Based on the novel by Patrick Ness from an idea by Siobhan Dowd, A Monster Calls is the story of a young boy who copes with his mother’s terminal illness as he withdraws towards fantasy in the form of a gigantic tree-like monster. Directed by J.A. Bayona and screenplay by Patrick Ness, the film is a look of a boy coping with impending loss and dark realties as he turns to the world of fantasy. Starring Lewis MacDougall, Felicity Jones, Sigourney Weaver, Toby Kebbell, and Liam Neeson as the voice of the monster. A Monster Calls is an exhilarating yet heart-wrenching film from J.A. Bayona.
The film follows a young boy who is dealing with his mother’s illness as he receives a visit from a tree-like monster who would tell him three different stories with the boy having to tell the fourth story. It’s a film that follows a boy who is unwilling to face the fact that his mother would die as he also has to deal with his strict grandmother who wants him to live with her as well as a visit from his estranged father. Patrick Ness’ screenplay showcases the life of a boy in Conor O’Malley (Lewis MacDougall) who is living with his ailing mother Lizzie (Felicity Jones) as he wonders if she will still live despite the seriousness of her illness. Though his life is also troubled at school due to a bully named Harry (James Melville), he often retreats to making drawings and artwork when a monster appears at 12:07 AM as he would appear on that time every few nights to tell three different stories that relate to not just human nature but also loss. For Conor, the idea of losing his mother is enormous as he isn’t sure if he wants to stay with his grandmother (Sigourney Weaver) nor does he want to move to America to stay with his father Liam (Toby Kebbell).
J.A. Bayona’s direction definitely has elements of style in his approach to the visuals as it include some animated sequences as it relates to the three stories the monster tells to Conor. Shot on location in areas near London as well as some scenes shot in Spain with much of the film set in Britain, Bayona would create some wide shots of the scope of the locations including scenes of capturing how big this tree-like monster is. While Bayona would create close-ups and medium shots to play into the intimate moments including scenes of Conor dealing with the people in his life. Bayona would use the script’s back-and-forth narrative as it relates to the three stories as the animation is based on Jim Kay’s animation from Ness’ novel as it would have a richness that is reminiscent to the drawings that Conor would make in his spare time. The animated scenes would match into whatever outlet that Conor is dealing with emotionally as it relates to his inability to face the truth about what will happen to his mother.
Bayona would also create these sequences to match this element of fantasy and reality as it would play into the third act where Conor has to confront this recurring nightmare he would have for much of the film. It’s a sequence in the film’s third act that packs a real emotional punch as it play into the idea of loss. Especially as it show what Conor would have to deal with as well as the array of emotions he is dealing with as well as what he doesn’t want to face. Its aftermath will reveal what Conor has to face but also deal with something bigger as it is about what everyone has to deal with as it relates to death. Overall, Bayona crafts a magical yet visceral film about a boy withdrawing into fantasy to cope with the idea of losing his mother.
Cinematographer Oscar Faura does brilliant work with the film’s cinematography as it play into the grey look of Britain in the daytime as well as some unique lighting and shadows for some of the scenes set at night. Editors Bernat Vilaplana and Jaume Marti do excellent work with the editing as it play into the drama with its usage of rhythmic cuts as well as a few jump-cuts for some of the big moments of fantasy. Production designer Eugenio Caballero, with set decorator Pilar Revuelta plus art directors Jamie Anduiza, Ravi Bansal, Didac Bono, and David Bryan, does amazing work with the look of the home that Conor and Lizzie live in as well as the home of Lizzie’s mother and the school where Conor goes to. Costume designer Steven Noble does fantastic work with the costumes as it is mainly casual with the school uniform that Conor wears to the clothes that Lizzie and her mother wears.
Hair/makeup designer Marese Langan does terrific work with the look of Lizzie in her deteriorating state as she would decline throughout the course of the film. Special effects supervisor Pau Costa and visual effects supervisor Felix Berges do incredible work with effects from the design of the monster as well as the massive sequences in which the monster is destroying things as it play into Conor’s own outlet in coping with reality. Sound designer Oriol Tarrago does superb work with the sound as it play into the way some of the sounds of places on location are presented as well as the way the monster would sound at times. The film’s music by Fernando Velazquez is great as it is this mixture of bombastic orchestral pieces with some somber piano as it help play into the emotional tone of the film as well as some of the adventurous scenes in the film.
The casting by Shaheen Baig is wonderful as it feature a couple of notable small roles from James Melville as the bully Harry that often torments Conor and Geraldine Chaplin as the school’s headmistress. Liam Neeson is excellent as the monster as this tree-like creature who would tell Conor three different stories while demanding him to create a fourth story that relates to all three as Neeson’s performance is a mixture of performance-capture and animation. Toby Kebbell is fantastic as Conor’s father Liam as a man who is an absentee father living in America with a family as he tries to help Conor cope with what will happen though he doesn’t say anything despite offering to have Conor move to America with him.
Sigourney Weaver is brilliant as Lizzie’s mother/Conor’s grandmother as a woman that is quite strict as she knows she hasn’t been fond of her grandson nor her daughter’s lifestyle as she is trying to maintain some order and composure about what is to come. Felicity Jones is amazing as Lizzie as Conor’s mother who is ill with a terminal disease as she tries to maintain some spirit to raise her son’s hopes but also copes with the reality of what she’s facing for herself and her son. Finally, there’s Lewis MacDougall in a phenomenal performance as Conor as a 12-year old boy dealing with his mother’s illness unaware or unwilling to deal with the fact that she might die as it’s a lively yet intense performance where a boy is dealing with reality and the confusion of reality in the world of fantasy as it also has MacDougall reach into very heavy places to capture the idea of loss.
A Monster Calls is a spectacular film from J.A. Bayona that features great performances from Lewis MacDougall, Felicity Jones, Sigourney Weaver, and Liam Neeson. Along with its grand visuals, incredible score, and a compelling story of death and heartache, it’s a film that is willing to go into some very adult themes on loss while being a film that shows the sense of fear and acceptance in coping with death. In the end, A Monster Calls is a tremendous film from J.A. Bayona.
