Molly's Game

Based on the memoir by Molly Bloom, Molly’s Game is the story about a mogul skier who decides to run an underground poker empire that makes her rich until she gets the attention of the FBI. Written for the screen and directed by Aaron Sorkin, the film is a dramatic telling of Molly Bloom’s life story as she is a woman struggling to re-define herself after her dreams of being an Olympic skier fell apart while hoping to retain the new life that she created for herself as Bloom is portrayed by Jessica Chastain. Also starring Idris Elba, Jeremy Strong, Michael Cera, Chris O’Dowd, Joe Keery, Bill Camp, Brian D’Arcy James, and Kevin Costner. Molly’s Game is an intoxicating and chilling film from Aaron Sorkin.

Following a failed attempt to qualify for the 2002 Winter Olympics as a mogul skier due to an unfortunate accident, Molly Bloom would reinvent herself in running an underground poker empire after working for an unsuccessful real estate dealer in planning his underground poker games and making something of herself until she gets the attention of the FBI. It’s a film with a simple premise as it play into a woman trying to create a new life for herself as she is driven to become successful on her own terms yet would put herself in dangerous when her gambling business include Russian mobsters that would attract unwanted attention as she turns to an attorney who tries to understand her as well as read her just-released memoir. Aaron Sorkin’s screenplay doesn’t exactly follow a traditional narrative as sort of moves back-and-forth into the life of Molly Bloom from when she’s running her poker enterprise as well as awaiting trial for the crimes she’s being accused of.

Notably as Bloom is someone who had wanted to become an Olympic skier as she was trained and motivated by her psychiatrist father Larry Bloom (Kevin Costner) whom she has a tense relationship with as she would rarely speak with him after her Olympic career ended. Though she was meant to go to law school, she instead moved to Los Angeles and took a year off where she was a bottle service waitress and then working for a real estate dealer who often had underground poker games that would feature various people including top poker players, major athletes, and a movie star in Player X (Michael Cera). Though she is successful in Los Angeles as she would forge her own career, things do get complicated where Sorkin’s script reveal what forced Bloom to move to New York City as well as exploring her own downfall as it relates to the people she would meet and their connection to the Russian mafia. Sorkin also reveal some of Bloom’s own motivations and her own growing sense of disdain towards men of power while turning to high-priced attorney Charlie Jaffey (Idris Elba) for counsel as he’s to defend her in court yet he is someone that would get to know her and wonder what she is all about.

Sorkin’s direction is largely straightforward in terms of the compositions as it is shot on various locations in New York City, Los Angeles, and parts of Canada including Toronto with the last of the three locations playing into Bloom’s early life and her time trying to become an Olympic skier. While Sorkin does create some unique wide shots to establish some of the locations, much of his direction is intimate in its usage of medium shots and close-ups to get an interaction into the characters as well as in the framing where the poker players are in the foreground playing while Bloom is in the background looking at her laptop and observing the game. Sorkin’s direction also play into the world of underground poker and how it’s a game of wit and control as Bloom is someone who likes to be in control of everything. Notably in the film’s first half that is set in Los Angeles where Bloom has gained control and lots of money until she sees a player completely lose it as well as learn about Player X’s activities when it comes to recruiting players.

The second half set in New York City that moves back-and-forth into Bloom’s meetings with Jaffey as well as her activities in the city as she had games in expensive hotel suites and a richer clientele but would also take some money from the games that would end up being illegal. Even as it involves a drunken Irish-American businessman in Douglas Downey (Chris O’Dowd) who would introduce Bloom to the Russians as Sorkin’s direction showcases this craziness that would occur. Notably in the third act as it relates to a client in Los Angeles who played at her games as well as many other things where Sorkin shows a woman who has been trying to do things her way in a man’s world yet finds herself going into this air of uncertainty about what to do next as she faces serious trouble despite Jaffey’s help. Overall, Sorkin crafts an evocative and compelling film about a woman running an underground poker empire that would eventually fall apart.

Cinematographer Charlotte Bruus Christensen does excellent work with the film’s cinematography as it is largely straightforward with some stylish lighting for the nighttime interiors to help set the mood of the poker games as well as some of the exterior scenes at night. Editors Alan Baumgarten, Josh Schaeffer, and Elliot Graham do fantastic work with the editing as it has some elements of style in its usage of montages, jump-cuts, and stylish fade-outs to play into the drama in the film. Production designer David Wasco, with set decorator Patricia Larman and art director Brandt Gordon, does brilliant work with the look of the hotel suites, bars, and such where some of the poker games occur as well as the New York apartment Bloom lived in and Jaffey’s office. Costume designer Susan Lyall does nice work with the costumes that include a lot of the stylish and cleavage-revealing dresses that Bloom wears when she’s at work as well as the casual clothes she would wear off-work.

Hair stylist Carol Hartwick and makeup artist Alastair Muir do amazing work with the look that Bloom would take in the years of making herself look presentable for her empire. Visual effects supervisor Aaron Weintraub does terrific work with the film’s minimal visual effects that include a few bits of set dressing including scenes during Bloom’s time as a skier. Sound editors Michael J. Benavente and David McCallum, along with sound designer Todd Toon, do superb work with the film’s sound in the atmosphere of intimate card games as well as some of the sounds that occur in poker houses and some of the quieter moments in Bloom’s home and Jaffey’s office. The film’s music by Daniel Pemberton is wonderful for its low-key electronic score that play into the drama as well as some of the darker moments in the film while music supervisors Carlton Kaller and Sean Mulligan provide a soundtrack of music that is diverse ranging from artists/bands such as Thenewno2, Temple of the Dogs, Thunderpussy, the Raveonettes, Sly and the Family Stone, Alexander McCabe, Sammy Davis Jr., and Tommy James.

