Once Upon a Time... in Hollywood

For Dad

Written and directed by Quentin Tarantino, Once Upon a Time… in Hollywood is the story of an aging TV actor and his stunt double trying to make a name for themselves in Hollywood during the final years of Hollywood’s golden age before the emergence of New Hollywood. The film is a fictional look into the world of 1960s American cinema at a time when it was transitioning from big-budget spectacles in favor of more personal filmmaking as well as a look at what some saw as the end of a period of innocence following the murders committed the Charles Manson family. Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Margaret Qualley, Dakota Fanning, Austin Butler, Bruce Dern, and Al Pacino. Once Upon a Time… in Hollywood is a rapturous and evocative film from Quentin Tarantino.

It’s 1969 as the film follows the parallel journeys of an aging TV actor known for TV westerns and his next door neighbor in rising film star Sharon Tate (Margot Robbie). It play into two actors who live next door yet haven’t met each other due to the trajectories of their careers yet the TV actor Rick Dalton (Leonardo DiCaprio) is coping with a career that is fading as he’s bringing along his stunt double Cliff Booth (Brad Pitt) who has now become Dalton’s driver/assistant due to his own reputation that prevented him from doing stunt work. Quentin Tarantino’s screenplay doesn’t just the explore of these paralleling career trajectories but also this emergence of something much darker that is happening in the background as it relates to the Charles Manson family as some say marked the end of a period of innocence for the 1960s and Hollywood before the emergence of the much-more personal filmmaking world of New Hollywood.

Tarantino’s script has a unique structure where its first two acts takes place during a weekend in Hollywood as the first act relates to Dalton’s career woes and the lack of options he has in his career as he’s also succumb to alcoholism with Booth helping him out anyway he can. The script would also show flashbacks into how Booth received notoriety not just for what he did in his personal life but also how he would lose his job due to a friendly tussle with Bruce Lee (Mike Moh). The first act also has Dalton meet with producer/agent Marvin Schwarz (Al Pacino) who knows that Dalton still has some juice left but is also aware of the limited options he has as he would offer him work in Italy for some Spaghetti Westerns which Dalton is unsure about as he’s doing work on TV guest appearances for money.

The second act is about Dalton doing a TV show as he struggles to remember his lines while Booth does some repairs at Dalton’s home where he would later encounter a young hippie in Pussycat (Margaret Qualley) who had been flirting with him from afar as he gives her a ride home only to realize where she lives as it’s also the home of a man whom Booth and Dalton worked at a TV show the latter starred in George Spahn (Bruce Dern). The first and second act also showcase the life that Tate was having as she is someone on the rise and married to filmmaker Roman Polanski (Rafal Zawierucha) as she would go to parties with Polanski and her longtime friend Jay Sebring (Emile Hirsch) and on the next day would watch herself in one of her films in The Wrecking Crew with an audience as they praise her while she would earlier receive a copy of Thomas Hardy’s Tess of the d’Urbervilles. The film’s third act takes place six months after the events of the first two act on August of 1969 where Tate, Sebring, and others would be killed by the Manson family. Yet, it’s more about the direction that Dalton has taken with his career as well as this end of an era for himself and Booth with this sense of change in Hollywood.

Tarantino’s direction definitely bears a lot of visual styles that play into this world of 1969 Los Angeles/Hollywood where it is shot on location in the city as it also serves as a character of the film itself. While there are some wide shots of the city including in some locations and this atmosphere of what it was like back in 1969 in this transition from the 1960s to the 1970s. Tarantino also maintains an intimacy but also this romanticism of a craftsmanship of what it was like working in Hollywood on studio lots and sound stages during those times. Notably in TV westerns that Dalton starred in as he would work on a western while reveal what goes on behind the scenes as it does showcase the struggles of an actor and what some will do to pass the time such as Booth’s tussle with Bruce Lee. Tarantino’s usage of high crane shots to get a look into the locations including the city itself as well as tracking shots for parts of the film showcase a filmmaker definitely taking everything he’s done and refining it to showcase a world that was rich and exciting.

Tarantino’s usage of close-ups and medium shots are important as it play into conversations between characters including one key moment where Dalton is on set shooting for a TV pilot where he converses with a young actress named Trudi Fraser (Julia Butters) who takes her work seriously yet understands what it means to be an actor even though she’s only 8 years old. It’s a small little scene in the film that does play into Dalton’s own insecurities and the realization that he’s on his way out but this young girl would give him a sense of hope into who he is and why he still matters despite the changing times. The film does feature some off-screen narration by a stunt coordinator in Randy (Kurt Russell) who only appears in one sequence of the film but his narration does play into the narrative as it relate to the different paths that Dalton and Tate would embark on. Even in the film’s third act as it relates to the infamous night of the Tate-LaBianca murders on August as there is this sense of something that is coming to an end. Yet, Tarantino builds up the drama and suspense slowly to play into the climax but with an added sense of mania and terror in the most unexpected way. Overall, Tarantino crafts a riveting and exhilarating film about a fading TV actor and his stunt double trying to survive the final days of Hollywood’s Golden Age just as a young starlet is on the rise against the backdrop of the Charles Manson family.

Cinematographer Robert Richardson does incredible work with the film’s cinematography from the way the interiors of a western set is lit in the daytime as well as the usage of low-key lights for some of the interior/exterior scenes at night as it’s a highlight of the film. Editor Fred Raskin does amazing work with the editing with its stylish usage of jump-cuts, freeze-frames, and other stylish cuts to play into some of the film’s humor and drama as well as these abrupt cuts for some of the flashback sequences. Production designer Barbara Ling, with set decorator Nancy Haigh and supervising art director Richard L. Johnson, does brilliant work with the film’s set design including the home that Dalton lives in as well as the trailer that Booth lives in with his pitbull Brandy and some of the sets that Dalton works at as an actor.

Costume designer Arianne Phillips does excellent work with the costumes from the stylish clothes that Tate wore including the go-go boots and some of the clothes of the men including the leather jacket that Dalton wears. Prosthetic makeup artist Stephen Bettles does fantastic work with the makeup in the look that Dalton would sport for the TV appearance he would be in as well as the look he would have later on in its third act. Special effects supervisor Jeremy Hays and visual effects designer John Dykstra do terrific work with the special effects with Hays providing some effects in some of the weapons Dalton uses on set including a flamethrower for a World War II film he made while Dykstra creates some visual effects that include a shot of Dalton doing a scene in The Great Escape as well as the look of TV shows during that time.

Sound editor Wylie Stateman does superb work with the sound in creating an atmosphere into some of the settings including the party at the Playboy Mansion as well as in some of the locations including the sparse texture of Booth’s encounter with the hippies at an old ranch. Music supervisor Mary Ramos does wonderful work with the film’s music soundtrack as it features an array of music ranging from a score piece by Maurice Jarre to the music of the times from the likes of Deep Purple, Neil Diamond, Paul Revere and the Raiders, Jose Feliciano, Vanilla Fudge, Los Bravos, Dee Clark, Chad & Jeremy, Simon & Garfunkel, Bob Seger, the Box Tops, Mitch Ryder, Buffy Sainte-Marie, and the Buchanan Brothers.

The casting by Victoria Thomas is great as it feature some notable small roles and appearances from Damian Lewis as Steve McQueen, Dreama Walker as Connie Stevens, Rebecca Rittenhouse as Michelle Phillips, Rachel Redleaf as Cass Elliot, Damon Herriman as Charles Manson, Rumer Willis as Tate’s friend Joanna Pettet, Samantha Robinson and Costa Ronin in their respective roles as Tate’s friends Abigail Folger and Wojciech Frykowski, Rafal Zawierucha as Tate’s husband in filmmaker Roman Polanski, Ramon Franco as a movie theater manager, Clu Gulager as a book store owner, Nicholas Hammond as American actor/director Sam Wanamaker, Kate Berlant as a movie ticket booth attendant, and Spencer Garrett as TV personality Allen Kincaid. In the roles as hippies and members of the Manson family include Sydney Sweeney as Snake, Harley Quinn Smith as Froggie, Kansas Bowling as Sandra Good, Danielle Harris, James Landry Herbert as Steve Grogan, Victoria Pedretti as Leslie Van Houten, Lena Dunham as Catherine Share, and as the trio of women who would take part in the murders in Madisen Beaty as Patricia Krenwinkel, Mikey Madisen as Susan “Sadie” Atkins, and Maya Hawke as a reluctant Linda Kasabian.

