Following events that lead to death of Superman (Henry Cavill), the film follows a group of superheroes who band together to retrieve a trio of powerful boxes before a godlike being gets it to bring in a much more menacing figure who plans on destroying the universe. It’s a story similar to the 2017 theatrical film version of the film but what screenwriter Chris Terrio and his co-writers in Zack Snyder and Will Beall presented isn’t just grander but also focuses on themes of loss, redemption, and identity. Notably as Bruce Wayne/Batman (Ben Affleck) feels guilty for not making peace with Superman sooner following their brief fight and their battle against Doomsday that lead to Superman’s death. That battle would have serious repercussions as it would awaken these three Mother boxes and also brought attention to dark forces that realize that the boxes are on Earth. Both Wayne and Diana Prince/Wonder Woman (Gal Gadot) become aware that there are these forces are coming as they would recruit Barry Allen/the Flash (Ezra Miller), Arthur Curry/Aquaman (Jason Momoa), and Victor Stone/Cyborg (Ray Fisher) to form a team.
What Terrio does with the story is flesh out more development in not just these individuals who would form the Justice League but also the motivations of its antagonist Steppenwolf (Ciaran Hinds) who is also seeking redemption for his master/uncle in a god-like being known as Darkseid (Ray Porter) who had found an anti-life equation on Earth hoping to destroy the universe. The script is broken into six chapters plus an epilogue as it help play into the development of characters as well as explore the themes of grief and redemption. For Bruce Wayne, forming the Justice League is him trying to redeem himself as his attempt to recruit Curry in its first chapter yet Curry is reluctant having felt more like an outsider by his own people despite a later plea from his mentor Nuidis Vuklo (Willem Dafoe) to take up the mantle as King of Atlantis knowing that something wrong is about to happen. The script also does more to showcase who Barry Allen and Victor Stone are as the former is a young man trying to find a job as his power is running faster than the speed of light while channeling electricity as he says yes to Wayne’s offer. The latter is a once-promising football player/student who was nearly killed in a car accident that also killed his mother as his father Silas (Joe Morton) had tried to save his son only for Victor to feel resentful as it’s why he turned down Prince’s offer to join the team.
Terrio’s script does have some exposition as the second part reveals about what Wayne and Prince have to face in Steppenwolf and the bigger threat that is Darkseid as the first two parts serve as the first act while the second act play into the next two parts of the series where it does flesh out the characters but also play into their motivations to fight but also take the time to know each other as both Allen and Stone find common ground in their own lack of direction in life while Curry gets the chance to cope with his own identity and be part of a team. The third act is about not just resurrecting Superman but also dealing with the stakes of what they have to face in Steppenwolf and the looming presence of Darkseid.
Snyder’s direction definitely aims for something grander while he chooses to present the film in a completely different tone than the theatrical version which had a look that emphasized on something overly stylized in its desaturated color. Snyder chooses to pull a back a bit on the visuals while the entire film in seven parts and a four-hour running time is given a different aspect ratio presentation of 1:33:1 that does manage to showcase a broader look and feel that felt lost in theatrical cut. Snyder’s compositions are straightforward when it comes to the non-action scenes as he does take the time to let shots linger for a bit and know when not to cut while the action scenes do feel more fluid while allowing the shots to linger as a way for the audience to understand what is going on. There also moments in some of the slow-motion shots such as Allen saving the life of a young woman who nearly dies in a car accident as Snyder goes into great detail of what had happened as it is told largely from Allen’s perspective when he’s running fast. There are also scenes where Snyder allows Stone to be his old self in a hyper-digital world to figure out a location or a scenario that showcases a man who is struggling with new identity and his old one but is trying to find acceptance in this new role.
The added element of profanity and gore does give the film a bigger edge as it play into the stakes and what the Justice League has to face as Darkseid is someone that is absolutely uncompromising in what he wants to do as he is giving Steppenwolf the chance to redeem himself following their loss in the past when Atlanteans, Amazonians, humans, and other warriors defeated Darkseid. The stakes are bigger and the violence is more intense as it does play into the brutality of what the Justice League is dealing with as it would also concern one of the mother boxes that Victor’s father Silas (Joe Morton) had been hiding as he had figure out what to do in case it falls into the wrong hands. It would play into its third act while there are also these brief moments that allude to a vision that Wayne had as Stone would see it as well which would relate to the film’s epilogue. The film’s epilogue is a mixed-bag where it does feel overstuffed and overwritten as it relates to these dark visions that Wayne and Stone had about a possible future as it relates to Darkseid and the Anti-Life equation where Wayne, Stone, and Allen team-up with Mera (Amber Heard) and two unlikely figures.
Yet, the epilogue also include an appearance from a mysterious figure who visits Wayne as it plays into the idea of hope which does carry into the members of the Justice League. Though it is a big flaw in the film, it doesn’t overshadow the journey into what Snyder wanted as it plays into these heroes working together and taking the time to get to know each other. He makes the most of the near-four hour running time as it does play into this story of redemption, unity, identity, and hope that would emerge in the most trying of times. Overall, Snyder crafts an exhilarating and riveting film about a group of superheroes who come together to fight off a powerful being who wants to destroy everything and everyone.
Cinematographer Fabian Wagner does excellent work with the film’s cinematography as the desaturated look of the theatrical cut is given a cleaner look as well as do a bit more with the dark colors and the film’s look as it does have some vibrancy to emphasize some of the dramatic and action scenes in the film. Editors David Brenner, Carlos M. Castillon, and Dody Dorn do amazing work with the editing as it definitely has a more fluid tone in establishing much of the action and drama without the need to do any fast-cutting or jump-cuts in order to let shots linger on for a bit while it also has these stylized slow-motion shots that doesn’t just help add a lot to the action but also in establishing what Allen sees when he is running super-fast. Production designer Patrick Tatapoulos, with art directors Beauchamp Fontaine, Samuel Leake, and Andrew Palmer, does brilliant work with the look of the Wayne estate and his lab as well as the lab that Silas Stone works at. Costume designer Michael Wilkinson does fantastic work with the costumes that include the look of Superman’s black suit as it does have this menacing look as a hero who isn’t here to play.
Special effects supervisor Mark Holt and visual effects supervisors John “D.J.” Des Jardin do terrific work with the visual effects as the look of Steppenwolf is given a cleaner and more menacing look while Darkseid does have this look of a figure that is out only for destruction as much of the special and visual effects add to the film’s visual look as it does play more like a world that is coming apart by Darkseid with the Justice League going into war. Sound designer Scott Hecker does superb work with the film’s sound in creating sound effects of how the Parademons and their weapons sound as well as the atmosphere in some of the action scenes as it help play into the stakes. The film’s music by Tom Holkenborg is incredible with this mixture of orchestral bombast and somber music pieces that includes some work co-written with Hans Zimmer including a variation of Wonder Woman’s theme as it has this air of urgency and knows when to appear while the soundtrack features covers of songs by Leonard Cohen and Tim Buckley as well as pieces from Nick Cave & the Bad Seeds and a traditional Icelandic folk song sung during Wayne’s meeting with Curry.
