Ad Astra

Directed by James Gray and written by Gray and Ethan Gross, Ad Astra is the story of an astronaut who travels to space to find his long-lost father who is believed to be found but conducting dangerous experiments that would threaten the universe. The film is a space adventure drama that follows a man whose devotion to his work forces him to deal with his father’s absence as he embarks on a journey to find his father and figure what he’s doing. Starring Brad Pitt, Tommy Lee Jones, Ruth Negga, Liv Tyler, and Donald Sutherland. Ad Astra is an astonishing yet riveting film from James Gray.

A series of power surges is threatening the universe as an astronaut is tasked to travel to space all the way to Neptune where the surge is coming from as it is believed that the astronaut’s father is conducting strange experiments on a space station near Neptune. That is the film’s premise as it more plays into this father-son relationship where the son is dealing with trying to live under the shadow of his father’s legacy despite being his own man yet bears some issues as it relates to his father abandoning him and his mother many years ago. The film’s screenplay by James Gray and Ethan Gross is told mainly through astronaut in Major Roy McBride (Brad Pitt) who is a man devoted to his work yet it would cost him his marriage to Eve (Liv Tyler). During a routine repair job at a large space antenna, a power surge emerges and does damage to the antenna with McBride being able to survive as he’s asked by military personnel to go to Neptune where it is believed his father Dr. H. Clifford McBride (Tommy Lee Jones) is alive having been presumed lost during a mission known as the Lima project.

The Lima project that was led by Dr. McBride was meant to see if there’s any form of intelligence life outside of the solar system but something happened and Dr. McBride and his crew hadn’t been heard since until these power surges have emerged prompting Roy to take the mission. Much of the first act involves Roy learning about his father while taking on numerous psychological evaluations to see if he’s capable of carrying on this classified mission where he’s joined by his father’s old friend in Colonel Pruitt (Donald Sutherland) to the moon where they would get a ride to Mars yet they would encounter some trouble involving space pirates with Roy going on the trip via another crew as things become more troubling due to the surge. Arriving on Mars where he meets facility director Helen Lantos (Ruth Negga) who reveals that she met Dr. McBride as a child as her parents were part of his crew and they never returned as well. Yet, Roy becomes more troubled by more psychological evaluations by people on Mars prompting him to sneak on board a rocket to confront his father by himself.

Gray’s direction is definitely ambitious not just in scope and scale but also in its themes of existence and of the universe itself. Set in the near future and shot on location in Santa Clarita, California and on studio soundstages, Gray maintains some intimacy for scenes on Earth that include flashbacks of McBride’s life with Eve but also the disconnect they have as it relates to McBride’s devotion to his work. Through the usage of close-ups and medium shots, Gray does play into the emotional disconnect that McBride carries yet the mission he has to embark on forces him to become emotional where it would take a psychological toll on him eventually once he goes into space. The scenes set in outer space are quite vast with the usage of wide shots that captures the scale of McBride’s journey towards Mars and then Neptune. Notably as the world that Gray creates from the colony on the moon that looks a bit like a mall in its interiors while the underground facility on Mars is far more mysterious including the scene of McBride trying to sneak onto the rocket to Neptune.

Gray’s direction also has this air of mystery during its second act as it relates to the psychological interviews that McBride is doing as well as his attempts to contact his father. It’s a moment in the film that showcases McBride’s own revelations into his mission and what some are not telling him as there are only a few he can really trust. The film’s third act has Gray delve more into elements of surrealism but also isolation into the journey as McBride is forced to deal with himself as the film does bear a lot of visual and thematic elements that relate to other films yet Gray goes for something more emotional. The meeting between McBride and his father is emotional as it does play into their own disconnect with other people but also the fallacies of their own exploration although Dr. McBride does manage to find things that would be important to the universe. In the end, Gray crafts an intoxicating yet haunting film about an astronaut traveling through space to find his long-lost father.

Cinematographer Hoyte van Hoytema does incredible work with the film’s cinematographer as it is a massive highlight of the film with its usage of low-key filters for some of the interiors and colorful lighting including some scenes on Mars and in some of the spaceships as well as emphasizing on a natural look for some of the exteriors and interiors on Earth as the photography also include additional work from Caleb Deschanel. Editors John Axelrad and Lee Haugen do brilliant work with the editing as it help play into some of the dramatic suspense while being straightforward in some parts while creating some stylish montages in scenes that play into the flashbacks and what McBride is dealing with in his journey. Production designer Kevin Thompson, with set decorator Karen O’Hara and supervising art director Christa Munro, does amazing work with the look of some of the spaceship interiors as well as some of the exteriors of the places and facilities on the moon and on Mars. Costume designer Albert Wolsky does terrific work with the costumes from the military uniforms some of the characters wear on Earth to the spacesuits that astronauts wear.

Hair/makeup designer Nana Fischer does nice work with the look of Dr. McBride when he’s unveiled for the film’s climax along with the beard that McBride grows during his journey. Visual effects supervisor Allen Maris does fantastic work with the visual effects as it play into elements of realism but also in the way some of the scenes in space are presented along with some chilling scenes inside a space station involving baboons. Sound designers Douglas Murray and Gary Rydstrom do superb work with the sound as it play into the sounds of spaceships heard from the insides as well as the sounds of rockets and other gadgets including the low-key sound of the power surges. The film’s music by Max Richter is phenomenal for its ambient-based score that has elements of orchestral bombast and serene synthesizers while music supervisors George Drakoulias and Randall Poster provide additional music from Lorne Balfe and Steffen Thum that add to the serene yet mysterious tone of the film.

The casting by Douglas Aibel is wonderful as it feature some notable small roles from Sean Blakemore as McBride’s head escort at the moon, Donnie Kershawarz as a ship leader for McBride’s trip to Mars, Loren Dean as the Mars’ ship second-in-command, Kimberly Elise and Bobby Nish as a couple of astronauts for the Mars ship, LisaGay Hamilton and John Finn as a couple of military officials briefing McBride about the situation, Natasha Lyonne as a customs officer on Mars, and John Ortiz as General Rivas who briefs McBride about his father and the Lima project. Liv Tyler is terrific in her small role as McBride’s ex-wife Eve as someone who feels pushed away from her husband while she would get contact from him about his mission as she deals with his emotional troubles. Donald Sutherland is superb as Colonel Pruitt as an old friend of Dr. McBride who accompanies McBride to the moon as he admits to having issues with his father while wanting to help McBride reach his destination.

Ruth Negga is excellent as Helen Lantos as facility director at a base on Mars who reveals some things to McBride about his father as well as what happened to her parents as she would help McBride to board the ship to Neptune knowing that there are many who are trying to stop him from being involved. Tommy Lee Jones is incredible as Dr. H. Clifford McBride as a revered astronaut who led the Lima project that was meant to be something big only for things to go wrong where Jones brings a mysterious quality to his character as someone who is believed to have gone insane. Finally, there’s Brad Pitt in a sensational performance as Major Roy McBride as an astronaut who is tasked to find his long-lost father as he deals with the severity of the mission as it’s a performance where Pitt is restrained for much of the film as he doesn’t do anything to emote until later on as he plays into the flaws of his character as it is one of Pitt’s finest performances.

Ad Astra is a tremendous film from James Gray that feature great performances from Brad Pitt and Tommy Lee Jones. Along with its ensemble cast, stunning visuals, immense production design, evocative music score, and themes of exploration and isolation. It’s a film that play into a man’s journey to find his long-lost father while coping with his own faults and the sins of his father that he would have to carry. In the end, Ad Astra is a spectacular film from James Gray.

James Gray Films: Little Odessa - The Yards - We Own the Night - Two Lovers - The Immigrant (2013 film) - The Lost City of Z - The Auteurs #67: James Gray

© thevoid99 2019

2018 Blind Spot Series: Don't Look Now

Based on the short story by Daphne du Maurier, Don’t Look Now is the story of a couple traveling to Venice as they deal with the recent death of their daughter where they start to encounter strange things that they see or is around them. Directed by Nicolas Roeg and screenplay by Allan Scott and Chris Bryant, the film is an unconventional suspense-drama that play into a couple’s grief as they encounter strange events during their trip to Venice. Starring Julie Christie, Donald Sutherland, Hilary Mason, Clelia Matania, Massimo Serato, and Renato Scarpa. Don’t Look Now is a haunting and evocative film from Nicolas Roeg.

