At Eternity's Gate

Directed by Julian Schnabel and written by Schnabel, Jean-Claude Carriere, and Louise Kugelberg, At Eternity’s Gate is the story about the final years of painter Vincent van Gogh. Based on theories by van Gogh biographers Steven Naifeh and Gregory White Smith, the film dramatizes the events of van Gogh’s final years as well as his eventual death as the painter struggles to get attention and recognition for his work as van Gogh is portrayed by Willem Dafoe. Also starring Mads Mikkelsen, Rupert Friend, Mathieu Almaric, Emmanuelle Seigner, Oscar Isaac, and Niels Arestrup. At Eternity’s Gate is a rapturous and riveting film from Julian Schnabel.

Set during the final two years of the life of Vincent van Gogh, the film follows the painter as he struggles to make a name for himself while wanting to express himself artistically as well as questioning himself about his art and the divine. It’s a film with a simple premise yet it doesn’t play into a straightforward approach expected in films about real figures. Instead, it is a study of a man trying to find himself through his art as he also begins to question his being and worth as an artist and as a man while he would meet various people in his journey. The film’s script by Julian Schnabel, Louise Kugelberg, and Jean-Claude Carriere follows van Gogh in that journey where he often walks around landscapes in France as he would often paint what he sees as those who would see his paintings are convinced that he’s no good. Upon meeting the artist Paul Gauguin (Oscar Isaac) in Paris as they both share their thoughts on art, van Gogh goes to Arles in the South of France to find inspiration in the landscape but is ridiculed by some locals for his aesthetics while a visit from Gauguin only adds to his emotional turmoil.

The film’s second half revolves around the events in which van Gogh had cut off his left ear as the narrative also feature voiceover narration from van Gogh through letters he would write to his brother Theo (Rupert Friend) who would fund his art. It is at this time that van Gogh would be sent to an asylum as he ponders about his art and such but also the beauty of nature and the divine. Even as he would continue to paint to the day he dies as the script also showcases the man’s delusions and episodes of mental illness as well as ideas of what might’ve happened on the day of his death.

Schnabel’s direction is definitely dream-like in some of the imagery he creates as he would also shoot the film on actual locations in Arles as well as additional locations in Bouches-du-Rhone, and Auvers-sur-Oise in France. Schnabel’s usage of the wide and medium shots add to the beauty that van Gogh was seeking but also something that is almost indescribable in trying to find the actual look of it which is why he paints fast. The attention to detail in the painting as well as what van Gogh sees adds to the beauty while some of the framing that Schnabel creates in the medium shots do match up to some of the paintings that van Gogh has created. Even in the close-ups as it help play into the sense of despair and torment that van Gogh endures with Schnabel often shooting scenes with hand-held cameras where the camera often glides or gets a point-of-view shot of van Gogh walking. The usage of the hand-held cameras would also play into the wonders of nature and the surroundings that van Gogh would encounter.

Also serving as editor with co-writer Louise Kugelberg, Schnabel’s usage of jump-cuts and dissolves add to some of the film’s emotional moments as well as play into van Gogh’s troubled mental state. Notably in scenes during the third act where van Gogh is in an asylum as it returns to the film’s opening scene where it is shown in a different context. It adds to this sense of despair and uncertainty in van Gogh where he meets a sympathetic priest (Mads Mikkelsen) who gets a look at one of his paintings and does express his opinion yet doesn’t think that van Gogh is a terrible painter. The third act also has Schnabel play into things that play into events relating to his work including a sketchbook that would be lost until 2016 and what happened to him on the day he died. Yet, Schnabel showcases a man that is driven by the beauty of his surroundings and hoping to capture it the way he and possibly God sees it. Overall, Schnabel crafts an intoxicating and enchanting film about the final years in the life of Vincent van Gogh.

Cinematographer Benoit Delhomme does incredible work with the film’s cinematography as its usage of lush colors and dream-like photography add to the films’ beauty as well as its usage of blurry lenses and some black-and-white shots that showcases the depths of van Gogh’s psyche. Production designer Stephane Cressend, with set decorators Sonia Gloaguen and Cecile Vatelot plus art director Loic Chavanon, does brilliant work with the look of the places that van Gogh would go to and stay at as well as a tavern he would frequent at and the asylum where he spent some time during his illness. Costume designer Karen Muller Serreau does fantastic work with the ragged clothes that van Gogh wears as well as some of the clothes the other characters wear.

Special makeup effects artist Jean-Christophe Spadaccini and special effects makeup designer Mark Wotton do terrific work with the look of a few characters including van Gogh after he had cut off his left ear. Visual effects supervisor Arthur Lemaitre does nice work with the visual effects as it is largely minimal in presenting van Gogh without his left ear and a few bits of set dressing. Sound editor Thomas Desjonqueres does excellent work with the film’s sound in the way it repeats lines of dialogues to play into van Gogh’s delusions as well as capturing natural sounds as it is a highlight of the film. The film’s music by Tatiana Lisovskaya is amazing for its lush and somber piano sonatas and low-key orchestral touches that play into the film’s melancholic tone as well as the sense of wonderment that van Gogh endures.

The film’s wonderful cast feature some notable small roles and appearances from Anne Consigny as a schoolteacher who is disgusted by what van Gogh is painting, Louis Garrel as the voice of an article by an art critic, Lolita Chammah as a young woman van Gogh meets at the film’s beginning, Vincent Perez as an art gallery director, Amira Casar as Theo’s wife Johanna van Gogh-Bonger, Vladimir Consigny as an asylum doctor, and Niels Arestrup as a madman van Gogh converses with at the asylum about insanity. Mads Mikkelsen is superb in his one-scene performance as a priest who converses with Van Gogh about art and the divine as it is a low-key performance from Mikkelsen who provides a sense of warmth to the character. Mathieu Almaric is fantastic in his small role as Dr. Paul Gachet as a man who is a subject of one of van Gogh’s paintings as well as be someone who would be with him on the last day of van Gogh’s life.

Emmanuelle Seigner is excellent in a dual role as the woman from Arles who becomes a subject of one of Van Gogh’s paintings as she would give him a place to stay while other role as Madam Ginoux is brief as the woman who would unknowingly have van Gogh’s sketchbook and put in a place that she would forget about. Oscar Isaac is brilliant as Paul Gauguin as an artist who shares van Gogh’s ideas about aesthetics yet becomes baffled by what van Gogh is trying to find through art believing that van Gogh would never get any attention. Rupert Friend is amazing as van Gogh’s brother Theo as a man who is also funds van Gogh’s work as he becomes concerned about his brother’s emotional and mental well-being. Finally, there’s Willem Dafoe in a performance for the ages as Vincent van Gogh as this tormented artist who is trying to create art that means something while dealing with rejection, criticism, and himself as Dafoe play into this man’s struggle as well as wanting to create something that he believes is closer to what God would see as it is a towering performance from Dafoe.

