Nocturnal Animals

Based on the novel Tony and Susan by Austin Wright, Nocturnal Animals is a multi-layered story involving a woman who reads a novel written by her ex-husband as it involves his own life as she also reflects on the life she had with him. Written for the screen and directed by Tom Ford, the film is a neo-noir film where a woman in an unhappy marriage copes with her own past as well as the life she’s in right now. Starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Isla Fisher, Aaron Taylor-Johnson, Andrea Riseborough, Michael Sheen, Armie Hammer, Karl Glusman, Jena Malone, and Laura Linney. Nocturnal Animals is an evocative yet gripping film from Tom Ford.

The film is the story of a woman who is given a manuscript of a novel written by her ex-husband which is about a man and his family who would have a deadly encounter with criminals in West Texas. Through the book, the woman reflects on her brief marriage to her first husband as well as coping with the decisions she’s made in her life including being in an unhappy marriage. Even as she wonders if there are some paralleling images and metaphors in the book she’s reading in relation to her own life. Tom Ford’s screenplay has this unique narrative where it isn’t about a woman reflecting on her life but also dealing with the one she’s in now. It is also about this story of a man who is driving to West Texas going for a holiday with his wife and daughter where an ugly encounter with some locals while on the road.

The narrative would move back and forth with the protagonist Susan Morrow (Amy Adams) reading the manuscript by her ex-husband Edward Sheffield (Jake Gyllenhaal) as well as the story that Sheffield made about a man named Tony Hastings (Jake Gyllenhaal) who is aided by a local detective in Bobby Andes (Michael Shannon) in going after the criminal named Ray Marcus (Aaron Taylor-Johnson). It all play into two people being forced to confront themselves in this story as it draw into a lot of parallels into the choices they make but also the outcome of these decisions. Even as reality and fiction would blur through this manuscript as Susan would see things as well as wonder if it is all true or just fiction. Notably as Susan would also look back into her own life which includes things she didn’t want to face but eventually come true as well as the choices that Tony has to make where Andes give him some revelations about the dark realities of the world and what has to be done.

Ford’s direction definitely bears a lot of style from this grotesque opening sequence of naked obese women during the opening credits which is part of a lavish and decadent gallery that Susan is hosting. It plays into a world of reality and cynicism that Susan is a part of but she seems quite disconnected from that world. With the Susan narrative shot largely in Los Angeles and flashbacks in New York City while the Tony narrative is shot in Texas. Ford creates a film that has this nice balance between the two world yet would maintain paralleling images that showcase the similar struggles Tony and Susan would endure. Ford’s usage of wide and medium shots play into the locations the characters are in as the scenes involving Susan have this sense of detachment as Ford creates careful framing from the world she has become a part of while the flashbacks are much simpler as well as display some foreshadowing into what will happen to her. There is also something is quite offbeat to the world that Susan is in from the friends that she has as well as the people who work with her in the art gallery. It has this sense of artificiality and materialism that is quite overwhelming where Ford would do things that seem to mock reality but it would come to haunt Susan as she becomes engrossed by Edward’s manuscript.

The scenes about the journey Tony would take as well as gain some justice with Andes’ help are much more rooted in reality. Notably as it play into a world that is quite unforgiving and eerie as Ford uses a lot of wide shots to capture the West Texas locations. There are also some close-ups as it play into the anguish that Tony would endure as well as some revelations about Andes that to his own need to wanting to do things right. There are moments that are very shocking where Ford would maintain something that is unsettling as it would eventually come into Susan’s world as reality/fiction begin to blur. All of which returns to Susan and the events in her life as well as the pain that she caused for her ex-husband to write this manuscript for her. Overall, Ford creates a visceral and eerie film about a woman questioning her own life by a manuscript written by her ex-husband.

Cinematographer Seamus McGarvey does brilliant work with the film‘s cinematography from the way some of the nighttime scenes in Los Angeles and Texas are presented as well as the usage of artificial light for many of the scenes at the art gallery and such in Susan‘s world along with more grimy yet naturalistic look of the daytime exterior scenes in Texas. Editor Joan Sobel does excellent work with the editing with its usage of jump-cuts along with other stylish cuts including some dazzling slow-motion to play into the horror and suspense that Tony would endure. Production designer Shane Valentino, with set decorator Meg Everist and art director Christopher Brown, does amazing work with the look of the stylish yet cold home that Susan lives in as well as the off-the-wall art gallery and its offbeat artwork to the more dirty and grounded look of the scenes and locations set in Texas. Costume designer Arianne Phillips does fantastic work with the costumes from the stylish dresses that Susan wears as well as the people in Los Angeles she is with as well while the look of the characters in Texas is more casual and grimy.

The makeup work of Malanie J. Romero, with additional work from Nathaniel De’Lineadeus, is terrific not just for the look of a few characters that are in Susan‘s world but also in the bearded look of Tony as well as the look of the character Ray. Visual effects supervisor Martin Goodwin does nice work with some of the minimal visual effects that relate to some of the artificiality in Susan‘s world which includes the look of a character in one scene through some eerie makeup effects. Sound editor Lon Bender and sound designer Kris Fenske do superb work with the sound as it play into some of the moments of suspense that Tony would encounter as well as in some of the eerie moments for Susan in how she sees things along with some sparse moments in the film that are very chilling. The film’s music by Abel Korzeniowski is incredible for its somber orchestral score that feature some heavy string arrangements and themes that add to the drama and suspense.

