Based on the comic series by Jack Kirby and Stan Lee, Black Panther is the story of a king of an isolated yet thriving African country who finds himself dealing with his new role as well as an enemy who wants to claim his right to the throne. Directed by Ryan Coogler and screenplay by Coogler and Joe Robert Cole, the film is an exploration of a man trying to protect his country while dealing with some of the drawbacks of his country’s isolationist approach from outsiders as Chadwick Boseman plays the titular role of the hero and the King of Wakanda in T’Challa. Also starring Lupita Nyong’o, Michael B. Jordan, Danai Gurira, Daniel Kaluuya, Forest Whitaker, Martin Freeman, Leticia Wright, Winston Duke, Andy Serkis, Isaach de Bankole, and Angela Bassett as the Queen Mother of Wakanda in Ramonda. Black Panther is a riveting and exhilarating film from Ryan Coogler.
Following the events in which King T’Challa finds the true killer of his father as well as deal with conflict between Captain America and Iron Man, the new king of Wakanda returns home where he doesn’t just deal with his new role but also the threat of new enemies who challenge T’Challa’s claim to the throne as well as what the country possesses. It’s a film that doesn’t just explore a man dealing with the weight of what he has to do to protect his country and its people but also deal with the sins of the past that his predecessors had made including his own father T’Chaka (John Kani) as it relates to the country’s isolationist persona. The film’s screenplay by Ryan Coogler and Joe Robert Cole, with un-credited contributions from Donald and Stephen Glover, doesn’t just explore some of the fallacies of being an isolationist country that prefers to keep its resource known as vibranium to itself rather than share it with others in fear they would use the resource for devious reasons.
It’s this sense of isolation that would prove to be futile as the film has a prologue in which the young T’Chaka (Atandwa Kani) confronts a man (Sterling K. Brown) who helped the notorious arms dealer Ulysses Klaue (Andy Serkis) in obtaining vibranium. That man would have a son named Erik “Killmonger” Stevens (Michael B. Jordan) who would later create havoc with Klaue’s help as he has some legitimate reasons for wanting to stake his claim to Wakanda’s throne. For T’Challa, the news about Killmonger as well as his failed attempt to capture Klaue has him turning to his father’s longtime advisor Zuri (Forest Whitaker) about some truths of Killmonger’s identity as well as what happened back in 1992 as it relates to Killmonger’s father. Killmonger’s motivations for wanting to claim his right to the throne definitely has a lot about not just Africa’s role in the world but also the need to rise up against those that had repressed the continent and its people where he sees Wakanda as a country that should lead this revolt. For T’Challa, he understands Killmonger’s reasons but knows that it can go wrong where he finds himself having to deal with Killmonger.
It’s not just Zuri that T’Challa turns to for advice and wisdom but also his mother Ramonda and other tribe elders who express concerns for Killmonger’s claim and Klaue’s black-market dealings. Still, T’Challa has others to count on such as his younger sister Shuri (Letitia Wright) who is the country’s tech genius, his former lover/spy Nakia (Lupita Nyong’o), and Okoye (Danai Gurira) who is the leader of the king’s personal bodyguard regiment known as the Dora Milaje who all understand T’Challa’s struggle to make the right decisions. There are also tribe leaders such as longtime friend W’Kabi (Daniel Kaluuya) who wants the country to thrive yet understands that Killmonger has some legitimate views about Wakanda. Killmonger’s threat to the throne would also force T’Challa to turn to a tribe leader in M’Baku (Winston Duke) whose tribe isn’t part of the council due to ideological disagreements as he would see what Killmonger is trying to do with Wakanda.
Coogler’s direction is sprawling not just in its action set pieces but also for the way he would create a country that is unique in the middle of Africa where it disguises itself as a third-world nation but is really a first-class country that has technology that is far more advanced than the rest of the world. Shot mainly at EUE/Screen Gems studio in Atlanta with a few sequences shot in Busan, South Korea and Oakland, California, the film does play into this idea an African country that never experienced being colonized or endure ideas of racism like other countries in Africa. The country of Wakanda is a character in the film where it has this mixture of being pure in its fields, mountains, and rivers while the cities are filled with these immense technological advances but that are also colorful and with its own identity. It’s a country that Coogler created where it feels like it could be real and it also displays elements of tradition and culture that has a lot of respect of what Africa is and what it could be if they weren’t shackled by colonialism and centuries of horrible atrocities and oppression.
Coogler’s direction also has some stylistic flair in its visuals as well as in some of the action scenes where he would create some tracking crane shots to play into the scope of the action as well as some of the dramatic moments in Wakanda. The usage of wide and medium shots do capture that beauty of Wakanda with a great depth of field as Coogler would see what goes inside of the country as it relates to its mines as well as the council meetings where tribe leaders, tribe elders, and others are treated equally in a shot with T’Challa part of this circle. Especially the women as the Dora Milaje is a task force that takes care of business where Coogler knows how to present them with this air of importance as well as knowing they’re a regiment not to be fucked with. The stakes do become more important in the third act where T’Challa has to turn to those who are loyal to him as well as unexpected allies that include CIA agent Everett K. Ross (Martin Freeman) who would see what Wakanda really is as well as why the country has isolated itself leading to this climax between T’Challa and Killmonger. A showdown that isn’t just about Wakanda’s future but also a chance for the former to prove his worth as the country’s true king. Overall, Coogler crafts a gripping yet thrilling film about a king defending his throne and people from a mysterious outsider.
Cinematographer Rachel Morrison does brilliant work with the film’s cinematography from the usage of colors and lighting cues for many of the exterior settings in South Korea and Wakanda as well as some low-key yet gorgeous looks for some of the interiors including the vibranium mines and Wakandan herbs. Editor Michael P. Shawver and Claudia Castello do excellent work with the editing as it does have elements of style without going too much into fast-cutting editing styles where it allows the audience to see what is going on as well as provide rhythmic cuts for some of the film’s humorous moments. Production designer Hannah Beachler, with set decorator Jay Hart and supervising art director Alan Hook, does incredible work with the look of Wakanda in the buildings as well as the palace hall and Shuri’s lab to showcase a world that is unique as it is a highlight of the film.