At Eternity’s Gate is an outstanding film from Julian Schnabel that features a career-defining performance from Willem Dafoe as Vincent van Gogh. Along with its ensemble cast, Benoit Delhomme’s ravishing cinematography, Tatiana Lisovskaya’s somber score, and its exploration of an artist trying to create art that is divine. The film is an unconventional yet enthralling film that doesn’t play into the traditional schematics of a bio-pic in favor of studying a man trying to capture nature at its most pure. In the end, At Eternity’s Gate is a magnificent film from Julian Schnabel.

Julian Schnabel Films: Basquiat - Before Night Falls - The Diving Bell and the Butterfly - Lou Reed-Berlin: Live at St. Ann's Warehouse - Miral

Related: (Lust for Life) – (Vincent & Theo) – (Dreams (1990 film)) – (Loving Vincent) - The Auteurs #43: Julian Schnabel

© thevoid99 2020

Rogue One: A Star Wars Story

Directed by Gareth Edwards and screenplay by Chris Weitz and Tony Gilroy from a story by John Knoll and Gary Whitta with characters created by George Lucas, Rogue One: A Star Wars Story is the story of a group of Rebel spies who are tasked to find the plans of a new weapon by the Imperial Empire known as the Death Star. The film is a prequel to the original 1977 film as it play into a group of different individuals who go on a mission to find a way to destroy this new super weapon in the hope that a rebellion can bring balance back to the galaxy. Starring Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Forest Whitaker, Alan Tudyk, Jiang Wen, Riz Ahmed, Genevieve O’Reilly, Jimmy Smits, Mads Mikkelsen, and James Earl Jones as the voice of Darth Vader. Rogue One is a sprawling and gripping film from Gareth Edwards.

The film follows a young woman whose father is a renowned engineer as he has left a message about how to destroy a secret weapon the Imperial Empire called the Death Star. After being freed by Rebel spies, she reluctantly joins them as she is aided by an Imperial defector, a reprogrammed Imperial droid, two outsiders, and a Rebel officer who would retrieve something that could give hope to the Rebellion against the Imperial Empire. It’s a film with a simple premise yet it play into not just the idea of rebellion but also what is at stake and how this young woman finds herself needing to deal with the loss she’s been carrying for years as she is also unsure if she wants to help the Rebel Alliance. The film’s screenplay is filled with not just some complexities of this conflict that is brewing between the Imperial Empire and the Rebel Alliance but also a young woman caught in the middle as she is more concerned about reuniting with her father and learn about what he has been doing since he was taken from her.

The character of Jyn Erso (Felicity Jones) is seen as someone who has been a small thorn for the Empire as she is first seen in a prison labor camp where she is released by some spies who want her help to find her father in Galen Erso (Mads Mikkelsen) who has sent a message to the Rebel extremist Saw Gerrera (Forest Whitaker). Jyn knows Gerrera as he had raised her following her father’s abduction and her mother’s death where there is some history but Gerrera is reluctant to help the Rebel Alliance knowing that their own political ideals is what is holding them back. The script also reveal more about Galen who has been forced to help create the weapon that is the Death Star under the supervision of former friend/Imperial leader Orson Krennic (Ben Mendelsohn) who is hoping for some recognition but is contending with the thirst of glory with another Imperial leader in Grand Moff Tarkin (Guy Henry w/ digital facial re-creation and voice of Peter Cushing).

The script also reveal some of the flaws of the Rebellion as its intelligent officer Cassian Andor (Diego Luna) is ordered to do something for the Rebel Alliance but he becomes unsure as he’s also filled with some guilt of what he had to do for the cause. Yet, there are those such as the former Imperial cargo pilot Bodhi Rook (Riz Ahmed), the blind warrior Chirrut Imwe (Donnie Yen), and mercenary Baze Malbus (Jiang Wen) who all believe that there is some form of hope no matter how bad things with the Imperial Empire trying to take hold of the entire galaxy. Even as there is a scene in the second act where Jyn is in the middle of a Rebel Alliance meeting where it is clear how worried and fractured they are as they’re unwilling to take some kind of chance. Another aspect of the script that is unique is that it shows a much broader view of the galaxy as it’s set in different planets to play into the way the Imperial Empire is controlling everything as it has something that does feel real.

Gareth Edwards’ direction is definitely vast in terms of not just the different planets that is set throughout the film but also this sense of danger and repression that looms throughout the film. Shot on various locations such as Iceland, Jordan, the Laamu Atoll in the Maldives, and some interiors shot at Pinewood Studios in Britain. Edwards create something that does feel more broader as it establishes a galaxy where the Empire has dominated so much from moons and bases where they’re controlling every aspect of life in the galaxy. It’s something that feels oppressive and real as the sequence on the planet of Jedha where it has these unique camera angles, compositions, and shots that almost mirror events that is happening in real life. That sense of grounding realism in a sci-fi adventure film give Edwards a lot to focus on the story and characters without having it be overwhelmed by the visuals.

The direction also has Edwards maintain something that is intimate as it relate to the characters where the film does have flashbacks as it relates to Jyn’s past but also opens with a sequence in which Jyn is forced to see her father be taken as well as the death of her mother in the hands of the Empire. While the film does have a dark and serious tone as it relates to the stakes and what this group of rogue rebels are going after. It does have some humor whether it’s comments from the reprogrammed Imperial droid K-2SO (Alan Tudyk) or some of the Easter Eggs that relates to the franchise. Still, the film does have something that is immediate into what is happening where does bear elements of war films for its climax which is once again grounded in reality but also with a sense of adventure. Especially as Edwards uses a lot of wide and medium shots to capture the scope of the battles on the planet and in space to play into a conflict that forces the Imperial Empire that they’re not all invincible. Overall, Edwards create a thrilling and engaging film about a band of rebels finding the key to destroy a major weapon and bring hope to a rebellious faction.

Cinematographer Grieg Fraser does brilliant work with the film‘s cinematography from the way some of the scenes are lit in the exteriors for the different look in the planets as well as in the way some of the interiors are used in the lighting. Editors John Gilroy, Colin Goudie, and Jabez Olssen do excellent work with the editing as it play into the suspense and action while providing moments that do establish what is going on without deviating too much into conventional fast-cutting styles. Production designers Doug Chiang and Neil Lamont, with supervising art director Alastair Bullock and set decorator Lee Sandales, do amazing work with the design of some of the ships and bases of the two warring factions as well as the design other places including city exteriors from different planets. Costume designers David Crossman and Glyn Dillon do fantastic work with the design of the costumes from the ragged clothing of some of the rebels to the uniform of the Imperial including the one that Krennic wears. Makeup artist Amy Byrne and hair stylist Andrew Simonin do terrific work with the design on some of the creature in their facial designs as well as the look of Saw Gerrera in his declined state.

Visual effects supervisors Jonathan Cheetham, Luke Dodd, and John Knoll, along with special effects supervisor Neil Corbould, do incredible work with the visual effects from the design of some computer-created effects for some of scenes in space as well as the facial design of Grand Moff Tarkin that looks realistic as well as the usage of practical effects that help add a sense of realism to the film‘s look. Sound designers David Acord and Christopher Scarabosio, with sound editor Matthew Wood, do superb work with the sound as it play into the chaos of the battle scenes along with the sound of the droids and lasers. The film’s music by Michael Giacchino is great as it feature elements of bombast and soaring string arrangements to play into the adventure and drama while knowing when to use some of the music made famous by John Williams as it is a highlight of the film.