Other film appearances and cameos include Michael Madsen as a sheriff on Dalton’s hit TV show Bounty Law, Martin Kove and James Remar as villains in Bounty Law, Marco Rodriguez as a bartender in the show Dalton is appearing as a guest in Lancer, Scoot McNairy as a gunslinger in Lancer, Clifton Collins Jr. as a cowboy in Lancer, Rebecca Gayheart as Booth’s wife in a flashback scene, Lorenza Izzo as an Italian actress Dalton meets in the third act, Zoe Bell as Randy’s stunt coordinator wife Janet, Mike Moh as the kung fu legend Bruce Lee, and Luke Perry in a terrific appearance in one of his final performances as the famed Canadian actor Wayne Maunder who also makes an appearance on the show Lancer. Bruce Dern is superb in his brief role as ranch owner George Spahn whom Booth knew a long time ago and wanted to say hi with Dern playing someone unaware of whom he’s renting his land to while Dakota Fanning is fantastic as Manson family follower Lynette “Squeaky” Fromme who sort of runs the land for Manson.

Austin Butler is terrific in his role as Manson family follower Charles “Tex” Watson who is considered Manson’s enforcer as he leads the killings on that dark August night. Julia Butters is excellent as Trudi Fraser as a child actress that Dalton meets on the set of Lancer as she is a young method actor who is committed to her craft while giving Dalton some confidence. Emile Hirsch is brilliant as Jay Sebring as Tate’s former fiancée who has become a revered hairstylist as well as a close friend of Tate and Polanski as someone who is enjoying the ride of Tate’s rising fame while Margaret Qualley is amazing as Pussycat as a young hippie who flirts and befriends Dalton while would introduce him to the people from the Manson family. Timothy Olyphant is marvelous in his small role as TV star James Stacy who is the lead in the show Lancer as he wants to help Dalton by giving him a guest spot on the show as a way to pay him back. Kurt Russell is great as the stunt coordinator/off-screen narrator Randy as a guy who is aware of Booth’s reputation but is also someone that isn’t afraid to call out on other people’s bullshit. Al Pacino is remarkable as Marvin Schwarz as an agent/producer who wants to help Dalton out but also remind him of the small prospects he has left as he knows what might help and save his career for a while even if Dalton wouldn’t like it.

Margot Robbie is incredible as Sharon Tate as this actress on the rise who is a woman of innocence as she is enjoying her life and growing fame but is also someone that is also kind and gracious to others where Robbie just exudes all of those qualities that Tate was known for. Finally, there’s the duo of Leonardo DiCaprio and Brad Pitt in phenomenal performances in their respective roles as Rick Dalton and Cliff Booth. Pitt’s performance as Booth is full of charisma but also someone who definitely is more of a real cowboy than the characters that Dalton play as he is also someone who doesn’t live lavishly but is more grounded as well as be supportive for Dalton anyway he can while carrying his pitbull Brandy who gets to steal parts of the film herself. DiCaprio’s performance as Dalton is someone filled with charm and good looks, that was typical of actors from the late 50s/early 60s, yet is dealing with alcoholism and a fading career as he struggles to figure out what to do next as it’s truly one of DiCaprio’s great performances while his scenes with Pitt are just magical to watch.

Once Upon a Time… in Hollywood is a magnificent film from Quentin Tarantino. Featuring a great ensemble cast, gorgeous visuals, a compelling and insightful script, throwbacks to the late 1960s, exploration of Hollywood innocence and its Golden Age, and a rocking music soundtrack. The film is definitely an entertaining as well as a beautiful portrait of a moment in time when Hollywood was more than just a city for the stars but a place where dreams can come true. In the end, Once Upon a Time… in Hollywood is an outstanding film from Quentin Tarantino.

Quentin Tarantino Films: Reservoir Dogs - Pulp Fiction - Four Rooms-The Man from Hollywood - Jackie Brown - Kill Bill - Grindhouse-Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight

Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino

© thevoid99 2019

Killer Joe

Directed by William Friedkin and written by Tracy Letts from his play, Killer Joe is the story about a young drug dealer who is going through money troubles as he and his family hire a contract killer to his mother so that he can collect the insurance money. The film revolves around a family trying to get money from someone they despise only to make a deal with someone they shouldn’t have trusted. Starring Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Gina Gershon, and Juno Temple. Killer Joe is a grimy yet unsettling film from William Friedkin.

The film is a look into the troubled world of a very dysfunctional family living in West Dallas, Texas where a young drug dealer named Chris Smith (Emile Hirsch) is in deep debt as he owes a lot of money to loan sharks. The only way he can get the money is to have his mother killed so his younger sister Dottie (Juno Temple) can collect the insurance money worth $50,000 and he can split the money between himself, his sister, their father Ansel (Thomas Haden Church), and their stepmother Sharla (Gina Gershon). By hiring the detective/contract killer Joe Cooper (Matthew McConaughey), they hope the plan would work but since the Smith family has no money. Dottie becomes Joe’s retainer until the money is given to Dottie but things become complicated leading to all sorts of trouble. Notably as Joe has some specific rules for Chris and Ansel to follow along with some secrets that could ruin things.

Tracy Letts’ screenplay plays into the dysfunctional world of this family where Chris is a young dealer who is in trouble because of his mother as he owes a lot of money. Though Chris is a fuck-up, he is desperate to get out of debt as he turns to his father for help but Ansel doesn’t have the money to help him out as Chris ropes the family in on the solution of how they can get some big money. By hiring Joe Cooper to do the job, Chris is unaware of the implications that he has bargained for as well as the danger he’s putting Dottie in. Especially as she’s this young, child-like woman who is kind of eccentric but also a representation of innocence though she too doesn’t like her mother very much as she’s also on board with the idea of having her mother dead. Joe is intrigued by Dottie as he wants to do a lot for her but is also a man who is a complete professional in what he does.

While Ansel and Sharla are characters who are only on board because of the money, once things become complicated in relation to what happens after Joe does the job. Notably as secrets are unveiled as well as resentment towards Chris over the danger they’re being put through as Joe is a man that is given a task for what he does and he wants what he’s being paid for. There were rules that Ansel and Chris had to follow but Chris’ conflict over what is happening to Dottie makes him uneasy as he tries to cancel the hit only to be reminded of the trouble he’s in. It adds to not just the conflict that Chris is facing but also the damage of his actions as he realizes how far down he’s in as he put his family in danger and has to deal with the consequences from not just the loan sharks but Joe as well.

The direction of William Friedkin is definitely unsafe and discomforting in not just the way he portrays a family that are dysfunctional and selfish but also the world they’re in as they live in a trailer park in the West Dallas, Texas. While there’s some scenes shot in New Orleans, Friedkin makes West Dallas into this very vast yet grimy place where things are in decay while and it’s a world where people tend to live by their own rules. It’s also a place where Friedkin uses Texas something that is considered Gothic with its images of lighting and rain where it plays a sense of doom that is to come while some of the locations showcase a place that had lost some of its splendor.

It’s not just West Dallas that’s a character in the film but also some of the presentation that Friedkin goes for as he maintains something that is stylish but also has this air of suspense in some of the film’s darker moments. Even in scenes between Joe and Dottie where Joe is entranced by Dottie’s innocence as there’s also an element of creepiness that occurs from Joe. The violence in the film is quite brutal that includes a scene where Chris is beaten by a couple of hoods. Yet, that is tame compared to the film’s final sequence where Joe confronts Sharla and Ansel over the insurance money where it involves some moments that will push the limits of how much someone can take. Even as it would later be followed by a chilly climax to showcase not just some dark truths but also something that is inevitable about everything else. Overall, William Friedkin creates a truly visceral yet mesmerizing film about greed and loyalty that refuses to play nice.

Cinematographer Caleb Deschanel does excellent work with the cinematography from a more naturalistic setting for the exterior scenes in the day to some more stylish use of lights in some of the nighttime interior and exteriors scenes including moments in the rain. Editor Darrin Navarro does fantastic work with the editing to play up the sensation of the violence as well as using some rhythmic yet methodical cuts to play out the film‘s suspenseful moments. Production designer Franco-Giacomo Carbone and set decorator Alice Baker do superb work with the set pieces from the empty pool hall where Joe meets Chris and Ansel to the trailer home the Smith family lives in that includes Dottie’s very innocent room that is filled with posters of pop idols.

Costume designer Peggy A. Schnitzer does nice work with the film‘s clothes as it‘s mostly casual and grimy though the look of Joe is very dark with his boots and black cowboy hat. Sound designer Steve Boeddeker and sound editors Aaron Levy and Mace Matiosian do amazing work with the sound to play out the air of suspense in some of the film‘s locations along with some moments where the sound creates an atmosphere to create something that is very intense. The film’s music by Tyler Bates is terrific as it‘s very low-key with its use of ambient music to underplay the suspense and drama. Music supervisor C.C. Adcock creates a soundtrack that is offbeat as it ranges from country music, rockabilly, folk music, and some reggae as it includes contributions from Lee Hazelwood, Clarence Carter, Southern Culture on the Skids, and Reverend Horton Heat.