Costume designer Ruth E. Carter does amazing work with the costumes from the look of the Black Panther costumes to the colorful robes and uniforms that the characters wear as it is based on a lot of African clothing as it is another of the film’s highlights. Makeup designer Joel Harlow does fantastic work with the some of the makeup that the characters would sport including some scars in the bodies and prosthetics that one of the tribe elders would have. Special effects supervisor Daniel Sudick and visual effects supervisor Geoffrey Baumann do terrific work with the visual effects in the way they present some of the exteriors of Wakanda and its city as well as the vibranium mines and other things including Shuri’s technology as it is another highlight of the film.
Sound designer Steve Boeddeker, along with co-sound editor Benjamin A. Burtt, does superb work with the sound as it help play into some unique sound effects as well as textures in the sound to play into the locations and weapons that are used. The film’s music by Ludwig Goransson is phenomenal for its bombastic mixture of orchestral music with elements of traditional African music in its mixture of string and vocal music as it play into the world that is Africa while music supervisor Dave Jordan would provide a mixture of traditional African music and some hip-hop with original songs by Kendrick Lamar who would help cultivate a soundtrack that features contributions from Vince Staples, SZA, 2 Chainz, Schoolboy Q, Saudi, Khalid, Swae Lee, Yugen Blakrok, Jorja Smith, Future, the Weekend, and several others as it’s a highlight of the film.
The casting by Sarah Finn is tremendous as it feature some notable small roles from John Kani as T’Challa’s father T’Chaka, Atandwa Kani as the young T’Chaka, Denzel Whitaker as the young Zuri, the quartet of Danny Sapani, Connie Chiume, Dorothy Steel, and Isaach de Bankole as tribe elders, Seth Carr as the boy version of Killmonger, Ashton Tyler as the young T’Challa, the obligatory cameo from comic co-creator Stan Lee, Florence Kasumba as Okoye’s right-hand woman Ayo who is second-in-command of the Dora Milaje, and Sterling K. Brown in a small yet pivotal role as a Wakdadan agent who would play a major role into the drama that would occur many years later. Andy Serkis is terrific as Ulysses Klaue as a black-market arms dealer that is trying to get a hold of vibranium to sell as it is a comical yet fun performance from Serkis. Forest Whitaker is superb as Zuri as a royal advisor who was a friend of T’Chaka as he would guide T’Challa about his role as well as carry secrets that he knew would haunt him. Angela Bassett is fantastic as Queen mother Ramonda as T’Challa and Shuri’s mother who would help T’Challa with his role as well as deal with revelations about Killmonger.
Daniel Kaluuya is excellent as W’Kabi as a tribe leader who leads the country’s border defense team that is a friend of T’Challa who finds himself intrigued by what Killmonger is offering while Winston Duke is brilliant as M’Baku as a tribe leader of an isolated mountain clan who has issues with T’Challa but realizes the seriousness of Killmonger’s threats. Martin Freeman is amazing as Everett K. Ross as a CIA agent trying to capture Klaue in South Korea only to be injured by an attack where he’s taken to Wakanda as he learns about the country and helps T’Challa deal with Killmonger. Danai Gurira is incredible as Okoye as the leader of the Dora Milaje special forces unit whose job is to protect the king as she is also a traditionalist of sorts as it relates to Wakanda as she also sees Killmonger as a serious threat to everything she stands for. Letitia Wright is marvelous as Shuri as T’Challa’s teenage sister who is considered to be the smartest person in the world as she creates much of the country’s technology as well as provide gadgets for her brother and is also willing to defend her brother’s throne by any means necessary.
Lupita Nyong’o is remarkable as Nakia as a former lover of T’Challa as a spy for the country who works to liberate people from other countries as she helps T’Challa in his new role as well as the threat of Killmonger whom she sees as a dangerous extreme. Michael B. Jordan is phenomenal as Erik “Killmonger” Stevens as a mercenary who has legitimate claims to the throne of Wakanda as he’s an unconventional villain that has not just political and social motivations for his claim to the throne but also personal as he displays a sense of charisma that makes him a top-tier antagonist that has some compelling arguments about Wakanda’s place in the world. Finally, there’s Chadwick Boseman in a sensational performance as the titular character/King T’Challa of Wakanda as a man who has just become king as he deals with his new role and the new threats that are emerging where it’s a performance that has humor but also a gracefulness and the need to display humility as a man that is trying to create his own legacy but also play a role that carries a lot of weight as it’s a career-defining performance for Boseman.
Black Panther is a tremendous film from Ryan Coogler. Featuring an incredible ensemble cast, gorgeous visuals, top-notch art direction, stylish costumes, thrilling visual effects, a killer music score and soundtrack, and themes that are willing to engage audiences about political and social themes around the world. It’s a film that isn’t just an entertaining and riveting superhero film but it offers so much more as it allows audience ideas of what an African country could be but also what it could for the world and the people with a simple message that universal and relevant. In the end, Black Panther is a magnificent film from Ryan Coogler.
Ryan Coogler Films: Fruitvale Station - Creed (2015 film) - Sinners (2025 film) - The Auteurs #74: Ryan Coogler
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers (2012 film)
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2018
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 short story Story of Your Life by Ted Chiang, Arrival is the story of a linguist and others who try to communicate with aliens who had just arrived on planet Earth. Directed by Denis Villeneuve and screenplay by Eric Heisserer, the film is a sci-fi drama that explores the idea of the universe and how humans try to communicate with the unknown. Starring Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, and Tzi Ma. Arrival is a riveting yet astonishing film from Denis Villeneuve.
When news that twelve alien spaceships have landed on twelve different parts of the world, a linguist is hired by the military to communicate with the aliens asking why they’re here as she doesn’t just try to find ways to communicate with them but also cope with the loss of her daughter years ago. It’s a film with a simple story yet it also plays into the ideas that humans aren’t alone in the universe as there could be a way for peace and harmony as it is in the hands of not just the linguist but also a theoretical physicist. The two try to see what the aliens want as they’re aided by a colonel and a CIA official who are trying to communicate with the rest of the world leaders who are doing the same as panic is happening all over the world about the arrival. Especially as the Chinese government have prepared themselves for conflict in case something drastic is about to happen.