J.A. Bayona Films: The Orphanage - The Impossible - (Jurassic World: Fallen Kingdom)
© thevoid99 2017
Directed by Gareth Edwards and screenplay by Chris Weitz and Tony Gilroy from a story by John Knoll and Gary Whitta with characters created by George Lucas, Rogue One: A Star Wars Story is the story of a group of Rebel spies who are tasked to find the plans of a new weapon by the Imperial Empire known as the Death Star. The film is a prequel to the original 1977 film as it play into a group of different individuals who go on a mission to find a way to destroy this new super weapon in the hope that a rebellion can bring balance back to the galaxy. Starring Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Forest Whitaker, Alan Tudyk, Jiang Wen, Riz Ahmed, Genevieve O’Reilly, Jimmy Smits, Mads Mikkelsen, and James Earl Jones as the voice of Darth Vader. Rogue One is a sprawling and gripping film from Gareth Edwards.
The film follows a young woman whose father is a renowned engineer as he has left a message about how to destroy a secret weapon the Imperial Empire called the Death Star. After being freed by Rebel spies, she reluctantly joins them as she is aided by an Imperial defector, a reprogrammed Imperial droid, two outsiders, and a Rebel officer who would retrieve something that could give hope to the Rebellion against the Imperial Empire. It’s a film with a simple premise yet it play into not just the idea of rebellion but also what is at stake and how this young woman finds herself needing to deal with the loss she’s been carrying for years as she is also unsure if she wants to help the Rebel Alliance. The film’s screenplay is filled with not just some complexities of this conflict that is brewing between the Imperial Empire and the Rebel Alliance but also a young woman caught in the middle as she is more concerned about reuniting with her father and learn about what he has been doing since he was taken from her.
The character of Jyn Erso (Felicity Jones) is seen as someone who has been a small thorn for the Empire as she is first seen in a prison labor camp where she is released by some spies who want her help to find her father in Galen Erso (Mads Mikkelsen) who has sent a message to the Rebel extremist Saw Gerrera (Forest Whitaker). Jyn knows Gerrera as he had raised her following her father’s abduction and her mother’s death where there is some history but Gerrera is reluctant to help the Rebel Alliance knowing that their own political ideals is what is holding them back. The script also reveal more about Galen who has been forced to help create the weapon that is the Death Star under the supervision of former friend/Imperial leader Orson Krennic (Ben Mendelsohn) who is hoping for some recognition but is contending with the thirst of glory with another Imperial leader in Grand Moff Tarkin (Guy Henry w/ digital facial re-creation and voice of Peter Cushing).
The script also reveal some of the flaws of the Rebellion as its intelligent officer Cassian Andor (Diego Luna) is ordered to do something for the Rebel Alliance but he becomes unsure as he’s also filled with some guilt of what he had to do for the cause. Yet, there are those such as the former Imperial cargo pilot Bodhi Rook (Riz Ahmed), the blind warrior Chirrut Imwe (Donnie Yen), and mercenary Baze Malbus (Jiang Wen) who all believe that there is some form of hope no matter how bad things with the Imperial Empire trying to take hold of the entire galaxy. Even as there is a scene in the second act where Jyn is in the middle of a Rebel Alliance meeting where it is clear how worried and fractured they are as they’re unwilling to take some kind of chance. Another aspect of the script that is unique is that it shows a much broader view of the galaxy as it’s set in different planets to play into the way the Imperial Empire is controlling everything as it has something that does feel real.
Gareth Edwards’ direction is definitely vast in terms of not just the different planets that is set throughout the film but also this sense of danger and repression that looms throughout the film. Shot on various locations such as Iceland, Jordan, the Laamu Atoll in the Maldives, and some interiors shot at Pinewood Studios in Britain. Edwards create something that does feel more broader as it establishes a galaxy where the Empire has dominated so much from moons and bases where they’re controlling every aspect of life in the galaxy. It’s something that feels oppressive and real as the sequence on the planet of Jedha where it has these unique camera angles, compositions, and shots that almost mirror events that is happening in real life. That sense of grounding realism in a sci-fi adventure film give Edwards a lot to focus on the story and characters without having it be overwhelmed by the visuals.
The direction also has Edwards maintain something that is intimate as it relate to the characters where the film does have flashbacks as it relates to Jyn’s past but also opens with a sequence in which Jyn is forced to see her father be taken as well as the death of her mother in the hands of the Empire. While the film does have a dark and serious tone as it relates to the stakes and what this group of rogue rebels are going after. It does have some humor whether it’s comments from the reprogrammed Imperial droid K-2SO (Alan Tudyk) or some of the Easter Eggs that relates to the franchise. Still, the film does have something that is immediate into what is happening where does bear elements of war films for its climax which is once again grounded in reality but also with a sense of adventure. Especially as Edwards uses a lot of wide and medium shots to capture the scope of the battles on the planet and in space to play into a conflict that forces the Imperial Empire that they’re not all invincible. Overall, Edwards create a thrilling and engaging film about a band of rebels finding the key to destroy a major weapon and bring hope to a rebellious faction.
Cinematographer Grieg Fraser does brilliant work with the film‘s cinematography from the way some of the scenes are lit in the exteriors for the different look in the planets as well as in the way some of the interiors are used in the lighting. Editors John Gilroy, Colin Goudie, and Jabez Olssen do excellent work with the editing as it play into the suspense and action while providing moments that do establish what is going on without deviating too much into conventional fast-cutting styles. Production designers Doug Chiang and Neil Lamont, with supervising art director Alastair Bullock and set decorator Lee Sandales, do amazing work with the design of some of the ships and bases of the two warring factions as well as the design other places including city exteriors from different planets. Costume designers David Crossman and Glyn Dillon do fantastic work with the design of the costumes from the ragged clothing of some of the rebels to the uniform of the Imperial including the one that Krennic wears. Makeup artist Amy Byrne and hair stylist Andrew Simonin do terrific work with the design on some of the creature in their facial designs as well as the look of Saw Gerrera in his declined state.
