Teenage Mutant Ninja Turtles: Mutant Mayhem

 

Based on the comics/animated TV series created by Kevin Eastman and Peter Laird, Teenage Mutant Ninja Turtles: Mutant Mayhem is the story of four mutant turtles with martial arts skill who go undercover to hunt down a mysterious crime syndicate that is terrorizing New York City where they deal with other mutants causing mayhem. Directed by Jeff Rowe and screenplay by Rowe, Seth Rogen, Evan Goldberg, Dan Hernandez, and Benji Samit from a story by Rogen, Goldberg, Rowe, and Brendan O’Brien, the animated film is a reboot of the film/TV series that is set in a modern world with an array of different animation style as it plays into these four teenage turtles trying to find themselves but also use their skills to make the world a better place. Featuring the voices of Micah Abbey, Shamon Brown Jr., Nicolas Cantu, and Brady Noon as the titular characters along with Seth Rogen, Ayo Edebiri, Maya Rudolph, John Cena, Rose Byrne, Natasia Demetriou, Giancarlo Esposito, Post Malone, Ice Cube, Hannibal Burress, Paul Rudd, and Jackie Chan as Splinter. Teenage Mutant Ninja Turtles: Mutant Mayhem is an exhilarating and ravishing film from Jeff Rowe.

The film revolves around a series of thefts committed by a mysterious figure where four teenage mutant ninja turtles find themselves battling this mysterious figure as well as trying to be accepted despite the fact that they’re mutants and their adopted father in a mutated rat in Splinter warns them about humans. It is a film that plays into that these four teenage turtles who want to be part of the world even though they’ve been trained by Splinter in the art of ninjitsu in order to get things from the outside world. Still, there is chaos looming throughout New York City as it relates to a mutagen that was developed by a scientist working for a mysterious corporation as it would play not just how the turtles and Splinter would be mutated but also a mysterious figure known as Superfly (Ice Cube) who would hire thugs to steal things and then kill them as they would be witnesses. The film’s screenplay is largely straightforward with a few backstory as it relates to Splinter, the turtles, Superfly, and his gang while it also play into what is at stake as well as these four turtles who all want to be part of the world and be accepted.

Notably as the turtles themselves are teenagers with different personalities that all want to be in the world as Leonardo (Nicolas Cantu) is sort of the leader of the group but is also awkward and unsure of himself. Raphael (Brady Noon) is brash and sarcastic but is also full of energy and aggression that he needed to let out. Donatello (Micah Abbey) is the nerdy one who knows how to work tech while also wears glasses. Michelangelo (Shamon Brown Jr.) is the goofball in the group who is good at improvising while also wanting to party. Superfly was someone that was cared for by the scientist Baxter Stockman (Giancarlo Esposito) along with other creatures until he was attacked by the corporation he was working for lead by Cynthia Utrom (Maya Rudolph) who wants to weaponized the mutagen for her own reasons as the opening scene is about her gang attacking Stockman with a mutagen canister falling into a sewer on Splinter and these four young turtles. Yet, it was Superfly who would save other animals that were being mutated as they would be part of a gang as they would meet the turtles and realize that Superfly’s plans in dealing with humans might not be the right thing to do. Even April O’Neil (Ayo Edebiri) who would meet the turtles after retrieving her scooter as she sees their intention as well a story she is trying to cover in her high school despite a disastrous moment in her attempt to be a news journalist.

Jeff Rowe’s direction is definitely wondrous for not just its story but also a look that is unlike a lot of animated films as it aims for a look that is crude, unpolished, and at times were drawn by children. Yet, it works because it not only adds to the tone of the film but also this world that is off-kilter at times while a lot of its look plays to the fact that it is a film about teenage turtles who are dealing with growing pains but also this need to connect with a world they’ve been sheltered in. With help from co-director Kyler Spears and an immense team of animators that include character designers James A. Castillo, Justin Runfola, and Woodrow White. Rowe would maintain a look and feel to the film as it play into not just the grittiness of New York City but also in the sewers the attention to detail in how it looks thanks in part to the work of production designer Yashar Kassai, along with art directors Arthur Fong and Tiffany Lam in maintaining that look. Even with the work of cinematographer Kent Seki in the lighting as well as the visual effects work of Chris Kazmier and Matthieu Rouxel to help play out the look including the design of the mutants.

Rowe’s direction also has these unique compositions in the close-ups and medium shots as it relates to the turtles and their desire to connect with the world as there’s a scene of them watching a bunch of people watching a scene from Ferris Bueller’s Day Off. There are also some unique wide shots that includes the film’s climax which is grand in terms of what the turtles have to face as it plays into Superfly’s own plans to destroy humanity. Rowe would maintain a massive canvas for the climax as it plays into what is at stake but also what the turtles have to do as they not only get some life lessons about acceptance as well as doing the right thing. Overall, Rowe and Spears craft a riveting and imaginative film about four teenage mutant ninja turtles trying to fit in with the human world as well as take down some bad guys.