The casting by Francine Maisler is incredible as it feature some notable small roles from Piper Howell and Samantha Isler in their respective roles as the adolescent and teenage Bloom, Jon Bass as famous guy who tries to sell a Bloom a famous painting as collateral for a game, Claire Rankin as Bloom’s mother, Natalie Krill, Stephanie Herfield, Madison McKinley as a trio of former Playboy Playmates who work for Bloom in recruiting the players in New York City, Joe Keery as a trust fund guy named Cole, Angela Gots as a poker dealer named B who would give Bloom the idea to take a percentage of large pots, Justin Kirk as a NYC player named Jay, Whitney Peak as Jaffey’s teenage daughter Stella that Bloom befriends, J.C. MacKenzie as a federal prosecutor in Harrison Wellman who deals with Jaffey over Bloom’s case, and Graham Greene in a small yet effective performance as the judge in Bloom’s trial.

Bill Camp is terrific as a card shark in Harlan Eustice who is a skilled player that collapses after losing a game while Brian d’Arcy James is superb as a hedge fund manager in Brad who is one of the game’s worst players. Chris O’Dowd is fantastic as Douglas Downey as an Irish-American businessman that introduces Bloom to the Russians while Jeremy Strong is excellent as Bloom’s real estate developer boss who would introduce her to the world of underground poker and have her plan it only to realize that she does a better job than he does. Michael Cera is brilliant as Player X as a famous movie star who would help Bloom recruit players while doing things that make Bloom uncomfortable in Los Angeles. Kevin Costner is amazing as Bloom’s father Larry who was also her coach and a psychiatrist who had become estranged with Bloom due to their tumultuous relationship as he would appear in the third act not just to make amends with her but also understand why she is in such trouble.

Idris Elba is sensational as Charlie Jaffey as an attorney who takes Bloom’s case as he would also read her memoir where he asks some questions while trying to figure out as it is one of Elba’s finest performances including a scene where he defends Bloom as he realizes that she is really a good person despite the crimes she committed. Finally, there’s Jessica Chastain in a phenomenal performance as Molly Bloom as a woman who is driven to succeed though her hopes to be an Olympic skier is dashed forcing her to find other means yet becomes cunning in her pursuit. Chastain has this ferocity in her performance as someone that doesn’t quit but it’s also a flaw when she doesn’t know when it’s time to quit as it’s a role that has Chastain be part of some bad things but try to find an understanding of why she is driven to run an underground gambling empire that is often dominated by men.

Molly’s Game is an incredible film from Aaron Sorkin that features a great leading performance from Jessica Chastain. Along with a superb ensemble cast led by an amazing supporting performance from Idris Elba as well as Sorkin’s inventive and intriguing script that is filled with unique aspects of character study. The film is definitely a fascinating drama that explore a woman trying to succeed on her own terms in the world of underground poker that is often dominated by men. In the end, Molly’s Game is a sensational film from Aaron Sorkin.

(The Trial of the Chicago 7)

© thevoid99 2020

Hidden Figures

Based on the non-fiction book by Margot Lee Shetterly, Hidden Figures is the true story of female African-American mathematicians who worked at NASA where they would provide the numbers for the right flight trajectories for the Mercury space missions in the early 1960s. Directed by Theodore Melfi and screenplay by Melfi and Allison Schroeder, the film is an exploration of the small number of people whose contribution to the 1960s space race to be as important as those that flew into outer space. Starring Taraji P. Henson, Octavia Spencer, Janelle Monae, Kirsten Dunst, Jim Parsons, Glen Powell, Mahershala Ali, and Kevin Costner. Hidden Figures is an enchanting and exhilarating film from Theodore Melfi.

Set in 1961 and 1962, the revolves around a trio of African-American women who work at the Langley Research Center in Hampton, Virginia for NASA where one of the women would find the right mathematic problems for flight trajectories for the upcoming Mercury space missions during the 1960s space race between the U.S. and the Soviet Union. Though these three women try to deal with the work they have to do at a time where everything is segregated at the time as men and women work at different buildings with African-American women having to work in one different side of the building with white women. They all have a role to play in order to beat the Russians in the space race as they’re having a hard time catching up with them. The film’s screenplay by Theodore Melfi and Allison Schroeder does have a straightforward structure as it play into the obstacles the mathematician Katherine Goble (Taraji P. Henson), the aspiring engineer Mary Jackson (Janelle Monae), and supervisor Dorothy Vaughn (Octavia Spencer) face.

Yet, the script focuses largely on Goble who is a widowed mother of three girls as she is a gifted mathematician since she was a child yet is still undervalued until she is transferred to work with the Space Task Group led by Al Harrison (Kevin Costner) who would see what Goble has to offer. Still, she has to cope with the fact that she has to run half-a-mile to go to the bathroom since the closest one is only for white women until Harrison makes the decision to get rid of the ideas of segregation by knocking down a “colored only” sign in the women’s bathroom. While Goble would also have to endure the fast-paced world of getting results as well as deal with a supervisor in head engineer Paul Stafford (Jim Parsons) who is trying to impose his superiority over Goble. The script also showcase what Jackson and Vaughn go through as Jackson would work with Karl Zielinski (Olek Krupa) whom he sees as someone with potential and would encourage her to get her engineering degree.

