Justice League

Based on the characters from DC Comics, Justice League is the story of a group of superheroes who form a team to stop a major threat from unleashing havoc on Earth as well as secure a trio of boxes to stop this threat. Directed by Zack Snyder with additional direction by Joss Whedon and screenplay by Whedon and Chris Terrio from a story by Terrio and Snyder, the film is superhero movie that feature many revered superheroes who come together and save the world as they also deal with themselves. Starring Ben Affleck, Gal Gadot, Henry Cavill, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Diane Lane, Amber Heard, Jeremy Irons, Connie Nielsen, J.K. Simmons, and Ciaran Hinds as the voice of Steppenwolf. Justice League is a thrilling though underwhelming film from Zack Snyder.

The film is a simple story in which a group of superheroes team up to face a super threat as it all takes place on Earth following the death of Superman/Clark Kent (Henry Cavill) during a major battle. For Batman/Bruce Wayne (Ben Affleck), he is consumed with guilt for not doing enough to help Superman as he encounters a major threat forcing him to call upon Wonder Woman/Diana Prince (Gal Gadot) to help him recruit other figures with special abilities. The film’s screenplay by Chris Terrio with additional work from Joss Whedon does play into the stakes yet it doesn’t do enough to introduce the other characters that would be part of this team and information about these mysterious boxes that the Justice League has to get to stop this antagonist in Steppenwolf. The first act is about Wayne and Prince recruiting the other supers into the Justice League with the Flash/Barry Allen (Ezra Miller) immediately saying yes while Cyborg/Victor Stone (Ray Fisher) and Aquaman/Arthur Curry (Jason Momoa) initially decline until Steppenwolf get involved with their personal lives.

The boxes that are known as the Mother Boxes are all sources of power that Steppenwolf wants to use to destroy the world but he had been thwarted many centuries ago by an alliance of men, Atlanteans, Olympian Gods, the Green Lantern Corps, and Amazonians who agreed to hide the boxes from Steppenwolf. The character of Steppenwolf is a villain that is underwritten due to the fact that he’s not compelling and is never really fleshed out. The script also doesn’t do much Stone as there is little to know about his origin as a kid who survived a car accident only for his father Silas (Joe Morton) to have one of the three boxes to use to create a new cyborg body that Stone would use to retrieve all sorts of information. While Allen and Curry do get a bit of back story, they’re also hampered by the script’s shortcomings due to the fact that they never get a proper introduction though there’s brief mention of why Allen can run so fast and emit electricity.

Zack Snyder’s direction is definitely lavish with some dream-like compositions to play into a world coping with loss as well as a growing sense of hopelessness and danger. Shot mainly at the Warner Brothers Studios in Leavesden in Britain with additional locations around London, Los Angeles, Chicago, parts of Scotland, and Iceland. Snyder does establish a world on the brink of chaos and despair as he does create some unique wide shots for some scenes including Wayne’s meeting with Curry in an attempt to get him on board. There are also some close-ups and medium shots in the film to play into the characters interacting with one another as Snyder does know where to put a few moments of humor in the film as well as giving audiences a break for the action. It’s among some of the things that Snyder and his replacement in Joss Whedon would succeed in doing but it’s not enough to make the film more engaging than it needed to be.

Among these issues is that there is this feeling that there’s a longer film in there somewhere as Whedon had to make some compromises to make it less messy but it undercuts some of the moments with the characters as Stone isn’t given a lot to do in how he became Cyborg while the sequence about the origin of Steppenwolf and the three boxes seem to feel like there was a longer version presented. Then there’s many of the visual set pieces as it relates to the action where Snyder and Whedon try to create so much action and visual textures yet the emphasis on visual effects do overwhelm the action including the film’s climax where the Justice League faces off against Steppenwolf and his army. It also has these clunky moments where they try to do so much but ends up being overkill in moments where it wants to be funny and exciting with moments that are serious. Overall, Snyder and Whedon crafts a worthwhile but lackluster film about a group of superheroes coming together to save the world.

Cinematographer Fabian Wagner does some fine work with the cinematography in terms of setting the mood for some scenes at night with its lighting although the reliance on de-saturated colors is overkill as it doesn’t do enough to make the film visually vibrant in favor of grittiness that doesn’t entirely work. Editors David Brenner, Richard Pearson, and Martin Walsh do some good work in the editing in creating some fast-cuts for some of the action though there’s moments where there is too much fast-cutting where it doesn’t do enough to establish what is going on in these action sequences. Production designer Patrick Tatpoulos, with set decorator Dominic Capron and senior art director Matthew Gray, does excellent work with the look of the Batcave where Wayne does much of his work and serves as a temporary base for the Justice League as well as the look of the place where Steppenwolf wants to use the Mother Boxes. Costume designer Michael Wilkinson does amazing work with the costumes in the look of the characters as well as the casual clothes they would wear when they’re not working as superheroes.

Makeup designer Victoria Down does nice work with the look of the characters from the look of Cyborg as well as the tattoos on Curry. Special effects supervisor Mark Holt and visual effects supervisor John “D.J.” Des Jardin do some terrific work on the visual effects for the design of the monsters though its usage as set-dressing isn’t inspired while the look of Steppenwolf is underwhelming as well as the awkward look of Clark Kent when he smiles. Sound designer Chuck Michael does superb work with the sound in the way the aliens sound as well as some of the weapons and the layer of sounds in the film’s climax. The film’s music by Danny Elfman is wonderful for its orchestral bombast that help play into the action and suspense along with a few low-key pieces for the non-action scenes while music supervisor Karen Elliott does do some OK work on the soundtrack as it includes music from the White Stripes as well as covers of songs by Sigrid doing Leonard Cohen’s Everybody Knows and Gary Clark with Junkie XL doing the Beatles’ Come Together.

The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is great as it feature some notable small roles and appearances from Billy Crudup as Allen’s father Henry, Joe Morton as Stone’s father Silas, Amber Heard as the Atlantean Mera who knows Curry’s mother, Connie Nielsen as Prince’s mother Queen Hippolyta who would send her daughter a signal about Steppenwolf, Michael McElhatton as a terrorist Diana defeats early in the film, Diane Lane as Kent’s adoptive mother Martha Kent, and J.K. Simmons as Gotham police commissioner James Gordon who briefs members of the Justice League about the kidnappings at Gotham. Amy Adams is fantastic as Lois Lane as the reporter for the Daily Planet and Clark Kent’s love interest who copes with not just loss but also the sense of hopelessness despite the efforts of the Justice League. Ciaran Hinds is OK as Steppenwolf as he provides the voice of this menacing figure though it’s a character that is severely underwritten and not really given much to do but go after the Mother Boxes and kill good people.

Henry Cavill is good as Clark Kent/Superman as he’s first seen in an Instagram video as the superhero where he would later be part of a plan to be revived as Cavill has his moments despite some bad visual effects on his face. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/assistant who is the film’s conscience of sorts as someone who helps the Justice League with information as well as be aware of what is at stake. Ray Fisher is alright as Victor Stone/Cyborg as a former athlete who survived an accident that would have him sport a machine-like body as he deals with his abilities and being alive as Fisher has his moments though he’s not given a lot to do. Jason Momoa is superb as Arthur Curry/Aquaman as a half-Atlantean/half-human man that has the ability to control water and such as he is reluctant to join the Justice League until Atlantis was attacked prompting him to join as he does provide some funny moments.

Ezra Miller is brilliant as Barry Allen/the Flash as a young superhero who can run very fast and emit electricity as he is an admitted loner that has a hard time trying to get friends as he is also a fanboy of sorts in working with Batman and Wonder Woman as he is fun to watch. Gal Gadot is amazing as Diana Prince/Wonder Woman as the Amazonian princess who learns about Steppenwolf’s return as she decides to help Wayne out in forming the Justice League while dealing with her own reluctance to help out humanity. Finally, there’s Ben Affleck in an incredible performance as Bruce Wayne/Batman as the vigilante who decides to form a team as a way to make amends for his anger towards Superman while being aware of this threat as knows he’s been in too many battles but is hoping to save the world.

