X, Michael Papajohn as state trooper leader Major John Cloud, Henry G. Sanders as the old man Cager Lee that Dr. King befriends, Keith Stansfield as the old man’s grandson, Ledisi Young as the legendary gospel singer Mahalia Jackson that Dr. King turns to for guidance early in the film, and Oprah Winfrey in a small yet wonderful standout performance as activist Annie Lee Cooper who is just a woman that just wants the right to vote. Other noteworthy appearances include Martin Sheen as Judge Frank Minis Johnson who decides whether Dr. King could march, Cuba Gooding Jr. as civil rights attorney Fred Grey, Dylan Baker as FBI Director J. Edgar Hoover, Stephen Root as Governor Wallace’s advisor Al Lingo, Niecy Nash as activist Richie Jean Jackson, and Giovanni Ribisi as President Johnson’s advisor Lee C. White.

In the performances of the many associates of Dr. King, Colman Domingo as Ralph Abernathy, Ruben Santiago-Hudson as Bayard Rustin, Stephan James as SNCC co-chairman John Lewis, Wendell Pierce as Hosea Williams, Lorraine Toussaint as Amelia Boynton Robinson, and Andrew Holland as Andrew Young are all excellent as people who are trying to see what they can do for the movement and make sure it goes in the right direction. Tessa Thompson is superb as Diane Nash as an activist who helps Dr. King in the strategy of the Selma march while Common is fantastic as Reverend James Bevel who also helps in making sure things go right in the need for non-violence. Alessandro Nivola is amazing as Assistant Attorney General John Doar who meets with Dr. King to understand what is doing while trying to ensure him that President Johnson is at his side knowing that what Dr. King wants isn’t easy.

Tim Roth is brilliant as Governor George C. Wallace as Alabama’s then-governor who tries to make sure Dr. King doesn’t march as Roth sells that air of racism in the governor as well as display a sense of fear about what could happen if change does happen in Alabama. Carmen Ejogo is radiant as Coretta Scott King as Dr. King’s wife who is aware of what her husband is doing while also knowing that not everything in her marriage is great though she stands by him when he needs her at the march. Tom Wilkinson is great as President Lyndon B. Johnson who wants to invoke an act where African-Americans can vote without any issue but is trying to see how he wouldn’t get into trouble as he also copes with how history will see him. Finally, there’s David Oyelowo in a tremendous performance as Dr. Martin Luther King Jr. as the civil rights leader who is trying to make change and ensure that the people of Alabama have a say while dealing with everything that involves in the march and its outcome as well as dealing with personal issues where he becomes overwhelmed with his role as a civil rights leader as it is a performance for the ages from Oyelowo.

Selma is a sensational film from Ava DuVernay that features an incredible performance from David Oyelowo as Dr. Martin Luther King Jr. Featuring a great ensemble cast and a compelling story that plays a lot into some of its historical context and its stakes. It’s a film that doesn’t just carry a lot of importance but also showcase a moment in time that would prove to be a major moment in American history. In the end, Selma is a spectacular film from Ava DuVernay.

Ava DuVernay Films: (This is the Life (2008 film)) - (I Will Follow) - Middle of Nowhere (2012 film) - 13th (2016 film) - (A Wrinkle in Time (2018 film))

© thevoid99 2016

The Paperboy

Based on the novel by Pete Dexter, The Paperboy is the story about a reporter and his younger brother trying to investigate the murder of a sheriff by trying to free a man accused of the murders. Yet, things become complicated when the young man finds himself being attracted to the incarcerated man’s lover as it leads to all sorts of trouble. Directed by Lee Daniels and screenplay by Daniels and Dexter, the film is an exploration into the world of the American South as it reveals the motives of people as well as those who are unaware of what they’re in for. Starring Matthew McConaughey, Zac Efron, Nicole Kidman, John Cusack, David Oyelowo, Macy Gray, and Scott Glenn. The Paperboy is a dark yet disturbing film from Lee Daniels.

The film is the story about this idealistic reporter and his younger brother trying to see whether this man had killed a sheriff some years ago. In order to get answers, the reporter brings his British associate for help along with a woman who had been writing letters to this incarcerated man claiming she’s in love with him. Eventually, things become complicated as the reporter is trying to find the truth in the hopes he can unveil the mystery while his younger brother is attracted to this woman who is quite messed up herself as she desires this man she’s been writing letters to. It’s a film that is filled with lots of ambiguity not just in the characters but the situations that occur where the story is told largely by this maid whom the brothers adore though she’s not present in a lot of what happens in the film.