Eric Heisserer’s screenplay has a very unique narrative that is often filled with flashbacks as it relates to the loss that the film’s protagonist Dr. Louise Banks (Amy Adams) is carrying as it relates to her own daughter. She is also someone that has been detached due to loss where she is asked by Colonel Weber (Forest Whitaker) to decipher anything these aliens are saying where she is reluctant at first but is willing to give it a go. She teams up with Ian Donnelly who works in astrophysics and kind of serves as the film’s comic relief as he takes his work seriously. Yet, once Dr. Banks and Donnelly make some slow but steady progress in communicating with the aliens. Dr. Banks would uncover memories of her own life relating to her daughter as well as other things as she begins to decipher more of their language. When a discovery is made about what they want or what they’re offering, panic does ensue as Col. Weber wants to give Dr. Banks and Donnelly the chance to see what these aliens mean. Especially as so much is on the line as there are those who play into the worst aspects of humanity.
Denis Villeneuve’s direction is truly evocative for not just the images that he creates but also in trying to understand what humanity can do for the good of the world. Shot on location around Montreal as Montana, the film plays into something that is quite otherworldly but also grounded in reality as it relate to that sense of detachment and loss that looms over Dr. Banks. While Villeneuve does use some wide shots to capture the grandness of the spaceship, it is the usage of close-ups and medium shots where the direction is really potent. Notably in the flashbacks as it has this naturalistic quality into what Dr. Banks is experience and dreaming like as well as the way she interacts with Donnelly who is a man that is about fact as he would also give in towards his humanistic traits. There are bits of humor in the film which is often provided by Donnelly during a sequence where he would communicate with the aliens through Dr. Banks’ instructions. Yet, much of the film is told dramatically as there are also some perspective from the world outside as there are those who have no understanding of what is going on where there would be those that give in to fear and cause trouble.
The direction would also provide ideas of what aliens would use to communicate as there is a complexity to the language which is crucial to its pacing where it take its time rather than go for something easy. Even when the dramatic stakes are increased as it play into the paranoia of what the aliens might be saying as it might lead into chaos. There would also be these things that would become more abstract in the course of the story as it doesn’t just relate to the fabric of time but also the sense of loss that Dr. Banks is carrying. Its climax isn’t just about the possibility of a better future for the world but also how the good in humanity would be the key to that if they just allow themselves to understand the bigger picture and not give in to fear. Overall, Villeneuve creates an intoxicating and majestic film about humans trying to understand what aliens want on their arrival to Earth.
Cinematographer Bradford Young does amazing work with the film‘s cinematography from the naturalistic look of some of the exteriors in the flashbacks as well as the usage of lighting and low-key shades to play into some of the interiors and the scenes inside the spaceship. Editor Joe Walker does excellent work with the editing as it is mostly straightforward with some stylish jump-cuts to play into some of the flashbacks as well as doing some slow-movements to play into the bits of suspense. Production designer Patricia Vermette, with supervising art director Isabelle Guay and set decorators Paul Hotte and Andre Valade, does fantastic work with the look of the interior of the spaceship as well as the military base camp where Dr. Banks and officials work at. Costume designer Renee April does nice work with the costumes as it is mostly casual with the exception of the army uniforms and the suits that characters have to wear to enter the spaceship.
Visual effects supervisors Alexandre Lafortune and Louis Morin do brilliant work with the look of some of the exterior of the spaceship as well as the design of the aliens that do look otherworldly. Sound editor Sylvain Bellemare does superb work with the film‘s sound from the way some of the sounds inside the spaceship sound as well as the design of the voices of the aliens created by a team of sound designers as it is a highlight of the film. The film’s music by Johann Johansson is phenomenal as its mixture of low-key orchestral strings with some ambient electronic pieces that include some piano loops and other array of sounds as it really another highlight of the film as the score also feature elements of Max Richter’s On the Nature of Daylight.
The casting by Francine Maisler is great as it feature some notable small roles from the quartet of Carmela Nossa Guizzo, Jaydn Malone, Abigail Pniowsky, and Julia Scarlett Dan as the different ages of Dr. Banks’ daughter Hannah, Mark O’Brien as Captain Marks, and Tzi Ma as the Chinese military leader General Shang. Michael Stuhlbarg is excellent as CIA agent Halpern as a man that is trying to deal with the other countries to make sure things go well as oversee the experiment. Forest Whitaker is fantastic as Col. Weber as a military officer who turns to Dr. Banks for help as he is hoping for something that is peaceful as well as protect her and Donnelly knowing that they’re the key to the hope of the human race.
Jeremy Renner is amazing as Ian Donnelly as an astrophysicist who helps Louise in deciphering the alien language as well as see what they’re about as he brings some humor but also moments that shows how much he cares for Dr. Banks and wanting to be understanding of the aliens. Finally, there’s Amy Adams in an incredible performance as Dr. Louise Banks as a woman that is carrying a sense of grief around her as she is asked to understand the language of aliens where she would make a discovery of what they’re saying as well as deal with images in her head as it relate to her past as it’s really one of Adams’ most evocative performances to date.
Arrival is an outstanding film from Denis Villeneuve that features sensational performances from Amy Adams, Jeremy Renner, and Forest Whitaker. Featuring some amazing visuals, a complex and heartfelt script, and an intoxicating music score by Johann Johansson. The film is truly a sci-fi film that is very smart but also willing to ask big questions along with an idea of hope in a chaotic world. In the end, Arrival is a magnificent film from Denis Villeneuve.