For Vaughn who has been taking on the role of acting supervisor for her team, she still has to deal with her supervisor Vivian Mitchell (Kirsten Dunst) who tells Vaughn what she needs to do though she’s unaware that Vaughn would be the one to figure out the new IBM 7090 supercomputers and how they work. There is also a subplot as it relates to Goble’s personal life as she falls for a military officer in Jim Johnson (Mahershala Ali) who would eventually become her husband which would help bring some happiness to Goble just as she’s starting to find fulfillment in her professional life.

Melfi’s direction doesn’t have a lot of stylish visuals in order to capture a moment in time where it was an era of civil unrest as well as this sense of change emerging. Shot largely at the Morehouse College in Atlanta, the film opens with a look into Goble’s life when she as a child and how she became this unknowingly gifted child that could do math problems beyond anyone’s expectation. While Melfi would use some wide shots including some key scenes set in space, much of the film would have Melfi employ more straightforward shots to play into Goble and the need to do her work and stand out among many. Even as she would wear colorful dresses while the rest of her co-workers are seen wearing white shits and a black tie. The wide shots that Melfi creates in some of the buildings show that sense of disconnect between blacks and whites and their roles in NASA but it eventually becomes more intimate once they start to realize the value these women have for NASA.

Melfi would also play into light-hearted moments as it relates to some of the individual moments that Jackson would go through as she would file a petition to be allowed to get her engineering degree as well as Vaughn taking a library book that would allow her to understand the IBM machine. The film’s climax which revolves around the mission with John Glenn (Glen Powell) who has taken notice of Goble’s work and wants her to do the math as he sees her as someone of immense value. Though Goble at first isn’t part of this mission, Harrison realizes that everything they have been relying on with the IBM show some discrepancies in the calculations forcing him to have Goble at his side. It all play into what one person could do and make a small but important contribution to the space race. Overall, Melfi crafts a compelling and riveting film about three women whose small contributions to the 1960s space race would make a major difference for themselves and everyone else.

Cinematographer Mandy Walker does excellent work with the film’s cinematography from the usage of colors for many of the exterior daytime scenes as well as how some of the interiors are lit including some of the scenes set at night. Editor Peter Teschner does terrific work with the editing as it is largely straightforward with some rhythmic cuts to play into the drama. Production designer Wynn Thomas, with set decorator Missy Parker and art director Jeremy Woolsey, does brilliant work with the look of the offices and labs as it play into the environment the characters work at where it starts off that is a bit oppressive but then warms up once everyone is on the same page. Costume designer Renee Ehrlich Kalfus does amazing work with the costumes from the colorful dresses many of the African-American women wear at work and off work as well as the clothes that the white men/women wear which are a bit colorless to display their buttoned-down look.

Visual effects supervisors Chris and Mark LeDoux do fantastic work with the visual effects for the scenes set in outer space including the film’s climax during John Glenn’s Earth orbits. Sound designers Wayne Lemmer and Derek Vanderhorst do superb work with the sound in the way rockets sounded as well as the sparse elements in the way chalk and typewriters would sound. The film’s music by Hans Zimmer, Pharrell Williams, and Benjamin Wallfisch is incredible for its mixture of Zimmer and Wallfisch’s orchestral music to play into some of the low-key elements of the drama without anything bombastic as well as some of the soul-based music created by Williams who would also compile the film’s soundtrack to feature a lot of the music of the times including some of the soul music that was emerging during those times.

The casting by Victoria Thomas is great as it feature some notable small roles from the trio of Saniyaa Sidney, Ariana Neal, and Zani Jones Mbayise as Katherine’s daughters, Aldis Hodge as Mary’s husband, Donna Biscoe as Katherine’s mother who watches over her granddaughters, Karen Kendrick as the younger version of Katherine’s mother, Lidya Jewett as the young Katherine, Kimberly Quinn as Harrison’s secretary Ruth, Olek Krupa as the Jewish-Polish scientist Karl Zielinski who encourages Mary to get her degree as he sees value in her, and Glen Powell in a terrific performance as John Glenn who realizes the value in Katherine’s gift for mathematics as he sticks with her results rather than what everyone says. Jim Parsons is good as Paul Stafford as a head engineer who gives Goble problems to work on and not realizing what she could do as he is forced to accept what she’s able to offer.

Kirsten Dunst is fantastic as Vivian Mitchell as a supervisor who supervises all of the women while having to deal with Vaughn whom she knows is qualified but often tells her about the rules as it’s a low-key yet effective performance. Mahershala Ali is excellent as Jim Johnson as a military officer who woos Goble as he is fascinated by what he does and wants to be there for her. Kevin Costner is brilliant as Al Harrison as the Space Task Group director who takes notice of Goble’s work and realizes her value while making changes that he feels is necessary for everyone including Goble whom he realizes is a much smarter person than everyone else. Janelle Monae is amazing as Mary Jackson as a mathematician who aspires to be an engineer as she has something to offer as a famed scientist realizes that and gives her the chance to get her degree as it’s a performance full of charisma.

Octavia Spencer is incredible as Dorothy Vaughn as an acting supervisor who heads the African-American women’s section who is trying to get promoted while she would be the one person to figure out how the IBM machines work giving her the chance to be valued by everyone. Finally, there’s Taraji P. Henson in a phenomenal performance as Katherine Goble Johnson as the gifted mathematician who knows any kind of problem needed as she is the smartest person in the room that no one is aware of while dealing with some of the demands in her work as well as the need to be there for her daughters as it’s Henson in one of her triumphant performances to date.