The casting by Jina Jay is marvelous as it feature some notable small roles from Warwick Davis as a member of Gerrera’s partisans, Alistair Petrie as General Draven who orders Cassian to do something secret for the Rebellion, Ben Daniels as a general who would take part in the climatic battle, Beau and Dolly Gadsdon in their respective roles as the young and younger Jyn, Nick Kellington as an alien who took part in the battle that is famous for his laugh, Valene Kane as Jyn’s mother Lyra, Genevieve O’Reilly as Rebel Alliance co-founder Mon Mothma, and Jimmy Smits as Senator Bail Organa who is also trying to find some hope for the Rebellion. Guy Henry’s performance as Grand Moff Tarkin with the digital facial impression of the late Peter Cushing is definitely marvelous to watch as it brings a famed character back to life and give him some crucial importance to the story.

In the role of Darth Vader, Spencer Wilding and Daniel Naprous provide the physical performances of the famed Sith lord with the voice of James Earl Jones as the character is more intimidating than ever as he’s only in a few scenes but make it so memorable to watch. Forest Whitaker is excellent as former Clone Wars veteran/Rebel extremist Saw Gerrera as an old family friend of Jyn Erso who is trying to deal with Empire any way he can as he is suspicious about many until he sees Jyn and Galen Erso’s message where he realizes there is some form of hope emerging. Mads Mikkelsen is superb as Galen Erso as a renowned engineer who is forced to take part in the creation of the Death Star as he would send a message revealing that he has exposed a vulnerability that would destroy the Death Star. Ben Mendelsohn is fantastic as Orson Krennic as an Imperial director who oversees the construction of the Death Star as he hopes to get some recognition for his work as well as deal with the emergence of the Rebellion. Riz Ahmed is brilliant as Bodhi Rook as a former Imperial cargo pilot who defects to the Rebellion as he carries Galen Erso’s message while being someone who is aware of the grasp of control of the Empire as he wants to do what is right.

Jiang Wen and Donnie Yen are amazing in their respective roles as the mercenary Baze Malbus and the blind warrior Chirrut Imwe as two friends who are resourceful and can do a lot with Malbus being the powerhouse of the two and Imwe is someone that is highly skilled as the latter is also aware of the Force and believes he can wield its power. Diego Luna is remarkable as Cassian Andor as a Rebel intelligence officer who is tasked with getting information about Galen Erso with Jyn’s aid where he becomes conflicted with his actions where he sees the bigger picture of what needs to be done. Alan Tudyk is incredible as K-2SO in a mixture of motion-capture and voice work as this reprogrammed Imperial droid that is often spouting numbers and probabilities as he is this fun comic relief that annoys Andor but proves to be quite helpful. Finally, there’s Felicity Jones in a phenomenal performance as Jyn Erso as a young woman who is reluctant to help the Rebellion as she’s been through a lot yet realizes what is at stake while coping with the loss of her family which only drives to wanting to do something and bring hope to the galaxy.

Rogue One is a tremendous film from Gareth Edwards. Featuring a phenomenal ensemble cast, dazzling visuals, a gripping story, and a killer score. It’s a film that doesn’t just give help bring in some new ideas and such to a popular franchise but also provide enough moments that its fans can and enjoy as well as casual audiences to be engaged by. In the end, Rogue One: A Star Wars Story is a spectacular film from Gareth Edwards.

Star Wars Films: Star Wars - The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - The Rise of Skywalker

Related: The Star Wars Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas

Anthology Series: Solo: A Star Wars Story - (Untitled Star Wars Anthology Film)

George Lucas Films: THX 1138 - (American Graffiti)

Gareth Edwards Films: (Monsters (2010 film)) - (Godzilla (2014 film))

© thevoid99 2017

Doctor Strange

Based on the comic series by Stan Lee and Steve Ditko, Doctor Strange is the story of a surgeon who learns he has mystical powers as he tries to hone them for the good of the world against evil. Directed by Scott Derrickson and screenplay by Derrickson, Jon Spaihts, and C. Robert Cargill, the film is an exploration of a man whose life changes following an accident as he is given powers that would bring a broader viewpoint of the world as the titular character is played by Benedict Cumberbatch. Also starring Chiwetel Ejiofor, Rachel McAdams, Tilda Swinton, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt, and Mads Mikkelsen. Doctor Strange is a dazzling yet thrilling film from Scott Derrickson.

The film is an origin story of sorts about a surgeon whose life changes following a life-threatening accident where he seeks a way to heal himself where he gains mystical powers through the mysterious teachings of a sorcerer. It’s a film that explores the mystical and spiritual world that surrounds the real world where good and evil try to balance things yet the latter starts to take matters into its own hands as an evil sorcerer steals a text from a book to open up a dimension in the hopes for eternal life. For the titular character of Dr. Steven Strange, he would have a lot to learn as his willingness to learn the arts as well as his determination makes him a promising student to the sorcerer known as the Ancient One (Tilda Swinton). Still, Strange has to deal with the fact that he can’t control everything as well as be humbled as he faces off against Kaecilius (Mads Mikkelsen) who is a former student of the Ancient One as he hopes to summon an evil figure of a dark dimension to grant him eternal life.

The film’s screenplay doesn’t just explore the development of Strange as this brilliant but arrogant surgeon who thinks he knows more than anyone as he does a lot to save lives as if it’s nothing only until he is nearly killed in an accident that leaves him unable to use his hands to perform surgeries. He is crushed as someone who is often in control suddenly has no control as he pushes away those who care about him and becomes desperate to fix himself until hears the story of a man who is paralyzed with no chance to walk again suddenly walking again.

It leads to Strange to go to a small town near Kathmandu, Nepal as he learns about what the Ancient One does where he goes there to fix his hands but ends up getting something more. Especially in what the Ancient One and another sorcerer in Mordo (Chiwetel Ejiofor) would teach him as he wouldn’t just travel to worlds instantly but also learn about parallel worlds as he would be able to go against Kaecilius and his troops. The script does succeed in fleshing out Strange, the Ancient One, Mordo, and Kaecilius as well as a librarian in Wong (Benedict Wong) though another character in Christine Palmer (Rachel McAdams) is somewhat underwritten as plays a love-interest of sorts for Strange.

Scott Derrickson’s direction is definitely stylish for the way it plays into the usage of the spiritual world. While it’s shot on several locations including New York City, London, Hong Kong, Kathmandu, and parts of Los Angeles. It does play into a world that is quite unique where it has aspects that are definitely from the world of psychedelic culture of the 1960s in terms of the imagery of how the dimensions would mesh up in the world and such as if planet Earth is a labyrinth for these sorcerers. While Derrickson would use a lot of wide shots for these massive moments involving vast visual effects along with some medium shots. There would be moments that are intimate as it relates to Strange’s life as a surgeon as well as going into lessons to learn how to transport into other worlds and use his powers. The direction also play into elements that are quite intense as it relates to some of the action including the first face-off between Strange and Kaecilius.