Following the death of their daughter at a small pond in their backyard, the film follows a couple as they go to Venice to deal with their loss while the husband works in restoring an ancient church as he would see strange things as it relates to his grief. It’s a film that play into the ideas of death where a couple both have different ideas of coping as they also deal with things that are unexplained. The film’s screenplay by Allan Scott and Chris Bryant follow John Baxter (Donald Sutherland) and his wife Laura (Julie Christie) as they’re in Venice for the former’s work while the latter meet two elderly sisters in Heather (Hilary Mason) and Wendy (Clelia Matania) as the former is blind but is also a psychic. While Laura is still reeling from the loss of her daughter, she finds solace through Wendy’s psychic contacts believing that the Baxters’ daughter Christine (Sharon Williams) is trying to contact them.

Laura believes it is true but John is skeptical although he would see strange things involving someone wearing a red coat similar to what Christine wore on the day she died as well as things that Laura believes is Christine trying to contact them. John focuses on his work while accepting that his daughter had died but the mysterious encounters and near-death experiences have him wondering if there is something going on. Even when Laura briefly leaves Venice to return to England to check on their son Johnny (Nicholas Satler) who had been injured in school where John stays behind as he becomes befuddled by what he believes is real.

Nicolas Roeg’s direction is stylish from the film’s opening sequence that starts off innocently with two kids playing in the backyard while John and Laura are at home doing their usual activities until John notices something and runs to the pond to find his daughter drowning. Shot largely on location in Venice with the scenes in England shot at Hertfordshire, Roeg would use some wide shots to establish the locations but also to maintain that air of intrigue in what John sees as it relates to the mysterious figure in the red raincoat in scenes at the canal bridges in the city. Roeg would also use medium shots and close-ups for some of these moments as the latter would play into ideas of symbolism as if they’re signs of what is to come. Roeg would slowly build up the ideas of suspense while maintaining an atmosphere that does play into grief with Laura turning to Wendy and Heather for help as she is convinced that something isn’t right and that she and John should leave Venice.

With this air of grief and loss, the film would include this intense sex scene that is shot with some hand-held cameras and is cut in a montage of the John and Laura getting ready for a night on the town. There is an air of realism into the sex scene as it play into their love for each other and the need to cope with their loss. Yet, the strange events that occur including one near-death experience for John would play into what is happening and why. Notably in the third act as the ideas of reality and fantasy begin to blur as recurring images of Christine’s drowning would also emerge as Roeg would also include this strange subplot about a series of mysterious murders in Venice. Particularly as it would collide with the main story that has John wondering if everything he sees is real or is it all a fantasy. Overall, Roeg crafts a rapturous yet eerie film about a couple’s grief manifesting into strange events in Venice.

Cinematographer Anthony Richmond does brilliant work with the film’s cinematography with its low-key approach to lighting for many of the exterior scenes at night along with the usage of lighting for some of the interior sets in the film. Editor Graeme Clifford does excellent work with the editing as it has these stylish usage of montages such as the sex scene as well as other stylish moments that play into the suspense and blur between reality and fantasy. Art director Giovanni Soccol and set decorator Francesco Chianese do amazing work with the look of the hotel room the Baxters were staying at as well as some of the interiors of the church that John is restoring.

Sound editor Rodney Holland does fantastic work with the sound as it help play into the suspense and drama as well as creating moments that add to locations. The film’s music by Pino Donaggio is incredible for its rich and hypnotic score with its usage of piano, flutes, and string instruments to maintain that chilling approach to suspense and drama as it’s a highlight of the film.

The casting by Miriam Brickman and Ugo Mariotti is wonderful as it include some notable small roles from Nicholas Satler as the Baxters’ young son Johnny, Sharon Williams as their daughter Christine, David Tree and Ann Rye as a couple who run Johnny’s school, Leopoldo Trieste as the hotel manager, Renato Scarpa as a police investigator in Inspector Longhi, Bruno Cattaneo as a detective in Sabbione, and Massimo Serato as Bishop Barbarrigo as a man who is concerned about John’s state of mind while wondering if what he’s seeing is true. The performances of Hilary Mason and Clelia Matania are amazing in their respective roles as the sisters Heather and Wendy with the former being a blind psychic who believes something would happen to the Baxters while the latter is this warm person that is sort of Heather’s spokesperson as she is also aware something isn’t right.

Finally, there’s the duo of Julie Christie and Donald Sutherland in phenomenal performances in their respective roles as Laura and John Baxter. Christie plays up the sense of grief of a woman still dealing with the loss of her daughter where she is seeking answers for her grief as well as believing that their daughter is warning them about something. Sutherland provides a performance that is based on man accepting what had happened yet is dealing with all of these strange things he is seeing as well as the fact that he might be repressing something about himself. Christie and Sutherland together are a joy to watch as they play up to their loss and need for each other but also deal with the fact that they lost a child and haven’t really done much to confront that loss.

Don’t Look Now is a tremendous film from Nicolas Roeg that features great performances from Julie Christie and Donald Sutherland. Along with its ensemble cast, entrancing visuals, eerie music score, and chilling setting, it’s a film that play into the ideas of grief as well as mysterious events that link to loss. Even as it’s a film that isn’t a conventional horror film but rather a suspense-drama that has elements of horror to showcase a couple’s encounter with grief. In the end, Don’t Look Now is a magnificent film from Nicolas Roeg.

Nicolas Roeg Films: Performance - Walkabout - (Glastonbury Fayre) – The Man Who Fell to Earth - (Bad Timing) – (Eureka) – (Insignificance) – (Castaway) – (Aria-Un ballo in maschera) – (Track 29) – (The Witches (1990 film)) – (Heart of Darkness (1993 film)) – (Two Deaths) – (Full Body Massage) – (Samson and Delilah) – (Puffball)

© thevoid99 2018

Ordinary People

Based on the novel by Judith Guest, Ordinary People is the story of a upper-middle class family who copes with the loss of their son while his younger brother deals with survivor’s guilt as he returns home from the hospital. Directed by Robert Redford and screenplay by Alvin Sargent, the film is an exploration of a family dealing with loss as well as a young man wondering about his own role in his family and his relationship with his own parents. Starring Donald Sutherland, Mary Tyler Moore, Timothy Hutton, Elizabeth McGovern, and Judd Hirsch. Ordinary People is a somber yet engaging film from Robert Redford.

The film is the story of a family reeling from the aftermath of the death of a son as well as the suicide attempt of another as they try to move on as if nothing is happening yet the surviving son still copes with survivor’s guilt. It’s a film that explores a family that slowly unravels as they’re forced to see things and reflect on aspects of their life. The film’s screenplay by Alvin Sargent is quite straightforward as it largely takes place during the autumn season in an upper-middle class suburbia near Chicago where its 18-year old son Conrad Jarrett (Timothy Hutton) has just got out of the hospital for a month as he returns to school trying to get back to his normal routine before his brother’s death and suicide attempt. Yet, he’s become withdrawn and unable to do what he’s done in the past while he’s having a harder time trying to express himself emotionally with his mother Beth (Mary Tyler Moore). For his father Calvin (Donald Sutherland), he is concerned for Conrad’s well-being as well as try to keep everything calm.

Conrad would turn to a psychiatrist in Dr. Berger (Judd Hirsch) for answers but finds himself not only dealing with memories of the boating accident that killed his brother Buck (Scott Doebler). He also copes with the fact that he’s still alive which hasn’t made him deal with things as easy as he wants to be. The script is really noted for its development as Conrad is just someone that is trying to make sense of everything he’s feeling as he would quit the swim team and befriend a young classmate in Jeannine (Elizabeth McGovern) who would give him a bit of hope. Yet, it’s at home where things become difficult where his mother remains cold and distant as she’s trying to maintain some sense of normalcy around family and friends. For Calvin, he tries to understand what his son is feeling and why his wife has been reacting at things where he eventually comes to realize that something is wrong as he becomes aware that not everything is alright. Even as Beth would snap him for talking about Conrad and their situation to family and friends as it show cracks starting to emerge.

