Crimson Peak

Directed by Guillermo del Toro and written by del Toro and Matthew Robbins, Crimson Peak is the story of a young woman who marries an aristocrat as she moves into her husband’s mansion as it is filled with ghosts and other things. The film plays into a woman with an interest in the supernatural as she gets more than she bargains for in her new life. Starring Mia Wasikowska, Tom Hiddleston, Jessica Chastain, Charlie Hunnam, and Jim Beaver. Crimson Peak is an entrancing yet eerie film from Guillermo del Toro.

Set in the early 20th Century, the film revolves around a young author who meets a British aristocrat as she falls for him where they later marry where she would live into his decayed mansion with his sister as the home is filled with ghosts and other mysterious things. It’s a film that plays into a young woman who has been fascinated with ghosts since she was a child as she wants to write stories with ghosts. Upon meeting this aristocrat, Edith Cushing (Mia Wasikowska) is intrigued by this man though appearance in clothing and other eccentricities raises the suspicions of her father (Jim Beaver) and family friend Dr. Alan McMichael (Charlie Hunnam). Once she marries Thomas Sharpe (Tom Hiddleston) and moves into their home, many mysterious occurs as well as the treatment she is receiving from his sister Lucille (Jessica Chastain).

The film’s screenplay by Guillermo del Toro and Matthew Robbins doesn’t just play into Edith’s fascination with ghosts but also with those that don’t play by conventional behavior or play by certain rules. It’s among the reasons why she would be attracted to someone like Thomas as he wears clothes that are out of style while having ideas that seem to be very radical. While Edith’s father is aware of what Thomas wants, he is suspicious about him and his sister as he asks for some investigation into who the Sharpes are. Upon realizing what they’re up to, things don’t go as they’re planned once Edith marries Thomas where she does question the things that go on in the house as well as other odd things. Thomas and Lucille Sharpe are strange not just for the Gothic clothes they wear but also in the house they live which is decaying and in need of work.

While the two do share ideas of what they want to, Thomas is the kinder of the two where it seems like he is falling for Edith for her money but he becomes more fascinated with her as the story progresses. Lucille however, is a very troubling woman as someone who has a very dark demeanor as she doesn’t seem to like having Edith around where she always gives her tea and pretend to be very kind towards her. Yet, even she knows that Edith knows what they’re probably up to which adds a much darker edge to her character. Once more revelations towards the Sharpe are unveiled, the story definitely becomes more engaging in terms of the drama and the stakes that occur. Though it does deviate from many of the conventions that is expected in horror, del Toro and Robbins do make it more about the setting and the relationship of the characters rather than going for the big scares.

Guillermo del Toro’s direction definitely owes a lot to not just Gothic imagery and set pieces but also mythological elements that explores the idea of ghosts and what they want. While it doesn’t play towards many of the conventions of horror in terms of big scares, del Toro is more concerned with the story as it relates to Edith’s own fascination with ghosts and her need to find more in her somewhat sheltered existence as a writer. Shot largely in Toronto as both Buffalo, New York and as England, the film maintains this look that is quite unique from the sepia-drenched look of Buffalo where everything feels modern and progressing as opposed to the world of the Sharpes which represents the old world that is decaying and trying to catch up with the modern world. The usage of the wide and medium shots gives del Toro the chance to breathe life into these landscapes with some unique tracking shots for many of those exteriors.

For the scenes set in England, del Toro definitely plays up the Gothic tone of the film where he knows how to create suspense as it relates to the ghosts that Edith encounters. It’s mixture of terror and mystery definitely play into the home of the Sharpes where it is a home is surrounded by red mud that is covered in snow and a basement filled with more red mud. The direction would have del Toro create some unique images but also a sense of dread which doesn’t just relate to the Sharpes and their past but also what is happening to Edith. Once the mysteries relating to the Sharpes are unveiled, the film does take on a darker yet more dramatic tone where lots of conflicts would occur as it’s not just about love but also death. Overall, del Toro crafts a mesmerizing yet thrilling film about a young woman’s marriage to an aristocrat and her encounter with dark spirits in the new home she moves into.