Justice League is a terrific though underwhelming film from Zack Snyder and Joss Whedon. Despite its great cast, some nice action set pieces, and bits of humor, it’s a film that falls short in what it needed to be as this epic superhero cross-over film with high stakes. Especially as it rely too much on visual effects and spectacles that don’t really do much for the story that needed to flesh out the characters more. In the end, Justice League is a good but lackluster film from Zack Snyder and Joss Whedon.

Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch

Joss Whedon Films: Serenity - The Avengers (2012 film) - Much Ado About Nothing (2012 film) - The Avengers: Age of Ultron

DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Aquaman – Shazam! – Birds of Prey - (Wonder Woman 1984) - (The Batman) - (The Suicide Squad)

© thevoid99 2018

The French Lieutenant's Woman

Based on the novel by John Fowles, The French Lieutenant’s Woman is the story of a Victorian-era gentleman who falls for a social outcast during the 19th Century while two actors playing the characters in a production of the film fall in love with each other. Directed by Karel Reisz and screenplay by Harold Pinter, the film is an unusual drama that mixes the period film with postmodern aesthetics to play into two cross-cutting narratives that blur reality and fantasy. Starring Meryl Streep, Jeremy Irons, Hilton McRae, Emily Morgan, Peter Vaughan, Leo McKern, Richard Griffiths, and Penelope Wilton. The French Lieutenant’s Woman is a ravishing and evocative film from Karel Weisz.

The film follows the love affair between a Victoria-era gentleman in Britain and a social outcast that is considered forbidden as the former is engaged to the daughter of a revered gentleman. At the same time, the story parallels with two actors taking part in a film production of the story that is being told as they’re having their own affair. Harold Pinter’s screenplay provides a cross-cutting narrative of sorts as the bulk of the film is about the story between the paleontologist Charles Smithson (Jeremy Irons) and this mysterious woman in Sarah Woodruff (Meryl Streep) whom he meets as she is standing on a pier during a windy and rainy day. Their relationship is one of intrigue from Smithson’s point of view as he is wondering about her story and why she is considered an outcast. Even as Smithson is reminding himself that he has an obligation to marry Ernestina (Lynsey Baxter) but remains entranced by Woodruff’s presence who often looks out at the sea as it relates to her sense of loss and longing as she had an affair with a married French officer.

Pinter’s script would also have this paralleling storyline in which the actors playing the characters of Smithson in Mike (Jeremy Irons) and Woodruff in the American actress Anna (Meryl Streep) who both begin an affair during the production as they try to figure out the story and characters they’re playing. Yet, their relationship has some complications as both of them are married to other people with Mike wanting to pursue Anna similar to what Smithson is doing in his pursuit towards Woodruff. Still, there is something about Woodruff that is compelling as she is a person that is anguished in her longing as it would often lead to episodes of madness which would drive Smithson into making impulsive decisions into his obsession for Woodruff.

Karel Reisz’s direction is quite exquisite for the way he would mirror certain locations of what it looked like in the 19th Century and what it would look like in the late 20th Century. Shot on various locations in Britain such as Lake Windermere, Exeter, Lyme Regis, the docks of London, and sets at the Twickenham Studios in Britain. The film does play into a world where many of the ideas of obsession and desire haven’t changed where Reisz would be in a certain location where the main story is taking place and then transport it to where the story is being told by the actors as they’re making the film. The approach to the compositions as well as trying to match it whether it’s in a wide or medium shot allows this line of fantasy and reality to emerge though the actors playing these characters are unaware of their relationship starting to mirror the way Smithson and Woodruff happens. Reisz’s close-ups would play into the growing relationship between the two couples in the film while he would create these exquisite wide shots to play into Woodruff’s sense of longing including this opening shot of Anna as Woodruff walking into the pier where Smithson would first meet her.

Reisz’s direction would also infuse elements of melodrama in some aspects of the main story as it relates to Smithson’s own search for Woodruff when she’s been sent away as he turns to others for help as they’re reluctant to knowing it would hurt his social status. Reisz would use some long shots to play into some of the monologues that happens including one in the forest where Woodruff reveals her affair with the French officer and how it ruined her to the point that she would turn into an outcast. The film’s third act would play into the pursuits of Smithson/Mike towards Woodruff/Anna with the latter in Anna attending a gathering held by Mike where it adds some confusion about what she wants to do in her relationship with Mike. Even as they’re about to film the ending as it is revealed that the book had multiple endings. One of which Reisz would make the choice as it add into the journey of these two couples with two different outcomes that blur reality and fiction. Overall, Reisz creates a riveting and enchanting film about a man pursuing an outcast in Victorian-era Britain with its players falling for each other.

Cinematographer Freddie Francis does incredible work with the film’s cinematography with its low-key yet naturalistic look for many of the daytime exterior scenes in the forests as well as the usage of available lighting for scenes at night while the 20th Century scenes is presented with bits of style in its usage of artificial lighting. Editor John Bloom does excellent work with the editing with its stylish transitions in some match cutting of locations in its different time periods as well as some rhythmic cuts to play into the drama. Production designer Assheton Gordon, with set decorator Ann Mollo plus art directors Allan Cameron, Norman Dorme, and Terry Pritchard, does brilliant work with the look of the sets of the 19th Century scenes from the rooms and offices where Smithson goes to as well as the hotel room that Mike and Anna stay at.

Costume designer Tom Rand does fantastic work with the period costumes of the 19th Century scenes as it play into the look and mood of the characters while going for something more casual for the scenes with Mike and Anna. Sound editor Don Sharpe does superb work with the sound in creating some natural textures in some of the locations as well as capturing some of the chaos in the some of the locations. The film’s music by Carl Davis is wonderful for its somber orchestral score that play into the drama as well as in some of the romantic scenes while the soundtrack include a couple of pieces by Johann Sebastian Bach and Wolfgang Amadeus Mozart.

The casting by Patsy Pollock is marvelous as it feature some notable small roles from Penelope Wilton as Mike’s wife Sonia, Peter Vaughan as Ernestina’s father, Richard Griffiths as a young nobleman Smithson gets drunk with, Emily Morgan as a young maid named Mary, Hilton McRae as Smithson’s assistant Sam, Lynsey Baxter as Smithson’s fiancée Ernestina, Charlotte Mitchell as an old woman Woodruff works for, and Leo McKern in a superb performance as Smithson’s mentor Dr. Grogan who helps Smithson trying to decide what is right. Finally, there’s the duo of Jeremy Irons and Meryl Streep in phenomenal performances in their respective dual roles of Charles Smithson/Mike and Sarah Woodruff/Anna. Irons provides a determination as well as a sensitivity in his approach to Smithson who would eventually become obsessed while is more calm but troubled as Mike. Streep has this air of radiance in her approach as Woodruff as a woman filled with a lot of anguish and torment to express her madness while is a bit more aloof yet witty as Anna.

The French Lieutenant’s Woman is a sensational film from Karel Reisz that features great performances from Meryl Streep and Jeremy Irons. Along with Harold Pinter’s inventive script, gorgeous visuals, and a sumptuous score, the film is truly an offbeat yet rapturous film that explores relationships and the pursuit of that in different time periods with two couples taking on paralleling journeys. In the end, The French Lieutenant’s Woman is an incredible film from Karel Reisz.

Karel Reisz Films: (Momma Don’t Allow) – (We Are the Lambeth Boys) – (Saturday Night and Sunday Morning) – (Night Must Fall) – (Morgan – A Suitable Case for Treatment) – (Isadora) – (The Gambler (1974 film)) – (Who’ll Stop the Rain) – (Sweet Dreams (1985 film)) – (Everybody Wins (1990 film))

© thevoid99 2018

Batman v Superman: Dawn of Justice

Based on the characters from DC Comics, Batman v Superman: Dawn of Justice is about two superheroes who both go into conflict with each other unaware that a mogul is stirring the pot from underneath to get them to kill each other. Directed by Zack Snyder and screenplay by David S. Goyer and Chris Terrio, the film is a sequel to 2013’s Man of Steel where Superman copes with being a polarizing figure in the world with Batman being uneasy with Superman’s action from that film as Superman/Clark Kent/Kal-El is once again played by Henry Cavill and Batman/Bruce Wayne is played by Ben Affleck. Also starring Amy Adams, Jesse Eisenberg, Laurence Fishburne, Diane Lane, Jeremy Irons, Holly Hunter, and Gal Gadot as Diana Prince/Wonder Woman. Batman v Superman: Dawn of Justice is an enthralling but messy film from Zack Snyder.