The direction also has Derrickson provide some humor in the way Strange would use his powers such as a way he would get books at a library as well as some of the way Strange is as a person as he is an asshole. There are also moments that are quite dramatic as it play into Strange’s development as well as the realization of his role in the world. Notably as well as the kind of power that Kaecilius uses and why the Ancient One has been hiding it as it play into some of the uneasy decisions people have to do for good. The film’s climax isn’t just about the powers that Strange has become accustomed to but also what he has to do to confront Kaecilius and the mystical figure he believes will give him eternal life. Overall, Derrickson creates an exhilarating and whimsical film about a man who learns what it takes to save the universe and be grateful for what he has.

Cinematographer Ben Davis does excellent work with the film‘s cinematography from the usage of filters and lights for some of the scenes at night as well as the way some of the daytime interiors are lit. Editors Wyatt Smith and Sabrina Plisco do brilliant work with the editing as it is very stylish with some jump-cuts as well as some rhythmic cuts for the action and comedic moments in the film. Production designer Charles Wood, with supervising art directors Ray Chan and Michael Manson as well as set decorators John Bush and Laura Gaffin, does fantastic work with the look of the libraries for the sorcerers as well as Strange‘s home in New York City and at the hospital where he works. Costume designer Alexandra Byrne does nice work with the costumes from the clothes of the Ancient One and the other sorcerers as well as the clothes of Strange when he embraces his role including the red cape that has a mind of its own.

Hair/makeup designer Jeremy Woodhead does terrific work with the makeup from the way Kaecilius looks when he embraces the dark spell as well as the look of the Ancient One. Visual effects supervisors Richard Bluff and Stephane Ceretti do amazing work with the visual effects from the look of the way the powers are presented including the way the cities becomes twisted and shaped by the sorcerers as well as the dark world that Kaecilius wants to present. Sound designers Nia Hansen and David C. Hughes, with sound editors Daniel Laurie and Shannon Mills, do superb work with the sound as it play into some of the sound effects that occur as well as in the intense moments for action and suspense. The film’s music by Michael Giacchino is remarkable for its sweeping and playful orchestral score that also feature some low-key somber moments for the drama as well as some moments that are just fun while music supervisor Dave Jordan creates a very fun soundtrack that features music from Chuck Mangione, Earth, Wind, & Fire, Beyonce, and Pink Floyd.

The casting by Sarah Finn and Reg Poerscout-Edgerton is marvelous as it features some notable small appearances from the trio of Zara Phythian, Alaa Safi, and Katrina Durden as Kaecilius’ zealots, Benjamin Bratt as a once-paraplegic man who learned to heal himself through the teachings of the Ancient One in Jonathan Pangborn, Scott Adkins as another of Kaecilius’ zealot in Lucian, and Michael Stuhlbarg as a rival surgeon of Strange in Nicodemus West. Rachel McAdams is terrific as Christine Palmer where despite being under-written and not given much to do other than be frustrated and later confused by Strange’s powers does have her moments where she does bring something to the story. Benedict Wong is superb as Wong as a master of ancient relics who is also the librarian who protects all of the books as he is someone that doesn’t have much of a sense of humor but it is still a fun character to watch.

Mads Mikkelsen is excellent as Kaecilius as a sorcerer who is a former student of the Ancient One that craves eternal life as he has some big revelations of what some will do to keep themselves from aging as Mikkelsen is quite fun to watch. Chiwetel Ejiofor is fantastic as Karl Mordo as a master sorcerer who would teach Strange how to use some of his powers as well as reveal what it takes to be a powerful sorcerer as well as try to maintain some morality about the ways of the world. Tilda Swinton is brilliant as the Ancient One as a powerful and wise sorcerer that teaches Strange the means to be meaningful as well as realize his potential to do something good while also admitting to things that she had to do for the good of the world. Finally, there’s Benedict Cumberbatch in an incredible performance as the titular character as a man of arrogance and great skill who becomes desperate to find a way to heal where he learns about the mystic arts as he brings some charisma as well as some humility as it’s one of Cumberbatch’s finest performances to date.

Doctor Strange is a sensational film from Scott Derrickson that features great performances from Benedict Cumberbatch, Tilda Swinton, Chiwetel Ejiofor, and Mads Mikkelsen. Along with dazzling visual effects, a top-notch score, and a fascinating premise, it’s a superhero origin film that has something different to offer but also be very entertaining for those unfamiliar with the character. In the end, Doctor Strange is a phenomenal film from Scott Derrickson.

Marvel Cinematic Universe: Infinity Saga: Phase One Films: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers

Marvel Phase Two Films: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man

Marvel Phase Three Films: Captain America: Civil War - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - 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 2016

2016 Cannes Marathon: The Hunt (2012 film)

(Winner of the Vulcan Prize, Ecumenical Jury Prize, & Best Actor Prize to Mads Mikkelsen at the 2012 Cannes Film Festival)

Directed by Thomas Vinterberg and written by Vinterberg and Tobias Lindholm, Jagten (The Hunt) is the story of a kindergarten teacher who is accused of sexually abusing one of his students as his life unravels. The film is a look into a man whose simple act gets him in trouble all because of a misunderstanding as a small town goes into a mass hysteria over something he didn’t do. Starring Mads Mikkelsen, Alexandra Rapaport, Thomas Bo Larsen, and Annika Wedderkopp. Jagten is a mesmerizing and gripping film from Thomas Vinterberg.

Set in a small Danish town just before and around the Christmas holidays, the film revolves around a kindergarten teacher who is accused of sexual abuse after one of his students made a claim unaware of what she’s done. Immediately, the life of Lucas (Mads Mikkelsen) unravels as he was living a good life despite going through a divorce where a simple kiss from a little girl would ruin everything. Especially as the girl is the daughter of his best friend Theo (Thomas Bo Larsen) who isn’t sure what is going on as a series of misunderstanding happens and no one is sure what is true. It’s not just Lucas who becomes ostracized but also his teenage son Marcus (Lasse Fogelstrom) during a visit as he is one of the few who believes his father where he is treated with disdain by people who knew him.

The screenplay by Thomas Vinterberg and Tobias Lindholm is set in the span of two months where the first act is set in November, the second act in December, and the climatic third on Christmas Eve. Yet, Lucas is a man that everyone knows as he is part of a local hunting society and drinks with the guys. He’s also someone that people could trust as Theo’s daughter Klara (Annika Wedderkopp) likes Lucas a lot as she also likes to play with his dog. Her action which was really just innocent would cause a lot of problems because of these misunderstandings. Especially as Klara would eventually tell the truth but Theo’s wife Agnes (Anne Louise Hassing) isn’t sure if Klara really understand the idea of the truth. There aren’t any villains in the film but there are people who do make some very bad decisions in the film’s second half where they would do things that are very evil where Lucas becomes a victim for all of the wrong reasons.