Editor Greg Levitan does amazing work with the editing with its fast-cutting style for some of the action and fight scenes but allows shots to reveal what is going on along with stylish moments such as a montage sequence of each turtle fighting bad guys is a highlight of the film. Sound editor Mark A. Mangini does fantastic work with the sound in some of the sound effects for the weapons as well as some of the tech characters use. The film’s music by Trent Reznor and Atticus Ross is phenomenal with its electronic-based score ranging from pulsating, industrial-based themes to some low-key yet plaintive piano-based bits as it is a major highlight of the film. Music supervisor Gabe Hilfer does excellent work in cultivating the film’s soundtrack that largely features 80s/90s hip-hop and other music with contributions from Blackstreet with Dr. Dre and Queen Pen, Wayne Newton, M.O.P., A Tribe Called Quest, BTS, Bobby Vinton, Natasha Bedingfield, Vanilla Ice, Liquid Liquid, De La Soul, Ol’ Dirty Bastard, Gucci Mane with Bruno Mars and Kodak Black, ESG, Hugh Masekela, and variations of the 4 Non Blondes song What's Up? that includes a famous remix made for He-Man.

The casting by Rich Delia is great as it features some notable voice cameos from comic creator Kevin Eastman as a human in the film’s climax, Alex Hirsch in a dual role as the voice of a mutated cockroach in Scumbug and a small crime boss who is hired by Superfly, Michael Badalucco as another local crime boss hired by Superfly, Andia Winslow as a TV news anchor, Raechel Wong as a TV news reporter on the scene during the film’s climax, and Giancarlo Esposito in a small but crucial role as the scientist Baxter Stockman who created a mutagen in order to create something unique rather than use it as a weapon Other notable voice performances as members of Superfly’s gang include Hannibal Burress as Genghis Frog, Austin Post/Post Malone as the mutant manta ray known as Ray Fillet, and Natasia Demetriou as the mutant bat Wingnut as they all get the chance to stand out and be funny. The voice contributions of Rose Byrne, John Cena, Seth Rogen, and Paul Rudd in their respective roles as Superfly’s gang members in Leatherhead, Rocksteady, Bebop, and Mondo Gecko are a joy to watch in how they bring in a lot of nuances and humor to the roles with Rudd being the standout as Gecko who seems to find a friend in Michelangelo.

Maya Rudolph and Ice Cube are excellent in their respective roles as the antagonists Cynthia Utrom and Superfly with the former being a corporate executive who wants to weaponized the mutagen as she sees the turtles as a threat while the latter is a more complex individual who is protective of his family but also has some valid reasons into his own hatred for humanity though his plans prove to be extreme for some. Ayo Edebiri is amazing as April O’Neil as high school student who wants to be a reporter as well as becoming the first human friend of the turtles with Edebiri also bringing a lot of charisma to a character that is often sexualized in films as she is presented as a street-smart African-American high school student as it feels fresh. Jackie Chan is brilliant as Splinter as a rat who also becomes mutated by the mutagen ooze as he teaches his turtles ninjitsu but also warns them about not going into the human world due to his own prejudice towards humanity until he would discover about Superfly and his own intentions where he does what he can to make his adopted sons happy.

Finally, there’s the quartet of Nicolas Cantu, Brady Noon, Micah Abbey, and Shamon Brown Jr. in incredible voice performances as Leonardo, Raphael, Donatello, and Michelangelo. Rather than having adult actors voice teenagers, the casting of actual teenagers to play these teenage turtles as they all bring this sense of energy but also a realism that adds to the performance as the kids who are just trying to find themselves. Notably as Cantu, Noon, Abbey, and Brown were able to provide a sense of personality and charisma to their respective characters as they are a major highlight of the film.

Teenage Mutant Ninja Turtles: Mutant Mayhem is a sensational film from Jeff Rowe. Featuring a great ensemble cast, inventive animation, a compelling story on the desire to be accepted, gorgeous visuals, and an incredible music score. The film is definitely an animated film that manages to be more than just a fun action-adventure film but also a compelling coming of age film that also has references to past films from other franchises relating to these turtles. In the end, Teenage Mutant Ninja Turtles: Mutant Mayhem is a phenomenal film from Jeff Rowe.

Related: (Teenage Mutant Ninja Turtles (1990 film)) – (Teenage Mutant Ninja Turtles II: The Secret of the Ooze) – (Teenage Mutant Ninja Turtles III) – (TMNT (2007 film)) – (The Mitchells vs. the Machines) – (null 16)

© thevoid99 2023

Three Kings

Written and directed by David O. Russell from a story by John Ridley, Three Kings is the story of four U.S. soldiers who plot a heist to steal gold from Saddam Hussein during the end of the 1991 Gulf War. The film is an unconventional war film in which four different men try to do something after the war in the hopes they can get home to better lives only to deal with all sorts of trouble that would also involve refugees in need of help. Starring George Clooney, Mark Wahlberg, Ice Cube, Spike Jonze, Nora Dunn, Judy Greer, Jamie Kennedy, Mykelti Williamson, Cliff Curtis, and Said Taghmaoui. Three Kings is a gripping yet exhilarating film from David O. Russell.

Set during the final days of the 1991 Gulf War and its aftermath, the film follows four U.S. soldiers who find a map in which they believe has Kuwaiti gold bullions in a bunker that belonged to Saddam Hussein as they plot to steal it to ensure a better life for themselves. It’s a film where these four men go on a mission by themselves without any kind of authority as they find the village with the gold bullions but they would also discover the village would feature some anti-Saddam dissidents who are asking for help as they would and try to deal with pro-Saddam forces despite the fact that a ceasefire had already happened. David O. Russell’s screenplay that is based on John Ridley’s original story where it explores these soldiers dealing with the aftermath of a war where there wasn’t a lot of action and coming home with not much is something the protagonists in the film are dealing with.