The film revolves around a growing conflict between two superheroes who both want to do good but have different ideas of what to do with it as they would eventually have a showdown unaware that a mogul is trying to get them to fight each other for his own gain. It’s a film that plays into not just actions but also its consequences where it begins with the climatic showdown between Superman and Zod at Gotham from Man of Steel but it is seen from the perspective of Bruce Wayne who would watch thousands of innocent people killed including some of his employees at a building he owns with one of them losing his legs. Superman not only copes with being a polarizing figure trying to do good though innocent people would be killed in these attempts as members of the United States government want to question his intentions. Still, Clark Kent would question the intentions of Batman who had been doing vigilante work on his own brand of justice where even the people of Gotham are afraid of him.

The film’s screenplay by David S. Goyer and Chris Terrio definitely play not into this conflict between these two men but also questioning themselves where Wayne and several others aren’t sure if Superman is really trying to do good as there are those who are also willing to discredit Superman. The one person that is doing that and more as well as stirring the pot between Batman and Superman is this mogul in Lex Luthor (Jesse Eisenberg). While Wayne’s longtime butler Alfred Pennyworth (Jeremy Irons) believe that Superman isn’t the enemy and Kent’s adoptive mother Martha (Diane Lane) tries to assure her son to do good no matter all of the bad that is happening. Even Kent’s girlfriend/fellow journalist Lois Lane (Amy Adams) tries to assure Clark that he is doing good while she would do her own investigation into a bullet shell she found in Africa during an assignment that went wrong where Superman saved her but he would be accused of killing several people.

While the film’s script does establish the characters including their motivation as well as their own suspicions. The narrative however is a total mess due to the fact that there is so much that is going on as well as a lot of exposition of how Luthor views the world and this subplot that relates to these other individuals with superpowers that Wayne would learn. One of which would reveal to be Wonder Woman who would be integral to the film’s climax as she brings some weight into unveiling the truth of what is happening and who is the real enemy. Yet, the journey for Wonder Woman to be involved is a clunky one in the script as other aspects that relate to the suspicion Wayne and Kent have toward each other as well as the government’s suspicion on Superman aren’t fully realized.

Zack Snyder’s direction definitely has a lot of stylistic elements not just in the conventional aspects of bombastic action films but it does have moments where he does break away from the action. Shot on various locations in Detroit, Chicago, and parts of New Mexico as Africa, the film does play into a world that is uncertain about what is going to happen with Superman being seen as a savior for some but others see him as a false idol. Snyder does use a lot of wide shots to establish some of the locations as well as some medium shots to play into the vastness of the crowds along with some of the conversations. There are some close-ups where Snyder does play into some of the intrigue such as a meeting between Wayne and Diana Prince at a museum where the former is intrigued by the latter. It’s among one of the highlights of the film that shows Snyder just restraining himself a bit as well in his slow-motion action scenes.

The direction does have moment that feature moments that are surreal such as a few dream sequences of what Wayne is dealing with as it relates to the death of his parents and the idea of Superman as a threat. There are moments that drive the story such as Superman attending the U.S. Senate Committee in the hope that he can announce his intentions which would lead to a key plot point in the film. It’s just that Snyder tends to draw things out while also trying to find time to introduce other characters that is to be part of something bigger. It is part of the reason for the film’s uneven tone where there is this story about Superman going against Batman but also wanting to tell the story of these two men working together for something good. The film’s climax where the two team up with Wonder Woman to face a monster called Doomsday is quite thrilling but it is followed by a more drawn-out ending that goes a little overboard. Overall, Snyder does create an exhilarating yet flawed film about two superheroes being manipulated by a tyrannical mogul who wants them both dead by killing each other.

Cinematographer Larry Fong does excellent work with the film‘s stylish cinematography with its usage of de-saturated colors and some low-key grainy camera work for some of the nighttime interiors as well as the usage of blue and sepia for some of the daytime exteriors. Editor David Brenner does nice work with the editing as it does go into the typical fast-cutting style that is expected in action films though it does allow each scene to establish what is going on while it also has some stylish jump-cuts. Production designer Patrick Tatapoulos, with set decorator Carolyn “Cal” Loucks and supervising art director Troy Sizemore, does brilliant work with the look of the Luthor estate as well as the home and land of Bruce Wayne along with the secret room where he does his own investigation with Alfred. Costume designer Michael Wilkinson does fantastic work with the design of the costumes that Superman, Batman, and Wonder Woman wear as well as those gorgeous dresses that Prince wears in social gatherings.

Visual effects supervisor John “D.J.“ Des Jardin does amazing work with the visual effects as it play into some of the design of the cities and the powers of Superman as well as in the look of the monster that is Doomsday. Sound designers Chuck Michael and Jussi Tegelman, with sound editor Scott Hecker, do superb work with the sound with the layer of sound effects and the way Doomsday sound along with how some of the locations are presented with the sound. The film’s music by Tom Holkenberg aka Junkie XL and Hans Zimmer is wonderful for its mixture of bombastic orchestral score provided by Zimmer with some of Holkenberg‘s approach to rock and electronic power as it has some amazing themes including the one for Wonder Woman‘s arrival.

The casting by Jo Edna Boldin, Kristy Carlson, and Lora Kennedy is great as it feature some notable small role and appearances from news reporters Soledad O’Brien, Anderson Cooper, and Charlie Rose as themselves along with the famed astrophysicist Neil deGrasse Tyson as himself. Other small roles from Jeffrey Dean Morgan and Lauren Cohan as Bruce’s parents in the flashback scene of their murder, Michael Cassidy as the young Bruce, Mark Edward Taylor as an executive at Wayne Enterprises who would be killed in the film’s opening sequence, Christina Wren and Harry Lennix in their respective roles as Major Farris and Secretary Swanwick who are among the few that believe that Superman was set-up in Africa, Kevin Costner in a cameo appearance as Clark’s adoptive father Jonathan Kent, and Robin Atkin Downes as performance-capture model of the monster that is Doomsday.

Other noteworthy small roles include Scoot McNairy as a former Wayne Enterprises employee Wallace Keefe who has a legit grudge towards Superman, Tao Okamoto as Luthor’s assistant Mercy Graves, and Callan Mulvey as the Russian terrorist Anatoli Knyazev whom Wayne suspects to have some affiliation with Luthor as he would also be involved in setting up Superman for an incident in Africa. Holly Hunter is terrific as Senator June Finch as a woman that wants to question Superman to see if his intentions are good while becoming uneasy about Luthor and his obsession towards Superman. Diane Lane is fantastic as Martha Kent as Clark’s adoptive mother who tries to assure her son about his role in the world as she would also become a key factor in the climax into what Superman has to fight for.

Laurence Fishburne is superb as Daily Planet editor-in-chief Perry White who is frustrated with Kent’s frequent absences and the compromises he had to make to keep his paper afloat. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/guardian who is kind of the conscience of sorts while getting to say some funny lines as well as have Wayne see reason about what Superman is doing. Amy Adams is amazing as Lois Lane as Kent’s colleague/lover who is trying to see what really happened in Africa as well as try to help Kent see that he is someone trying to do good. Jesse Eisenberg is brilliant as Lex Luthor as a mogul who despises Superman and will do anything to destroy him where Eisenberg has this darkly-comic approach to the character that is quite offbeat but fun to watch.

In the role of Diana Prince/Wonder Woman, Gal Gadot is phenomenal as the Amazonian warrior who disguises herself as an antiques dealer who doesn’t appear much but her scenes do provide some importance while showing what she can do when she is Wonder Woman when she joins the fight against Doomsday as she steals the show. Henry Cavill is marvelous as Clark Kent/Kal-El/Superman as someone who is struggling with his role as a superhero while dealing with its consequences and expectations where he also finds himself in conflict with Batman over different ideas of doing good. Finally, there’s Ben Affleck in a remarkable performance as Bruce Wayne/Batman as a vigilante who brings fear to his enemies as he wonders if Superman is really on Earth to bring chaos as well as have suspicion towards Luthor where he makes a discovery about others who might join in the fight for good where Affleck really brings in the sense of ingenuity and awesomeness that is Batman.