Robert Redford’s direction is actually quite simple in terms of the compositions he creates as he doesn’t really go for any kind of flashy visuals in favor of just doing something that is direct and to the point. Shot on location in Lake Forest, Illinois and parts of Chicago, the film does play into the world of suburbia where everything looks nice and everyone is perfect which is really a façade. There are some wide shots that Redford uses yet his approach to medium shots and close-up add a lot to the drama from the sessions that Conrad would have with Dr. Berger or the moments involving the family. There are also flashbacks that would appear every now and then such as the boating accident but also time of the family before Buck’s death and Conrad’s suicide attempt. Those are the few moments in the film where Redford would show some aspect of style as it has a mixture of fantasy but also terror as it relates to the tragedy the Jarrett family is dealing with. Some of these flashbacks play into happier times where both Conrad and Calvin reflect on as if it feels like a fantasy.

Redford also create moments that play into the family unit cracking with such subtlety such as a dinner party that Calvin and Beth attend where the former is talking with someone who asked about Conrad where Calvin was being honest but gracious as Beth overhears him. She would later scold him for talking about something that is private and again late in the film during a holiday vacation with Beth’s brother and wife as it play into many things Calvin starts to see. Even as he would eventually go to Dr. Berger for one session as it opens up into things he never thought about or had been in his mind for so long. The third act isn’t just about Conrad dealing with the pain over the loss of his brother but also Calvin having a revelation about his wife and what had been lost since the death of their eldest son. Overall, Redford crafts a somber yet evocative film about a family coming to terms with loss but also the realization that nothing can be the same ever again.

Cinematographer John Bailey does excellent work with the film‘s cinematography with emphasis on low-key lights and textures for some of the daytime exterior and interior scenes with the usage of lights for the scenes at night including a nighttime session Conrad has with Dr. Berger. Editor Jeff Kanew does brilliant work with the editing as it feature some jump-cuts and stylish flashback montages to play into the drama. Art directors J. Michael Riva and Brook Simons, with set decorators William B. Fosser and Jerry Wunderlich, do fantastic work with the look of the Jarrett home as well as the pool in Conrad‘s high school and Dr. Berger‘s office with its more quaint appliances.

Costume designer Bernie Pollack does nice work with the costumes as it is largely straightforward in terms of the casual look of Conrad as well as the more clean-cut and refined look of Calvin and Beth. Sound editor Kay Rose is terrific for the scenes involving swim meets and parties but also in the quieter moments at home as it play into the tension at home. The film’s music by Marvin Hamlisch is amazing as it is very a low-key orchestral score with some piano that play into the drama as the soundtrack also include a few classical pieces with Johann Pachelbel’s Canon and Gigue in D as the opening and closing music piece of the film.

The casting by Penny Perry is great as it feature some notable small roles from Meg Mundy and Richard Whiting as Conrad’s grandparents, Scott Doebler as Conrad’s late older brother Buck, James B. Sikking as Calvin’s business colleague/friend Ray, Adam Baldwin as a teammate of Conrad in Kevin Stillman whom Conrad doesn’t really like, Fredric Lehne as Conrad’s best friend Joe who is trying to talk to him as he also misses Buck, and M. Emmet Walsh as Conrad’s swim coach Salan as someone who is wondering where Conrad’s head is at for the meets. Dinah Manoff is wonderful as Karen as someone Conrad met at the hospital as they meet to talk about their issues where she claims that she is doing great. Elizabeth McGovern is fantastic as Jeannine as a schoolmate of Conrad who befriends him as she provides some hope and kindness to Conrad. Judd Hirsch is excellent as Dr. Berger as a psychiatrist who is a very sympathetic figure that is trying to understand Conrad as well as not bullshit him about the ways of the world and things that Conrad needs to figure out.

Timothy Hutton is phenomenal as Conrad Jarrett as a young man dealing with survivor’s guilt and a suicide attempt as he tries to return to the world yet he is anguished and lost where Hutton show that sense of despair and loneliness as it is truly a breakthrough performance for the actor in his debut film role. Donald Sutherland is remarkable as Calvin Jarrett as a man trying to understand his son’s withdrawn behavior as well as dealing with the fact that he has some issues to face including his wife’s refusal to talk about some serious issues. Finally, there’s Mary Tyler Moore in a radiant performance as Beth Jarrett as a woman who is either in denial or refusing to face the things around her family in an attempt to try and move on as if nothing had happened as it’s a very eerie performance from Moore who plays a character that is very unlikable but also just as fragile as someone that isn’t ready to face the truth about herself.

Ordinary People is an incredible film from Robert Redford. Featuring a great cast and an entrancing portrait on grief, loss, and denial, it’s a film that explores a family dealing with life after loss and how those can’t face the truth about themselves and what was lost. In the end, Ordinary People is a tremendous film from Robert Redford.

Robert Redford Films: (The Milagro Beanfield War) - (A River Runs Through It) - (Quiz Show) - The Horse Whisperer - (The Legend of Bagger Vance) - (Lions for Lambs) - (The Conspirator) - (The Company You Keep)

© thevoid99 2017

Crackers (1984 film)

Based on the film Big Deal on Madonna Street by Mario Monicelli, Crackers is the story of a group of small-time thieves who decide to rob a local pawn shop that is owned by a greedy man. Directed by Louis Malle and screenplay by Jeffrey Fiskin, the film is a comedic take in the world of caper films where a group of men try to boost their luck in hoping to rob a store and succeed. Starring Donald Sutherland, Sean Penn, Wallace Shawn, Larry Riley, Christine Baranski, and Jack Warden. Crackers is a delightful and silly film from Louis Malle.

Set in a neighborhood in San Francisco, the film revolves around a group of misfits who decide to rob a pawn shop in the hopes of making their lives better as well as give the greedy pawn shop owner his comeuppance for short-changing them. It’s a caper film of sorts that play into guys who are broke, unemployed, and in need of money and food as they decide to do a robbery. Along the way, hilarity ensues as their attempts to create alibis and all sorts of things cause trouble as it leads to the climatic heist. The film’s screenplay by Jeffrey Fiskin is simple as it play into a group of guys who are down on their luck as they hope that the heist will make their lives better. Even as some have girlfriends or families to take care while one of them in Turtle (Wallace Shawn) is just homeless as he’s constantly hungry.

Louis Malle’s direction is actually very simple where he shoots the film on location in this street in the middle of San Francisco as it plays into a world that is very diverse. While Malle does use some wide shots to capture the look of the city as it is a character in the film, Malle goes for something that is more intimate by utilizing close-ups and medium shots to play into the characters and the situations they endure. It also plays into the pawn shop which is where many of the characters socialize at as there are things they want but also hope to score money for whatever they can steal and pawn off. There are elements that are fun and raucous but also silly where the film does lose a bit of steam in its third act as it leads to the climatic heist. Notably as Malle tries to mix some suspense with some silliness as the result is a mixed bag where one overwhelms the other. Overall, Malle creates a flawed but fun film about a group of misfits trying to rob a pawn shop.

Cinematographer Laszlos Kovacs does excellent work with the film‘s cinematography from the usage of lights for scenes at night in the exteriors as well as some naturalistic look for the scenes set in the day. Editor Suzanne Baron does nice work with the editing as it‘s mostly straightforward to play into the humor and some of the suspenseful moments. Production designer John J. Lloyd and set decorator Hal Gausman do fantastic work with the look of the pawn shop with all of the objects and the things at the shop as well as the elaborate look of the alarm.

Costume designer Deborah Nadoolman does terrific work with the costumes as a lot of it is casual but also has some style to play into the personality of the characters. Sound editors Ruth Blakeslee and Gail Showalter do superb work with the sound from the way the shop alarm would sound as well as some of the sparser moments in the film. The film’s music by Paul Chihara is wonderful for it mixture of electronic music with some blues to play into the vibrant and diverse world that is San Francisco while the theme song by Michael McDonald is a fun and upbeat number that plays into the film‘s mischievous tone.

The casting by Juliet Taylor is amazing as it features some notable small roles from Edouard DeSoto as a bartender that Ramon wants his sister to be with, Tasia Valenza as Ramon’s sister Maria whom Dillard falls for, Charlayne Woodard as a maid named Jasmine that Boardwalk wants to help, Irwin Corey as an old friend Weslake in Lazzarelli, and Anna Maria Horsford as Boardwalk’s hooker wife Slam Dunk who is tired of her husband’s constant failures. Christine Baranski is wonderful as Maxine as a traffic cop that Weslake is dating as she also spends time being with other men. Trinidad Silva is terrific as Ramon as a Mexican who is dealing with trying to evade immigrants while joining in the heist for money. Larry Riley is fantastic as Boardwalk as a pimp with a baby that deals with his wife leaving him and trying to get out of the game once he meets and falls for Jasmine.