Visual effects supervisors Jonathan Cheetham, Luke Dodd, and John Knoll, along with special effects supervisor Neil Corbould, do incredible work with the visual effects from the design of some computer-created effects for some of scenes in space as well as the facial design of Grand Moff Tarkin that looks realistic as well as the usage of practical effects that help add a sense of realism to the film‘s look. Sound designers David Acord and Christopher Scarabosio, with sound editor Matthew Wood, do superb work with the sound as it play into the chaos of the battle scenes along with the sound of the droids and lasers. The film’s music by Michael Giacchino is great as it feature elements of bombast and soaring string arrangements to play into the adventure and drama while knowing when to use some of the music made famous by John Williams as it is a highlight of the film.
The casting by Jina Jay is marvelous as it feature some notable small roles from Warwick Davis as a member of Gerrera’s partisans, Alistair Petrie as General Draven who orders Cassian to do something secret for the Rebellion, Ben Daniels as a general who would take part in the climatic battle, Beau and Dolly Gadsdon in their respective roles as the young and younger Jyn, Nick Kellington as an alien who took part in the battle that is famous for his laugh, Valene Kane as Jyn’s mother Lyra, Genevieve O’Reilly as Rebel Alliance co-founder Mon Mothma, and Jimmy Smits as Senator Bail Organa who is also trying to find some hope for the Rebellion. Guy Henry’s performance as Grand Moff Tarkin with the digital facial impression of the late Peter Cushing is definitely marvelous to watch as it brings a famed character back to life and give him some crucial importance to the story.
In the role of Darth Vader, Spencer Wilding and Daniel Naprous provide the physical performances of the famed Sith lord with the voice of James Earl Jones as the character is more intimidating than ever as he’s only in a few scenes but make it so memorable to watch. Forest Whitaker is excellent as former Clone Wars veteran/Rebel extremist Saw Gerrera as an old family friend of Jyn Erso who is trying to deal with Empire any way he can as he is suspicious about many until he sees Jyn and Galen Erso’s message where he realizes there is some form of hope emerging. Mads Mikkelsen is superb as Galen Erso as a renowned engineer who is forced to take part in the creation of the Death Star as he would send a message revealing that he has exposed a vulnerability that would destroy the Death Star. Ben Mendelsohn is fantastic as Orson Krennic as an Imperial director who oversees the construction of the Death Star as he hopes to get some recognition for his work as well as deal with the emergence of the Rebellion. Riz Ahmed is brilliant as Bodhi Rook as a former Imperial cargo pilot who defects to the Rebellion as he carries Galen Erso’s message while being someone who is aware of the grasp of control of the Empire as he wants to do what is right.
Jiang Wen and Donnie Yen are amazing in their respective roles as the mercenary Baze Malbus and the blind warrior Chirrut Imwe as two friends who are resourceful and can do a lot with Malbus being the powerhouse of the two and Imwe is someone that is highly skilled as the latter is also aware of the Force and believes he can wield its power. Diego Luna is remarkable as Cassian Andor as a Rebel intelligence officer who is tasked with getting information about Galen Erso with Jyn’s aid where he becomes conflicted with his actions where he sees the bigger picture of what needs to be done. Alan Tudyk is incredible as K-2SO in a mixture of motion-capture and voice work as this reprogrammed Imperial droid that is often spouting numbers and probabilities as he is this fun comic relief that annoys Andor but proves to be quite helpful. Finally, there’s Felicity Jones in a phenomenal performance as Jyn Erso as a young woman who is reluctant to help the Rebellion as she’s been through a lot yet realizes what is at stake while coping with the loss of her family which only drives to wanting to do something and bring hope to the galaxy.
Rogue One is a tremendous film from Gareth Edwards. Featuring a phenomenal ensemble cast, dazzling visuals, a gripping story, and a killer score. It’s a film that doesn’t just give help bring in some new ideas and such to a popular franchise but also provide enough moments that its fans can and enjoy as well as casual audiences to be engaged by. In the end, Rogue One: A Star Wars Story is a spectacular film from Gareth Edwards.
Star Wars Films: Star Wars - The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - The Rise of Skywalker
Related: The Star Wars Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas
Anthology Series: Solo: A Star Wars Story - (Untitled Star Wars Anthology Film)
George Lucas Films: (THX 1138) - (American Graffiti)
Gareth Edwards Films: (Monsters (2010 film)) - (Godzilla (2014 film))
© thevoid99 2017
Based on the memoir Traveling to Infinity: My Life with Stephen by Jane Wilde Hawking, The Theory of Everything is about the life of physics theorist Stephen Hawking and his relationship with first wife Jane Wilde who would later cope with Hawkings’ diagnosis of motor neurone disease. Directed by James Marsh and screenplay by Anthony McCarten, the film is an exploration of Hawking’s early life with Wilde from their years as college students to the events that lead to their separation as Eddie Redmayne plays Hawking and Felicity Jones plays Wilde. Also starring Charlie Cox, Emily Watson, Simon McBurney, Maxine Peake, and David Thewlis. The Theory of Everything is an extraordinarily rich film from James Marsh.
Set from the early 1960s to the early 1990s, the film plays into the life of physics theorist Stephen Hawking from the day he meets his first wife Jane Wilde and to the year he would meet the Queen of England where he would be offered a knighthood. With Hawking being famous for proving about everything that goes on in the universe, he would suffer motor neurone disease early in his life as Wilde would support him and eventually marry him where they would later have three children. With Hawking’s disease worsening, his fame would grow through his theories on time while Wilde would get the aid of a preacher named Jonathan Jones (Charlie Cox) whom she would fall for. While it is a simple bio-pic, it plays into Hawking’s own belief about science and how he believes that a black hole created the universe while he isn’t sure if God exists. Even as Wilde is someone who believes in God as it is among the reason for her attraction towards Hawking.
Anthony McCarten’s screenplay maybe conventional in terms of its plot scenario but it does maintain a sense of humanity in Hawking who is just a simple student with a vast point of view about the world. While he is an intellect, he is someone that is like any other young college student back in the 1960s as is Jane Wilde where they are part of a world where everyone is asking big questions. Part of what makes the story so interesting is the relationship between Hawking and Wilde where they have different ideas in belief yet Wilde is intrigued by Hawking’s own theories on the universe and time itself. By the time Hawking’s own ailment would occur and Wilde would be there to support him, they would have a good marriage but things do become overwhelming for Wilde until she meets Jones who becomes a friend of their.