Leading the pack is Major Archie Gates (George Clooney) whose job is to escort TV reporter Adriana Cruz (Nora Dunn) as he is more interested in getting paid than do his job. He is joined by Staff Sgt. Chief Elgin (Ice Cube), Sgt. First Class Troy Barlow (Mark Wahlberg), and Private First Class Conrad Vig (Spike Jonze) who all want to get the bullions as they would have a friend in Specialist Walter Wogeman (Jamie Kennedy) to drive Cruz and her cameraman to a false location. Though they would find the gold bullions, they hope not to do anything else but pleas from anti-Saddam dissidents where a woman is killed by Iraqi forces who want to hold these dissidents hostage force Gates and his men to take action. Yet, it would become a big problem when Barlow is taken by Iraqi soldiers after a scuffle forcing Gates, Elgin, and Vig to retrieve him but they would have to make a deal with the dissidents who would help them but be accompanied to the Iranian border in return.

Russell’s direction is definitely stylish for the way it captures life during the Gulf War as well as the sense of danger that was emerging during the period of ceasefire in the aftermath of the war. Shot on various locations in the deserts of Casa Grande, Arizona and parts of California and Mexico, Russell aims for something that is immediate in the way soldiers deal with boredom in their lack of action as the first scene has Barlow killing an Iraqi soldier not knowing he was trying to surrender. The shot would be repeated in a cartoonish fashion where Vig describes to other soldiers what Barlow did as it just adds this air of exaggeration that the soldiers crave for since they didn’t see much action in Iraq and Kuwait. Russell would use wide shots to capture the scope of the locations yet would focus more on using medium shots and close-ups to capture some of the action in the bunker or to get a reaction from a soldier dealing with some kind of violence whether its comic or dramatic. The former would play into the lives that Barlow, Vig, and Elgin have before the war as well as an encounter with a cow on the way to the bunker that add to the film’s dark humor.

Russell’s approach to the suspense and action is stylish as he would shoot it with some hand-held cameras as well as creating some offbeat compositions to play into some of the darker moments in the film. Most notably a torture scene with Barlow having to deal with the consequences of his service in the military where he is forced to visualize what happened if he was in the shoes of the man who is torturing him. There are also these somber and sentimental moments that Russell would create such as Vig’s fascination with Islamic burials which provides a major moment in his development from this redneck who constantly says idiotic things to being a man open towards a culture that is foreign to him. It would culminate with Gates and his men accompanying these refugees in the hope they can have a better future in Iran despite its history with Iraq while Gates is also aware of the trouble he’s caused with his superiors in interfering with things he’s not supposed to be involved in. Overall, Russell creates a riveting yet intense film about a group of soldiers whose planned heist forces them to help dissidents during the aftermath of the Gulf War.

Cinematographer Newton Thomas Sigel does amazing work with the film’s stylish cinematography with the usage of grainy film footage, desaturated film color stocks, and other stylish looks to play into the craziness of the action scenes as well as in the suspense and black humor. Editor Robert K. Lambert does brilliant work with the editing with its usage of jump-cuts, slow-motion cuts, and other stylish cuts to play into the chaos of war as well as some of the suspense and its dark humor. Production designer Catherine Hardwicke, with set decorator Gene Serdena plus art directors Jann K. Engel and Derek R. Hill, does excellent work with the look of the old castles, villages, and bunkers where some of the action occurred as well as the interiors of some of the rooms where Saddam’s soldiers are stationed at. Costume designer Kym Barrett does nice work with the costumes as it is mostly straightforward from the camouflage the soldiers wear to the ragged clothes of the dissidents.

Visual effects supervisor David Sosalla does terrific work with the visual effects for the look of body parts shown from the inside of how they would react to a bullet as well as some of the action scenes. Sound editors Bruce Fortune and John Leveque do fantastic work with the sound in capturing the chaos that goes on in battle as well as the eerie atmosphere of the desert. The film’s music by Carter Burwell is superb for its low-key score that play into the drama and suspense with its mixture of Arabian music textures and orchestral arrangements while music supervisor Ralph Sall provide an offbeat soundtrack that include music from Rare Earth, the Beach Boys, Public Enemy, Chicago, Eddie Murphy, Plastic Bertrand, Snap, Johann Sebastian Bach, and U2.

The casting by Anne McCarthy and Mary Vernieu is wonderful as it feature some notable small roles and appearances from Holt McCallany as Barlow’s superior officer Captain Doug Van Meter who despises Barlow and his antics, Liz Stauber as Troy’s wife, Marsha Horan as Amir’s wife, Judy Greer as a rival journalist trying to get the story while having a tryst with Gates, Alia Shawkat as Amir’s daughter, Said Taghmaoui as an Iraqi interrogator who tortures Barlow, and Mykelti Williamson as Gates’ superior Colonel Ron Horn who doesn’t like what Gates is doing as well as suspicious in what he’s doing. Jamie Kennedy is terrific as Specialist Walter Wogeman as a bumbling soldier who is asked to accompany Cruz on an assignment to distract her from what Gates is doing as he is the film’s comic relief.

Cliff Curtis is superb as Amir as an anti-Saddam dissident who is seen bound and gagged where he helps Gates in the hopes that he can get other dissidents including his daughter to the Iranian border. Nora Dunn is fantastic as Adriana Cruz as a news reporter trying to get a major story about the Gulf War where she finds herself in a different journey where she would also make some discoveries about what is happening during the ceasefire. Spike Jonze is excellent as Private First Class Conrad Vig as a redneck soldier who idolizes Barlow as he often says dumb things and gets way over his head while realizing the reality of his situations where finds a sense of salvation in Islamic culture and their approach to death which he finds to be extremely fascinating.

