Sweet Virginia

Directed by Jamie M. Dagg and written by Benjamin and Paul China, Sweet Virginia is the story of a motel manager who befriends a mysterious visitor who may be involved in a wave of violence nearby. The film is a neo-noir thriller that explores unlikely friendship between two men as well as a small town coming undone by this wave of violence. Starring Jon Bernthal, Christopher Abbott, Imogen Poots, Rosemarie DeWitt, Odessa Young, and Jared Abrahamson. Sweet Virginia is a haunting yet gripping film from Jamie M. Dagg.

Following a murder at a restaurant/bar in a small Alaskan town, the film revolves in an unlikely friendship between a former rodeo champion who manages a motel and a mysterious drifter who has stopped by as the former isn’t aware that the latter is a hitman. It’s a film that play into a small town that is shaken by this act of violence while they try to move on as a few people deal with the tragedy as well as the motivations of why three men were killed inside a bar. The film’s screenplay by Benjamin and Paul China open with three men at a bar/restaurant getting ready to play a card game when this mysterious drifter in Elwood (Christopher Abbott) arrives wanting a late breakfast as he is refused only to gun down the three men. The film’s narrative follows the lives of Elwood and the motel manager Sam Rossi (Jon Bernthal) who runs the Sweet Virginia motel for his late brother while is an on-off affair with Bernadette Barrett (Rosemarie DeWitt) whose husband Tom (Joseph Lyle Taylor) was one of the three men killed by Elwood.

The script also play into why Elwood is in town as he had been hired to kill one of the men but ends up doing much more which only complicates things for one of the men’s wives in Lila (Imogen Poots) who thought she would inherit money only to learn that her husband was in some serious debt. Elwood’s stay in the town is extended as he would befriend Sam whom he had heard about through Sam’s time as a rodeo cowboy until he retired due to injury. Sam is a man that is someone who was poised for so much only to lose a lot as he’s divorced with a child who barely sees him as he spends his time with his niece Maggie (Odessa Young) whenever he’s not with Bernadette. There’s not much plot to the story as it’s more about characters living their lives but the drama and suspense do pick up toward its third act.

Jamie M. Dagg’s direction is largely straightforward although he doesn’t really go for anything stylistic other than some lingering long shots in parts of the film. Shot largely on locations in British Columbia in Canada including parts of Vancouver, Dagg’s direction does use some wide shots to establish the location but also in some eerie moments as it play into Elwood haunting certain characters or where he is about to go as there are also some medium shots from afar that show him talking on the phone and then beat up a couple of guys. There aren’t a lot of close-ups in Dagg’s direction except in some intimate moments as well as a chilling confrontation between Elwood and Lila late in the film. The film’s opening scene starts off slow while the violence is quite intense but not overtly-bloody and graphic where Dagg is more concerned with a town that is trying to understand what had happened and why as well as these two men ravaged by their past with Elwood also being someone who is extremely troubled. Even in the third act as it is about the money Elwood is owed for his services as the suspense is approached in a low-key manner that would also be followed by Elwood being confronted for his actions. Overall, Dagg crafts a riveting yet eerie film about a motel manager and his encounter with a mysterious yet troubled drifter.

Cinematographer Jessica Lee Gagne does excellent work with the film’s cinematography as it maintains a naturalistic look for scenes in the day and at night with its usage of available light as well as using some low-key lights for some interior scenes at night. Editor Duff Smith does nice work with the editing as it is largely straightforward with a few rhythmic cuts to play into some of the conversations. Production designer Danny Vermette, with set decorator Robin Tilby and art director Justin Ludwig, does fantastic work with the look of Bernadette’s home in the interior as well as the bar/restaurant in the film’s opening scene and the motel that Sam runs.

Costume designer Mia Fiddis does terrific work with the costumes as it is largely straightforward that includes the ragged look of Elwood including some of the shirts he wears. The sound work of Brody Ratsoy is amazing for its low-key approach to the sound as it maintains something that feels natural but also help to play up the suspenseful moments of the film. The film’s music by Brooke and Will Blair is wonderful for its low-key ambient score that play sparingly into parts of the film as it add to drama and sense of loss that occur throughout the film while music supervisor Natasha Duprey provide a soundtrack of music that is played on location as it include a couple of pieces from the Butthole Surfers and Rolla Olak.

The casting by Kate Caldwell, Kara Eide, Melissa Kostenbauer, and Kris Woz is superb as it feature some notable small roles from Garry Chalk as one of the victims in the film’s opening sequence, Gabrielle Rose as an old woman living at the motel, Jonathan Tucker as Elwood’s intended target in Lila’s husband Mitchell, Joseph Lyle Taylor as Bernadette’s husband Tom, and Jared Abrahamson as a young mechanic named Paul who is asked by Elwood to help him retrieve the money he’s owed. Odessa Young is terrific as Sam’s niece Maggie as a teenage girl who helps him with the motel while pondering about her dad as well as her uncle’s own issues with the world in general. Rosemarie DeWitt is fantastic as Bernadette Barrett as a woman who had just lost her husband although she doesn’t feel anything about his passing leaning back to an on-again, off-again affair with Sam while dealing with some truths about her own marriage and how it fell apart.

Imogen Poots is excellent as Lila McCabe as a young woman who hired Elwood for a job only for things to get complicated as it relates to money as she deals with what she’s done prompting her to try and avoid Elwood anyway she can. Christopher Abbott is brilliant as Elwood as a hitman drifting from town to town for a job as he starts to unravel over his lack of payment as he displays a creepiness and an instability that makes him a dangerous person to encounter. Finally, there’s Jon Bernthal in an amazing performance as Sam Rossi as a former rodeo champion who has retired due to injury to run his late brother’s motel as he tries to keep things to himself and engage in his relationship with Bernadette where he later befriends Elwood unaware of who Elwood really is as he later becomes troubled by some of the violence that is happening in his town.

Sweet Virginia is a marvelous film from Jamie M. Dagg. Featuring a great cast, gorgeous visuals, an eerie music score, and a chilling premise that play into loss and mental illness. It’s a neo-noir film that doesn’t play by the rules while doesn’t emphasize a lot on plot in favor of character study. In the end, Sweet Virginia is a remarkable film from Jamie M. Dagg.

© thevoid99 2019

Green Room (2015 film)

Written and directed by Jeremy Saulnier, Green Room is the story of a hardcore punk band who find themselves playing a gig at a place that is the base for a group of neo-Nazi skinheads who go after them after the band had witnessed a murder. The film is an unconventional thriller where a group of people try to escape and fight against a hate group who want them dead. Starring Patrick Stewart, Anton Yelchin, Imogen Poots, Alia Shawkat, Callum Turner, and Joe Cole. Green Room is a gripping yet intense film from Jeremy Saulnier.