While there is an attraction between the two as well as an ambiguity into whether or not they had an affair where Hawking’s mother asks Jane if Jonathan is the father of their third child. It is clear that Jones is a good man and knows when to step back where things become complicated in the 1980s when Hawking would fall for his new nurse Elaine Mason (Maxine Peake) who would eventually become Hawking’s second wife. Yet, the heart of the story is Hawking and Wilde’s relationship and their devotion to one another as it all plays into Hawking’s own theory of everything about the world, the universe, time, and the cosmos.
James Marsh’s direction is quite stylish in terms of some of different film stocks that he uses for the film but also in the way he re-creates certain periods in time to play into Hawking’s life. Shot on location in Cambridge University in Britain, the film does play into that world of college life where it wasn’t wild nor very political as the 1960s would later become while there are elements of fun. Even as there are elements of humor as it relates to some of the theories that Hawking presents where there are those who don’t buy into it but there are those who are amazed by it where it is simplified but show that it is really out there. Much of Marsh’s compositions are simple in terms of close-ups, medium shots, and wide shots yet he would use some different film stock to play up into certain events in Hawking’s life from his wedding to Wilde and the birth of their children as it adds to the sense of happiness Hawking had despite his illness.
The direction would have these elements of visual flairs that play into key moments in Hawking’s life into not just his own discoveries of his own as well as moments that play into his ailments. By the film’s second half where Hawking’s condition would worsen as he would lose the ability to speak, the drama does get heightened but the tone sort of changes as it plays into Hawking’s willingness to live despite the diagnosis that he had two years to live upon getting the disease early in his life. In some ways, it’s a film of triumph of a man who rises above his ailments to share his views of the world with the people and connect with them in ways that go beyond the understanding of the universe. Overall, Marsh creates a very engaging and thoughtful film about the life of Stephen Hawking and life with Jane Wilde.
Cinematographer Benoit Delhomme does brilliant work with the film‘s colorful cinematography with its inspiring usage of filters and coloring schemes to maintain different moods for certain scenes as well as playing with film stocks for the home-movie footage. Editor Jinx Godfrey does excellent work with the editing with its approach to reverse-style cuts, montages, and other stylish cuts to play into Hawking‘s own revelation towards his theories. Production designer John Paul Kelly and set decorator Claire Nia Richards do fantastic work with the look of the dorm rooms he lived in college as well as the home he and Jane lived with their children. Costume designer Steven Noble does superb work with the costumes from the dresses that Jane wears throughout the years to play into different periods in time as well as some of the clothes that Hawking would wear.
Hair/makeup/prosthetics designer Jan Sewell does amazing work with the different hairstyles Jane would sport in the years as well as the look of Hawking in the years he would endure his disease. Sound designer Glenn Freemantle does terrific work with the sound from the way Hawking would hear things in his state as well as scenes set in a few parties as well as the church where Jonathan would serve at. The film’s music by Johan Johansson is remarkable for its evocative and soaring orchestral score that is filled with lush string arrangements and electronic textures to heighten the music while music supervisors Sarah Bridge and Claire Freeman create a soundtrack that features jazz, classical, opera, and soul music from the different periods that Hawking and Wilde encounter.
The casting by Nina Gold is wonderful as the film features some notable small roles from Charlotte Hope and Lucy Chappell as Hawking’s sisters, Frank Lebeouf as the Swiss doctor who would tell Wilde more about Hawking’s condition that would render his speech, Abigail Cruttenden as Hawking’s mother, Guy Oliver-Watts as Wilde’s father, Harry Lloyd as Hawking’s roommate Brian, Enzo Clienti as fellow physics theorist Kip Thorne, Georg Nikoloff as the famed Soviet physicist Isaak Markovich Khalatnikov who is impressed with Hawking’s theory, and Christian McKay as the famed mathematician/theorist Roger Penrose who would give Hawking the idea to search on a theory of time. Emily Watson is terrific as Jane’s mother Beryl who would suggest to Jane to join a church choir while Simon McBurney is superb as Hawking’s father Frank who is aware of his son’s deteriorating condition as he would be the one to suggest a nurse to aid him.
Maxine Peake is excellent as Elaine Mason as the nurse hired to watch over Hawking in the late 80s as she would care for him where she would eventually become Hawking’s second wife. David Thewlis is brilliant as Hawking’s professor Dennis Sciama who would support his theory and become a colleague of his while helping to introduce Hawking’s theory to the world. Charlie Cox is fantastic as Jonathan Jones as a preacher who leads a church choir who befriends Hawking and Wilde where he falls for the latter but doesn’t want to get too close as he also enjoys his time with Hawking despite their differences in beliefs.
Felicity Jones is phenomenal as Jane Wilde Hawking as a young woman who is a literature student that falls for Hawking as she copes with his illness while helping him live as it’s a very radiant and touching performance from Jones. Finally, there’s Eddie Redmayne in a marvelous performance as Stephen Hawking as this young physics student who would create a theory as he later succumbs to motor neurone disease which only makes him more determined to share his theories with the rest of the world as Redmayne maintains a unique physicality in scenes where he’s not speaking to make Hawking a very charming and soulful person.
The Theory of Everything is a sensational film from James Marsh that features amazing performances from Eddie Redmayne and Felicity Jones. While it is a conventional film that does play into elements of what is expected in bio-pics, it is still a film with some charm as well as a strong love story that concerns the relationship between Stephen Hawking and Jane Wilde Hawking. In the end, The Theory of Everything is a remarkable film from James Marsh.
James Marsh Films: (Wisconsin Death Trip) - (The King (2005 film)) - Man on Wire - Red Riding: 1980 - Project Nim - (Shadow Dancer) - (Untitled Donald Crownhurst Film)
Related: A Brief History of Time
© thevoid99 2015
Based on the comic by Stan Lee and Steve Ditko, The Amazing Spider-Man 2 is the sequel to the 2012 re-boot where Peter Parker deals with new foes as well as trying to protect his girlfriend Gwen Stacy while trying to uncover the secret of his parents’ disappearance. Directed by Marc Webb and screenplay by Alex Kurtzman, Roberto Orci, and Jeff Pinker from a story by Kurtzman, Orci, Pinker, and James Vanderbilt. The film has Parker struggle with his role as superhero as he also deals with elements of his family’s past as well as deal with new foes as Andrew Garfield reprises his role as Peter Parker/Spider-Man. Also starring Emma Stone, Sally Field, Dane DeHaan, Jamie Foxx, Paul Giamatti, Felicity Jones, Campbell Scott, Embeth Davidtz, and Chris Cooper. The Amazing Spider-Man 2 is an extremely messy, bloated, and very uninteresting film from Marc Webb.