Mark Wahlberg is brilliant as Sgt. First Class Troy Barlow as a soldier that is eager to come home as he deals with the lack of real action he faced where he takes part in the heist only to be captured as he deals with realities of war. Ice Cube is amazing as Staff Sgt. Chief Elgin who is kind of the film’s conscience as a man who takes part in the heist knowing what he will gain as he also copes with the reality as it relates to the dissidents. Finally, there’s George Clooney in an incredible performance as Major Archie Gates as a special forces soldier who is about to retire from the service as he sees the heist for gold bullions as a way out of not showing much only to realize the severity of where he is prompting him to take action and help these dissidents out of Iraq.

Three Kings is a tremendous film from David O. Russell. Featuring a great ensemble cast, stylish visuals, an offbeat soundtrack, and a story that plays into the fallacy of war and the need to help those in danger during its aftermath. It’s a film that doesn’t play into the conventions of a war movie as it showcases what men will do to make up for their lack of encountering action only to see the reality of a world in turmoil in the aftermath of war. In the end, Three Kings is a spectacular film from David O. Russell.

David O. Russell Films: Spanking the Monkey – Flirting with Disaster – I Heart Huckabees – The Fighter - Silver Linings Playbook - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell

© thevoid99 2017

Ghosts of Mars

Directed and co-scored by John Carpenter and written by Carpenter and Larry Sulkin, Ghosts of Mars is the story of an intergalactic police officer and her team traveling to Mars for a prison transport where things go wrong in the planet. Set in the 22nd century, the film is a sci-fi horror thriller where space cops and a criminal team up to battle monsters on Mars. Starring Natasha Henstridge, Ice Cube, Jason Statham, Clea Duvall, Pam Grier, and Joanna Cassidy. Ghosts of Mars is a stylish but messy film from John Carpenter.

It’s the 22nd Century where Mars has been colonized and the planet is now breathable to humanity yet towns are ravaged where the intergalactic police make an unsettling discovery just as they were to transport a prisoner. That is pretty much what the film is about where cops is forced to work with a convicted murderer to fight these monsters as they were once human who are now possessed by ghosts from Mars. Yet, it is told in a reflective manner by Lt. Melanie Ballard (Natasha Henstridge) who reports what happened during a simple prison transfer job to her superiors as it reveals a much larger story. The film’s screenplay is quite simple yet it has a lot of expositions and perspective from other characters in what they saw including Dr. Arlene Whitlock (Joanna Cassidy) who revealed how these ghosts emerge. The multiple perspectives and expositions do create a script that is very messy as well as be over-explained and not allow the audience to create their interpretations into what happened.

John Carpenter’s direction is definitely stylish as it plays into a futuristic setting as much of the film is set at night. Shot on location at a gypsum mine in New Mexico, the film plays into this world that is emerging in its colonization state but is becoming undone by these monsters. While Carpenter would use some wide shots to establish some of the locations, he maintains an intimacy with the medium shots and close-ups as it plays to the severity of what Lt. Ballard and her fellow officers are facing. There are some moments that are exciting in the action but the suspense is kind of lacking as well as uninspired due to the fact that it feels derivative from other kind of films that Carpenter has made. Even as some of the moments involving the visual effects seem to be lacking as it’s probably due to the limitations in the budget. Despite these shortcomings, the film is still entertaining while not taking itself seriously as it does have some humor. Overall, Carpenter creates a thrilling though flawed film about space cops and criminals fighting evil ghosts on Mars.

Cinematographer Gary B. Kibbe does excellent work with the cinematography from the usage of lights and distorted images for some of the scenes involving the ghosts to the interiors as it‘s mostly straightforward. Editor Paul C. Warschilka does some fine work in the editing though it‘s over stylized with its transition wipes and dissolves as it goes a little overboard. Production designer William A. Elliot, with set decorator Ronald R. Reiss and art directors William Hiney and Mark W. Mansbridge, does fantastic work with the look of places on Mars as well as the interior for the prisons and such. Costume designer Robin Michel Bush does nice work with the costumes as it‘s mostly low-key while it‘s more creative for the look of the creatures the cops and criminals have to deal with.

The special effects makeup work of Howard Berger, Robert Kurtzman, and Greg Nicotero is brilliant for the look of the possessed humans who have become enraged Martians as they all have something unique in their look. Visual effects supervisor Lance Wilhoite does some OK work with the visual effects for some of the scenes involving the trains though the effects in the battle scenes look unfinished and awkward. Sound editor Joe Dorn and sound designer David Bartlett do terrific work with the sound as it play into the way the Martians sound as well as some of the gunfire and such. The film’s music by John Carpenter is superb for its electronic-based score filled with synthesizers as the music also feature contributions from the thrash metal band Anthrax as well as some contributions from Elliot Easton of the Cars, Robin Finck of Nine Inch Nails/Guns N’ Roses, Steve Vai, and Buckethead.

The casting by Reuben Cannon is wonderful as it feature some notable small roles from Robert Carradine as a train engineer, Wanda de Jesus as a criminal who fights the Martians, the trio of Duane Davis, Lobo Sebastian, and Rodney A. Grant as a trio of thugs trying to break out Desolation Williams, Liam Waite as the space cop Descanso, and Richard Cetrone as the Martians leader. Joanna Cassidy is terrific as Dr. Arlene Whitlock as a scientist who saw the chaos that unleashed the ghost Martians while Pam Grier is alright in her small role as the police leader Commander Braddock. Clea Duvall is superb as the rookie cop Bashira Kincaid as a young woman new to the field as she is in shock in what she’s seeing as she would eventually grow to kick some ass.