The casting by Francine Maisler is great as it feature some notable small role and appearances from Zawe Ashton as Susan’s assistant, India Menuez as Susan’s daughter, Kristin Bauer van Straten as a grotesque-looking member of Susan’s art gallery in Samantha Van Helsing, Graham Beckel as an officer investigating what happened to Tony, Robert Arayamo as a young local harassing Tony and his family, and Jena Malone in a very offbeat yet funny performance as Sage Ross who is a fellow executive of Susan’s art gallery who wears these very odd clothes. Michael Sheen and Andrea Riseborough are fantastic in their respective brief appearances as the couple Carlos and Alessia Holt with Sheen wearing some flamboyant clothing and Riseborough sporting some outlandish hairdo as they represent that sense of materialism in Susan’s world. Karl Glusman is superb as Lou as a young local who was part in the dark he encounter he has with Tony and his family as he is quite creepy.

Ellie Bamber and Isla Fisher are wonderful in their respective roles as Tony’s daughter and wife in India and Laura as two women who become frightened by the rowdy locals they meet with Bamber being more abrasive towards them and Fisher being the more concerned of the two. Armie Hammer is terrific as Susan’s husband Hutton as a man that definitely has that look of being good-looking as well as be intentionally-bland as a man that is really neglectful of his wife and what she does. Laura Linney is brilliant as Susan’s mother Anne Sutton as this bourgeois woman of decadence and wealth that Susan tries to rebel as Linney’s one-scene appearance is just fun to watch as someone that doesn’t approve of Edward while having some valid truths about what Susan might have to deal with. Aaron Taylor-Johnson is excellent as Ray Marcus as a rowdy local that Tony and his family would encounter as he is just this wild firecracker of a man that is quite scary as well as be very confrontational.

Michael Shannon is amazing as the detective Bobby Andes as a man who had seen a lot of things as he believes what Tony had been through and suspects Ray while also revealing a lot that he has to deal with in his pursuit of true justice in a world that is becoming more complicated. Jake Gyllenhaal is remarkable in a dual performance as Edward Sheffield and Tony Hastings where Gyllenhaal portrays this kind and idealistic man in the former that wants to be a writer but becomes frustrated with Susan’s criticisms. In the latter, Gyllenhaal brings someone that looks anguished and frightened as well as be consumed with guilt as a man desperate to find some justice for what happened to his family. Finally, there’s Amy Adams in a phenomenal performance as Susan Morrow as an arts gallery owner that is dealing with an unhappy marriage and the decisions she’s made in her life as she becomes enamored with a manuscript her ex-husband wrote where she copes with her past and wonders why she can’t sleep nor be happy with the life she’s in.

Nocturnal Animals is a spectacular film from Tom Ford that features great performances from Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, and Laura Linney. Along with eerie visuals, an amazing supporting cast, chilling sound work, and majestic music. It is this haunting yet intoxicating neo-noir thriller that plays into a woman coping with her past through the actions of a manuscript about the dark aspects of humanity from her ex-husband. In the end, Nocturnal Animals is a tremendous film from Tom Ford.

A Single Man

© thevoid99 2016

Hot Rod

Directed by Akiva Schaffer and written by Pam Brady (with additional re-writes by Schaffer, Andy Samberg, and Jorma Taccone), Hot Rod is the story of an amateur stuntman who tries to raise money to pay for his stepfather’s heart transplant and later kick his ass just to earn his respect. The film is an unconventional comedy that plays into a young man trying to find himself with the aid of his half-brother and their misfit friends. Starring Andy Samberg, Jorma Taccone, Bill Hader, Danny McBride, Isla Fisher, Will Arnett, Sissy Spacek, Chris Parnell, and Ian McShane. Hot Rod is an idiotic yet hilarious film from Akiva Schaffer.

What happens when a goofball that wants to become a stuntman decides to create a fundraiser for his stepfather’s heart transplant by pulling off the craziest stunt ever? That is what the film is about as it revolves around a delusional yet kind-hearted young man that is eager to gain the respect of his stepfather who often disrespects him verbally and physically because the young man is such a goofball. With the help of his half-brother, a couple of friends, and a grad student whom he has feelings for, Rod Kimble (Andy Samberg) hopes to succeed and later give his stepfather the ass-kicking he deserves. Along the way, hilarity ensues as the film’s screenplay doesn’t just kind of spoof a few films of the 80s as it relates to BMX biker films and such but also all sorts of things.

Especially as Rod tries to do whatever to create stunts where it often becomes a disaster as he wouldn’t give up despite how bad the outcome is. Even as the film’s second half would force him to find out the truth about his father who he thought was a stuntman working for Evel Knievel. Still, Rod would eventually realize what he must do as it is part of him trying to become a man which is what his stepfather Frank (Ian McShane) has been trying to do to Rod though he is still convinced that Rod couldn’t kick his ass.

Akiva Schaffer’s direction is quite simple for most of the film in terms of its approach to comedy as well in the compositions. Shot on location in Vancouver and parts of British Columbia in Canada, the film is presented as this simple story set in the suburbs where Rod and his friends are trying to have fun. The usage of wide and medium shots help play into that sense of enjoyment including a weird but silly scene of Rod’s friends and his half-brother Kevin (Jorma Taccone) dancing to Stacey Q’s Two of Hearts with Rod and Denise (Isla Fisher) watching. There are also these weird moments in the film that are very off-the-wall and surreal as it plays into the film’s offbeat humor. Notably a moment where this character named Richardson (Chester Tam) is there just dancing for no fucking reason whatsoever. It’s among these quirks that are baffling but also fun such as a homage to Footloose as well as a scene of inspiration that goes horribly wrong. All of which plays into this young man wanting to pull off the ultimate stunt so he can save his stepfather and then kick his ass. Overall, Schaffer creates a silly yet exhilarating film about an amateur stuntman.

