Directed by David Yates and written by J.K. Rowling that is based on her fictional guide book Fantastic Beasts and Where to Find Them, Fantastic Beasts: The Crimes of Grindelwald is the sequel to the 2016 film that follows various wizards trying to find the dark wizard Gellert Grindelwald who is rumored to be forging an alliance to destroy Muggles prompting a young wizard to seek the help of Albus Dumbledore. The film is set a year after the events of the previous film as it explore loyalties and the emergence of a much darker conflict that would possibly shape the wizarding world with Johnny Depp playing the role of Grindelwald and Jude Law as Albus Dumbledore. Also starring Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoe Kravitz, Callum Turner, Claudia Kim, Kevin Guthrie, William Nadylam, and Brontis Jodorowsky as Nicholas Flamel. Fantastic Beasts: The Crimes of Grindelwald is a bloated and nonsensical film from David Yates and writer J.K. Rowling.
Set a year after events in New York City, the film revolves the escape of Gellert Grindelwald following a prison transfer as he has returned to Europe to wreak havoc prompting a young wizard to find and stop Grindelwald. It’s a premise that could be told in a simple fashion where it play into characters dealing with this antagonist as loyalties come into question yet its execution in the story ends up being more about spectacle rather than focusing on the story. J.K. Rowling’s screenplay is the biggest crime of the film as it’s a script that starts off with this exhilarating escape only to fall down hard into an overblown and over-explained first act that reintroduce characters from the previous film and don’t do much to introduce new characters. At the same time, the story goes all over the place where part of the narrative takes place in Britain while much of it is in Paris and there is so much that is happening that it’s hard to keep up.
There are also these twists and turns that starts to occur late in the film as it involves the identity of Creedence (Ezra Miller) as it ends up being filled with a lot of confusion while there are also these subplots involving individual characters with Queenie (Alison Sudol) going to Grindelwald thinking he can help change the law about wizards/witches marrying muggles/no-majs. The lack of a structure is also what hinders the script as much of it is all about exposition and an overdrawn first act that rely on exposition leading to a third act and skipping over a second act to unveil this climax that is underwhelming and incoherent in its execution.
David Yates’ direction is definitely undercooked largely due to the many shortcomings of the film’s screenplay. Shot mainly at a studio lot in Leavesden in Britain with additional shots in London, Paris, and parts of Switzerland, Yates establishes a world that is vast with much of the emphasis set on Europe as well as being in transition. It mainly serves as set dressing where it tries to distract the viewers with these vast spectacle of a magical world that has a lot to offer. Yet, Yates never really does more to establish the world nor make it feel special while the brief scenes set at Hogwarts has that yet it is only brief that also include a strange flashback scene involving a young Newt Scamander (Joshua Shea) and Leta Lestrange (Thea Lamb). Scenes involving Newt (Eddie Redmayne) and the no-maj Jacob Kowalski (Dan Fogler) has Yates creating compositions that are quite typical but it often tries to play it for laughs or suspense yet it doesn’t deliver in neither department. Even moments where Newt meets Queenie’s sister Tina (Katherine Waterston) feels tacked on as they never get a chance to really re-establish their own relationship.
Yates’ direction does establish the locations and where the characters are but its approach to suspense is underwhelming as it tries to put in awkward moments of humor while whatever dramatic rhythms it tried to put on feels flat. Even in the lead-up to its climax feels clunky and tacked on at times where it comes to these revelations about Creedence’s identity as it creates confusion that is followed by Grindelwald’s plans for an upcoming war as he asks wizards and witches to join him. Instead, it feels like an overblown set piece with lots of visual effects and ends up being anticlimactic that is then followed by another big revelation that isn’t just ridiculous but it raises questions into what Rowling is trying to say and set up for the next story nearly to the point of frustration. Overall, Yates and Rowling create a film that tries to do a lot only to end up being a hollow and lifeless spectacle about a wizard trying to stop an evil wizard from wreaking havoc on the world.
Cinematographer Philippe Rousselot does fine work in creating unique look for the visuals though it never does anything to standout due in part to what Yates try to do on a visual scale. Editor Mark Day does terrible work with the editing mainly due to the many subplots and expository scenes as it aims for too many quick cuts where at times it becomes nonsensical in what is going on. Production designer Stuart Craig, with set decorator Anna Pinnock and supervising art director Martin Foley, does nice work with the look of Hogwarts and the British and French Ministry of Magic buildings though other sets don’t have this air of intrigue that the characters go into. Costume designer Colleen Atwood does OK work with the costumes as it play into the style of the late 1920s to play into the refined look of Leta Lestrange and the more ragged look of Newt Scamander.
Hair/makeup designer Fae Hammond does good work with the hairstyles that the women wore at those time though the look of Grindelwald is just dumb. Special effects supervisor David Watkins, along with visual effects supervisors Tim Burke, Andy Kind, and Christian Manz, do some decent work with the visual effects to play into the world of magic yet it tries too hard to be big for the film’s climax as it just falls very short. Sound designers Niv Adiri, Ben Barker, and Glenn Freemantle do some terrific work with the sound to establish the locations and the kinds of power that the wizards/witches uses in the spells they create. The film’s music by James Newton Howard has its moments in soaring orchestral score yet nothing really stands out as tries too hard to help set a tone for the drama and humor as it ends up not being memorable at all.
The casting by Fiona Weir also has its moments though many of the actors involved are practically wasted due to the poor material they’re given. Performances from Joshua Shea as the young Newt, Thea Lamb and Ruby Woolfenden as the young versions of Leta Lestrange, Fiona Glascott as a young version of Minerva McGonagall, Poppy Corby-Teuch as Grindelwald’s right-hand woman Vinda Rosier, Victoria Yeates as Newt’s assistant Bunty, Kevin Guthrie as Tina’s former supervisor Abernathy who is a follower of Grindelwald, and Brontis Jodorowsky in a very under-used appearance as the famed alchemist Nicolas Flamel who helps out in the film’s climax. William Nadylman and Claudia Kim are wasted in their respective roles as French-Senegalese wizard Yusuf Kama and the circus performer Nagini as they’re not given much to do with the narrative as the former spends his time trying to catch Creedence as it relates to his own family while the latter is someone who befriends Creedence while dealing with a blood curse that eventually would make her a snake permanently. Callum Turner’s performance as Newt’s older brother Theseus is also underused as he’s not given much to do other than give Newt advice as well as be Leta’s fiancé.
Zoe Kravitz’s performance as Leta Lestrange as a childhood friend of Newt and later Theseus’ fiancée is a mixed bag mainly due to the material where it is a character that is definitely tormented and troubled but is unable to really be fleshed out as she ends up being a form of exposition about a story that relates to Kama. Alison Sudol’s performance as Queenie Goldstein as this witch gifted in Legilimens has become this desperate and almost psychotic character who wants to marry a no-maj as this character who was sweet and kind has now become insane as Sudol’s performance is just bad. Katherine Waterston is OK as Queenie’s older sister Tina as the American auror who is trying to find Creedence as she is badly written as someone who isn’t given much to do other than be upset at Newt over something she misinterpreted as well as be involved in awkward moments. Dan Fogler is bland as Jacob Kowalski as Queenie’s no-maj lover who is first seen under an enchantment spell as he is often confused while is also badly written as someone with no real sense of direction or motivation.
