The Equalizer

Based on the TV series by Michael Sloan and Richard Lindheim, The Equalizer is the story of a former black ops operative who lives a quiet life until he befriends a young prostitute who has been assaulted by the Russian mob as he decides to take them down. Directed by Antoine Fuqua and screenplay by Richard Wenk, the film is a simple story of a man who tries to make amends of his past as he tries to do what is right in a world that is often troubled and corrupt. Starring Denzel Washington, Marton Csokas, Chloe Grace Moretz, David Harbour, Melissa Leo, and Bill Pullman. The Equalizer is a stylish yet gripping film from Antoine Fuqua.

The film is a simple story of a man who works at a hardware store as he hides the secret that he was once a black ops operative where he meets a young prostitute who is later beaten by her pimp as he realizes that her pimp is part of the Russian mob in Boston. It’s a vigilante film of sorts where a man tries to bring justice in a world where it’s not just the mob that is running rampant but also corrupt cops who try to instill their authority on common people. All of which would get a man to use the skills of his dark past and use it for good to make the world a better place for good people. The film’s screenplay by Richard Wenk showcases who Robert McCall (Denzel Washington) is as someone who lives a common life who eats at the same diner every morning while reading a book and goes to work at a hardware store where he is loved by other employees while playing softball with them.

At the same time, he helps a young man named Ralphie (Johnny Skourtis) pass his test to become a security guard for the store which shows his own sense of generosity. Yet, he is called into action when he befriends this young hooker named Alina (Chloe Grace Moretz) who is fascinated by the books that McCall reads where she suddenly doesn’t show up one morning at the diner where McCall learned what happened to her. This would lead McCall to do something where he realizes what is going on as it plays into not just a Russian mob syndicate trying to maintain some control in the crime underworld but would also have the aid of corrupt policemen. All of which would eventually lead to a meeting between McCall and a mob leader named Teddy Rensen (Marton Csokas) who is revealed to be working for the most powerful man in the Russian mob as he tries to figure out what is going on unaware that McCall is really far more dangerous.

Antoine Fuqua’s direction is very engaging not just for playing into a sense of style but also in maintaining something that is very simple that isn’t afraid to be conventional but also have some intrigue to make it more interesting. Notably as Fuqua isn’t afraid to play into a sense of repetition in the way McCall conducts his daily life as well as know when to go for scenes that are just simple character moments such as a scene where McCall helps out Ralphie over a situation that happened in his mother’s restaurant. It’s among these smaller moments that Fuqua creates that really gives the film a balance as it showcases more of who McCall is as well as a sequence where he visit a couple of old friends from the CIA who would help him uncover more of the mob activities in Boston. Fuqua would keep things simple with his approach to close-ups and medium shots along with a few wide shots as much of it is shot on location in Boston.

For the moments of suspense and violence, Fuqua knows when to build up the element of suspense as it plays into McCall’s sense of control and how he observes every environment and scenario to see what he can do in a situation. The moments are quite violent where it involves blood and sorts yet McCall’s approach has a sense of control compared to the tactics of the mob which are far more brutal as it would lead to a violent climax. Overall, Fuqua crafts a very smart and thrilling film about a vigilante who tries to do what is right in a world where good people are being harmed.

Cinematographer Mauro Fiore does excellent work with the film‘s cinematography with its usage of lights for many of the nighttime interior/exterior scenes to set moods for the film that pay homage to film noir. Editor John Refoua does nice work in the editing with its rhythmic approach to some of the action while knowing when to slow things down for the suspenseful and dramatic moments. Production designer Naomi Shohan, with set decorator Leslie E. Rollins and art director David Lazan, does brilliant work with the design of the places that the Russian mob works and socialize at as well as the hardware store that McCall works at. Costume designer David C. Robinson does terrific work with the costumes from the stylish dresses that Alina wears to the suits that the mob wears.

Makeup artist Rob Fitz and tattoo designer Rhet Kidd do amazing work with the wigs that Alina wears as well as the look of the tattoos of the Russian mob figures. Visual effects supervisor Sean Devereaux does some fantastic work with some of the film‘s minimal visual effects as it plays to the scenarios that McCall tries to figure out in situations as well as some of eerie violent moments. Sound designer David Esparza and sound editor Mandell Winter do superb work with the sound to play into some of the textures in some of the locations as well as some sound effects to play into the suspense. The film’s music by Harry Gregson-Williams is wonderful as it’s this mixture of eerie electronic music with some orchestral flourishes that play into the suspense and drama while some of the music of the film ranges from soul, hip-hop, and post-punk.