Cinematographer Dan Laustsen does phenomenal work with the film‘s ravishing cinematography from its usage of candles to maintain an atmosphere in some of the interior scenes as well as the usage of sepia-drenched colors for many of the scenes set in Buffalo along with the usage of blue at the Sharpes‘ mansion. Editor Bernat Vilaplana does brilliant work with the editing with its stylish usage of transition wipes as well as jump-cuts and other stylish cuts to play into its suspense and drama. Production designer Thomas E. Sanders, with art director Brandt Gordon and set decorators Jeffrey A. Melvin and Shane Vieau, does amazing work with the set design from the home of Edith lived in Buffalo to the many rooms and exterior setting at the Sharpes‘ family home. Costume designer Kate Hawley does excellent work with the clothes from the clothes that the men wear to the gowns that the women wear including the very colorful yet eerie dresses that Lucille wears.

Special effects makeup artists Jason Detheridge, Nacho Diaz, and Neil Morrill do fantastic work with the look of the makeup of some of the gore that occurs in a few characters including the hairstyles that Edith and Lucille sport. Visual effects supervisor Dennis Berardi do excellent work with the visual effects from the design of the ghosts as it has this very eerie yet evocative look to them that is scary but also entrancing. Sound editor Dennis Leonard and sound designer Randy Thom do superb work with the sound in creating some unique sound effects for the ghosts as well as creating some mixing for some of the atmospheric textures for its suspenseful moments. The film’s music by Fernando Velazquez does remarkable work with the music as it is this lush orchestral music that plays into the drama and suspense which features a mixture of string arrangements and piano pieces while music supervisors Peter Afterman and Margaret Yen provide some classical music that Lucille would often play.

The casting by Robin D. Cook does wonderful work with the casting as it features some notable small roles from Leslie Hope as Dr. McMichael’s mother, Emily Coutts as Dr. McMichael’s sister, Burn Gorman as an inspector named Holly that Edith’s father hired to find out about the Sharpes, Sofia Wells as the young Edith, and as ghosts, Doug Jones and Javier Botet who both provide their physical selves for movements of the ghosts. Jim Beaver is excellent as Edith’s father Carter Cushing as a self-made man who is suspicious about the Sharpes’ as he is more concerned for Edith’s safety and happiness as it’s a very engaging performance from the veteran actor. Charlie Hunnam is fantastic as Dr. Alan McMichael as a childhood friend of Edith who knows a lot about bodies and such where he is also suspicious of the Sharpes’ where his investigation about them would have him come to England.

Jessica Chastain is incredible as Lucille Sharpe as this woman who is reluctant about having Edith in her family as it becomes clear that she doesn’t really like her as it’s a performance that is very dark and also quite scary at times where Chastain goes all out towards the film’s third act as it is definitely one of Chastain’s finest performances. Tom Hiddleston is brilliant as Thomas Sharpe as a baronet who falls for Edith as he brings her to England while hoping some of her financial connections could help him with his mining machine as it’s an ambiguous performance which has Hiddleston showing some conflict in his devotion towards Lucille and love for Edith. Finally, there’s Mia Wasikowska in an amazing performance as Edith Cushing as an aspiring writer who falls for the mysterious Thomas Sharpe where she moves into his home and encounter ghosts which only furthers her fascination with them while dealing with the darker aspects of her home as it’s one of Wasikowska’s finest performances.

Crimson Peak is a phenomenal film from Guillermo del Toro. Featuring a great cast, dazzling visuals, a sumptuous score, and an entrancing story. The film is a very unusual yet enthralling one from del Toro that doesn’t play into the conventions of horror while bending all sorts of genres to create something that is very different. In the end, Crimson Peak is a sensational film from Guillermo del Toro.