The film revolves around Spider-Man not only dealing with being a superhero who saves everyone in New York City but also coping with who he is as Peter Parker as he tries to juggle a lot in his plate as his relationship with Gwen Stacy (Emma Stone) begins to suffer. Especially as he sees ghostly visions of Stacy’s father (Denis Leary) which forces Peter to keep a promise that Gwen’s father has asked. When an old friend of Peter in Harry Osborn (Dane DeHaan) returns to take over his father’s business, Peter begins to wonder about what happened to his parents and why they left him as he faces a series of villains that all have a grudge towards Spider-Man. It’s a film that could’ve been very simple but due to many subplots and stories revolving around Parker’s struggle in his relationship with Stacy as well as the secrets about his family ends up being a film that is very incomprehensible and hard to follow at times.
The film’s screenplay is an example of how messy the film is as it tries to put a lot into the story where it would move from one subplot to another. It’s one of the reasons why the film felt hollow and unsatisfying as it is unable to really do something. At the same time, there are aspects of the script that look like it wanted to say something but it ended up being cut out in the end due to time constraints and such. The villains in the film aren’t very interesting as Aleksi Sytsevich (Paul Giamatti) is just a crazed thief who only appears in an early sequence and at the film’s ending. The character Max Dillon (Jamie Foxx) starts off as this nerd whom Spider-Man saves but an accident involving electric eels where he becomes Electro has him end up being one of the lamest villains ever. While the character arc of Harry Osborn is sort of interesting, the payoff in having him become the Green Goblin is another disappointing moment.
There’s so much in the script that really fails to really do anything as the story involving Peter’s father Richard (Campbell Scott) does get unveiled but ends up raising more questions about exactly what was Norman Osborn (Chris Cooper) trying to do that led to Richard’s disappearance. Even as it relates to Harry who is succumbing from a disease that would claim Norman as it would play into this confrontation between him and Peter in the third act. There’s attempts to put in some humor in the film as it involves a captured Electro and a mad scientist in Dr. Kafka (Marton Csokas) which doesn’t work at all. While the few highlights in the script involves Peter trying to maintain his friendship with Gwen as well as trying to get answers from Aunt May (Sally Field) about his father. It’s not enough to really save the film from being interesting.
Marc Webb’s direction is definitely all over the place as it’s clear that he was trying to do something where he wants to give audiences everything they want. Instead, it’s a film that feels like several different movies that all feature Spider-Man but none of it really feels cohesive. The sequence of Spider-Man chasing Sytsevich that is inter-cut with Gwen becoming valedictorian is an example of what the film is going to be as it tries to be funny and exciting but ends up being very incomprehensible. While Webb does keep things simple for scenes involving Peter and Gwen as it includes a few funny moments, some of the humor does feel forced such as a scene where a security officer (B.J. Novak) tries to go after Gwen.
It’s among the many issues that the film has where Webb definitely feels overwhelmed by the scale as some sequences such as Spider-Man’s first battle with Electro in Time Square is quite bloated as would the climatic two-on-one battle between Electro and the Green Goblin. There’s very little chance for the audience to grasp into what is happening where it meanders in some places while the payoffs end up being very disappointing. Then there’s the ending which is very clear that Webb isn’t in control as it does feel over-drawn and overblown to set things up for the next film. Even as there’s parts of the film where it feels like they’ve been cut down to get things moving as it feels like they’re part of something longer. All of which is shown that it’s a studio that is in control of the film and the overall result is a film that doesn’t bring anything exciting nor anything that is remotely entertaining but rather pointless and empty.
Cinematographer Daniel Mindel does some nice work with cinematography for some of the scenes in New York City but it never really does anything to stand out visually as it often feels like it‘s dominated by visual effects. Editor Pierto Scalia does terrible work with the editing as it plays into too much fast-cutting for the action scenes while some of the montages of Spider-Man doing his duty is comically bad. Production designer Mark Friedberg, with set decorator Susan Bode and supervising art director Richard L. Johnson, does excellent work with the set pieces from the look of the Oscorp building and its main office as well a few places in the city. Costume designer Deborah Lynn Scott does good work with the costumes as it‘s mostly casual with the exception of the corporate clothes of the people at Oscorp.
Makeup designer Ve Neill does some OK work with the look of Electro in his electronic state though the look of the Green Goblin ends up being very silly. Visual effects supervisor Gregory L. McMurry does some superb work with the visual effects for the way Spider-Man moves around with his webs though some of it is very bloated such as the scenes involving Electro with all sorts of electricity that just looks dumb. Sound designers Eric A. Norris and Addison Teague do some fine work with the sound though some of the sound effects feels like they‘re trying to create sounds for dubstep records which were unnecessary. The film’s music by Hans Zimmer, Johnny Marr, and Pharrell Williams has some worthwhile moments in its orchestral score from Zimmer with some guitar flourishes by Marr yet much of the contributions from Williams as well as Junkie XL, Michael Einzinger, and a few others are awful as it ranges from bad dubstep electronic music to other bombastic moments that are terrible while some of the music contributions from Phillips Phillips and OK Go is just crap.
The casting by Kathleen Chopin definitely has some moments though many of the actors that do appear in the film definitely are wasted in some uninspiring parts such as Felicity Jones as Harry’s assistant Felicia, B.J. Novak as an Oscorp securities officer, Campbell Scott and Embeth Davidtz as Peter’s parents in the film’s opening sequence, Colm Feore as an Oscorp executive who tries to cover things up from Harry, and Denis Leary in a very silly performance as Gwen’s late father who continuously haunts Peter about keeping that vow. Marton Csokas is hilariously awful as Dr. Kafka who is this mad scientist that seems to be from another film as he’s playing music from A Clockwork Orange as it’s a performance that is just mind-numbingly stupid to watch. Chris Cooper is OK in his brief role as an ailing Norman Osborn who warns Harry about what will happen to him as it’s a good performance but definitely under-written considering Norman’s history with Peter’s father.