Hidden Figures is a spectacular film from Theodore Melfi. Featuring a great cast, a rapturous story, gorgeous visuals, and a joyful music soundtrack. It’s a film that showcases people whose small contributions to something monumental would prove to have a lasting effort as this true story of these three women isn’t just inspirational but also prove that even those behind the scenes matter. In the end, Hidden Figures is a sensational film from Theodore Melfi.

© thevoid99 2018

The Untouchables

Based on the memoir by Eliot Ness and Oscar Fraley, The Untouchables is the story of a group of police officers and detectives who try to take down Al Capone during the Prohibition era. Directed by Brian de Palma and screenplay by David Mamet, the film is a look into the formation of this group led by Ness as it is set in 1930 Chicago with Kevin Costner playing the role of Ness. Also starring Robert de Niro, Charles Martin Smith, Andy Garcia, Patricia Clarkson, Billy Drago, and Sean Connery. The Untouchables is a thrilling and mesmerizing film from Brian de Palma.

Set in 1930 Chicago during the era of Prohibition where Al Capone (Robert de Niro) ruled the city and created havoc, the film revolves around Eliot Ness and his team of incorruptible men who are willing to take down Capone by any means while bringing him to justice. It’s a film that is a dramatized take on the events where Ness arrives into the city as an outsider for the treasury department as his early attempts to shut down Capone is met with embarrassment. Upon meeting an Irish beat cop in Jimmy Malone (Sean Connery), Ness learns that he can’t trust the police as he teams up with Malone as well as an academy trainee in George Stone (Andy Garcia) and a bureau accountant in Oscar Wallace (Charles Martin Smith) to stop Capone and get evidence over the unpaid taxes that were never recorded.

The film’s screenplay by David Mamet doesn’t just explore the conflict between Capone and the Untouchables but also what is at stake. Notably as one of the early scenes in the film involves a bombing at a neighborhood where a young girl dies which forces Ness to really do something where he later meets that girl’s mother. Being a family man himself, Ness realizes he must do what he can to protect his wife and children from being killed as he is eventually targeted following a series of successful raids. It’s among the elements that Mamet does which gives some gravitas to the story as well as creating characters that are very engaging where Malone is a man that had seen it all and believes that Ness is the man that is willing to bring order back to the world. Stone is an Italian-American who is a great marksman and is street-smart as he is someone that wants to change the perception of what people think of Italians despite the fact that he changed his name.

Wallace is just a simple accountant who is crucial to the team as he would make some discoveries into Capone’s finances as well as see what businesses he is linked to. Then there’s Capone as he is this loose cannon that barks orders as well as be someone that thrives being in power. Through monologues written by Mamet, it adds a sense of iconography into Capone as a man who has this idea that he owns Chicago and believes he will take over the world. It definitely adds a lot into the conflict where Mamet’s script manages to play up this sort of rise-and-fall scenario on Capone in the hands of Ness and the Untouchables but the third act also reveals exactly what happens when Capone gets pushed into the edge and will do anything to keep his empire afloat.

Brian de Palma’s direction is definitely entrancing in terms of not just the visuals he creates but also in the fact that he goes for a lot of style to play up the world of 1930s Chicago as he would shoot the film on location in the city. From the usage of overhead shots to open the film where Capone is getting a shave, a manicure, and a shoe shine to the intricate usage of crane shots and close-ups. The direction of de Palma is always filled with some sense of technical wizardry in how he would put his actors into a frame such as a church conversation where Ness is in the foreground and Malone is in the background in one shot and then cut to a medium shot of the two with the camera in front of them. The sense of intimacy in de Palma’s usage of close-ups and medium shots add to the camaraderie between Ness, Malone, Stone, and Wallace in their pursuit to bring order.

The direction also has some very unique touches that does pay ode to elements of cinema such a key sequence at the Chicago train station which pays homage to the Odessa steps sequence from Battleship Potemkin. It adds to the sense of drama and what is at stake where it is clear that Ness isn’t just trying to do good for Chicago but also to make sure that the little girl who was killed by a bomb would find peace. Even as it leads to Capone being put on trial where there is still an element of suspense in its climax about the idea on if justice will be served or will Capone buy his way out of the jail sentence. It all plays part into the dangerous world that is 1930s Chicago and the era of Prohibition that has caused so much violence all because people wanted to drink alcohol with Ness needing to uphold the law the best way he can to keep people safe. Overall, de Palma crafts a very lavish yet gripping film about a lawman’s war against Al Capone.

Cinematographer Stephen H. Burum does excellent work with the film‘s cinematography from the lavish usage of lights to play up the high-class lifestyle that Capone lives in to the usage of more naturalistic yet low-key lights for the more simple lifestyle of Ness and the Untouchables live in. Editors Gerald B. Greenberg and Bill Pankow do amazing work with the editing with its stylish usage of jump-cuts and slow-motion cuts that play into the drama and action that occurs in the film along with some very offbeat rhythms for the suspenseful moments. Art director William A. Elliot, with set decorators Patrizia von Brandenstein and Hal Gausman, does fantastic work with the set pieces from the look of the Livingston hotel and the suites that Capone lives in to some of the factories where some of the bootlegging occurs. Costume designer Marilyn Vance does brilliant work with the costumes from street clothes and uniforms some of the cops wear as well as the suits that Capone wears which are designed by Giorgio Armani.