Despite its flaws due to a messy script and some drawn-out storylines including its ending, Batman v Superman: Dawn of Justice is still a terrific film from Zack Snyder. Featuring a great cast, a fantastic score, dazzling visual effects, and an intriguing yet flawed premise, it is a superhero film that is exciting while setting the stage for something bigger to come. In the end, Batman v Superman: Dawn of Justice is a stellar film from Zack Snyder.

Zack Snyder Films: (Dawn of the Dead (2004 film)) - 300 - Watchmen - (Legend of the Guardians: The Owls of Ga’Hoole) - Sucker Punch - Man of Steel

DC Extended Universe: Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey - (Wonder Woman 1984) - (The Batman) - (The Suicide Squad)

Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - The Lego Batman Movie

Superman Films: (Superman) - (Superman II) - (Superman III) - (Superman IV: The Quest for Peace) - (Superman Returns) - (Superman II: The Richard Donner’s Cut)

© thevoid99 2016

Kafka

Directed and edited by Steven Soderbergh and written by Lem Dobbs, Kafka is the story of an insurance worker who finds himself in the middle of a secret war involving two underground organizations who are wreaking havoc in 1919 Prague. Inspired by the works of Franz Kafka, the film is a mixture of a mystery thriller mixed in with elements of the bio-pic as it explores the life of Franz Kafka as he is played by Jeremy Irons. Also starring Theresa Russell, Ian Holm, Jeroen Krabbe, Joel Grey, Armin Mueller-Stahl, and Alec Guinness. Kafka is a mesmerizing yet very odd film from Steven Soderbergh.

The film is a very weird story where an insurance office drone finds himself in the middle of a conflict between two underground organizations in 1919 Prague. All of which plays into a world that Franz Kafka is in as he struggles to maintain a low profile and live his life only to be sucked in towards a group of anarchists trying to stop a secret organization following the disappearance of a co-worker of Kafka’s. Lem Dobbs’ screenplay uses a lot of references to the works of Kafka that adds a unique narrative that blurs the line between reality and fiction. Much of it plays into ideas of man going against the ideas of conformity as Kafka struggles with not bringing attention to himself despite getting a promotion and endure many expectations of being part of society. Yet, Kafka’s encounters with people being killed and all sorts of strange occurrences lead to questions about what is going and why there is this effort to control things.

Steven Soderbergh’s direction is very stylish as it serves as a homage to German Expressionism in terms of its look and feel. Much of it would feature slanted camera angles as well as some unique compositions to play into the sense of style that would also recall something that is visually-enthralling its look and setting. Shot partially on location in Prague, the film has this feel of something that feels like a world in transition where a new world order is emerging but with elements of the old world where there are still rules. The film opens with a chilling scene of a man being chased by this crazed psychopath as it would set the tone of what is to come. Much of Soderbergh’s compositions include some unique close-ups and medium shots while his approach to wide shots for some of its interior settings are entrancing to watch.

While there’s a few elements in the film that don’t work such as the bumbling assistants who work for Kafka following his promotion. It’s Soderbergh trying to inject bits of humor in a film that is quite serious though some parts of that humor involving a friend of Kafka in Mr. Bizzlebek (Jeroen Krabbe) does work as he is a very effective character. Serving as his own editor, Soderbergh does play into the Expressionist style in a few of the dissolves along with some jump-cuts to play into the drama and suspense. The film’s climax involves a brief sequence where it adds to this element of surrealism where the film is shot in color to showcase the world that Kafka has to penetrate as he sees what they’re about. Overall, Soderbergh creates a very stylish yet evocative film about a man dealing with the constraints of society.

Cinematographer Walt Lloyd does amazing work with the film‘s black-and-white cinematography with its use of lightings and shadows for many of the interior and scenes at night while the brief use of color in its climax is very potent. Production designer Gavin Bocquet, with set decorator Joanne Woollard and art director Leslie Tomkins, does fantastic work with the set pieces from the file rooms as well as the bar that Kafka goes to as well as the strange world inside the mysterious castle. Costume designer Michael Jeffrey does excellent work with the period costumes to play into that look of German Expressionism with its suits and hats for the men as well as the dresses that the women wear

Sound editor Larry Blake and sound designer Mark A. Mangini do superb work with the sound from some of the sound effects that occur in the anarchists‘ secret base to the underground lair that is the secret castle. The film’s music by Cliff Martinez is great as it features bits of electronic music with its low-key synthesizers along with some offbeat pieces with the use of pianos and instruments that play into the sense of the times.

The casting by Susie Figgis is brilliant for the ensemble that is created that includes notable small roles from David Jensen as the psychotic killer, Brian Glover as a henchman in the castle, Maria Miles as a former fiancee of Kafka, Robert Flemyng as keeper of the files, Keith Allen and Simon McBurney as the idiotic assistants of Kafka, and Ian Holm in a terrific small role as the mysterious Dr. Murnau who is seen at the film’s climax. Joel Grey is wonderful as the office supervisor Mr. Burgel who often looms over Kafka to do his work while Alec Guinness is excellent as the insurance director who often asks Kafka about his social life and lack of determination to rise up the corporate ladder.

Armin Mueller-Stahl is superb as Inspector Grubach who investigates the mysterious disappearances as he often asks Kafka about the case and what he thinks happened. Jeroen Krabbe is fantastic as Mr. Bizzlebek as this bar patron who always has some very funny theories as he is likely the only real friend that Kafka has. Theresa Russell is amazing as Gabriela as a co-worker who was the lover of the man who was killed as she is a secret member of the anarchist group as she tries to get Kafka to take part because of his non-conforming persona. Finally, there’s Jeremy Irons in a remarkable performance as Franz Kafka where he plays it straight as someone who is very reserved while dealing with this secret conflict he didn’t want to take part in as it’s a role filled with humility as well as someone who is aware of what it means to be human.

Kafka is an excellent film from Steven Soderbergh that features a fantastic performance from Jeremy Irons. While it’s a film that refuses to define itself into any genre, it is quite compelling in its visual style as well as theme of conformity and individuality. In the end, Kafka is an extraordinarily odd yet rapturous film from Steven Soderbergh.

Steven Soderbergh Films: sex, lies, & videotape - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-The Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2

© thevoid99 2014

2014 Cannes Marathon: The Mission

(Winner of the Palme d’Or & Technical Grand Prize at the 1986 Cannes Film Festival)

Directed by Roland Joffe and written by Robert Bolt, The Mission is the story of a Jesuit priest who travels to South America in the hopes to spread Christianity in the 18th Century as he gains the help of a mercenary seeking salvation. The film is an exploration into a man trying to do right for his faith while meeting another man who tries to find redemption as the two band together against forces trying to destroy the mission they use to protect a tribe of indigenous people. Starring Jeremy Irons, Robert de Niro, Ray McNally, Aidan Quinn, Cherie Lunghi, and Liam Neeson. The Mission is a majestic and powerful from Roland Joffe.

Set in 1750, the film is about a priest who goes to the Iguazu Falls where he hopes to bring Christianity to the Guarani tribe in the hopes to help them as he eventually gains an ally in a mercenary/slaver who is trying to find salvation for his sins. Yet, trouble brews when the land Father Gabriel (Jeremy Irons) and Rodrigo Mendoza (Robert de Niro) try to protect is expected to be transferred to the Portuguese from the Spanish as the Cardinal Altamirano (Ray McNally) is forced to make a uneasy decision. Especially as it concerns the land where the Portuguese wants to maintain slavery in their land while the other decision will have the Portuguese condemn Jesuit order causing problems with the Catholic Church. It’s a film that doesn’t just explore the idea of faith but also two men who both try to do good with their faith to prevent from hell descending on Earth.

Robert Bolt’s script doesn’t just explore the world of faith and the intentions of the Jesuit order as Father Gabriel is a man who just wants to spread love and hope to Guarani people. Yet, it’s told from the perspective of Cardinal Altamirano as he recalls the events about the story and the guilt he would carry though he’s largely a supporting character. Gabriel is a man of duty and obedience as he comes to the Iguazu Falls to meet with the Guarani tribe despite their resistance following an earlier attempt by a priest. During that meeting, Gabriel meets Mendoza who works for the Spanish governor Cabeza (Chuck Low) as Mendoza would deal with his own sins as he asks for salvation from Gabriel who takes him in to start to the mission where he would eventually be embraced by Gabriel’s order and the Guarani people.