The casting by Denise Chamian is brilliant as it features some notable small roles from Danny Epper and Jeff Galpin as a couple of biker thugs who beat up Chris, Marc Macauley as the loan shark Digger that Chris owes money to, Sean O’Hara as the boyfriend of Chris’ mother Rex, and Julia Adams as Chris and Dottie’s mother Adele. Gina Gershon is excellent as Ansel’s wife Sharla who doesn’t really like Chris very much as she goes for the plan only for the money as she is also carrying a secret that would later impact things. Thomas Haden Church is superb as Ansel as a man who is unsure about getting involved with the scheme only to realize how beneficial it would be until he realizes the consequences it would bring.

Juno Temple is wonderful as Dottie as this very innocent young woman who is kind of an eccentric but also who is also quite girlish as she doesn’t seem to know what is really going on other than the fact that her mom is going to be killed. Emile Hirsch is amazing as Chris Smith as a young man in a lot of trouble as he tries to get himself out of trouble only to realize he’s made a deal that will bring in some serious consequences. Finally, there’s Matthew McConaughey in a performance for the ages as Joe Cooper where McConaughey is a man that is about his job while knowing what he can get in return as he’s also a man that’s in control but also instills a sense of order in what he does and what he wants as it’s definitely a performance full of terror and charisma.

Killer Joe is a phenomenal film from William Friedkin that features an unforgettable performance from Matthew McConaughey and a chilling screenplay from Tracy Letts. Along with a great ensemble that includes Emile Hirsch, Juno Temple, Thomas Haden Church, and Gina Gershon, it’s a film that doesn’t want to play nice while not being afraid to be ugly and dirty. For William Friedkin, the film is certainly his most captivating but also his most harrowing as it shows a master returning to form. In the end, Killer Joe is an outstanding film from William Friedkin.

William Friedkin Films: (Good Times) - (The Birthday Party) - (The Night They Raided Minsky’s) - (The Boys in the Band) - The French Connection - The Exorcist - Sorcerer - (Brink’s Job) - Cruising - (Deal of the Century) - To Live and Die in L.A. - (Rampage (1987 film)) - (The Guardian (1990 film)) - (Blue Chips) - (Jailbreakers) - (Jade) - (12 Angry Men (1997 TV film)) - (Rules of Engagement) - (The Hunted (2003 film)) - Bug (2006 film)

© thevoid99 2013

The Dangerous Lives of Altar Boys

Originally Written and Posted at Epinions.com on 10/24/05 w/ Additional Edits & Revisions.

Based on the teen novel by the late Chris Fuhrman, The Dangerous Lives of Altar Boys is about two comic-book fanatics in the 1970s with desires to create their own comic while dealing with their authoritive nun and growing up while planning a huge prank. Adapted into a script by Michael Petroni and Jeff Stockwell with Jodie Foster serving as a producer for the directorial debut of British music video director Peter Care. The movie is a part comic-book film with animation sequences from Spawn creator Todd McFarlane and live action sequences that blurs the realities and fantasy for the young boys. Starring Keiran Culkin, Jena Malone, Emile Hirsch, Vincent D'Onofrio, and Jodie Foster. The Dangerous Lives of Altar Boys is a whimsical, coming-of-age story that is filled with a lot of imagination.

Tim Sullivan (Kieran Culkin) and Francis Doyle (Emile Hirsch) are two teenage Catholic schoolboys who likes to cause trouble in their Southern environment. While they also serve as altar boys for Father Casey (Vincent D'Onofrio), they're also trying to create a comic book with their friends Wade (Jake Richardson) and Joey (Tyler Long) as Tim is the editor and Francis is the creative force. Francis meanwhile, falls for Margie Flynn (Jena Malone) as the two become attracted to each other. Though the boys had to deal with the strict authority of the one-legged nun Sister Assumpta (Jodie Foster), Tim and Francis always find a way to deal with her while she becomes the inspiration for their comic antagonist in Nunzilla.

The comic called Atomic Trinity has Tim modeled as MuscleMan, Francis as Brakken, Wade as Captain Asskicker, and Joey as Major Screw while Francis created another character in Sorcerella modeled after Margie for a storyline about regaining a pearl from Nunzilla to restore order. During a trip to the zoo, Tim gets an idea about a prank he wants to do on Sister Assumpta involving a cougar he sees at the zoo. Yet, the boys decides to do a prank that involves them stealing a school statue that leaves Sister Assumpta angry. Francis' relationship with Margie begins to blossom though Margie reveals an unsettling secret that mentions her older brother Donny (Arthur Bridgers) whom Francis knows. Francis reluctantly tells Tim as he asks him to keep it a secret as the two and Margie go to the zoo so that Tim can try and capture the cougar that doesn't go well.

With Tim still wanting to make plans for the prank, Tim is suddenly shaken by an encounter with a wounded dog during a marijuana binge as Francis notices something odd about Tim's behavior. Things eventually unravel as Tim accidentally spills the secret to Donny during P.E. as Francis' relationship with Margie starts to fall apart due to more things unveiled. The two boys get expelled over what Sister Assumpta found though Father Casey thinks that what they're doing isn't really wrong. Tim and Francis decide to go ahead with their prank as Wade and Joey join them where the plan suddenly goes wrong leaving Francis haunted by everything he's gone through.

While the idea of fantasy and reality is mixed very well, for a massive audience, the approach might be confusing and uneven. Particularly since the reality and the live-action sequences of the film dominate a large part of the film more. It's in the animated sequences that comes into the film every once in a while that really serves as Francis' fantasy and ideas for his comic. While some might find the approach to the script and Peter Care's direction to be handled very well. Some though will find it to be uneven to the point of where it comes from in Francis' mind. Still, the film carries a lot of strong moments, notably the scene where Tim and Francis find the wounded dog that would foreshadow in what's to come in the film's end.

Still, the real theme of the story is these young people growing up and it's about how love can disrupt things whether it's Francis' friendship with Tim or his romance with Margie. Both are dysfunctional yet there's so much to come afterwards, especially for Francis in the end since the story really revolves around him. The subplot about Margie and her relationship with her brother is very interesting since it forces Francis to realize that nothing is as it seems. It's a story about growing up and it's handle very wonderfully by Peter Care by presenting the performances in a natural, realistic way.

Helping Care in capturing the visual style of the South is production designer Gideon Ponte and art director Geoffrey S. Grimsman who help capture the suburban, urban decay area of the south. The costume design of Marie France is very realistic from the school clothing to the 70s casual clothing the kids wear in the film. While editor Chris Peppe does a nice job in editing the animation sequences and live-action scenes into the film in its 105-minute pacing. The real star in terms of capturing the visual style of the film is Care's longtime cinematographer Lance Acord.

Using the same photography, hand-held style for such later works like Spike Jonze's Adaptation and his greatest work in Sofia Coppola's Lost in Translation, Acord uses sunlight and natural coloring for many of the film's exterior scenery while in the interiors, brings an atmospheric tone to the film in its school sequences and the attic room Margie lives with her constellation light-map. For the film's score, there's some nice orchestral pieces in the comic book sequences by Marco Beltrami but a lot of the music is dominated by Queens of the Stone Age leader Josh Hommes who helps capture the 1970s with his gritty, raw metal guitar sound as well as some acoustic music to bring the film its innocence.

The film's small cast is wonderfully used, especially Arthur Bridgers as Donny and Scott Simpson as the stoner/comic book clerk. Jake Richardson and Tyler Long are excellent in their respective roles as Wade and Joey, who both bring an extra edge to the friendship of Tim and Francis while as a gang, they all have something different to bring to the table as both young actors do excellent work. While Vincent D'Onofrio's character is small, every scene he's in has D'Onofrio being very laid back and more of a mentor as opposed to be a figure of authority, especially in a scene with Francis about sin while he smokes a cigarette. Jodie Foster gives a wonderful performance as the strict Sister Assumpta while in her alter-ego Nunzilla, she brings a lot of humor and evilness to that character. Foster as the nun is more restrained yet despite her strictness and hold on authority, she gives the character a sense of morals as Foster brings another wonderful performance.

Jena Malone gives an amazing performance as the troubled yet sweet ingenue Margie Flynn. While she brings a similar, graceful quality that a young Diane Lane had in the early 80s, Malone brings more grit and dysfunctions to her character while making her very complex in the development of the story. Malone has wonderful chemistry with Hirsch while bringing a lot of brilliance to every moment she's in. Kieran Culkin is the film's comic relief and he really gives the best performance of the movie with every scheme he's concocting and always have an upbeat, trouble-making where it really is a disguise for everything he's surrounded by. Especially in the scene with the wounded dog as Culkin brings a lot more depth to his character while maintaining a wonderful tension and chemistry with Hirsch. Emile Hirsch is wonderful as the film's leading protagonist Francis. Hirsch brings an innocence to his role as a dreamer who wants something more in his life while dealing with newfound love and his friendship with Tim. Hirsch is really the film's emotional center and core as he gives a great performance.