Makeup artist Michael Hancock and hair stylist Bette Iverson do nice work with some of the minimal makeup for the look of Al Capone as well as the hairstyle that women sported during those times. Sound editor Dan Sable does superb work with the sound to create some sound effects for some of the darker moments in the film as well as the elements of suspense. The film’s music by Ennio Morricone is incredible for its mixture of bombastic orchestral textures and offbeat themes to play into some of the humor and drama as it is really among one of the finest scores ever while music supervisor Emile Charlap brings in the music of Duke Ellington and other jazz pieces of the times to play into that period.

The casting by Lyn Stalmaster and Mali Finn is remarkable as it features some notable small roles from Clifton James as a district attorney, Richard Bradford as the police chief Mike Dorsett who reluctantly helps Ness early on as he‘s an old friend of Malone, Jack Kehoe as Capone’s bookkeeper Walter Payne, Brad Sullivan as one of Capone’s associates named George who gets captured by the Untouchables and the Mounties in Canada, Billy Drago as Capone’s key cleaner Frank Nitti, and Patricia Clarkson in a small but wonderful performance as Ness’ wife. Charles Martin Smith is excellent as Oscar Wallace as an accountant for the bureau who helps Ness in uncovering many of Capone’s finance as he becomes part of the Untouchables as someone that isn’t afraid to carry a shotgun. Andy Garcia is fantastic as George Stone as an Italian-American who uses a fake name in order to hide his real name out of fear of prejudice yet proves to be a skilled marksman and be loyal to what Ness wants to do.

Robert de Niro is brilliant as Al Capone where de Niro brings a lot of charm and smarminess to the role as well as being very violent and full of bravado as he definitely makes Capone larger than life. Sean Connery is amazing as Jimmy Malone as this Irish beat cop who had seen a lot as he helps Ness in bringing down Capone while realizing many of the bad things that is happening where he goes to some great extremes to get answers as it’s Connery in one of his best roles ever. Finally, there’s Kevin Costner in a marvelous performance as Eliot Ness as a treasury department agent who is tasked to bring Capone down as well as do what he needs to protect his family and make sure that the people of Chicago will feel safe.

The Untouchables is a phenomenal film from Brian de Palma. Featuring a great cast led by Kevin Costner, Sean Connery, and Robert de Niro as well as compelling script by David Mamet, lavish visuals, and Ennio Morricone’s thrilling score. The film isn’t just one of the finest films of the gangster film genre but also a mesmerizing film that plays into the world of law and order vs. crime. In the end, The Untouchables is a sensational film from Brian de Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - (Phantom of the Paradise) - (Obsession) - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - (Body Double) - (Wise Guys) - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2016

Man of Steel

Based on the comic Superman by Jerry Siegel and Joe Shuster, Man of Steel is an origin story in which Kal-El struggles with his identity as a man from another planet while also being known as Clark Kent where he later becomes Superman and fight the enemies from his former planet of Krypton. Directed by Zack Snyder and screenplay by David S. Goyer with a story by Goyer and Christopher Nolan. The film is a reinterpretation of the Superman origin story where it reveals Clark Kent/Kal-El’s struggle with his upbringing and where he really came from before he finally embraces his role. Starring Henry Cavill, Amy Adams, Michael Shannon, Laurence Fishburne, Antje Traue, Ayelet Zurer, Kevin Costner, Diane Lane, and Russell Crowe as Jor-El. Man of Steel is a thrilling yet flawed film from Zack Snyder.

The film is about the young man who would become Superman (Henry Cavill) as he struggles with who he is and what he needed to be as he would eventually find the answers from his late father Jor-El. Yet, Kal-El/Clark Kent also struggles with keeping his powers and identity secret as his late adoptive father Jonathan (Kevin Costner) knows of that struggle as he tries to show him that not everyone can be saved. While a journalist in Lois Lane (Amy Adams) tries to uncover the secrets of Superman through her early encounters, an exiled general and his people from the planet Krypton in Zod (Michael Shannon) tries to find him in the hopes he can create a new Krypton in Earth and exterminate the human race. This would prompt Superman to save Earth and the human race and to see that Zod wouldn’t make the same mistakes his father and the Kryptonians had made many years ago that led to the planet’s destruction.

David S. Goyer’s screenplay does pay true to many of the origins of Superman and where he came from along with the destruction of Krypton. Yet, there’s aspects of the film’s screenplay that isn’t successful as there’s a lot of exposition into an object known as the codex that Jor-El would put into his son as he was the first natural newborn in many centuries for the planet since Jor-El and his wife Lara (Ayelet Zurer) wanted their son to have the choice in being an individual unlike the other people of the planet. Upon meeting the shadow of his late father, Kal-El wouldn’t just learn about what happened to Krypton and who he is as it would play into the struggle that he would have. Some parts of the script has Clark reflect on his childhood with his father and mother Martha (Diane Lane) as he would live a nomadic lifestyle to find himself as an adult before he realizes the role he has to play.

While the Kents, Jor-El, Zod, and Lane are characters that are quite complex, some of the minor characters that is part of Superman’s world get shafted by the wayside once the film’s second half becomes more about Superman dealing with Zod and his army. Especially in how Zod and his army were able to leave the Phantom Zone due to explosion of Krypton as it leads to more exposition which does get tiresome. Yet, the Zod character is a complex antagonist for the fact that he had been born and raised to save the planet and its people but he becomes lost in his desire to create a new planet as he is making the same mistakes that led to Krypton’s demise.