Ezra Miller is terrible as Creedence as there isn’t given any logical explanation into how he’s alive as he’s first seen in a circus while is also someone with a lack of direction about who he is as Miller is unable to flesh out his character. Eddie Redmayne is horrendous as Newt Scamander as whatever charm he had in the previous film that he carried is washed away in favor of him being quirky and awkward to the point where Redmayne just overdoes it as he tries to be funny and serious only to accomplish in neither. Johnny Depp’s performance as Gellert Grindelwald is horrible mainly because Depp never really fleshes out Grindelwald other than be someone with dark intentions and give this big speech as it’s just Depp being weird and menacing yet with no substance as it’s just a lazy performance. Finally, there’s Jude Law who gives an excellent performance as a younger version of Albus Dumbledore where Law manages to bring in some nuances and charm into the character despite the shortcomings of the script as his brief appearances in the film do have some gravitas as he’s the only thing in the film that is worthwhile.
Despite Jude Law’s appearance as Albus Dumbledore, Fantastic Beasts: The Crimes of Grindelwald is a horrendous film from David Yates and writer J.K. Rowling. Largely due to its uninspired direction, overblown spectacle, badly-written characters, lame twists, and a messy and incoherent screenplay that is expository rather than take its time to build up its suspense. It is a film that wants to be a lot of things as well as set things up for the next film and instead end up becoming demanding and overblown to the point of indifference and frustration. In the end, Fantastic Beasts: The Crimes of Grindelwald is an atrocious film from David Yates and J.K. Rowling.
Harry Potter Universe Films: Harry Potter & the Sorcerer's Stone - Harry Potter & the Chamber of Secrets - Harry Potter & the Prisoner of Azkaban - Harry Potter & the Goblet of Fire - Harry Potter & the Order of the Phoenix - Harry Potter & the Half-Blood Prince - Harry Potter & the Deathly Hallows Pt. 1 - Harry Potter & the Deathly Hallows Pt. 2 - Fantastic Beasts & Where to Find Them - (Fantastic Beasts Pt. 3) – (Pt. 4) – (Pt. 5)
© thevoid99 2020
Based on the Carol Danvers comic series by Roy Thomas and Gene Colan and the Captain Marvel comic series by Gene Colan and Stan Lee from Marvel Comics, Captain Marvel is the story of an alien warrior who has arrived on Earth to find some alien beings where she finds herself dealing with images that possibly relate to her past. Directed by Anna Boden and Ryan Fleck and screenplay by Boden, Fleck, Geneva Robertson-Dworet, and Jac Schaeffer from a screen story by Nicole Perlman, Joe Shrapnel, and Anna Waterhouse, the film is an origin story of sorts of how Carol Danvers became Captain Marvel as she tries to figure her identity and role in this intergalactic conflict as she is portrayed by Brie Larson. Also starring Ben Mendelsohn, Djimon Hounsou, Lee Pace, Gemma Chan, Lashana Lynch, McKenna Grace, Akira Akbar, Clark Gregg, Annette Bening, Jude Law, and Samuel L. Jackson as Nick Fury. Captain Marvel is an adventurous and exhilarating film from Anna Boden and Ryan Fleck.
It’s 1995 as a conflict between an elite group of alien warriors known as the Kree and an alien faction of shapeshifters known as Skrulls is heating up as a young Kree warrior named Vers is fighting the Skrulls where she lands somewhere in Los Angeles just as the Skrulls have also landed on Earth disguising themselves as humans. It’s a film that has this young woman who is dealing with images that could be lost memories as she finds herself on Los Angeles after a battle with Skrulls on their ship as it lead to all sorts of question. The film’s screenplay by Anna Boden, Ryan Fleck, Geneva Robertson-Dworet, and Jac Schaeffer, with additional contributions by Bek Smith, does play into many of the tropes and schematics expected in a superhero film that is a part origin story as well as a part fish-out-of-water scenario. Even as it has twists and turns as it relates to this conflict between two alien races as this young warrior in Vers is haunted by what could be memories of a previous life as she would later learn to be a former Air Force pilot named Carol Danvers.
The first act does have this strange narrative as it relates to Vers living in Kree’s home planet of Hala as she is mentored and train by Yon-Rogg (Jude Law) who tells her to keep her emotions in check as she is still dealing with her powers and is becoming unsure due to the images in her head. Once she lands on Earth at a Blockbuster video store, she would meet S.H.I.E.L.D. agent Nick Fury who had been through a lot and thought he had seen it all until he sees what Vers is about as well as getting his first encounters with Skrulls as the second act is about the two teaming up together to discover a project called Pegasus created by Dr. Wendy Lawson (Annette Bening) who looks similar to the projection of Kree’s ruler known as Supreme Intelligence. It is also where Vers learns about her true identity as well as the events into what happened to her as well as more revelations about this conflict between the Kree and Skrulls.
The direction of Boden and Fleck does play into what is expected in a superhero film that is partially set in space but it is grounded with some dramatic elements that play into Vers’ journey as well as discovering her true identity. Shot on various locations in Los Angeles, parts of Southern California and Louisiana, the film does play into a world that is quite vast that Vers is a part of from the planets she’s in such as Hala and a border planet that play into this war between the Krees and Skrulls though not much established into the root of their conflict at first. The direction does become straightforward once Vers arrives on Earth and has to find the Skrulls as well as Boden and Fleck use some wide shots to establish the locations as well as the vast world of the universe and its surroundings. Even in scenes where Vers is meeting the Supreme Intelligence as an image that one would believe to be the Supreme Intelligence to be as it’s in this surreal world that bends the idea of reality and fantasy.
Much of Boden and Fleck’s direction emphasizes more on simple shots through close-ups and medium shots that include scenes of Vers and Fury trying to find some clues as they’re later joined by a mysterious cat named Goose as they also try to fight off against the Skrulls while Vers is making contact with Yon-Rogg through some 1990s tech that is barely working. The stuff involving 1990s technology is definitely played for laughs in how slow they were back then as the humor also play into Fury’s first interaction with the Skrulls and him getting to understand a world that is bigger than just Earth. Still, Boden and Fleck do become concerned with Vers coming to terms with her identity as she would meet Danvers’ friend in a former pilot in Maria Rambeau (Lashana Lynch) who would tell Vers what happened as it would relate to something much bigger relating to the Kree/Skrulls conflict. It would force Vers to not only accept what happened to her but also realize what needs to be done to save the universe. Overall, Boden and Fleck craft a compelling yet exciting film about an alien warrior who learns about her true identity in an intergalactic conflict.
Cinematographer Ben Davis does excellent work with the film’s cinematography with the straightforward and sunny look of the daytime exteriors in California to the more naturalistic look of the scenes in Louisiana as well as some stylish lighting for some of the spaceship interiors. Editors Elliot Graham and Debbie Berman do terrific work with the editing as it has some stylistic usage of slow-motion shots and some quick-cuts to play into the action and some of the suspense and humor. Production designer Andy Nicholson, with set decorator Lauri Gaffin and supervising art director Andrew Max Cahn, does amazing work with the set design from the look of the spaceship interiors as well as the look of the archives section at a secret government facility and Rambeau’s home. Costume designer Sanja Milkovic Hays does fantastic work with the costumes from the look of the Kree uniforms as well as the more casual look of the people on Earth that play into the look of the 1990s.