The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is tremendous as it feature cameo appearances from Marc McClure as a police officer Lois Lane often says hi to, Harry Lennix in a dual role as General Swanwick and a mysterious individual, Karen Bryson as Victor’s mother Elinor, Michael McElhatton and John Dagleish as a couple of terrorists Diana defeats early in the film, Sergi Constance as Zeus, David Thewlis as Ares, Robin Wright as Antiope, Billy Crudup as Barry’s father Henry, Kiersay Clemons as the young woman Barry saves in Iris West, Lisa Loven Kongsli as Diana’s aunt Menallipe, Ryan Zheng as a scientist in Ryan Choi who helps out Silas Stone, Jeremy Irons as Bruce Wayne’s longtime butler Alfred Pennyworth who helps out the Justice League, and the voice work of Russell Crowe and Kevin Costner in their respective roles as Jor-El and Jonathan Kent. The appearances of Jessie Eisenberg as Lex Luthor, Joe Manganiello as Deathstroke, and Jared Leto as the Joker for the film’s epilogue are fun to watch with Leto at least given something to do in his brief appearance. Amber Heard’s performance as the Atlantean princess Mera is not very good largely as Heard often speaks in a weird accent as it never sounds right.
Willem Dafoe and J.K. Simmons are terrific in their brief appearances in their respective roles as Curry’s mentor Nuidis Vuklo and Gotham police chief James Gordon as the former tries to get Curry to fight despite Curry’s issues with the Atlanteans while the latter helps the Justice League in locating where the parademons have taken some of Silas Stone’s staff hostage. Peter Guinness is superb in his small role as Darkseid’s enforcer DeSaad as someone who is reluctant to have Steppenwolf back in the fold due to Steppenwolf’s past failings while Ray Porter is fantastic in his brief role as the evil god Darkseid as a being who is the intense force of destruction. Connie Nielsen is excellent as Diana’s mother Hippolyta who fights off Steppenwolf and later sends a warning to Diana as she copes with what is at stake while Joe Morton is brilliant as Victor’s scientist father Silas as a man who admits to being an absentee father as he tried to save his son’s life while dealing with the power that is in one of the Mother boxes. Ciaran Hinds is amazing as Steppenwolf as he is given more to do to flesh his character more than in the theatrical version as it showcases his own motivations for redemption as well as be this massive threat to the world.
Amy Adams and Diane Lane are incredible in their respective roles as Lois Lane and Martha Kent as two women both in mourning and dealing with loss with the former just unable to return to work and the latter having lost her home as they both would eventually regain their way. Jason Momoa and Gal Gadot are phenomenal in their respective roles as Arthur Curry/Aquaman and Diana Prince/Wonder Woman as two heroes with the former being a reluctant half-Atlantean who is aware of what is happening but doesn’t want to be involved as he also copes with the prejudice of the Atlanteans while the latter is an Amazonian warrior who is also trying to restore some faith in people while aware that the stakes of what their facing is much greater than everyone realizes.
Ben Affleck and Henry Cavill are remarkable in their respective roles as Bruce Wayne/Batman and Kal-El/Clark Kent/Superman with the former being a man consumed with guilt as he decides to form a team and acting on faith and hope while the latter is the Kryptonian superhero who had died and then be resurrected as he copes with returning to the world and dealing with what is at stake. Finally, there’s the duo of Ezra Miller and Ray Fisher in sensational performance in their respective roles as Barry Allen/the Flash and Victor Stone/Cyborg as two young men with different powers as the former is someone trying to get his father out of prison and find his own role in the world while the latter is a man who was nearly killed in an accident and is given unlimited access to technology with Miller providing a bit of humor as Allen yet it is Fisher that is the heart and soul of the film as someone dealing with his identity and what he could do with the power he’s given.
Zack Snyder’s Justice League is a marvelous film that manages to live up to what a film about the Justice League superhero team needed to be. Thanks to its ensemble cast, bombastic music score, dazzling visuals, and its emphasis to explore themes of redemption, loss, and hope in a dark world. It is a film that doesn’t just have a lot of thrills and spectacular action scenes but it is also a film that also explore people trying to keep hope alive amidst a dark threat emerging. While it does have flaws with a four-hour running time that is demanding, it at least does give the audience time to invest in characters who are all trying to do good in a world that is facing impending doom. In the end, the director’s cut of Justice League is a remarkable film from Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch - (Army of the Dead) - Rebel Moon
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) - Wonder Woman 1984 - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2021
Based on the characters from DC Comics, Justice League is the story of a group of superheroes who form a team to stop a major threat from unleashing havoc on Earth as well as secure a trio of boxes to stop this threat. Directed by Zack Snyder with additional direction by Joss Whedon and screenplay by Whedon and Chris Terrio from a story by Terrio and Snyder, the film is superhero movie that feature many revered superheroes who come together and save the world as they also deal with themselves. Starring Ben Affleck, Gal Gadot, Henry Cavill, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Diane Lane, Amber Heard, Jeremy Irons, Connie Nielsen, J.K. Simmons, and Ciaran Hinds as the voice of Steppenwolf. Justice League is a thrilling though underwhelming film from Zack Snyder.
The film is a simple story in which a group of superheroes team up to face a super threat as it all takes place on Earth following the death of Superman/Clark Kent (Henry Cavill) during a major battle. For Batman/Bruce Wayne (Ben Affleck), he is consumed with guilt for not doing enough to help Superman as he encounters a major threat forcing him to call upon Wonder Woman/Diana Prince (Gal Gadot) to help him recruit other figures with special abilities. The film’s screenplay by Chris Terrio with additional work from Joss Whedon does play into the stakes yet it doesn’t do enough to introduce the other characters that would be part of this team and information about these mysterious boxes that the Justice League has to get to stop this antagonist in Steppenwolf. The first act is about Wayne and Prince recruiting the other supers into the Justice League with the Flash/Barry Allen (Ezra Miller) immediately saying yes while Cyborg/Victor Stone (Ray Fisher) and Aquaman/Arthur Curry (Jason Momoa) initially decline until Steppenwolf get involved with their personal lives.
The boxes that are known as the Mother Boxes are all sources of power that Steppenwolf wants to use to destroy the world but he had been thwarted many centuries ago by an alliance of men, Atlanteans, Olympian Gods, the Green Lantern Corps, and Amazonians who agreed to hide the boxes from Steppenwolf. The character of Steppenwolf is a villain that is underwritten due to the fact that he’s not compelling and is never really fleshed out. The script also doesn’t do much Stone as there is little to know about his origin as a kid who survived a car accident only for his father Silas (Joe Morton) to have one of the three boxes to use to create a new cyborg body that Stone would use to retrieve all sorts of information. While Allen and Curry do get a bit of back story, they’re also hampered by the script’s shortcomings due to the fact that they never get a proper introduction though there’s brief mention of why Allen can run so fast and emit electricity.
Zack Snyder’s direction is definitely lavish with some dream-like compositions to play into a world coping with loss as well as a growing sense of hopelessness and danger. Shot mainly at the Warner Brothers Studios in Leavesden in Britain with additional locations around London, Los Angeles, Chicago, parts of Scotland, and Iceland. Snyder does establish a world on the brink of chaos and despair as he does create some unique wide shots for some scenes including Wayne’s meeting with Curry in an attempt to get him on board. There are also some close-ups and medium shots in the film to play into the characters interacting with one another as Snyder does know where to put a few moments of humor in the film as well as giving audiences a break for the action. It’s among some of the things that Snyder and his replacement in Joss Whedon would succeed in doing but it’s not enough to make the film more engaging than it needed to be.