Cinematographer Andrew Dunn does excellent work with the cinematography from the colorful and sunny look of the daytime exterior scenes as well as some unique lighting for some of the interiors. Editor Malcolm Campbell does amazing work with the editing as it is straightforward but also playful in its usage of rhythmic cuts in the humorous and very silly moments. Production designer Stephen Altman, with set decorator Mary-Lou Storey and supervising art director Chris August, does fantastic work with the look of the home Rod lives with the family as well as some of the props that are made for the stunts. Costume designer Tish Monaghan does nice work with the costumes from the jumpsuit and cape that Rod wears to some of slacker-like clothing his friends wear.

Visual effects supervisor Charlene Eberle Douglas does terrific work with some of the minimal visual effects as it include some of the stunts that Rod tries to do as well as some of the crazier moments in the film. Sound designer Sean Garnhart does superb work with the sound in capturing some of the livelier moments of the film as well as the impact or lack of impact in the stunts. The film’s music by Trevor Rabin is wonderful for its mixture of rock and orchestral music to play into moments that are inspirational or comedic while music supervisor Steven Baker creates a fun soundtrack that largely consists of music from one of Rod’s favorite bands in Europe as well as music from acts like Stacey Q, Moving Pictures, Cutting Crew, The Lonely Island, Giorgio Moroder, John Farnham, and Queens of the Stone Age who make a cameo as glam metal band called Gown.

The casting by Susan Taylor Brouse, Lynne Carrow, and Allison Jones is great as it features some notable small roles from director Akiva Schaffer as a guy giving Dave acid, Brittany Tiplady as Dave’s younger sister, Alvin Sanders as furious boss upset over one of Rod’s stunts, Mark Acheson as a homeless dude giving Rod’s friends instruction during a montage, Britt Irvin as a fast-food cashier Rod tries to go out with to impress Denise, and Chester Tam as a guy named Richardson who likes to dance erotically for no reason other than just be cool. Chris Parnell is terrific as an AM radio host Barry Pasternak who wants to host the stunt event as he dislikes color TV and FM radio while Will Arnett is superb as Denise’s dick-head boyfriend Jonathan who thinks Rod and his buddies are uncool. Sissy Spacek is excellent as Rod and Kevin’s mother Marie who understands what Rod is trying to do but also tell him the truth about who his father really is.

Ian McShane is fantastic as Frank as Rod’s stepfather who doesn’t think highly of Rod as just this immature goofball and a loser as it’s a very comical performance from McShane. Danny McBride is amazing as Rico as Rod’s friend who helps build ramps and such while being the tough guy with a heart of gold. Bill Hader is brilliant as Dave as Rod’s friend who helps in organizing as well as get people ready for the stunts while having a moment where he would trip on acid as it’s major plot point in the film. Jorma Taccone is marvelous as Rod’s half-brother Kevin as the nerdy yet kind-hearted guy who helps films and edit all of Rod’s videos. Isla Fisher is remarkable as Denise as a grad student who joins Rod’s team as she helps him with the stunts as well as give him confidence seeing that he is at least doing something he loves instead of the people she’s met in college. Finally, there’s Andy Samberg who is awesome as Rod Kimble as this dim-witted, delusional, and gutsy young guy who likes to put on a fake mustache to think he’s a man when he is really still a kid at heart as it’s a very funny performance to watch.

Hot Rod is a spectacular film from Akiva Schaffer. Featuring a great cast, a fun soundtrack, and a hilarious premise that is filled with a lot of offbeat and quirky humor. It’s a film that doesn’t take itself seriously while also proving that it can be stupid fun no matter how idiotic things are. In the end, Hot Rod is a phenomenal film from Akiva Schaffer.

© thevoid99 2016

I Heart Huckabees

Directed by David O. Russell and written by Russell and Jeff Baena, I Heart Huckabees is the story of an environmental activist who finds himself dealing with coincidences and such as he hires two existential detectives to help him as others also seek the help of the detectives. The film is an exploration into the world of existentialism as it’s told in a humorous manner as it also features a corporate executive who is the antagonist to the activist. Starring Jason Schwartzman, Jude Law, Mark Wahlberg, Naomi Watts, Isabelle Huppert, Lily Tomlin, and Dustin Hoffman. I Heart Huckabees is a truly hilarious and captivating film from David O. Russell.

The film explores the struggles of an environmental activist who is trying to save some marshes from being destroyed in favor of a new department store as he battles a corporate executive who lied to him. Yet, the activist Albert Markovski (Jason Schwartzman) finds himself encountering a tall Sudanese bellboy which prompts him to get the help of two existential detectives in Bernard & Vivian Jaffe (Dustin Hoffman & Lily Tomlin, respectively) where things get complicated as he finds himself in a bigger battle with Huckabees executive Brad Stand (Jude Law) who also hires the Jaffes. With a disgruntled client of the Jaffes in fireman Tommy Corn (Mark Wahlberg) leaning towards the nihilistic views of the Jaffes’ former protégé Caterine Vauban (Isabelle Huppert) as Albert would join Tommy. Things get complicated when the Jaffes’ presence starts to ruin Brad’s life as his girlfriend/Huckabees’ spokeswoman Dawn Campbell (Naomi Watts) starts to rebel against her own image. All of which plays into a group of people questioning themselves as well as their ambitions and roles in life in a very humorous fashion.