Key special effects makeup artist Sabrina Wilson do brilliant work with the look of the Kree aliens as well as the look of the Skrulls as well as some minimal work in the younger versions of Nick Fury and his rookie partner Agent Phil Coulson (Clark Gregg). Special effects supervisor Daniel Sudick and visual effects supervisor Christopher Townsend do incredible work with the visual effects from the look of Fury and Coulson in their younger versions in the 1990s as well as the design of some of the planets including Hala and some of the powers that Vers is able to use. Sound designers David Acord and Kyrsten Mate, with sound editor Gwendolyn Yates Whittle, do superb work with the sound as it play into the sounds of some of the spaceships, jet engines, alien weapons, and other noises that play up the world that was the 1990s.
The film’s music by Pinar Toprak is wonderful for its soaring orchestral score that play into the sense of adventure and drama that occurs throughout the film while music supervisor Dave Jordan creates a killer music soundtrack that features a lot of the music of the 1990s from R.E.M., Nirvana, TLC, Salt-N-Pepa w/ En Vogue, Garbage, Hole, Elastica, No Doubt, Des’ree, and a couple of 80s songs from Heart and Lita Ford.
The casting by Sarah Finn is great as it feature some notable small roles from London Fuller and McKenna Grace in their respective roles as the 6-year old and 13-year old versions of Danvers, Algenis Perez Soto and Rune Temte as a couple of members of Yon-Rogg’s team in their respective roles as Att-Lass and Bron-Char, Azari Akbar as the five-year old Monica Rambeau, Vik Sahay and Chuku Modu as a couple of Skrulls, and Stan Lee in a cameo as himself reading a script for a film role as he is also given a fitting tribute in the film’s pre-opening logo sequence. The performances of Reggie, Archie, Rizzo, and Gonzo in their performance as the cat Goose is a total joy to watch as it’s a cat that just knows where to steal a scene as well as be powerful in its own way. Akira Akbar is terrific as Maria Rambeau’s daughter Monica who would help Vers find herself again as well as be the one to provide her with a look that would be her own.Clark Gregg is superb as a younger version of Agent Phil Coulson as a rookie S.H.I.E.L.D. agent trying to get his ropes in the job while doing things that would make him a key ally for Fury.
Gemma Chan is wonderful as a Kree sniper in Minn-Erva who has a dislike towards Vers whom she sees as a threat to her position with Yon-Rogg. Djimon Hounsou and Lee Pace are fantastic in their respective roles as Korath and Ronan the Accuser in their early versions as two Kree figures who art part of the conflict with Korath being Yon-Rogg’s second in command and Ronan as a high-ranking official hoping to destroy the Skrulls. Annette Bening is excellent in her dual role as the artificial intelligence leader of the Kree known as Supreme Intelligence as she is who Vers sees during their meetings while Bening also plays a scientist in Dr. Wendy Lawson who was conducting a major experiment known as Pegasus that is key to what happened to Danvers. Lashana Lynch is brilliant as Maria Rambeau as Danvers’ long-time friend and wing-woman who hadn’t seen Danvers in a long time as she tries to help her regain her identity but also get back in the game of flying. Ben Mendelsohn is amazing as the Skrull leader Talos who disguises himself as then-S.H.I.E.L.D. leader Keller where he plays a straight-laced official trying to defuse the situation with the Skrulls while he displays more humor and reason as Talos as someone who is complex but also has valid reasons for his issues with the Kree.
Jude Law is marvelous as Yon-Rogg as a Kree military leader who leads a band of mercenaries as he is also Vers’ mentor where he tries to get her to control her emotions while is also hiding some secrets about her. Samuel L. Jackson is remarkable as a younger version of Nick Fury who was then a S.H.I.E.L.D. agent that believes he’s seen it all and isn’t the cynic that audiences would know him for in other films as someone that is upbeat as well as having a soft spot for cats. Finally, there’s Brie Larson in an incredible performance as Carol Danvers/Vers/Captain Marvel as a Kree warrior who is troubled by images that could be past memories of a pilot named Carol Danvers as she struggles with her identity and her role in a conflict as it’s a performance full of charm, determination, and drive as it’s one of Larson’s finest performances to date.
Captain Marvel is a marvelous film from Anna Boden and Ryan Fleck that features a sensational performance from Brie Larson in the titular role. Along with its ensemble cast, sprawling visual effects, quirky humor, themes of war, and a killer music soundtrack. It’s a film that delivers in what is expected in a superhero film as well as provide some ideas of an intergalactic world set during the 1990s despite a few issues with the script. In the end, Captain Marvel is a remarkable film from Anna Boden and Ryan Fleck.
Anna Boden and Ryan Fleck Films: Half Nelson - Sugar (2008 film) - It’s Kind of a Funny Story – Mississippi Grind – The Auteurs #71: Anna Boden and Ryan Fleck
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man and the Wasp - Avengers: Endgame - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2019
Written and directed by Brady Corbet from a story by Corbet and Mona Fastvold, Vox Lux is the story of a pop singer trying to get her career back on track while dealing her past that included her response to a school shooting that prompted her and her sister to write a song. The film is a study of a woman dealing with stardom and the craziness of it while trying to be a mother to a teenage daughter. Starring Natalie Portman, Jude Law, Stacy Martin, Raffey Cassidy, Jennifer Ehle, Christopher Abbott, and narration by Willem Dafoe. Vox Lux is a riveting yet haunting film from Brady Corbet.
After surviving a school shooting that left her nearly paralyzed and force her to wear a neck brace for the rest of her life, a young girl writes a song with her sister in response to what happened as it would later make her into a pop star where she later struggles with the demands of stardom and motherhood as an adult. It’s a film that is essentially a character study of sorts that showcases this young woman who has been affected by tragedy as she tries to comprehend what had happened. Brady Corbet’s screenplay has an unusual structure in its study of Celeste Montgomery (Natalie Portman) from the time she was a teenage girl (Raffey Cassidy) who created a song with her older sister Eleanor (Stacy Martin) and then becoming a young pop star to being a major pop star who has become full of herself.
The film’s narration by Willem Dafoe provide some context into what Celeste would deal with but also events that would cause trouble in making Celeste lose touch with aspects of reality. Even in the film’s second act where she’s an adult with a teenage daughter in Albertine (Raffey Cassidy) just as she’s about to release a new album and launch a new tour. Yet, there’s still a lot of issues that Celeste is dealing with while is becoming more problematic while being estranged towards her older sister who has been taking care of Albertine. All of the drama as well as chaos that surrounds Celeste forces her to say things through her music although scandals and her own actions are starting to overshadow the music at a time when branding and image becomes more important.