Paul Giamatti is horrible as Aleksi Sytsevich as this Russian criminal who battles Spider-Man early in the film as he sports a bad accent as he isn’t seen until he is part of the film’s over-drawn ending as Rhino. Sally Field is excellent as Aunt May as she is trying to cope with being all alone and caring for Peter while admitting that there’s some dark truths in relation to Peter’s father that she doesn’t want Peter to know about. Jamie Foxx is alright as Max Dillon/Electro as this nerd who thinks he’s special when he meets Spider-Man only to get into an accident as he becomes this very lame villain which doesn’t do anything for Foxx. Dane DeHaan is pretty good as Harry Osborn as this old friend of Peter who learns he is dying from a disease only to go crazy as DeHaan does goes overboard with being over the top while looking very stupid as the Green Goblin.
Emma Stone is wonderful as Gwen Stacy as Peter’s longtime girlfriend who copes with him being the superhero as well as the vow he made with her father as she tries to uncover the things that Oscorp is hiding. Finally, there’s Andrew Garfield in a fine performance as Peter Parker/Spider-Man as Garfield has some moments where he is being cool and anguished but some of the humorous moments feel awkward as well as some of the very emotive scenes as it’s really due to the script that doesn’t do him any favors.
The Amazing Spider-Man 2 is a film that doesn’t live up to its amazing namesake. In fact, it is an absolutely horrific and extremely lifeless film that doesn’t offer very much other than elements of boredom and too many storylines that it is hard to follow. It’s a film that showcases what happens when a franchise gets re-booted for the wrong reasons and in the hands of people who don’t know a thing about films. In the end, The Amazing Spider-Man 2 is a horrendously bloated and nonsensical film from Marc Webb and the people of Sony and Marvel.
Spider Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - Spider-Man: Homecoming - Spider-Man: Into the Spider-Verse - Spider-Man: Far from Home
© thevoid99 2014
Based on the play by William Shakespeare, The Tempest is the story of a duchess who has been exiled to a remote island with her daughter as she seeks revenge through magic as well as uncover the conspiracy by those who betrayed her. Written for the screen and directed by Julie Taymor, the film is a different take of the Shakespeare play where the Prospero character is changed from a man to a woman as she is played by Helen Mirren. Also starring Russell Brand, Felicity Jones, Djimon Hounsou, Ben Whishaw, Reeve Carney, Tom Conti, Chris Cooper, Alan Cumming, David Strathairn, and Alfred Molina. The Tempest is a grand and stylish film from Julie Taymor.
Set in a remote island, the film plays into an exiled duchess who is seeking revenge through magic against those who usurped her as she hopes to reclaim what is hers as well as what her daughter is supposed to have. Much of it plays to Prospera’s thirst for vengeance as she had been wronged by many that includes the King of Naples Alonso (David Strathairn) and her own brother Antonio (Chris Cooper) as the latter was the mastermind for her exile. For 12 years, Prospera and her daughter Miranda (Felicity Jones) remain on this island as Prospera learns that Alonso’s ship is on route towards the island with his party as she sees this as an opportunity to exact her revenge. While she gets help from her spirit Ariel (Ben Whishaw), she deals with circumstances that are beyond her control once Miranda encounters Alonso’s son Ferdinand (Reeve Carney).
The film’s screenplay does retain much of the dialogue that Shakespeare wrote while Julie Taymor does create new interpretations in order to play into this drama about betrayal, conspiracies, and redemption. Even as Prospera is dealing with the betrayal from her brother as she was supposed to be in power as well as Miranda. Through a shipwreck that Prospera would cause from her magical powers, the survivors in Alonso, Antonio, Alonso’s brother Sebastian (Alan Cumming), and Alonso’s counselor Gonzalo (Tom Conti) go on a journey to find Ferdinand who was shipwrecked on another part of the island. There’s also another subplot involving a disgruntled slave of Prospera in Caliban (Djimon Hounsou) who would conspire with two of Alonso’s servants in Stephano (Alfred Molina) and Trinculo) into overthrowing Prospera. It all plays into people trying to get something while underestimating this duchess who finds herself dealing with not just her thirst for revenge but also for the future of her own daughter.
Taymor’s direction is definitely ambitious in terms of its visual scale while she would shoot the film entirely on islands in Hawaii and Lanai to play into its rugged look as well as its different settings such as woods and blacks sands. While Taymor’s use of wide shots are very prevalent, she does maintain a sense of intimacy in terms of the presentation of the performances. Notably in the use of close-ups and medium shots along with some inspiring usage of low-angles to play into the location where the actors use it as a stage and more. Taymor’s approach to directing actors doesn’t just have them recite Shakespeare but also in allowing the actors to create their own interpretations to those roles where there’s a looseness in the direction that is quite engaging to watch. Overall, Taymor creates a very thrilling and evocative film about a duchess seeking revenge from those who betrayed her.
Cinematographer Stuart Dryburgh does excellent work with the film‘s cinematography from the usage of lights for some of the interiors along with some of the nighttime exteriors as well as some colorful scenes set in the forests. Editor Francoise Bonnot does brilliant work with the editing with its usage of fast-cuts, dissolves, and other elements of style to play into the looseness of the film and its offbeat rhythm. Production designer Mark Friedberg and set decorator Alyssa Winter do amazing work with the look of Prospera‘s home and her workshop where she would create her own spells. Costume designer Sandy Powell does fantastic work with the costumes from the white dress that Miranda wears to the lavish cape and dress that Prospera wears.
Prosthetics makeup designer Mike Marino does superb work with the look of Caliban in his rugged look to play into his personality as well as the look of Ariel. Visual effects supervisor Mike Cooper does wonderful work with the visual effects as it plays into the world of mysticism and magic that surrounds Prospera. Sound designer Blake Leyh does nice work with the sound to convey the atmosphere of the locations as well as the sound effects from the spells that Prospera would make. The film’s music by Elliot Goldenthal is terrific for its mixture of bombastic orchestral music with elements of rock as it plays into its extravagance and some of its humor.