While it's not for everyone, The Dangerous Lives of Altar Boys is still a wonderfully imaginative debut from director Peter Care. With a great cast led by Kieran Culkin, Jena Malone, and Emile Hirsch along with the support of Jodie Foster and Vincent D'Onofrio, the film's got a lot going for. Particularly in Josh Homme's rock score and the lush cinematography of Lance Acord. Fans whose aware of Peter Care's video work for R.E.M. will certainly find those same elements. The film's got a lot for comic book fans as well thanks to the animation work of Todd McFarlane. For anyone who loves comics with a bit of humor and development, The Dangerous Lives of Altar Boys is the film to see.

(C) thevoid99 2011

Into the Wild

Originally Written and Posted at Epinions.com on 10/6/07 w/ Additional Edits & Revisions.

Jon Krakauer's 1996 novel Into the Wild about the late Christopher McCandless and his exploration into the Alaskan wilderness. The story of a young man who came from a wealthy suburb in West Virginia and to rebel against his upbringing by taking a life-changing journey proved to be inspirational. One of those readers was actor Sean Penn whose work as a director such films as The Indian Runner, The Crossing Guard, and The Pledge has given him critical acclaim for his unique take on films. For his fourth feature in the directing front, Penn tells the inspirational tale of late, young life of Christopher McCandless.

Adapted into a script by Penn and the book's novelist Jon Krakauer, Into the Wild is a film about Christopher McCandless who leaves his tumultuous family life in West Virginia to take a road trip of sorts towards his destination in Alaska. During his trip, he encounters various people and such while dealing with his troubled family life that included his bickering parents and his loving sister.

In the role of Christopher McCandless is Emile Hirsch, who is known for his unique performances from mainstream films like The Girl Next Door and The Lords of Dogtown to more independent fare like The Dangerous Lives of Altar Boys and Imaginary Heroes. Also starring William Hurt, Marcia Gay Harden, Catherine Keener, Kristen Stewart, Zach Galifianakis, Hal Holbrook, Vince Vaughn, and Hirsch's Dangerous Lives co-star Jena Malone as his sister Carine. Into the Wild is a poignant, complex, and eerie film from Sean Penn.

After graduating from Emory College in Georgia in 1990, Christopher Johnson McCandless meets his parents Walt (William Hurt) and Billie (Marcia Gay Harden) and his younger sister Carine for dinner as they offer to buy him a new car to replace his old one. Though he politely declines, he bids them farewell as he decides to disappear for two years to go on a trip to the Alaskan wilderness under his new alias Alexander Supertramp. Getting rid of his ID card and giving his grant money to charity, Christopher goes on his journey where he later rids of his car and finances. After meeting a hippie couple in Rainey (Brian Dierker) and Jan Burres (Catherine Keener), he finds common ground over his disdain towards the material world that he felt trapped by from his life with his parents.

Continuing on his journey towards north, he stops at South Dakota where he works for a harvester named Wayne (Vince Vaughn) who gives him advice on what to do before arriving into Alaska. After a stop in Washington as he leaves his books under the bridge, he goes kayak rafting on the Colorado River without a permit as he meets a Danish couple (Thure Lindhardt and Signe Egholm Olsen) on the way to Mexico. Sneaking back to the U.S. via train, he arrives at Los Angeles only wanting to go further away as he returns to Washington to meet up with Jan and Rainey where he meets a young teenage girl named Tracy. After some time with Tracy, Jan, and Rainey, Christopher goes on another trip before arriving into Alaska where he meets an old man named Ron Franz (Hal Holbrook).

Ron befriends Christopher as he gives him some wisdom about what to do before going to Alaska as Christopher finally arrives in mid-1992 for a life of adventure. Living in an abandoned bus that he calls the "Magic Bus", he finds himself confronting his own past as well as the harsh world of nature itself.

While the story of Christopher McCandless is a tragic one, that doesn't mean his story is one that is both inspiration and cautious. It's really about a young man who tries to find himself in a world that he doesn't know only to reflect on the things he fears from. While a few changes were made in the adaptation, Penn's script that includes narration written by Susan Olds along with contribution from the real-life Carine McCandless and Jena Malone. The narrative style is more straight forward as it moves back-and-forth into McCandless' experience in the Alaskan wilderness and his journey. A third narrative is also told, this is from the perspective of Carine McCandless about the family's struggles and how Christopher had been angry at them that included some harsh, family secrets.

Penn's approach to the script and its multi-layered narrative is definitely wonderful as it doesn't lag or feel rushed. Rather in making a film that's conventional and in a Hollywood style. Penn definitely draws from the inspiration of Terrence Malick in terms of its voice-over narration as well as his naturalistic-imagery that often includes wonderful shots of nature. While a lot of the visual and storytelling ideas are definitely Malick-esque, by the time McCandless struggles with nature's harsh realities, the film becomes darker in a way that would be from the viewpoint of Werner Herzog.

Still, Penn chooses to focus on Christopher McCandless. Despite some of his ideas and excitement for adventure, here's a man that's also very flawed. Penn doesn't portray him as a hero nor as a tragic figure but rather a human being who doesn't truly understand the world and how he ends up struggling with nature's harsh realities. While Penn's direction is solid throughout the entire film. Shooting on location in Alaska as well as all of the places McCandless went where the camera is in the river and kayaking through the rapids. It does have a few flaws, notably the ending. It's not the content or what is shown. Rather the approach to what happens yet, some might like it, some won't. Still, the enchanting approach to the film and all of its imagery shows that Sean Penn is getting better as a director.

Cinematographer Eric Gautier brings some wonderful camera work to the film and most of all, it's exterior sequences that includes wonderful evening, nighttime shots of the outside world. Including some amazing shots of the city from afar. Gautier also uses some grainy camera work to convey the emotions of Christopher's mind in relating to his parents in the flashback sequences. Longtime Penn collaborator in editor Jay Cassidy brings some wonderful cuts to convey the sense of emotion as well as humor of Christopher McCandless that works in every level to give the film some relief from its heavy-drama. Sound designer Martin Hernandez does some wonderful work in the sound to convey the atmosphere and location of where Christopher is that includes the noise of winds, animals, and cars as Hernandez' work is amazing.

Production designer Derek Hill and art director Domenic Silvestri do some wonderful work in re-creating the beaten bus as well as the hippie-commune that Jan and Rainey live in. Costume designer Mary Claire Hannan also does great work with the hippie clothing in those scenes along with the realistic clothing of Christopher McCandless. The film’s music and score by Michael Brook is mostly acoustic tracks with contributions from Khaki King. The music plays to the sense of poignancy and adventure while the rest of the soundtrack includes songs by Pearl Jam vocalist Eddie Vedder. Vedder's songs are wonderful with its mix of acoustic and rock-like ballads that are almost reminiscent of work of Cat Stevens. Vedder's music is also poignant for its emotion and how it captures the mind of Christopher McCandless.

The film's cast is very unique with notable small appearances from Zach Galifianakis, Steven Wiig, Thure Lindhardt, Signe Egholm Olsen, Cheryl Francis Harrington as a social worker, and Bryce Walters and Haley Ramm in their respective roles as the young Christopher and Carine McCandless. Hal Holbrook's appearance is very memorable as a grandfather-like figure who bonds with Christopher while telling him about ideas of the world and the opportunities he's wasting. The last shot of Holbrook in the film is really one of the most emotional. Brian Dieker and Catherine Keener are wonderful as this old hippie couple who, like Christopher, try to live without society's rules with Keener giving the stronger performance as a woman dealing with the past life she's left behind.

Kristen Stewart is wonderful as the charming young girl who falls for Christopher while proving her talents as a singer where she has this wonderfully sexy yet ragged look. Vince Vaughn strays from his typical, comedic persona for a very memorable, wild performance as Wayne. A man who gives Christopher a job while giving him more pointers on adventure and the world as Vaughn is just amazing. William Hurt and Marcia Gay Harden are wonderfully portrayed as Christopher's parents whose life takes a turn after his appearance. The despair as well as the fact that despite their problems, they're not portrayed as bad people but rather loving parents despite Christopher's point-of-view early in the film.

While Jena Malone's appearance is minimal, her contribution in her performance as Carine is just brilliant in being the film’s lone observant. With little dialogue Malone gives in her performance, it's her voice-over narration that is really striking as she plays the observer and how she is the one trying to deal with his disappearance and being the only one to understand why. Her voice-over work and contributions is more reason into why she remains overlooked among her 20-something acting peers.

The film's real star is Emile Hirsch in what is definitely a career performance for the young actor. Hirsch brings the kind of innocence, humor, energy, and excitement into the character that is a joy to watch. The scene where he talks to an apple he’s eating is fun to watch while he brings a lot of life to the film and character. When he is forced to engage into more darker territory, Hirsch really shows his depth as an actor as the scenes where he's really struggling shows his complexity. This is no doubt a performance that will be very memorable and hopefully, Emile Hirsch won't be overlooked come Oscar time.