Among these issues is that there is this feeling that there’s a longer film in there somewhere as Whedon had to make some compromises to make it less messy but it undercuts some of the moments with the characters as Stone isn’t given a lot to do in how he became Cyborg while the sequence about the origin of Steppenwolf and the three boxes seem to feel like there was a longer version presented. Then there’s many of the visual set pieces as it relates to the action where Snyder and Whedon try to create so much action and visual textures yet the emphasis on visual effects do overwhelm the action including the film’s climax where the Justice League faces off against Steppenwolf and his army. It also has these clunky moments where they try to do so much but ends up being overkill in moments where it wants to be funny and exciting with moments that are serious. Overall, Snyder and Whedon crafts a worthwhile but lackluster film about a group of superheroes coming together to save the world.
Cinematographer Fabian Wagner does some fine work with the cinematography in terms of setting the mood for some scenes at night with its lighting although the reliance on de-saturated colors is overkill as it doesn’t do enough to make the film visually vibrant in favor of grittiness that doesn’t entirely work. Editors David Brenner, Richard Pearson, and Martin Walsh do some good work in the editing in creating some fast-cuts for some of the action though there’s moments where there is too much fast-cutting where it doesn’t do enough to establish what is going on in these action sequences. Production designer Patrick Tatpoulos, with set decorator Dominic Capron and senior art director Matthew Gray, does excellent work with the look of the Batcave where Wayne does much of his work and serves as a temporary base for the Justice League as well as the look of the place where Steppenwolf wants to use the Mother Boxes. Costume designer Michael Wilkinson does amazing work with the costumes in the look of the characters as well as the casual clothes they would wear when they’re not working as superheroes.
Makeup designer Victoria Down does nice work with the look of the characters from the look of Cyborg as well as the tattoos on Curry. Special effects supervisor Mark Holt and visual effects supervisor John “D.J.” Des Jardin do some terrific work on the visual effects for the design of the monsters though its usage as set-dressing isn’t inspired while the look of Steppenwolf is underwhelming as well as the awkward look of Clark Kent when he smiles. Sound designer Chuck Michael does superb work with the sound in the way the aliens sound as well as some of the weapons and the layer of sounds in the film’s climax. The film’s music by Danny Elfman is wonderful for its orchestral bombast that help play into the action and suspense along with a few low-key pieces for the non-action scenes while music supervisor Karen Elliott does do some OK work on the soundtrack as it includes music from the White Stripes as well as covers of songs by Sigrid doing Leonard Cohen’s Everybody Knows and Gary Clark with Junkie XL doing the Beatles’ Come Together.
The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is great as it feature some notable small roles and appearances from Billy Crudup as Allen’s father Henry, Joe Morton as Stone’s father Silas, Amber Heard as the Atlantean Mera who knows Curry’s mother, Connie Nielsen as Prince’s mother Queen Hippolyta who would send her daughter a signal about Steppenwolf, Michael McElhatton as a terrorist Diana defeats early in the film, Diane Lane as Kent’s adoptive mother Martha Kent, and J.K. Simmons as Gotham police commissioner James Gordon who briefs members of the Justice League about the kidnappings at Gotham. Amy Adams is fantastic as Lois Lane as the reporter for the Daily Planet and Clark Kent’s love interest who copes with not just loss but also the sense of hopelessness despite the efforts of the Justice League. Ciaran Hinds is OK as Steppenwolf as he provides the voice of this menacing figure though it’s a character that is severely underwritten and not really given much to do but go after the Mother Boxes and kill good people.
Henry Cavill is good as Clark Kent/Superman as he’s first seen in an Instagram video as the superhero where he would later be part of a plan to be revived as Cavill has his moments despite some bad visual effects on his face. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/assistant who is the film’s conscience of sorts as someone who helps the Justice League with information as well as be aware of what is at stake. Ray Fisher is alright as Victor Stone/Cyborg as a former athlete who survived an accident that would have him sport a machine-like body as he deals with his abilities and being alive as Fisher has his moments though he’s not given a lot to do. Jason Momoa is superb as Arthur Curry/Aquaman as a half-Atlantean/half-human man that has the ability to control water and such as he is reluctant to join the Justice League until Atlantis was attacked prompting him to join as he does provide some funny moments.
Ezra Miller is brilliant as Barry Allen/the Flash as a young superhero who can run very fast and emit electricity as he is an admitted loner that has a hard time trying to get friends as he is also a fanboy of sorts in working with Batman and Wonder Woman as he is fun to watch. Gal Gadot is amazing as Diana Prince/Wonder Woman as the Amazonian princess who learns about Steppenwolf’s return as she decides to help Wayne out in forming the Justice League while dealing with her own reluctance to help out humanity. Finally, there’s Ben Affleck in an incredible performance as Bruce Wayne/Batman as the vigilante who decides to form a team as a way to make amends for his anger towards Superman while being aware of this threat as knows he’s been in too many battles but is hoping to save the world.
Justice League is a horrendous film from Zack Snyder and Joss Whedon. Despite its great cast, some nice action set pieces, and bits of humor, it’s a film that falls short in what it needed to be as this epic superhero cross-over film with high stakes. Especially as it rely too much on visual effects and spectacles that don’t really do much for the story that needed to flesh out the characters more. In the end, Justice League is a drab and lackluster film from Zack Snyder and Joss Whedon.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch - (Army of the Dead) - Rebel Moon
Joss Whedon Films: Serenity - The Avengers (2012 film) - Much Ado About Nothing (2012 film) - The Avengers: Age of Ultron
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Aquaman – Shazam! – Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2018
Based on the novel by S.E. Hinton, The Outsiders is the story of two young greasers who go on the run following a self-defense murder of a drunken rich kid in Tulsa as they deal with their roles in the world. Directed by Francis Ford Coppola and screenplay by Kathleen Rowell, the film is coming-of-age story involving teenage kids from poor/working class environments dealing with the prejudice of their world as well as seeing if there’s a good life outside of these restrictions. Starring C. Thomas Howell, Matt Dillon, Ralph Macchio, Rob Lowe, Emilio Estevez, Tom Cruise, Patrick Swayze, Diane Lane, Leif Garrett, Darren Dalton, Glenn Withrow, Michelle Meyrink, and Tom Waits. The Outsiders is an enchanting and evocative film from Francis Ford Coppola.
Set in the early 1960s in Tulsa, Oklahoma, the film revolves around a rivalry between two different gangs from different parts of the town that represent the social divide in the city. From the south of Tulsa are a group of kids from the working class/poor section of the town known as the greasers who wear denim, leather, and have grease on their hair while the kids from the north of Tulsa are the Socs who are rich kids who have their life set by their parents, wear letterman jackets, and posh clothes. In the middle of this conflict are a couple of young greasers who sneak into a drive-in movie venue where they befriend a young woman as they would later have an ugly encounter with her drunken boyfriend that ended with one of them killing a Soc in self-defense. With the help of another greaser, the two young men leave Tulsa and hide out where they deal with their roles as greasers as well as wondering if there’s more to offer as they encounter heroism as well as tragedy.
The film’s screenplay by Kathleen Rowell (that was largely re-written by Francis Ford Coppola) focuses on three young greasers in Ponyboy Curtis (C. Thomas Howell), Johnny Cade (Ralph Macchio), and Dallas “Dally” Winston (Matt Dillon) who spend a lot of time bumming around Tulsa as Curtis is still reeling from the death of his parents some years ago as he lives with his older brothers Darrel (Patrick Swayze) and Sodapop (Rob Lowe) where there’s tension Ponyboy and Darrel. Johnny is also from a dysfunctional family home as his friendship with Ponyboy is very close where they end up having to fight off a gang of Socs led by Bob Sheldon (Leif Garrett) who is angry over the fact that his girlfriend Cherry Valance (Diane Lane) befriended Ponyboy and Johnny as they didn’t play up the stereotypes of the greasers. Much of the film’s second act is set outside of Tulsa where Johnny and Ponyboy hide in an abandoned church where they change their look and view on the world until they reunite with Dally who gives them news about what they did to Sheldon.