Corbet’s direction is entrancing for his approach into telling the story of a young pop star’s life and her emergence into adulthood as it is shot on various locations with much of the film’s second half shot in New York City and nearby areas. While there are some wide shots of the locations and the film’s climatic concert sequence, much of Corbet’s direction emphasizes on medium shots and close-ups along with home movie video footage. The home movie footage that include Dafoe’s narration play into the innocence that the young Celeste and Eleanor endured where the former is to be signed with Eleanor on board as not just as a songwriter but also someone who is watching over the young Celeste. There’s a looseness to those moments in the home movie footage where the sisters travel to New York City and later Stockholm and London to make Celeste’s debut album with their manager (Jude Law) as it would later devolve into craziness. There are a lot of tracking shots and long-takes such as an early scene of the school shooting where it’s sudden and visceral in its execution.
When the film shifts towards the second half as it is set more than 15 years after the events where the young Celeste is making her first album. The film does have a different tone where does feel more polished in its camera movements and compositions. Most notably a diner scene between Celeste and Albertine as they talk where the former goes off on the diner’s manager all because he politely asked for a picture. The climatic concert scene that includes choreography by Benjamin Millipied is definitely extravagant yet it also play into this persona that Celeste has created as a way to escape from the horrors of the world despite the fact that she is indirectly connected to a recent event of violence. Still, it does reinforce the role of the pop singer and how they use music to heal despite their own flaws and artificial world they live in. Overall, Corbet crafts an evocative yet harrowing film about the tumultuous life of a pop singer.
Cinematographer Lol Crawley does excellent work with the film’s cinematography as it is largely straightforward in terms of the visuals with some unique lighting for some of the interiors as well as the film’s climatic concert scene. Editor Matthew Hannam does fantastic work with the editing as it utilizes a few jump-cuts and montages with the latter for the home movie footage. Production designer Sam Lisenco, with set decorators Kendall Anderson and Olivia Peebles plus art director Julia Heymans, does brilliant work with the look of Celeste’s stage set as well as the scenes in the school and at Stockholm such as the recording studio and hotel rooms. Costume designer Keri Langerman does amazing work with the look of the clothes that the adult Celeste would wear that would play into this larger-than-life persona as well as be this idea of cool while everyone else looks a bit casual with Albertine sort of dressed up as a Goth.
Visual effects supervisor Asaf Yeger does nice work with some of the visual effects as it’s mainly set-dressing for some parts of the film including exteriors of 2000-2001 NYC. Sound designer Leslie Shatz does superb work with the sound in creating some effective sound mixes such as the sounds of gunshots as well as how music sounds in a venue or the atmosphere of a hotel room. The film’s music by Scott Walker is wonderful for its usage of ambient and classical-based pieces that help play into the drama while the original songs by Sia are effective and catchy as its approach to electro-pop have something that is engaging with the rest of the music soundtrack by music supervisor Margaret Yen include a couple of tracks by Sunrise in the Desert.
The casting by Cassandra Kulukundis is incredible as it feature some notable small roles from Matt Servitto and Meg Gibson as Celeste and Eleanor’s parents, Maria Dizzia as Celeste’s music teacher early in the film, Daniel London as a preacher early in the film, Leslie Silva as Celeste’s stylist, Micheal Richardson as a musician the young Celeste meets in Europe, and Christopher Abbott as a journalist who interviews the older Celeste and eventually piss her off. Jennifer Ehle is fantastic as Celeste’s publicist Josie who is trying to ensure Celeste’s career is going well as well as being realistic to the point that she is also protective of her during the latter parts of Celeste’s career. Jude Law is excellent as Celeste’s manager as a man who would handle the business aspects of Celeste’s career but also try and get her to be reasonable later on while he would unknowingly help cause the rift between Celeste and Eleanor.
Stacy Martin is brilliant as Eleanor as Celeste’s older sister who would be her collaborator in writing the songs they create as well as introduce her to all sorts of things that would later play into their rift with Martin displaying a restraint as someone who feels mistreated by the person she’s caring for. Raffey Cassidy is great in a dual role as the young Celeste and Celeste’s daughter Albertine where Cassidy displays an innocence and charm as the younger Celeste who is also aware of what happened to her and the need to connect which would be something Cassidy would delve into as Albertine as a young girl trying to understand her mother’s state of mind. Finally, there’s Natalie Portman in a spectacular performance as the older Celeste Montgomery as a pop star that is trying to make a comeback with a new album and tour where Portman is unleashed in displaying someone who can really bitchy and mean but also someone who is quite fragile as she needs to escape from the realities of celebrity by just singing as it’s a tour-de-force performance from Portman.
Vox Lux is a sensational film from Brady Corbet that features tremendous performances from Natalie Portman and Raffey Cassidy. Along with its supporting cast, study of trauma and escape, and an incredible music soundtrack from Scott Walker and Sia. It’s a film that explore the mind-set of a pop star who has been affected by tragedy forcing her to create a bubble that disconnects itself with reality with music being her saving grace. In the end, Vox Lux is a phenomenal film from Brady Corbet.
Brady Corbet Films: (The Childhood of a Leader) - The Brutalist
© thevoid99 2018
Written and directed by Paul Feig, Spy is the story of a CIA office worker who becomes a field agent for an assignment once the identity of many of its field agents have been compromised as this woman has to stop a crime boss’ daughter from revealing the location of a nuclear bomb. The film is sort of a spoof on spy films where the person that is to save the world is an unlikely person as she doesn’t have the physical requirements to be one but has the heart and determination to get the job done. Starring Melissa McCarthy, Jude Law, Rose Byrne, Jason Statham, Miranda Hart, Bobby Cannavale, Peter Serafinowicz, and Allison Janney. Spy is a witty and adventurous film from Paul Feig.
When the identities of top field agents for the CIA trying to find the location of a nuclear bomb have been revealed to the daughter of a recently deceased crime boss. An analyst who wants to seek vengeance for the death of a spy she cared for is tasked to take part in the assignment where she is initially excited about doing the job but things don’t exactly go her way. The film is essentially a spoof of sorts on spy films where it plays into the idea of a woman, who might not have the typical yet superficial image of spies, as she is given the chance to save the world. Yet, she would endure some humiliating moments in trying to catch her targets while having to deal with a rogue field agent who is trying to do her work in ways that makes him look even stupider than he already is.
It is all part of a world where the villains are dealing with this woman who might be a whole lot easier to kill considering that she doesn’t fit the mold of other spies but it’s also an advantage for the character of Susan Cooper (Melissa McCarthy) who manages to do more than everyone expects from her. Paul Feig’s screenplay does follow conventional elements that is expected in spy films but also creates characters that are very engaging. While Cooper is just a nice analyst who is very good at helping field agents find their way out of a situation where she becomes close with the spy Bradley Fine (Jude Law). When Fine is killed in a mission by the target’s daughter Rayna Boyanov (Rose Byrne), Cooper wants to take the mission to avenge Fine though she is forced to wear a series of humiliating disguises and identities while having her best friend and fellow analyst Nancy (Miranda Hart) to guide her through an earpiece.