The film’s screenplay by David O. Russell and Jeff Baena has an offbeat structure where the first act is about Albert’s frustrations to save the marshes and deal with Brad who constantly bullshits everyone including the people he works for about a story involving country-pop singer Shania Twain and a tuna sandwich. While the Jaffes claim that both Albert and Brad are the same due to their ambitions and the need to make a difference. It’s something Albert refuses to believe as his encounter with Tommy would have him see a much darker view. Tommy is a fireman who despises petroleum as he sees Albert as a man who believes in something where a series of events would have Albert lose the trust of the people trying to save the marshes who go to Brad who is bullshitting them. The second act is about Albert and Tommy turning to Vauban for help as well as revelations for Albert about his own life where Tommy would often combat the Jaffes about their views on how everything is connected while Tommy refutes that.

Then comes this third act where it is about Brad and his own ambitions where his own life would unravel. Even as his relationship with Dawn comes into question as Dawn is often seen wearing skimpy clothes to promote Huckabees as she begins to ask questions about herself and her own relationship. Especially as she would threaten the future of Huckabees and Brad getting into some trouble which would then lead to a major epiphany for all of those involved. Especially the Jaffes and Vauban whose opposing views on the ways of the world would suddenly come together.

Russell’s direction is simple in the way he would shoot some scenes but there’s also something that is very offbeat in the way he plays into many of the film’s humorous moments. Notably the way it opens with Albert cursing at himself for all of the problems he is having where his encounters with this Sudanese bellboy are comical. It plays to the tone of the film where a lot of the humor is absurd as the scene where Albert and Tommy are in a room with the other clients of the Jaffes to showcase a world that is chaotic. The scenes with Vauban doing her own teaches are also absurd as it tries to play into this comical idea of nihilism. There’s also some very offbeat fantasy scenes that play into Albert’s own struggles and his hatred for Brad.

The opposing views of the Jaffes and Vauban would add to the offbeat tone of the direction where Russell would showcase their views through minimal visual effects. The Jaffes present their ideas in dots and such to say that everything is connected in a variation of transcendentalism while Vauban is more grounded in reality where there aren’t any visual effects but one that is still darkly comic. It would all culminate in a scene where it plays into these two diverge forces finally coming together in a moment of enlightenment. Overall, Russell crafts a very witty yet engaging comedy about a young man dealing with the ways of the world and his place in the world.

Cinematographer Peter Deming does excellent work with the film‘s colorful cinematography to capture the naturalistic of the locations in California as well as some of its interiors where a lot of the film is shot on daytime. Editor Robert K. Lambert does brilliant work with the editing with its unique approach to montages and jump-cuts as it plays to the film‘s offbeat style. Production designer K.K. Barrett, with set decorator Gene Serdena and art director Seth Reed, does amazing work with the look of the Huckabees corporate building as well as the home office of the Jaffes to display their eccentric approach of transcendental philosophy.

Costume designer Mark Bridges does nice work with the costumes from the skimpy clothes that Dawn wears in her job to the different array of clothes that Vivian Jaffe and Caterine Vauban would wear. Visual effects supervisor Robert Barrett does fantastic work with the visual effects that play into the ideas of the Jaffes about connection and such as it‘s very playful. Sound editor Kelly Oxford does terrific work with the sound work to play into some of the sounds in the fantasy scenes as well as some of the moments in the location. The film’s music by Jon Brion is an absolute delight with its playful approach to the Chamberlin instrument as well as some folk-based pieces that he brings in to the film.

The casting by Mary Vernieu is incredible as it features some notable appearances from Shania Twain as herself, Richard Jenkins and Jean Smart as a couple who let the Sudanese bellboy live with them, Jonah Hill in his film debut as that couple’s son, Talia Shire as Albert’s mother, Bob Gunton as Albert’s stepfather, Tippi Hedren as a coalition leader who tries to save the marshes where she aligns herself with Brad, Isla Fisher as Dawn’s replacement later in the film, Ger Duany as the tall Sudanese bellboy in Stephen, and Kevin Dunn as the Huckabees executive manager Marty. Naomi Watts is excellent as Dawn Campbell as the Huckabees’ spokeswoman who is often in their commercials and is Brad’s girlfriend as her encounter with existentialism showcases Watts at her funniest as she questions her own image and such.

Isabelle Huppert is amazing as Caterine Vauban as this absurd nihilist who tries to show Albert and Tommy a world where there is nothingness as she proves to be quite extreme and convincing in her views. Dustin Hoffman is brilliant as Bernard Jaffe as this oddball existential detective who is trying to get people on board with his own ideas while Lily Tomlin is fantastic as Bernard’s wife Vivian who also expresses the same views while being more analytical about the people she’s working with. Mark Wahlberg is phenomenal as Tommy Corn as this fireman who rides a bike as he becomes lost in his own despair as he tries to find meaning as it’s Wahlberg in one of his funniest and most vulnerable performances.

Jude Law is superb as Brad Stand as this corporate executive who likes to tell a story about Shania Twain to win over people and such as he’s a man that is quite vain in his ambitions only to realize how empty they can be. Finally, there’s Jason Schwartzman in a marvelous performance as Albert Markovski as this frustrated environmental activist who tries to make a difference as he deals with the different ideas of existentialism and his own issues with Brad as it’s Schwartzman in one of his funniest roles.

I Heart Huckabees is a smart and compelling film from David O. Russell. Armed with a great ensemble cast and very witty ideas about existentialism, the film is certainly a comedy that doesn’t play to any conventions. Especially as it showcases the idea of existentialism in its most absurd. In the end, I Heart Huckabees is a remarkable film from David O. Russell.