Much of the film’s second half isn’t just about the act of heroism from Johnny, Ponyboy, and a reluctant Dally but also the fallout of Sheldon’s murder leading to a climatic rumble between the greasers and Socs with fellow greasers Two-Bit Matthews (Emilio Estevez), Steve Randle (Tom Cruise), and Tim Shepard (Glenn Withrow) helping out the Curtis brothers and other greasers with a sudden appearance from Dally. Yet, it’s the aftermath of the rumble that would change things as it relate to the reality of the world and the sacrifice that Johnny made into his act of heroism.
Coppola’s direction is intoxicating for not just shooting the film on location in Tulsa, Oklahoma and nearby locations but also in emphasizing some elements of realism into the film. There are also elements of styles in the compositions as the film and ends with Ponyboy Curtis reflecting on a memory and writing it all down on paper as if a book is coming to life. The usage of the locations doesn’t just play into this life in a 1960s town in the Midwest where there isn’t much to do but there is also this air of social divide as Coppola doesn’t dwell into the environment that the Socs live in as he prefers to show some of the dirtier side of the city including drive-ins, local shops, and other places that greasers would hang out at. While he would use some wide shots to establish some of the locations including a crane shot of sorts for the scene where Ponyboy and Johnny are confronted by Bob and his friends at the greasers’ turf.
Coppola would also create some stylish shots in the compositions in the way characters interact with one another that would include scenes where Ponyboy is presented in the background and Johnny in the foreground in a medium shot during the film’s third act in a chilling yet somber scene. There are also these dreamy moments during a key scene in the second act where Coppola create this shot of Ponyboy talking to Johnny about some of the stuff he read and this idea of purity and innocence that is presented in a golden shot of sorts. It’s an innocence that Ponyboy would struggle to carry towards the third act as it also play into some of the fallacies of masculinity as it relates to Dally who always act tough and thinks he’s smarter than everyone. Yet, he is unprepared for not just this reality in loss but also the reality that he’s still young who is in need of growing up. Overall, Coppola creates a majestic yet touching film about a gang of teenage greasers dealing with growing pains and the realities of their environment including the social divide.
Cinematographer Stephen H. Burum does brilliant work with the film’s cinematography with its emphasis on low-key colors for some of the film’s daytime and nighttime exteriors as well as the usage of golden sunlight for a few key scenes as it play into Ponyboy’s innocence. Editor Anne Goursaud does excellent work with the editing as it help play into some the drama with some stylish dissolves and other cuts that also help play into some of the film’s energetic moments. Production designer Dean Tavoularis and set decorator Gary Fettis do fantastic work with the look of the abandoned church that Ponyboy and Johnny hide at outside of Tulsa as well as some of the interiors of the home where the Curtis brothers lived in.
The special visual effects work of Robert Swarthe is terrific for a lone sequence that relates to the assault of Ponyboy and Johnny by the Socs as it has an element of surrealism. Sound designer Richard Beggs does amazing work with the sound in creating sound textures for Ponyboy’s dream sequence as well as the natural atmosphere of some of the film’s locations. The film’s music by Carmine Coppola is wonderful for its rich and somber orchestral score that play into the dramatic elements of the film while the soundtrack features a couple of songs in the film from Them and a song by Stevie Wonder that was co-written with Carmine Coppola.
The casting by Janet Hirshenson is incredible for the ensemble that is created as it include some notable small roles and appearances from novelist S.E. Hinton as a nurse, William Smith as a store clerk Dally tries to threaten late in the film, Gailard Sartain as man that Ponyboy briefly talks to following the act of heroism, Sofia Coppola as a young girl asking for change, Tom Waits as a guardian of sorts for Dally in Buck Merrill, Glenn Withrow as a fellow greaser in Tim Shepard, Michelle Meyrink as Cherry’s friend Marcia, and Darren Dalton as a Soc named Randy Anderson who was Bob’s friend as he would have a conversation with Ponyboy during the third act stripping away the image of a Soc. Leif Garrett is terrific in his small role as the Soc Bob Sheldon who was Cherry’s boyfriend who berates her while being drunk as he has an immense disdain towards the greasers.
Diane Lane is fantastic as Cherry Valance as a mid-upper class girl who is part of the Socs though she dispels its stereotypes upon befriending Ponyboy and trying to help him over what happened. Tom Cruise and Emilio Estevez are excellent in their respective roles as Steve Randle and Two-Bit Matthews as a couple of greasers who are friends of the Curtis brothers with Randle as a tough kid who works with Sodapop while Matthews is a slacker of sorts who does watch over Ponyboy and Johnny during an encounter with the Socs. Rob Lowe is superb as Sodapop Curtis as the middle brother who works at a gas station with Randle as he is always trying to mediate between Darrel and Ponyboy. Patrick Swayze is brilliant as Darrel Curtis as the elder brother of Sodapop and Ponyboy who is trying to be responsible despite being too hard on Ponyboy.
Ralph Macchio is amazing as Johnny Cade as Ponyboy’s best friend who is a sensible person as he deals with what he had to do to save Ponyboy as well as pondering his own place in the world. C. Thomas Howell is marvelous as Ponyboy Curtis as a 14-year old greaser who is coping with loss as well as pondering a life outside of being a greaser as it’s a performance full of innocence and grace. Finally, there’s Matt Dillon in a phenomenal performance as Dally Winston as a young yet tough greaser who is cool but lacking in sensitivity as he is always tough where he tries to do whatever he can to protect Ponyboy and Johnny.
The Outsiders is a remarkable film from Francis Ford Coppola. Featuring an ensemble cast of future stars as well as gorgeous visuals, compelling themes of innocence and identity, and a lush musical score by Carmine Coppola. It’s a film that is engaging as well as displaying elements of realism and fantasy into the idea of growing pains in early 1960s Tulsa. In the end, The Outsiders is an incredible film from Francis Ford Coppola.
Francis Ford Coppola Films: (Tonight for Sure) – (The Bellboy and the Playgirls) – Dementia 13 - (You’re a Big Boy Now) – (Finian’s Rainbow) – (The Rain People) – The Godfather - The Conversation - The Godfather Pt. II - Apocalypse Now/Apocalypse Now Redux - One from the Heart - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) – (Garden of Stone) – (Tucker: The Man & His Dreams) – New York Stories-Life Without Zoe - The Godfather Pt. III - Bram Stoker's Dracula - (Jack) – (The Rainmaker) – (Youth Without Youth) – Tetro - (Twixt)
© thevoid99 2018
Based on the historical picture book by James Haskins, The Cotton Club is the story of a musician who finds himself falling for a mobster’s girlfriend where he gets himself into trouble during the era of Prohibition. Directed by Francis Ford Coppola and screenplay by Coppola and William Kennedy from a story by Coppola, Kennedy, and Mario Puzo, the film is a stylish gangster-musical film of sorts as it is set largely in this nightclub. Starring Richard Gere, Gregory Hines, Diane Lane, Lonette McKee, Bob Hoskins, James Remar, Nicolas Cage, Allen Garfield, Laurence Fishburne, Gwen Verdon, and Fred Gwynne. The Cotton Club is a lavish yet incoherent film from Francis Ford Coppola.