Denis Villeneuve Films: August 32nd on Earth - Maelstrom - Polytechnique - Incendies - Prisoners (2013 film) - Enemy (2013 film) - Sicario - Blade Runner 2049 - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah) - The Auteurs #68: Denis Villeneuve
© thevoid99 2016
Directed by David Fincher and written by David Koepp, Panic Room is the story of a woman and her daughter who hide inside a secret room where robbers have invaded their new home. The film is a thriller in which a woman has to outsmart and hide from a trio of burglars who want something to steal as well as take care of her diabetes-stricken daughter. Starring Jodie Foster, Kristen Stewart, Jared Leto, Dwight Yoakam, and Forest Whittaker. Panic Room is a chilling yet engaging film from David Fincher.
What happens when a woman and her daughter buy a new home only to be invaded by burglars who are there to rob the house because of a safe they believe is in there? That is pretty much the premise of the film as it is a simple home invasion story where a woman and her daughter are forced to hide in a panic room after a trio of burglars broke into their home. David Koepp’s screenplay follows the recently-divorced Meg Altman (Jodie Foster) and her daughter Sarah (Kristen Stewart) as they try to find a new home unaware that it was the home of a reclusive millionaire who had created a panic room with cameras due to his paranoia. Once the two move in, their night of terror would begin with the trio of robbers who had hoped that no one was in the house but once they see Meg and Sarah who would lock themselves in the panic room. All hell breaks loose where things become very tense not just for Meg and Sarah but also for the burglars.
Leading the trio is Junior (Jared Leto) who knows about the house as he brings two men with great skill as one of them in Burnham (Forest Whitaker) is a skilled safecracker with a conscience as he immediately learns who is in the house as he is reluctant to do anything but knows he needs the money. The wildcard of the team is Raoul (Dwight Yoakam) who is new as Junior brought him in as he is someone that just wants the money by any means necessary. Adding to the tension of being inside the panic room is the fact that Sarah is diabetic as she is in need of an insulin shot or else she could die which only make things more tense. All of which play into a game of wits between the burglars and Meg.
David Fincher’s direction is definitely stylish for not just the fact that much of the film is set inside a townhouse around New York City but also for the tense atmosphere of the house once it is invaded. While Fincher would use medium shots and close-ups to create an intimacy into the compositions and the sense of claustrophobia that looms throughout the film. It is his approach to tracking and long shots that are the most interesting parts such as a sequence, with the aid of visual effects, where the burglars arrive into the home and it is this single take that follows every aspect of the house for the burglars to try to get in from the outside. It sets the tone for what is to come while the usage of video cameras surveying every aspect of the house show what Meg and Sarah are watching but don’t exactly hear what the burglars are saying.
Fincher’s direction also maintains that air of suspense as it play into the moments where the burglars try to break their way or even find a way for Meg and Sarah to leave the panic room. It has this air of ingenuity into who can outsmart who as it would intensify the suspense as well as the fact that things start to unravel among the burglars where Raoul would go into great extremes to get things done with Burnham being the most reasonable one. Even as Sarah’s condition becomes a plot device that would amp up the suspense yet it is effective where the burglars try to figure out what to do where one could care less about Sarah yet Burnham is the one that is concerned. A showdown does occur with Meg’s husband Stephen (Patrick Bauchau) coming into the third act where he finds himself in serious trouble prompting Meg to be the one to step up and fight for herself and her daughter. Overall, Fincher creates a gripping yet mesmerizing about a mother and daughter dealing a home invasion from burglars.
Cinematographers Darius Khondji and Conrad W. Hall do brilliant work with the film‘s cinematography from the few bits that are shot in the daytime exteriors to the usage of low-key lights and shadows to play into the suspense as well as the way the scenes inside the panic room are lit. Editors James Haygood and Angus Wall do excellent work with the editing from the way it plays up the suspense and drama as it relies on some slow-motion cuts for stylistic reasons while being very straightforward. Production designer Arthur Max, with set decorators Jon Danniels and Garrett Lewis and art directors Keith Neely and James E. Tocci, does amazing work with the look of the house in many of its interiors of the house in the way the rooms look like as well as the panic room itself as it is one of the highlights of the film. Costume designer Michael Kaplan does nice work with the costumes as it is mostly casual in the clothes that the characters wear.
Visual effects supervisor Kevin Tod Haug does fantastic work with the visual effects from the way some of the camera movements around the house occur to some of the scenes involving gas and fire is presented. Sound designer Ren Klyce does superb as it play into the suspense with its usage of sound in all of the aspects of the house from sparse yet low-key textures to moments that are loud. The film’s music by Howard Shore is wonderful for its orchestral-based score that play into the suspense and drama with its string arrangements and bombastic percussions to create that swell of terror.
The casting by Laray Mayfield is terrific as it feature some notable small roles from Ann Magnuson as real estates dealer Lydia Lynch, Ian Buchanan as a man giving Meg and Sarah a tour of the house, Paul Schulze and Mel Rodriguez as a couple of police officers who show up late in the film, Patrick Bauchau as Meg’s ex-husband Stephen, and the voice of Nicole Kidman as Stephen’s new girlfriend. Jared Leto is superb as Junior as the leader of the three as the one who has a tip about the house as the presence of Meg and Sarah ruin the plans as he tries to figure out what to do while also being evasive about certain things at the house. Dwight Yoakam is excellent as Raoul as a burglar who is all about getting the money by any means necessary as he spends much of the film wearing a ski mask which makes him very menacing as it’s a very dark performance from Yoakam.
Forest Whitaker is brilliant as Burnham as a burglar who takes the job for money as he is skilled with a lot of what happens but doesn’t want to harm Meg and Sarah where he becomes conflicted into what is happening where he tries to do what is right and the job. Kristen Stewart is amazing as Sarah as a young girl who is just a typical young girl that finds herself being terrorized as she stays in the panic room with her mother as she starts to get sicker due to her diabetes. Finally, there’s Jodie Foster in a phenomenal performance as Meg Altman as a woman who tries to protect her daughter anyway she can while having to outwit the burglars as it’s a performance that is just engaging to watch as it is one of her defining performances.
Panic Room is a sensational film from David Fincher that features great performances from Jodie Foster, Kristen Stewart, and Forest Whitaker. Armed with a strong supporting cast, a simple yet effective premise, gorgeous visuals, and a chilling music score. The film isn’t just one of Fincher’s most accessible films but also a fine example of suspense when it is just simple and to the point. In the end, Panic Room is an incredible film from David Fincher.