The film revolves around a hardcore punk band who take a gig at neo-Nazi club unaware of what it is only to witness a murder as all hell breaks loose forcing them to try and survive this group of neo-Nazi skinheads. It’s a film that takes a simple premise but with an air of intrigue and terror as much of the story is set in a room where a hardcore punk band, a young woman, and a bouncer they’ve held hostage is in the room along with a dead body while its owner and his band of hooligans try to break in. Jeremy Saulnier’s screenplay follows this hardcore punk band in the Ain’t Rights as they are traveling through the Pacific Northwest on tour as stopped to do a radio interview and a gig which was unfortunately cancelled because of screw-ups by promoters forcing a local radio host to call his cousin who works at a club outside Portland to get the band a gig.

Although the band realize the audience is a neo-Nazi group, they still play and find a way to piss them off unaware of what is happening behind the scenes at the green room where the headlining band is at. Slaunier’s script doesn’t just play into what happened but also what the club owner Darcy Banker (Patrick Stewart) is hiding as he’s a dangerous yet calm man that is trying to handle the situation without any real trouble. Still, he has a group of people that will take care of things if needed to as they have weapons and attack dogs with the people in the green room having little to fight back with.

Saulnier’s direction is definitely mesmerizing for the way he creates the air of tension and terror that looms throughout the film where much of its second and third act is set inside the green room. Shot on location in Portland, Oregon with additional locations in Astoria as well as scenes shot at the Mount Hood National Forest. Saulnier’s direction doesn’t go for a lot of wide shots except in getting a look at the locations yet much of his direction is intimate in its usage of close-ups and medium shots in playing to the atmosphere of the club as well as the tension that goes on inside the green room. Especially as it has this air of claustrophobia where you have the band, the friend of the dead young woman, and a bouncer who had a gun only to be overpowered by the band while outside of the green room is Darcy and his gang. Even as the band try to get out of the green room through other means of searching the room as well as discover something underneath the green room that is even more disturbing as it relates to the area the club is set in. The scenes outside the club where Darcy and his followers are trying to get things ready as well as make a discovery about one of their own add to the intrigue.

Saulnier’s direction also has this eerie element of violence in the way it’s presented as the dead body is seen with a knife on her head but no blood until the knife is pulled out. The violence would intensify during a standoff between Darcy and one of the band members in Pat (Anton Yelchin) who agreed to exchange a handgun for a cell phone only to realize that it was a set-up leaving Pat’s arm to be cut badly. Things would get more violent as the film progresses that would eventually lead to a showdown where it is about a battle of wits and will despite the lack of resources and experience the band and Amber (Imogen Poots) have in a fight or in a battle. Even as it’s all about the impact and sense of will but also the need to survive no matter how much the odds are against this small group of punks. Overall, Saulnier crafts a riveting yet haunting film about a hardcore punk rock band stuck inside a room at a venue for neo-Nazi skinhead punks.

Cinematographer Sean Porter does excellent work with the film’s cinematography as it’s low-key in its approach to lighting for many of the interiors in day and night as well as the exterior scenes set at night. Editor Julia Bloch does fantastic work with the editing as its usage of rhythmic cuts play into the suspense and terror without the need to delve into fast-paced cutting by emphasizing on momentum in the suspense. Production designer Ryan Warren Smith, with set decorator Jenelle Giordano and art director Benjamin Hayden, does brilliant work with the look of the club the band plays as well as the green room which is a room to relax until it becomes a safe haven for the band away from the Nazis. Costume designer Amanda Needham does nice work with the costumes from the ragged look of the band as well as the look of the Nazis with their boots and red laces for the group of extremists.

Prosthetic makeup designer Michael Marino does amazing work with the look of gore and some of the violent moments that happen in the film. Visual effects supervisor Chris Connolly does terrific work with some of the film’s minimal visual effects as it mainly serves as set dressing for some of the violence as well as a few moments in the exterior scenes. Sound designer Roland Vajs does superb work with the sound in capturing the sound of live music heard at the venue or at another room as well as the way feedback is used as a weapon in the film. The film’s music by Brooke and Will Blair is wonderful for its haunting usage of strings and keyboards to create an ominous music score that help play into the suspense and drama while music supervisor Lauren Mikus provides a killer soundtrack filled with a lot of punk rock music from acts like Bad Brains, Fear, Corpus Rottus, Kingsley Fowley, Spectre Folk, Poison Idea, Hochstedder, Patsy Rats, Midnight, Syphilitic Lust, Missionary Position, Obituary, and Harassor along with non-punk music from Napalm Death, Slayer, and Creedence Clearwater Revival.

The casting by Avy Kaufman is great as it feature some notable small roles from Taylor Tunes as the young woman who would be killed early in the film, David W. Thompson as a punk rock radio host who would get the band a new gig, Kai Lennox as skinhead attack dog trainer Clark, Eric Edelstein as the skinhead bouncer Big Justin, Brent Werzner as a neo-Nazi skinhead musician in Werm, Macon Blair as a skinhead who works at the club who is trying to smooth things out, and Mark Webber as the radio host’s cousin Daniel who is a skinhead that is unaware of what is going on at the green room. Callum Turner and Joe Cole are superb in their respective roles as the singer Tiger and drummer Reece as two musicians trying to deal with the Nazis with former discovering what is underneath the green room while the latter is trying keep Big Justin at bay with some mixed-martial arts moves.

Alia Shawkat is fantastic as guitarist Sam as a musician who is trying to maintain some calm but is also willing to fight back as is kind of the unsung leader of the band. Imogen Poots is excellent as Amber as a friend of the woman who is killed as she is trying to deal with what happened as well was wanting to revenge for her friend while knowing about the environment that everyone is at. Anton Yelchin is brilliant as the band bassist Pat as a young man who is trying to survive as he deals with being assaulted and the chaos around him as he also delivers this great monologue about an experience he had that becomes a rallying pep talk of sorts. Finally, there’s Patrick Stewart in an incredible performance as Darcy Banker as the leader of the neo-Nazis and club owner who is this calm yet dangerous individual that is trying to outsmart the band while knowing what needs to be done as it’s one of his finest performances of his career.

Green Room is a spectacular film from Jeremy Saulnier. Thanks to its ensemble cast, eerie setting, haunting visuals, intense music, and gripping atmosphere. It’s a film that takes a simple setting and situation while amplifying the sense of fear and tension while getting a look from the perspective of two different forces trying to outdo one another. In the end, Green Room is a tremendous film from Jeremy Saulnier.

Jeremy Saulnier Films: (Murder Party) – (Blue Ruin) – (Hold the Dark)

© thevoid99 2018

Popstar: Never Stop Never Stopping

Directed by Akiva Schaffer and Jorma Taccone and written and starring Schaffer, Taccone, and Andy Samberg, Popstar: Never Stop Never Stopping is the story of a pop music artist who embarks on a world tour to promote his second album where everything goes wrong as he struggles with trying to be successful and popular. The film is told in a mockumentary fashion as it follows the life of a pop star who shares too much of himself as he does whatever he can to sell records and be in the spotlight unaware of the chaos he’s creating. Also starring Imogen Poots, Sarah Silverman, Joan Cusack, Maya Rudolph, Chris Redd, and Tim Meadows. Popstar: Never Stop Never Stopping is a hilarious and outlandish film from Akiva Schaffer and Jorma Taccone.