While not a perfect film, Into the Wild is still an enchanting yet harrowing film from Sean Penn and probably his best work to date as a director. With a great cast that is led by Emile Hirsch in a superb performance. Fans of films about nature will no doubt love the inspiring world that is Alaska while seeing the wonders of the American wilderness in all of beauty and ugliness. While it's a long film with a running time of almost two-and-a-half hours, it's one that is worth seeing on the big screen. In the end, Into the Wild is an amazingly, sprawling film from Sean Penn.

Sean Penn Films: (The Indian Runner) - (The Crossing Guard) - (The Pledge) - 11'9"01-September 11 (USA)

Eddie Vedder-Into the Wild OST

(C) thevoid99 2011

Milk

Originally Written and Posted at Epinions.com on 1/17/09 w/ Extensive Revisions & Additional Content.

The 2008 U.S. elections saw some big changes that are coming to the country yet to the gay and lesbian community, it seemed to be another setback. Notably in California when the law known as Proposition 8 which bans gay marriages in the state was passed. For many, it was a defeat but the gay and lesbian community to rally on as they are willing to have the same rights as straight people are. Yet, it's amazing how much times has changed for homosexuals more than 30 years ago when in 1978. An openly gay man named Harvey Milk was a San Francisco city supervisor who fought for the rights of gays and lesbians. In that year, he helped defeat a proposition that would've banned gays being teachers in school. Yet, the victory would be short-lived on November 27, 1978. Harvey Milk and mayor George Moscone were assassinated by former supervisor Dan White.

Milk would be martyred as he was considered by some as a gay equivalent to Martin Luther King, Jr. in terms of fighting for the rights of people who didn't have rights. In 1984, Milk's story was told through a documentary by Rob Epstein called The Times of Harvey Milk which would win the Academy Award for Best Documentary. With Milk's story proving to be an inspiration, especially with getting the gay and lesbian community to be more political and open to the public. The time has come for Milk's story to be told once again in a feature-length bio-pic helmed by one of American cinema's great voices and openly-gay figures in Gus Van Sant for the film simply entitled Milk.

Directed by Gus Van Sant with a screenplay written by Dustin Lance Black, writer for the TV show Big Love, Milk tells the story of Harvey Milk's life as a 40 year old man with no sense of direction as he and his boyfriend moved to San Francisco. Yet, Milk would start a revolution with a few other gay men and women as he goes into politics determined to help the gay community receive their rights as human beings despite some opposition. Playing the role of Harvey Milk is Sean Penn who leads an all-star cast in this inspirational tale of a man who became an unlikely leader. Also starring James Franco, Diego Luna, Emile Hirsch, Alison Pill, Victor Garber, Denis O'Hare, and Josh Brolin as Dan White. Milk is an inspirational yet powerful film from Gus Van Sant.

After living a dreary life in New York City until meeting a young man named Scott Smith (James Franco), Harvey Milk leaves the city to move to San Francisco with Scott in 1970. Changing his look to become more in tune with the times, Milk and Smith open a camera store in the middle of the Castro district as they deal with resistance from the working class community in the area. With gays and lesbians starting to crop up in the Castro, Milk becomes an unlikely leader as he rallies protests and such over beatings. With Smith on his side, Milk takes in a group of young gay men like photographer Danny Nicoletta (Lucas Grabeel), Rick Stokes (Stephen Spinella) and Dick Pabich (Joseph Cross) as part of his team as makes an attempt to run for city supervisor in 1973. After its failed run, Milk returns to his clean-cut look for the 1975 election as his devotion to politics takes its toll on his relationship with Smith.

When a young man named Cleve Jones (Emile Hirsch) reveals what he saw in Spain involving rioting gays and drag queens, Milk asks him to join his team. Following Anita Bryant's successful anti-gay law campaign in Florida, Milk takes his political aspirations more seriously as Scott leaves as Anne Kronenberg (Alison Pill) takes over as Milk's campaign manager. With a new approach and a strategy to reach out to voters outside of the gay and lesbian community, Milk's campaign for city supervisor succeeds as he also founds a new Mexican-American boyfriend named Jack Lira (Diego Luna). After getting the job, Milk meets another newly-elected supervisor in Dan White, who is an Irish-American former firefighter who is wary of Milk's homosexuality. Though the two try to work together, Milk is unsure of White's intentions for the laws he's trying to pass as he learns about an initiative called Proposition 6 that bans gay teachers from school.

Leading this initiative is Californian senator John Briggs (Denis O'Hare) as Milk decides to challenge him to a series of debates. Though it would take some sacrifices to his own personal life as well as his issues with White, Milk would eventually defeat Briggs and his proposition giving gays a victory. Yet, Milk's success would be short-lived following Dan White's resignation over salary disputes where he would target both Milk and Mayor George Moscone (Victor Garber).

Most film bio-pics often stick to a certain formula where it often begins with the person as a child and then grow into this person or that person. This film doesn't exactly stick to the conventions of a typical film bio-pic. Instead, it's about the last years of Harvey Milk from his first meeting with Scott Smith to the huge candlelight vigil after his passing. Screenwriter Dustin Lance Black deserves a lot of credit for straying from some of the conventions of the typical film bio-pic by just focusing on the eight years of Milk's life mostly told from Milk's perspective as he's speaking to a tape recorder. It's clear from that opening of Milk talking to his tape recorder is that he's telling the story of those last eight years just before he knows he that he will be killed. Black definitely goes for a structure that is mostly told from Milk but with no voice-over narration. By the second half of the film, Dan White is introduced to get an idea of possible motives that would cause him to kill Milk.

Black doesn't offer any answers into Dan White's motives but it's clear that White is a character who is at times, a bit aloof, ignorant, and often naive while making him sympathetic over what he was going through despite the actions he would cause. The script succeeds in introducing several characters that would be important to Harvey Milk like Scott Smith, Cleve Jones, Jack Lira, and Anne Kronenberg. Though the Lira character is smaller in comparison to Milk's own relationship with Smith, it's really because Black is straying away from convention in having the audience not know a lot about Milk's relationship with Lira. He just shows that the relationship was a brief moment in Milk's life as he's often overwhelmed and distracted by his own political causes that would also drive Scott Smith away early on.

The script truly works in going for convention and going against it as Dustin Lance Black truly succeeds in creating a fascinating story. A story like this would've been more straightforward and dramatic in the hands of a director that would've been more traditional. Instead, in the hands of a revered, unconventional, and engaging director like Gus Van Sant. The film becomes something more as Van Sant goes directly for the story as well as capturing the times of 1970s San Francisco. Using lots of archival footage as well as re-creation of scenes from The Times of Harvey Milk, Van Sant creates the film as if he was doing a history report. What he does is give the audience an idea of what it was like in the 1970s for gays and lesbians just after the time of the Stonewall riots in 1969 in New York City. There was a prejudice towards them from the police as they were arriving in the Castro district while they were being vilified publicly by Anita Bryant.

In telling the story of someone like Harvey Milk, Van Sant definitely recreates the world of 1970 where he unveils Milk as just a regular guy. By the time he got tired of being oppressed by prejudice toward gays, Milk becomes an unlikely activist. Van Sant definitely uses Black's script for structure while using lots of grainy archival footage of the 1970s for an idea of the world that is Castro Street. In some of the scene's marches and protests, Van Sant takes the camera and have the audience be a member of the audience watching Milk talk and get angry over this prejudice. The direction of Van Sant doesn't go for the moody, atmospheric direction of three previous films like Elephant, Last Days, and Paranoid Park. It also doesn't go for total convention with certain shots and placement as he remains engaged into the drama. At times with the use of archival footage edited with the scenes he's re-creating, there's a romanticism of what he was trying to do.

There's times in the film where it could've gone into further, conventional territory like Milk's personal relationships with Scott Smith and Jack Lira but he does it restraint, he finds a balance to focus on Milk's political activism. There's even a scene where Milk gets a phone call from a young gay man that at first, might have been extremely stamped on in terms of dramatic structure. Yet when that individual is revisited later on, Van Sant shows what impact Milk had on one person that could've been anyone. In this film, Van Sant presents a history lesson to audiences while exploring an individual who became this unlikely martyr for gay and lesbian rights. While there's a political message about how far gays had come and what's left to fight for. Van Sant makes a film that is engaging both politically as well as inspiration about one man's fight to make a voice for a group of people who were seeking a voice in times when being who they were was sinful.