David Fincher Films: Alien 3 - Se7en - The Game - Fight Club - Zodiac - The Curious Case of Benjamin Button - The Social Network - The Girl with the Dragon Tattoo (2011 film) - Gone Girl
Related: 15 Essential Music Videos by David Fincher - The Auteurs #61: David Fincher
© thevoid99 2016
Based on the novel by Walter Tevis, The Color of Money is the sequel to another Tevis novel in The Hustler in which “Fast” Eddie Felson has retired from the world of pool-hustling as he catches the eye of a young hustler in whom he wants to support only to be coaxed back into the game. Directed by Martin Scorsese and screenplay by Richard Price, the film plays into a man who tries to disconnect himself from the world that made him famous only to come back after seeing a young man with talent as Paul Newman reprises his role as “Fast” Eddie Felson. Also starring Tom Cruise, Mary Elizabeth Mastrantonio, Helen Shaver, John Turturro, Forest Whitaker, and Bill Cobbs. The Color of Money is a compelling and rapturous film from Martin Scorsese.
Set more than twenty years after “Fast” Eddie Felson had become the greatest pool hustler in the streets, the film revolves around a retired Felson who has now become a successful liquor salesman while making money on other hustlers. Yet, he catches the eye of a young hustler whom he sees as someone with the potential to be great as he takes the young man and his girlfriend on the road to teach him the trade of hustling. Along the way, Felson teaches Vincent Lauria (Tom Cruise) about how to make money and how to lose below his abilities in order to win big. By traveling to famous pool halls around the country before taking part of a big 9-ball tournament in Atlantic City, Felson finds himself getting the urge to return but has to contend with aging as well as the fact that there are those who are younger and know the trade of hustling just as good as he did.
Richard Price’s screenplay explores the world of hustling as Felson is someone who is a master at it but hasn’t played in more than 20 years while his eyesight has sort of deteriorated. Though he tries to live a normal life while watching pool hustling from afar, he finds something in Vincent that makes him want to come back. While Vincent is talented, he is immature as Felson would take him under his wing along with Vincent’s girlfriend Carmen (Mary Elizabeth Mastrantonio) who has managed Vincent’s dealings as she would pay close attention to Felson’s methods. Even as she would help Felson in playing the role of hustler as it would cause some issues with the very immature Vincent who realizes that part of the art of hustling is to act the part of being someone who isn’t good and then hustle that player. Through Vincent, Felson would live through him but would eventually become selfish once Vincent improves as its third act would have both men attend the tournament against each other.
Martin Scorsese’s direction is very stylish not just in his presentation of the world of 9-ball pool and hustling but also in a world where it’s about survival and making money anyway a person can. Shot largely in parts of Chicago as well as bits of Atlantic City, the film plays like a world that is changing where the valor and classiness of the pool halls is now nothing more than an urban decay of sorts. While Scorsese does bring in some stylish usage of close-ups and medium shots along with some simpler moments, it is all about the sense of atmosphere in these pool halls as well as the need to play and hustle someone. Scorsese’s approach to the games are presented with a sense of rhythm as well as a bit of psychology into what will take for that person to win and win big but also how to lose and then make that person feel like shit.
Scorsese would also go into extreme close-ups to showcase a pool ball being hit by a pool cue as well as other elements that definitely play into a sense of style. Notably in his approach to tracking shots where he would go from a medium to wide or vice-versa as it plays into Felson’s love-hate relationship with hustling. There’s also some unique crane shots that Scorsese would use as it would be prominent in the film’s third act in the 9-ball tournament in Atlantic City. Many of the images that Scorsese would create are very unconventional as it strays from what is expected in films like this but it also plays into how intense these games are where it is about strategy and see how one can lose. Overall, Scorsese creates a very engaging and riveting film about a former pool hustler teaching a young hustler the trick of the trade.
Cinematographer Michael Ballhaus does excellent work with the film‘s cinematography from its usage of natural lights for some of the exteriors and daytime interiors to the lighting in some of the pool halls as well as the lightings for the tournament. Editor Thelma Schoonmaker does incredible work with the editing with her stylish approach to montages, jump-cuts, and dissolves to play into the world of pool and hustling. Production designer Boris Leven and set decorator Karen O’Hara do fantastic work with the design of the pool halls from the richness of the one in Atlantic City to the more decayed, street look of the ones Vincent and Felson go to.
Costume designer Richard Bruno does nice work with the costumes to play into the youthful look of Vince as well as the suits that Felson wears to represent his sense of the old school. Sound editor Skip Lievsay does superb work with the sound as it plays into the atmosphere of the bars and pool halls the characters go to as it has a sense of atmosphere that is very street and has its own sense of rules. The film’s music by Robbie Robertson is great as it is largely blues-based music to play into the world of the pool halls while compiling a soundtrack that features music from Phil Collins, Warren Zevon, Robert Palmer, Mark Knopfler, B.B. King, Willie Dixon, Don Henley, and Eric Clapton.
The casting by Gretchen Rennell is brilliant as it features some notable appearances and small roles from punk rock legend Iggy Pop as an opponent Vince hustles on the road, professional pool players Grady Mathews, Steve Mizerak, Keith McCready, and Jimmy Mataya as themselves, and Bill Cobbs as an old friend of Felson who runs a pool hall. John Turturro is terrific as a friend of Felson who gets beaten by Vince as he thinks he can take him. Forest Whitaker as a young hustler Felson faces off with where the result would have serious consequences for Felson. Helen Shaver is wonderful as Felson’s girlfriend Janelle who tries to keep Felson grounded while being aware of his past as a hustler as she wonders if he’ll lose it all over again.