The casting by Lindsay Graham and Mary Vernieu is great as it features some notable small roles from David Meunier as Alina’s pimp Slavi, Alex Veadov as a mob figure named Tevi, Vladimir Kulich as the head of the Russian mob named Pushkin, Haley Bennett as a prostitute friend of Alina named Mandy, and Johnny Skourtis as a friend of McCall named Ralphie who wants to be a security guard with McCall’s help. David Harbour is terrific as a corrupt cop named Masters who works with the mob as he is later confronted by McCall who would use some devious tricks to get him to talk. Bill Pullman and Melissa Leo are excellent in their respective roles as Brian and Susan Plummer as two former CIA agents who McCall turns to for help on information of the people he is dealing with.

Marton Csokas is brilliant as the mob leader Teddy Rensen who is trying to oversee the operations in Boston as he deals with the mysterious death of his men as well as McCall whom he sees as a major threat. Chloe Grace Moretz is fantastic as Alina as a teenage prostitute who befriends McCall as they share a love for books as she finds a guardian angel in McCall. Finally, there’s Denzel Washington in a phenomenal performance as Robert McCall as it’s a very lively performance from Washington who does bring in some charm and humor into his role but it’s mostly quiet and stoic in the fact that he’s this silent badass that knows what to do and how to get it done to make sure that the world is a safer place for good people.

The Equalizer is a marvelous film from Antoine Fuqua that features an incredible performance from Denzel Washington. Not only is it a smart and compelling suspense-thriller but also a unique study into a man who uses violent skills to ensure some justice into a world that is corrupt and bring hope to ordinary people living decent lives. In the end, The Equalizer is a remarkable film from Antoine Fuqua.

© thevoid99 2015

Flight (2012 film)

Directed by Robert Zemeckis and written by John Gatins, Flight is the story of a substance-abusing airline pilot who manages to stop an airplane from crashing as he later tries to deal with addiction to drugs and alcohol. The film marks a return for Robert Zemeckis after a period of helming motion-capture animated films as he explores a man dealing with his addiction and actions. Starring Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, and Melissa Leo. Flight is a harrowing yet gripping film from Robert Zemeckis.

The film is this exploration into the life of an airline pilot who is brilliant but troubled by his substance abuse when he suddenly does the impossible and save a bunch of lives during a crash landing that could’ve killed everyone on board. Yet, he not only deals with the fact that there were a few people that did die but also the questions into whether he’s a hero or was he negligent in his role during this event. In turn, Captain Whip Whitaker (Denzel Washington) is forced to face not just what he did but also his substance abuse as he’s an alcoholic who also occasionally does some cocaine. While meeting a recovering heroin addict in Nicole (Kelly Reilly), he tries to deal with the lies he has created as friends try to help him yet the guilt over the lives that were lost and his actions continue to haunt him. It’s a film that is about a man dealing with guilt where he would eventually reach his bottom.

John Gatins’ screenplay is largely a character study about Whitaker as he’s a man that is divorced and he doesn’t see his son very much while he spends most of his time drinking and doing some cocaine with a flight attendant. He’s even intoxicated during this flight where everyone could’ve died but he has somehow managed to pull something off that some describe as miraculous. The film’s first act not only follows Whitaker’s day where he nearly crashed the plane but also Nicole who would reach her bottom after nearly dying of a heroin overdose. Whitaker’s encounter with Nicole would have him thinking about getting sober but his demons would often come back which would threaten their relationship as Nicole is eager to stay clean.

Adding to the chaos of Whitaker’s life is an impending hearing he has to face about his role where he asks those to lie for him so he can save his own skin. Still, there are those like his friend Charlie (Bruce Greenwood) who wants to help as does Whitaker’s lawyer Hugh Lang (Don Cheadle) but Whitaker proves too much to be a man who is just unraveling. Especially as he is convinced that he’s failed as a husband and father as he hopes this hearing he is to attend will get him back on a plane and just do what he does without compromise.

Robert Zemeckis’ direction is unique in not just some of the way he presents the drama but also in the fact that it is a story of a man not willing to face his demons as he is waiting to hit his bottom. Much of the direction in terms of the drama is pretty straightforward but also entrancing in some of the close-ups he creates to showcase the sense of pain and denial that Whitaker is dealing with. He also puts in some little details into the compositions such as the line of coke that is on a small mirror or a tiny bottle of vodka. There is a sense of unpredictability in the way Zemeckis captures a man that could be falling apart one day or be sober the next though it all plays into Whitaker’s state of mind as he just wants to self-destruct or lash out at someone. Still, Zemeckis wants to present Whitaker as a good man in a scene where he helps Nicole move out of her apartment where he fights off her landlord as he would offer her a place to stay. Even as he accompanies to meetings where Zemeckis has the camera on a person talking as well as Whitaker’s reaction where it does play into a sense of foreshadow.