Wallace Shawn is brilliant as Turtle as a homeless man that is always hungry as he’ll eat anything he sees while being a man of few words as he joins the heist so he can feed himself. Sean Penn is excellent as Dillard as a Southern musician who falls for Ramon’s sister as he’s also a skilled electrician that helps out in the heist so he can get revenge on Garvey for not giving him a guitar that he wants. Jack Warden is marvelous as Garvey as a pawn shop owner that is reluctant in giving people money over objects that are worth a lot more while selling those at a high price as it relates to some realities over what is happening with his business. Finally, there’s Donald Sutherland in a remarkable performance as Weslake as a man who just lost his job as he decides to steal from his friend Garvey in the hopes that he can give Maxine a dream vacation as well as a good life as Sutherland also brings a lot of humor to his performance.

Crackers is a stellar film from Louis Malle. Armed with a great cast as well as a fun premise, the film is a light-hearted and enjoyable comedy though it is one of Malle’s more lesser works but one that remains to be very entertaining. In the end, Crackers is a terrific film from Louis Malle.

Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby (1978 film) - Atlantic City (1980 film) - (My Dinner with Andre) - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)

© thevoid99 2016

Beerfest

Written and starring the Broken Lizard comedy troupe, that consists of Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske, and directed by Chandrasekhar, Beerfest is the story of two brothers who gather some old friends to train for a beer-drinking competition known as Beerfest to avenge the honor of their late grandfather from German relatives. The film is a simple comedy that is just about a bunch of guys training for a worldwide beer-drinking competition in Germany and challenge some of the world’s best. Also starring Cloris Leachman, Jurgen Prochnow, Mo’Nique, Nat Faxon, Eric Christen Olsen, Will Forte, Blanchard Ryan, Ralf Moller, Gunter Schlierkamp, and Donald Sutherland. Beerfest is a hilarious and entertaining comedy from the Broken Lizard comedy troupe.

The film is a simple story about two brothers who travel to Germany to spread the ashes of their late grandfather in his homeland only to encounter the annual worldwide Beerfest drinking competition where they are humiliated by their German cousins as they vow revenge on their late grandfather by forming a team of their own with a few friends. It’s a film that doesn’t require much plot as these two brothers come to Germany only to return humiliated as the oldest Jan Wolfhouse (Paul Soter) gets a black eye from the trip as he and his younger brother Todd (Erik Stolhanske) want to fight back by gathering some of their old college friends in the hot dog eating champion Phil “Landfill” Krundle (Kevin Heffernan), the Jewish scientist Charlie “Fink” Finklestein (Steve Lemme), and Barry Badinrath (Jay Chandrasekhar) who has fallen on hard times as he becomes a male prostitute.

The film’s screenplay doesn’t just explore the Wolfhouse family background as their related to the Beerfest organizer Baron Wolfgang von Wolfhausen (Jurgen Prochnow) but also how closely related he is to their late grandfather Johann (Donald Sutherland) through their great-grandmother Gam-Gam (Cloris Leachman). Along the way, the Wolfhouse brothers discover an old family recipe that was once considered lost as it would attract the attention of von Wolfhausen and eventually lead to a confrontation at the next Beerfest between the Americans and the Germans. Yet, the film has a lot of antics not just in the beer-drinking games that emerge but also in the characters plus a lot of references to the film Das Boot not just in a foot-long boot-shaped glass but also in a scene where von Wolfhausen is inside a submarine and says that he gets anxious about being in a sub. The script continuously adds a lot of jokes but also maintain the bond between a bunch of guys trying to train for an entire year for a beer-drinking competition.

Jay Chandrasekhar’s direction is pretty simple in terms of its compositions while he does manage to maintain a sense of consistency in terms of the jokes and comedic antics. Even as some of the drinking games that are portrayed are quite outrageous though a lot of them are real. Though the film is set in Colorado and in Germany, much of the film is shot in Albuquerque, New Mexico where it plays into the culture of beer-drinking though much of the alcohol is consumed is really non-alcoholic beer. Chandrasekhar’s compositions are quite simple in terms of its close-ups and medium shots while it features some very silly moments such as the gang drinking ram urine to prepare for the competition as well as some of the tension between the gang. Some of the partying is quite racy and juvenile where the gang isn’t afraid to be silly but also break the fourth wall at times such as Badinrath realizing who he really slept with. The film’s climax is the Beerfest competition as there is so much at stake but also some big discoveries about the secret into drinking the Das Boot glass. Overall, Chandrasekhar creates a very engaging and witty film about a bunch of guys drinking beer for a worldwide beer-drinking competition.

Cinematographer Frank G. DeMarco definitely creates a nice look to the film's scenes which includes some of the scenes at the Beerfest competition. Editor Lee Haxall does terrific work in the editing in the use of montages and other rhythmic cuts for the film‘s humor. Production designer Clark Hunter, with set decorator Gabriella Villarreal and art director David Baca, does amazing work in creating the festival that is Beerfest while costume designer Tricia Gray creates some wonderful uniforms for the various countries playing in the event.

Sound editor Gregory King also creates some superb work on the film's sound, notably the way quarters hit the glass. Music composer Nathan Barr creates an excellent yet exuberant score to emphasize the momentum of Beerfest. The soundtrack features an array mix of music ranging from acts like Del the Funkee Homosapien, the Meters, Fabulous Thunderbirds, Bulletboys, AC/DC, Kool & the Gang, Mighty Mighty Bosstones, Poison, Eagles of Death Metal, and the German techno group Bubbles who play the same track that appeared in Super Troopers.

The casting by Venus Kanani and Mary Vernieu is brilliant as it includes some notable small appearances from M.C. Gainey as a priest, Aaron Hendry and Michael Yurchak as English beer-drinkers, Candace Smith as a drunken fantasy of Badinrath, Philippe Brennikmeyer as the Beerfest referee, Bjorn Johnson as a German man that would take the Wolfhouse brothers to Beerfest, Blanchard Ryan as Landfill’s wife, and James Roday as an unfortunate messenger who would bring von Wolfhausen the beer that his American relatives have brewed. The film also features some very funny cameos from Willie Nelson at the end of the film and Donald Sutherland as the Wolfhouse brothers grandfather. Mo’Nique is hilarious as Gam-Gam’s nurse Cherry who is very funny about the things she says while Cloris Leachman is a riot as the Wolfhouse’ great-grandmother Gam-Gam who always say filthy scenes while carrying a secret about the family.

In the role of the German team, Nat Faxon, Will Forte, Eric Christian Olsen, Ralf Moeller, and Gunter Schlierkamp are excellent as they all have some funny lines to say while Jurgen Prochnow is superb as their leader Baron Wolfgang von Wolfhausen as he gets some funny things to say including references to Das Boot which he was in. Finally, there’s the Broken Lizard troupe in truly remarkable roles with Erik Stolhanske and Paul Soter in terrific performances as Todd and Jan Wolfhouse, respectively, as the two brothers who are eager to seek vengeance for their grandfather and great-grandmother’s honor. Steve Lemme is very funny as the Jewish scientist Fink as he tries to discover the secret of Das Boot while bringing some funny Jewish humor. Kevin Heffernan is a riot as Landfill as a former beer-drinker who is eager to help the gang as this beer-drinking machine. Finally, there’s Jay Chandrasekhar as the troubled Barry Badinrath as a man on hard times who joins the team to try and redeem himself while dealing with his own demons in the past involving ping-pong.

Beerfest is an excellent film from Jay Chandrasekhar and the Broken Lizard comedy troupe. Not only is it a fun film to watch but also one that has some substance and characters to root for. Even as it is plays into the craziness of beer-drinking competitions and beer-drinking games in a worldwide forum. In the end, Beerfest is a marvelous film from Broken Lizard.