Guillermo del Toro Films: Cronos - Mimic/Mimic (Director's Cut) - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - The Shape of Water - Nightmare Alley (2021 film) - Pinocchio (2022 film) - The Auteurs #10: Guillermo del Toro

© thevoid99 2015

Maps to the Stars

Directed by David Cronenberg and written by Bruce Wagner that is based on his own book Dead Stars, Maps to the Stars is a story set in Hollywood revolving around an aging actress dealing with her career as well as the presence of her late mother while a therapist tries to get his young son to return to the world of celebrity culture. A film that explores the world of celebrity and its emphasis on Western culture, it’s a film that is satirical as well as having commentary on a world lost in fame. Starring Julianne Moore, John Cusack, Mia Wasikowska, Robert Pattinson, Olivia Williams, Evan Bird, and Sarah Gadon. Maps to the Stars is a visceral and ominous film from David Cronenberg.

The film is an exploration into the world of fame and celebrity culture through a multi-layered narrative involving a young child star trying to return to the world of celebrity culture while an aging actress copes with painful memories as she is haunted by the presence of her late mother. It’s a film that plays into people trying to be part of a culture where there’s a lot of expectations and demands in order to succeed. At the middle of this is a young woman named Agatha (Mia Wasikowska) who arrives from Florida as she would work for the aging actress Havana Segrand (Julianne Moore) as an assistant. Segrand is coping with demons as she seeks the help of self-help therapist Dr. Strafford Weiss (John Cusack) whose son Benjie (Evan Bird) is a teen child-star that is trying to remain sober while dealing with the pressures of stardom as he endure strange hallucinations.

Bruce Wagner’s screenplay definitely plays into not just people’s desire to wanting to make it in Hollywood but also how far they will go to the point that they lose elements of their sanity as well as their own identity. While Agatha is just an outsider who would befriend a limo driver named Jerome (Robert Pattinson) who is trying to make as an actor and a writer. She is someone that manages to have some connections to be part of that world yet is more of an observer who has an element of innocence but with a dark edge as she wears gloves and lots of clothes as she is a burn victim with a past of her own. By working for Havana Segrand, she gets access to the world of productions and places but is also aware that there is a lot more going on. Especially as Havana is a woman living in the shadows of her late mother Clarice (Sarah Gadon) who was a famous star until she died of a car crash when Havana was a child.

In the hopes to star in a remake of a film that her mother did years ago, Havana is hoping for a comeback but Clarice’s presence haunts her. By going to Dr. Weiss, she tries to exercise her demons as well as get a role in order to fulfill her own ego. The Dr. Weiss character is also a representation of egotism as he is a man that is making money through is own self-help books as well as exploit his own son while his wife Cristina (Olivia Williams) is Benjie’s manager as she does whatever to get him a part in a sequel for a film that made him a star. Benjie however, is struggling with trying to stay sober as well as be out of the public eye as he is succumbing to peer pressure as well as the need to be this teen sensation as he starts to see strange hallucinations involving the dead. It’s a film that features a lot of characters who are despicable while the Jerome character is the most normal as he is also an outsider who is just trying to get his break no matter how humiliating things are. Though there’s aspects of Jerome that makes him unsympathetic, it’s only because he has to do things in order to be part of this very turbulent and troublesome world.

David Cronenberg’s direction is very mesmerizing for the way he depicts the world of Hollywood as this place of conformity and expectations that seem unreal. While a lot of it is shot in Los Angeles and Hollywood with a few interior scenes set in Toronto, it does play into a film that has a very warped view of what Hollywood is as many of the characters, with the exception of Agatha and Jerome, live in these spacious mansions and are invited to the biggest parties around. While there’s some wide shots in the direction, much of Cronenberg’s approach to the compositions are simple in terms of close-ups and medium shots. Especially in scenes involving Agatha where her close-ups play to how she looked with her burned scars around parts of her head to play into a sense of realism that she has while everyone in Hollywood is trying to look young or be part of that culture.

The direction is also full of dark humor that plays into aspects of satire such as the commercials that Dr. Weiss has as well as his approach to therapy which is quite odd. Even as it’s clear that he’s just a man that will do anything to be famous and use his son’s stardom to become famous. Once there’s some revelations about his own past as well as his family starts to emerge, it adds to the sense of drama that emerges as well as to the issues that Havana is going through. Havana’s story has elements of surrealism as it relates to the presence of her own mother which is similar to the hallucinations that Benjie would go through. All of which play into demons that they face with Agatha being caught in the middle as this observer as she is connected to these people in some ways while keeping herself at a distance. Overall, Cronenberg creates a very captivating yet harrowing film about celebrity culture and people dealing with their demons in that world.