Vinterberg’s direction is very engaging for not just the simplicity that he maintains for much of the direction but also in its moments of restraint. Shot in rural areas in Denmark including some of its forests and mountains, Vinterberg doesn’t use a lot of wide shots in favor of something that is very intimate in its usage of medium shots and close-ups. Notably as Vinterberg keeps things lively in the way Lucas interacts with the children at the kindergarten building where he does play their games but also knows that he is still an adult. During a scene where Klara is questioned by the kindergarten building’s supervisor Grethe (Susse Wold) and a child psychiatrist named Ole (Bjarne Henriksen), Vinterberg maintains that intimacy but also create a tone that is unsettling where it raises a lot of questions abut the girl and what is happening to her. Though Grethe and Ole aren’t trying to create a bad situation, it’s the way they handle things that would be cause for a lot of what is to come. Even as Lucas has no idea what he’s done where Vinterberg would have the camera follow him with some handheld work but in a restrained fashion.

The film’s second half feature moments that are quite intense where it has elements of violence in not just Marcus lashing out his father’s friends but also in how Marcus is being ostracized. Notably in the third act on Christmas Eve as Lucas is all alone and needs to do shopping but how he is treated from locals to even the market’s manager show some of the darkest aspects of humanity. It’s a moment where it shows how far a lie can do things and push a man to extremes where it would be witnessed by some key characters. Even as it is followed by this climatic moment where Lucas unleashes his anger over what has happened where even Theo is forced to question what is really going on as he is one of those who had ostracized Lucas. The film’s ending doesn’t just play into Lucas’ isolation but also in the fact that he will never shake the lie that ruined him. Overall, Vinterberg creates a haunting yet visceral film about an innocent man’s life being destroyed by a lie.

Cinematographer Charlotte Bruus Christensen does excellent work with the film‘s cinematography in the way many of the exteriors look in the day including some scenes set in the autumn and winter along with some interiors where it looks natural with some lights for some of the scenes set at night. Editors Anne Osterud and Janus Billeskov Jansen do brilliant work with the editing as it is largely straightforward with some jump-cuts to play into some of the emotional moments in the film. Production designer Torben Stig Nielsen and set decorator Rasmus Balslev-Olesen do fantastic work with the look of Lucas‘ home as well as the kindergarten place that he works at. Costume designer Manon Rasmussen does nice work with the costumes as it’s mostly casual for the look of the characters in the film.

Hair/makeup designer Bjorg Serup does terrific work with the look of Lucas following a beating he would receive in the third act as it play into all of the trouble he has endured. Sound designer Kristian Eidnes Andersen and co-sound editor Thomas Jaeger do superb work with the sound from the way some of the drunken meetings sound early in the film to the quieter yet tense moments in the film such as Klara‘s interrogation scene. The film’s music by Nikolaj Egelund is wonderful as it is very low-key where it only appears in its ending as it is just this plaintive, folk-based piece while other music is played on location.

The film’s amazing cast features some notable small roles from Bjarne Henrikson as the child psychologist Ole, Anne Louise Hassing as Theo’s wife Agnes, Susse Wold as the kindergarten organizer Grethe, and Lars Ranthe as Lucas’ brother Bruun who is one of the few that believes Lucas as he would also be there for Marcus. Lasse Fogelstrom is superb as Lucas’ son teenage Marcus as this kid who is trying to understand what his dad did as he is one of his father’s few defenders where he tries to fight back at even those he knew as a kid. Annika Wedderkopp is fantastic as Klara as a little girl who has no clue of what she did or why as she displays this air of innocence of a girl that has very little understanding of the world. Alexandra Rapaport is brilliant as Lucas’ Swedish girlfriend Nadja who at first doesn’t believe the accusations towards Lucas only to be more confused once she is forced to deal with other parents a she also works with Lucas at the kindergarten.

Thomas Bo Larsen is excellent as Theo as a longtime friend of Lucas who isn’t sure what is going on as he believes his own daughter while also wanting to hear Lucas only to reluctantly ostracize him. Finally, there’s Mads Mikkelsen in an incredible performance as Lucas. It’s a performance that isn’t just full of restraint but also with a sensitivity as it has him being a guy that people could trust and hang out with only to then be ridiculed and ostracized. Yet, Mikkelsen maintains a calm demeanor for much of the film until the third act where he is pushed as well as feeling a sense of rage that has been building up as it is truly one of his defining performances.

Jagten is a phenomenal film from Thomas Vinterberg that features a tremendous performance from Mads Mikkelsen. Featuring a great supporting cast as well as the idea of how a lie can ruin a man’s life, it’s a film that manages to be a lot of things and more as well as display a sense of innocence in a world that is often very cruel. In the end, Jagten is a sensational film from Thomas Vinterberg.

Thomas Vinterberg Films: (The Biggest Heroes) - Dogme #1-Festen - (It’s All About Love) - (Dear Wendy) - (Submarino) - Far from the Madding Crowd (2015 film) - (The Commune)

© thevoid99 2016

James Bond Marathon: Casino Royale (2006 film)

Originally Written and Posted at Epinions.com on 11/23/06 w/ Additional Edits.

Based on Ian Fleming's novel, Casino Royale is the story of James Bond going on the search for a terrorist as he teams up with an accountant during the mission. Directed by Martin Campbell and screenplay by Neal Purvis, Robert Wade, and Paul Haggis, the film marks a reboot of sorts for the franchise as it takes Bond back to basics. For the role of James Bond, Daniel Craig takes on the role in his first outing as Agent 007. Also starring Eva Green, Jeffrey Wright, Mads Mikkelsen, Giancarlo Giannini, Caterina Murino, Jesper Christensen, and Judi Dench as M. Casino Royale is a thrilling yet hard-boiled film from Martin Campbell.

After attaining the license to kill as a secret agent for the British government, James Bond is now on his first mission. In Madagascar, Bond is trying to retrieve a message that involves a plot to destroy a new super-plane. After chasing a bomb-maker named Mollaka (Sebastien Foucan) into the city, Bond enters into an embassy where he's been caught on camera killing a man despite a successful mission. Meanwhile in Uganda, a terrorist named Steven Obanno (Issach de Bankole) is talking to Mr. White (Jesper Christensen) about a man he needs to help raise funds for his own group. Mr. White brings in Le Chiffre (Mads Mikkelsen) who has been a brilliant, pokers player that often wins with the money going to fund terrorists. Back in the U.K., M is upset over Bond's actions as he tries to find the connection that leads him to a man named Alex Dimitrios (Simon Abkarian) where he goes to the Bahamas. After meeting Dimitrios' wife Solange (Caterina Murino), he gets a clue where Bond goes to Miami to find Dimitrios' plan where he has sent a henchman to try and destroy the super-plane.