Broken Lizard Films: (Puddle Cruiser) - Super Troopers - Club Dread - (The Slammin’ Salmon) - (The Broken Lizards Stands Up) - (Freeloaders (2012 film)) - Super Troopers 2

© thevoid99 2014

The Hunger Games: Catching Fire

Based on The Hunger Games trilogy by Suzanne Collins, The Hunger Games: Catching Fire is the follow-up to the 2012 film where Katinss Everdeen becomes a political target as a rebellion is emerging where she and Peeta Mellark are forced to play the next Hunger Games against previous winners. Directed by Francis Lawrence and screenplay by Michael Arndt and Simon Beaufoy, the film is an exploration of a young woman trying to comprehend her feelings while dealing with a target in her back as Jennifer Lawrence returns as Katniss with Josh Hutcherson as Peeta. Also starring Donald Sutherland, Liam Hemsworth, Stanley Tucci, Elizabeth Banks, Woody Harrelson, Lenny Kravitz, Jeffrey Wright, Amanda Plummer, Jena Malone, Sam Claflin, Toby Jones, and Philip Seymour Hoffman. The Hunger Games: Catching Fire is a rapturous yet chilling film from Francis Lawrence.

In the second part of the trilogy where Katniss Everdeen becomes this unlikely beacon of hope for a futuristic, dystopian America. The second part is about Katniss becoming a political target against leader President Snow (Donald Sutherland) who tries to get Katniss to be in his side in order to quiet down this emerging rebellion. Instead, Katniss and Peeta’s plans to pretend to be this couple as a distraction doesn’t work until the new game maker Plutarch Heavensbee (Philip Seymour Hoffman) makes a plan to get all surviving victors of previous Hunger Games to take part in the 75th game where the rules are much more different as is the competition. With Peeta volunteering in place of his mentor Haymitch (Woody Harrelson), the two agree to protect each other during the game with the help of a few allies. It’s a film that plays into a world where things become more chaotic as this young woman is becoming a symbol of hope but she is overwhelmed by memories of the past games as well as her feelings for Peeta and her longtime beau Gale Hawthorne (Liam Hemsworth).

The screenplay by Michael Arndt and Simon Beaufoy definitely has a much broader structure where the first act is about Katniss and Peeta going on a tour on several districts in order to quiet down this rebellion and pretend to be a couple for the cameras. Yet, it becomes far more troubling when the rebellion starts to grow forcing President Snow and Heavensbee to make plans about how to quiet things down. The second act is about the planning of the 75th Hunger Games as tributes from previous game have to play and kill each other bringing more trouble for Katniss and her family. The third act is the game itself where Katniss and Peeta have to find allies in order to survive as there’s something far more that is happening. Even as Katniss is unsure of who to trust with the exception of Peeta as it gets more complicated.

Katniss is much more troubled in this film than in the first one as nightmares, confused feelings for both Gale and Peeta, and the need to protect her family has overwhelmed her. Even as the game itself becomes far more brutal not just physically but mentally as well where Peeta has to ground her as he also wants to protect her though he is also falling for Katniss. It’s not just Katniss and Peeta that are given more to do as their team that includes Haymitch and their publicist Effie Trinket (Elizabeth Banks) are more fleshed out as the latter starts to show more emotion as it becomes clear on how much she cares for both Katniss and Peeta. Then there’s some of the other tributes the two have to face as it ranges from all sorts of individuals where many of them are very strange that includes the very smart and eccentric duo Beetee (Jeffrey Wright) and Wiress (Amanda Plummer), the very charming and powerful Finnick Odair (Sam Claflin), and the very unpredictable yet vicious Johanna Mason (Jena Malone). Yet, they know what this game is about Katniss and Peeta are reluctant to team with them since they all agree that the real enemy is President Snow.

The direction of Francis Lawrence is really spectacular in not just the world that he creates but also in fleshing out the story. Especially as he maintains some simple and some stylistic compositions for the scenes at the Victors village where Peeta and Katniss live with Katniss’ family but also the other districts that is seeped in this dystopia where a rebellion is emerging. The use of wide shots and medium shots for the locations set in parts of the American South including Atlanta plays into a world that is quite troubling and chaotic. Even in contrast to the world where President Snow and the rich live where it’s extravagant and quite artificial. The scenes where the pre-show games showcase a sense of disconnect between the rich and the tributes that are to play the game as Lawrence maintains something that is simple and to the point.

For the film’s third act in the games, Lawrence definitely goes for something that is far more sprawling in the way the games are. Especially as he aims for something that is more controlled as opposed to the shaky-cam approach of the first film. While there are some intense moments of danger, it is presented with some crane and steadicam shots in order to get an idea of what is out there where the camera work is much tighter. Even as there is an air of unpredictability about what is happening where the film ends on a somewhat abrupt note. Yet, it plays to what is to come for Katniss who is a key part of a growing rebellion that is emerging. Overall, Lawrence creates very sensational and engaging film about a young woman dealing with her role as a beacon of hope.

Cinematographer Jo Willems does fantastic work with the film‘s photography from some of the naturalistic look of some of the exterior scenes in the forests and at the dome of the game but also some stylish lights for the interior scenes including the parties and games presentation. Editor Alan Edward Bell does excellent work with the editing by maintaining a steady yet stylistic approach to the cutting with some rhythmic cuts for the film‘s action while slowing things down in its dramatic moments. Production designer Philip Messina, with set decorator Larry Dias and supervising art director John Collins, does amazing work with the set pieces from the look of the Victors‘ village as well as the game dome where everyone else has to kill each other.

Costume designer Trish Sommerville does brilliant work with the costumes from the lavish costumes the tributes have to wear in the pre-game shows as well as the suits they have to wear during the game. Visual effects supervisors Janek Sirrs and Mark Varisco do terrific work with some of the visual effects such as the creatures the characters have to deal with in the game as well as some of the exteriors of the Capital. Sound designer Jeremy Peirson does superb work with the sound from the way gunfire is heard to some of the moments that occur in the games with its mixture of intimate forest scenes and sounds of cannons. The film’s music by James Newton Howard is incredible for its sense of orchestral bombast that plays out in much of the film as well as some serene moments for some of the dramatic moments in the film.

The casting by Debra Zane is just outstanding for the ensemble that is created for the film as it includes some small but notable appearances from recurring characters such as Toby Jones as the Hunger Games reporter, Paula Malcolmson as Katniss’ mom, Willow Shields as Katniss’ sister Prim, Stanley Tucci as the Hunger Games broadcaster Caesar Flickerman, and Lenny Kravitz as Katniss’ dress designer Cinna. Other notable small roles as previous winners include Meta Golding as the teeth-baring Enobaria, Bruno Gunn as the massive Brutus, Alan Ritchson and Stephanie Leigh Schlund as the skillful siblings Gloss and Cashmere, Stef Dawson as Finnick’s wife Annie who was supposed to compete but only to be spared by Mags and Lynn Cohen as the aging yet silent winner Mags whom Finnick cares as she was his mentor and friend. Amanda Plummer is terrific as the very eccentric but smart Wiress while Jeffrey Wright is superb as the brainy Beetee who tries to find a way to beat the game.

Woody Harrelson is amazing as Katniss and Peeta’s mentor Haymitch Abernathy as he tries to get them ready for the games while Elizabeth Banks is delightful as Effie Trinket as their publicist who becomes aware of the reality that is occurring as she grows more fonder of Katniss and Peeta. Philip Seymour Hoffman is excellent as the game maker Plutarch Heavensbee as a man who is eager to ensure that the games will go smoothly as planned as he concocted the idea of doing something radical for the games. Donald Sutherland is brilliant as President Snow as this slimy individual who wants to suppress this rebellion while trying to force Katniss into doing things so that he wouldn’t kill her and her family. Sam Claflin is fantastic as the very charming and skillful Finnick Odair who raises suspicions from Katniss yet proves to be a formidable ally who is aware that something bigger is happening.

Jena Malone is just astounding as Johanna Mason as this very sarcastic and vicious loner who is very unpredictable and cunning yet becomes this unlikely wildcard ally that Katniss needs as Malone just steals the film from everyone. Liam Hemsworth is pretty good as Gale Hawthorne as Katniss’ beau who tries to deal with Katniss’ relationship with Peeta while dealing with the chaos that is happening where he gets beaten by authorities only to be saved by Katniss, Haymitch, and Peeta. Josh Hutcherson is excellent as Peeta who decides to participate in the games for Haymitch despite his chances as he also tries to ensure that Katniss stays alive while deal with his feelings for her. Finally, there’s Jennifer Lawrence as Katniss Everdeen where Lawrence is just phenomenal in displaying Katniss’ internal conflicts and her confusion for both Peeta and Gale as she also deals with nightmares as well as the fact that she is this symbol of hope against President Snow where Lawrence just adds that weight to make Katniss one of the great characters in film.