Told in the span of the final years of the famed gangster Dutch Schultz (James Remar), the film follows a coronet player who falls for Schultz’s teenaged girlfriend as he’s given a job to protect her after saving him from an assassination attempt where things eventually become complicated. The film doesn’t just explore the life of this cornet player who is love with this young woman but also a tap dancer who is trying to pursue a singer who sings at the titular club that feature a lot of African-American singers, musicians, and dancers yet they can’t be at the club as audience members. The film’s screenplay by Francis Ford Coppola and William Kennedy want to showcase this world that is the center of the gangster world in New York City. Yet, there’s so many characters in the story including real-life gangsters as it eventually becomes messy to understand what is going on and what it wants to be.
There’s this love story where the cornet player Dixie Dwyer (Richard Gere) pursuing Schultz’s girlfriend Vera (Diane Lane) as well as the story of his tap-dancing friend Sandman (Gregory Hines) trying to woo the mixed-race singer Lila Rose Oliver (Lonette McKee). The narrative would move back-and-forth into these storylines as well as Schultz’s activity in the world of crime as he would find himself becoming a rival of Owney Madden (Bob Hoskins) and his right-hand man Frenchy (Fred Gwynne). Madden owns the Cotton Club which would have Schultz later form a rival club yet they would use Harlem as the place of conflict with some of Schultz’s men including Dixie’s brother Vincent (Nicolas Cage) getting into trouble with some of the locals including Bumpy Rhodes (Laurence Fishburne) who decides to fight back. It all takes place in the span of a few years as the script wouldn’t just try to be this romantic-gangster drama with elements of musical performances. Its major drawback is that blend of genres as well as dialogue that isn’t strong and characters that aren’t engaging enough.
Coppola’s direction is definitely stylish in terms of its presentation of the film as it has elements of old Hollywood and these lavish musical numbers with intricate choreography by Henry LeTang. Shot largely in New York City with its interiors shot at the Astoria studio in the city, the film does play into this high-octane world of New York City gangster life during the days of Prohibition. Coppola would use wide shots to get a scope of the locations in its exteriors as well as the performances that include tap dance numbers, choirgirl dances, and all sorts of things that was prevalent during the days of Prohibition. Much of the direction that Coppola aims for is style in its usage of slanted camera angles, close-ups, and medium shots to capture the atmosphere of the clubs. Even as the moments of violence are intense such as this dramatic re-creation of Vincent leading an assassination on one of Schultz’s men where some children are killed. It’s among some of the key moments in the film where it manages to overcome many of the script’s shortcomings including an argument scene involving Madden and Frenchy as it’s presented in a very simple yet direct medium shot.
For all of the lavishness, stylish musical numbers, and homage to the gangster films of the time, Coppola unfortunately doesn’t find a center into the film as much of its centerpiece takes place in the titular club. Rarely, the characters of Dixie and Sandman would interact as the script never establishes more of their friendship in favor of their respective romantic pursuits. The direction is all over the place where it messes up much of the film’s tone as it would be one genre and then go into something else. Even the film’s ending which mixes fantasy and reality of what happens to the characters wants to be this traditional Hollywood ending but the result is extremely messy as Coppola tried to end it with a sense of style. Overall, Coppola creates an extravagantly rich but inconsistently tonal film about life at a club during the days of Prohibition.
Cinematographer Stephen Goldblatt does brilliant work with the film’s cinematography with its stylish approach to lighting for some of the musical performances as well as the look of the exteriors set at night. Editors Barry Malkin and Robert Q. Lovett do excellent work with the editing as it is stylish with its usage of dissolves and transition wipes to play into the film’s frenetic style. Production designer Richard Sylbert, with set decorators Leslie Bloom and George Gaines plus art director Gregory Bolton and David Chapman, does amazing work with the look of the nightclubs in all of its lavish form as well as the backstage areas and the places the characters would go to.
Costume designer Milena Canonero does incredible work with the costumes as it is a highlight of the film in the lavish dresses and costumes the women wear including the colored suits of the male performances in the musical numbers. Sound editor Edward Beyer does superb work with the sound with the way music sounds on location as well as the sounds of gunfire and other violent moments in the film. The film’s music by John Barry is fantastic for its orchestral-jazz based score that play into the period of the time with elements of blues music while music consultant Jerry Wexler would provide a soundtrack that feature many of the standards of the time that are performed by the actors in the film including Richard Gere playing his own cornet solos.
The casting by Lois Blanco and Gretchen Rennell is wonderful as it feature some notable small roles and appearances from Mario Van Peebles as a dancer at the Cotton Club, Mark Margolis as an assassin late in the film, Sofia Coppola as a young girl trying to sell Vince an apple, Giancarlo Esposito as one of Bumby’s hoods, Bill Cobbs as a veteran gangster in Big Joe Ison, Woody Strode as a Harlem veteran who advises Bumpy, Larry Marshall as the famed performer Cab Calloway, Rosalind Harris as the famed actress Fanny Brice, Jennifer Grey as Vince’s girlfriend Patsy, Tom Waits as the Cotton Club manager Irving Starck, Diane Venora as the actress Gloria Swanson who sees Dixie as a future film star, Lisa Jane Persky as Schultz’s girlfriend Frances Flegenheimer, Maurice Hines as Sandman’s brother Clay who would perform with Sandman as part of a tap duo, Julian Beck as Schultz’s advisor Sol Weinstein, Allen Garfield as Schultz’s accountant Otto Biederman, Joe Dalessandro as Lucky Luciano, and Gwen Verdon as Dixie and Vince’s mother Tish Dwyer who knew Madden who always liked her.
Fred Gwynne is terrific as Frenchy as Madden’s right-hand man who looks menacing yet is also calm unless he gets really angry while Bob Hoskins is superb as Owney Madden as the revered gangster that knows what to do and get things done but is also a man that has some morals where he tries to help out whoever he can. Nicolas Cage is fantastic as Vince Dwyer as Dixie’s brother who is trying to be a gangster working for Schultz only to get carried away to the point that he becomes trouble for everyone. Laurence Fishburne is brilliant as Bumpy Rhodes as a Harlem gangster who has had it with Vince and Schultz’s antics as he decides to fight back and get some rights for his people. James Remar’s performance as Dutch Schultz definitely has the ferocity and anger of Schultz but it also borders into parody at times where it’s a mixed bag overall as Remar isn’t given more to do but be angry and jealous for most of the film and rarely display any kind of sensitivity.
Lonette McKee is good as Lila Rose Oliver as a singer who is fascinated by Sandman but is keen on wanting to do other things as she is able to get opportunities that other women couldn’t get as she’s half-black, half-white as McKee’s performance is wonderful but very underwritten. Gregory Hines is excellent as Sandman as a tap dancer that is eager to perform at the Cotton Club and win over Lila as it’s definitely the best performance of the film where Hines is someone that is just trying to make it as he later copes with the chaos that is happening in Harlem as well as the prejudice he endures. Diane Lane is alright as Vera as Schultz’s teenaged mistress who wants to run a club as it’s a performance that has charm but not a lot of substance as her character doesn’t really do much but be pretty and be the object of affection. Finally, there’s Richard Gere in a decent performance as Dixie Dwyer as he does display a sense of charm while being a capable musician. It’s just that his character is also messy where he can be the nice and smooth talker one minute and then be an asshole the next minute as it’s just a messy performance from Gere.