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

© thevoid99 2014

The Great Gatsby (2013 film)

Based on the novel by F. Scott Fitzgerald, The Great Gatsby is the story of a millionaire in the Roaring 20s as he lives an extravagant life as his new neighbor tries to get to know him and the mysteries about this millionaire. Directed by Baz Luhrmann and Luhrmann and Craig Pearce, the film is a stylized take on the famed novel with lots of lavish set pieces with a soundtrack that is mixture of 20s jazz with contemporary pop music. Starring Leonardo diCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Elizabeth Debicki, Jason Clarke, and Amitabh Bachchan as Meyer Wolfsheim. The Great Gatsby is a lavish yet mesmerizing film from Baz Luhrmann.

The film is the story a mysterious millionaire who throws these lavish parties in the hopes that an old flame would return to him to rekindle the love they once had. Yet, it is told largely from the perspective that millionaire’s neighbor Nick Carraway (Tobey Maguire) who is given personal access to the life and mind of this mysterious man known as Jay Gatsby (Leonardo diCaprio) as he recalls his time with the millionaire to a doctor (Jack Thompson). While Carraway tells this story, he delves into the mystery of Gatsby and his love for Carraway’s cousin Daisy (Carey Mulligan) who is married to a former polo player in Tom Buchanan (Joel Edgerton). Yet, secrets are unveiled as Carraway tries to guard everything about Gatsby who is eager to revive an old past that can’t be replicated.

The screenplay that Baz Luhrmann and Craig Pearce creates moves back-and-forth as it is told from a weary Carraway at a hospital many years after the events of the story. While it’s a narrative device that Luhrmann had used before, it does help to play into the many mysteries that are slowly revealed. Notably the character of Gatsby himself as he throws these very lavish parties but few people see him with the exception of Carraway and a famed golf pro in Jordan Baker (Elizabeth Debicki) as the latter sort of knows Gatsby. There is still a traditional three-act structure in the film where the first act is about Carraway’s arrival in 1920s New York City where he lives next door to Gatsby as he later meets him. The second act is Carraway reintroducing Gatsby to Daisy as the two try to replicate what they once had. The third is Gatsby’s attempt to win Daisy all over again for good in an attempt to repeat the past only to be exposed by the jealous Buchanan.

Carraway is the film’s observer as he would also take part in some of the decadence that occurs but he’s also the great protector where he would guard secrets but sometimes it would be the detriment to those involved. The character of Daisy is sort of this aloof young woman who has married this former polo champion who is also a philandering man with a mistress in Myrtle Wilson (Isla Fisher). By coming back to Gatsby, she is eager to find happiness again but she becomes conflicted in her devotion to Buchanan who is suspicious about Gatsby as he becomes a very conniving individual eager to expose Gatsby to the world. He would also be the person that would play into Gatsby’s fall in the third act as it leads to some tragic consequences that Carraway would never recover from.

Luhrmann’s direction is definitely outrageous as he goes for something that is very decadent as well as extravagant to play up the energy of the 1920s. Still, it emphasizes into what Luhrmann wanted to reveal into a world that is sort of out of touch with reality where Gatsby is this shadowy party host who has more ambiguous intentions for these parties. For the Carraway character, Luhrmann displays him as a man who is in the action but also out of the action as a man lost in a very crazy world. Luhrmann definitely creates a lot of compositions and set pieces that play up to that sense of excitement where these parties are out of control. Yet, he also does slow things a bit when it comes to the romance between Gatsby and Daisy as if it’s all about trying to repeat the past.

Since it is told from Carraway’s perspective as it uses a lot of voice-over narration, it does play into something where it is about a young man trying to find himself in the wake of this very chaotic period of time. Though there’s some flaws in the narration since it does give away a lot, it does help to flesh out some of the characters. While there are moments in the film where the decadent moments can be a bit overwhelming, it is balanced by some very lush scenes that unveil a sense of longing as well as the tragedy that comes into play in the third act. The direction is very stylized in where Luhrmann places the camera as well as the setting he creates where there is some tension but also drama. Overall, Luhrmann creates a very exciting and poignant film about love and secrets in a period of decadence.

Cinematographer Simon Duggan does excellent work with the film‘s very colorful cinematography with its exotic colors of the daytime and nighttime exteriors including some lighting schemes in the interiors plus some lush coloring for some of its flashback scenes. Editors Matt Villa, Jason Ballantine, and Jonathan Redmond do some nice work with the editing though it sometimes go a bit fast to play out that sense of chaos while it does slow down a bit as the film goes on to get a sense of what is happening in the drama. Production/costume designer Catherine Martin, with set decorator Beverley Dunn and supervising art director Ian Gracie, does amazing work with the lavish set pieces such as the Gatsby home and the look of 1920s New York City while the costumes are very colorful and full of style as it plays to the period of the times.

Hair designer Kerry Warn and makeup designer Maurizio Silvi do brilliant work with the look of the characters from the hair and some of the makeup to play that sense of sensationalism. Visual effects supervisor Tony Cole does terrific work with the visual effects for some of the exteriors of New York City to some backdrops for the surroundings the characters inhabit. Sound designer Wayne Pashley does superb work with the sound from the way the parties play out with its sense of energy to some of the intimate moments in the film. The film’s music by Craig Armstrong is wonderful for its lush orchestral music to play out the sense of romance between Gatsby and Daisy as well as some more heavy pieces to play out it‘s melancholia. Music supervisor Anton Monsted creates a very fine soundtrack of music that features an array of 20s jazz music mixed in with contemporary pop music from Jay-Z, the xx, Lana del Rey, Emile Sande, Fergie, and many others.