Jason Statham is fantastic as Sgt. Jericho Butler as the comic relief of the film who is a smooth talker and says the funniest lines while being this full-on badass as only someone like Statham could play that role to the fullest. Ice Cube is excellent as James “Desolation” Williams as a wanted murderer who is supposed to be transferred to a prison as he is a cunning and skilled fighter that is aware of what is going as well as reveal some truths into the murders he’s been accused of. Finally, there’s Natasha Henstridge in a brilliant performance as Lt. Melanie Ballard as this no-nonsense cop with a weakness for hallucinogenic drugs that is eager to do her job while knowing what is out there as she tries to help her fellow cops and such fight off against the Martians.

Despite some clunky visual effects and an overwritten yet messy script, Ghosts of Mars is still a worthwhile film from John Carpenter. Thanks in part to a nice soundtrack and fun performances from Natasha Henstridge, Ice Cube, and Jason Statham. It’s a film that has some style as well as moments where it doesn’t take itself so seriously. In the end, Ghosts of Mars is a good film from John Carpenter.

John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - The Ward

The Auteurs #60: John Carpenter Part 1 - Part 2

© thevoid99 2016

Rampart

Directed by Oren Moverman and written by Moverman and James Ellroy, Rampart is the story of a corrupt LAPD officer who finds himself in trouble as he tries to redeem himself during the Rampart scandal of 1997 for the Los Angeles Police Department. The film is a character study of a man dealing with his own actions as he tries to defend himself and save his career amidst a tumultuous period in the city of Los Angeles. Starring Woody Harrelson, Ice Cube, Ned Beatty, Robin Wright, Anne Heche, Cynthia Nixon, Brie Larson, Steve Buscemi, and Sigourney Weaver. Rampart is a compelling yet flawed film from Oren Moverman.

Set in 1999 Los Angeles during a dark period for the LAPD who is dealing with the Rampart scandal, the film is about a dirty and corrupt police scandal whose actions have finally caught up with him. Rather than quitting his job, officer Dave Brown (Woody Harrelson) tries to save his job and avoid any jail time but he becomes more troubling as even those who once bailed him out are unable to help him. Yet, Brown is also someone who is really a man that is just born to undo himself where he would eventually bring discomfort to authorities that want to help him as well as bring shame to his family. The film’s screenplay doesn’t just explore Brown and the things he does as a police officer but also a person who likes to take the law into his own hands. Sometimes it would be in the most gruesome way where he would be caught on tape beating someone who hit his car though Brown had every reason to beat up the guy.

While the script does paint Brown as a man who just hates everyone while doing all sorts of things. There are elements to him that try to show some goodness to him but his faults would often overwhelm everything as his own eldest daughter Helen (Brie Larson) really hates him. While the script does nice work in fleshing out Brown and his complexities, the script however doesn’t do much to get the story to move forward or really go anywhere. Especially as it relates to what Brown is trying to do but it tend to slow things down as he is given options that could’ve helped him. Whenever Brown is given these opportunities to redeem himself, the results become very frustrating as it play more into his character as someone that is just stubborn and not willing to see the bigger picture.

Moverman’s direction has some very intense moments in the way it showcases late 1990s Los Angeles as a world that is quite dangerous and unpredictable. Shot on location in some of the urban parts of Los Angeles as well as some of its downtown areas, the film does play into a world where a man is convinced that he is doing good for the city but is extremely corrupt in his actions. Moverman’s usage of close-ups and medium shots are engaging though there are some moments that aren’t very good. Notably a sequence where Brown meets two attorneys where the camera is constantly moving around to focus on one character in a repetitive pan where it is very annoying. It’s one of the aspects of the film that didn’t work while the script’s lack of a strong narrative does falter the pacing. Though Moverman’s usage of crane overhead shots and other stylistic moments are good, the film’s resolution is lacking in terms of any kind of redemption could be made for Brown as it ends up being unsatisfying despite Moverman’s observation on its protagonist. Overall, Moverman creates a intriguing but lackluster film about a dirty cop’s attempt to make things right.

Cinematographer Bobby Bukowski does excellent work with the film‘s cinematography from the stylish usage of lights and moods for many of the interior/exterior scenes set at night along with some grainy film stock for scenes set in the day. Editor Jay Rabinowitz does nice work with the editing as it does have some stylish jump-cuts and some unique rhythms for the suspense and drama though it does falter in that sequence where Brown is being interviewed by two attorneys. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Austin Gorg, does fantastic work with the look of the home that Brown lives in with this ex-wives (who are sisters) and the hotel rooms he would crash as well as the home of a lawyer he would sleep with.

Costume designer Catherine George does terrific work with the costumes as it is mostly casual along with the look of the police uniforms while the only character that plays into a sense of style is Helen. Sound designer Javier Bennassar does superb work with the sound in the way the police sirens and gunfire sounds along with the intimate moments at home and at the bars. The film’s music by Dickon Hinchliffe is brilliant for its somber-based score in the guitar and keyboards to play into the drama while music supervisor Jim Black creates a soundtrack that features a mixture of hip-hop, electronic, and Mexican music along with a song by Leonard Cohen.