Cinematographer Peter Suschitzky does brilliant work with the film‘s cinematography to play into the sunny look of the locations in Hollywood along with some straightforward lighting for some scenes at night including some of the interior shots. Editor Ronald Sanders does excellent work with the editing as it‘s straightforward while using some unique rhythmic cuts to play into some of the surreal moments of the film. Production designer Carol Spier, with set decorators Sandy Lindstedt and Peter P. Nicolakakos and art directors Edward Bonutto and Elinor Rose Galbraith, does fantastic work with the look of the homes of the Weiss family as well as Havana to play into their personalities as well as the offices to showcase that world of celebrity culture.

Costume designer Denise Cronenberg does terrific work with the costumes from the long leather gloves that Agatha wears to the different array of clothes that the other characters wear as it‘s very posh in its look. Visual effects supervisor Jon Campfens does nice work some of the film‘s minimal visual effects which includes a chilling scene late in the film that plays to the drama. Sound editor Michael O’Farrell does superb work with the sound to play into the atmosphere of the party scenes as well as the smaller moments such as the screams that Havana would endure in her moments where she‘s tested. The film’s music by Howard Shore is amazing for its mixture of somber orchestral music with a mixture of eerie electronic pieces that play into the sense of dread and dark drama that looms over the film.

The casting by Deirdre Bowen is phenomenal as it features some notable small roles from Carrie Fisher as herself, Jayne Heitmeyer as a rival actress of Havana, Domenic Ricci as that woman’s son, Kiara Glasco as a young girl Benjie visits at the hospital as she would haunt him later on, Gord Rand as a director that Havana hopes to work with, Sean Robertson as a young co-star of Benjie whom is seen as a threat, and Dawn Greenhalgh as Havana’s agent who tries to get Havana the role that she is coveting. Sarah Gadon is terrific as the ghost of Havana’s mother Clarice who is a manifestation of the bad memories that Havana has. Olivia Williams is superb as Benjie’s mother Cristina who also manages her son’s career as she tries to make sure he stays sober while dealing with some demons of her own. Robert Pattinson is excellent as Jerome as a limo driver that Agatha befriends as he tries to make it as an actor/writer as he tries to find ways to make it where he does things that he knows he isn’t proud of.

Evan Bird is brilliant as Benjie as this teen sensation trying to cope with fame and the need to be sober as he also deals with strange hallucinations that play into his fascination with death. John Cusack is amazing as Benjie’s father in Dr. Strafford Weiss as this self-help therapist who is trying to become famous while doing whatever to make sure his son stays famous as he’s a really despicable character. Mia Wasikowska is remarkable as Agatha as this young woman with burned skin who arrives to Los Angeles with some mysterious motives as she finds herself fascinated by celebrity culture as she works for Havana while dealing with things about herself as it’s a performance that is quite engaging but also very dark. Finally, there’s Julianne Moore in an incredible performance as Havana Segrand as this aging actress that is desperate to make a comeback while coping with issues as there’s a sense of vanity and smugness in Moore’s performance that is mixed with high-levels of insecurities as it’s Moore in one of her best performances to date.

Maps to the Stars is a rapturous yet exhilarating film from David Cronenberg. Armed with a great cast led by Julianne Moore and Mia Wasikowska as well as very unique insight into the world of celebrity, its culture, and all of the trappings of fame. Especially as it’s a film with some revelations about people and twists and turns that showcase how much people are willing to sacrifice to be adored only to fall apart by their own undoing. In the end, Maps to the Stars is a riveting and tremendously haunting film from David Cronenberg.