The second act is about Mendoza becoming part of the Jesuit order as he would embrace his new role yet finds himself being outspoken as it concerns the land transfer as he reveals that Cabeza is a slave trader. A conflict over ideas to protect the Guarani people would emerge between Gabriel and Mendoza as the latter believes that the only way to deal with this political power. Gabriel is convinced that violence is the answer as he doesn’t agree with Mendoza’s ideas but does support him since the Guarani don’t want to leave the mission. Especially as the third act is about Guarani tribe and Mendoza doing whatever it takes to fight against the Spanish and Portuguese who want to ensure that the Portuguese get what they want as it showcases a dark world of greed and commerce that Mendoza had removed himself from.

Roland Joffe’s direction is quite vast in not just the scope of the presentation but also in the realism he maintains as he shoots the film on location in the Iguazu Falls as well as the land nearby plus a few locations in Kent, Britain. Joffe’s approach to wide shots add to the beauty of the locations while creating something that feels real as he also goes for some unique medium shots and close-ups. Some of the scenes in the first act where Gabriel and his men climb the cliffs to get to the land while Mendoza is carrying his own things as it plays into the emotional/mental baggage that he’s carrying. Things become peaceful in Joffe’s direction once Mendoza becomes part of the Jesuit order as he, Gabriel, and the rest of the order showcase the kind of sensitivity and peace they bring to the land while ensuring a sense of faith all around them.

The film’s second half is much darker once the actions of Cabeza and the Portuguese governor Hontar (Ronald Pickup) come into play as their intentions are for profit only as it the Cardinal Altamirano comes in as the man who holds the fate of the order and the tribe in his hands. There is a sense of tension and suspense that starts to creep in as well as what is inevitable. All of which comes into this horrifying climax where the battle lines are drawn as the two methods of Mendoza and Gabriel come into play to protect the mission they have built and cared for. Overall, Joffe creates a very haunting yet powerful drama about two men trying to protect their faith and the people they care for.

Cinematographer Chris Menges does incredible work with the film‘s very naturalistic look with very little emphasis on artificial lighting to create something that feels real and entrancing. Editor Jim Clark does excellent work with the editing with its stylish use of dissolves as well as rhythmic cuts to play into the drama and suspense. Production designer Stuart Craig, with set decorator Jack Stephens and supervising art director Norman Dorme, does brilliant work with the look of the mission that Gabriel and his team created which feels peaceful and naturalistic as opposed to the more posh home of the governors.

Costume designer Enrico Sabbatini does nice work with the period costumes from the uniforms and posh clothes that are worn by the settlers to the more simple look of the priests. The special visual effects by Peter Hutchinson is terrific for the minimal visual effects scenes such as the priest tied to a cross who falls into the waterfalls. The sound work of Ian Fuller, Bill Rowe, and Clive Winter is superb for the way it captures the natural environment of the locations along with the layering of sounds in the climatic battle scene. The film’s music by Ennio Morricone is just phenomenal as it’s a major highlight of the film with its emphasis on woodwinds and bombastic orchestral arrangements to play into the sense of adventure and drama as it is one of Morricone’s great film scores.

The casting by Susie Figgis and Juliet Taylor is fantastic as it features some small yet notable performances from Aidan Quinn as Mendoza’s brother Felipe, Cheri Lunghi as Mendoza’s fiancée Carlotta, Ronald Pickup and Chuck Low in their respective roles as the scheme governors of Portugal and Spain, and Liam Neeson in a wonderful performance as Father Fielding who is Gabriel’s right-hand man. Ray McNally is excellent as the conflicted Cardinal Altamirano who deals with the role he has to play for the Jesuit order as well as the fate of the Guarani people as he finds himself making an uneasy decision.

Jeremy Irons is amazing as Father Gabriel as man who maintains the ideas he was taught as he deals with the harsh realities he faces when his mission is threatened as he tries to keep his faith intact. Finally, there’s Robert de Niro in a remarkable performance as Rodrigo Mendoza as a man troubled by his actions as he seeks salvation as he would eventually find a reason to redeem himself as he would later fight for the people he’s grown to love and care for.

The Mission is a tremendous film from Roland Joffe that features outstanding performances from Robert de Niro and Jeremy Irons. It’s a film that doesn’t just explore the world of faith as two men try to bring hope to a group of people who are removed from society but also in maintaining that sense of hope in a world that is very troubled. Especially as it reveals the cruel portrayal of humanity who care more about profit than doing what is right for the world and humanity as two men try to maintain that sense of good in the world. In the end, The Mission is a magnificent film Roland Joffe.

© thevoid99 2014

Margin Call

Written and directed by J.C. Chandor, Margin Call is the story of a group of investment bank employees dealing with a financial collapse during the 2007-2008 financial crisis. The film explores the world of finances told by a group of people in the span of 36 hours as they all try to figure out how to get out of the crisis. Starring Kevin Spacey, Jeremy Irons, Penn Badgley, Simon Baker, Demi Moore, Zachary Quinto, Paul Bettany, Mary McDonnell, and Stanley Tucci. Margin Call is a captivating ensemble drama from J.C. Chandor.

After laying off several workers including firm manager Eric Dale (Stanley Tucci), Dale asks one of his risk analyst Peter Sullivan (Zachary Quinto) to look over a report he had been trying to finish with a warning. Sullivan works late to look into Dale’s report where he makes a startling discovery as he calls junior risk analyst Seth Bregman (Penn Badgley) and trading desk head Will Emerson (Paul Bettany) about what he sees. They call their floor head Sam Rogers (Kevin Spacey) about the report as they realize that due to excessive marketing, the firm assets in mortgage-backed securities have decreased more than 25% as the firm is in danger of losing a whole lot more. Rogers asks Bregman and Emerson to locate Dale who has disappeared as they were unable to find him as the four men are called to a meeting.

They meet Rogers’ superior Jared Cohen (Simon Baker) and chief risk management officer Sarah Robertson (Demi Moore) to confirm Sullivan’s reports as Robertson realizes that everything Sullivan and Dale found is true. This would get the attention of the company’s CEO John Tuld (Jeremy Irons) who wants to know what is going on. After Sullivan reveals to Tuld what he found, Tuld decides to do some damage control as he looks for someone to put the blame on while getting his people to find Dale. After Cohen suggests something that would help the firm, Rogers believes that it’s only going to cause more trouble as he later asks his traders to make great sales with those making a 93% reduction in assets will get seven-figure bonuses while telling them what is going on. After the market closes, Rogers sees something that makes him uneasy as he’s forced to make a decision about his future.

The film is about 36 hours in the day of a market collapse that a risk analyst discovers as his bosses and executives try to see how to cut the losses and look for someone to blame. Meanwhile, a floor manager tries to assure his traders about what is to happen as they’re forced to look at something that is very ugly while they try to find the manager who was working on this report. When there’s people that confirms that the report is true and that trouble is brewing, top people try to see how to salvage their money in order to save face. Yet, there are those that is aware that something like this could’ve been prevented and there’s some good people who will be not just losing their jobs but also their reputations.

Characters like Sarah Robertson and Jared Cohen are people who kind of run the whole thing as Robertson is someone who knows more than what is going on. Cohen just wants to believe that nothing will go wrong as is CEO John Tuld who is hoping that something will work out. There’s no villains in a story like this but people who are just trying to keep the market going and just make money yet there are those who fall as the third act is about who to get rid of and who to keep. This would make Rogers uneasy as he doesn’t want to lose anybody as it eventually becomes too much for him.

J.C. Chandor’s direction is quite straightforward in terms of its visual presentation and the way he frames his actors in a scene. Yet, he does manage to create compelling moments that does drive the drama. Even in the meetings that take place as there’s a lot of tension as Chandor has his camera focused on one or more characters to establish what is being discussed. The camera definitely has a sense of claustrophobia that is felt as things are becoming more uncomfortable as the film progresses. Overall, Chandor creates a very engaging and smart drama that explores the world of finances and market collapses.

Cinematographer Frank DeMarco does nice work with the photography to capture the lights of the computers and lights inside the offices at night as well as some of the nighttime exteriors of the city. Editor Pete Deaubreau does terrific work with the editing by creating fast-forwards on some of the film‘s city shots as well as montages for the film‘s fire-sale trading scenes in the third act. Production designer John Paino and set decorator Robert Covelman do brilliant work with the look of the offices and meeting rooms where the characters meet to have their discussions where it looks like a place of immense importance.