The film is told in a documentary fashion about the pop star Conner4Real (Andy Samberg) and the release of his sophomore solo release Connquest and its world tour as his attempts to be a bigger star and stay away from the shadow of his old group the Style Boyz. Yet, Conner4Real would endure not failure but also becoming desperate to be in the limelight where he would lose sight of things. Even as he would take part in publicity stunts that went wrong while his opening act in the hip-hop artist Hunter the Hungry (Chris Redd) would overshadow him and more. The film’s screenplay by the Lonely Island trio of Andy Samberg, Akiva Schaffer, and Jorma Taccone doesn’t just play into the world of pop stardom where the individual is too open with his fans but is also so keen on becoming everything to all people that he’s kind of lost touch with reality.

Especially as there are people who are more interested in a Style Boyz reunion but Conner4Real refuses even though he has his former Style Boyz bandmate Owen (Jorma Taccone) as his DJ. The script’s narrative kind of moves back and forth with interviews from real musicians and other celebrity personalities with some such as Nas talk about how great the Style Boyz were and what broke them up as it relates to Conner becoming a bigger star than Owen and the band’s lyricist Lawrence (Akiva Schaffer) as the latter leaves the industry to become a farmer. The film also play into things that Conner does that are outlandish in his attempt to stay in the limelight as his goal is to perform at a pop music awards show.

The film’s direction by Akiva Schaffer and Jorma Taccone is quite straightforward where it does play into conventional aesthetics of a documentary but it’s also not afraid to make fun of everything that is happening. Much of the compositions in the film are straightforward where they also use cellphones as cameras to play into the extreme openness of Conner. The concert scenes definitely have these massive wide and medium shots into how big Conner’s shows are but also have this element of being bloated to express Conner’s own ego and willingness to entertain as it makes fun of the many trends in contemporary music which also include Owen wearing some big prop on his head like other EDM artists. The film also has scenes where it makes fun of publicity stunts and other things where it does have an element of realism that is exaggerated but all for its humor. Especially as it goes into some offbeat moments as well as providing some satire such as a spoof on the celebrity news program TMZ as a lot of it is smacked on. Overall, Schaffer and Taccone create a fun and whimsical comedy about a pop star dealing with failure and his own ego.

Cinematographer Brandon Trost does excellent work with the cinematography as it is largely straightforward with some unique lighting for the concert scenes as well as some of the scenes set at night. Editors Jamie Gross, Craig Alpert, and Stacey Schroeder do terrific work with the editing as it largely feature some montage cutting into Conner‘s rise into stardom and some of the antics he does as well as some jump-cuts that are kind of common with documentaries. Production designer Jon Billington, with set decorator Lori Mazuer and art director Ramsey Avery, does amazing work with the look of the stage that Conner performs at with all of its lights and props as well as his tour bus and lavish mansion.

Visual effects supervisor David Niednagel does nice work with some of the visual effects that include some holograms and other weird shit that Conner uses for his shows. Sound editor George H. Anderson does superb work with the sound in the way the crowd sounds for the shows including that one fan at the upper deck during a non-sell out show. The film’s music score by Matthew Compton is wonderful as it is mostly low-key electronic music while music supervisors George Drakoulias and Randall Poster provided a soundtrack filled with pop and hip-hop include many original songs by the Lonely Island as music for Conner4Real, the Style Boyz, Hunter the Hungry, and other fictional performers.

The casting by Allison Jones is great as it feature some notable small roles and cameos from Danny Strong as a member of Conner’s entourage who is shorter than him, Joanna Newsome as Conner’s steam punk doctor, Bill Hader as a guitar tech, Will Forte as a bagpipes player, Will Arnett as a TMZ reporter, Kevin Nealon as a photographer, Ashley Moore as Conner’s personal assistant, James Buckley as a member of Conner’s entourage, and Weird Al Yankovic as a heavy metal singer. Other cameos with people playing themselves include Adam Levine of Maroon 5, Nas, Questlove, Jimmy Fallon, Snoop Dogg, Seal, Ringo Starr, Carrie Underwood, Usher, Pharrell Williams, Mariah Carey, 50 Cent, Win Butler and Regine Chassagne of Arcade Fire, RZA, and the Roots.

Joan Cusack is wonderful as Conner’s mother who joins the tour early on as well as be the one to give him his beloved turtle Maximus as a child. Imogen Poots is fantastic as Conner’s movie star girlfriend Ashley Wednesday as someone who goes along for the ride until a marriage proposal publicity stunt goes horribly wrong. Maya Rudolph is superb in her small role as Deborah as an executive for an appliance manufacturer that would sponsor Conner’s tour until a stunt to launch the tour goes wrong. Chris Redd is excellent as Hunter the Hungry as a brash up-and-coming rapper who becomes Conner’s opening act that started off as an ally only to overshadow and humiliate him. Sarah Silverman is brilliant as Conner’s publicist Paula Klein who tries to do whatever she can to get Conner for an appearance at an awards show while being a conscience of sorts who is aware that things aren’t going well. Tim Meadows is amazing as Conner’s manager Harry who also managed the Style Boyz and was a former member of Tony Toni Tone` that is trying to deal with the business and what is happening with Conner and the tour.

Akiva Schaffer is hilarious as Lawrence as a former member/lyricist of the Style Boyz who becomes a farmer as he feels underappreciated for his work while thinks Conner is going the wrong way with the music. Jorma Taccone is terrific as Owen as another former member of the Style Boyz who is Conner’s DJ that is trying to cope with the extravagance of the tour while being the one true friend that Conner has. Finally, there’s Andy Samberg in an incredible performance as Conner Friel/Conner4Real as a pop star who is embarking on a world tour for his second album unaware of how bad the record is as well as surrounding himself with too many people who aren’t honest with him as he loses touch with reality and literally exposes himself in the worst ways as it’s just so funny to watch.

Popstar: Never Stop Never Stopping is marvelous film from Akiva Schaffer and Jorma Taccone that is a spot-on spoof on the extravagant world of contemporary pop music. It’s a film that isn’t just entertaining filled with a great cast, funny cameos, and some hilarious songs but it’s also a witty satire that showcases some of the drawbacks of 21st Century stardom. In the end, Popstar: Never Stop Never Stopping is a remarkable film from Akiva Schaffer and Jorma Taccone.

© thevoid99 2017

Knight of Cups

Written and directed by Terrence Malick, Knight of Cups is the story of the troubled life of a Hollywood screenwriter who goes on a personal journey to find live and self-discovery during his trip to Los Angeles and Las Vegas. Rumored to be part of an informal trilogy with The Tree of Life and To the Wonder as the films are semi-biographical stories on Malick’s own life. The film is partially inspired by the Christian allegory The Pilgrim’s Process and the passages Hymn of the Pearl and Acts of Thomas as they’re featured in a film that plays into a man trying to find his own existence in a decadent world. Starring Christian Bale, Cate Blanchett, Natalie Portman, Wes Bentley, Imogen Poots, Antonio Banderas, Isabel Lucas, Freida Pinto, Teresa Palmer, Brian Dennehy, and the voice of Ben Kingsley. Knight of Cups is a rapturous and exhilarating film from Terrence Malick.