Mary Elizabeth Mastrantonio is amazing as Carmen as Vince’s girlfriend who joins Vince and Felson on the road while learning about Felson’s methods very closely as she realizes there is more than what is going on as she tries to make sure that Vince is well-paid and succeeds. Tom Cruise is excellent as Vincent Lauria as a young pool hustler who is great at pool but lacks the knowledge to make serious money as he copes with his immaturity and what Felson wants from him. Finally, there’s Paul Newman in a remarkable performance as “Fast” Eddie Felson as a former pool hustler who is fascinated by the young Vince as he wants to mentor him only to find himself back in the world that he’s been detached from for so many years as it’s a performance full of energy but also one of humility as Newman brings a lot of gravitas to the role as it’s one of his best performances.
The Color of Money is a phenomenal film from Martin Scorsese that features a great performance from Paul Newman as “Fast” Eddie Nelson. Along with amazing performances from Tom Cruise and Mary Elizabeth Mastrantonio and a killer soundtrack. The film isn’t just one of Scorsese’s most entertaining films but also a key study into the world of hustling and an old veteran trying to teach a young hustler the trades of making big money in a cruel world. In the end, The Color of Money is a sensational film from Martin Scorsese.
Related: The Hustler
Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - The Age of Innocence - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The 50 Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2015
Originally Written and Posted at Epinions.com on 10/18/09 w/ Additional Edits.
Based on the children's picture book by Maurice Sendak, Where the Wild Things Are is the story of a young boy who is sent to his room where he lets his imagination roam with the wild creatures he encounters. Directed by Spike Jonze and screenplay by Jonze and Dave Eggers, the film is look into the world of imagination from the eyes of a young child as it takes Sendak's book to a much broader world. Starring Max Records, Catherine Keener and Mark Ruffalo along with a voice cast that includes Chris Cooper, Michael Berry Jr., Forest Whitaker, Lauren Ambrose, Catherine O'Hara, Paul Dano, and James Gandolfini. Where the Wild Things Are is a sprawling yet and enthralling film from Spike Jonze.
Max (Max Records) is a young boy who is trying to deal with his parents separation while his older sister Claire (Pepita Emmerichs) is more interested being with her friends. Max is also trying to deal with his own wild imagination where he wears a costume while roaming around everywhere. One night as his mom (Catherine Keener) has invited her boyfriend (Mark Ruffalo) for dinner, Max's wild behavior causes mayhem as he runs away from home and finds a sailboat. The boat takes him across the sea to an island where wild creatures live as one of them named Carol (voice of James Gandolfini) is smashing homes. Around him are Ira (voice of Forest Whitaker), his wife Judith (voice of Catherine O'Hara), a bird-like creature named Douglas (voice of Chris Cooper), a silent bull (voice of Michael Berry Jr.), and a goat named Alexander (voice of Paul Dano).
Max goes wild around them as he tells them to be still as Carol sees him as their new king. Another wild creature named KW (voice of Lauren Ambrose) arrives to see Max become king as he declares to let things go wild. Everyone has a good time while Carol shows Max his little world that he made prompting Max to want to make a fortress and home for everyone to live in. Things go world though things start to go wrong when KW wants to invite a couple of owls to the family upsetting Carol. When Max decides to settle things with a dirt fight, everything seems to go well until the fight manages to affect a few of the participants. When the events after the fight transpire, things become problematic as Carol becomes angrier while truths about Max's true nature is revealed prompting him to make a huge decision.
Adaptations are tricky, particularly with children's story as it's about trying to be faithful to the book but also present it with a unique vision. What Spike Jonze and co-screenwriter Dave Eggers did is a mixture of both by being faithful to the book but also present in a way that is more lively. In adding dramatic elements to the story such as a boy dealing with his parents divorce, sense of feeling neglected, and acting out by running to an imaginary world. Jonze definitely brought a different take of sorts on Maurice Sendak's beloved novel which was just a simple story of a boy running into his imagination to roam with wild creatures.
The simplicity of the story is there though like the book, doesn't exactly follow a conventional plot structure in what is expected for a children's story. The first act follows Max being a wild kid, getting into trouble, and then running away to meet with the wild creatures. The second act is him becoming king and letting things run wild while the third is the fallout over a huge dirt fight. Yet, the creatures are all based on Max's own life with Alexander representing Max's sense of neglect since the goat-like creature is trying to get attention. Carol represents the angry side of Max as the others play people who Max had encounter with KW as a maternal figure of sorts with Ira as the friendly creature and Judith as the cynical one. Others like Douglas play as a conscience of sorts while Bull is the silent observer who participates in the rumpus.
Jonze and Eggers not only add personalities to the creatures but also explore the complex emotions of what Max is going through as an eight/nine-year-old boy dealing with all sorts of things. In the process, he starts out as this boy feeling neglected and angry where he has to act out into someone who realizes that life isn't so simple and it must be hard for his own mother to be attentive to him. The complexity of the film might seem a little broad for young audiences but Jonze and Eggers are aware that they can an idea of what is happening.
Jonze's direction for the film is truly stunning from the opening scene of Max running wild in his house as he hopes to make an igloo to the scenes of the island shot in Australia. The approach for this wild, free-wielding look of the film truly captures the spirit of the book in shooting the film at the forest, mountains, beaches, and deserts. Jonze also creates something that is huge as it is all about the imagination of the child from the huge wooden ball-nest that the wild things live in to the little place that Carol has created. With a lot of hand-held work in the rumpus and dirt-fight scenes to tracking shots in scenes of action. Jonze also utilized numerous special effects styles from CGI, suitmation, animatronics, puppetry, and all sorts of ideas to flesh out the story to make it as realistic as he can.
While there's actors wearing suits inside the creatures, the movements of their eyes and faces are just as spectacular where there's life to the characters while the voices add an emotive quality to them. What Jonze did overall in presenting the film with lots of wide angle, beautiful shots, and ideas that are truly from the imagination of a child is exhilarating. In bringing the book to life while making it into its own story is just amazing as Jonze creates what is possibly his best work yet along with a film that is probably become a hallmark of great film that kids could watch.