The screenplay by Lee Daniels and its novelist Pete Dexter is quite unique for the fact that it’s a story about a group of people investigating a murder that happened a few years ago as it’s set in the late 1960s. Through the narration of the maid Anita (Macy Gray), she reveals a lot about what happened as it begins with the mysterious murder of this feared sheriff as a man named Hillary Van Wetter (John Cusack) was accused of the murder. For the reporter Ward Jensen (Matthew McConaughey) and his associate Yardley Acheman (David Oyelowo), they return to Ward’s hometown to investigate the murder to see if what Van Wetter is really innocent. With the help of Ward’s younger brother Jack (Zac Efron) as their driver, they also bring in Van Wetter’s lover Charlotte Bless (Nicole Kidman) into the mix though they had never met.

During the course of the investigation, a lot happens as Jack finds himself attracted towards Charlotte as he also to deal with other things in his home life as he often antagonizes the more clean-cut and ambitious Yardley. Jack is also bewildered by his brother as there’s also something about him that is ambiguous yet his intentions as a reporter is still clear as he’s hoping to find the truth and do what is right rather than what sells stories. While the story is really about Jack and all that he encounters during this investigation. The fact that it’s told by Anita does make it strange since she is really a minor character in the film and she does give a lot of exposition that is unnecessary. Particularly since the stuff she reveals is something the audience can already figure out.

Lee Daniels’ direction is quite stylish in the way he presents a typical period time set in the summer of 1969 in a small town in Florida. Notably as he makes sure that it’s not clean-cut where he utilizes moments that are definitely shocking and tawdry. Even as it’s an environment where there’s an element of racism where African-Americans aren’t treated fairly and people do say racial slurs towards them. Even towards someone as refined as Yardley who is this British man that has no idea of what life is like in America where he describes Ward’s hometown as a shit-hole. Even Ward doesn’t want to come back to place but reluctantly does so since the crime happened near his home. While the film is a melodrama of sorts, there’s also elements of camp in some of the things that happen.

Notably a scene where Charlotte and Hillary first meet where it’s completely off-the-wall in terms of its presentation. It’s a film that isn’t afraid to not be shocking though it does go overboard at times. Still, Daniels is intrigued by the world that the characters venture into where it does get darker in the third act as lots of revelations are unveiled. Particularly about certain characters as some of them aren’t exactly as they seem to be. Notably for Jack and Charlotte as they’re definitely the most clear-cut characters of the film who are aware of their complications and don’t carry a lot of secrets. That is probably one of the reasons why Jack is so attracted to her though he has to deal with the fact that she is devoted to Hillary where it does lead to a powerful climax. Overall, Daniels creates a compelling film that is messy at times but still engaging for the sense of style that he brings to this very grimy story.

Cinematographer Roberto Schaefer does brilliant work with the film‘s colorful yet gritty look to capture the beauty and ugliness of 1969 Florida with its small town look and sunny beaches as well as the chilling scenes in the swamps. Editor Joe Klotz does great work with the editing with its use of jump-cuts and multiple split screens to add an element of style to the film. Production designer Daniel T. Dorrance, along with set decorator Tim Cohn and art director Wright McFarland does excellent work with the set pieces from the garage that Ward and Yardley work at to the decayed look of the swamp home that the Jensen brothers encounter.

Costume designer Caroline Eselin does wonderful work with the costumes from the trashy look of Charlotte with her stylish clothes to the more straight-laced clothes the men wear. Sound mixer Jay Meagher does terrific work with the sound to capture the atmosphere of the swamps as well as some of the places the characters go to. The film’s music by Mario Grigorov is superb for some of themes created ranging from melancholic piano pieces to brooding electronic cuts where the latter adds an element of suspense. Music supervisor Lynn Fainchtein creates a fantastic soundtrack that features a lot of the soul and pop music of the late 1960s to complement the times.

The casting by Leah Daniels and Billy Hopkins is phenomenal for the ensemble that is created as it features notable small roles from Scott Glenn as Jack and Ward’s father W.W., Nikolette Noel as W.W.’s new girlfriend Nancy whom the boys dislike, and Ned Bellamy as Hillary’s disturbing uncle Tyree. Macy Gray is OK as the Jensen’s maid Anita whom the boys adore though Gray doesn’t really do much to make her character more interesting as she’s also the film’s narrator. John Cusack is unfortunately miscast as Hillary Van Wetten as this very repulsive man who is in love with Charlotte as there’s a seediness to him where it seems like Cusack is trying to do his impression of Nicolas Cage at times. David Oyelowo is very good as the snobbish Yardley who is a man with refined tastes as he doesn’t like Jack very much at all while he has an agenda of his own that would conflict with Ward’s intentions for the story.