The casting by Nikki Barrett and Ronna Kress is fantastic for the ensemble that is created as it features some appearances from Barry Otto as a partygoer, Conor Forgarty as Gatsby’s butler, Adelaide Clemons as Myrtle’s cousin Catherine, Callan McAullife as the young Gatsby, and Jack Thompson as Carraway’s doctor Walter Perkins. Amitabh Bachchan is excellent as the gangster Meyer Wolfsheim as a man who is full of charisma as he treats Gatsby like an old friend while Jason Clarke is terrific as the oblivious George Wilson. Isla Fisher is wonderful as the very needy mistress Myrtle Wilson who feels slighted by Buchanan while Elizabeth Debicki is amazing as the very fun yet knowing Jordan Baker who guides Carraway into the world of the rich.

Joel Edgerton is great as the very devious Tom Buchanan as a man who does love Daisy but is suspicious about Gatsby though he admits to his own flaws as a man. Carey Mulligan is superb as Daisy Buchanan as a young woman who becomes conflicted in her devotion to Tom and her love for Gatsby as she’s also sort of flighty. Tobey Maguire is brilliant as Nick Carraway as an outsider who becomes part of the world while becoming the one person bearing the responsibility to carry the secrets he has learned from the people he meets. Finally, there’s Leonardo diCaprio in a remarkable role as Jay Gatsby as he’s a man that exudes charm and with while being totally cool where diCaprio also shows some humor in his performance as well as humility in the third as it is one of his finest performances.

The Great Gatsby is a marvelous film from Baz Luhrmann that features a phenomenal performance from Leonardo diCaprio. Along with a great supporting cast and some amazing technical work, the film is definitely a very sensational and excessive film that isn’t afraid to be style over substance. While it does have some flaws, it is still a film that is engaging for exploring that world of 1920s decadence as well as a man’s desire to reclaim the past. In the end, The Great Gatsby is a sprawling yet exciting film from Baz Luhrmann.

Baz Luhrmann Films: Strictly Ballroom - William Shakespeare's Romeo + Juliet - Moulin Rouge! - Australia - The Auteurs #23: Baz Luhrmann

© thevoid99 2013

The Lookout

Originally Written and Posted at Epinions.com on 3/31/07 w/ Additional Edits.

Written and directed by Scott Frank, The Lookout is about a young man, damaged from an accident several years ago who is left mentally impaired as he's forced to right notes and things to get his life going. When he meets an old friend from high school, he suddenly takes part in a bank heist that would eventually go wrong. Frank, who has been known for writing screenplays in films like Get Shorty, Out of Sight, and Minority Report makes his directorial debut where he takes a different approach of the heist film. Starring Joseph Gordon-Levitt Jeff Daniels, Matthew Goode, Isla Fisher, Carla Gugino, Bruce McGill, and Alberta Watson. The Lookout is a smart, intelligent character study/heist film from Scott Frank.

The star hockey player in his high school and one of the top students, Chris Pratt (Joseph Gordon-Levitt) seemed to have it made. He had rich parents in Robert and Barbara Pratt (Bruce McGill and Alberta Watson) and was someone many idolized. Then one night after prom, he and some friends were on his car where playing around until a seriously horrifying accident happened leaving Chris damaged. Four years later, Chris is alive but mentally and emotionally impaired as he can barely remember the accident or put things in order. Even opening a simple can opener can be troubling. He talks to his counselor in Janet (Carla Gugino) about his day-to-day problems while he lives with a blind cook named Lewis (Jeff Daniels). In the day, he goes to school to improve his sequencing order while at night, he works as a janitor in a bank for his boss Mr. Tuttle (David Huband) and trying to work as a teller with help from Mrs. Lange (Alex Borstein).

Then one night after work, Chris goes to a bar where he meets a guy named Gary Spargo (Matthew Goode) who claims to have known him back in high school. Gary buys him a beer as the two begin to meet frequently as Gary introduces him to a former dancer named Luvlee (Isla Fisher). Chris is invited to a party where Luvlee told him she remembered him back in school at a championship game he played as she seduces him. Chris enjoys the company as he was invited to a post-Thanksgiving dinner where he learns of a plan involving a bank heist at his own bank. Chris at first doesn't want to get involved but Gary tells him it will be the only way to get away from his own mundane, repetitive life. Chris gives in eventually with a bit of help from Luvlee while Lewis notices a change in Chris' attitude and the company he's surrounded by. With Chris unwittingly takes pictures of the bank, he doesn't become aware of what is really going on.

With the heist going underway, tension begins to mount as Chris is wondering if he's doing the right thing. With Gary and his gang deciding to rob the bank at night with Chris being the lookout, he realizes he's in a lot more than he bargained for.

Heist films often has this sense of tension where things could go wrong during a heist and this film plays to the tradition of heist films of the past. The only difference about this movie is that it's really about this young, emotionally/mentally damaged young man who is sucked into a world of crime as an escape to his own mundane, repetitive life. Writer/director Scott Frank creates a momentum where the audience gets to know Chris Pratt and all of the things he's done in his day-to-day life. Even when he has to remember things, he has to write them all onto a notepad. It's really an engaging character study of this young man who becomes part of a heist as he gets into a moral dilemma.

The way the heist is set up reveals how Chris at first, gets into it by trading a jacket his mother bought him to the way he reacts to his own mundane life. Then once the heist comes around, there is this eerie tension that Frank sets up where it's known that something goes wrong. Whether it's a visit from the deputy watchman in Deputy Ted (Sergio Di Zio) comes in to check on Chris. To the moment they break into the vault and knowing that trouble is coming around.