David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Crimes of the Future (2022 film)

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

© thevoid99 2014

Only Lovers Left Alive

Written and directed by Jim Jarmusch, Only Lovers Left Alive is the story of two vampire lovers reuniting when one wants to end his eternity as their reunion is shattered by the arrival of one’s sister. The film is a unique take on the vampire story as it plays to the fallacy of eternal life that revolves around a group of vampires who live in a strange world ranging from Tangiers to Detroit. Starring Tilda Swinton, Tom Hiddleston, Mia Wasikowska, Anton Yelchin, Jeffrey Wright, and John Hurt. Only Lovers Left Alive is a compelling and intoxicating film from Jim Jarmusch.

The film explores the lives of two vampire lovers who had lived for countless centuries as they reunite after some time apart as they cope with not just mortality but also the human race. Even as these two lovers in Adam (Tom Hiddleston) and Eve (Tilda Swinton) live in separate worlds where the former lives in Detroit as a reclusive musician and the latter living in Tangier surrounded by books. Adam’s growing dissatisfaction with humanity has him wanting to end his life which Eve senses as she arrives to Detroit to cheer him up only for their renewed romance to be interrupted by Eve’s wild sister Ava (Mia Wasikowska) whom Adam dislikes. It’s a film that explores not just the fallacy of eternity but also in how two vampires who have live their live through influencing humanity only to realize that they have done so little which makes Adam despondent about his role in life.

Jim Jarmusch’s screenplay does use a traditional structure where the first act is set in both Detroit and Tangier to showcase the sense of longing that Adam and Eve have toward one another. Especially as they both have different human contacts where the only person Adam lets into his house is a rock n’ roll kid named Ian (Anton Yelchin) and gets his blood from a mysterious doctor known as Dr. Watson (Jeffrey Wright) whom he pays off. For Eve, she is surrounded by mystical wonders in Tangier as her contact is the famed writer Christopher Marlowe (John Hurt) who is revealed to be a vampire that has faked his death and lives under a different name. The second act is set in Detroit where Adam and Eve reunite as they cope with Adam’s longing to die as well as the beauty that is Detroit with all of its ruined homes and places that once made the city so great.

Ava’s arrival would only create trouble in the film’s second act as it plays to not just Adam’s growing dissatisfaction with humanity but also in the realization that humanity will get worse. The script would play into how Adam and Eve react to humanity where they would see some of its good but also a lot of bad as the latter becomes more evident as their thirst for clean blood becomes more scarce as time goes by. Even as the third act is set in Tangier where the idea of eternal life becomes less evident forcing Adam and Eve to contemplate their own mortality in a world that is rapidly changing.

Jarmusch’s direction is very unique in not just the environments where he sets the film but also in its approach to style. Notably as it involves scenes where the camera is shooting from above as it spins around to play into the sense of mysticism that vampires feel towards one another. Jarmusch’s direction is quite entrancing as the film is shot entirely at night where it plays into this world where vampires are coping with an ever-changing world as Eve surrounds herself with books while Adam is often surrounded by antique musical instruments and other things to connect with what was great about humanity. While a lot of Jarmusch’s compositions are very simple, he manages to do so much in the images he creates while making Tangier and Detroit characters in the film.

Jarmusch also maintains a sense of detachment in his direction where there aren’t a lot of close-ups in favor to showcase Adam and Eve’s observation with the human race in these different places. Especially in the differences between a place like Tangier with all of its beauty and mystique in comparison to the ruins and thrill that is Detroit. Jarmusch’s usage of zoom lenses and keeping things simple add to the sense of detachment and observation that looms over Adam and Eve while the scenes involving Ava are shown with a sense of danger as she is a character who is out of control and unpredictable like humanity itself. Once the film returns to Tangier, it becomes much more melancholic in the sense of uncertainty into whether Adam and Eve should continue or just fade away like the things they held on to for so many centuries. Overall, Jarmusch creates a very eerie yet evocative film about vampire lovers dealing with the fallacy of eternity.

Cinematographer Yorick Le Saux does amazing work with the film‘s cinematography from its use of dreamy lighting schemes for many of the film‘s exterior settings along with more low-key lights and shades for some of the interior scenes. Editor Affonso Goncalves does brilliant work in the editing with its stylish usage of dissolves and jump-cuts to play into the mystique and the dream-like world of Adam and Eve. Production designer Marco Bittner Rosser, with art director Anja Fromm and set decorators Christiane Krumwiede and Malte Nitsche, does fantastic work with the different homes of Adam and Eve where the latter is filled with antique instruments and vinyl while the latter is filled with lots of books. Costume designer Bina Daigeler does excellent work with the costumes from the white clothes of Eve to the dark clothes of Adam as well as the more stylish clothes that Ava wears.