Zack Snyder’s direction is quite interesting in the way he portrays Superman and his struggle with his identity where the scenes set in Smallville when Kent is a child definitely has this Malickian look to the film is quite entrancing. Yet, there’s also a griminess to some of the action scenes where the scenes set in Krypton as it’s collapsing are very big and unsettling. Snyder does know how to slow things down and establish some key aspects to the story yet the two different tones he wanted to present in the film is uneven at times. Especially as the scenes set in Smallville and other worldly locations are beautiful but the scenes filled with the chaotic reminders of Krypton is quite ugly. Even as Snyder would create some scenes of Lois Lane often getting into trouble only to be saved by Superman as it kind of becomes a running gag.

There are some great compositions and set pieces that occur that includes its climax but at times, it gets overwhelming as all of the destruction Superman and the Kryptonians have created. Even as it involves lot of visual effects where some of it isn’t that great as some of the direction gets into overdrive in terms of the action and destruction of buildings. Another aspect of the film that is very annoying is the presence of lens flares that isn’t really necessary and doesn’t say anything for the film on a visual level. Despite the flaws that the film carries, Snyder does manage to create an exciting and engaging film about the Man of Steel.

Cinematographer Amir Mokri does excellent work with the film‘s cinematography from the evocative look of the scenes set in Smallville with its use of darkened colors along with some of its shadows and lighting for some of the film‘s interior scenes and material set in Krypton. Editor David Brenner does nice work with the editing in some of the montages that is created as well as some of the action scenes though some of it moves a bit too fast at times. Production designer Alex McDowell, with set decorator Anne Kuljian and supervising art director Helen Jarvis, does fantastic work with the look of Krypton and its ships along with the look of Metropolis and Smallville as it‘s the two world that Clark Kent lives in. Costume designers James Acheson and Michael Wilkinson do terrific work with the costumes from the look of Superman‘s suit to the suits and armor of the Kryptonians.

Hair/makeup supervisor Victoria Down does wonderful work with some of the makeup work for Martha Kent as in her aging look. Visual effects supervisors John “D.J.” Des Jardin and Ged Wright do some superb work with the visual effects in the look of Krypton and some of its machines though at times they look wobbly such as the weapons from its ships. Sound designer Eric A. Norris and co-sound editor Scott Hecker do brilliant work with the sound work from the sound of lasers as well as some of the natural moments presented on location. The film’s music by Hans Zimmer is pretty good for its bombastic orchestral themes and soaring string pieces to play into the drama and sense of adventure that occurs in the film.

The casting by Kristy Carlson, Lora Kennedy, and Claire Simon is amazing for the ensemble that is created as it features some notable small roles from Richard Schiff as the scientist Dr. Emil Hamilton, Michael Kelly as Lane’s colleague from the Daily Planet, Christopher Meloni as Col. Hardy, Harry Lennix as Lt. General Swanwick, and Antje Traue as Zod’s sub-commander Faora. Ayelet Zurer is pretty good as Kal-El’s mother Lara while Laurence Fishburne is terrific though somewhat wasted as Lane’s boss Perry White as he doesn’t get more to do other than boss Lane around and save a few employees from the destruction of Metropolis. Cooper Timberline and Dylan Sprayberry are solid in their respective roles as the 11 and 13-year old Clark who struggles with his identity and powers. Diane Lane is wonderful as Clark’s mother Martha who brings a great sense of warmth and wisdom to Clark while Kevin Costner is superb as Jonathan Kent as he would help the young Clark deal with his identity and gifts.

Russell Crowe is excellent as Kal’s father Jor-El as a man who is aware of the destruction that Krypton has created for itself as he would later guide his son into discovering his identity. Michael Shannon is great as General Zod as this mad general who is eager to save Krypton at any cost while wanting to rebuild the planet on Earth and hope to bring a new civilization to this new version of Krypton. Amy Adams is brilliant as Lois Lane as a reporter for the Daily Planet who tries to uncover the mystery of Superman as she falls for him as Adams has a lot of energy and charisma to her role despite getting herself into lots of trouble. Finally, there’s Henry Cavill in a phenomenal performance as the titular character as a man struggling with who he is and how he would later accept that role as Cavill has the look and determination to play Superman as well as the humility of Clark Kent.

While it does have its flaws in terms of presentation, Man of Steel is still a worthwhile and fun film from Zack Snyder. With a great leading performance from Henry Cavill along with strong supporting performances from Russell Crowe, Amy Adams, Kevin Costner, Diane Lane, and Michael Shannon. It’s a film that will satisfy fans of Superman though it pales to the brilliance of the 1978 film that introduced him to cinephiles. In the end, Man of Steel is a pretty good 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 - Batman v Superman: Dawn of Justice -

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

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

© thevoid99 2014

Hatfields & McCoys (TV Mini-Series)

Directed by Kevin Reynolds with a teleplay by Ted Mann and Ronald Parker from a story by Mann and Bill Kerby, Hatfields & McCoys is a 3-part TV mini-series that chronicles a feud between two different families in the late 1800s in West Virginia-Kentucky. The TV miniseries explores how the feud began as it escalated for many years before it finally ended in the early 1890s as playing the head the warring families are Kevin Costner as Devil Anse Hatfield and Bill Paxton as Randolph McCoy. Also starring Tom Berenger, Mare Winningham, Jena Malone, Matt Barr, Lindsay Pulsipher, Sarah Parish, and Powers Boothe. Hatfields & McCoys is a sprawling and thrilling epic TV mini-series from Kevin Reynolds.