The film’s marvelous cast features some notable comic performances from Alfred Molina and Russell Brand in their respective roles as Stephano and Trinculo as two men who are eager to gain the riches of their employers while conspiring with Caliban in overtaking Prospera. Ben Whishaw is terrific as the spirit Ariel as he brings some humor as a figure who helps Prospera while Djimon Hounsou is excellent as the disgruntled slave Caliban who feels unappreciated by Prospera as he hopes to get rid of her. Tom Conti is superb as Alonso’s counselor Gonzalo who was a mentor of Prospera as he tries to make sense of the situation. Alan Cumming is wonderful as Alonso’s brother Sebastian who is a conspirator of Prospera’s exile as he is coerced into trying to do the same to his own brother.
David Strathairn is amazing as King Alonso of Naples as a king who is concerned with finding his son while dealing with some issues in the past as it relates to Prospera. Chris Cooper is brilliant as the devious Antonio who masterminded the exile on his sister as he tries to maintain some power for himself in the hopes that he can be important. Reeve Carney is fantastic as Ferdinand as Alonso’s son who meets Miranda and Prospera as he tries to win over the latter as he reveals to be a good person and a worthy match for Miranda. Felicity Jones is an absolute delight as Miranda as this young woman who falls for Ferdinand while trying to aid her mother in the plans as she knows the role that she is destined to play. Finally, there’s Helen Mirren in an incredible performance as Prospera as Mirren is just so commanding in everything she does while bringing a lot of gravitas to a woman betrayed and seeking vengeance while displaying some sensitivity as it relates to her daughter as Mirren is the star of the film.
The Tempest is a marvelous film from Julie Taymor that features a phenomenal performance from Helen Mirren. The film isn’t just a unique and stylish take on the William Shakespeare play but also a dazzling interpretation that manages to be funny and dramatic. In the end, The Tempest is a rapturous film from Julie Taymor.
Julie Taymor Films: Titus (1999 film) - Frida - Actross the Universe - The Auteurs #42: Julie Taymor
© thevoid99 2014
Based on the book by Claire Tomalin, The Invisible Woman is the story of Charles Dickens’ affair with a younger woman that lasted several years before Dickens’ death. Directed by Ralph Fiennes and screenplay by Abi Morgan, the film is an exploration into the secret affair that Dickens would have with a stage actress in Nelly Ternan as she is played by Felicity Jones with Fiennes starring as Dickens. Also starring Kristin Scott Thomas, Joanna Scanlan, and Tom Hollander. The Invisible Woman is a mesmerizing though flawed film from Ralph Fiennes.
The life of Charles Dickens is a compelling one as the film is about his affair with the stage actress Ellen “Nelly” Ternan as she was 18-years old when the two first met during a stage performance of one of his plays. Yet, the story is told from Nelly’s perspective as she thinks about the time she met Dickens and their eventual affair that would last for several years until his death in 1870. While Abi Morgan’s screenplay does have a unique approach to the narrative as it is told largely from Nelly’s perspective. The script is one of the key faults of the film where there’s parts of the film that is told from Dickens’ perspective in the way his marriage is dissolved as well as certain parts of his affair with Ternan is sort of glossed over. Especially as the first two acts is about the building of Dickens’ relationship with Ternan that starts out as friends that would destroy Dickens’ marriage. Once the affair starts to happen, it occurs in the third act where there is no sense of when the affair happens other than a few key moments that would shape their secretive relationship.
Ralph Fiennes’ direction is quite simple and understated as he does play true to the period setting of the mid-to-late 19th Century in Britain as the story spans nearly 30 years. Fiennes does maintain some unique compositions in the wide-medium shots as well as some unique close-ups and framing devices to play into this affair between Dickens and Ternan. Though he is hampered by some of the film’s issues with the script as it relates to the back-and-forth narrative of Nelly recalling her affair with Dickens. Much of the film is shot in parts of Kent and London as well as the British countryside to play into that feel of the period as well as some scenes on a beach where Nelly does much of her walking as she reflects on that crucial part of her life that she is reluctant to share with anyone in her life after Dickens. Overall, Fiennes creates an engaging but uneven film about Charles Dickens’ secret affair with Nelly Ternan.
Cinematographer Rob Hardy does excellent work with the film‘s very lush and evocative cinematography for some of the gorgeous interior lighting schemes as well as some scenes set in the exterior locations. Editor Nicolas Gaster does nice work with the editing as it‘s mostly straightforward with few stylish touches including a key scene involving a train in the film‘s third act. Production designer Maria Djurkovic, with set decorator Tatiana Macdonald and supervising art director Nick Dent, does amazing work with the look of the homes that the characters live in as well as the stage plays that Dickens would stage.
Costume designer Michael O’Connor does brilliant work with the costumes from the design of the dresses and gowns the women wear as well as the suits and hats that Dickens would wear. Hair/makeup designer Jenny Shircore does fantastic work with the look of the hairstyle the women wear as well as the beard and hair of Dickens. Sound editor Matthew Collinge does superb work with the sound from the way some of the location sounds come into play as well as the sound of the stage plays. The film’s music by Ilan Eshkeri is wonderful for its orchestral score with some lush, somber pieces to some more ominous and dramatic pieces to play into Nelly’s reflection of her past.
The casting by Leo Davis is incredible as it features some notable small roles Amanda Hale and Perdita Weeks as Nelly’s older sisters, respectively, in Fanny and Maria, Tom Burke as Nelly’s husband George in the 1883 scenes, and Michael Marcus’ as Dickens’ eldest son Charley. Michelle Fairley is terrific as Wilkie Collins’ mistress Caroline Graves who would reveal the ideas of a secret affair while Joanna Scanlan is fantastic as Dickens’ wife Catherine who is aware that something is going on as she is this woman of radiance who would warn Nelly about what might be at stake in an affair that hasn’t happened yet. John Kavanagh is excellent as Reverend Benham who is intrigued about Nelly’s knowledge of Dickens’ work where he would ask questions about her life with Dickens.