The Cotton Club is an entertaining but extremely messy film from Francis Ford Coppola. Despite its gorgeous visuals, lavish production values, terrific supporting performances, and an enjoyable music score/soundtrack, it’s a film that had all of the right ideas on paper but doesn’t mesh well in terms of its execution. Notably as it tried to be so many things in one entire film only to have a lot of tonal issues as well as being more style over substance. In the end, The Cotton Club is a worthwhile but incoherent film from Francis Ford Coppola.
Francis Ford Coppola Films: (Tonight for Sure) – (The Bellboy and the Playgirls) – Dementia 13 - (You’re a Big Boy Now) – (Finian’s Rainbow) – (The Rain People) – The Godfather - The Conversation - The Godfather Pt. II - Apocalypse Now/Apocalyse Now Redux - One from the Heart - The Outsiders – Rumble Fish - (Peggy Sue Got Married) – (Garden of Stone) – (Tucker: The Man & His Dreams) – New York Stories-Life Without Zoe - The Godfather Pt. III - Bram Stoker's Dracula - (Jack) – (The Rainmaker) – (Youth Without Youth) – Tetro - (Twixt)
© thevoid99 2018
Written and directed by Eleanor Coppola, Paris Can Wait is the story of a woman who travels to Cannes with her producer husband as she decides to go to Paris with another traveler where a relationship ensues. The film is a genre-bender that blends the romantic comedy with the road movie as it plays into a woman wanting to escape from her husband’s busy life in order to enjoy life on her own with another traveler. Starring Diane Lane, Arnaud Viard, and Alec Baldwin. Paris Can Wait is a delightful and charming film from Eleanor Coppola.
The film is a simple road story about a film producer’s wife who decides to go to Paris rather than fly to Budapest from Cannes for a meeting while his partner offers to driver her to Paris from Cannes. It’s a film that doesn’t have much of a premise where this woman is on a road trip with a man she barely knows as he would make detours into various places in France including Lyon. Eleanor Coppola’s screenplay follows three days in the life of Anne (Diane Lane) who is on vacation at Cannes with her producer husband Michael (Alec Baldwin) during its film festival as he is dealing with all sorts of problems and has to leave to Budapest. Offering to drive Anne to Paris is Michael’s producing partner Jacques (Arnaud Viard) as he knows about the places to go to where Anne finds herself feasting on all sorts of food and go to various places during the trip. Though Anne at first is more concerned about getting to Paris, she does eventually embrace the things she sees as she would take pictures of the trip while getting to know Jacques despite his flirtatious behavior.
Coppola’s direction is simple in terms of the compositions she creates as it’s more about the journey from Cannes to Paris and through the many landmarks and locations throughout the country including the city of Lyon. Coppola’s usage of the wide and medium shots of the locations play into Anne’s look into her surroundings as her original intention was to fly but was unable to due to an ear infection she received. Yet, Coppola would also infuse elements of simple compositions in the medium shots and close-ups to play into the interaction between Anne and Jacques as well as the places they go to. There are some unique visuals that Coppola would create as it relates to not just the growing friendship between the two but also hinting elements of romance though there’s reasons for them not to be together. Even as they do share some of their own stories of sadness yet find some comfort through the amount of food they eat and the wine they drink. Overall, Coppola crafts a splendid and compelling film about a road trip through France.
Cinematographer Crystal Fournier does excellent work with the film’s colorful cinematography to capture the natural look of the many exterior locations of France for the scenes in the day with some low-key scenes at night for some of the scenes at the restaurants they go to. Editor Glen Scantlebury does nice work with the editing as it does have bits of style in the jump-cuts and dissolves to play into the scenes on the road with some straightforward cutting for the drama and humor. Production designer Anne Siebel and set decorator Christelle Maisonneuve do terrific work with the look of the hotel rooms as well as a few places such as Anne and Michael’s apartment in Paris.
Costume designer Milena Canonero does fantastic work with the costume as it is largely straightforward with a few designer-like dresses that Anne wears as well as a few other characters in the film. Sound designer Richard Beggs does superb work with the sound in capturing the atmosphere of people at Cannes as well as the quieter moments in the film for the locations involving trees and rivers. The film’s music by Laura Karpman is amazing for its jazz-like score that play into the serenity of France while the soundtrack features bits of classical music from Erik Satie and contemporary music from the band Phoenix.
The film’s wonderful cast include some notable small roles including a cameo from Aurore Clement as a concierge at Anne and Michael’s apartment, Eleanor Lambert as a picture of Anne and Michael’s daughter, and Elise Tielrooy as a friend of Jacques in Martine who runs a film museum in Lyon. Alec Baldwin is superb as Anne’s husband Michael as a film producer who is dealing with the chaos of a film he’s producing and other projects as he has a hard time trying to find time for himself. Arnaud Viard is brilliant as Jacques as Michael’s producing partner who offers Anne to take her to Paris as he shows her the many wonders of the country while being a flirtatious man as it’s a charming and fun performance from Viard. Finally, there’s Diane Lane in a radiant performance as Anne as a film producer’s wife that is eager to go to Paris where she deals with an ear infection forcing her to go on the road where she copes with her own problems as she becomes fascinated by her surroundings and the food she eats as it’s just an intoxicating and charismatic performance from Lane.
Paris Can Wait is a marvelous film from Eleanor Coppola that features an incredible performance from Diane Lane. Along with its gorgeous visuals, mesmerizing locations, and sumptuous images of food and wine. The film is an offbeat road movie of sorts with elements of the romantic comedy all playing into a woman discovering the wonders of France outside of Paris. In the end, Paris Can Wait is a remarkable film from Eleanor Coppola.
© thevoid99 2018
Based on the characters from DC Comics, Batman v Superman: Dawn of Justice is about two superheroes who both go into conflict with each other unaware that a mogul is stirring the pot from underneath to get them to kill each other. Directed by Zack Snyder and screenplay by David S. Goyer and Chris Terrio, the film is a sequel to 2013’s Man of Steel where Superman copes with being a polarizing figure in the world with Batman being uneasy with Superman’s action from that film as Superman/Clark Kent/Kal-El is once again played by Henry Cavill and Batman/Bruce Wayne is played by Ben Affleck. Also starring Amy Adams, Jesse Eisenberg, Laurence Fishburne, Diane Lane, Jeremy Irons, Holly Hunter, and Gal Gadot as Diana Prince/Wonder Woman. Batman v Superman: Dawn of Justice is an enthralling but messy film from Zack Snyder.
The film revolves around a growing conflict between two superheroes who both want to do good but have different ideas of what to do with it as they would eventually have a showdown unaware that a mogul is trying to get them to fight each other for his own gain. It’s a film that plays into not just actions but also its consequences where it begins with the climatic showdown between Superman and Zod at Gotham from Man of Steel but it is seen from the perspective of Bruce Wayne who would watch thousands of innocent people killed including some of his employees at a building he owns with one of them losing his legs. Superman not only copes with being a polarizing figure trying to do good though innocent people would be killed in these attempts as members of the United States government want to question his intentions. Still, Clark Kent would question the intentions of Batman who had been doing vigilante work on his own brand of justice where even the people of Gotham are afraid of him.
The film’s screenplay by David S. Goyer and Chris Terrio definitely play not into this conflict between these two men but also questioning themselves where Wayne and several others aren’t sure if Superman is really trying to do good as there are those who are also willing to discredit Superman. The one person that is doing that and more as well as stirring the pot between Batman and Superman is this mogul in Lex Luthor (Jesse Eisenberg). While Wayne’s longtime butler Alfred Pennyworth (Jeremy Irons) believe that Superman isn’t the enemy and Kent’s adoptive mother Martha (Diane Lane) tries to assure her son to do good no matter all of the bad that is happening. Even Kent’s girlfriend/fellow journalist Lois Lane (Amy Adams) tries to assure Clark that he is doing good while she would do her own investigation into a bullet shell she found in Africa during an assignment that went wrong where Superman saved her but he would be accused of killing several people.