The casting by Laura Rosenthal and Rachel Tenner is amazing as it features some notable small roles and appearances from Robert Wisdom as the Rampart station’s captain, Jon Foster and Jon Beranthal as a couple of fellow officers, Steve Buscemi as a district attorney official in Bill Blago, Stella Schnabel as Brown’s new partner early in the film who is perturbed by his actions, Sammy Boyarsky as Brown’s youngest daughter Margaret who questions about what her father has done, Audra McDonald as a one-night stand Brown would be with early in the film, and Ben Foster in a superb role as a homeless vet named the General who often hangs out at a fast food restaurant. Robin Wright is wonderful as the attorney Linda whom Brown would frequently sleep with while he is suspicious that she is spying on him. Ned Beatty is terrific as the former cop Hartshorn who tries to help Brown in any way including moments that would help him only to realize that Brown is his own worst enemy.

Cynthia Nixon and Anne Heche are excellent in their respective roles as the sisters Barbara and Catherine as two of Brown’s ex-wives who deal with the coverage of Brown’s activities with Nixon as the more calm of the two and Heche as the one who wants nothing to do with him. Brie Larson is fantastic as Brown’s eldest daughter who despises her father as she also feels humiliated and embarrassed by his actions where she also copes with his own hatred for everyone. Sigourney Weaver is brilliant as the assistant DA Joan Confrey who wants Brown to reveal all of his activities as well as give the man a chance to do what is right. Ice Cube is incredible as the investigator Kyle Timkins who works for the DA’s office as he also tries to implore Brown to do the right thing while revealing what is at stake. Finally, there’s Woody Harrelson in a phenomenal performance as Dave Brown as a dirty LAPD officer who finds himself a big target during one of the lowest points of the LAPD where Harrelson brings a very menacing performance as a man with very little care for the world where he is also his own worst enemy as well as be selfish to the point that he brings shame to his own family including his own daughters.

Rampart is a stellar yet flawed film from Oren Moverman. While it features a great cast led by Woody Harrelson along with Dick Hinchliffe’s score, it’s a film that had all of the tools to be an intriguing character study but it lacks a very cohesive narrative to keep things going. In the end, Rampart is a fine but underwhelming film from Oren Moverman.

Oren Moverman Films: The Messenger - (Time Out of Mind) - (The Dinner (2017 film))

© thevoid99 2016

22 Jump Street

Based on the TV show 21 Jump Street, 22 Jump Street is the story where two cops go to college to find the supplier who had been creating new drugs that has been circulating into the world of college. Directed by Phil Lord and Chris Miller and screenplay by Michael Bacall, Oren Uziel, and Rodney Rothman from a story by Bacall and Jonah Hill. The film is a spoof of sorts on sequels where characters of the first film do the same thing for the second film set in college as Jonah Hill and Channing Tatum reprise their roles as Morton Schmidt and Greg Jenko who deal with their friendship. Also starring Amber Stevens, Peter Stormare, Nick Offerman, Rob Riggle, Dave Franco, and Ice Cube as Captain Dickson. 22 Jump Street is a witty yet off-the-wall film from Phil Lord and Chris Miller.

The film is essentially a re-hash of sorts of the first film where Schmidt and Jenko have to go undercover and pretend to be college students so they can the dealers and suppliers of a new drug that is about to become big in college campuses. Along the way, Schmidt and Jenko endure challenges that would separate them while they also deal with new enemies and secrets that come into play during their investigation. It’s a film that definitely takes the same storyline, plot-points, and such of the first film but makes it aware that it is a re-hash where there’s elements of the fourth-wall being broken as the characters often talking about budgets and doing the same thing all over again. The film’s screenplay isn’t afraid to comment on doing things all over again while there’s a lot more hilarity that goes on as well as suggestions that Schmidt and Jenko’s friendship is so much more. Notably as those that Schmidt and Jenko surround themselves would tell one person that the other is dragging him down.

Phil Lord and Chris Miller’s direction definitely plays into the same style as the first but with bigger set pieces, action sequences, and all sorts of things where it knows that it is making fun of itself. The compositions are quite simple at times but also stylish as it plays to Jenko’s ability to do parkour and such while Schmidt would try to do that as well. Another hilarious sequence is another take on the two getting high on drugs where both Schmidt and Jenko each get a different reaction. There’s also sequences where Lord and Miller play up the bro-mance between Schmidt and Jenko as it does have this chaotic sense of style that is a play on the cinematic style of Michael Bay.

The action sequences are over the top as much of it is shot in New Orleans while its climatic showdown is shot in Puerto Rico as it is this very wild take on spring break. While the results is obvious predictable, it is followed by a closing credits sequence that not only breaks down the fourth wall but also in the idea of what is to come in all sorts of genres and such. Overall, Lord and Miller create a very smart and extremely funny film about two guys pretending to be college kids to bust up some drug dealers, have a good time, and be aware that they’re doing the same thing all over again.

Cinematographer Barry Peterson does excellent work with the cinematography in terms of the vibrant exterior colors of the locations in its interior and exterior settings. Editors David Rennie and Keith Brachmann do fantastic work with the editing where it plays into the chaotic, speed-editing style of most action blockbusters while keeping things straightforward so that audiences can make sense of what is happening. Production designer Steve Sakland, with set decorator Tracey A. Doyle and art director Scott Plauche, does nice work with the set pieces from the frat house that Jenko gets accepted to as well as the new 22 Jump Street base that was created to showcase the bigger budget.

Costume designer Leesa Evans does terrific work with the costumes as it plays to the world of college as it‘s mostly casual. Visual effects supervisors Edwin Rivera and Peter G. Travers do amazing work with some of the visual effects that includes a hilarious scene of Schmidt and Jenko high on the new drug and the different effects it had on them. Sound editor Geoffrey G. Rubay does superb work with the sound from the sound effects of gunfire to the atmosphere of the parties. The film’s music by Mark Mothersbaugh is brilliant for its mixture of orchestral music with some electronic-based cuts while music supervisor Kier Lehman brings in a fun soundtrack that features a lot of dubstep, hip-hop, electronic music, and some songs from the 80s.