Special effects makeup artist Joanna Koch and hair designer Gerd Zeiss do superb work with the look of the characters from the hair that Eve and Ava wear as well as the vampire fangs whenever they‘re thirsty for blood. Visual effects supervisor Malte Sarnes does nice work with the minimal visual effects that only involve the speediness of the vampires. Sound designer Robert Hein does terrific work with the sound from the way some of the locations sounds to the mixing in how records are played as well as the entrancing textures that looms into Adam and Eve in their surroundings. The film’s music by Jozef van Wissem is great as it features this very ominous use of the lute instrument to play into the world of Tangier while the score also features cuts from Jarmusch’s band SQURL that features vocals from Zola Jesus and Yasmine Hamdan that is mostly dense and drone-based music. The music soundtrack also features an array of music from Wanda Jackson, Black Rebel Motorcycle Club, White Hills, Bill Laswell, Charlie Feathers, and other music ranging from soul to Middle Eastern music.

The casting by Ellen Lewis is incredible as it features appearances from Yasmine Hamdan and the band White Hills plus a terrific small role from Slimane Dazi as Marlowe’s human assistant Bilal. Jeffrey Wright is excellent as Dr. Watson as the medical doctor who is Adam’s blood supplier who never asks questions while Anton Yelchin is fantastic as Adam’s rock n’ roll friend Ian who often does duties for Adam and his only real contact with the outside world that Adam grows to despise. John Hurt is brilliant as the writer Christopher Marlowe who is Eve’s supplier/mentor as he is an observer that had seen everything while dealing with the ever-changing world. Mia Wasikowska is amazing as Eve’s sister Ava who arrives unexpectedly as she likes to cause trouble and often drinks Adam and Eve’s blood supply to quench her thirst.

Finally, there’s Tom Hiddleston and Tilda Swinton in magnificent performances in their respective roles as Adam and Eve. Hiddleston brings in this very reserved approach in his performance to display his discontent with humanity and the modern world while thinking his time might be up. Swinton has a more entrancing quality to her role as someone who lives in the moment as she is often amazed by her surroundings while being aware of how scarce good blood is becoming. Hiddleston and Swinton have this electrifying chemistry that play into their own observation with the world as well as with death as they bring in some humor and a heavy sense of drama to their performances.

Only Lovers Left Alive is a remarkable film from Jim Jarmusch that features great performances from Tom Hiddleston and Tilda Swinton. The film is definitely an unconventional take on the vampire lore while injecting back some bite to the genre that is needed following a period of vampire stories that lack bite. Even as it plays to their own encounter with a modern world that becomes less interesting in its exploration of eternity. In the end, Only Lovers Left Alive is a ravishing yet tremendously rich film from Jim Jarmusch.

Jim Jarmusch Films: Permanent Vacation - Stranger than Paradise - Down by Law - Mystery Train - Night on Earth - Dead Man - Year of the Horse - Ghost Dog: The Way of the Samurai - Coffee & Cigarettes - Broken Flowers - The Limits of Control - Paterson - Gimme Danger - The Dead Don’t Die - (Father Mother Sister Brother) - The Auteurs #27: Jim Jarmusch

© thevoid99 2014

Stoker

Directed by Chan-wook Park and written by Wentworth Miller with additional contributions by Erin Cressida Wilson, Stoker is a teenage girl who gets an unexpected from her uncle following the death of her father. The film is an exploration into the world of family as it goes into very dark places as it relates to a man’s relationship with his teenage niece where it goes into harrowing territory. Starring Mia Wasikowska, Matthew Goode, Nicole Kidman, Dermont Mulroney, Lucas Till, Alden Ehrenreich, Phyllis Somerville, and Jacki Weaver. Stoker is a mesmerizing yet chilling film from Chan-wook Park.