Then there's the line "whoever has the money, has the power" which then becomes a game about power. Gary wants to use the money to lure Chris into all sorts of temptation until Chris' own conscience gets the best of him. While mainstream audiences might find the film's momentum in the first two acts to be jarring, it pays off in the third act. Particularly in the ending where it doesn't play to Hollywood conventions or has twists. Everything plays out straightforward. Even the characters who each have some back story while Gary is also flawed in a physical way since he carries an inhaler. Overall, the film's smart writing and very observant, stylish direction works as Scott Frank makes a hell of a debut.

Helping Frank in his visual presentation is cinematographer Alar Kivilio whose intimate camera work in the interior settings play to the film's tension, notably in the heist sequence. The exterior work shot on location in Canada as Kansas works to play up to the film's cold feel including the opening sequence that involves fireflies. Production designer David Brisbin and art director Dennis Davenport help bring the American look to create the bars and apartments that Chris lives and works in. Costume designer Abram Waterhouse also adds to the look of dark colors for most of the cast to convey this aura of darkness. Editor Jill Savitt really shines with her stylistic editing to convey the tension and suspense while giving the use of flashbacks to reveal the troubling emotions of Chris. Sound editor Kelly Cabral plays to the film's tension, particularly in the final moments to convey the cold weather and what is to come. Composer James Newton Howard brings a very melodic, moody score to play to the troubling mind of Chris Pratt as well as the suspense during the heist and its aftermath.

The film's cast is wonderfully assembled with small performances from Janaya Stephens and Marc Devigne as Chris' older, adult siblings, David Huband and Alex Borstein as Chris' bank supervisors, Sergio Di Zio as the comical Deputy Ted who often gives Chris donuts, and Laura Vandervoort as Chris' former high school girlfriend Kelly who brings an eerie presence to the film. Playing Gary's gang are Morgan Kelly as Marty and Aaron Berg as Cork who are both excellent while it's Greg Dunham as Bone that really brings an excellent presence with his black long hair and black sunglasses. Carla Gugino is excellent in her one-scene performance as Chris' caseworker while veteran actors Bruce McGill and Alberta Watson are fine as Chris' parents who struggle their attempt to reconnect with their son.

Known to audiences for her comedic work in Wedding Crashers, Isla Fisher is wonderful as the sexy seductress Luvlee with her charming, vibrant charm while Fisher shows a bit more of her serious side in a very intriguing scene with Jeff Daniels where she proves that she's more than just some pretty face. In a performance that is really against type, Matthew Goode is superbly terrifying as Gary Spargo. Known to audiences for his romantic work in movies like Chasing Liberty, Imagine Me & You, and Woody Allen's Match Point, the British actor plays against his good looks for a shaved haircut and a beard as this tough, manipulative robber who want to have money and power while using his wits to manipulate the fragile Chris. Goode is truly a revelation as he proves his range, even doing an excellent American accent. Veteran actor Jeff Daniels is also superb as the blind Lewis whose comical comments and wit brings a lot of needed humor to the dark film while being the only friend that Chris has while trying to keep him grounded in the world he's being sucked in. It's a fantastic performance from the veteran actor.

Finally, there's Joseph Gordon-Levitt in another winning performance as Chris Pratt. What is more shocking in this angst-ridden, emotionally troubled performance is the restraint that Gordon-Levitt brings. There's a way he stands and how he is quiet when doing his work or writing in his notepad. The way he observes things with silent. It's a very minimalist performance that could've gone wrong with some huge outburst. Yet, Gordon-Levitt remains still though at times, he curses and tries to deal with his emotions. When he's sucked in, he becomes a bit more selfish while remaining restrained and right to the end, he becomes a full-on acting powerhouse. This is not the same child actor we've known in Angels in the Outfield or the teen from 3rd Rock from the Sun. Joseph Gordon-Levitt proves he is for real and has what it takes to carry a film like this which he's also proven in films like Mysterious Skin and Brick.

The Lookout is a smart, engaging, entrancing crime drama from Scott Frank featuring a wonderfully leading performance from Joseph Gordon-Levitt. Fans of heist films will enjoy the tension and momentum it builds up while mainstream audiences should give the film's slow build-up a chance to be sucked in. With a fantastic supporting cast including Jeff Daniels, Matthew Goode, and Isla Fisher, it's a film that features great performances, witty dialogue, and great scenes that audiences can enjoy. Yet, the film really belongs to both Frank and Gordon-Levitt as a new director has now emerged while Gordon-Levitt continues to become a force in American Cinema. For anyone wanting a smart alternative to some of the big films this spring, check out The Lookout.

(C) thevoid99 2012

Rango

Directed by Gore Verbinski and screenplay by John Logan from a story by Verbinski, Logan, and James Ward Byrkit, Rango is about a pet chameleon who finds himself in a desert town where he becomes an unlikely sheriff to fight off villains. The animated film is a modern-day approach to the western as it features various film references while making it accessible for a wider audience. With a voice cast led by Johnny Depp, Isla Fisher, Abigail Breslin, Ned Beatty, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, and Timothy Olyphant. Rango is a stylish and very entertaining animated-western from Gore Verbinski.