The Hunger Games: Catching Fire is a marvelous film from Francis Lawrence that features a truly exquisite leading performance from Jennifer Lawrence. Along with some notable supporting performances from Josh Hutcherson, Jena Malone, Woody Harrelson, Sam Claflin, Philip Seymour Hoffman, Elizabeth Banks, and Donald Sutherland. The film is definitely something much more than just the typical young-adults blockbuster as it takes time to explore rebellion and a young woman dealing with the role that she has to take. In the end, The Hunger Games: Catching Fire is an extraordinary film from Francis Lawrence.

The Hunger Games Films: The Hunger Games - (The Hunger Games: Mockingjay Pt. 1) - (The Hunger Games Mockingjay Pt. 2)

Francis Lawrence Films: (Constantine) - (I Am Legend) - (Water for Elephants)

© thevoid99 2013

M.A.S.H.

Originally Written and Posted at Epinions.com on 3/4/07 w/ Additional Edits.

Based on the novel by Richard Hooker, M.A.S.H. is the story about an eccentric group of medical personnel working during the Korean War as they defy the world of the military and all sorts of authority. Directed by Robert Altman and screenplay by Ring Lardner, the film is an exploration into the world of military service and how some deal with their time. With an all-star cast that includes Elliott Gould, Donald Sutherland, Sally Kellerman, Robert Duvall, Bud Cort, Rene Auberjonois, Tom Skerritt, Fred Williamson, Roger Bowen, John Schuck, and Michael Murphy. M.A.S.H. is an absurd yet chaotic war-comedy from Robert Altman.

It's the Korean War as two surgeons named Hawkeye (Donald Sutherland) and Duke (Tom Skerritt) arrived onto base and steal a jeep to go the M.A.S.H. unit miles away from where the fighting is going on. They meet their superior, Lt. Col. Blake (Roger Bowen) along with Cpl. "Radar" O'Reilly (Gary Burghoff), Father "Dago Red" Mulcahy (Rene Auberjonois), and dentist Capt. "Painless Pole" Waldowski (John Schuck). While Hawkeye and Duke were drafted into the war, they reveal to be just ordinary guys that just want to help people. Unfortunately, they're forced to live in the same tent with the religious, tough Major Frank Burns (Robert Duvall). Going on with their business in surgery and flirting with nurses including Lt. "Dish" Schneider (Jo Ann Pflug), Hawkeye finds a new partner in arriving surgeon in "Trapper John" McIntyre (Elliott Gould).

Trapper John doesn't like the way things are run, especially when Burns blames the death of a patient on an orderly named Private Boone (Bud Cort). Trapper John responds to Burns' attitude by punching him just as new head nurse Major Margaret O'Houlihan (Sally Kellerman) arrives. O'Houlihan's arrival only increases Trapper John and Hawkeye's battle against authority. When they learn that O'Houlihan is having an affair with the married Burns, they learn her nickname to be "Hot Lips" as the medical personnel decide to play a prank on them. After getting Burns into the hot seat, John and Hawkeye continue to work on their wily ways while getting help from their Korean assistant Ho-Jon (Kim Atwood). When Hawkeye learns that Painless Pole is dealing with a problem that reveals that he's not a Don Juan, he finds a solution that will help him as the entire personnel including some reluctance from Dago Red, get involved. After another prank that involved Hot Lips, Hot Lips threatens to resign to Col. Blake.

When John and Hawkeye continue their wild ways, they learn that they can go to Japan to help operate on the son of a congressman. Still, dealing with the authority, Hawkeye and John continue to break the rules as they demand for some food and time to play golf and meet women with the building's doctor Capt. "Me Lay" Marston IV (Michael Murphy). Returning from Japan, they learn that General Hammond (G. Wood) wants to challenge Col. Blake for a football match with his unit. The rowdy personnel including Hot Lips decide to get a ringer named Spearchucker (Fred Williamson) for help to win some money. There, the general is forced to see for himself what the M.A.S.H. unit is really all about.

While films about war often show different sides of what goes on and off the battlefield. Robert Altman chooses to go outside of not just the battlefield but the conventions of war films by making not just an anti-war film but also anti-military. There's not a lot of mention of what was going on in the Korean War but rather as an allegory of sorts about Vietnam and its intentions. So, Altman chooses to explore the military in all of its absurdity and find characters that audiences can relate to. Then there's the story or rather... the lack of a story and plot. Still, Altman chooses to make fun of these things and defy authority through the film's central characters and supporting roles.

While the screenplay and story revels on what it was like working in the M.A.S.H. unit, it's really about a few, ordinary men trying to do their jobs and live their life while trying not to be pushed by their authority figures. Conflict is an important part of the film as characters such as Hawkeye and Trapper John duke it out with anyone like the mean Frank Burns who blames patients deaths on interns or Hot Lips for her strict guidelines. Yet, Altman's direction that is filled with chaos, overlapping dialogue between characters, and scenes that included more than two people in a frame. This became known as the Altman style and it feels very real to its audience where everyone from the big lead to a supporting player gets to have their moments. While the film incorporates a lot of style into this war comedy that includes a lot of low-brow humor and a football game in the end. To the casual film goer, it seems like one too many genres in a film yet Altman makes the film consistent through its irreverent humor where as a result, it's a no-holds-barred, witty comedy about war and the little people involved.

Cinematographer Harold E. Stine does excellent work in capturing the surreal, worldly look of the army bases and cities that the M.A.S.H. unit visit. Art directors Arthur Lonergan, Jack Martin Smith, and Michael Friedman also do excellent work in creating the tents and quirky look of the camps as well as some of the Japanese bases and sushi restaurants. Editor Danford B. Greene does excellent work in bringing rhythm and style to the film's editing with some perspective cuts as well as playing to the film's humor. Sound mixers Bernard Freericks and John D. Stack do great work on the sound to convey the atmosphere and mood of the scenes and settings they're in. Composer Johnny Mandel brings a comical film score to the film while the famous song Suicide Is Painless by Mandell and lyrics by then 14-year old Mike Altman is wonderfully funny ballad about one of the film's characters.

Then there's the cast which is very important to any Altman film. Notable small yet memorable performances from G. Wood, Kim Atwood, Indus Arthur as Col. Blake's mistress, Bobby Troup as Staff Sgt. Gorman, Cathleen Cordell as the head nurse in Japanese base, Danny Goldman as Cpt. Murrhardt, Corey Fischer as Cpt. Bandini, and in their film debuts, Fred Williamson as Spearchucker and Bud Cort as an intern. The voice of Sal Viscuso is very memorable for all the information he reveals about what movies are playing and such. Other small performances from Altman regulars Michael Murphy and Rene Auberjonois are wonderfully memorable for the brief scenes they're in while series regular Gary Burghoff is funny as Radar. Jo Ann Pflug is excellent as the nurse Lt. "Dish" Schneider while John Schuck gives a great performance as Painless Pole. Roger Bowen is wonderfully funny as the leading authority figure Lt. Col. Blake with his own quirky ideas about leading a unit.

Though he's known for dramatic roles, Robert Duvall is given to do a bit of comedy as the insane, religious Frank Burns. Duvall is great in willing to play a comic foil who takes himself too seriously and is willing to compromise his own beliefs. Sally Kellerman is wonderfully funny as another comic foil in Hot Lips with her hysterical behavior after her humiliating moments and her cheering as a cheerleader. Kellerman is very funny in the role that is definitely memorable. Tom Skerritt is also great as Duke with his mischievous ways and love for dope and Hot Lips. Donald Sutherland gives a wonderfully laid-back, funny performance as the easy-going Hawkeye who likes to flirt and cause trouble. Altman regular Elliott Gould is also extremely funny as Hawkeye's partner-in-chaos Trapper John with his hatred for authority and willingness to cause chaos. Gould and Sutherland really own the film by just adding memorable moment and one-liners after another.