Costume designer Caroline Duncan does very good work with the costumes as a lot of it are suits that many of the male characters along with the suit that Sarah Robertson wears. Sound supervisor Damian Volpe does some fine work with the sound to capture the intimacy of the meetings as well as the raucous nature of the city. The film’s music by Nathan Larson is excellent for its chilling, ambient-driven score to play out the drama that unfolds throughout the film.

The casting by Tiffany Little Canfield and Bernard Tesley is brilliant for the ensemble that is created as it features some small appearances from Mary McDonnell as Sam’s ex-wife Mary and Aasif Mandvi as an executive who works with Robertson and Cohen. Stanley Tucci is wonderful as manager Eric Dale who deals with being fired as well as making a warning to Sullivan about what was about to discover. Demi Moore is excellent as management officer Sarah Robertson who reveals to know more about what is happening as she realizes that everything Sullivan has confirmed is true. Simon Baker is terrific as division head Jared Cohen who tries to deal with Rogers’ feelings as well as the trouble that is happening as he makes a drastic suggestion. Jeremy Irons is great as the CEO John Tuld who is looking for a solution to deal with the matter as he turns to Sullivan and Rogers for what is being faced while being upfront about what he will do.

Penn Badgley is very good as the idealistic Seth Bregman who adores his job as he realizes the impact of the financial crisis will be as he later faces the possibility of something much harsher. Paul Bettany is superb as the more hardened Will Emerson who provides a lot of insight into the world while realizing that what he’s facing is far worse than he realizes. Zachary Quinto is amazing as Peter Sullivan who makes the discovery that would unveil the financial collapse as he comes to terms with the reality of what is happening as well as the fact that things will get worse. Finally, there’s Kevin Spacey in a marvelous performance as floor head Sam Rogers who tries to deal with the crisis while becoming morally troubled by what his superiors are doing as he is forced to do things that he didn’t want to do as it’s one of Spacey’s finest performances.

Margin Call is a unique yet compelling drama from J.C. Chandor that features an incredible ensemble cast that includes Kevin Spacey, Zachary Quinto, Jeremy Irons, Paul Bettany, Penn Badgley, Demi Moore, Simon Baker, and Stanley Tucci. While it’s a film that is about a world that not many people know about, it does create a very fascinating study on the world of the financial market and how things can fall apart where people would make drastic decisions that would be questionable. In the end, Margin Call is an extraordinary film from J.C. Chandor.

J.C. Chandor Films: All is Lost - (A Most Violent Year)

© thevoid99 2012

M. Butterfly

Based on the play by David Henry Hwang, M. Butterfly is the story of Rene Gallimard’s relationship with Chinese opera performer Song Liling in the 1960s as they embark on an affair that would last for several years. Directed by David Cronenberg with Hwang writing the screenplay, the film is a loose re-telling of the true events that happened between Gallimard and Liling as they’re both played by Jeremy Irons and John Lone, respectively. Also starring Barbara Sukowa and Ian Richardson. M. Butterfly is an interesting yet underwhelming film from David Cronenberg.

It’s 1964 as Rene Gallimard is a French diplomat working for the French ambassador Toulin (Ian Richardson) in Beijing. In order to get to know the Chinese better, Gallimard attends a Chinese opera of M. Butterfly with friend Frau Baden (Annabel Leventon). He is entranced by the performance of its lead opera singer Song Liling as he wants to learn more about her and the world of Chinese opera. The two befriend each other as Gallimard falls for Liling while dealing with work as a diplomat where Gallimard is eventually promoted. He and Liling embark on an affair that would last for a few years as Liling is really a spy working for the government.

When Gallimard learns about the Red Guard’s ban on art with Liling being targeted, Gallimard is unable to help Liling who is sent to prison. Gallimard reluctantly returns to Paris where he wouldn’t see Liling until 1968. Liling arrives to Paris to reunite with Gallimard who had already lost his diplomatic job as well as his reputation. Taking a job as a courier, Gallimard is suddenly in trouble for treason where he learns about the awful truth about Liling.

The film is essentially about a diplomat’s relationship with a Chinese opera singer unaware that it’s performed by men. Yet, it’s also a film about deception as this man playing a woman plays the ultimate part as both lover to this diplomat while providing information to a government official (Shizuko Hoshi) as this relationship between diplomat and opera singer would last for some years. That’s pretty much the plot of the film where writer David Henry Hwang creates a film that seems to have more than what the script has to offer. While Hwang does create fascinating moments in the relationship between Gallimard and Liling. There’s a lot of questions into why Gallimard was so unaware that all these years being with Liling that he didn’t ever see him naked or knew that he was a man when there were some clues. That’s among some of the shortcomings Hwang’s script has.

David Cronenberg’s direction is pretty good in some spots for the compositions he creates as well as having it shot mostly in China. While there is an air of theatricality to the way he frames the scenes between Gallimard and Liling including the operas that is performed. The film is definitely Cronenberg at his most restrained for the fact that there’s not a lot of stylistic shots as he prefers to keep things straightforward. In that approach, Cronenberg creates a film that isn’t very involving due to the lack of a strong script. With London and parts of Paris playing some of the scenes in Paris for the third act, Cronenberg doesn’t do enough to present the inevitable to be so shocking. The result is that Cronenberg made a film that feels very flat in its presentation despite the fact that he’s trying to take risks with a story like this.

Cinematographer Peter Suschitzky does an excellent job with the colorful photography from the lush look of some of the interiors in Paris and in Liling’s home as well as gorgeous exteriors for some of the Chinese location including the Great Wall. Editor Ronald Sanders does a very good job with the editing where he manages to maintain a pace that is leisured while utilizing a more straightforward approach to the editing. Production designer Carol Spier, with art directors Alicia Keywan and James McAteer and set decorator Elinor Rose Galbraith, does a fantastic job with the set pieces created in the look of Liling’s home as well as some of the theatrical sets for the Chinese opera scenes.

Costume designer Denise Cronenberg does a wonderful job with the costumes created from the theatrical clothing that Liling wears on stage as well as the silk yet stylish dresses she wears outside of the stage. Sound mixer Bryan Day does a nice job with the sound work to capture the atmosphere of some of the locations including the intimate moments between Gallimard and Liling. Music composer Howard Shore does a terrific job with the music to play up the romance and drama that occurs with swelling orchestral arrangements even though it tends to overwhelm the scenes in some spots.

The casting by Deirdre Bowen does a superb job with the cast that is assembled as it features small roles from Barbara Sukowa as Gallimard’s wife Jeanne, Annabel Leventon as his opera-loving friend Frau Baden, Shizuko Hoshi as Liling’s government friend Chin, and Ian Richardson as Gallimard’s boss Ambassador Toulon. John Lone is brilliant in a very daring role as Song Liling, an opera singer who poses as a woman while starting to be intrigued by this man who has fallen for him. Jeremy Irons is stellar as Renee Gallimard as a man who falls for this mysterious being as he is unaware of being deceived. Despite the weakness of the script that often makes Irons look foolish, it is still a fantastic performance as he gives it his all including the film’s ultimate finale.

M. Butterfly is a fascinating but un-involving film from David Cronenberg despite the performances of Jeremy Irons and John Lone. While Cronenberg deserves some credit for trying to stray away from his usual world of suspense and sci-fi thrillers by tackling a straight drama. It’s hindered by a very lackluster script by its actual creator David Henry Hwang. While the film does have some moments, M. Butterfly is definitely not one of David Cronenberg’s essential films.

David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars

The Auteurs #26: David Cronenberg Pt. 1 - Pt. 2

© thevoid99 2012

Dead Ringers

Based on the novel Twins by Bari Wood and Jack Geasland, Dead Ringers is the story of two identical gynecologist twins whose close relationship is tested by the arrival of a pill-popping woman who carries an abnormal reproductive system. Directed by David Cronenberg and adapted into script by Cronenberg and Norman Snider, the film is an exploration into the lives of twin brothers and the strong bond between the two of them. Starring Jeremy Irons and Genevieve Bujold. Dead Ringers is a chilling yet mesmerizing film from David Cronenberg.