The film is about a young teenage girl named India Stoker (Mia Wasikowska) whose life is shaken by the death of her father (Dermont Mulroney) as the only person in her life is her mother Evelyn (Nicole Kidman) whom she doesn’t have much of a relationship with. The arrival of her uncle Charlie (Matthew Goode) whom India had never known about shake things up even more as he raises a lot of intrigue for both India and Evelyn as the latter clings to Charlie for companionship. Still, something doesn’t feel right for India as mysterious disappearances involve people she knows start to happen while she becomes entranced by Charlie’s charm. After learning more about Charlie, India would also uncover more dark secrets about what really happened to her father as well as why she never heard about Charlie in the first place.

Wentworth Miller’s screenplay does explore the life of this young woman who is quite detached from reality in some ways as she is known to be gifted in art, piano-playing, and being a very skilled hunter. Yet, she’s also a loner as she always wears these schoolgirl shoes since childhood as she is very close to her father but her relationship with her mother hasn’t been easy. Notably as Evelyn is an unstable individual who seems to envy India over her relationship with her father while she has always been lonely. By the time Charlie comes to the house, Evelyn wants to be with him until she learns that Charlie is more interested in India that increases the already troubled relationship between the two women. Once India learns more about Charlie, she is both repulsed and fascinated by his secrets.

Miller’s script allows the mystery to unfold slowly while playing with the tropes of what is expected in a suspense/thriller. There are small characters who only appear briefly as they seem to know more than what India and Evelyn might realize. Yet, it does add to this element of mystery where it gives India a chance to piece things out where the third act has her not only making some realizations about herself but also why her father has never said anything about Charlie. Miller’s script also has some stylish dialogue that includes a few voice-overs and monologues including a very chilling one from Evelyn towards India that reveals a lot of the jealousy a mother has towards her daughter.

Chan-wook Park’s direction is very stylish though not in its look as Park is able to keep some of the visual elements a bit simpler where it’s shot on location in Nashville, Tennessee. Yet, Park is able to infuse a lot of interesting images to present this mixture of family melodrama with some suspense where he plays into the world of death as well as family. Park’s direction does have him using a lot of interesting framing devices to play into the sense of detachment between mother and daughter and how someone like Charlie could be placed in the middle of this lingering tension. Even where Park is intrigued by the mother-daughter tension where not a lot is revealed yet it is clear in the acting that these two women don’t really like each other but they still want something from another.

Park also creates some very interesting images to not just play out the suspense and melodrama but also do with a large degree of style. Notably in the tracking shots where his camera is often moving to capture the sense of movement such as India wandering around the house to observe Charlie. There are also images that play out the sense of style where Park would re-create images to explore India’s mind as she is pondering about her own persona that is dark at times but also girlish. Things do get unveiled in the third act where it goes into very dark territory that does play into Park’s fascination with violence as well as sexuality where it shows India becoming more of a woman to the surprise of her mother that adds more tension between the two. Overall, Park creates a very entrancing yet visceral film about family and the dark secrets that lurk in them.

Cinematographer Chung Chung-hoon does excellent work with the film‘s photography to play out some of the beautiful look of some of the location exteriors as well as some beautiful lighting schemes for some of the scenes at the Stoker home including its dark basement. Editor Nicolas de Toth does spectacular with the film‘s very stylized yet seamless editing that is filled with an array of jump-cuts and dissolves including some montages and match cuts that are just exquisite in its imagery and impact. Production designer Therese DePrez, along with set decorator Leslie Morales and art director Wing Lee, does amazing work with the look of the Stoker home as well as some locations around the area including the Stoker garden.

Costume designers Kurt and Bart do brilliant work with the costumes from the clothes that Charlie wears to the stylish yet clean-cut dresses and shoes that India wears to display her transition from teenager to womanhood. Sound designers Chuck Michael and John Morris do superb work with the sound to capture the atmosphere of some of the exterior locations including some scenes set in the house to play up that air of suspense. The film’s music by Clint Mansell is phenomenal for its eerie yet intoxicating score that is filled evocative piano pieces and brooding orchestral pieces as well as additional piano duets by Philip Glass along with songs by Lee Hazelwood with Nancy Sinatra and Emily Wells.