Surrounding himself in Los Angeles and the world of Hollywood, the film revolves around a screenwriter coping with himself and struggles as he surrounds himself with different women while dealing with issues in his family including his father. It’s a film that doesn’t really have much of a plot nor a traditional narrative structure as it is largely loose in its storytelling structure where it’s largely based on the Knight of Cups tarot cards as each card represents a part of the journey that film’s protagonist Rick (Christian Bale) takes. Along the way, he deals with loss but also regret into things in his past while being aware of the environment he’s in that is filled with temptation, immorality, and decadence. In the course of the film, there are a lot of voice-over narration not just from Rick but also the many characters who are part of his life either temporarily or permanently while there is also this mysterious voice by an unseen character (Ben Kingsley) who recites passages and texts that relate to these tarot cards.

The lack of a conventional screenplay does allow its writer/director Terrence Malick to not just take on some major risks of what he would do as a storyteller. He would also go very deep into a world that might seem disconnected from the real world but also display that sense of disconnect as it relates to the reality that is encountered. Shot largely in Los Angeles as well as some scenes shot in Las Vegas, the Californian/Nevada deserts, and other parts of the American Midwest including St. Louis. It is a film that showcases that sense of conflict in a man who is embarking on this journey of self-discovery where he ventures into all sorts of things with different kinds of people. Among them are representations in the themes of the tarot cards in the form of Rick’s many different lovers in Della (Imogen Poot), a model named Helen (Freida Pinto), a spirited stripper named Karen (Teresa Palmer), a mysterious young woman named Isabel (Isabel Lucas), his ex-wife Nancy (Cate Blanchett), and a former lover in Elizabeth (Natalie Portman).

The usage of wide and medium shots for many of the film’s locations as well as close-ups for some of the intimate moments are very potent in their imagery while Malick’s usage of hand-held cameras in its mixture of 35mm film and digital just add to the sense of beauty of these images. Yet, there is so much more as it play into something that is very off-kilter as it relates to Rick’s own sense of uncertainty, loss, and self-discovery where the camera sort of acts as this unknown being watching over him. Plus, the narration acts as that sense of internal conflict within Rick who is yearning for some meaning in his life but is tempted by things such as money, beautiful women, and all of these things. The scenes involving Rick’s brother Barry (Wes Bentley) and their father Joseph (Brian Dennehy) show that sense of conflict that looms over Rick as well as loss where the narration reveal that they’re all suffering with Barry venturing into a self-destructive path that claimed the life of his brother.

Malick’s usage of handheld cameras do have this very evocative feel to the way everything is filmed while he also plays with time-lapse imagery. While it largely a style that is very experimental and certainly won’t be everyone’s cup of tea. It plays into something that does feel very personal where Malick is showing a world that he was a part of but one that showcases that struggle from having it all but also leaving a world where things were simpler. Adding to that air of simplicity is specter of spirituality as it relates to the character of Isabel, some of Helen’s private activities, and what Malick shows in Los Angeles and Las Vegas as it play into something is calling into Rick in his own personal journey and in the words of this unseen narrator. Overall, Malick creates an intoxicating yet enchanting film about a man’s personal journey of self-discovery through the chaotic world of Hollywood.

Cinematographer Emmanuel Lubezki does spectacular work with the film‘s very naturalistic cinematography to play with the many looks of the locations in the day as well as the scenes set at the home of this amoral millionaire along with some dazzling images of scenes set at night including a strip-club and the scenes set in Las Vegas which is so gorgeous to look at as it‘s one of the highlights of the film. Editors Mark Yoshikawa, Geoffrey Richman, Keith Fraase, and A.J. Edwards do brilliant work with the editing with its usage of jump-cuts and disparate cutting montages to play into sense of wonderment that occurs throughout the film as well as some abrupt cuts to help structuralize the film. Production designer Jack Fisk, with set decorator Beauchamp Fontaine and art director Ruth De Jong, does amazing work with the some of the interiors in the homes that Rick encounters including a mansion in its dining room along with the look of the strip club with its neon lights.

Costume designer Jacqueline West does excellent work with the clothes that many of the characters wear including the Armani suits that Rick wears and some of the stylish dresses that many of the women in the film wear. Visual effects supervisor Jamison Scott Goei does fantastic work with the film‘s lone visual effects sequence as it relates into the mysterious elements of the universe described in one of Rick‘s voice-over narrations. Sound designers Joel Dougherty and Will Patterson do incredible work with the sound in the way much of the voice-over narrations as well as the sounds of the cities and locations mix without overwhelming each other along with some textures into the parties and such as it add so much to the world that Rick is being tempted by. The film’s music by Hanan Townshend is superb for its classical-based score with its serene string arrangements and low-key percussions while music supervisor Lauren Marie Mikus creates a soundtrack filled with classical pieces as well as contemporary music where the latter play into the parties scenes and what is playing on Rick’s car.

The casting by Francine Maisler and Lauren Grey is phenomenal as it features appearances from Joe Manganiello, Ryan O’Neal, Fabio, Danny Strong, Beau Garrett, Nick Kroll, Nicky Whelan, Jelly Howie, and Katia Winter as themselves appearing in Hollywood parties. Other notable small appearances include Thomas Lennon, Joe Lo Truglio, Jason Clarke, Joel Kinnaman, Peter Matthiesson, and Clifton Collins Jr. as colleagues of Rick who are part of that world as well as appearances from Nick Offerman, Michael Wincott, and Shea Whigham in small roles as Hollywood business personalities, Dane DeHaan as a tarot reader’s son, Jamie Harris and Lawrence Jackson as a couple of burglars, Patrick Whitesell and Rick Hess as a couple of agents, Cherry Jones as a relative of Rick’s, and Armin Mueller-Stahl as a priest who provides Rick some guidance into his own sense of doubt. The voice of Ben Kingsley as this unseen figure is superb for the sense of mystique that looms over the film as well as providing a sense of spiritual context into Rick’s journey.

Imogen Poots is fantastic as this rebellious fling of Rick’s in Della who asks Rick questions about his faithfulness and direction in life while Teresa Palmer is excellent as this stripper named Karen who entrances Rick as she accompanies him to Las Vegas. Freida Pinto is wonderful as the model Helen that Rick meets at a party as he briefly goes out with her while being intrigued by what she does at her home while Isabel Lucas is terrific as this innocent and playful young woman who is interpreted as this angelic figure that helps him find his way home. Wes Bentley is brilliant as Rick’s brother Barry as a man accompanying Rick throughout Los Angeles as he copes with his own issues as well as those relating to their father. Brian Dennehy is amazing as Rick and Barry’s father Joseph who deals with aging and being phased out while providing some somber narration as it relates to much of the text and legends of the tarot cards that would help guide Rick in his journey.