The plane crash sequence is definitely one that is filled with terror and gripping suspense where Zemeckis maintains a claustrophobic intimacy of what goes on in the cockpit as well as where the passengers are sitting as the plane would go upside down. The shots of the plane from the outside are quite spectacular to play into the horror and the sense of the impossible that Whitaker pulled off. Still, that moment would be shown in numerous occasions including the hearing that Whitaker attends as it’s definitely one of the most chilling moments of the film as it is also its climax. One that is just unforgettable not just in its dramatic impact but also in the way Whitaker has to face not just truths about himself but everything else he did in that day. Overall, Robert Zemeckis creates a very powerful drama about a man facing his own demons and the lies that he surrounds himself with.

Cinematographer Don Burgess does excellent work with the film‘s cinematography from some of daytime locations in Atlanta as well as the scenes in the Whitaker farm to some of the interior scenes such as some shots in hotels and the bars that Whitaker goes to. Editor Jeremiah O’Driscoll does brilliant work with the editing from the use of rhythmic cuts for the film‘s intense moments in the plane to some of the stylish cuts for some of the film‘s dramatic moments. Production designer Nelson Coates, with set decorator James Edward Farrell Jr. and art director David Lazan does fantastic work with the set pieces such as the plane as well as the farm that Whitaker lives in as a sanctuary to get away from the press and the world.

Costume designer Louise Frogley does terrific work with the costumes where it‘s mostly casual with the exception of the hippie-like look of Whitaker‘s friend/drug dealer Harling. Visual effects supervisors Kevin Baillee and Hitesh Shah do amazing work with the visual effects for the scene of the plane where it plays into that sense of danger where it looks like it‘s going to crash as it‘s one of the film‘s major highlights. Sound designers Dennis Leonard and Randy Thom do superb work with the sound to capture what was going on inside that plane as well as some of the sound mixing to play into the troubled state of mind from Whitaker as well as Nicole early in the film. The film’s music by Alan Silvestri is wonderful for its broad orchestral score for some of the film’s intense moments along with low-key cuts to underscore the drama while its soundtrack contains a mix of music from the Rolling Stones, Joe Cocker, Marvin Gaye, the Red Hot Chili Peppers, and several others.

The casting by Scot Boland and Victoria Burrows is incredible for the ensemble that is created as it features some notable small performances from Nadine Velazquez as the stewardess Whitaker is with in the beginning of the film, Peter Geraty as the airline owner who wants to punish Whitaker for making him lose money, Garcelle Beauvais as Whitaker’s ex-wife Deana, Justin Martin as Whitaker’s son who doesn’t want to see him, Tamara Tunie as a flight attendant that survived the crash as she knows about Whitaker’s substance abuse, and James Badge Dale in a very memorable one-scene performance as a cancer patient Whitaker and Nicole meet at the hospital. Brian Geraghty is terrific as Whitaker’s co-pilot Ken Evans who would survive the crash as he would be a key person that would force Whitaker to confront his demons. Melissa Leo is wonderful as a NTSB investigator who interrogates Whitaker at the hearing.

John Goodman is very funny as Whitaker’s drug dealer Harling who always comes in to a Rolling Stones song as he would find ways to get Whitaker back up as he’s also a very unique individual who is an enabler but also the one person that can get him to focus. Don Cheadle is superb as Whitaker’s lawyer Hugh Lang who tries to get Whitaker to face the reality of his situation while admitting to not liking him. Bruce Greenwood is excellent as Whitaker’s friend Charlie who tries to help him deal with the legal things as well as trying to get him sober no matter how impossible it is. Kelly Reilly is fantastic as Nicole as this recovering heroin addict who befriends Whitaker as she would also live with him for a while as she would struggle with his alcoholism and her need to be sober.

Finally, there’s Denzel Washington in a magnificent performance as William “Whip” Whitaker as a man who lives a very exciting but empty life of being an airline pilot as well as doing all of the things a pilot does. Yet, he is a man that is denial over his substance abuse as he is also quite cruel and abusive to others which adds a sense of power to Washington’s performance. He can make Whitaker a despicable human being but also one who is sympathetic and in need of help as it is definitely Washington creating one of his best roles ever.

Flight is an incredible film from Robert Zemeckis that features a tour-de-force performance from Denzel Washington. Along with strong supporting work from John Goodman, Kelly Reilly, Bruce Greenwood, and Don Cheadle. The film is definitely one of Zemeckis’ best films that explores a man falling apart in the wake of a nearly catastrophic event where he does something miraculous. Even as he is forced to wake up and face the demons in his life. In the end, Flight is a phenomenal film from Robert Zemeckis.