Cinematographer Harris Savides, who had Van Sant's cinematographer for several of Van Sant's recent films, does fantastic work with the look of the film. From the colorful, sunny exterior look of daytime San Francisco and the Castro area to the nighttime scenes where with low lights and such, it could be dangerous but also exciting. While Savides also goes for grainy film work with some 8mm, 16mm shots as well as grainy shots in some of the interiors. Savides does some vibrant work in a few party scenes including a church scene while capturing the moment with several shooting styles like tracking shots, steadicams to follow certain characters, and hand-held work as Savides does a superb job with the film's cinematography.

Taking over for Van Sant, who had been editing his own films recently, is Elliot Graham whose stylistic approach of meshing archival footage and the scenes that are being shot are mesmerizing. Even creating a leisurely pacing style that works instead of the methodical, elliptical pacing that Van Sant had done in recent films. Graham's editing is a highlight of the film's technical work as he helps Van Sant in creating the romantic look and feel of the film. Production designer Bill Groom with set decorator Barbara Munch and art director Charley Beal do excellent work in the recreating of 1970s San Francisco with wonderful interiors of the apartments and the camera shop that would be Milk's base. Costume designer Danny Glicker also does excellent work with the 70s style clothes and suits that Sean Penn, Emile Hirsch, and Josh Brolin wears along with some great use of makeup and hair style for the actors.

Van Sant's regular sound designer Leslie Shatz does brilliant work with the location sounds and mixing in some of the interior setting. Notably one of the film's final key scenes where the sound really captures an intense, dramatic moment. Shatz's work is truly masterful in the way she creates an atmosphere in some of the party scenes along with the intensity of the marches that happens in the film. Music composer Danny Elfman does amazing work with the score in the use of some operatic music and pieces to display the drama and tone of 1970s San Francisco. With a soundtrack that includes music pieces from David Bowie, Sylvester, Sly and the Family Stone, and other disco songs. The music in the film definitely captures the times with Elfman's wonderful score underplaying the drama while paying homage to Milk's love of opera music.

The casting by Francine Maisler is spectacular in assembling several actors in various film roles with a few key cameo appearances of Milk's own personnel including Cleve Jones in a cameo while he serves a historical consultant along with photographer Danny Nicoletta providing still photos of the times and the real-life individuals that are portrayed in the film. Small performances from producer Howard Rosenman as a gay magazine magnet who has political ties along with Kelvin Yu and Jeff Koons as a couple of Milk's associates in office. Lucas Grabeel of High School Musical fame is good as photographer Danny Nicoletta while Stephen Spinella and Joseph Cross each stand out in their respective roles as Rick Stokes and Dick Pabich, who are hard-working guys who idolized Milk. Victor Garber is very good in his small role as Mayor George Moscone who finds a political ally in Milk while real-life gay actor Denis O'Hare is brilliant as Senator John Briggs who battles Milk over the Proposition 6 initiative.

Alison Pill is wonderful as Anne Kronenberg, Milk's campaign manager who shakes things up for the campaign that's often run by men as Pill truly stands out in her scenes with Sean Penn and Emile Hirsch. Diego Luna is very good as Jack Lira, Milk's 1977-1978 boyfriend who is forced to deal with Milk's increasing work in politics as he tries to get him at home while being a drunk. Though it's a small role in comparison to the other principle actors including Alison Pill, Luna does stand out in a memorable performance. Emile Hirsch is flat-out amazing as Cleve Jones, a young kid who becomes a passionate activist and organizer who is filled with energy and bravado. It's an amazing performance from Hirsch that is so full of life that he captures every moment he's in where he nearly steals the show from Sean Penn, whom he worked with in Penn's 2007 film Into the Wild.

Josh Brolin is excellent as Dan White, the man who would kill Milk and George Moscone. Brolin's performance is definitely memorable for his restraint and wonderment as a man dealing with a force like Milk while being troubled by the changes around him. It's a mesmerizing performance from Brolin, who has been getting some fantastic work in recent years as Brolin brings depth and some sympathy to a man as reviled as Dan White. James Franco delivers a fantastic performance as Scott Smith, Milk's first real boyfriend who would give Milk a change of scenery while being his early ally. When he and Milk break up, Franco continues to appear as a guy who tries to reason with Harvey as it's a brilliant performance from Franco who really proves to be a solid, impressionable actor that is a true encore to his fantastic work in the Judd Apatow-David Gordon Green collaboration Pineapple Express.

Finally, there's Sean Penn in what has to be his best film role since 1995's Dead Man Walking. Penn, who often plays dark characters in many of the film's he's been in plays a character that is truly upbeat, charming, and thoroughly engaging. In the film, Penn has a smile that warms the audience while making Harvey Milk into an accessible, open-minded, and charismatic figure that anyone would love to be with. In some of the film's political scenes, Penn truly fits in the role of a leader who can organize rallies and marches while displaying the anger of oppression with a lot of passion. In many ways, it's Penn's most accessible role since his 1982 breakthrough in Fast Times at Ridgemont High as it's a real career-defining performance from one of American cinema's great actors.

***Additional DVD Content Written on 9/1/11***

The 2009 Region 1 DVD from Focus Features presents the film in its anamorphic widescreen aspect ratio of 1:85:1 with 5.1 Dolby Digital Surround Sound for English & French along with French and Spanish subtitles along with English for the hearing impaired. The DVD includes numerous special features relating to the film and its production.

The first is a 13-minute piece entitled Remembering Harvey is about Milk from the people who knew like former city supervisor Carol Ruth Silver, campaign writer Frank Robinson, photographer Daniel Nicoletta, organizer Allan Baird, Cleve Jones, and Anne Kronenberg. The little featurette discusses Milk’s impact on gay rights as well as what was it like being around him and his personality as it’s a good little piece about Milk.

The fourteen-and-a-half minute Hollywood Comes to San Francisco is about the film’s production as the producers, screenwriter Dustin Lance Black, the actors (minus Sean Penn), and the real-life people some of the actors play talk about the film and how it brought the 1970s back to the Castro district. Particularly for those who lived in San Francisco at the time giving them a sense of nostalgia while Josh Brolin talks about playing Dan White and re-living the same events that White did which is eerie. The actors talk about Van Sant’s approach to direct actors where he allows them to find the characters while a lot of the younger actors got to meet their real-life counterparts as Cleve Jones, Daniel Nicoletta, and a few others got to make cameos. For James Franco, he went to The Times of Harvey Milk director Rob Epstein for help on researching the Scott Smith role as it’s a wonderful piece about the film’s production.

The eight-minute Marching for Equality is about the re-creation of two key marching scenes with interviews with Cleve Jones and Daniel Nicoletta as they watch the re-enactments while a couple of older extras got to participate as they did many years before. They all talk about the impact of the marches and how much nostalgia it brings to those people who are still alive from that era. The last of the special features are three deleted scenes where the first has Scott comforting Harvey who has been having strange dreams while the second involves an angry Jack venting at Harvey feeling he isn‘t good enough. The third and last deleted scene is Harvey literally being a clown. While the overall DVD content is pretty good, it only scratches the surface of who Harvey Milk is as it’s a pretty good DVD for people who enjoy the film.

***End of DVD Tidbits***

Milk is truly an inspiring, powerful, vibrant, and captivating film from Gus Van Sant featuring a superb performance from Sean Penn. Thanks to a great technical team, screenwriter Dustin Lance Black, and a brilliant supporting cast that includes James Franco, Josh Brolin, Emile Hirsch, Diego Luna, and Alison Pill. It's a film that is mesmerizing to watch thanks to Gus Van Sant's direction and unique presentation to an important period in American history. For Gus Van Sant, this film represents another brilliant film in a collection of great films he's done as he's definitely become one of cinema's most revered directors. In Sean Penn, the film represents an actor at the top of his game while giving a performance that is amazing to watch. In the end, Milk is a film that is truly a masterpiece that is engaging in its message and story about one of the most important figures in American history.

Gus Van Sant Reviews: Mala Noche - Drugstore Cowboy - My Own Private Idaho - Even Cowgirls Get the Blues - To Die For - Good Will Hunting - Psycho (1998 film) - Finding Forrester - Gerry - Elephant - Last Days - Paranoid Park - Restless - Promised Land

The Times of Harvey Milk - The Shorts & Videos of Gus Van Sant - The Auteurs #4: Gus Van Sant

(C) thevoid99 2011

Taking Woodstock

Based on the memoir Taking Woodstock: A True Story of a Riot, a Concert, and a Life by Elliot Tiber and Tom Monte, Taking Woodstock tells the story of how the famous 1969 music festival in Bethel, New York came to life with the help of a young man who brought the festival to his town. Directed by Ang Lee with an adapted script by longtime collaborator James Schamus, the film is an exploration on Tiber’s young life as he tries to save his parents’ motel by getting more than half a million people to attend the festival. Starring Demetri Martin, Imelda Staunton, Henry Goodman, Liev Schreiber, Jonathan Groff, and Eugene Levy with appearances from Paul Dano, Dan Fogler, Kelli Garner, Mamie Gummer, and Emile Hirsch. Taking Woodstock is a good though underwhelming film from Ang Lee.