Antonio Banderas is incredible as a Hollywood playboy named Tonio as a man that represents all forms of temptation and immorality as someone that has a lust for life, excess, and women as he is sort of a comical figure in the film but also that representation of what Rick could be. Natalie Portman is radiant as Elizabeth as a former lover of Rick whom he loved dearly as she is seen as someone that could help find redemption for him as well as provide a link into what he could have if he chose the right path. Cate Blanchett is remarkable as Nancy as Rick’s former wife who devotes her time helping people as a physician as she copes with the love they had lost as well as the fact that there’s still feelings for one another as she is a representation of what he had and later gave up. Finally, there’s Christian Bale in a tremendous performance as Rick as a Hollywood screenwriter lost in the world of decadence and temptation as he copes with loss, guilt, and uncertainty where Bale doesn’t say a lot in the film but say a lot in his voice-over work where he would display that anguish and conflict of a man trying to find himself in his own personal journey of self-discovery.

Knight of Cups is a phenomenal film from Terrence Malick. Largely in part to its ensemble cast, a compelling premise, gorgeous visuals, and intoxicating music. It’s a film that is definitely challenging while not being something for everyone due to the fact that is told in a very unconventional form. Even as it displays some big questions about the world of temptation, loss, and life itself in ways that is very personal in the hands of its creator. In the end, Knight of Cups is a sensational film from Terrence Malick.

Terrence Malick Films: Badlands - Days of Heaven - The Thin Red Line - The New World - Tree of Life - To the Wonder - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) - Song to Song - A Hidden Life - (The Way of the Wind)

© thevoid99 2016

Greetings from Tim Buckley

Directed by Daniel Algrant and written by Algrant, Emma Sheanshang, and David Brendal, Greetings from Tim Buckley is the story of a 1991 tribute concert for the cult folk singer as one of those who would attend and perform at the concert is his son Jeff. The film is a dramatic account into Jeff Buckley’s legendary 1991 performance as he would cope with the legacy of the man he never knew as Penn Badgley plays Jeff and Ben Rosenfield stars as Jeff’s father Tim. Also starring Imogen Poots and William Sadler. Greetings from Tim Buckley is a somber yet exhilarating film from Daniel Algrant.

The film revolves around the 1991 tribute concert to the folk singer Tim Buckley in which his son Jeff would make a public debut that would eventually be a springboard of sorts for his own career. While the concert is partially-dramatized, the film is mostly about the weekend leading up to this concert where Jeff Buckley not only copes with the legacy of his father but also the fact that he never really knew his father as he only met him twice in his lifetime. It is essentially a dramatic account about what Jeff Buckley must’ve been going through in the days leading up to this tribute concert for his father. The script also has this paralleling storyline which revolves around Tim Buckley trying to make it in the folk music scene as he is sleeping around with women while getting messages from people who knew his first wife that his son is about to born.

Though the narrative is a bit uneven at times, it does play into Jeff’s struggle over his father as he is surrounded by people who aren’t just fans of his work but also the few that actually knew Tim. One of the people that Jeff meets is a young woman named Allie (Imogen Poots) who is a fan of her father’s work as she would spend time with Jeff as they would go to places including the town and home where his father lived as a boy. All of which plays into Jeff not only trying to know who his father is but also to try and comprehend into why he wasn’t there and had died at such a young age without much to show for other than his music.

Daniel Algrant’s direction is quite simple in terms of the compositions that are created as the concert is shot on the actual location where it took place which is St. Ann’s Church in Brooklyn as it would be the film’s centerpiece. Much of it is shot on location in New York City with some shots set in California as well as upstate New York as it plays into Jeff’s journey to find out more about his father. There’s a few wide shots as Algrant aims for something that is more realistic and intimate that includes a key scene where Jeff and Gary Lucas (Frank Wood), jam as they would eventually create something that would become one of Jeff’s songs. The concert sequence is presented with some wide and medium shots plus a few close-ups and hand-held camera moments as it would feature a recreation of Jeff singing Once I Was by his father as it’s one of the film’s most chilling moments. Overall, Algrant creates a very engaging yet compelling film about Jeff Buckley’s journey into knowing and paying tribute to a man he never knew.

Cinematographer Andrij Parekh does excellent work with the film‘s cinematography as it‘s very straightforward for much of the daytime exterior scenes while using some stylish lights and moods for the interior/exterior scenes at night. Editor Bill Pankow does nice work with the editing as it‘s quite straightforward with some jump-cuts and montages to play into Jeff struggling with the memory of his father. Production designer John Paino and set decorator Robert Covelman do superb work with the look of the clubs that Tim played as well as some of the decorations and stage setting for the film’s climatic concert.

Costume designer David C. Robinson does terrific work with the costumes as it‘s mostly casual to play up the early 90s look as well as the look for some of the characters in the Tim Buckley sequences. Sound editor Dave Paterson does brilliant work with the sound from the way instruments sound during rehearsal as well as the atmosphere of the concert itself. The film’s music largely consists of songs by Tim Buckley that includes his own originals as well as performances of his songs that include vocal performances by Kate Nash, Frankie Bello of the seminal thrash-metal band Anthrax, and Penn Badgley in their respective roles plus a couple of covers of Jeff’s songs sung by Badgley as well as a few folk-based score pieces by Gary Lucas.

The casting by Avy Kaufman is amazing as it features appearances from Frankie Bello as punk-rock legend Richard Hell, Frank Wood as the musician Gary Lucas who would become a future collaborator of Jeff’s, Norbert Leo Butz as the concert organizer Hal Wilner, Kate Nash as one of the concert’s performers in Carol, Jennifer Turner and Jann Close as a couple of concert performers, Jessica Stone as one of Tim’s lovers in Janine, and William Sadler as the famed folk musician Lee Underwood who actually knew Tim as he tries to tell Jeff some things about his father. Ben Rosenfield is excellent as Tim Buckley as the folk musician in his early years as he tries to make it as he copes with the idea that he’s becoming a father.

Imogen Poots is brilliant as Allie as a young woman who is a fan of Tim’s music as she gets to know Jeff as she tries to understand his feelings towards his father. Finally, there’s Penn Badgley in an incredible performance as the late Jeff Buckley as a young man trying to cope with the father he never really knew as well as trying to pay tribute to him in a concert as Badgley has an amazing singing voice as he definitely captures the wailing falsetto of Jeff without trying to imitate it.

Greetings from Tim Buckley is an excellent film from Daniel Algrant that features a phenomenal performance from Penn Badgley. Along with a superb supporting performance from Imogen Poots and a killer music soundtrack, the film isn’t just a compelling piece about a moment in time that would be a catalyst for Jeff Buckley’s brief but celebrated career but also into the music of his father Tim. In the end, Greetings from Tim Buckley is a marvelous film from Daniel Algrant.