Since they were children, Elliot and Beverly Mantle (Jeremy Irons) have been interested in the human body as they’ve become very successful gynecologists. With Elliot being the business mind of the practice and spokesman for their studies, Beverly does all the actual research as he is a respected surgeon. Then on one particular day, Beverly examines an actress named Claire Niveau (Genevieve Bujold) who carries an abnormal reproductive system as Elliot looks into her body as he would go on a date and later sleep with her as he does with all women. When he gets Beverly to meet up with Claire as Elliot, the shy twin reluctantly does so only in his interest of her abnormality where the two start to have a relationship.

Elliot isn’t so keen on the relationship nor her use on prescription drugs that she likes to use often as Beverly becomes addicted to pills. After learning that Elliot and Beverly are twins, Claire breaks it off only to realize how strong her feelings are for Beverly. With Elliot out of town to speak in seminars and Claire having to leave for work, Beverly’s addiction to pills start to take its toll when he believes Claire is cheating on him. With an obsession over Claire’s abnormality, Beverly goes to metal-based artist named Andre Wolleck (Stephen Lack) to construct bizarre tools for gynecology. Elliot learns about Beverly’s addiction and his obsession for constructing strange tools as he is desperate to save him. Notably as Elliot realizes that he needs Beverly more than ever for the sake of their future as he starts to fall apart.

The film is about identical twin brothers whose life has been dedicated to the world of medical discovery where they are successful and respected. Yet, the Mantle twins have differences despite the fact that not many people could tell them apart. Elliot is a charmer who can talk to people and is very confident while sleeping with numerous women without much care. Beverly is the more reserved of the two who is dedicated to the science of surgery and discovering things as he also would provide Elliot things for their thesis. Yet, the two do share things like brothers although Beverly would get whatever women Elliot already had. When they come across an actress with an abnormal reproductive system, everything changes as one brother falls apart while the other tries to save him.

The script that David Cronenberg and Norman Snider create is a study of the sibling relationship as well as how fragile it can be. Particularly when one women comes between them due to her addiction to pills as Beverly becomes addicted which would affect his practice. While Elliot is the one who seems to be in control, he would also fall apart once he tries to help save his brother as he would tell one of his lovers about how important Beverly is to him. There is this very meditative insight to this relationship where even though Elliot might often hurt Beverly. He still cares about him while he admits that he is an asshole.

The complexity of the relationship and how Beverly’s emotional and mental deterioration would affect the relationship. Notably when the two brothers talk about the story of famed Siamese twins who would both die tragically. In some ways, the two brothers are Siamese twins that can feel each other from afar when one is hurt. Particularly in the third act when it starts to become about Elliot for a bit as inside his calm persona is a man that is just as fragile as Beverly.

Cronenberg’s direction is very entrancing in the way he presents the film as he starts the film off with a scene of the Mantle brothers as young boys (Jonathan and Nicholas Haley) who talk about the human body. Then it cuts to a scene thirteen years later in the 1960s where they’re young medical students who also have a penchant to be daring and innovative. What Cronenberg presents in these two opening period-based sequences is the Mantle brothers’ rise to fame and glory which then leads to 1988 Toronto where Beverly examines Claire.

The way Cronenberg sets things up early on is an indication that this is not going to be some conventional film. There is a mood to the film that is very eerie from the posh apartment and office the brothers work at to the way they conduct themselves. Cronenberg’s camera is always moving but in a very steady approach to observe that is happening. He also creates compositions where it’s often focused on the brothers in the way the react to each other in one shot of a brother and then cut to the other. There are moments when both brothers are in the same frame with camera tricks to provide that there’s two Jeremy Irons. Cronenberg’s direction is also unsettling in the way he provides very eerie sex scenes that involve rubber ropes. Overall, Cronenberg creates a film that is very engaging but also harrowing in his exploration on the twin-sibling relationship.

Cinematographer Peter Suschitzky does an incredible job with the film‘s photography where he creates wonderful lighting interiors to set the mood for what the brothers are feeling in some of the scenes. Notably when it involves them together as it has a look that is quite evocative though its exterior look is pretty straightforward but wonderful to gaze at. Editor Ronald Sanders does a superb job with the editing as it plays to the rhythm of the conversations while maintaining a methodical approach to the pacing while utilizing fade-outs to smooth out the transitions.

Production designer Carol Spier, along with set decorator Elinor Rose Galbraith and art director Alicia Kewan, does a fantastic job with the set design from the bluish yet very mesmerizing look to the Mantle twins‘ apartment to the more light-colored look of Claire‘s home along with the grisly design of the tools that Beverly obsessed about. Costume designer Denise Cronenberg does an amazing job with the costumes from the very red look of the surgeon gowns that Beverly wears to the more posh suits and clothes the brothers wear. Special effects designer Gordon J. Smith does an excellent job with helping out create the twins as well as the look of a Siamese body part for a nightmarish dream sequence.

Sound mixer Andy Nelson does a nice job with the sound work to capture the mood of the rooms including a scene where the brothers dance with one of Elliot‘s lovers as well as more eerie moments in the film. Music composer Howard Shore does a brilliant job with the film’s score that plays up the emotions of the film from suspenseful yet thrilling orchestral pieces to more somber yet dramatic arrangements to play up Beverly’s troubled mood. One notable music piece played for the double-dance scene is the Five Satins’ In the Still of the Night (I Remember) which adds to the different emotional palettes of the two brothers.

The casting by Deirdre Bowen is wonderful for the casting that is assembled as it features appearances from Jonathan and Nicholas Haley as the young Beverly and Elliot Mantle, Stephen Lack as the eccentric metal-based artist Andre Wolleck, Heidi von Palleske as Elliot’s lover Cary, and in the role of twin prostitutes that Elliot meets, Jill and Jacqueline Hennessy. Genevieve Bujold is terrific as Claire Niveau, the pill-popping actress whom Beverly falls for as she displays a character who is a mess and absorbed though also someone who cares for Beverly not knowing how bad of an influence she is.

Finally, there’s Jeremy Irons in an outstanding performance as Elliot and Beverly Mantle. With help from John Bayliss and Graham Evans as doubles, Irons is able to show his range as twin brothers who are both brilliant flawed. For the role of Elliot, Irons maintains a very stoic approach to the way he presents himself while being charming and crass at times. For Beverly, the physicality that Irons presents is more slumped and awkward while Irons is also more emotive in his approach to the character. The way Irons interacts with himself is a testament to the brilliance that he is as one of the best actors ever.

Dead Ringers is a tremendous yet haunting film from David Cronenberg that features a magnificent performance from Jeremy Irons. The film is definitely one of Cronenberg’s best films for the mood he creates as well as observing the complex relationship between twin brothers. It’s also a film that becomes an acting showcase for Jeremy Irons proving that he can do anything as well as acting with himself. In the end, Dead Ringers is a supremely brilliant film from David Cronenberg.

David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars

The Auteurs #26: David Cronenberg Pt. 1 - Pt. 2

© thevoid99 2012

INLAND EMPIRE

Originally Written and Posted at Epinions.com on 10/13/07.

2001's Mulholland Drive brought David Lynch his most acclaimed and successful film to date that included Best Director nomination at the Oscars and sharing the Best Director prize at the 2001 Cannes Film Festival with Joel Coen for The Man Who Wasn't There. Following the film's success, Lynch took a break to work on various, experimental side projects, supervising the releases of his films on DVD, and other ventures. During this time as digital filmmaking was the new thing, Lynch took notice as his he used digital video for a few of short, experimental projects. The result of the experiments gave Lynch the idea for his next feature-film which was a return to his love of experimental films in the 2006 film INLAND EMPIRE.

Written, directed, produced, shot, edited, and sound designed by David Lynch, INLAND EMPIRE is a three-hour experimental film that emphasizes Lynch's love for the unconventional while doing the film entirely on digital video. Yet, the film Lynch describes is that it's about a woman who is in trouble. The main plot though is about an actress who is working on a film in Europe whose perception of reality is altered into a different world. Shot in parts in Los Angeles to culminate a film trilogy that began with 1997's Lost Highway and 2001's Mulholland Drive, the film conveys the eerie world of Los Angeles, which has become Lynch's adopted home. The film also marks a long-awaited reunion between Lynch and actress Laura Dern who starred in 1986's Blue Velvet and 1990's Wild at Heart as she plays the film's leading role.