Bond succeeds in his mission where M learns that the plot was part of a scheme involving Le Chiffre who plans to play a game in Montenegro. Bond, a skilled pokers player is accompanied by a mysterious accountant named Vesper Lynd (Eva Green) whom he meets on a train. Arriving in Montenegro, they meet up with Mathis (Giancarlo Giannini) who decides to help fund Bond in order to beat Le Chiffre. With Lynd posing as his wife, Bond goes into a battle of skills against Le Chiffre where the game becomes intense. With Bond's ego troubling him, so does Lynd's troubling emotions after an attack that involved Le Chiffre in conjunction with Obanno. Losing money, Bond unexpectedly gets help from CIA agent Felix Leiter (Jeffrey Wright) who helps fund Bond with his money as the game becomes more challenging. Despite being poisoned by Le Chiffre's henchwoman Valenka (Ivana Milicevic) and nearly dies from it, Bond succeeds with Vesper's help.

With Vesper warming up to him, things seem to go great until she was kidnaped as Bond tries to rescue her. Instead, he and Lynd gets captured by Le Chiffre into wanting to know the password to his account. Bond refuses where after being tortured, he was saved all of a sudden as he and Lynd settle some deals and Bond has fallen for her. It is at that moment, Bond has thoughts of giving up his role as an agent only to realize that he can never quit where he is forced to face tragedy and everything that requires to be a 00 agent.

The problem with some franchises, especially in the James Bond franchise, is that they tend to have cliches and everything else that follows a formula. Fortunately for this film, many of those cliches and formulaic ideas expected from Bond are thrown out of the table. While there's still Bond making out with fine women, tension with M, and doing all of the action stuff that he's done. What isn't there is some of the catchy one-liners (except for the famous one), gadgets, Moneypenny, swagger, or anything that can be considered parody. Instead, director Martin Campbell and his screenwriters went back to the old-school Bond and going more into text of its novelist, Ian Fleming. The result is old-school Bond with more action, more background story on him, more of his flaws, and how he became the 007 that audiences came to know and love.

While writers Neal Purvis and Robert Wade have added elements of action and humor to their previous work with Bond films, the duo strayed away from the silliness and everything else that would've made the film predictable. The major factor into the script is Paul Haggis who adds not just a sense of psychological drama but also the reality that Bond is actually human with some flaws as he learns on what it takes to be a 00 agent. Particularly in the relationship between Bond and Vesper Lynd that is filled with some sexual tension that becomes something more emotional as their relationship develops. The result is a fantastic script created by the trio of Purvis, Wade, and Haggis that brings enough depth and entertainment.

Returning to the franchise is GoldenEye director Martin Campbell who definitely uses the script to broader, fresh territory after the recent action-driven Bond films. With locations in Africa, the Bahamas, Miami, London, Venice, and Montenegro, Campbell definitely brings a more worldly presentation to the franchise while letting the drama and tension unfold for all the characters. While some of the humor often comes in Bond's tense relationship with M, Campbell definitely restrains himself by going more into a balance of intense, dramatic sequences and fantastic action sequences. While the card-playing scenes might feel like it slows the film down, it works to add the tense feel of Bond and Le Chiffre. Then there's the action scenes where the film starts off with a band of how Bond got his 00 status in a black-and-white sequence where he beats a man up in a bathroom and then killing another man. With some stuff done in handheld cameras, the action is definitely more engaging with some great stunt work and action sequences to give the feeling that its energetic and realistic at the same time while showing Bond actually going through some pain in some of those sequences. The result is a very tight, ass-kicking action film where Bond is badass.

Helping Campbell in his presentation is cinematographer Phil Meheux whose flashy colors in some of the film's night, exterior settings brings a dark mood to the film while some of the sunlight settings are wonderfully shot with the interiors, notably the opening sequence is wonderful with its grainy, handheld camera work that adds a new style to the Bond franchise. Production designer Peter Lamont and his team of art directors definitely add new style to the franchise with some flashy looks for the Bahamas sequences as well as the Montenegro setting with some sheer, icy look for the hotel room. The cars also play a role to the film and they definitely look cool. Costume designer Lindy Hemming definitely goes for a more classic style with the tuxedo along with some amazing dresses for Eva Green to wear in which, she looks very beautiful. The opening credit sequence for Bond by Daniel Kleinman definitely plays up to the card game scenario with some fine visual effects by Angela Barson.

Editor Stuart Baird does some wonderful cutting, notably the action sequences where it isn't too fast or extremely quick like most action films. Baird cuts it right to the point where the audience knows what's going on while other sequences, there's long cuts and perspective cuts that indeed work to give the film a nice pace to everything that goes on. Sound editor Eddy Joseph definitely plays up the intensity of the sound with nice design on the action sequences which are layered with a lot of sounds and the way it's mixed to the music from composer David Arnold. Arnold returns to the orchestral world of John Barry by adding dreamier arrangements for some of the film's romantic moments while more brooding notes in the dramatic scenes. Arnold also goes for some wonderfully screeching, intense music for the action scenes that works with the old arrangements that Barry did in previous Bond films with the theme from Monty Norman. Finally, there's the song You Know My Name by Chris Cornell where mixed with Arnold's musical score, the song is definitely one of the more rock-driven tracks that adds punch and power that hasn't been heard since the classic Paul McCartney song Live And Let Die.

Then there's the film's cast that's definitely less-star driven and has more to do with real actors. While actresses Ivana Milicevic and Caterina Murino don't have much but to look sexy and play their respective world as Bond henchwoman and Bond Girl, they do bring charm to their roles. Issach de Bankole, Sebastian Foucan, and Simon Abkarian are excellent as henchmen of sorts for Le Chiffre with de Bankole bringing an intimidating presence as Steven Obanno while Foucan is great for his action running, and Abkarian is more sly as Alex Dimitrios. Jesper Christensen also brings a complexity to his role as Mr. White in how he plays things while making sure that Le Chiffre does his job. Giancarlo Giannini is great as the complex, charming Mathis who is careful for Lynd's behavior while having some motives that is more about financial than personal. While Jeffrey Wright doesn't have much to do, he is good as Felix Leiter in how he helps Bond and being a smooth, American agent who knows that America isn't all that. Judi Dench remains at the top of her game as the irritable M with her authoritive personality and her love-hate relationship with Bond as she and Craig are great with the tense relationship they bring.

Mads Mikkelsen is excellent as the brooding Le Chiffre who brings a different personality than most Bond villians where he sheds a bloody tear and carries a respirator. Mikkelsen adds a lot of intelligence to his character that has a knowledge of numbers and knows how to play poker while proving that he can be menacing in a torture scene as it's a great role for the Danish actor. For anyone that wants to become a leading Bond girl, they will have to step up in their game as Eva Green gives a fantastic performance as Vesper Lynd. The French actress, who had recently made her film debut in Bernardo Bertolucci's The Dreamers in 2003 while appearing in the good but flawed 2005 Ridley Scott epic Kingdom of Heaven, definitely adds a new sense of beauty and depth that hasn't been seen from Bond girls in recent years. In fact, Green is more of a Bond woman who is more emotionally troubled and complex in her role where her motives are very ambiguous. While Green can play pretty and be sexy, she shows her worth in just being one of the rare women who can stand up to Bond and make sure he does things right. It's a great role from Eva Green who definitely has more promise than most of Bond girls from the past.