Robert Zemeckis Films: (I Wanna Hold Your Hand) - (Used Cars) - (Romancing the Stone) - Back to the Future - (Who Framed Roger Rabbit?) - (Back to the Future Part II) - (Back to the Future Part III) - (Death Becomes Her) - (Forrest Gump) - (Contact) - (What Lies Beneath) - (Cast Away) - (The Polar Express) - (Beowulf (2007 film)) - (A Christmas Carol (2009 film)) - The Walk (2015 film) - (Doc Brown Saves the World) - (Allies (2017 film))

© thevoid99 2013

Mo' Better Blues

Originally Written and Posted at Epinions.com on 2/12/07.

Following Spike Lee's widely acclaimed masterpiece Do the Right Thing in 1989, Lee chose to take a break from his socially-conscious films for an exploration in jazz. 1990's Mo' Better Blues is the story of a jazz musician who tries to juggle his professional career and personal life through a series of bad decisions. Written and directed by Spike Lee, the film marked Lee's first collaboration with Denzel Washington who plays the fictional jazz trumpeter Bleek Gilliam. Also starring Lee and his regulars John Turturro, Giancarlo Esposito, Wesley Snipes, Joie Lee, Bill Nunn, and Samuel L. Jackson plus Cynda Williams, Robin Harris, and Charlie Murphy. Mo' Better Blues is a brilliant, passionate love letter to jazz and music in all of its chaos.

It's 1969 as a young Bleek Gilliam (Zakee Howze) is practicing his trumpet in front of his mother Lillian (Abbey Lincoln) while his father (Dick Anthony Williams) insists that he should go out and play with his friends. 20 years later, Bleek is an accomplished trumpet player leading a jazz quintet that included saxophonist Shadow (Wesley Snipes), pianist Left Hand Lacey (Giancarlo Esposito), bassist Bottom Hammer (Bill Nunn), and drummer Rhythm Jones (Jeff "Tain" Watts). Managing Bleek and his band is Bleek's childhood friend Giant (Spike Lee) where the band has always been selling out the same club they've been playing for years. While the group has been successful, tension has started to rise where Shadow wants more money and have more say in the band yet it remains Bleek’s band while his band mates insist that Giant is a bad manager.

While Bleek seems comfortable in his professional life, he also has a loving relationship with his accountant girlfriend Indigo (Joie Lee) while playing catch with his father. Giant meanwhile, continues to gamble with a bookie named Petey (Ruben Blades) that only brings more troubles to his gambling debts. While rehearsing, Bleek gets a visit from his mistress Clarke (Cynda Williams) who wants to become a singer. Still, tension between Bleek and his band over money and management has increased while Bleek and Shadow often have problems with Left Hand's lateness, some of it due to his French girlfriend Jeanne (Linda Hawkins). Giant's financial troubles worsen when he's confronted by the club' financial managers the Flatbush brothers (John and Nicholas Turturro), bouncers Eggy (Charlie Murphy) and Rod (Leonard L. Thomas), and Petey over money.

With Bleek continuing to work on his music, Shadow is making plans to break on his own where he tries to surround himself with Clarke. Then one night at the club where it's packed, Bleek plays a new number to discuss the roots of jazz while another night, he professes his troubling love affairs and passions in a song called Mo' Better Blues. After a night in which both Clarke and Indigo wore the same red dress, Bleek's love affairs finally comes to ahead and takes it toll. After talking to Giant, he begins to wonder about Giant's own gambling problems. Giant's problems finally caught up with him as he is injured by a bookie named Madlock (Samuel L. Jackson). With Bleek and Giant's problems increasing along with the bad decisions, Bleek decides to help Giant out but the tension between him and Shadow have finally come to ahead where Bleek and Giant are forced to confront everything including themselves.

While this film is a wonderful mediation on the love for jazz. It's really a movie about a man whose ego and passion for music and women get the best of him while his inexcusable trust for his manager lead to his own personal downfall. The subplot of Giant and his problems does make an interesting story that contributes to the film’s plot. Although it also makes the film a bit uneven in the stories of these two men. Lee also exposes the really dark world of the music business as well as the world of jazz that shows its evolvement. Particularly in how purists have problems with the idea of mainstream success where there's a brief mention of Kenny G, who is known to be loathed by jazz purists. Lee's script and his observant, stylized direction really gives the film a feeling that is entertaining and paying tribute to the world of jazz and the blues. The film also serves a character study of ego and passion through the character like Bleek Gilliam.