M.A.S.H. is an off-the-wall yet extremely hilarious film from Robert Altman. Armed with a great ensemble cast and biting themes on war and authority, it is definitely one of the great films about military service. Notably as it isn't afraid to poke fun at the dark side of dealing with death and such. For those new to Robert Altman, this film is definitely one of the best places to start. In the end, M.A.S.H. is an incredibly funny film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

The Hunger Games

Based on the novel by Suzanne Collins, The Hunger Games is the story about a post-apocalyptic world where a young girl volunteers, in place of her younger sister, to be part of a game where kids kill other kids in a televised contest. In the game, she has to survive while she would befriend one of her competitors. Directed by Gary Ross and script adaptation by Ross, Collins, and Billy Ray, the film is the first part of a trilogy of stories about a young girl who would eventually rebel against the games that would force her to kill various people. Starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Elizabeth Banks, Woody Harrelson, Lenny Kravitz, Wes Bentley, Stanley Tucci, Toby Jones, Alexander Ludwig, Isabelle Furhman, Willow Shields, and Donald Sutherland. The Hunger Games is a sprawling yet chilling film from Gary Ross.

In the aftermath of an apocalyptic period that left parts of Panem in poverty and separated in 12 different districts. Children between the ages of 12 and 18 are selected to participate in a brutal game of survival where only one survives in game known as the Hunger Games. Katniss Everdeen (Jennifer Lawrence) is a young girl whose younger sister Primrose (Willow Shields) has just turned 12 as the selections of who will represent the district is ahead. Led by its representative Effie Trinket (Elizabeth Banks), Primrose is selected until Katniss decides to volunteer while a teen named Peeta Mellark (Josh Hutcherson) is also selected to represent District 12. Sent to the lavish Capitol City, Katniss and Peeta meet their mentor Haymitch Abernathy (Woody Harrelson) who shows them what to do while Cinna (Lenny Kravitz) helps them get ready to be introduced for the world.

The game’s director Seneca Crane (Wes Bentley) meets with President Snow (Donald Sutherland) to discuss the upcoming games while Katniss and Peeta try to deal with the media attention where Haymitch helps them in doing what is to be said as they’re portrayed as star-crossed lovers. With Katinss being the odds on favorite despite the competition that is ahead, the Hunger games go underway. In the course of two weeks, many are immediately killed as Peeta reluctantly joins the sadistic Cato (Alexander Ludwig) in an alliance while Katniss tries to evade everything despite making a few friends along the way. Yet, she realizes what is going on as many watching where rules are eventually changed as she does everything she can to survive this game.

The film is the story of a young girl from a post-apocalyptic world who volunteers for her younger sister to be in the games. Unaware of how brutal the games are as well as what the powers that be are trying to do in order to make the game much more complicated. She does all that she can to survive but she becomes emotionally attached to those she starts to care about including her old friend Peeta who is the underdog in these games. Yet, it would be seen by these people who run the game as they hope to make a big event out of their relationship where emotions run high and things become complicated.

The story about the game itself where children have to kill children in order to survive definitely harkens back to the story Lord of the Flies. The screenplay that is created succeeds in exploring the circumstances these characters have to do. It’s not just in the game they’re playing but also make an impression for those watching on TV all over the country. Behind the scenes become much more complicated as the game’s director sees something that can get ratings but the actions of Katniss will end up threatening everything where even the country’s president starts to notice. A lot of its narrative is told from the perspective of Katniss Everdeen who is this young woman that is just trying to take care of her younger sister and mother in this poverty stricken town. She also has a boyfriend in Gale Hawthorne (Liam Hemsworth) whom she also cares for. When she volunteers to spare her sister’s life from participating in these games where it’s very likely that she’ll die. She realizes that it’s not just training to survive that she must do.

Since it’s a media event, she has to be presentable to a public clamoring for people to root for. She may be the most skilled person in these games where she would make a grand impression on Crane. She is also the most troubled due to the emotional baggage that she’s carrying as her mentor Hamish is a former participant that remains haunted by his own participation as he tries to help her out as well as Peeta. Peeta may not be as interesting as Katniss as his only skills of survival is his strength and to hide via camouflage. He is aware of the dangers and the fact that he’s a long shot while he also has feelings for Katniss. Though the script does have a few flaws since there is a lot of exposition needed to be explained. It does succeed in creating an element of suspense and terror that occurs as well as creating a world that is truly surreal.

Gary Ross’ direction is pretty good for the way he creates this very different world through amazing wide shots for its locations, in North Carolina, as well as being in the center of the chaos that occurs in these games. He definitely knows how to build suspense in the scenes during the game where it’s all about the uncertainty of survival and what people will do to get ahead. Though a lot of the film in that section isn’t as plot-driven as the film’s first half, Ross does do enough to make it very engaging. Even in moments where he knows to slow things down so that some of the characters can catch a break and strategize.

While it’s among a lot of the highlights of the film that Ross does, the one part of the direction that doesn’t entirely work is the approach to shooting the film on hand-held cameras. In some parts of the dramatic moments of the film as well as the action scenes, the hand-held camera shots do become too shaky where it becomes confusing over what is happening. While it’s not as shaky as some of the current action films of the 2010s, it does become jarring at time where there’s a demand for the camera to remain still. Ross is able to create some amazing tracking shots and controlled camera work yet it’s the hand-held material that really falls flat for the film. Despite the flaws in the direction, Ross is able to succeed in making a solid and entertaining action-thriller.

Cinematographer Tom Stern does a nice job with the film‘s colorful yet lush cinematography from the naturalistic look of the forest scenes to the more extravagant lighting schemes for the capital city scenes. Editors Stephen Mirrione and Juliette Welfing, w/ additional work from Christopher S. Capp, do excellent work in the editing to play up the chaos of the Hunger Games while not delving too much into traditional fast-edits for the action scenes despite the shaky hand-held camera work. Production designer Philip Messina, along with set decorator Larry Dias and art director John Collins, do great work with the set pieces such as the design of the capitol city world as well as the interiors for the training room and penthouses the games‘ participants live in.

Costume designer Judianna Makovsky does an extraordinary job with the lavish costumes created for the film that includes the dresses that many of the female characters and participants wear for the interviews portion of the pre-game scenes. Makeup designer Ve Neill does brilliant work with the crazy look of Effie Trinket as well as some of the camouflage that Peeta wears. Visual effects supervisor Sheena Duggal does some very good work with some of the visual effects made such as the capital city exteriors, the game console room where creatures are created, and the fire that Katniss has to wear on her costume to make her first impression to the public.

Sound editor Lon Bender and sound designer William R. Dean do terrific work with the sound from the naturalistic environment of the Hunger Games location as well as the sound of cannons to signify a death in the game as well as raucous crowd sounds in the capitol city scenes. The film’s score by James Newton Howard wonderful for the bombastic orchestral pieces that is created in some of the film‘s tense moments, notably in the Hunger Games scene, while some of the music is mixed in with dabbles of folk and country courtesy of music supervisor T-Bone Burnett who also compiles a soundtrack ranging from folk to country to play the poverty-world that Katniss and Peeta lived in at District 12.

The casting by Debra Zane is superb for the ensemble that is created for the film as it includes notable small roles from Toby Jones as a Hunger Games reporter, Willow Shields as Katniss’ sister Primrose, Liam Hemsworth as Katniss’ friend Gale, Stanley Tucci as the games’ flamboyant emcee Caesar Flickerman, Lenny Kravitz as the sympathetic make-up artist Cinna, and Elizabeth Banks in a very lavish performance as games representative Effie Trinket. In the roles of some of the participants of the Hunger games, there’s standout performances from Amanda Stenberg as the young District 11 participant Rue, whom Katniss befriends, and Isabelle Fuhrman as the sadistic Clove. In the role of the vicious Cato, Alexander Ludwig is terrible in the part as he is very unconvincing in playing a smug, despicable character. Wes Bentley is excellent as the controlling Seneca Crane who tries to mastermind the game on his own terms.

Donald Sutherland is wonderful as the devious President Snow who tries to control everything around him including the games. Woody Harrelson is brilliant as the troubled mentor Haymitch Abernathy who tries to show Katniss and Peeta the ropes to survive while aiding them outside the confine of the games. Josh Hutcherson is good as Peeta who tries to deal with his odds as well as his feelings for Katniss though it’s not entirely remarkable as Hutcherson seems lost in his portrayal of the young kid who doesn’t have a lot of survival skills other than to hide and have physical strength. Finally, there’s Jennifer Lawrence in a marvelous performance as Katniss Everdeen as Lawrence brings a real sense of grit and determination to a character trying to survive as well as wonderment when she deals with the world she’s in. It’s a true star-making performance for the young actress as she makes Katniss Everdeen her own.