Ok, for anyone who enjoys the cock-sure swagger of Piece Brosnan, the brooding nature of Timothy Dalton, or the humorous vibe of Roger Moore. They're going to have to go because Daniel Craig is now James Bond. While purists may feel that Sean Connery may own the role, Craig's Bond is more of a badass. The man can take hits, show cuts and bruises, and will break his own body to get the job done. Daniel Craig is also a better actor than his Bond contemporaries, that includes Connery, by showing more flaws and emotions to his role. Craig also displays the kind of arrogance and charm that Bond has but he's more into his own in the way he displays himself dramatically while he's a real fighter in the film's action sequences. Plus for the ladies, he is also very sexy where he also makes a sexy entrance from the beach sporting some speedos and looking very good for a man's man. This is a new James Bond and Daniel Craig has what it takes to be 007.

Casino Royale is an incredible film from Martin Campbell that features a towering performance from Daniel Craig as James Bond. Along with a wonderful supporting cast that includes Eva Green, Jeffrey Wright, Giancarlo Giannini, Mads Mikkelsen, and Judi Dench. It's a film that definitely stands as one of the best films of the Bond franchises. Notably as it brings Bond back down to Earth after a period of misguided silliness. In the end, Casino Royale is a magnificent film from Martin Campbell.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

Pusher II

Written and directed by Nicolas Winding Refn, Pusher II: With Blood on My Hands is the sequel to the 1996 film Pusher that focuses on the drug culture on Copenhagen. In the second film, the film explores a drug-dealer’s former sidekick as he deals with new challenges in the world of crime and drugs as well as becoming a father for the very first time. The film features two characters from the previous film as its focus is on Tonny who is played by Mads Mikkelsen as the drug lord Milo, played by Zlatko Buric, also returns. Also starring Leif Sylvester, Anne Sorensen, Oyvind Hagen-Traberg, and Kurt Nielsen. Pusher II is a compelling yet visually-hypnotic film from Nicolas Winding Refn.

After being released from prison, Tonny returns to Copenhagen to work at a chop shop run by his criminal father known as the Duke (Leif Sylvester) who isn’t happy to see Tonny. Wanting to prove to himself to his father, Tonny decides to steal a car following a bad night with hookers where he ends up getting a stern lecture from his father. With his friend O (Oyvind Hagen-Traberg) trying to help him out, Tonny learns from O’s girlfriend Gry (Maria Erwolter) that her friend Charlotte (Anne Sorensen) has his baby. Tonny is surprised by the news unsure how to cope as the Duke’s partner Kurt the Cunt (Kurt Nielsen) has Tonny do things where things would often go wrong as Tonny would get the blame.

During a deal with Tonny’s old friend Milo that Kurt wants to do, things go bad as Kurt blames Tonny as he asks Tonny to shoot him in the arm and blame it on Arabs so the Duke wouldn‘t get upset. With the pressure of clearing a debt for his father and Charlotte wanting money for their unnamed child, Tonny gets some devastating news that leaves him becoming more concerned for his child. At a wedding party for O and Gry, Tonny’s concern for his child has him confronting Charlotte for her drug use as he ends up getting into trouble. When Kurt wants Tonny to aid him in something to help make things easy with the Duke. Tonny realizes that something isn’t right while his father wants him to do something that relates to a custody battle he’s having forcing Tonny to make a decision about his life.

The film is about a former drug dealer who returns from prison hoping to do good for his criminal father only to find himself getting into more trouble while learning he has a child that he’s grown to care for. It’s a film that in some ways is about redemption for a man who is an admitted fuck-up but with a good heart despite some of his bad deeds that includes rampant drug use. The film opens with a prologue where Tonny is being lectured by an inmate in prison about conquering his fear that would set up the main narrative as Tonny is a man driven by fear as he’s constantly berated by the people around him.

The screenplay explores Tonny as a man who is very flawed but also one who earns pity due to the fact that he was unloved by his father while having to do deeds where he’s also treated with indifference and little respect in his father’s criminal deeds. Making things worse is the fact that the woman he impregnated is a drug-addled whore who just wants money and really doesn’t care for the baby that he just found out. Though he’s wary at first about the baby, he would eventually come to care for him despite his uncertainty if he can care for the baby. Still, Nicolas Winding Refn would find ways for Tonny to eventually come to his senses where it would take a series of events that would push him to redemption and conquering his fear.

Refn’s direction is definitely entrancing for the way he opens the film with a simple scene of Tonny inside a cell talking to an inmate where it is followed by a scene of Tonny beating up someone and then being chased. It’s part of a setup of what Tonny is doing as Refn does reuse a lot of the techniques he had done with the first film. Yet, it’s more refined due to the fact that Refn wanted to focus on this man’s attempt to earn respect as that word is tattooed on the back of his head. Refn always has the camera in the back of Tonny’s head although the situations that Tonny is in doesn’t give him what he needs.

Since the film is shot on location in Copenhagen with hand-held cameras, it allows Refn to create a world that Tonny is in where he feels completely out of place by the people he’s with. Scenes such has the wedding party shows a world where everyone is celebrating but Tonny, who is berated by his father’s speech for being someone that is never going to amount to anything, has the camera fixed on Tonny who is watching everything around him. It’s a chilling scene where Refn is waiting for the moment for Tonny to snap. Overall, Refn creates a truly haunting film that explores a man’s attempt to gain respect in the world of drugs.

Cinematographer Morten Soborg does amazing work with the film‘s cinematography from the stylish lighting colors for the scenes in the wedding party and the brothels that Tonny is in to more entrancing grainy camera work for some of the nighttime exteriors in the Copenhagen locations. Editors Anne Osterud and Janus Billeskov Jansen do excellent work with the editing by utilizing a few jump cuts to play out some of the film‘s action while keeping things straightforward for the non-suspenseful moments of the film. Production designer Rasmus Thjellesen does fantastic work with the set pieces such as the Duke’s chop shop as well as the home of Gry and Charlotte to emphasize the world where Tonny is unwanted.

Costume designer Jane Whittaker does terrific work with the costumes from the suits that the Duke wears to the sweat clothes that Tonny wears to contrast the level of respect they have. Sound designer Jens Bonding does brilliant work with the sound to capture the atmosphere of the locations such as the sparseness of the chop shop to the raucous wedding party scene. The film’s score by Peter Peter and Keli Hlodversson is superb for its mixture of ambient to pulsating electronic music to play up the world that Tonny is surrounded by as it features music by several underground Danish acts compiled by music supervisor Lol Hammond.

The film’s cast is incredible for the ensemble that is created as it includes memorable small roles from Ilyas Agac as a gun dealer, Maria Erwolter as O’s girlfriend Gry, Karsten Schroder as the Duke’s brother Red, and Zlatko Buric as Tonny’s old friend in Serbian drug lord Milo. Oyvind-Hagen Traberg is very good as Tonny’s sole friend O who reveals to him about the baby while trying to get him not to mess things up. Kurt Nielsen is great as the dangerous Kurt the Cunt who gets Tonny into a lot of trouble and make him do things that are questionable. Anne Sorensen is wonderful as the drug-addled hooker Charlotte who verbally abuses Tonny for what he did to her as she treats him like shit.