While the film’s script does establish the characters including their motivation as well as their own suspicions. The narrative however is a total mess due to the fact that there is so much that is going on as well as a lot of exposition of how Luthor views the world and this subplot that relates to these other individuals with superpowers that Wayne would learn. One of which would reveal to be Wonder Woman who would be integral to the film’s climax as she brings some weight into unveiling the truth of what is happening and who is the real enemy. Yet, the journey for Wonder Woman to be involved is a clunky one in the script as other aspects that relate to the suspicion Wayne and Kent have toward each other as well as the government’s suspicion on Superman aren’t fully realized.
Zack Snyder’s direction definitely has a lot of stylistic elements not just in the conventional aspects of bombastic action films but it does have moments where he does break away from the action. Shot on various locations in Detroit, Chicago, and parts of New Mexico as Africa, the film does play into a world that is uncertain about what is going to happen with Superman being seen as a savior for some but others see him as a false idol. Snyder does use a lot of wide shots to establish some of the locations as well as some medium shots to play into the vastness of the crowds along with some of the conversations. There are some close-ups where Snyder does play into some of the intrigue such as a meeting between Wayne and Diana Prince at a museum where the former is intrigued by the latter. It’s among one of the highlights of the film that shows Snyder just restraining himself a bit as well in his slow-motion action scenes.
The direction does have moment that feature moments that are surreal such as a few dream sequences of what Wayne is dealing with as it relates to the death of his parents and the idea of Superman as a threat. There are moments that drive the story such as Superman attending the U.S. Senate Committee in the hope that he can announce his intentions which would lead to a key plot point in the film. It’s just that Snyder tends to draw things out while also trying to find time to introduce other characters that is to be part of something bigger. It is part of the reason for the film’s uneven tone where there is this story about Superman going against Batman but also wanting to tell the story of these two men working together for something good. The film’s climax where the two team up with Wonder Woman to face a monster called Doomsday is quite thrilling but it is followed by a more drawn-out ending that goes a little overboard. Overall, Snyder does create an exhilarating yet flawed film about two superheroes being manipulated by a tyrannical mogul who wants them both dead by killing each other.
Cinematographer Larry Fong does excellent work with the film‘s stylish cinematography with its usage of de-saturated colors and some low-key grainy camera work for some of the nighttime interiors as well as the usage of blue and sepia for some of the daytime exteriors. Editor David Brenner does nice work with the editing as it does go into the typical fast-cutting style that is expected in action films though it does allow each scene to establish what is going on while it also has some stylish jump-cuts. Production designer Patrick Tatapoulos, with set decorator Carolyn “Cal” Loucks and supervising art director Troy Sizemore, does brilliant work with the look of the Luthor estate as well as the home and land of Bruce Wayne along with the secret room where he does his own investigation with Alfred. Costume designer Michael Wilkinson does fantastic work with the design of the costumes that Superman, Batman, and Wonder Woman wear as well as those gorgeous dresses that Prince wears in social gatherings.
Visual effects supervisor John “D.J.“ Des Jardin does amazing work with the visual effects as it play into some of the design of the cities and the powers of Superman as well as in the look of the monster that is Doomsday. Sound designers Chuck Michael and Jussi Tegelman, with sound editor Scott Hecker, do superb work with the sound with the layer of sound effects and the way Doomsday sound along with how some of the locations are presented with the sound. The film’s music by Tom Holkenberg aka Junkie XL and Hans Zimmer is wonderful for its mixture of bombastic orchestral score provided by Zimmer with some of Holkenberg‘s approach to rock and electronic power as it has some amazing themes including the one for Wonder Woman‘s arrival.
The casting by Jo Edna Boldin, Kristy Carlson, and Lora Kennedy is great as it feature some notable small role and appearances from news reporters Soledad O’Brien, Anderson Cooper, and Charlie Rose as themselves along with the famed astrophysicist Neil deGrasse Tyson as himself. Other small roles from Jeffrey Dean Morgan and Lauren Cohan as Bruce’s parents in the flashback scene of their murder, Michael Cassidy as the young Bruce, Mark Edward Taylor as an executive at Wayne Enterprises who would be killed in the film’s opening sequence, Christina Wren and Harry Lennix in their respective roles as Major Farris and Secretary Swanwick who are among the few that believe that Superman was set-up in Africa, Kevin Costner in a cameo appearance as Clark’s adoptive father Jonathan Kent, and Robin Atkin Downes as performance-capture model of the monster that is Doomsday.
Other noteworthy small roles include Scoot McNairy as a former Wayne Enterprises employee Wallace Keefe who has a legit grudge towards Superman, Tao Okamoto as Luthor’s assistant Mercy Graves, and Callan Mulvey as the Russian terrorist Anatoli Knyazev whom Wayne suspects to have some affiliation with Luthor as he would also be involved in setting up Superman for an incident in Africa. Holly Hunter is terrific as Senator June Finch as a woman that wants to question Superman to see if his intentions are good while becoming uneasy about Luthor and his obsession towards Superman. Diane Lane is fantastic as Martha Kent as Clark’s adoptive mother who tries to assure her son about his role in the world as she would also become a key factor in the climax into what Superman has to fight for.
Laurence Fishburne is superb as Daily Planet editor-in-chief Perry White who is frustrated with Kent’s frequent absences and the compromises he had to make to keep his paper afloat. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/guardian who is kind of the conscience of sorts while getting to say some funny lines as well as have Wayne see reason about what Superman is doing. Amy Adams is amazing as Lois Lane as Kent’s colleague/lover who is trying to see what really happened in Africa as well as try to help Kent see that he is someone trying to do good. Jesse Eisenberg is brilliant as Lex Luthor as a mogul who despises Superman and will do anything to destroy him where Eisenberg has this darkly-comic approach to the character that is quite offbeat but fun to watch.
In the role of Diana Prince/Wonder Woman, Gal Gadot is phenomenal as the Amazonian warrior who disguises herself as an antiques dealer who doesn’t appear much but her scenes do provide some importance while showing what she can do when she is Wonder Woman when she joins the fight against Doomsday as she steals the show. Henry Cavill is marvelous as Clark Kent/Kal-El/Superman as someone who is struggling with his role as a superhero while dealing with its consequences and expectations where he also finds himself in conflict with Batman over different ideas of doing good. Finally, there’s Ben Affleck in a remarkable performance as Bruce Wayne/Batman as a vigilante who brings fear to his enemies as he wonders if Superman is really on Earth to bring chaos as well as have suspicion towards Luthor where he makes a discovery about others who might join in the fight for good where Affleck really brings in the sense of ingenuity and awesomeness that is Batman.