Elliot Tiber (Demetri Martin) is an aspiring interior designer/artist who returns home to the El Monaco Motel in his town of Bethel, New York as it’s in danger of foreclosure. With his parents Jake (Henry Goodman) and Sonia (Imelda Staunton) short on cash, Elliot decides to help them as he hopes to organize another small music festival to raise money. With the realization that he needs to raise the money by the end of the summer, he seeks help from a local drama troupe to help them as he hears the news about a concert festival that is looking for a location. Elliot, who is also the local chamber of commerce, offers a permit to the concert organizers where he meets Michael Lang (Jonathan Groff) who brings his team to scout the location. Finally finding the place on the farm of Max Yasgur (Eugene Levy), Yasgur makes them a deal to hold the concert on his land.

With Elliot having some money that could help his family, he faces some trouble with the locals and health inspectors looking over the hotel as a transvestite named Velma (Liev Schreiber) offers to help as security. With Elliot realizing that more than a 100,000 people will show up and a press conference where he gets high becomes a disaster. He gets into really big trouble with the organizers as people come in thinking it’s a free concert as a lot more people come in. With his parents working to deal with the people, Elliot meets a carpenter named Paul (Darren Pettie) whom he falls for though he wonders what his dad will think about his homosexuality.

With the Woodstock concert finally happening, Elliot tries to see the show as he encounters a couple of hippies (Paul Dano and Kellie Garner) while hanging out with his old friend Billy (Emile Hirsch), a former Vietnam vet. Elliot also tries to deal with his mother’s strict attitude while his father seems to enjoy having the young hippies around. With all of the things happening around him, Elliot ponders his life and the family he loves while trying to catch a glimpse of the show at Woodstock itself.

The film is about how the famed Woodstock festival in August of 1969 was organized and how it found its location near a motel run by a Jewish couple and their gay son where the woman is a Russian refugee. Yet, it’s an interesting story for some aspects of the film as it’s told from the perspective of a young man who is essentially trying to save the motel his parents had been working hard for. Once that motivation for Elliot to save his motel happens through getting Woodstock to come to his town, the film’s mood starts to change a bit from a comedy to a character study that doesn’t really work very well.

The third act has Elliot trying to go to the concert but the real disappointment isn’t that the film doesn’t get to show the concert as it’s happening. Instead, there’s an acid trip and a mud slide where it kind of meanders a bit. Then there’s the character of Elliot Tiber where as a protagonist, he isn’t very interesting despite his development and character struggle with his homosexuality. While there’s a bit of reference to the Stonewall riots, the homosexuality parts of the film doesn’t really fit in with the narrative. While screenwriter James Schamus does some fine work in creating some interesting supporting characters and the organization of the festival. He didn’t do enough to create a very engaging third act where isn’t sure what to do.

Ang Lee’s direction is very stylish in its presentation as the opening credits scene features a lot of split screens and multiple shots of events happening at the same time. Lee does a lot to create some light-hearted moments that includes some funny scenes of Elliot’s parents fighting some anti-Semitic kids or some mob guys or stuff where people decide to get naked. There is a looseness to the direction that makes it very engaging for most of the film. By the time it comes to the third act, there’s still a few funny moments but it starts to drag a bit once Elliot encounters various people where it includes a very silly acid trip with weird visual effects that looks very silly. While Lee does create some wonderful compositions and intimate camera work throughout the film, he creates a film that is pretty decent but loses its excitement in the third act.

Cinematographer Eric Gautier does some wonderful work with the film‘s colorful cinematography in capturing the gorgeous landscape of upstate New York. Gautier’s photography has a lushness to many of the daytime exteriors while creating a more intimate look for some of the interior scenes in the film along with the nighttime exterior shots. Longtime Lee collaborator Tim Squyres does some fantastic work with the editing by creating a lot of stylized cuts to re-create some of the shots and multiple split-screens that is really an ode to the original Woodstock movie.

Production designer David Gropman, along with set decorator Ellen Christiansen and art director Peter Rogness, does some fine work with the look of the motel that Elliot lives in along with the farm and places that he frequents to. Costume designer Joseph G. Aulisi does some excellent work with the costumes from the straight-laced clothes that Elliot wears to the more lavish clothes many of the hippies wear. Visual effects supervisor Brendan Taylor does some OK work with the visual effects for the acid trip scene where some of the animation is inspired but it doesn‘t fit in with the tone of the film and makes the scene to be very silly. Sound editors Eugene Gearty and Phillip Stockton do some good work with the sound to capture the quietness of the town to the chaos and blaring music once the concert starts to happen.

The film’s score by Danny Elfman is a very folk-driven score to play to the setting that is 1969 with brimming acoustic guitars as it’s mostly set in sparse places. While Elfman’s score is very good, the rest of the music is surrounded by cuts from the music of the time such as Richie Havens, the Band, Crosby, Stills, & Nash, Janis Joplin, Arlo Guthrie, Blind Faith, the Doors, the Seeds, Love, Ravi Shankar, Jefferson Airplane, and the Grateful Dead plus a song from Judy Garland to complement the taste of the gays. The overall soundtrack is a real highlight of the film since it brings a bit of nostalgia as well as a primer for new listeners to the music of the times.

The casting by Avy Kaufman is pretty good for the large ensemble that is created that includes memorable appearances from Skylar Astin as Woodstock organizer John P. Roberts, Richard Thomas as Reverend Don, Darren Pettie as the construction worker Elliot falls for, Adam LeFerve as a local who despises Elliot for bringing hippies to the town, Mamie Gummer as Lang’s assistant Tisch, and Dan Fogler in a tolerable performance as the theater troupe leader. Other notable appearances include Paul Dano and Kelli Garner as a couple of hippies who take Elliot on an acid trip along with Jeffrey Dean Morgan as Billy’s older brother and Emile Hirsch in a comical though overdone performance as the Vietnam Vet Billy.

Eugene Levy is very good in a very laid-back performance as the farmer Max Yasgur who offers his land to the Woodstock organizers while wowing them with his chocolate milk. Liev Schreiber is excellent as the drag-queen Velma who is very tough and cool while being the one person who helps loosen up Elliot’s parents. Jonathan Groff as Michael Lang is one of the film’s most uninspiring moments as he ends up looking very goofy while not really giving the Lang character anything to do except say “hey man” and “groovy” with just a straight face.

Henry Goodman and Imelda Staunton are great as Elliot’s parents as they bring a lot of humor to their characters. Goodman as the more laid-back father who finds an ally in Velma as they fight off anti-Semitic youths as he also sports some subtle humor to his character. Staunton is even funnier as the Russian immigrant mother who often spouts stories of how she walked from Russia to America with cold potatoes while being the more strict as it’s a remarkable role for the British actress. Demetri Martin is OK as Elliot Tiber as he tries to make the character he plays interesting but is unable to do since he‘s practically a comedy actor. The problem is that Martin isn’t very engaging in his performance as he mostly stares at his surroundings while doesn’t really he seems unsure what to do in some of the performance as it’s a pretty uninspiring performance.

Taking Woodstock is a film that has a lot of good moments but loses steam in the third act that includes a very dull lead performance by Demetri Martin and the lack of footage from the famed Woodstock concert. Audiences who are interested in the history of the famed music festival will find this to be insightful over how it got organized though the actual Woodstock movie is a much better introduction about the festival. For its director Ang Lee, the film is pretty much one of his weaker efforts as he creates something that is very loose and lively though is unable to keep things interesting in the third act. In the end, Taking Woodstock is a fine film from Ang Lee despite some underwhelming moments.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - Sense & Sensibility (1995 film) - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Lust, Caution - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

© thevoid99 2011

Speed Racer

Originally Written and Posted at Epinions.com on 11/21/09.

The 1960s anime cartoon Speed Racer about a young racer who races against the odds under the support of his family and a mysterious driver is among one of the popular cartoons of its time. Though it only lasted an entire season in the U.S., it remains a cult favorite as it was seen through re-runs over the years. In 2008, a film version was finally released after years of troubled development until it came into the hands of producer Joel Silver and the Wachowski Brothers, the team who had gained massive success with the Matrix film franchise.

Directed and written for the screen by Larry & Andy Wachowski, Speed Racer tells the story of a young, talented race car driver who is set to become the greatest racer of his generation. When a corrupt, corporate wants to offer the young man a chance to become the best, the young racer learns some horrible truths about the world of racing as he teams up with a mysterious racer to stop corruption through what they know best. A part action film with elements of comedy and themes about family. The film is a hyperactive yet colorful take on the famed anime cartoon as the Wachowski Brothers create a film that is accessible yet entertaining. With an all-star cast that includes Emile Hirsch, Christina Ricci, John Goodman, Susan Sarandon, Roger Allam, Matthew Fox, Paulie Litt, Kick Gurry, Scott Porter, Rain, Benno Furmann, Yu Nan, and Richard Roundtree. Speed Racer is a fun, exciting film that has enough action and humor for audience of all ages to enjoy.