Jonze's longtime cinematographer Lance Acord does amazing work with the photography from the dark-colored look of the nighttime scenes when Max runs away from home to the colorful, bright look of the snow in that same location at the daytime. The scenes in the wood show Acord bringing lots of color and looks to capture the emotion of the film from the sunny, bright colored look of the sun and sky in the deserts along with grey, colorless look of the woods during the rumpus scenes. Even the scenes deeper in the woods with shades of darker colors play up to the dark emotions that goes on in the third act as Acord's work is truly amazing overall.
Editors Eric Zumbrunnen and James Haygood do fantastic work with the editing in providing a nice sense of rhythm for the film's action while not making things move too fast. Leisurely-paced, the film knows when to slow things down for the dramatic elements without being too slow as the editing is overall solid. Production designer K.K. Barrett along with set decorator Simon McCutcheon and supervising art director Jeffrey Thorp do brilliant work with the overall design of the places at the island from the large circular nest that the wild things live in to the tunnels, deserts, and the model place that Carol had created. Barrett's work in the design work along with sculptures and such is truly some of the best art direction ever created for a film with a lot of imagination.
Costume designer Casey Storm does an excellent job with the creation of Max's wild thing costume that looks exactly like the costume from the book along with more casual clothing for the actors to wear in the non-island scenes. Yet, the look of the creatures from the hair and makeup is fantastic in its realism. The credit really should go to the special effects team that include special effects supervisor Peter Stubbs, visual effects supervisors Daniel Jeanette, Marc Kolbe, and Chris Watts along with a team of animators. The design for the creatures are phenomenal as they all look like creatures from the book coming to life. Sound designer Ren Klyce does a phenomenal job with the sound work in the chaos of the rumpus and creatures along with the sounds of the location that is happening.
The film's score by Carter Burwell and Yeah Yeah Yeahs vocalist Karen O is a playful, intimate, yet sparse score that recalls the acoustic work of the YYYs' Show Your Bones album back in 2006. Along with contributions from Deerhunter's Bradford Cox, former YYYs touring member Imaad Wasif, The Dead Weather's Jack Lawrence and Dean Fertita, and YYY members Nick Zinner and Brian Chase. The music plays up to the spirit of Max's raucous energy along with its sense of melancholia. Notably songs like Hideaway and a cover of Daniel Johnston's Worried Shoes. Overall, it's a fantastic score and soundtrack that reflects on the spirit of the story and film while its trailer is wonderfully accompanied by a re-recorded version of Wake Up by Arcade Fire.
The casting by Justine Baddeley and Kim Davis is superb with notable appearances from Max Pfeifer, Madeleine Graves, Joshua Jay, and Ryan Corr as friends of Claire who engage in a snowball fight with Max along with Steve Mouzakis as Max's teacher. Other small roles from Pepita Emmerichs as Max's older sister Claire to a cameo appearance of sorts from Mark Ruffalo as Max's mother's boyfriend are nice to see while Catherine Keener is excellent in a brief role as Max's mother. The voice casting is truly phenomenal with Michael Berry Jr. providing the grunts of the mostly silent Bull while Chris Cooper is sort of unrecognizable as the voice of the bird-creature Douglas. Catherine O'Hara is funny as the cynical voice of Judith while Forest Whitaker is excellent as the calm voice of Ira. Paul Dano is great as the voice of Alexander, the goat wanting some attention as he also carries some pain around him.
Lauren Ambrose is wonderful as the voice of KW, the maternal figure of the wild things who is troubled by Carol's anger while being kinder and more loving towards Max. James Gandolfini is perfect as the voice of Carol from his light-hearted humor to his more angry side to show Carol's troubled personality as Gandolfini's voice brings a surprising depth to the character that no one expected from the guy who played Tony Soprano. Finally, there's Max Records in an amazing performance as Max. Records provides all of the wild and complex emotions of a young boy as he is really the heart and soul of the film as he shows surprising depth to a boy that feels neglected and sad. When he's wild, he's full of energy as he really captures the spirit of the character in the book as it's truly a mesmerizing performance from the young actor.
Where the Wild Things Are is an amazing, imaginative, and heartfelt film from Spike Jonze and company. Fans of Jonze's work will see this as not just his most ambitious but also heartfelt film as he truly captures the spirit and innocent of a child while being truly faithful to Maurice Sendak's beloved book. Fans of the book will be amazed to see the story come to life while seeing how much is kept with not much being missed. Overall, this is a film that can be described as an art film of sorts for children while adults will be amazed by its production values, wondrous cinematography, and visual effects along with its complex, melancholic story. In the end, Where the Wild Things Are is one of 2009's best films from the wonderful mind of director Spike Jonze and its creator Maurice Sendak.
Spike Jonze Films: Being John Malkovich - Adaptation - Tell Them Anything You Want: A Portrait of Maurice Sendak - Her - My Mutant Brain
Related: The Auteurs #54: Spike Jonze - The 25 Essential Videos of Spike Jonze
© thevoid99 2013
Written and directed by Jim Jarmusch, Ghost Dog: The Way of the Samurai is the story of a hired hitman for the Mafia who lives in a very strict code similar to the ways of the samurai. The film is an exploration of a man trying to do his job with a sense of honor as he becomes pursued by those who feel like he isn’t doing their job. Starring Forest Whitaker, John Tormey, Tricia Vessey, Henry Silva, and Isaach de Bankole. Ghost Dog: The Way of the Samurai is a provocative yet stylish take on the samurai film from Jim Jarmusch.
For those working for the mob, they’re hired to do a job or they get whacked. In the case of this mysterious hitman known as Ghost Dog (Forest Whitaker), he does things differently as he does a simple job for a man who saved his life when he was a teenager. Yet, Ghost Dog lives in a very strict code that is similar to the ways of the samurai as he does everything in complete secrecy as his only form of contact is through carrier pigeons but only to the man he is loyal to in local mob head Louie (John Tormey). After a hit was delivered, Louie’s bosses decided that Ghost Dog had to be eliminated where Louie informs Ghost Dog of what is to happen.