The script would also allow moments that are funny such as the antics involving former CIA agent Rick Ford (Jason Statham) who is upset that Cooper gets the assignment which prompts him to go rogue and do stupid things. His character is sort of a play on spies for not just how tough they are and how much bullshit they tend to talk but it is presented in a funny way as Ford is a man who is all brawn but no brains. While Rayna is an antagonist, she is not a traditional one since she is essentially a woman who is a pawn of a bigger scheme while feeling she’s not getting any kind of respect where she and Cooper seem to have a rapport despite the fact that they’re enemies. Even smaller characters like Nancy, CIA boss Elaine Crocker (Allison Janney), and an Italian agent named Aldo (Peter Serafinowicz) manage to do a lot more which add to the story and its comedic tone.
Feig’s direction definitely pays an ode to spy films while managing to be something that is of its own. Notably as it isn’t afraid to not take itself so seriously where some of the comedy is played very loosely and natural. Though much of it is shot largely on location in Budapest with a few second-unit shots of Rome, Paris, and Washington D.C., the film does have a look that is very worldly and lively which is expected in spy films but also manages to have something where it does have this woman be a fish out of water in these places. Most notably where Cooper would think she would have the time of her life traveling to Rome, Paris, Sofia, and Budapest but would often stay in the worst hotels and in the most horrific disguises as a mother of four or a woman with 9 cats. While many of Feig’s compositions are simple, he does manage to create something that is visually exciting while matching it with a naturalist approach to comedy.
Feig is also able to find a sense of energy in the action scenes while knowing where to put in some funny moments that do feel natural and realistic with elements of disbelief for laughs. Feig would also include some very crude humor that involves Cooper having her first kill and her reaction to it is very funny while it is followed by a scene where the CIA analysts are looking into the dead man’s phone and photos where they find some very personal things. The film’s climax which involves this Italian playboy named Sergio de Luca (Bobby Cannavale) and the deal of this nuclear weapon not only continues to find the balance between humor and action but it would also have a payoff that isn’t just funny but also satisfying. Overall, Feig has created a very thrilling and hilarious film about a woman who becomes a spy.
Cinematographer Robert Yeomen does excellent work with the cinematography as it‘s very straightforward and colorful to play into the vibrancy of the locations as well as some inspired usage of lights some of the interiors and for scenes at night. Editors Don Zimmerman and Dean Zimmerman do amazing work with the editing where it allows itself to play into conventional action-style cutting but also with a sense of timing and rhythm to play into the comedy and find ways to mesh both styles. Production designer Jefferson Sage, with art directors Tom Brown and Bence Erdelyi and set decorator Kelly Berry, does brilliant work with the set designs from some of the hotels Cooper goes to as well as the lavish homes and hotels she would meet Rayna and other targets. Costume designer Christine Bieselin Clark does nice work with the costumes from the tuxedos that Fine and Ford would wear to some of the humiliating clothes Cooper would wear in disguise along with some stylish clothes that she and Rayna would wear.
Makeup artist Kati Jatkos and hair stylist Peter Gyongyosi do terrific work with the disguises that Cooper would wear including the different hairstyles along with one notable disguise for Ford. Visual effects supervisor William Mesa does wonderful work with some of the film‘s minimal visual effects that often involve some of the action scenes. Sound editors Beau Borders and Becky Sullivan do superb work with the sound from the way some of the fighting occurs as well as some of the social events and action scenes that the characters encounter. The film’s music by Theodore Shapiro does fantastic work with the film‘s music score as it is quite bombastic for its action scenes while going for something low-key for its comedic moments while music supervisor Erica Weis brings in a fun soundtrack filled with music that ranges from electronic, hip-hop, rock, and pop to bring in an air of excitement.
The casting by Zsolt Csutak does great work with the cast as it features notable small roles from Carlos Ponce and Will Yun Lee as a couple of CIA spies, Jessica Chaffin and Katie Dippold as a couple of CIA analysts who deal with rats and bats in their offices, Zach Woods as a guy putting something mysterious in Rayna’s cocktail, Mitch as a pilot named Colin (no it’s Frederick), Raad Rawi as Rayna’s dad, Michael McDonald as a CIA gadgets man who gives Cooper some unimpressive gadgets, Morena Baccarin as a beautiful CIA spy that Nancy mocks, Nargis Fakhri as an assassin that tries to kill Ford and Cooper, and Bjorn Gustafsson as a bodyguard of Rayna that Cooper would insult. Peter Serafinowicz is fantastic as the Italian spy Aldo who likes to sexually harass Cooper as he thinks she is the most beautiful woman in the world. Allison Janney is superb as CIA head Elaine Crocker where Janney plays it straight while being very cool and calling Cooper out early about her pink eye.
Bobby Cannavale is excellent as the playboy/dealer Sergio de Luca who brings a suave charm to his role as someone who just wants to cash in and sell weapons to the highest bidder. Jude Law is brilliant as Bradley Fine as a CIA agent that has a great working relationship with Cooper as he trusts her while being very good to her. Miranda Hart is amazing as Cooper’s friend Nancy as a CIA analyst who also wants to be a spy as she later joins Cooper in a mission where she gets to do some of the funniest things in the film. Rose Byrne is remarkable as Rayna Boyanov as a crime boss’ daughter who decides to create chaos while trying not to reveal the location of a nuclear weapon where she also has some funny moments with Cooper to show how alike they’re sort of are.
Jason Statham is phenomenal as Rick Ford as it’s a performance where Statham makes fun of the action film persona he’s known for and bring a lot of laughs. Most notably as he’s a guy that talks tough, acts tough, and is very tough but is also an idiot as he has no idea what he is doing half the time while being a risk to everything as it’s just one of the funniest performances ever. Finally, there’s Melissa McCarthy in an incredible performance as Susan Cooper where it’s not jut McCarthy being very funny in enduring all sorts of humility and intense physicality. It’s also in the way she brings a sense of heart into the character that makes her very endearing while not being afraid to show some guts as it is one of her finest performances.
Spy is a marvelous film from Paul Feig that features a winning performance from Melissa McCarthy. Armed with some very exciting and funny moments along with a strong supporting cast that includes scene-stealing performances from Rose Byrne, Miranda Hart, Jude Law, and a hilarious Jason Statham. It’s a film that isn’t just a smart spoof of the spy films but also one that manages to be very funny and extremely entertaining. In the end, Spy is a sensational film from Paul Feig.
Paul Feig Films: (I Am David) - (Unaccompanied Minors) - (Bridesmaids) - (The Heat) - Ghostbusters (2016 film)
© thevoid99 2015
Written and directed by Andrew Niccol, Gattaca is the story of a young man who hopes to travel to outer space despite dealing with prejudice as he hides his genetic imperfections in a futuristic world where science determines who can succeed or not. The film is a mixture of sci-fi with elements of drama and mystery as it also relates to this young man who pretends to be another as he becomes a murder suspect. Starring Ethan Hawke, Uma Thurman, Jude Law, Loren Dean, Alan Arkin, Ernest Borgnine, Blair Underwood, Xander Berkley, Tony Shalhoub, Elias Koteas, and Gore Vidal. Gattaca is a riveting and evocative film from Andrew Niccol.