© thevoid99 2015

The Look of Love

Directed by Michael Winterbottom and written by Matt Greenhalgh, The Look of Love is the story about British pornographer and real estate entrepreneur Paul Raymond as he brings the world of sex and strip clubs to London’s Soho section where he gains notoriety and such in his tumultuous life. Winterbottom collaborator Steve Coogan plays the role of Raymond as it explores the man’s rise and fall where he would endure lots of highs and some incredible lows. Also starring Anna Friel, Imogen Poots, and Tamsin Egerton. The Look of Love is a pretty good though messy film from Michael Winterbottom.

Paul Raymond was famous for bringing sex into the Soho section of London as he created the softcore porn magazine Men Only and staged lavish shows with naked women as the center of attraction. Yet, the film is about Raymond’s rise to notoriety where he is attacked left and right from all sorts of people for his exploitation of women. Still, Raymond is a man who wants to have fun but also struggled with keeping up with the times and trying to help his daughter Debbie (Imogen Poots) to gain a career despite her lack of talent as she would tragically die of a heroin overdose in November of 1992. The film is largely told from Raymond’s perspective as he looks back on his life just after the death of his daughter as the film is told from the late 1950s to Debbie’s death.

Matt Greenhalgh’s screenplay does have a narrative that is straightforward though it is very messy at times while it tries to be both a comedy and a drama where it ends up being uneven. There’s also some stuff that relates to the illegitimate son that Paul had many years ago that his siblings didn’t know about as it’s only shown in one scene but it’s a scene that feels very awkward with the rest of the narrative. Still, Greenhalgh does create some unique characters in not just Paul and Debbie Raymond but also the two wives that Paul married as the first in Jean (Anna Friel) and the second in a young dancer/model in Fiona Richmond (Tamsin Egerton). Jean was this woman that supported Paul from the late 1950s to the early 1970s where she left him following his affair with Fiona.

The film’s strongest point for much of the second half is Paul’s relationship with his daughter as he wanted to support her in every way where they party together and also do drugs together. While Paul does drugs for fun where his affairs with other women would drive Fiona out of the way. Debbie’s drug use becomes something bigger as she did it to numb the pain over her lack of progress to make it as her father would be the only other thing to comfort her. Even as Paul would lay his hopes on Debbie to take over his empire unaware of the tragedy that is to come.

Michael Winterbottom’s direction is pretty stylish in the way he presents the film from the 1950s to the early 1990s where much of the film’s 1950s sequence is presented in black-and-white to showcase the air of sophistication in the film. Notably as the nudity is presented with a sense of class and nothing really overt while some of the direction is still intimate with hand-held cameras and such to play into that craziness. Even as the film returns to color in much more lavish ways for the scenes set in the 1960s and 1970s where it was a time of hedonism as the nudity itself becomes outrageous. Winterbottom does find time to give the audience a break from the decadence of the film while infusing it with some style in some montages on the way Men Only is created and re-invented as the years go by along with some of the stage shows that Raymond would present in his career.

Things do slow down for the film’s third act as it concerns Paul and Debbie’s relationship where much of the camera work is straightforward with bits of style as the scenes in the late 80s and early 90s rely less on visuals and more about the story. Even as it plays into the tragedy that is evident in the first scene of the film as Paul watches an interview that Debbie did for TV as it prompts him to look back at his entire life. Despite some of issues with the script, Michael Winterbottom crafts a very compelling film about the life of Paul Raymond.

Cinematographer Hubert Taczanowski does excellent work with the film‘s cinematography from the black-and-white look of the scenes set in the 1950s to the lavish colors and vibrant lights for the scenes set in the 1960s and beyond. Editor Mags Arnold does brilliant work with the film‘s editing with its approach to montages and arrays of stylish cuts to play into that world of hedonism. Production designer Jacqueline Abrahams and art director Carly Reddin do fantastic work with the set pieces from the loft that Paul lives in to the clubs and such that he runs in Soho. Costume designer Stephanie Collie does fabulous work with array of costumes that were displayed on film from the hot-pants that Fiona wore to the dresses that Jean wore as well as the clothes that Debbie wore in the film.

The hair and makeup design work of Fiona Leech and Laura Schiavo is amazing for the array of looks that were created in the film to play with the craziness of the times. Visual effects supervisor Marc Knapton does nice work with the minimal visual effects for the set dressing of London in those times as well as the roof of Raymond‘s loft. Sound editor Joakim Sundstrom does terrific work with the sound to play into the sound effects that occurs on stage as well as some of the craziness in some of the film‘s locations. The film’s music by Antony Genn and Martin Slattery is superb as it’s mostly a mixture of playful jazz music with some orchestral pieces to play into some of the drama while music supervisor John Coyne brings in a fun soundtrack that plays with those times from the music of the 60s and 70s that includes pieces by David Bowie, T. Rex, Hot Chocolate, and other acts.

The casting by Jina Jay is wonderful for the ensemble that is created as it features some cameo appearances from such Winterbottom regulars as Keiran O’Brien and Shirley Henderson as a couple of friends of Raymond from the 50s/60s, Mark Williams as a Follies stage director, David Walliams as the outgoing Vicar Edwyn Young, Stephen Fry as a barrister, Matt Lucas as the famed drag actor Divine, and Liam Boyle as Paul’s illegitimate long-lost son Derry. Other notable small roles include Matthew Beard as Paul’s son Howard, James Lance as Paul’s lawyer Carl Snitcher, and Chris Addison as Men Only editor/photography Tony Power who would introduce Debbie to cocaine. Tamsin Egerton is excellent as Fiona Richmond as an aspiring model who would become Paul’s muse in the late 60s/early 70s as well as a controversial columnist who later leaves Paul after too much partying.

Anna Friel is fantastic as Paul’s first wife Jean as a woman who had been supportive of his ventures only to leave him after his affair with Fiona as she later returns to him when Debbie gets married as she would be involved in a lavish nude spread for his magazine. Imogen Poots is remarkable as Paul’s daughter Debbie as a young woman eager to make it as a singer/actress only to succumb to addiction as she clings to her father where Poots is really the star of the film. Finally, there’s Steve Coogan in a marvelous performance as Paul Raymond as the man who would bring sex to London as someone that wants to give people a good time while he loses himself in his hedonism while becoming troubled by the losses he suffers where Coogan proves to be strong as a dramatic actor while still being very funny.

The Look of Love is a very good film from Michael Winterbottom that is highlighted by the performances of Steve Coogan and Imogen Poots. While it’s a flawed film that has issues with the tone of the screenplay. It is still an engaging film for the way it explores the life of Paul Raymond and how he brought sex to London in the late 1950s making him one of Britain’s richest men. In the end, The Look of Love is a stellar film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (The Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You) - Wonderland (1999 film) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2014

Me and Orson Welles

Based on the novel by Robert Kaplow, Me and Orson Welles is the story of a 17-year old kid who meets Orson Welles who is about to stage his production of Julius Caesar. Directed by Richard Linklater and written by Holly Gent Palmo and Vincent Palmo Jr., the film is an exploration into a young man discovering the world of theater and dealing with the big personality that is Orson Welles who is played by Christian McKay. Also starring Zac Efron, Claire Danes, and Ben Chaplin. Me and Orson Welles is an extraordinary film from Richard Linklater.