Leif Sylvester is great as Tonny’s crime lord father the Duke who berates Tonny for his incompetence while publicly humiliating him as he would force Tonny to do something that is immoral as it’s a very chilling performance. Finally there’s Mads Mikkelsen in a phenomenal performance as Tonny. It’s a role where Mikkelsen displays bits of humor that he had previously played in the first film but has him become a much more confused man who couldn’t seem to do anything right while yearning to win his father’s respect. It’s an entrancing performance from Mikkelsen who makes Tonny a very endearing character despite his flaws and the uncertainty that he has.

Pusher II is a remarkable film from Nicolas Winding Refn that features an amazing performance from Mads Mikkelsen. While it may not have the more enthralling tone of the previous film in terms of its violence and energy. It is still an intriguing sequel for the way Refn explores the life a man who feels on the outs with the world he was once a part of. In the end, Pusher II is an extraordinary film from Nicolas Winding Refn.

Nicolas Winding Refn Films: Pusher - Bleeder - Fear X - Pusher 3 - Bronson - Valhalla Rising - Drive - Only God Forgives - The Neon Demon - The Auteurs #12: Nicolas Winding Refn

© thevoid99 2012

Bleeder

Written and directed by Nicolas Winding Refn, Bleeder is the story of a young couple whose life is changed when a man learns his wife is pregnant as she is bewildered by his sudden dark behavior. The film is an exploration into the transition of adulthood told in a dark fashion as it plays to Refn’s interest in the world of detachment. Starring Kim Bodnia, Mads Mikkelsen, Rikke Louise Andersson, Liv Corfixen, Levino Jensen, and Zlatko Buric. Bleeder is a wonderfully stylish drama from Nicolas Winding Refn.

After receiving news that his girlfriend Louise (Rikke Louise Andersson) is pregnant, Leo (Kim Bodnia) is shocked by the news and the arrival of a new baby as he’s unsure if he wants a child. While Louise’s brother Louis (Levino Jensen) is ecstatic about the news and hope Leo will do go, an event where the two were working at a club leaves Leo shaken by the violent incident. While Leo and Louis also spend their time watching movies at a video store with their friends Kitjo (Zlatko Buric) and the shy film buff Lenny (Mads Mikkelsen) who works at the video store with Kitjo. Lenny’s anti-social life starts to change when he meets and falls for a girl named Lea (Liv Corfixen) who works at a diner as he tries to talk to her but couldn’t muster the courage to make a date with her.

During one night where the four guys watch a film, Leo brings a gun to the screening to threaten Louis over a dispute concerning Louise. Leo’s behavior suddenly starts to unravel as he takes it out on Louise prompting Louis to do something. Notably as it would cause a lot of trouble for Leo who becomes consumed with guilt where he would do something that would change everything in his troubled life.

The film is about the life of a man that is about to change due to the fact that he’s going to become a father. Unfortunately, he isn’t ready because of all the anxieties he’s facing about becoming an adult and handle the responsibility to deal with a child. Notably as an incident where he works as a bouncer at a club leaves him shaken about the world he’s about to enter his child in where would eventually unravel and scare his friends including his girlfriend’s brother who is later to be revealed as a more troubling person to deal with.

Nicolas Winding Refn’s screenplay is intriguing for the way he explores the world of young adulthood in Copenhagen as it features five characters who are quite young with another in his 40s. Though the narrative is uneven due to the subplot of a socially-awkward film buff who falls for a book-loving woman who works at a diner which is a bit comical. It does make the film also uneven in its tone though it is still a very engaging story as it fits to the theme that Refn wants to explore.

Refn’s direction is definitely stylish from the opening montage to introduce the characters to the wandering hand-held tracking shots he creates to explore the video store. While the film is presented in a straightforward manner in terms of its drama with some style added in the compositions that Refn creates. The film does have an air of darkness in the main narrative from the club break-in scene to the more chilling moment in the film’s third act when Louis confronts Leo in one of the most disturbing moments in film. Some of the darker moments of the film does have compositions that are quite striking while Refn does maintain the focus on the anxieties men have in the transition to adulthood. Despite the uneven narrative, Refn does create a solid film that is exciting but also unsettling.

Cinematographer Morten Soborg does excellent work with the film‘s very colorful photography to play out the exciting world of late 90s young adult culture while creating some stylish lights for some of the film‘s interiors such as the club, the bookstore Lea hangs out at, and the room where the guys watch the movies. Editor Anne Osterud does incredible work with the editing to play up the rhythm of the some of the film‘s violent scenes with some swift cuts to more stylish cuts such as dissolves and jump-cuts to play with the film‘s transitions.

Production designer Peter De Neergard does wonderful work with some of the places in the such as the video store Lenny and Kitjo work at to the diner‘s kitchen that Lea is often at. Costume designer Loa Miller does very good work with the costumes as a lot of it is quite casual with the exception of some of the stylish suits the men wear during their movie night. Sound designer Svenn Jakobsen is terrific for the some of the intimacy set in some of the interior locations to more tense moments in the club fight that Leo witnesses. The film’s score by Peter Peter is a superb mix of chugging hard rock, metal, dream-pop, electronic music, and ambient as the soundtrack plays to the personalities of these characters as it includes a great dream-pop cover of John Lennon’s Love that is played in the film’s final credits.

The film’s cast is brilliant for the ensemble that is created as it includes some memorable small performances from Ole Abildgaard as a video store customer, Gordana Radosavljevic as a mother Louise befriends, and Clause Flygare as Lea’s diner boss Joe. Zlatko Buric is very funny as the wise and laid-back Kitjo while Liv Corfixen is wonderful as the bookworm Lea who is intrigued by Lenny’s strange behavior. Rikke Louise Andersson is excellent as Leo’s kind girlfriend Louise who is baffled by his sudden behavior as she is trying to help him make changes. Levino Jensen is superb as Louise’s brother Louis who is concerned about Leo’s behavior while proving to be someone who will get serious if things go wrong.

Kim Bodnia is great as the troubled Leo who is dealing with all of the new changes around him as he brings a real intensity to his character that is teetering on the edge. Finally, there’s Mads Mikkelsen in an impressive performance as the shy film buff Lenny who always talks about films just so he can avoid talking about real life. There’s also a wonderful restraint in Mikkelsen in the way he displays the awkwardness of his character as it’s definitely a performance to see.

Bleeder is a stellar drama from Nicolas Winding Refn that features incredible performances from Kim Bodnia and Nicolas Winding Refn. While it’s a very different film of sorts from some of the more violent films that Refn has done. It’s also quite engaging for the way he presents life in transition despite the uneven narrative it presents. In the end, Bleeder is a charming though dark film from Nicolas Winding Refn.

Nicolas Winding Refn Films: Pusher - Fear X - Pusher II - Pusher 3 - Bronson - Valhalla Rising - Drive - Only God Forgives - The Neon Demon - The Auteurs #12: Nicolas Winding Refn

© thevoid99 2012