Set in a futuristic world where science determines one’s fate and when will that person die, the film revolves a young man who was conceived with genetic imperfections as he pretends to be another man in the hopes that he can travel to outer space. At the same time, he becomes a suspect over the death of mission control director as he learns that his younger brother is the detective leading the case. It’s a film that plays into this man who tries to prove that anything is possible in a world where one’s blood-type, urine sample, and such don’t determine one’s outcome. Yet, it is told from this man whose real name is Vincent Freeman (Ethan Hawke) who would take the guise of another man in Jerome Morrow (Jude Law) who would aid Vincent in achieving his dream.
Andrew Niccol’s screenplay is told largely from Vincent’s perspective as it begins with him learning that is one week away from actually achieving his dream to go into outer space. Yet, a simple eyelash found during the murder of the mission control director would be the one thing that might stop him as its first act reveals not just Vincent’s conception but also how he was already determined by science into when he will die and what ailments he will have. Once his younger brother Anton (Loren Dean) is born and is promised all of the things that Vincent will never have because Anton was conceived through genetic selection instead of the natural conception that brought Vincent into the world. Yet, it would be a simple swimming game of chicken where Vincent realizes that anything is possible as he would meet the paralyzed Jerome who was once a swimming star and take on Jerome’s identity while the real Jerome would provide the urine and blood samples Vincent would need.
Once Vincent’s story into how he became Jerome takes up much of the film’s first act, the second act does have a shift in tone where it becomes a mystery as Vincent not only deals with being a suspect but also falls in love with a co-worker in Irene Cassini (Uma Thurman) who is a valid but is unable to travel due to her own heart issues. Yet, she would learn firsthand about who Vincent really is just as Anton suspects that his own brother is the killer due to the loose eyelash from Vincent though Anton isn’t sure since he believes his brother had already died. Especially as his partner Hugo (Alan Arkin) looks into other possibilities as it relates to the prejudices that is hinged upon society where even Jerome was affected by it as he had all of the potential in the world to succeed but failure only made him bitter and depressed. Even as he copes with the pressure that was put upon him making him and Vincent equal of sorts.
Niccol’s direction is truly mesmerizing in terms of not just the compositions but also in presenting a futuristic sci-fi film without the need to make it totally futuristic. Much of it has Niccol shooting on various locations in California through some amazing architectural designs that does give the film a somewhat futuristic look. Niccol’s rich compositions and the way he places some of the wide shots definitely add something that a look that sort of makes it futuristic while he also goes for these kind of intricate crowd shots of exactly what Vincent does when he’s at work as it sort of plays into something that feels bureaucratic in some respects. Especially as Vincent would get a glimpse of how those with perfect genes would live and how he as an invalid would have to live and work where he would start off cleaning windows and then find his way to be part of this space program.
Niccol’s approach to close-up and medium shots are also entrancing as it also includes a few handheld moments such as a chase scene involving Vincent, Irene, and Anton. It plays into not just some of the mystery but also the drama and romance as well as Niccol’s approach to framing the actors where the flashback scenes involving a young Vincent and Anton where Vincent is in the foreground while Anton and their parents are in the background. It establishes how disconnected Vincent is with his own family as well as the world he lives in as the third act showcases him not only trying to reveal some truth to those close to him. Especially as it revealed exactly how he managed to defy the odds in a world that prevents him from achieving his dreams. Overall, Niccol creates a compelling and ravishing film about a young man prejudiced in a futuristic world where science determines one’s fate.
Cinematographer Slawomir Idziak does phenomenal work with the film’s very colorful cinematography with its usage of filters and lighting schemes for some of the film’s interiors while maintaining something that is quite ethereal in its images as it’s among one of the film’s major highlights. Editor Lisa Zeno Churgin does excellent work with the editing as it is quite stylish with some of its rhythmic cuts and usage of dissolves to play into the drama and suspense. Production designer Jan Roefls, with set decorator Nancy Nye and art director Sarah Knowles, does amazing work with the set design from the look of Jerome‘s home as well as the building where Vincent would work as Jerome along with the nightclubs and such the two would go to. Costume designer Colleen Atwood does fantastic work with the costumes from the suits that Vincent and Jerome would wear as well as the trench coat/fedora look of Anton‘s partner Hugo and the dresses that Irene would wear.
Makeup supervisor Ve Neill and key hair stylist Bette Iverson do terrific work with the look of Vincent prior to meeting Jerome and how they would have the same haircut. Visual effects supervisor Jerry Pooler does nice work with some of the minimal visual effects as it relates to spaceship that Vincent wants to board into. Sound editor Richard King does superb work with the sound to play into some of the chaotic elements of the film along with some of the textures that Vincent would endure in his training. The film’s music by Michael Nyman is incredible for its lush orchestral score with elements of minimalist and soft piano textures as it plays into the drama
The casting by Francine Maisler is marvelous as it features notable small roles from Dean Norris as a beat cop, Ken Marino as a sequencing technician, Maya Rudolph as a delivery nurse, Gabrielle Reece as a trainer where Vincent works at, Vincent Nielson and William Lee Scott in respective versions of the adolescent and teenage Anton, Mason Gamble and Chad Christ in the respective version of the adolescent and teenage Vincent, Blair Underwood as a geneticist, Jayne Brook as Vincent and Anton’s mother who loves both sons as she ponders what Vincent will do, and Elias Koteas as Vincent and Anton’s father who seems to favor Anton more than Vincent as he wants his eldest to be more realistic in his dreams. Tony Shalhoub is terrific in a small role as a mysterious man who would help Vincent attain the look and genetics to be Vincent.
Ernest Borgnine is superb as an invalid named Caesar who leads the clean-up crew as he tells Vincent not to clean too well as he would later provide evidence into who might be the killer not knowing that Jerome is really Vincent. Gore Vidal is excellent as the mission flight director Josef who tries to deal with the murder in his building while aiding the detectives. Xander Berkley is amazing as Dr. Lamar who would interview Vincent for the job as he looks into many background checks as it’s a very low-key yet mesmerizing performance. Alan Arkin is fantastic as Detective Hugo as an old-school detective who aids Anton into finding the killer as he initially suspects the invalid Vincent while he goes into looking for other clues. Loren Dean is brilliant as Anton as Vincent’s younger brother who has become a detective as he realizes Vincent is a suspect while wondering if his brother is really alive when he was supposed to.
Jude Law is incredible as Jerome as a former swimming star who has become paralyzed as he aids Vincent in achieving his dream while revealing what happened when he became paralyzed as it showcased how much he and Vincent have in common. Uma Thurman is remarkable as Irene as a woman who works with Vincent as she falls for him unaware of who he really is as she would also make some major discoveries of her own while revealing her own flaws in her genes despite being valid. Finally, there’s Ethan Hawke in a phenomenal performance as Vincent Freeman as a man who was conceived naturally with genetic flaws as he is determined to buck an unjust system while coping with his own ailments as well as what he had to do to overcome them.
Gattaca is a spectacular from Andrew Niccol that features great performances from Ethan Hawke, Uma Thurman, and Jude Law. It’s a film that isn’t just a compelling and provocative sci-fi drama but also a film that explores the ideas of what happens if science determines one’s fate. In the end, Gattaca is an enchantingly rich and tremendous film from Andrew Niccol.