Part 1

After a brutal battle during the Civil War in 1863, Devil Anse Hatfield chooses to flee his regiment leaving his friend Randolph McCoy to fight on where he was eventually captured by the Union until the War’s end. Following McCoy’s release from a Union prison, he learns that his brother Harmon (Chad Hugghins) was killed two years earlier by Devil Anse’s uncle Jim Vance (Tom Berenger) who was offended by Harmon’s Union coat. With Hatfield becoming rich through a timber business, McCoy feels resentful as his cousin Perry Cline (Ronan Vibert) tries to sue Hatfield over land only to lose. In 1878, the tension between the Hatfields and McCoy come to ahead when Floyd Hatfield (Lloyd Hutchinson) had bought a pig that actually belonged to McCoy.

With Judge Valentine “Wall” Hatfield (Powers Boothe) choosing to settle the matter, things unfortunately go wrong as a war ensues when McCoy’s nephews killed a witness over his testimony in the pig case. Judge Hatfield asks both men to not get into a war as things cool down a bit for two years until Devil Anse’s son Johnse (Matt Barr) falls for Randolph’s daughter Roseanna (Lindsay Pulsipher) as they form a relationship much to the dismay of their fathers. Wanting to avoid bloodshed, Levicy Hatfield (Sarah Parish) tells Roseanna to return home to the McCoys where her mother Sally (Mare Winningham) has Roseanna live with her aunt Betty (Joy McBrinn) to avoid further trouble. Instead, Perry Cline makes a discover that would escalate the tension between the Hatfields and the McCoys as their leaders make a troubling discovery.

Part 2

After setting the issue over Johnse and Roseanna’s love affair, the fighting briefly stops until a gathering in Kentucky where a brawl between Hatfield and McCoy family members led to the death of Devil Anse’s brother. In response to the murder, Devil Anse orders the death of McCoy’s three sons furthering the war as Randall and Perry Cline decide to put a bounty on the Hatfields. Answering to that bounty is a man named “Bad” Frank Philips (Andrew Howard) who has killed Skunkhair Tom Wallace (Andy Gathergood) for the McCoys where the war escalates. Meanwhile, Johnse falls for Roseanna’s cousin Nancy (Jena Malone) as they decide to get married much to the dismay of the entire Hatfield family. When Nancy’s brother Jefferson (Jonathan Frederick) has killed someone with Jim Vance and his nephew Cap (Boyd Holbrook) going after him. Nancy fights back only to be beaten by Vance while Cap kills Jefferson.

Things get more complicated as Nancy asks Philips to kill Jim Vance personally as she also reveals a plan of her own. With the battle lines escalating and Philips taking on the command for the McCoys to capture several Hatfields to find the whereabouts of Devil Anse. Politicians from both Kentucky and West Virginia try to smooth things out as a war is about to heat between both sides.

Part 3

With the battle lines intensifying as Jim Vance, Cap, and several Hatfields decides to attack the McCoy cabin on New Year’s Day that left two McCoy children dead and Sally McCoy on the brink of insanity. The war starts to take its toll on Devil Anse Hatfield and Randall McCoy as both are troubled by the bloodshed that has grown. When Nancy decides to leave Johnse after he had accidentally revealed some information about Vance’s whereabouts, Johnse’s actions lead to dire consequences as Devil Anse makes a decision concerning Johnse. Roseanna returns to the McCoy family to take care of her mother as she starts to fall ill over all of the turmoil concerning the war. After the brutal battle that left Hatfield to retreat, both sides start to grow weary as Wall Hatfield chooses to turn himself in. With Randall descending into alcoholism and Devil Anse feeling ill, both men come to terms with everything they had dealt with in a war that’s becoming a part of American history.

The mini-series is about the origins of how the Hatfields and McCoys began their feud and how it would escalate into a war that became part of American folklore. Spanning from the mid-1860s in the Civil War to the early 1910s to establish the final outcome of the Hatfield and McCoy war. The teleplay by Ted Mann and Ronald Parker do build up a lot of momentum into how the seeds of the feud began where it was a combination of resentment from Randall McCoy’s side to the sheer hatred of Jim Vance who kills Harmon McCoy for wearing a Union coat. Things eventually escalate where it becomes a war about honor while there’s a subplot involving Devil Anse’s son Johnse who falls for Randall’s daughter Roseanna that would lead to more complications.

The script does allow characters like Devil Anse and Randall to each have an understanding about war as both men are flawed. There’s also a lot of compelling characters who are involved as the non-violent Johnse becomes this very innocent man who is in love with Randall’s daughter in hopes that the war will end. Instead, things become complicated as he ends up marrying Roseanna’s cousin Nancy that would get him into more trouble as he would unknowingly gain an understanding about how bad the war is. Then there’s the women like Sally McCoy and Levicy Hatfield are individuals who stay away from the bloodshed only to both become weary of the war while Sally almost becomes involved in the fighting that led to her descent into madness.