The Hunger Games is a stellar yet thrilling film from Gary Ross that features a mesmerizing performance from Jennifer Lawrence. While the film is flawed due to a few directorial decisions, it is still a very engaging story that explores a dystopian world where it’s all about survival that features a strong female protagonist. In the end, The Hunger Games is an enjoyable suspense-drama from Gary Ross.

Gary Ross Films: (Pleasantville) - (Seabiscuit) - (Free State of Jones) - Ocean's 8

The Hunger Games Films: The Hunger Games: Catching Fire - (Mockingjay Pt. 1) - (Mockingjay Pt. 2)

© thevoid99 2012

Fellini's Casanova

Based on the biography of Giacomo Casanova, Fellini’s Casanova is the story about the infamous womanizer as his life is unraveled by a journey that becomes surreal as his life of sexual pleasure becomes troubled. Directed by Federico Fellini and adapted into script by Fellini and Bernardino Zapponi, the film is a different take on the Casanova story as it plays to Fellini’s world of extravagance and surreal imagery. Playing the role of Casanova is Canadian actor Donald Sutherland as the cast also includes Tina Aumont, Cicely Browne, and Daniel Emilfork. Fellini’s Casanova is a strange yet stylish film from Federico Fellini.

After bedding the lover (Margareth Clementti) of a French ambassador, Giacomo Casanova is arrested by authorities for heresy and being connected with black magic. Sent to jail, Casanova reminisces about his time when he was having an affair with a rich seamstress and her ailing servant Anna Maria (Clarissa Mary Roll) whom he adored. After escaping prison and eventually leaving his beloved Venice, Casanova seeks refuge in the court of Madam d’Ufre (Cicely Browne) of Paris. He offers his expertise in alchemy to help her transfer her soul to a younger body so she can be reborn as a man. After moving to another court in a man named Du Bois (Daniel Emilfork), he falls in love with Du Bois’ lover Henrietta (Tina Aumont). The two pledge love to each other until he is overcome with emotion at a party as she performed a cello piece and later disappears the morning after.

Fleeing to London, Casanova endures humiliating ordeals by the hands of two scheming women. During his suicide attempt, he encounters a mysterious woman (Sandra Elaine Harris) and two dwarves where he takes temporary refuge in the Frost fair near the Thames. Traveling all over Europe, Casanova arrives at Rome at the home of Lord Talou (John Karlsen) where he attends a crazed party as he’s forced to compete with a younger man on who can give the woman the most orgasms. Fleeing to Germany where he falls for a scientist named Isabella (Olimipia Carlisi), he hopes to have something with her. Instead, he is tricked into participating in an orgy that leaves him overwhelmed as he would later meet his estranged mother (Mary Marquet) at an opera as the two have a brief conversation.

Taking refuge at another court at another castle in Germany, Casanova deals with the lack of respect of young patrons as he romances a mechanical doll named Rosalba (Leda Lojodice). Later dealing with old age as time passes by, Casanova tries to find his place in the world as he becomes a librarian for count as he endures more acts of insults. Notably as he ponders about his old life in the place he once called home.

The film is about the life of Giacomo Casanova at a point where his days as this great lover is waning where he would face strange encounters with women he would make love to. Notably as he is traveling all over Europe after being banished from his beloved home of Venice. It’s a very loose take on the Casanova story where Fellini goes for this sort of episodic approach to follow Casanova’s travels. The one mainstay in Fellini’s story is the fact that he portrays Casanova as this melancholic man who knows that his days as a lover is waning. Throughout this journey, Casanova tries to use his knowledge on everything to gain respect but his known reputation as being this great lover would often undermine everything. Notably as Casanova is easily tempted to give in to these things.

Fellini’s direction is pretty much what is expected of him in terms of extravagance and indulgence. Yet, it is done with a vast degree of style and artificiality where he doesn’t care that the audience knows that the water in an early scene in the film is fake. That’s part of his genius as he opens this film with this amazing scene of a party where people attempt to raise a large statue head from the depths of the sea. It’s a scene that would set up Casanova’s fate for the journey he would take in the film. Shot largely in Cinecitta studios in Rome, Fellini creates a world where it plays to Casanova’s love of excess and decadence in the places and parties that he encounters.

Since the set pieces are meant to be these worlds where they aren’t real but rather surreal, it allows Fellini to follow Casanova embark in these strange places. Many of them turn out to be exciting though at times, there’s moments in the film where it does feel a bit laborious because there’s so much going on and a lot of repetition occurs. Yet, it is what Fellini is intending so that Casanova is forced to endure these moments of humiliation. With a lot of grand shots and compositions to get the audience be caught up in the world of Casanova, Fellini aims for something where he gets the audience at the center of these parties and moments. Despite a few sluggish spots as well as Fellini’s approach to having the story be more drawn out. It is still a very fun and engaging film from the Italian master.

Cinematographer Giuseppe Rotunno does a fantastic job with the film‘s colorful and rapturous cinematography that is filled with amazing nighttime shots of the opening party scene as well as the interiors for the parties that occur in the film. Editor Ruggero Mastroianni does a nice job with the editing by maintaining a sense of style towards the film‘s pacing by utilizing jump-cuts and other rhythmic shots for some of the energy of the party scenes. Art director/costume designer Danilo Donati does an incredible job with the creation of the set pieces for the film that includes the large statue in the opening sequence. Donati’s work in the costumes, with additional contribution from Fellini, definitely play up to the spectacle of the film as well as the artificiality that surrounds Casanova’s life

Makeup artist Rino Carboni and hair stylist Gabriella Borzelli do excellent work in the creation of the wigs worn by the many characters of the film including the make-up to emphasize the world that Casanova embarks in. The sound work of Oscar De Arcangelis is terrific for the atmosphere that occurs in the various interior location that occurs including the parties and Frost fair scene that Casanova is intrigued by. The film’s whimsical score by Nino Rota is a delight to listen to from the playful and dramatic orchestral pieces to the more electronic yet melodic-driven themes played whenever Casanova is having sex as it’s one of Rota’s more underrated scores.

The casting by Paola Roli is pretty good for the large ensemble that is created although there’s not a lot of performances that really stand out. Aside from a few minor performances from Mary Marquet as Casanova’s mother along with Daniel Emilfork and John Karlsen as a couple of counts. There’s only a few of Casanova’s lovers that really get a chance to shine such as Sandra Elaine Harris as the mysterious Angelina, Olimipia Carlisi as the eerie scientist Isabella, Clarissa Mary Roll as the sickly Anna Maria, and Cicely Browne as the aging yet daring Madam d’Ufre. The best of the lovers go to Tina Aumont as the talented yet secretive Henrietta and Leda Lojodice as the robotic Rosalba.

The film’s major highlight is the performance of Donald Sutherland. Although he is dubbed by another actor which is an unfortunate drawback. Sutherland is able to create a performance that is very interesting in the way he expresses his despair and endure them. Another key element of Sutherland’s performance is his physicality in the way he presents himself as if he is this great lover of Casanova. Through these humiliating ordeals, he continually tries to present himself as this larger than life character only to find himself become more human and flawed. It’s a remarkable performance for the legendary actor.

Fellini’s Casanova is a sensational and stellar film from Federico Fellini featuring a superb performance from Donald Sutherland. While it’s a film that is very flawed in its presentation, a heavily-drawn out narrative, and some dubbing issues. It is still a film that has a lot of ambition and amazing scenery that is quite inspiring that only Fellini can do best. In the end, Federico Fellini’s take on Casanova is an extraordinary yet extravagant film from the late yet legendary filmmaker.

Federico Fellini Films: (Variety Lights) - The White Sheik - I, Vitelloni - (L’amore in Citta-Un’agenzia matrimoniale) - La Strada - (Il Bidone) - Nights of Cabiria - La Dolce Vita - (Boccaccio ‘70-Le tentazoni del Dottor Antonio) - 8 1/2 - Juliet of the Spirits - Histoires extraordinaires-Toby Dammit - (Fellini: A Director’s Notebook) - Fellini Satyricon - (I Clowns) - Roma - Amarcord - (Orchestra Rehearsal) - (City of Women) - And the Ship Sails On - Ginger and Fred - (Intervista) - (The Voice of the Moon)

© thevoid99 2012