Nicole Kidman is amazing as the very tawdry and trashy Charlotte as a woman who is so intent on meeting Hillary as she finds herself fascinated by Jack while reluctantly helping him and Ward out in the investigation where she finds herself in big trouble. Matthew McConaughey is incredible as Ward Jensen as he is this man with an idealism to help spread the truth where he goes into conflict with his estranged father while getting the kind of help he can from Ward while he is carrying a secret of his own. Finally, there’s Zac Efron in a remarkable performance as Jack Jensen as this former swimmer turned paperboy who deals with the events that are surrounding him as well as his attraction towards Charlotte where Efron finally gets to show his chops as a serious actor as he can be confrontational as well as being un-likeable at times.

While it is a film that does have some flaws, The Paperboy is still an interesting yet unsettling film from Lee Daniels. Thanks to the top-notch performances from Zac Efron, Nicole Kidman, and Matthew McConaughey, it’s a film that explores a period in time where things are secretive as well as being nothing as it seems to be including people. It’s also a film that isn’t afraid to not take itself so seriously though it does make the film a mess at times. In the end, The Paperboy is a pretty good film from Lee Daniels.

Lee Daniels Film: (Shadowboxer) - Precious - (The Butler)

© thevoid99 2013

Rise of the Planet of the Apes

Directed by Rupert Wyatt and written by Rick Jaffa and Amanda Silver, Rise of the Planet of the Apes is an origin story of how a scientist took care of an ape named Caesar and was then forced to be taken by cruel caretakers leading to a revolt with help from other apes. Based on the original Planet of the Apes novel by Pierre Boulle, the film explores Caesar’s development from a normal ape into a leader. Starring James Franco, Freida Pinto, John Lithgow, Brian Cox, Tom Felton, David Oyelowo, and Andy Serkis as Caesar. Rise of the Planet of the Apes is an exciting and thrilling film from Rupert Wyatt.

In hopes to find a cure for Alzheimer’s disease, scientist Will Rodham (James Franco) believes that he’s made a breakthrough from an ape he had been experimenting on. After telling his boss Steven Jacobs (David Oyelowo) about his breakthrough, Will presents it to a board which becomes a disaster after the ape he experimented has broke out of her cell due to a misunderstanding. With Jacobs deciding to have the apes killed, Will learns through fellow scientist Franklin (Tyler Labine) about a baby ape that Will’s ape was trying to protect. Will takes the baby home where they would live with Will’s father Charles (John Lithgow) who is suffering from Alzheimer’s.

Amazed by the ape’s growing intelligence, Will calls the ape Caesar as he believes that Caesar is the key to the cure he’s searching for to help his father. After meeting primatologist Caroline (Freida Pinto) to help treat an injury for Caesar, she becomes part of the family where Charles’ condition seems to improve for a few years. Yet, Caesar starts to feel like he’s treated like a pet as Will reveals the truth about his background and why he took him in. When Charles starts to fall ill due to dementia, an incident involving Charles and a neighbor (David Hewlett) has Caesar fighting the neighbor to protect Charles. Due to the incident, authorities force Will and Caroline to put Caesar to an animal shelter that is run by the cruel John Landon (Brian Cox) and his vicious son Dodge (Tom Felton).

While Will reluctantly returns to work to find a cure only to feel compromised by Jacobs over the testing of apes. Back at the shelter, Caesar is befriended by fellow apes including a circus orangutan named Maurice (Karin Konoval), Rocket (Terry Notary), and a big gorilla named Buck (Richard Ridings) as they organize a revolt. When Will learns that Jacobs’ new version of the drug is flawed and fatal to humans, he quits as he tries to get Caesar back. Instead, Caesar chooses to stay as he briefly leaves the shelter to help find ways to make his fellow apes smarter as they lead an attack on the Landons and those that oppose them to Will’s horror.