Tom Hollander is superb as Dickens’ collaborator Wilkie Collins who would write some of the stage plays with Dickens while informing Nelly about what to do with her possible affair with Dickens. Kristin Scott Thomas is amazing as Nelly’s mother who is anxious about Dickens’ attraction toward her daughter as well as some revelations about Nelly’s talents as an actress. Ralph Fiennes is brilliant as Charles Dickens as a man who is quite playful but also very caring as he falls for Nelly as he treat her with great care while balancing his family life and public persona. Finally, there’s Felicity Jones in a phenomenal performance as Nelly Ternan as this young woman who is an admirer of Dickens’ work as she falls for him yet deals with the anguish over what could hurt his public persona as their affair would later haunt her following his death as it’s a very entrancing performance from Jones.
The Invisible Woman is a stellar film from Ralph Fiennes that features amazing performances from Fiennes and Felicity Jones. Despite some of the film’s issues with its screenplay over its narrative, it is still a worthwhile film that explores the life of Charles Dickens and some revelations about his work. In the end, The Invisible Woman is a pretty good film from Ralph Fiennes.
Ralph Fiennes Films: Coriolanus - (The White Crow)
© thevoid99 2014
Directed by Drake Doremus and written by Doremus and Ben York Jones, Like Crazy is the story of two college students who fall in love in Los Angeles as they become a couple until one of them has to return to Britain as they try to salvage their relationship. The film explores young love as well as long-distance relationship between two young people. Starring Anton Yelchin, Felicity Jones, Jennifer Lawrence, Alex Kingston, and Finola Hughes. Like Crazy is a ravishing yet heartfelt romantic drama from Drake Doremus.
At a university in Los Angeles, Jacob (Anton Yelchin) meets British exchange student Anna (Felicity Jones) where the two fall in love as they become a couple. When the semester is about to end as Anna has to return to Britain for the summer, Anna chooses to stay in the U.S. for the summer with Jacob as the two continue their whirlwind romance. After going back to Britain to visit her parents (Oliver Muirhead and Alex Kingston), Anna returns to Los Angeles where she is stopped by customs over her visa as she is banned from the U.S. and forced to return to Britain. Jacob and Anna try a long-distance relationship where Anna’s parents hire a lawyer to deal with immigration ban as the two each venture into their individual pursuits.
With Anna working for a magazine and Jacob starting his furniture business, the two meet again when Jacob travels to London to visit Anna where her father suggests the two marry to help lift the band. Jacob returns to the U.S. where he starts a relationship with his co-worker Samantha (Jennifer Lawrence) while Anna continues to work as she struggles with her feelings for Jacob. Jacob also starts to miss Anna as he returns to Britain to marry her where things eventually get more complicated over the legalities of the ban leading to more issues with the two. With Jacob back in the U.S., Anna would forge a relationship with her neighbor Simon (Charlie Bewley) as she becomes confused over everything when she and Jacob receive news about the ban.
Young love between two people is a special kind of love as it’s just about being together and having fun. For these two young people from different countries, their love is so powerful that it would make them do something that is risky when this young woman decides not to return home to Britain and stay in America a bit longer. This would set up a series of complications that would test their relationship as they struggle to deal with their feelings for each other while they would seek their own individual pursuits that includes dating other people.
The screenplay explores the dynamics between Jacob and Anna as their relationship is a very captivating one as they’re both very young and share interests including the music of Paul Simon. The first act is about the blossoming of their relationship while the second act is about them trying to maintain the long-distance relationship and date other people where they would struggle with their feelings for one another. Then comes this third act that begins with them being married as they struggle with the complications of the immigration ban and themselves as it raises questions about their relationship.
Drake Doremus’ direction is engaging for the way he captures a relationship as he aims for a style that is observes this relationship. Shot largely in Los Angeles and in London with handheld cameras, Doremus makes sure that the audience is intrigued by the blossoming of the relationship where there’s a lot of playful compositions and moments that is thrilling. By the film’s second half, Doremus creates moments where the individual lives of Jacob and Anna show remarkable differences of where their heading. When they’re together, the relationship isn’t obviously close as Doremus is always having the camera fixed on someone to display some form of tension or discomfort that is happening. Even with the film’s ending where it reveals a lot on what’s happening while displaying very little action. Overall, Doremus creates a very fascinating and compelling romantic drama.
Cinematographer John Guleserian does excellent work with the film‘s photography from the sunny look of the exteriors in London and Los Angeles to the stylish array of lights for its nighttime setting. Editor Jonathan Alberts does fantastic work with the editing by creating a stylistic approach through jump-cuts and fade-outs to play out the evolution of the relationship. Production designer Katie Byron and art director Rachael Ferrara do superb work with the set pieces such as the apartments that Jacob and Anna live in as well as the hotel room they stay at in Santa Monica.
Costume designer Mairi Chisholm does nice work with the costume to keep things casual while creating an array of stylish clothes for Anna. Sound designer Andy Hay and sound editors Jesse Pomeroy and Paul Stanley do terrific work with the sound from the atmosphere of the parties the character encounter to the intimacy of their conversations. The film’s music by Dustin O’Halloran is wonderful for its plaintive and melancholic piano-driven score to play out the sense of longing in the relationship. Music supervisor Tiffany Anders creates a soundtrack that features an array of music ranging from electronic and pop as it includes music from M83 and Paul Simon.
The casting by Eyde Belasco is brilliant for the ensemble that is created as it features appearances from Finola Hughes as Anna’s boss, Charlie Bewley as Anna’s London boyfriend Simon, Oliver Muirhead and Alex Kingston as Anna’s parents, and Jennifer Lawrence in a low-key yet fine performance as Jacob’s American co-worker/girlfriend Samantha. Finally there’s the duo of Anton Yelchin and Felicity Jones as they both give very incredible performance in their respective roles as Jacob and Anna. Even as they provide a lot of emotional weight to their characters as they long for each other while becoming unsure of themselves as both Yelchin and Jones display a great chemistry with each other.
Like Crazy is a stellar yet captivating romantic film from Drake Doremus that is led by the superb performances of Anton Yelchin and Felicity Jones. The film is definitely a very interesting piece for the way it explores young long-distance relationships as well as the complications that is furthered by immigration laws. In the end, Like Crazy is a smart and exhilarating film from Drake Doremus.
© thevoid99 2012