The film is about a 17-year old high school student who goes to New York City based on his interests in the arts where unexpectedly runs into Orson Welles and his Mercury Theater company who are doing a modern-day play of William Shakespeare’s Julius Caesar. The boy gets a small part as he also falls for a production assistant as he finds himself in the intense world of theatrical rehearsals as well as the massive personality of Welles. Notably as there’s egos involved as well as deadlines as it’s all seen by this kid who has to deal with all of that as well as doing whatever it takes to not upset Welles is a giant that can squash him.

The screenplay plays into a week in the life of Richard Samuels (Zac Efron) who is fascinated by the world of art and theater as he’s also a fan of Welles’ work in plays and radio. While Richard has aspirations to be part of it, he finds himself in that world by accident all because he wowed Welles with his charm and the ability to do a drum roll properly. The script showcases all the ins and outs of what happens in a play rehearsal where things can go wrong and there’s a lot of pressure out there. Yet, no one is as more intense than Welles as he’s a man who is a perfectionist and is hoping that everyone does their part right including the musicians in the background and the technical crew. Though Richard is aware of Welles’ personality, he has no idea how dangerous it can be to the point that Welles is also a man who sleeps with various women including the production assistant Sonja Jones (Claire Danes) whom Richard falls for.

Richard Linklater’s direction is quite engaging for the way he presents the world of theater in all of its moments on and off the stage where everyone is making sure nothing goes wrong. Notably as Welles is waiting for something bad to happen just to ensure that he can overcome that obstacle. Shot in Pinewood Studios in Britain with some locations in New York City, the film does play to a moment in time where America is coming out of the Great Depression and people are looking for art to find an escape from troubled times. Yet, there’s also moments that plays into Welles’ life such as a scene in an ambulance where Welles talks about The Magnificent Ambersons to Richard as a book as he hopes to make it something more in the future.

The direction has Linklater create some amazing compositions to showcase that world of late 1930s New York City that is very vibrant and colorful while maintaining that air of intimacy in the theater. The film’s climax comes in the performance of Julius Caesar where it is presented with such bravado and poignancy as it also shows how far Richard has come from this boy who knew very little into finally understanding his role as Lucius in the play. The film does play into that theme of someone coming-of-age in Richard as he goes into a major growth from boy to man while having a fuller understanding of what it means to be an artist. Overall, Linklater crafts a very dazzling yet captivating film about art and growth.

Cinematographer Dick Pope does brilliant work with the film‘s very colorful yet lush cinematography from the scenes set in the exteriors in day and night to the more extravagant use of lights for the film‘s climatic play scene. Editor Sandra Adair does wonderful work with the editing to create some rhythmic cuts to capture the intensity of the stage performances as well as some lighter moments in the scenes outside of the theater. Production designer Laurence Dorman, with set decorator Richard Roberts and supervising art director Bill Crutcher, does fantastic work with the set pieces from the look of many of the sets in the city including a museum that Richard goes to as well as the stage setting for the climatic play.

Costume designer Nic Ede does excellent work with the costumes from the dresses the women wear to the suits and uniforms the men wear for the play. Visual effects supervisor Robert Duncan does terrific work with the minimal set dressing for many of the exteriors of 1937 New York City without embellishing things way too much. Sound editor Ian Wilson does superb work with the sound to capture the level of noise that happens throughout the rehearsals and the things that happens on and off the stage. The film’s music by Michael J. McEvoy is a delight as it plays to the upbeat jazz music of the late 1930s as music supervisor Marc Marot also uses music of that time including some notable standards.

The casting by Lucy Bevan is amazing for the ensemble that is created as it features some notable appearances from Saskia Reeves as voice actress Barbara Luddy, Imogen Poots as a radio broadcast assistant, Al Weaver as an unappreciated set designer named Sam, and Zoe Kazan as an aspiring writer named Gretta that Richard meets early in the film and later befriends her. Other memorable yet fantastic supporting roles include Kelly Reilly as the lead actress Muriel Brasser, James Tupper as the very generous Joseph Cotten, Leo Bill as the mischievous Norman Lloyd, Eddie Marsan as the very anxious stage manager John Houseman, and Ben Chaplin in a terrific performance as the very dramatic stage actor George Coulouris.

Claire Danes is wonderful as production assistant Sonja Jones as a woman who is driven by her career as she hopes to work for David O. Selznick while intrigued by the ambition of Richard whom she seduces. Christian McKay is phenomenal as Orson Welles as a man who is full of bravado and ambition as well as an intensity where McKay is able to bring Welles back to life. Finally, there’s Zac Efron in a marvelous performance as Richard Samuel as a 17-year old high school student who is fascinated by the world of theater and art as he becomes part of that world while knowing what he must do when dealing with someone like Welles as Efron is able to stand on his own and bring depth to his character.

Me and Orson Welles is a remarkable film from Richard Linklater that features superb performances from Zac Efron and Christian McKay. The film is definitely a very intriguing look into the world of theater as well as Orson Welles’ time as a playwright. It’s also a coming-of-age film that works in the way explores a young man discovering that world as he also learns what it means to be an actor. In the end, Me and Orson Welles is a riveting film from Richard Linklater.

Richard Linklater Films: It’s Impossible to Learn to Plow by Reading Books - Slacker - Dazed & Confused - Before Sunrise - subUrbia - The Newton Boys - Waking Life - Tape - School of Rock - Before sunset - Bad News Bears (2005 film) - A Scanner Darkly - Fast Food Nation - Bernie (2011 film) - Before Midnight - Boyhood - Everybody Want Some!! - The Auteurs #57: Richard Linklater Pt. 1 - Pt. 2

© thevoid99 2013

Jane Eyre (2011 film)

Based on Charlotte Bronte’s novel, Jane Eyre is the story of a young woman who had endured a life of cruelty as a child and later as an adult until she becomes the governess of a mysterious man she falls for. Directed by Cary Joji Fukunaga and adapted into script by Moira Buffini, the film explores a young woman’s plight as she goes from being in an unloving environment and then yearn for love in this mysterious man as Mia Wasikowska plays the titular role. Also starring Michael Fassbender, Sally Hawkins, Jamie Bell, Imogen Poots, Tamzin Merchant, and Judi Dench. The 2011 film version of Jane Eyre is an exquisite yet haunting film from Cary Joji Fukunaga.

Wandering around the moors and land, Jane Eyre arrives at a small cottage as she is under the care of St. John Rivers (Jamie Bell) and his two sisters Mary (Tamzin Merchant) and Diana (Holly Grainger). Staying temporarily at the Rivers home, Jane recalls her life as a child (Amelia Clarkson) as she had lived a life of cruelty in the hands of her aunt Mrs. Reed (Sally Hawkins). Taken to the very strict Lowood Institution under the supervision of the very abusive Mr. Brocklehurst (Simon McBurney), Jane befriends Helen Burns (Freya Parks) who helps Jane deal with her situation. More than a decade later, Jane leaves Lowood to become the governess for a house called Thornfield Hall. Meeting with its housekeeper Mrs. Fairfax (Judi Dench), Jane’s job is to teach the young French girl named Adele (Romy Settbon Moore) while helping out Mrs. Fairfax.