An unnamed pet chameleon (Johnny Depp) gets stranded somewhere in the middle of the desert where he meets a wounded armadillo named Roadkill (Alfred Molina) who is trying to find the mysterious Spirit of the West. With the chameleon trying to survive the hot desert and its surroundings, he meets up with a desert iguana named Bean (Isla Fisher) who is a rancher’s daughter trying to save her land. She takes the chameleon to a town called Dirt as the locals are trying to deal with a water shortage where the chameleon ends up calling himself Rango where he deals with a small posse led by Bad Bill (Ray Winstone) and later a hawk whom he accidentally kills. Rango’s antics impress the town’s mayor (Ned Beatty) who appoints him as sheriff as Rango’s claims of his adventures has him trying to figure out the water shortage.

Rango gathers a posse that includes Bean to figure out what’s going on as the water jug bank had been stolen by a group of moles led by Balthazar (Harry Dean Stanton). During the journey, Rango and the posse makes some discovery as they retrieve the jug only to realize something is up where Balthazar isn’t the one they’re after. Rango suspects that the mayor is involved since he states that he who controls the water controls everything where Rango is forced to deal with a vicious gunslinger named Rattlesnake Jake (Bill Nighy). After revealing what he really is, Rango reluctantly leaves town until he meets the mystical Spirit of the West (Timothy Olyphant) who provides him with the answers Rango needs.

The film is essentially a modern-day genre-bending film where a pet chameleon, with a wild sense of imagination, suddenly finds himself in a Western town where he faces a world of corruption where a bunch of locals are finding hope in this horrible drought. That’s pretty much what the film is about as it’s filled with numerous film references including the classic westerns of Sergio Leone and Roman Polanski’s Chinatown in relation to the drought storyline. Screenwriter John Logan does manage to infuse these storylines and film references to create a very compelling yet fun western that is filled with lots of silly humor and character development. Notably for the titular character who is just a lizard that likes to act as indicated in the opening scene while he realizes that he might have to go full-on with this role.

While the script is sort of predictable in its set-up and creating characters that are essentially archetypes of various characters in the western genre. They all manage to still be very interesting and engaging while Logan also adds surreal elements that play up with the genre. Overall, Logan creates a very crafty and thrilling script that doesn’t get boring and create a western that does a lot for what is expected in its genre.

Gore Verbinski’s direction is definitely full of style as he creates lots of wide compositions, character close-ups and scenery where some of it is really a tribute to the visual style of Sergio Leone. The animation from supervisor Hal T. Hickel is truly whimsical in the way Verbinski wants to create this world where it’s a clash between the old world and a new one that the mayor wants. With additional help from renowned cinematographer Roger Deakins for the visuals, Verbinski is able to create a look that is true to the western but also dream-like for some of its nighttime scenes. Overall, Verbinski creates a truly engaging and visually-astonishing film that brings more to what an animated-western does and make it a whole lot of fun.

Editor Craig Wood does superb work with the editing to play up with some of the film‘s humor and suspense along with some amazing rhythmic cuts for a huge chase scene and stylized ones for the showdowns. Production designer Mark “Crash” McCreery, along with art directors John Bell and Aaron McBride, does excellent work in the set pieces created for the town of Dirt where everything looks decayed. Visual effects supervisor John Knoll does fantastic work with the visual effects to play up some of the surreal imagery that Rango encounters in his journey. Sound designer Peter Miller and sound editor Addison Teague do amazing work with the sound to help set a mood for some of the film‘s suspense and in the showdowns that occur.

The film’s score by Hans Zimmer is marvelous for its mixture of bombast and orchestral flourishes that is also very operatic. Notably as the score is very similar to the music of Ennio Morricone with its huge arrangements, twangy guitars, and blaring trumpets to help set the mood. Along with some contributions from Johann Strauss and Richard Wagner to play with the score and contributions from Los Lobos for some of the original songs and the industrial band Lard in the score. The music that Zimmer creates is definitely one of his best as it’s a major highlight of the film.

The voice casting by Denise Chaiman is brilliant for the cast that is assembled as the actors that contribute to smaller characters in the film include Beth Grant, Vincent Kartheiser, Alana Ulbach, Chris Parsons, Blake Clark, Patrika Darbo, director Gore Verbinski, and Stephen Root who voices some of the characters including the bank manager Merrimack. Other notable small voice roles include Timothy Olyphant as the mysterious Spirit of the West, Alfred Molina as the Don Quixote armadillo Roadkill, Abigil Breslin as the witty cactus mouse Priscilla, Ray Winstone as the gila monster Bad Bill, and Harry Dean Stanton as the old-timer mole Balthazar. Bill Nighy is excellent as the cool, Lee Van Cleef-inspired villain Rattlesnake Jake while Ned Beatty is funny in doing a great John Huston impression as the town’s corrupt mayor. Isla Fisher is wonderful as the cunning desert Iguana Beans who tries to fight for her land while helping Rango out. Finally, there’s Johnny Depp in a fantastic performance as the titular character as he brings a lot of humor and swagger to his character making it one of the most enjoyable animated characters on film.

Rango is an extraordinarily rich and whimsical animated film from Gore Verbinski. Thanks to a very talented voice cast led by Johnny Depp, the film is truly an animated film that appeals more than just a young audience. Notably as it features numerous film references that film buffs can enjoy and elements of the western that western aficionados can love. In the end, Rango is a superb animated-western from Gore Verbinski.

Gore Verbinski Films: (MouseHunt) - (The Mexican) - (The Ring (2002 film)) - (Pirates of the Caribbean: Curse of the Black Pearl) - (The Weather Man) - (Pirates of the Caribbean: Dead Man’s Chest) - (Pirates of the Caribbean: At World’s End) - (Lone Ranger (2013 film))

© thevoid99 2012