Jim Jarmusch’s screenplay is definitely engrossing for the way a man lives a very strict lifestyle that has him living by himself with only pigeons to keep him company while he has very few friends. One of which is a Haitian ice-cream man named Raymond (Isaach de Bankole) who only speaks French while he also befriends a young girl named Pearline (Camille Winbush) who loves books. Still, Ghost Dog is a man who operates in a very strict manner where he borrows cars to go somewhere that is beyond walking distance while maintaining a code in a world where honor and loyalty is waning as he’s being pursued by men who are trying to adjust to changing times where honor and loyalty don’t really mean anything. While Ghost Dog uses guns as weapons, he does it in a way that is similar to the ways of the samurai while sparing whoever are innocent including a mob boss’ daughter (Tricia Vessey) whom she let borrows her copy of the book Rashomon by Ryunosuke Akutagawa to Ghost Dog who lends it to Pearline.
There are a lot of allusions to the way Jarmusch explores the code of the samurai as he often injects the film with voice-over reading of Ghost Dog reading text from Yamamoto Tsunetomo’s book Hagakure. With the text also present in the film, it plays into the philosophy that Ghost Dog is trying to hold on to in a world that is changing and filled with lots of corruption and violence. While Ghost Dog is a man who kills, he is only doing it to save himself and Louie from harm since he owes Louie for saving his life. While the two men have different memories about the day Louie saved Ghost Dog’s life as a teen, they are drawn to each other as Louie is a man who also works under a code but a different one that is on its way out.
Jarmusch’s direction is quite straightforward in terms of his framing and presentation though there are a lot of tributes to the films that Jarmusch is basing on. Notably samurai movies and Jean-Pierre Melville’s 1967 film Le Samourai that features a similar story about a hitman who lives in a strict code inspired by the samurai. Shot on location in New Jersey, the film has unique look that plays to this world that seems ever-changing where the mob are trying to adjust to these changes. Yet, the Ghost Dog character is a man who only wears dark clothes and rarely interacts with people as he is a real sharp contrast to the people he works for. Still, Jarmusch infuses some humor in the way the Mafia is portrayed as there’s one mob leader who has a love for the music of Public Enemy as he spits out rhymes from their songs.
Another aspect in Jarmusch’s direction that is interesting is the fact that there are many scenes where the mob are watching cartoons that either plays to something that is foreshadowing or to reflect the dark world they live in. Jarmusch’s approach to the violence isn’t very graphic but still confrontational in the way Ghost Dog takes care of his foes. Some of it is done in a clever yet low-key fashion to represent Ghost Dog’s violent style where he does it swiftly and that is it. The scenes where Ghost Dog and Raymond interact where despite the language barrier, the two men do seem to understand each other a bit as it’s part of Jarmusch’s unique approach to some of the film’s humor. Overall, Jarmusch creates a very fascinating yet stylish film about a man maintaining a code of the samurai in the modern world.
Cinematographer Robby Muller does excellent work with the film‘s photography from some of the low-key lighting schemes at night to the more colorful scenes in the daytime interior and exterior settings. Editor Jay Rabinowitz does brilliant work with the film‘s very stylish editing with the use of layered dissolves to express a few flashback scenes and montages along with some jump-cuts and fade-outs to help present some of the text that Ghost Dog is reading. Production designer Ted Berner, with set decorator Ron von Blomberg and art director Mario Ventenilla, does nice work with the look of the apartment that Ghost Dog lives in as well as the ice cream truck that Raymond runs.
Costume designer John A. Dunn does terrific work with the costumes from the street-based clothing of Ghost Dog to the more refined suits the gangsters wear. Sound designer Anthony J. Ciccolini III does wonderful work with the sound to capture the intimacy of some of the film‘s violent scenes as well as low-key yet layered sounds of nature to express the kind of peace that Ghost Dog craves for. The film’s music by RZA is fantastic for its rhythmic yet intoxicating music that fuses hip-hop with low-key electronics to set a mood while its soundtrack is a nice mix of hip-hop and reggae that features music from RZA and some of his cohorts from the Wu-Tang Clan as well as Public Enemy and Willi Williams doing a cover of the Clash’s Armagideon Time.
The casting by Ellen Lewis and Laura Rosenthal is amazing for the ensemble that is created as it features appearances from Richard Portnow as the target Ghost Dog is hired to kill, Gary Farmer as a Native American pigeon farmer the Mafia harasses, RZA as another samurai Ghost Dog meets, and Gene Ruffini as an old consigliere. Other standout small roles include Cliff Gorman as a mob boss who loves Public Enemy and Henry Silva as a mob leader who orders Ghost Dog’s death. Tricia Vessey is very good as the daughter of the mob leader who always find herself in an assassination as she’s often spared. Camille Winbush is wonderful as the young girl Pearline whose interest in books has her befriending Ghost Dog who lends her a book. Isaach de Bankole is excellent as Ghost Dog’s Haitian friend Raymond as he always spout the good attributes of ice cream while often conversing with Raymond about things in life.
John Tormey is superb as Ghost Dog’s retainer Louie who is aware of Ghost Dog’s skills as he tries to save himself from the mob while dealing with all of the chaos that is happening while trying to maintain his own sense of honor. Finally, there’s Forest Whitaker in a riveting performance as Ghost Dog where Whitaker has this very low-key restraint to his performance that allows Ghost Dog to be a man of discipline but also a man full of life as he’s also quite charming as it is definitely one of Whitaker’s finest performances.
Ghost Dog: The Way of the Samurai is an incredible film from Jim Jarmusch that features a brilliant performance from Forest Whitaker. The film is definitely one of Jarmusch’s more accessible features as well as a great homage to the samurai movies. It’s also a film that explores a man’s desire to find peace and honor in a world ravaged by change and chaos. In the end, Ghost Dog: The Way of the Samurai is a phenomenal film from Jim Jarmusch.
Jim Jarmusch Films: Permanent Vacation - Stranger Than Paradise - Down By Law - Mystery Train - Night on Earth - Dead Man - Year of the Horse - Coffee & Cigarettes - Broken Flowers - The Limits of Control - Only Lovers Left Alive - Paterson - Gimme Danger - (The Dead Don't Die) - The Auteurs #27: Jim Jarmusch
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