Then there’s Nancy McCoy who is revealed to be a devious woman with dark intentions dating back to her father’s death as she seduces Johnse for her own gain to help aid Bad Frank Philips to the dismay of Roseanna and Randall. Eventually, the war does take a toll on its leaders where Randall where both men want to seek an end to the whole thing. Yet, this is not a traditional war where it all culminate with a battle but rather sort of ends with a whimper because of the weariness and how outside forces tried to publicize the whole thing. Overall, the script is among one of the mini-series highlights although there is a few flaws in terms of the dramatization of the whole thing.

Kevin Reynolds’ direction is incredible for the way he recreates late 19th Century Mid-South America as it’s shot on location in Romania due to the fact that it has lots of trees and fields. With its vast depth-of-field shots of the locations and gorgeous compositions for many of its exterior setting, Reynolds is able to create a mini-series that is big while maintaining a wonderful intimacy for some of the mini-series’ interior scenes. Reynolds does create an air of suspense in a lot of the battle scenes as well as more simpler shots in some of the dramatic moments. While there’s a few parts of the mini-series that isn’t perfect including one scene that is obviously shot with a fake computerized-background. The overall work that Reynolds does is superb for creating a mini-series about a legendary American feud.

Cinematographer Arthur Reinhart does excellent work with the look of mini-series from the sunny exteriors including some grey shots to capture the tone of the mini-series to some entrancing interiors to help play out some of the suspense. Editor Don Cassidy does terrific work with the editing to create some amazing rhythmic cuts for some of the battle sequences along with more straightforward cuts for the dramatic sequences. Production designer Derek R. Hill, with art directors Serban Porupca and John B. Vertrees and set decorator Sally Black, does fantastic work with the set pieces such as the Hatfield farm to establish his success and McCoy‘s cabin to display the lack of success along with various sets to help create the world of the late 1890s.

Costume designer Karri Hutchinson does nice work with the costumes from the clothes and cowboy hats the men wear to the dresses that the women wear in that period. Hair designer Giorgio Gregoni and makeup artist Mario Michisanti do wonderful work with the look for some of characters such as the beards for the men and the hairstyles that women wear in those times. Sound mixers Christian T. Cooke and Brad Zoern do brilliant work with the sound to capture the chaos of the battles to some sparser moments in quieter scenes. The film’s score by John Debney and Tony Morales is amazing for its folk-driven score that is led by bombastic orchestral arrangements with folk violins and various string instruments to play up the times as it features different themes from more plaintive material for the romantic scenes to sprawling pieces for the battle scenes.

The casting by Fern Champion, Laura Grosu, and Amy Hubbard is phenomenal for the large ensemble that is assembled. In small but memorable roles, there’s Chad Hugghins as Harmon McCoy, Joy McBrinn as Roseanna’s aunt Betty, Jonathan Frederick as Nancy’s brother Jefferson, Andy Gathergood as Hatfield ally Skunkhair Tom Wallace, Lloyd Hutchinson as Floyd Hatfield, and Noel Fisher as Hatfield’s mentally-challenged nephew Cotton Top Hatfield. Sarah Parish is wonderful as the kind and knowing Levicy Hatfield who tries to Devil Anse and her boys to see reason while aware of the trouble that could happen if someone is associated with the McCoys. Powers Boothe is great as the reasonable Wall Hatfield who tries to avoid taking part of the bloodshed only to be in the middle of the war.

Matt Barr is really good as the kind-hearted Johnse Hatfield who falls for Roseanna McCoy as he tries to find a way to end the war. Boyd Holbrook is terrific as the one-eyed Cap Hatfield who helps lead the charge for the Hatfields while proving to be a great shot. Ronan Vibert is superb as the slimy McCoy family attorney Perry Cline who tries to talk his way through getting the McCoys some legal advantage while Andrew Howard is fun as the cold-blooded bounty hunter Bad Frank Philips. Lindsay Pulsipher is very good as the lovely Roseanna McCoy who falls for Johnse only to feel lost in the late stages of the war. Mare Winningham is brilliant as Sally McCoy who tries to deal with all of the chaos of the war as she later descends into madness.

Jena Malone is incredible as the ruthless Nancy McCoy who would use her seductive charm to get what she wants while there’s a more sinister side to her over her hatred towards the entire Hatfield family. Tom Berenger is great as the vicious Jim Vance who would be the person that would start the bloodshed between the Hatfields and McCoys as it’s a very dark yet fun performance from Berenger. Bill Paxton is amazing as the resentful Randall Hatfield who feels slighted over the lack of honor from Hatfield as he later descends into disillusionment and doubt over all of the chaos of the war. Finally, there’s Kevin Costner in a mesmerizing performance as Devil Anse Hatfield whose intentions to succeed has him becoming a target where he also goes into dark places as it’s a very thrilling performance from Costner as it’s the best thing he’s done since 2003’s Open Range.

Hatfields & McCoys is a remarkable TV mini-series from Kevin Reynolds that features top-notch leading performances from Kevin Costner and Bill Paxton. Along with noteworthy supporting performances from Tom Berenger, Jena Malone, and Mare Winningham, it’s a TV mini-series that is definitely engaging and entertaining while providing some insight into the legendary Hatfield-McCoy feud that is part of American folklore. In the end, Hatfields & McCoys is an extraordinary TV mini-series from Kevin Reynolds.

Kevin Reynolds Films: (Fandango) - (The Beast (1988 film)) - (Robin Hood: Prince of Thieves) - (Rapa Nui) - (Waterworld) - (One Eight Seven) - (The Count of Monte Cristo (2002 film)) - (Tristan & Isolde)

© thevoid99 2012