The casting by Nicole Abellera and Jeanne McCarthy is amazing as it features some notable appearances from Rob Riggle and Dave Franco reprising their roles as Mr. Walters and Eric, respectively, as well as Caroline Aaron and Joe Chrest as Schmidt’s parents, and Nick Offerman playing the role of Captain Hardy who puts Schmidt and Jenko back on the Jump Street program. Wyatt Russell is terrific as the jock Zook that Jenko befriends while Jimmy Tatro is good as Zook’s friend Rooster. The Lucas Brothers are funny as twin drug dealers who always say the same thing while Marc Evan Jackson is wonderful as the college psychiatrist who is the initial suspect as the supplier. Jillian Bell is brilliant as Mercedes who dislikes Schmidt as she is very creepy as well as being very funny. Amber Stevens is excellent as Maya as an art student Schmidt falls for as she knows about the dealer who had died as she reluctantly let Mercedes stay in her dorm room.

Peter Stormare is superb as the antagonist Ghost as this old-school drug dealer that Schmidt and Jenko try to capture as he could be connected to the new drug that is being sent out to college campuses. Ice Cube is hilarious as Captain Dickson who continues to berate Schmidt and Jenko as Cube gets more to do as it relates to a minor character in the film. Finally, there’s Jonah Hill and Channing Tatum in fantastic performances as their respective characters Schmidt and Jenko. Hill displays a lot of the sensitivity and awkwardness of Schmidt that is fun to watch while Tatum brings in that physicality and dimness to his character as the two definitely have fun in their roles while not being afraid to showcase some homoerotic overtones in their bro-mance.

22 Jump Street is an excellent film from Phil Lord and Chris Miller. Featuring a great cast and a witty approach to the idea of sequels, it is a film that isn’t afraid to play dumb while be aware that it’s rehashing everything that made the first film so successful. Especially as it isn’t afraid to give the audience what they want as well as be even sillier. In the end, 22 Jump Street is a fantastic film from Phil Lord and Chris Miller.

Phil Lord & Chris Miller Films: (Cloudy with a Chance of Meatballs) - 21 Jump Street - The Lego Movie

© thevoid99 2014

21 Jump Street

Based on the 1980s TV show by Patrick Hasburgh and Stephen J. Cannell, 21 Jump Street is the story of two former high school classmates who become undercover police officers as they return to high school to uncover a drug bust. Directed by Phil Lord and Chris Miller with a script by Michael Bacall based on a story by Bacall and Jonah Hill. The film is an updated take on the hit 80s TV show that starred Johnny Depp as it explores new high school social orders and the world of undercover police officers. Starring Jonah Hill, Channing Tatum, Brie Larson, Dave Franco, Rob Riggle, Ellie Kemper, Nick Offerman, and Ice Cube. 21 Jump Street is a riotous yet very entertaining film from Phil Lord and Chris Miller.

Two former schoolmates in Morton Schmidt (Jonah Hill) and Greg Jenko (Channing Tatum) meet up seven years after senior year in the police academy where they become buddies helping each to become police officers. After being assigned to park patrol where they would encounter a drug trade as they managed to nab a dealer but Jenko forgot to read the Miranda rights. After the screw-up, Captain Hardy (Nick Offerman) has the two transferred to a revived undercover specialty unit led by Captain Dickson (Ice Cube) who would have them return to high school to uncover a new drug craze that is spreading around various high school campuses. Living with Schmidt’s parents for the assignment, Schmidt and Jenko learn that the social order of high school has changed as they pretend to be brothers.

With Jenko hanging out with the nerds as he accidentally takes Schmidt’s classes, Schmidt ends up hanging out with the popular kids led by Eric (Dave Franco) who is the main dealer of this new drug. Wanting to impress Eric, Schmidt and Jenko throw a party where they gain Eric’s trust while Schmidt also befriends Eric’s friend Molly (Brie Larson). With Schmidt part of Eric’s inner circle while Jenko manages to get a group of nerds to tap into Eric’s phone to hear conversations. Yet, Jenko becomes upset over Schmidt’s newfound popularity in school as a moment to uncover more of what Eric is doing goes bad. When prom is about to start where a deal is about to happen, the two finally decide to figure out what is going on with some surprising results.

Since the concept of the film is about a group of undercover who pretend to be high school students in order to infiltrate whatever drug culture is out there. The idea of a film based on an old TV show doesn’t seem very promising as a film. However, the result ended up being a whole lot better than its concept suggests by exploring the world of the high school social order where two young men become baffled by these changes. Particularly as one of them was a jock and the other was a nerd back in school where neither of them came out of high school satisfied. Going back would give them a chance to a do-over as well as becoming great cops but the changing times and the new drug craze would have them be in very different positions.

Michael Bacall’s screenplay does follow a formula of sorts that is expected in these action buddy-comedies. Taking that formula and infusing it with the concept based on the TV does allow Bacall to for a lot of bawdy humor in the fact that these two guys are inept cops. Schmidt is insecure due to his physicality, lack of social skills, and can’t really fire his weapon at someone. Jenko is an imbecile who gets by with his looks but can’t remember the Miranda rights while is pretty ignorant about school subjects. Together, they become this unlikely duo where they would start to improve themselves in different ways. Schmidt becomes more confident while Jenko starts to use his brains where they would become this awesome duo.