With an all-star cast that includes Lynch regulars Justin Theroux, Grace Zabriskie, Harry Dean Stanton, Laura Harring, Diane Ladd, and the voices of Naomi Watts, Laura Harring, and Scott Coffey from Lynch's Rabbits project. The cast also includes appearances from William H. Macy, Julia Ormond, Nastassjia Kinski, Jordan Ladd, Ben Harper, and Jeremy Irons. INLAND EMPIRE is a strange, surreal, eerie film from David Lynch.

When a neighbor (Grace Zabriskie) decides to meet with actress Nikki Grace (Laura Dern), Grace reluctantly invites her where the neighbor says some strange, cryptic things that would haunt Grace. After years of not getting big projects or any material that she would love to work on, Grace finally gets a big film part working with a guy named Devon (Justin Theroux) and under the direction of a man named Kingsley (Jeremy Irons). Though Nikki and Devon managed to be great friends, Devon receives warning to not embark on an affair, particularly due to Nikki's Polish husband. When rehearsals for their new film begins, Kingsley along with his assistant Freddy (Harry Dean Stanton) reveal that the film they're making is a remake of an unfinished film.

Rehearsals go fine until Nikki sees someone as she and Devon eventually learn about mysterious things concerning the original, unfinished film. Things start to go well during rehearsal as Nikki plays a woman named Sue and Devon plays a man named Billy. Yet, as filming progressed, the world of reality and fiction start to blur where Nikki begins an affair with Devon but in the name of their characters. Suddenly, Nikki notices that she starts to see things in her character Sue. Then one day when Nikki goes grocery shopping, she finds a symbol and enters a door where she's taken to a strange, dark reality. Suddenly, she's Sue as she finds herself in parts of Poland and another part of Los Angeles where she's now living in an apartment with prostitutes.

Sitting in the apartment, she also finds herself having conversations with a man named Mr. K (Erik Crary) as the conversations get stranger and stranger. Eventually, living with the hookers start to take its toll as they often break into choreographed dance numbers where she finds herself stuck in the world. Finally, she finds Billy and have a confrontation with his wife (Julia Ormond) as the world starts to get stranger. Now a hooker, Sue tries to find out about the young woman (Karolina Gruszka) who is watching her from the TV where suddenly, Nikki would return to enter strange worlds including a sitcom called Rabbits while trying to save the life of this young woman.

The film's plot line is simple which is about a woman in trouble. Yet, the plot line isn't simple as it seems. Even from a mind as surreal and loose as David Lynch. The film starts off with a black-and-white shot of record playing and a crying young woman watching Lynch's 2002 online sitcom Rabbits. A lot of these things plus subplots involving Eastern European crime world are thrown in to break from the film's main plot. Yet, the result is Lynch definitely rallying against convention. Whether's it's a traditional film narrative, satire, or anything that's traditional with any kind of films. Lynch is basically throwing away all of these ideas.

Serving as the writer, director, producer, editor, cinematographer, sound designer, and music composer along with cues by Krzysztof Penderecki. The film is definitely Lynch taking control of everything with additional contribution from cinematographer Peter Deming on lighting cues and George Koran on digital coloring. More importantly, Lynch abandons the idea of shooting on film and replacing it with digital video. A lot of the interiors Lynch shoots is almost in a Dogme 95-like fashion where it's all hand-held and in natural lighting most of the time. It's also very stylized through his eerie direction. While the look does have a grainy film on the film's exterior sequences, they work to convey the atmosphere Lynch is conveying. Even as he's improvising along the way since he did the film without a completed script and things are made up along the way.

That sense of improvisation and spontaneity really adds a fresh style to the film though it's Lynch experimenting. Not everything Lynch does work as the pacing at times tends to lag. Even in a film that is three hours where it tests the audience patience. Things get repetitive and meanders a bit. Yet, it's part of what Lynch is trying to do with the film because of his themes of reality versus fiction. In many ways, Lynch is going back further to the days of his debut film Eraserhead 30 years before to return to his love of experimentation. Even through its grainy, digital photography and stylized, ominous editing, and eerie sound design with help from sound editor Ronald Eng. Lynch is definitely trying to create new things that audiences who want to see something new will enjoy.

Despite these experiments and Lynch being unconventional, the film still has a story and the story about a woman in trouble is definitely told. Though the narrative is told in an unconventional manner, the main story of Nikki/Sue entering into a strange world to understand. Yet, the audience is also being played on whether she's in a film within a film or is she in a different reality. It will confuse people but the elements of horror and mystery manages to make the whole experience into an incredible yet strange journey.

The film also has a parallel story of this young Polish woman in trouble as she is held by Polish crime lords while forced to watch things like the Rabbits sitcom and is playing what may be the observer. A lot of things Lynch is saying isn't easy to interpret and is definitely a mind-bender. Yet, the result of what Lynch is trying to do and how to present things through his loose script and eerie, surreal direction proves that he's still got something to say and is managing to challenge himself as a storyteller.

Helping Lynch with his presentation is set decorator Melanie Rein and a team of art directors to bring different looks of Los Angeles from the posh world that Nikki lives to the decayed world that Sue lives in. Costume designers Karen Baird and Heidi Bivens brings a unique look from the varied clothes of the hookers to the posh-like clothing of Nikki/Sue. Lynch's score is mostly electronic driven to convey the sense of horror and suspense. The music of Krzysztof Penderecki also adds some suspense with his orchestral score that also features music from Nina Simone, Little Eva, and Etta James to add quirkiness to the film's soundtrack.

The film's cast is very unique and diverse with several cameo appearances from Lynch regulars like Diane Ladd as a talk-show host, Grace Zabriskie as a neighbor, Harry Dean Stanton as Kingsley's assistant Freddy, Laura Harring, Scott Coffey, and Naomi Watts appearing as voices in the Rabbits sitcom with Harring appearing at the end of the film. Other cameos include William H. Macy as an announcer, Mary Steenburgen as a visitor, Terry Crews as a homeless man, Ben Harper as a musician, Nastassjia Kinski as a friend at the end of the film, and Jordan Ladd as one of the hookers who does a dance routine in front of Sue. Karolina Gruszka is great as a crying young woman who is in trouble while Polish actors Jan Hencz and Krzysztof Majchrzak are great as Polish mob members with Peter J. Lucas as Nikki's troublesome husband. Julia Ormond is great as Billy's troubled wife Doris, Cameron Daddo as Devon’s manager, and Erik Crary as the eerie Mr. K.

Jeremy Irons is great as film director Kingsley Stewart, a director who hopes to do a remake justice while trying not to be cursed. Irons is perfect in the role of the director as he tries to make sure Nikki is in acting mode where as if she's fully in character. It's a great performance from Irons who rarely gives a bad performance. Lynch regular Justin Theroux is in excellent form as Devon Berk, an actor who is very friendly with Nikki and wants to maintain his professionalism. In the role of Billy Side, Theroux sports a Southern accent and acts like a man in love and is very desperate about his love for both Sue and Doris.

Laura Dern gives what has to be one of her greatest performances to date. Dern manages to be very charming and likeable in the role while delving into darker material. When she's Nikki, she carries the sense of optimism as an actress who's been out of the spotlight for a while and is given a chance to shine again. In the role of Sue, she has to dig deeper into figuring out what world she's in while wondering if everything she's seeing is real. Dern has to delve into other acting genres for the performance and it works in every level whether it's mystery or horror. It's a very complex, superb performance from Laura Dern who is being overlooked nowadays among her acting peers.

While INLAND EMPIRE isn't a great film that one would expect from David Lynch. The film is still an experience that is unparalleled with most feature films. Fans of Lynch's more experimental side will no doubt enjoy his new feature film as well as his attempts to break the rules. Fans of Laura Dern will also enjoy this for her brave, complex performance. Anyone who wants to be challenged by unconventional filmmaking should see this film. Yet, for a mainstream audience, this film is not for them. With its three-hour running time, pacing issues, and such, it's a film that they won't necessarily enjoy. In the end, INLAND EMPIRE is a surreal yet provocative film from David Lynch and company.

David Lynch Films: Eraserhead - The Elephant Man - Dune - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr.

The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

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