The film is an origin story with a lot of references to the 1968 film which included the famous line “Get your hands off me you damn dirty ape”. Yet, it does create a lot of ideas of how the Earth was taken over by the apes as well as more ideas over what happened to the humans. Still, it’s a film about a man’s relationship with this little chimpanzee he would call Caesar and how he would shape this chimpanzee’s outlook on life and later play part in his revolt against humanity. Though the Will Rodham character is a flawed man that just wants to save his father’s life, he does care for Caesar and treats him more than just an animal. The script that Rick Jaffa and Amanda Silver works in creating that relationship arc and basing the ideas for what would come in the stories that are previously told though there are flaws in the script. The Caroline character is sort of a one-dimensional figure who just plays the girlfriend while antagonists like the Landons don’t have much to do other than be mean to Caesar.

Rupert Wyatt’s direction is quite extraordinary with its presentation as he does more than just make a typical summer blockbuster action film that is loaded with CGI-effects. Since the apes are performed by actors in motion-capture visual effects, it adds a certain realness to the way the apes are presented not just physically but emotionally. Notably in their interactions to humans and some of the big action sequences in its third act. Wyatt does create some amazing tracking shots for some of the cage hallways in the shelter along with wonderful steadicam camera shots for some of Caesar’s movements around Will’s home. Overall, Wyatt creates a truly exhilarating and fun action film with a bit of drama and lots of energy.

Cinematographer Andrew Lesnie does an excellent job with the film‘s stylish cinematography from the naturalistic, lush look of the redwood forest scenes at Muir Woods National Monument along with darker lighting schemes for some of the nighttime interiors at the shelter. Editors Conrad Buff IV and Mark Goldblatt is pretty good for the fast-paced rhythm of the action scenes while utilizing montages for some of Caesar‘s growing development and slower cuts for the dramatic moments. Production designer Claude Pare, with set decorator Elizabeth Wilcox and supervising art director Helen Jarvis, does incredible work with the set pieces from Caesar’s room in Will’s home along with the building Will works at and the play room at the shelter where Caesar leads his revolt.

Costume designer Renee April does nice work in the costumes as the close are mostly casual including a red shirt worn by Caesar. Visual effects supervisors Dan Lemmon and Erik Winquist do a spectacular job with the visual effects for the way the apes look along with some of the action sequences that happen as it is truly the film‘s highlight in terms of its technical field. Sound designer Chuck Michael and sound editor John A. Larsen do some fantastic work in the sound work from the stark yet hollow world of the shelter to the more raucous bombast of the action scenes that occur in the film. The film’s score by Patrick Doyle is superb for playing up to the bombast with loud percussions and soaring string arrangements while going for a more low-key approach in the dramatic portions of the film.

The casting by Debra Zane is remarkable for the ensemble that is created as it features notable small roles from Tyler Labine as Will’s lab friend Franklin, Jamie Harris as a shelter caretaker, and David Hewlett as Will’s hot-headed neighbor Hunsiker. Brian Cox is very good as the slimy animal shelter head John Landon while Tom Felton is also good, despite being one-dimensional, as the crueler Dodge Landon. David Oyelowo is stellar as Will’s boss Jacobs who becomes consumed with greed as he uses Will for his own financial gain. Freida Pinto is decent as the very caring Caroline although she doesn’t get much to do than just be the supportive girlfriend. John Lithgow is excellent as Will’s ailing father Charles who becomes fond of Caesar while dealing with his own disease.

James Franco gives a terrific performance as Will Rodham by displaying a man that just wants to help his father while forming his own bond with Caesar as he tries to help the chimpanzee in his ordeal. The performances by Karin Konoval, Richard Ridings, Christopher Gordon, and Terry Notary as the apes Caesar befriend are superb for the physicality and emotional expressions they give to those apes making them more than just CGI-creations. Yet, the best work in that field as well as the best performance in the film is Andy Serkis as Caesar. In the way he expresses the varied emotions as well as Caesar’s physicality, Serkis does something that goes beyond the parameters of what a motion-capture performance can do. Notably as Serkis gets Caesar to speak a few words in the film’s climatic revolt to exemplify Caesar’s growth in intelligence as it’s definitely a performance like no other.

Rise of the Planet of the Apes is a marvelous and entertaining action-blockbuster film from Rupert Wyatt that features an outstanding performance from Andy Serkis. This is a film that gives the Planet of the Apes franchise a much-needed boost after being away from theaters for so long as well as very misguided remake back in 2001. For fans of action-blockbusters, this film is among one of the best that offers more than just entertainment. In the end, Rise of the Planet of the Apes is an engaging yet pleasurable film from Rupert Wyatt.

Related: Dawn of the Planet of the Apes - War for the Planet of the Apes

© thevoid99 2012