Set to race against all the odds on a race, Speed Racer (Emile Hirsch) is out-racing his competitors as his family watch. Among them is his father Pops Racer (John Goodman) who heads the independent Racer Motors that Speed faithfully works for. Also watching are his mother (Susan Sarandon), little brother Spritle (Paulie Litt), their pet chimpanzee Chim-Chim, mechanic Sparky (Kick Gurry), and Speed's girlfriend Trixie (Christina Ricci). Speed wins though misses the record by a split second because the record belongs to his late older brother Rex (Scott Porter) who was killed in the treacherous Casa Cristo race. The death of Rex was hard on the family as he was considered a promising racer until he left Racer Motors to work for a corporation where he played dirty and lost a lot of respect until his death.

Meanwhile, E.P. Arnold Royalton (Roger Allam) arrives to the home of the Racer family to offer Speed a lucrative deal as he invites the entire Racer family to his headquarters where they meet the legendary Cannonball Taylor (Ralph Henforth). Though the offer Royalton is tempting, Speed isn't sure while something else is going on as a mob boss named Cruncher Block (John Benfield) is beating a young racer named Taejo Togokahn (Rain) to lose more races as he was saved by the mysterious Racer X (Matthew Fox). Speed goes to Royalton to reveal his decision while telling the story about Rex's death as well as what got Pops Racer back into racing over a legendary Grand Prix race. Royalton then reveals something horrifying about the Grand Prix race that Ben Burns (Richard Roundtree) won was all fixed for corporate gain. Spritle, who sneaked in on that meeting with Chim-Chim learns about a new prototype that Royalton is creating.

After turning down Royalton in which, he loses a prestigious race that has the Racer family in trouble. An inspector (Benno Furmann) arrives with Racer X at the Racer house to reveal some news over what happened at the last race along with an offer to stop Royalton with help from Taejo Togokahn who claims to have evidence linking Royalton to Blocker. The problem is that the race is at the treacherous Casa Cristo as Pops refuses to have Speed involved. Speed and Trixie secretly decides to help Racer X and Togokahn as part of a team to defeat dirty racers that includes Snake Oiler (Christian Oliver). Though Speed did great on his own, the first half was won by Snake Oiler making Togokahn upset while the Racer family finds out that Speed is racing the Casa Cristo as Pops reluctantly helps Speed. Along with help from Taejo's sister Horuko (Yu Nan), Speed and his team with Togokahn being the ultimate winner as he gains an invitation to the Grand Prix.

Unfortunately, things doesn't go well at all for Speed as Racer X, who is believed to be Rex, reveals his identity as they're both upset over what Taejo has decided to do in order for his family to gain profit for their own stock. Horuko however, decides to give the Grand Prix invitation to Speed as a lesson to her family where Speed would show racers all over the world what he can do with some surprising help.

The approach that the Wachowskis go for with this film is to simply make a family film. While it's a change of pace from their darker, more violent films. The unique visual style that the Wachowski are known for is there. At the same time, their script which is filled with lots of back story on characters and the world of corporations do work for the most part though the latter story about corporations and stock market does get confusing for some audiences, particularly children. Yet, the heart of the film is Speed Racer and his relationship with his family. Even as Speed is tempted to get things any young racer would want as long as his family is involved. Yet, when he turns down Royalton's offer just out of loyalty to his own family. He realizes what he must do to protect them and also why his brother left Racer Motors in the first place.

While the story does faithfully tell the folklore of Speed and Racer X, the Wachowski does create some interesting storylines about that relationship along with Racer X's secret identity. The direction of the film is very stylized. It's fast, hyperactive, and very colorful all in the anime style. While some audiences might have a hard time keeping up with what's going. The Wachowskis do at least, slow things down so that audiences can get a chance to know the characters and the situation around them. The race sequences are definitely intense along with some humorous sequences that is very appealing to kids which works well with their hyperactive energy. Despite a few flaws in the story and in the direction, the Wachowskis do create a film that is definitely fun to watch.

Cinematographer David Tattersall does some nice work with the film's high-octane look with loads of swirling colors and lighting styles to convey the mood of the race and tone of the film. Editors Roger Barton and Zach Staenberg do excellent work with the film's highly-stylized editing with the use of transition wipes in using characters and object to move from one scene to another along with fast-paced cuts for the film's hyperactive race scenes. Even the use of freeze frames for some of the film's energetic, anime-style sequences. Production designer Owen Paterson along with set decorator Peter Walope and supervising art director Hugh Bateup do some fantastic work with the look and design of the race tracks and Royalton's building. Costume designer Kym Barrett does very good work with the look of Speed's clothes that is reminiscent of the cartoon along with the lavish look of Royalton and other racers as it's faithful to the look of the cartoon.

The visual effects work by supervisor Chadi Abo, John Gaeta, Dan Glass, Kim Libreri, and Kevin Scott Mack is truly phenomenal in its hyperactive, colorful look. While it might seem excessive, it works to convey the energy and feel of the film in terms of its attempts to make it as close as the cartoon. The visual effects work does succeed, notably a comical scene involving Spritle, Chim-Chim, and a ninja. Sound designer Dane A. Davis does some excellent work in the sound work of tire squeals, engine growls, and other things that goes on during the race. Music composer Michael Giacchino brings a playful, broad score to the film that plays up to its humor and bombastic racing scenes with huge orchestral arrangements as it's an excellent score piece from Giacchino.

The casting by Lora Kennedy and Lucinda Syson is brilliant with some memorable small roles from Nicholas Elias as a young Speed, Ariel Winter as a young Trixie, original Speed Racer voice actor Peter Hernandez as a local race announcer, Nayo Wallace as Racer X's girlfriend Minx, Ralph Henforth as Cannonball Taylor, Cosma Shiva Hagen as Royalton's assistant Gennie, German punk vocalist Jana Pallaske as a dirty racer at Casa Cristo, Togo Igawa as Mr. Togokahn, and Ben Miles as a Grand Prix commentator. Other small roles from more well-known actors as Melvil Poupaud as a Casa Cristo announcer, Hiroyuki Sanada as a business rival of Royalton, and Richard Roundtree as Ben Burns are great in their brief but memorable apperances.

Christian Oliver is funny as dirty racer Snake Oiler while John Benfield is very good as the thuggish Crunch Blocker. Scott Porter is pretty good in his brief role as Rex Racer while Korean pop vocalist Rain is also good as Taejo Togokahn with Yu Nan in a fine role as his good-natured sister Horuko. Kick Gurry is funny as Speed's mechanic Sparky who can't fight to save his life while Paulie Litt is fantastic as Spritle, the kid who loves candy and be with his pet chimp Chim-Chim, who rules. Benno Furmann is fine in a small role as the Inspector Detective who helps the Racer family find ways to fight corruption. In a very understated but light-humorous performance, Matthew Fox is excellent as the mysterious Racer X who helps Speed fight corruption while giving him some advice about doing the right thing.

Roger Allam is great as Royalton, the corporate honcho who will do what it takes to make more money and make Speed's life a living hell as Allam definitely hams it up and gives a glorious performance. Susan Sarandon is really good in a small yet understated role as Mom Racer who ground Speed while providing the warmth and calmness the family needed. John Goodman is fantastic as Pops Racer, a man who is all about the love of racing and a distaste for corporations while showing that he isn't naive as Speed thinks he is while can easily beat up a ninja. Christina Ricci is really good as Trixie, Speed's girlfriend who definitely can help Speed think things clearly while showing that she can be more than helpful on the race tracks as she even says the character's trademark line, cool beans. Emile Hirsch is brilliant as the title character in displaying a young man driven to win but also confused by the myths of races as Hirsch definitely carries the film with a coolness and complexity as it's definitely a worthy follow-up to his brilliant role in Sean Penn's Into the Wild a year earlier.

While it's not a perfect film, Speed Racer is a good, fun, entertaining film from the Wachowski Brothers that is a definite improvement over the let-downs that were the Matrix sequels. While fans of the original cartoon might have issues with its hyperactive look and tone, it is a film that is faithful while adding a nice spin to the cartoon. While it didn't do well in the box office when it came out in May 2008 largely due to some bad trailers. It's a film that needs to be seen since it is funny, it's got lots of action, and a strong theme about family. In the end, Speed Racer is a film that is worth anyone's time except for those cootie-sensitive viewers.

Wachowski Brothers Reviews: (Bound) - (The Matrix) - (The Matrix: Reloaded) - (The Matrix Revolutions) - Cloud Atlas

(C) thevoid99 2011