Lee's longtime cinematographer Ernest Dickerson brings a wonderful presentation with his use of colors and light to emphasize the emotions and passion of the music and the character of Bleek. The interior settings, notably the club with shots of red, blue, orange, and green reveal the richness of the atmosphere as it's some of the best cinematography captured on film. Production designer Wynn Thomas and set decorator Ted Glass add to the authenticity to the intimate, wooden-look of the club that Bleek and his band play to the homegrown world of Brooklyn along with the posh-like look of a jazz club near the end of the film. Costume designer Ruth E. Carter adds to the colorful style with the suits that the men wear along with the Giants shirts that Bleek wears in a scene where he plays catch with his father to the different dresses that Cynda Williams and Joie Lee wears. Editor Samuel D. Pollard brings a stylized touch to the editing with jump cuts, perspective shots, and everything to add rhythm to the film. Sound designer Skip Lievsay also brings a nice atmosphere to the film's club sequences with the noise of people and music blaring.

Then there's the music with a wonderful, orchestral score work from Lee's father Bill to add the flair of blues and classical to convey the sense of drama. Longtime composer Terence Blanchard along with Branford Marsalis create some of the jazz compositions performed in the film that rings true to the music while the rest of the soundtrack features a lot of jazz cuts including one famous one from John Coltrane.

The fil's cast is wonderfully assembled with cameos from Bill Lee, Flava Flav in the opening credits, and the late comedian Robin Harris as the club's top comedian. Other noted small performances from Charlie Murphy, Linda Hawkins, Zakee Howze, Leonard L. Thomas, and Abbey Lincoln are memorable while Samuel L. Jackson and Ruben Blades are excellent as the bookies with Jackson also playing the voice of Senor Love Daddy from Do the Right Thing. Lee regular John Turturro and brother Nicholas bring humor as the fast-talking accountants bring some needed humor to the film. Dick Anthony Williams is great as the Bleek's caring father while Bill Nunn and Jeff "Tain" Watts are excellent in their brief roles as the rhythm section of Bleek's band. Cynda Williams is excellent as the seductive, hungry Clarke whose lack of attention leads her to having an affair with another man. Joie Lee is wonderful as the more mature, down-to-earth Indigo who seems like the only woman who can ground and confront Bleek and his ego.

Giancarlo Esposito is great as the suave, artistic Left Hand who always shows up late and acts more different than his band mates playing the Euro-man of the group. Wesley Snipes is great as Bleek's rival saxophonist whose idea of jazz and success serves as the right antagonism for Bleek where Snipes truly stands out in his performance. Spike Lee gives an excellent performance as the socially-awkward, problematic Giant with his charmed behavior and bad habits that makes him a wonderful, memorable character. Lee does great work in bringing some humor to a very flawed character. Finally, there's Denzel in a fantastic performance as Bleek Gilliam. Denzel proves his versatility as a performer doing a bit of rapping and singing while giving Bleek a full-on complexity to a man that's flawed by his ego and his passion for music. It's a tour-de-force performance from Denzel Washington.

While Mo' Better Blues might not be a masterpiece like Do The Right Thing or Malcolm X, it’s still one of Spike Lee's finer films. Fans of jazz music will appreciate the touch and authenticity that Lee adds to the film while it also marks as a great collaboration between him and Denzel Washington. The film is also entertaining with style along with some substance. It also has a lot of memorable scenes and performances from its cast. In the end, for anyone wanting to watch something cool with a bit of jazz and lots of Denzel, watch Mo' Better Blues.

Spike Lee Films:  (She's Gotta Have It) - (School Daze) - Do the Right Thing - Jungle Fever - (Malcolm X) - Crooklyn - (Clockers) - (Girl 6) - (Get on the Bus) - 4 Little Girls - (He Got Game) - Freak - Summer of Sam - (The Original Kings of Comedy) - (Bamboozled) - (A Huey P. Newton Story) - 25th Hour - (Jim Brown: All-American) - (She Hate Me) - (Inside Man) - (When the Levees Broke:  A Requiem in Four Acts) - (Miracle at St. Anna) - (Kobe Doin' Work) - (Passing Strange) - (If God is Willing and Da Creek Don't Rise) - (Red Hook Summer) - Bad 25 - Mike Tyson: Undisputed Truth - (Oldboy (2013 film)) - (Da Blood of Jesus) - (Chi Raq) - Michael Jackson's Journey from Motown to Off the Wall - BlacKkKlansman - Da 5 Bloods - (American Utopia)

© thevoid99 2011