© thevoid99 2015
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
Based on the novel by Leo Tolstoy, Anna Karenina is the story of the titular socialite, who is the wife of a statesman, who begins an affair with an officer in late 19th Century Russia. Directed by Joe Wright and screenplay by Tom Stoppard, the film is a look into the life of a woman as she tries to find love only to be ruined by her affair as Keira Knightley plays the title role. Also starring Jude Law, Aaron Johnson, Alicia Vikander, Matthew McFayden, Domhnall Gleeson, Kelly MacDonald, Ruth Wilson, Shirley Henderson, Olivia Williams, and Emily Watson. Anna Karenina is a beautiful yet vapid film from Joe Wright.
Set in 1874 in Imperial Russia, the film is an exploration into the life of this aristocratic woman who falls for a cavalry officer where their affair becomes scandalous. Yet, the film is an exploration into many ideas of love as well as infidelity where the latter showcases a woman’s decision in being with this officer named Count Alexei Vronsky (Aaron Johnson) where they fall in love despite the fact that she’s married to a statesman in Count Alexei Karenin (Jude Law). Yet, Vronsky is notorious for wooing many women including Anna’s sister-in-law Kitty (Alicia Vikander) who is also pursued by Konstatin Levin (Domhnall Gleeson) who tries to deal with his ideas about true love and such. All of which is told in a very broad but messy story that doesn’t hold itself together.
Tom Stoppard’s screenplay has this narrative where there’s a lot of characters involved where it has this unique structure that would play Anna’s fall from grace. Yet, it has these other subplots involving her brother Stiva (Matthew McFayden) trying to help Levin while having his own extramarital affairs as well the stuff involving Levin. The first act explores Anna’s marriage to Count Karenin where it’s one where there’s not much communication yet there is love until Anna meets Count Vronsky. The second act is about Anna and Count Vronsky’s love affair and the scandal that it creates where Karenin becomes embarrassed. The third act is about Anna’s attempt to return to society where she is disapproved by those around her while her relationship with Vronsky starts to fall apart.
Notably as the script reveals a lot about Vronsky’s appetite for women which adds to Anna’s insecurities yet neither character become interesting as they have range of emotions that drags the story. Even as the script would shift into what Count Karenin is doing as he feels humiliated as well as the stuff about Levin who feels lost as he tries to comprehend all of the ideas of love. Notably as there’s people like Stiva’s wife Dolly (Kelly MacDonald) who isn’t sure about wanting Stiva back or Vronsky’s cousin Betsy (Ruth Wilson) whose appearances would raise questions about Vronsky’s devotion to Anna. All of which just adds to the messiness of the script as it gets to the point where there’s too many characters to follow and how important they are to the story.
Joe Wright’s direction is unique in the way he presents the story where he wants to go for something that is theatrical where most of the film is presented in a theater. A lot of which seems to play into a world that seems artificial and sort of removed from reality to portray Anna’s idea of the world where things aren’t cold and such. Even in moments of the film where some of the action takes place backstage or above the stage where people will freeze while she and Vronsky are moving. It all plays to that world where Anna and those around her seem to thrive in where there’s even a horse race that occurs on the stage where Anna is watching from the booth. It’s these moments where the idea of fantasy and reality would collide as many of the moments set in the Karenin home is a mixture of that.
There’s also moments where the fantasy is replaced by reality which plays into the Levin’s plight as he goes to the country to deal with some family matters as well as resigning to the fate that might happen to him. These are moments that are all interesting but it also adds to the confusing nature of the story where Wright wants to do both. It unfortunately creates this idea of style over substance where there’s all of this gorgeous imagery with some amazing tracking shots and moments where everything happens in one take. Yet, it doesn’t do enough to really engage the audience into the story despite its emphasis on the themes of adultery and love where its end result is a bit mixed. Overall, Wright crafts a very lavish but lifeless film about a woman’s affair that led to scandal and the loss of her identity.
Cinematographer Seamus McGarvey does fantastic work with the film‘s cinematography from the gorgeous look of the exterior locations to some of the lighting in the theater stage and some of its interior settings. Editor Melanie Ann Oliver does excellent work with the editing from the use of montages and fast-cuts for the dancing scenes as well as some smooth transitions for the fantasy-reality scenes. Production designer Sarah Greenwood, with set decorator Katie Spencer and supervising art director Niall Moroney, does amazing work with the set pieces from the look of the Karenin home to the look of the stage where a lot of the action occurs.
Costume designer Jacqueline Durran does brilliant work with the costumes from the uniforms that Vronsky wears to the many dresses that many of the female characters wear including Anna. Hair/makeup designer Ivana Primorac does dazzling work with the hair/makeup to complement the different looks of the many female characters. Sound editors Craig Berkey and Becki Ponting do superb work with the sound to capture the intimacy of the theatrical settings as well as the broad sound of the scenes set at the train station. The film’s music by Dario Marianelli is spectacular for its heavy yet effective orchestral score to play out the romance and drama while also using some low-key moments and some themes for the different characters including a humorous one for Stiva.
The casting by Dixie Chassay and Jina Jay is terrific for the ensemble that was created as it features some notable small roles from Holliday Grainger as a baroness friend of Vronsky, Michelle Dockery as a friend of Anna, Shirley Henderson as a disapproving madam at a scene late in the film, Raphael Personnaz as Vronsky’s brother, Oskar McNamara as Anna and Count Karenin’s son Serhoza, Alexandra Roach as the Countess Nordstron that Vronsky tries to woo early in the film, and Emily Watson in a chilling performance as the Countess Ivanova who observes Anna’s behaviors as she would eventually tell Karenin about what is going on. Ruth Williams is wonderful as the mysterious Princess Betsy who tries to get her cousin Vronsky to steer him away from Anna while Olivia Williams is excellent as Vronsky’s mother Countess Vronskaya who is very disapproving about her son’s relationship with Anna.
Matthew McFayden is fantastic as Anna’s brother Stiva who tries to deal with the chaos in his own life while helping out Levin. Kelly MacDonald is superb as Stiva’s wife Dolly who deals with her husband’s infidelity while helping out her sister Kitty to find love. Alicia Vikander is remarkable as Kitty as a young woman who is supposed to marry Vronsky only to lose herself in a whirlwind of many prospects while being courted by the more kind Levin. Domhnall Gleeson is marvelous as Levin as a young man who is in love with Kitty only to lose her to her more revered prospects as he tries to deal with his idea of love as well as his family who are dealing with their own troubles. Jude Law is amazing as Count Karenin as a man who is devoted to his service for his country while trying to make time for his family only to learn the truth about what Anna is doing as he tries to comprehend everything as well as make some decisions about what to do for his son.
Aaron Johnson is quite bland as Count Vronsky where Johnson doesn’t do enough to make his character interesting as he spend some of his time being aloof or doe-eyed where it comes across as very uninspiring to watch. Keira Knightley is pretty terrible as the titular character as she spends some of her time either overacting in some of the dramatic moments or just underplaying where she often wears a veil and gaze. It’s a performance that doesn’t allow Knightley to really do more for the character as it has her just being sad and confused most of the time though she’s more effective in the happier moments as it’s not one of her best works.