Despite its flaws due to a messy script and some drawn-out storylines including its ending, Batman v Superman: Dawn of Justice is still a terrific film from Zack Snyder. Featuring a great cast, a fantastic score, dazzling visual effects, and an intriguing yet flawed premise, it is a superhero film that is exciting while setting the stage for something bigger to come. In the end, Batman v Superman: Dawn of Justice is a stellar film from Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) - 300 - Watchmen - (Legend of the Guardians: The Owls of Ga’Hoole) - Sucker Punch - Man of Steel
DC Extended Universe: Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - The Lego Batman Movie - The Batman (2022 film)
Superman Films: (Superman) - (Superman II) - (Superman III) - (Superman IV: The Quest for Peace) - (Superman Returns) - (Superman II: The Richard Donner’s Cut) - Superman (2025 film)
© thevoid99 2016
Directed by Pete Docter and Ronnie del Carmen and screenplay by Docter, Meg LaFauve, and Josh Cooley from a story Docter and del Carmen, Inside Out is the story about five figures representing different emotions who observe a young girl who copes with moving to a new city as they embark onto an adventure. The film explores not just a family dealing with a new move as it is largely told by emotional spirits who observe everything that is happening in these ongoing changes in life. Featuring the voices of Amy Poehler, Phyllis Smith, Bill Hader, Mindy Kaling, Lewis Black, Kyle MacLachlan, Diane Lane, and Kaitlyn Dias. Inside Out is a compelling yet evocative film from Pete Docter and Ronnie del Carmen.
Lava
Written and directed by James Ford McMurphy, Lava is a musical short film that revolves a volcano falling in love. It is a simple short story where a volcano is singing to find someone to love as he often sees two of everything while being unaware that there’s a volcano under the sea looking for him. It’s a visually-exhilarating and evocative short film that features the voices of Kuana Torres Kahele and Napua Greig as these volcanoes as they both sing the song continuously which is presented in a traditional Hawaiian presentation. The result isn’t just one of Pixar’s finest shorts but also a love story that manages to be so much more.
Inside Out
The film revolves around the five emotions inside the mind of a young girl as she copes with moving from Minnesota to San Francisco as things go wrong prompting two key emotional figures to retrieve some core memories that define this young girl. It’s a story that is about a young girl growing up and coping with changes in her life as she struggles to adapt to her new situation only to act out in ways she couldn’t understand. Most notably as her two main emotions in Joy (Amy Poehler) and Sadness (Phyllis Smith) struggle to retrieve core emotions from a world of long-term emotions where Disgust (Mindy Kaling), Fear (Bill Hader), and Anger (Lewis Black) are forced to take over where things go wrong. Even as they would try to do something to make her happy again but realize that all five emotions need each.
The film’s screenplay does start off with the birth of Riley (Kaitlyn Dias) and the emergence of Joy who would be the leader of controlling Riley’s emotions as she is later joined by Sadness, Disgust, Fear, and Anger. Joy would also make sure that Riley’s most important moment would emerge as they would represent core memories and special islands that represent her personality. When Riley is forced to move from Minnesota to San Francisco with her parents (Kyle MacLachlan and Diane Lane), things become complicated where Joy tries to maintain control but an incident where Sadness touches a core memory orb would trouble things as an attempt to discard it would force Joy and Sadness out of their headquarters and into the world where Riley’s long term memories are at. The script doesn’t just have elements of adventure but also drama and humor as there is a balance to the many things that occur in the film. Most notably as the five emotional figures are well-rounded characters who are just trying to manage a young girl’s emotional state.
The direction of Pete Docter and Ronnie del Carmen is quite vast in not just their approach to the world that Riley and her family is in but how it’s viewed from her emotional figures. It is presented with a richness in the 3D-computer animation style as it plays into not just the world that these characters are in but also what they need to do. Though much of what Riley experience is controlled by Joy, the sense of curiosity from Sadness would be the catalyst for what is to come. Most notably as it plays into the sense of change that Riley would encounter in San Francisco ranging from all sorts of things include veggie pizza, not having things at the home already, and not feeling the need to play hockey. It plays into not just a girl growing up but finding herself at odds with her surroundings as she becomes moody where Anger, Disgust, and Fear try to make her happy but a lot of comical hi-jinks ensue and more.
The direction also plays into some very strange moments where Joy and Sadness meet with an old imaginary friend of Riley in Bing Bong (Richard Kind) where they try to catch a train to the headquarters as the stop into a world that is literally abstract. It plays into things that these emotions aren’t able to comprehend as they’re growing along with Riley where Joy is forced to come to terms that she can’t control everything. What would happen wouldn’t just be moments that are very emotional but also some realization that all of these emotions have to be together help develop a person in its growth despite all of the growing pains this young girl would go through. Overall, Docter and del Carmen create a sprawling yet riveting film about a group of emotions watching the development of a young girl.
Editor Kevin Nolting does excellent work by going for something straightforward with some montages for the film‘s opening pre-credits sequence that plays into the life of young Riley. Production designer Ralph Eggleston and art director Bert Berry do amazing work with the look of the headquarters where the emotions do their job as well as the land outside of headquarters and the dark abyss in between. Sound designer Ren Klyce and sound editor Shannon Mills do fantastic work with the sound from the sound effects that occur in the world outside of headquarters as well as the places that Riley goes to. The film’s music by Michael Giacchino does brilliant work with the film’s music as it features an orchestral score that is very playful as well as some quirky elements that play into its humor and themes to play into its sense of despair.
The casting by Natalie Lyon and Kevin Reher is incredible as it features voice work from Pixar regular John Ratzenberger as a cloud, Bobby Moynihan and Paula Poundstone as a couple of forgetters who suck out fading long-term memories, Red Hot Chili Peppers bassist Flea as a mind-worker cop, Frank Oz and Dave Goelz as a couple of security guards, Paula Pell in a dual role as a dream director and the mother’s anger, Josh Cooley as the fear manifestation in the form of a clown, Lori Alan as mother’s sadness, Pete Docter as father’s anger, Rashida Jones as a cool girl’s various voices of emotions, and Carlos Alazraqui in a dual voice role as father’s fear and an imaginary Brazilian helicopter pilot. Richard Kind is terrific as the voice of an old imaginary friend named Bing Bong who helps Joy and Sadness find their way back as he also hopes that Riley would remember him. Kyle MacLachlan and Diane Lane are superb as Riley’s parents who deal with Riley’s sudden moodiness as it relates to their new living situation and changes in their life. Kaitlyn Dias is amazing as the voice of Riley as an 11-year old girl who deals with growing pains and changes in her life as Dias brings a realist approach to anyone who has deal with growing pains in that age.
Lewis Black is brilliant as Anger as he represents someone that knows when to push buttons as he comes up with a plan that he thinks will get Riley to become happy. Bill Hader is hilarious as Fear as someone who is constantly scared as he always list things that should go wrong on a certain day. Mindy Kaling is excellent as Disgust as a manifestation who makes Riley say no to broccoli and other things while giving Riley things not to like. Phyllis Smith is phenomenal as Sadness where Smith brings a lot of emotional weight and curiosity to the role as it adds a balance to Riley’s emotional turmoil. Finally, there’s Amy Poehler in a remarkable voice performance as Joy as the upbeat head of emotions who tries to maintain some control unaware of how troubled Riley is in her growing pains forcing her to grow up a bit as it’s that great mix of humor and realism in Poehler’s voice.
Inside Out is a tremendous film from Pete Docter and Ronnie del Carmen as it is definitely one of Pixar’s finest films. It’s a film that doesn’t just explore the idea of growing pains but also one that is told through various emotions that try to cope with changing times and changing worlds. It’s also a film that manages to be so much in terms of bending genres as well as be something that kids and adults could relate to in terms of growing up and change. In the end, Inside Out is a magnificent film from Pete Docter, Ronnie del Carmen, and Pixar.
Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters Inc.) - (Finding Nemo) - The Incredibles - Cars - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Brave - Monsters University - The Good Dinosaur - (Finding Dory) - (Cars 3) - Coco - Incredibles 2 - Toy Story 4 - (Onward) - Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)
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