Bacall’s script succeeds in developing the characters while reveling into how times had changed from the mid-2000s to the early 2010s. Back then, jocks ruled where a guy like Jenko was able to get away with anything, except in academics, while Schmidt tries to be cool by looking like Eminem only to be rejected by a girl. Through some witty dialogue that reaches into lots of raunchy humor and action scenes that revel in a mix of humor and playing with clichés. Bacall creates a truly fantastic yet extremely enjoyable buddy comedy that does more than what its genre suggests.

Directors Phil Lord and Chris Miller do an excellent job in creating a buddy comedy that mixes over-the-top violence with frat-boy humor that is pretty wild. While a lot of the compositions in terms of its simpler, light-hearted moments are quite straightforward. They’re still engaging for the way it will play up the drama while they create one of the film’s most hilarious moments involving this drug that takes its time to play up the humor. Notably as it would escalate from one funny moment to something funnier and funnier as the drug itself proves to be very powerful. It’s among the many moments in the film where Lord and Miller are allowed to let the humor play out while getting their actors to be really comfortable in their parts.

The film’s action scenes also have Lord and Miller play up with the clichés as its most notable is this hilarious chase scene involving bikers, traffic jams, and all sorts of things that is expected in the action genre. What is unique about it is the fact that they play with what is expected as the main characters are wondering if something is about to happen and they’re caught off-guard. Notably in the film’s climatic moment where they meet up with the supplier as it would include a surprising mix of over-the-top violence and humor as it proves that Lord and Miller are able to do a lot with these sequences while not going too far into the conventions. Overall, Lord and Miller create a truly exhilarating and funny action buddy comedy that does a whole lot more for its genre.

Cinematographer Barry Peterson does a nice job with the film‘s photography to play up the sunny look of the locations, set in New Orleans, while providing some stylish looks for some of the film‘s nighttime exterior and interior settings. Editor Joel Negrone does an excellent with the editing in creating amazing montage scenes to play up some of the craziness of the humor with swift cuts that aren‘t too fast while maintaining more straightforward cuts for the light-hearted moments. Production designer Peter Wenham, with art directors Scott Plauche and Thomas Valentine as well as set decorator Bob Kensinger, does a superb job with the look of the 21 Jump Street base that Captain Dickson works at that includes a hilarious prop of a Korean version of Jesus Christ. Costume designer Leah Katznelson does a very good job with the costumes from the early look that Schmidt wears in the film‘s first scene to more casual yet stylish looks to play up the many cliques in high school.

Visual effects supervisor Richard Edlund and Helena Packer do terrific work with some of the film‘s minimal visual effects scene including some of hilarious montages involving the side effects of what happens when being on the drug. Sound editor Geoffrey G. Rubay does a superb job with the sound work to capture the atmosphere of the party scene as well as the chaos in some of the film’s violent moments. The film’s score by Mark Mothersbaugh is wonderful for the thrilling score that mixes bit of orchestral elements as well as electronic music to play up the energy of the action scenes. Particularly as the film’s soundtrack is a mix of party music for many of the party scenes.

The casting by Nicole Abellera and Jeanne McCarthy is brilliant for the ensemble that is created which does include cameos from a few actors of the original TV show. Notable small roles include Dakota Johnson as an undercover cop, Caroline Aaron as Schmidt’s smothering mother, Jake Johnson as the school principal, DeRay Davis as a drug dealer named Domingo, Nick Offerman as Schmidt and Jenko’s original superior Captain Hardy, and Johnny Simmons as a nerdy kid that Jenko befriends. Rob Riggle is very good as the brash P.E. coach Mr. Walters who always tries to intimidate Schmidt and Jenko while Ellie Kemper is very funny in a small role as science teacher who is sexually attracted to Jenko. Dave Franco is excellent as the laid-back drug dealer Eric who tries to do things low-key in an attempt to be powerful.

Ice Cube is great as the profanity-spouting and intimidating Captain Dickson who always berates Schmidt and Jenko while trying to get them in line as it is Cube going back to his gangsta roots. Brie Larson is wonderful as Molly whom Schmidt falls for as Larson brings a nice charm to her character while proving be just as bawdy as the guys in the film’s third act. Finally, there’s the duo of Jonah Hill and Channing Tatum as they really are the heart and soul of the film. In the role of Schmidt, Hill brings a goofy charm to his character that tries hard to be cool while also being inept when it comes to getting physical. For the role of Jenko, Tatum is the film’s real surprise as he brings a real laid-back humor that also goes a little out there as he seems very comfortable playing the role of a dim cop who later becomes smart. Hill and Tatum’s chemistry is a joy to watch in the way they interact and do hilarious things together.

21 Jump Street is a flat-out hilarious buddy action-comedy from Phil Lord and Chris Miller featuring amazing performances from Jonah Hill and Channing Tatum. Along with amazing supporting work from Brie Larson, Dave Franco, and Ice Cube plus lots of insane gags that will keep audiences laughing their ass off. It’s a comedy that gets it right in terms of taking the premise of the original 1980s TV show and making it feel fresh while paying tribute to that show. It’s also a comedy that isn’t afraid to go the extra edge of being raunchy and inappropriate just so it can get a laugh in the right way. In the end, 21 Jump Street is marvelously-crafted action-comedy from Phil Lord and Chris Miller.

Phil Lord & Chris Miller Films: (Cloudy with a Chance of Meatballs) - The Lego Movie - 22 Jump Street

© thevoid99 2012