Despite its amazing supporting cast and technical work, Anna Karenina is a very disappointing film from Joe Wright. Due to the uninspiring leading performances of Keira Knightley and Aaron Johnson as well as Joe Wright’s emphasis on style over substance and Tom Stoppard’s messy script. It’s a film that had all of the tools to be something quite grand and engaging only to end up being dull and flat. In the end, Anna Karenina is a very underwhelming film from Joe Wright.
Joe Wright Films: Pride & Prejudice (2005 film) - Atonement - The Soloist - Hanna
© thevoid99 2013
Directed by Steven Soderbergh and written by Scott Z. Burns, Side Effects is the story about a troubled woman who is given a medication to deal with her anxieties following her incarcerated husband’s return only for something to go wrong as the psychiatrist who gave her the prescription finds himself in trouble. The film is an exploration into the world of prescription drugs as well as anxiety as it revolves a young woman dealing with her issues. Starring Rooney Mara, Jude Law, Channing Tatum, Vinessa Shaw, Ann Dowd, Polly Draper, and Catherine Zeta-Jones. Side Effects is a chilling yet suspenseful film from Steven Soderbergh.
When one suffers from depression over the return of a loved one, what happens when a psychiatrist gives a prescription where it has serious side effects that causes problems? That is the idea of the film as it is about this troubled woman named Emily Taylor (Rooney Mara) as she sinks into severe depression following the return of her husband Martin (Channing Tatum) from prison for insider trading. After a suicide attempt, Emily meets Dr. Jonathan Banks (Jude Law) who examines her and, under the suggestion of her previous psychiatrist in Dr. Victoria Siebert (Catherine Zeta-Jones), gives her a medication in hopes that it will curb her depression. Instead, something goes wrong where Emily doesn’t remember what happen as questions are raised about the prescription Dr. Banks gave her as he is targeted for what happens. With his life and profession in danger, Dr. Banks has to see if it was the drug that got Emily in trouble where he makes discoveries over what really happened.
Scott Z. Burns’ screenplay doesn’t just explore the world of pharmaceutical drugs and the effects it might have but rather what it does to a person who is clearly troubled. While Dr. Jonathan Banks’ intentions to help Emily were noble, giving her a prescription of a drug that he doesn’t know much about based on the suggestions of other people does put him into trouble over what happened to Emily. Largely as questions are raised over the prescription he gave her as Emily’s husband had complained to Dr. Banks about her sleepwalking though Emily believes the drug is helping her. With Emily already a victim over what happened and Dr. Banks trying to find answers over what he gave Emily. He then starts to question Emily’s former psychiatrist Dr. Siebert about the prescription that he suggested.
Dr. Siebert is an interesting individual who was the one who wrote about this prescription that Dr. Banks was suggested to as he would ask questions about Dr. Siebert’s history with Emily. Notably as she started to examine Emily shortly after her husband’s incarceration where Dr. Banks keeps asking questions about their sessions together. Eventually, it allows Dr. Banks to examine Emily more where he gets some big revelations about Emily’s history and other aspects about her life. Burns’ script does have a unique structure where the first half is about Emily and the second half being about Dr. Banks as its third act allows the two characters to collide and finally reveal the truth over the side effects that put both characters in trouble.
Steven Soderbergh’s direction is definitely entrancing for the way he explores the world of depression and pharmaceutical drugs. Notably as he shoots the film with a degree of style from the framing he uses to explore the intimacy that goes on with the characters to the way scenes are presented in different ways. Notably a scene where Emily and Martin are on a boat at a party where Emily is clearly uncomfortable as her depression starts to take her forcing Martin to comfort her outside. Soderbergh also uses an element of ambiguity that occurs in the film such as a scene of Emily sleepwalking that has Martin concerned. Through some medium shots and slanted camera angles, Soderbergh is intrigued by what is happening to Emily as the side effects of her medication start to affect her.
By the film’s second half, Soderbergh’s camera becomes more tighter as the drama surrounding Dr. Banks starts to unfold. There is tension that occurs as the cinematography under Soderbergh’s Peter Andrews alias isn’t as stylized and a bit straightforward to maintain the sense of reality that is happening in comparison to the more stylized look in the film’s first half. Also through the editing in his Mary Ann Bernard alias, Soderbergh also takes his time for the mystery to unfold as it concerns Dr. Siebert as she proves to be a foe for Dr. Banks. Even as it creates a chilling climax in which revelations are unveiled in the hopes that Dr. Banks could save himself from his troubles and actually help out Emily. Overall, Soderbergh crafts a very mesmerizing yet provocative thriller that explores the world of depression and pharmaceuticals.
Production designer Howard Cummings and set decorator Rena DeAngelo does excellent work with the set designs from the look of the offices that some of the characters work at to the look of Emily and Martin‘s apartment home. Costume designer Susan Lyall does wonderful work with the costumes to display the stylish look of Emily in the film’s first half to the more casual look of the characters in suits and such. Sound editor Larry Blake does amazing work with the sound to capture the atmosphere of the locations as well as the tension that occurs in some key scenes such as Emily‘s suicide attempt. The film’s music by Thomas Newman is brilliant for its haunting yet evocative score filled with unsettling string pieces as well as low key cuts to play out the drama as it includes some hypnotic yet throbbing percussive pieces that adds to the suspense.
The casting by Carmen Cuba is fantastic as it features some notable small performances from Polly Draper as Emily’s boss, Sheila Tapia as Emily’s attorney, Mamie Gummer as an old friend of Emily, and Mitchell Michaliszyn as Dr. Banks’ stepson Ezra. Ann Dowd is terrific as Martin’s mother while Vinessa Shaw is superb as Dr. Banks’ wife Deirdre who deals with her husband’s workload and the scandal that he’s been entangled with. Channing Tatum is pretty good as Emily’s husband Martin who is both baffled and concerned for Emily’s depression and the side effects of the medication as he is trying to get back the old life he and Emily once had.
Catherine Zeta-Jones is amazing as the very ambiguous Dr. Victoria Siebert as she suggests to Dr. Banks a new prescription that causes trouble as Zeta-Jones brings this very ice exterior to a woman who doesn’t like to reveal herself or her relationship with Emily as it’s one of Zeta-Jones’ finest performances. Rooney Mara is great as Emily Taylor as this very troubled woman who is dealing with depression as she is afflicted by the side effects of the prescription she’s given as she tries to deal with all sorts of things as it’s a very eerie performance from Mara. Finally, there’s Jude Law in a remarkable performance as Dr. Jonathan Banks as this psychiatrist who is trying to help this young woman only to get in trouble over the side effects of the prescription as he tries to find out more information about the prescription as it’s a very captivating performance from Law.
Side Effects is a marvelous film from Steven Soderbergh that features top-notch performances from Jude Law, Rooney Mara, and Catherine Zeta-Jones. While it does have a few flaws in Scott Z. Burns’ screenplay, it is still a very compelling suspense-thriller that explores the world of depression and pharmaceuticals. If the film is to be Steven Soderbergh’s final feature-length film, at least he comes out with a winner. In the end, Side Effects is an extraordinary film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kakfa - King of the Hill - The Underneath - Gray’s Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven (2001 film) - Full Frontal - Solaris (2002 film) - Eros-Equlibrium - 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 - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh Pt. 1 - Pt. 2
© thevoid99 2013