Walking to send a letter, a horse nearly runs over Jane as it’s rider is revealed to Thornfield Hall’s master Edward Rochester (Michael Fassbender). After meeting him later in the day, Jane deals with Rochester’s mysterious yet brooding persona as well as his questions about her life and such. When his room is on fire due to something mysterious as Jane saved him, the two forge a friendship as she asks Mrs. Fairfax about Rochester as she admits, she has no idea what he’s hiding. At a party held in Thornfield Hall where Rochester brings his fiancee` Blance Ingram (Imogen Poots), Jane observes what is happening as she has hard time contending with her feelings for Rochester. The unexpected visit of a man named Richard Mason (Harry Lloyd) appears where Jane assists Rochester in this ordeal.

After taking a break to visit her ailing aunt, Jane returns to Thornfield as she hears some news about Rochester and Ingram as Rochester reveals his feelings for Jane. Yet, their courtship ends due to the secret that Rochester has been hiding leaving Jane in despair over everything she’s endured in her life.

In this adaptation of Charlotte Bronte’s Gothic novel, it is a film told largely from the perspective of the titular character as she reflects on her time with this strange yet enigmatic man who would disappear for days and then come back unexpectedly. Notably as she has to deal with other weird things in this house and parts of her past where she endured abuse, neglect, and the idea of not being loved. Moira Buffini’s screenplay does follow the book faithfully while she does create a narrative that is more of a reflective one as it starts off near the end as Jane leaves a house and eventually arrives at the home of a young clergyman and his sisters. The script also allows the characters to be fleshed out more like the maternal Mrs. Fairfax as well as the kind but religious St. John Rivers. Yet, it is the relationship between Jane and Rochester that is the heart of the film as Buffini explores the emotional tension between the two as well as their own dark secrets.

The direction of Cary Joji Fukunaga is extraordinarily magical for the imagery he presents as well as the tension and atmosphere that surrounds the film. Wanting to be true to the Gothic tone of Bronte’s book, Fukunaga aims for a look where there aren’t a lot of direct colors as the palette goes for a very soft, naturalistic look with a bit of de-saturation as there’s no red or anything very bright that occurs. Shooting the film with some hand-held cameras and steady camera shots including some very wondrous movements to soak up the location and set pieces. Fukunaga also creates some striking compositions to capture the dramatic tension of the film such as the opening shot of Jane leaving while utilizing gorgeous wide shots to capture the beautiful yet stark images of the British countryside landscape. The overall work that Fukunaga does is truly enchanting in its look and tone.

Cinematographer Adriano Goldman does a tremendous job with the film‘s gorgeous yet ravishing cinematography filled with wonderful yet naturalistic interiors for some of the nighttime scenes in Thornfield Hall along with some beautiful exteriors of the British countryside including the skylines at it all plays to a certain color palette that emphasizes the film‘s Gothic tone. Editor Melanie Oliver does an excellent job with the film’s tight yet seamlessly fluid editing with the use of a few jump-cuts and straight transitions while playing up to the intensity of its suspenseful and dramatic moments.

Production designer Will Hughes-Jones, along with set decorator Tim Jones and art director Karl Probert, does an incredible job with the set pieces created such as the rooms in Thornfield Hall as well as drab yet oppressive dining hall at Lowood Institution. Costume designer Michael O’Connor does a fantastic job with the costumes from the very de-colored and dark clothes that Jane mostly wears to the more stately yet regal look of Rochester. Makeup and hair designer Daniel Phillips does a terrific job with the hair and makeup design for the characters from the braided hair of the women to the sideburns of the male characters.

Sound editors Matthew Collinge and Catherine Hodgson do an amazing job with the sound work from the intensity of the locations to the more sparse intimacy of Thornfield Hall that includes some chilly moments and layers of dialogue that occurs in scenes where Jane pines for Rochester. The film’s score by Dario Marianelli is definitely spectacular for its array of pieces ranging from somber piano themes to play up the romance to more low-key orchestral cuts to play up the drama in the film as it’s definitely one of Marianelli’s best scores.

The casting by Nina Gold is brilliant for the ensemble that is created as it includes notable small roles from Craig Roberts as Jane’s cruel cousin John, Eglatine Rembauville-Nicolle as Adele’s nanny Sophie, Valentina Cervi as a mysterious woman at Thornfield Hall, Imogen Poots as Rochester’s fiancee` Blanche, Simon McBurney as the very abusive Mr. Brocklehurst, Harry Lloyd as the mysterious Mr. Mason, Holly Grainger and Tamzin Merchant as St. John’s kind sisters, and Freya Parks as Jane’s old school friend Helen Burns. Other outstanding supporting roles include Sally Hawkins as Jane’s neglectful and uncaring aunt Mrs. Reed, Romy Settbon Moore as the lively French girl Adele, and Amelia Clarkson in a very chilling performance as the young Jane Eyre.

Jamie Bell is wonderful as St. John Rivers, a clergyman who takes Jane in and becomes a friend while having hopes to become more than just her friend. Judi Dench is superb as Mrs. Fairfax, a sympathetic housekeeper who helps Jane with the things about Thornfield while being the one person who keeps Jane and Rochester grounded. Michael Fassbender gives a truly haunting performance as Edward Rochester with his calm yet brooding persona as well displaying a sense of torment that adds to everything that he’s trying to hide as it’s truly some of Fassbender’s best work as an actor.

Finally, there’s Mia Wasikowska in a truly divine performance as the titular character. Not afraid to display humility and anguish, Wasikowska brings a truly mesmerizing approach to the character who tries to maintain a sense of duty while dealing with her feelings for Rochester. The chemistry between Wasikowska and Fassbender is extraordinary for the tension they bring as Fassbender would often dominate with Wasikowska being very quiet. In more emotional scenes, the two restrain themselves from being very dramatic as it is about the anguish and love these two characters have for each other. Notably as Wasikowska maintains the restraint more than Fassbender as it is definitely the best performance she’s given so far in her young career.

The 2011 adaptation of Jane Eyre is a truly magnificent yet entrancing film from Cary Joji Fukunaga that features outstanding lead performances from Mia Wasikowska and Michael Fassbender. Along with great technical work, a fabulous score, and wonderful supporting work from Judi Dench, Jamie Bell, and Sally Hawkins. It is definitely a film that gives Charlotte Bronte’s famed novel a very unique yet visually-dazzling take that does more than what some adaptations of the story has done. In the end, the 2011 adaptation of Jane Eyre is a truly enchanting yet mesmerizing film from Cary Joji Fukunaga.

Related: Jane Eyre (1943 film)

Cary Joji Fukunaga Films: Sin Nombre - (Beasts of No Nation) - No Time to Die

© thevoid99 2012