The film’s cast is just marvelous as it includes some noteworthy appearances from Ralph Brown as a sheriff, Lucas Till as a classmate who constantly harasses India, Alden Ehrenreich as another classmate who is interested in India, Judith Godreche as a doctor, Phyllis Somerville as the Stoker family maid, Dermont Mulroney as India’s father Richard, and Jacki Weaver in a terrific appearance as India’s great aunt Gin who definitely knows a lot about some of the Stoker family secret. Nicole Kidman is great as Evelyn as a woman seemingly trying to put on a façade to deal with her grief as she clings to Charlie for companionship while harboring some resentment towards her own daughter over Charlie and her late husband Richard.

Matthew Goode is superb as Charlie where he has this very clean-cut look where he is handsome and charming but also has a very dark demeanor that is very intoxicating to watch as he later unveils more and more about who he really is. Finally, there’s Mia Wasikowska in a remarkable performance as India Stoker where Wasikowska displays a chilling restraint to her role as well as a low-key dark humor to her role as she just commands every scene she’s in by doing so little while also being quite confrontational as it’s definitely one of Wasikowska’s finest performances.

Stoker is an incredible film from Chan-wook Park that features top-notch performances from Mia Wasikowska, Matthew Goode, and Nicole Kidman. While it’s a very stylized thriller with some unique images and themes on family, it’s also an interesting one that plays into some of the dark traits about families. For fans of Chan-wook Park, the film definitely serves as a reminder into why he’s one of the best filmmakers working today where he infuses the film with a lot of exotic imagery and heavy themes. In the end, Stoker is a tremendous film from Chan-wook Park.

Chan-wook Park Films: (The Moon Is… the Sun’s Dream) - (Trio) - Judgment (1999 short film) - JSA: Joint Security Area - Sympathy for Mr. Vengeance - (If You Were Me-Never Ending Piece and Love) - Oldboy - Three Extremes-Cut - Sympathy for Lady Vengeance - I'm a Cyborg but That's OK - Thirst - (Night Fishing) - (Day Trip) - The Handmaiden - (The Little Drummer Girl (2018 TV Series)) - Decision to Leave

© thevoid99 2013

Restless

Directed by Gus Van Sant and written by Jason Lew, based on his play, Restless is the story of a death-obsessed young man who falls for a cancer-stricken young women as they her remaining time together. While the man also communicates with a World War II Japanese fighter pilot, who is also a ghost, he has to deal with the loss he‘s endured and is about to face. Starring Henry Hopper, Mia Wasikowska, Schuyler Fisk, Ryo Kase, and Jane Adams. Restless is a touching yet very off-beat drama from Gus Van Sant.

Following the death of his parents a few years ago, Enoch (Henry Hopper) is a teenager who no longer attends school as he spends most of his time conversing with a dead kamikaze pilot named Hiroshi (Ryo Kase) and going to funerals uninvited. At one funeral, he meets a young woman named Annabelle (Mia Wasikowska) where they become friends as they go to funerals and other places where she reveals she is dying from cancer and only has a few months to live. Enoch spends a lot of his time with Annabelle as their friendship grows into romance where he reveals why he lives with his aunt Mabel (Jane Adams) after his parents’ death. While the time becomes fruitful, Annabelle’s time is starting to run out forcing Enoch to come to terms with all that he’s lost as he’s about to lose the girl that he has fallen in love with.

The film is essentially a romantic story about two death-obsessed teenagers who fall in love with each other where one of them is set to die in a matter of months. There, the film explores these two people in the span of a few months where a boy is still trying to come to term with the death of his parents and his own near-death experience while falling for a girl that is very lively and exciting despite the lack of time she has left. While there’s a ghost who watches over this young man as he observes this blossoming relationship, the specter of death would loom as the inevitable is to happen as the character of Enoch would have a difficult time trying to deal with what is going to happen.

Screenwriter Jason Lew succeeds in creating characters who are very interesting in the way they deal with death as there’s also an innocence into the relationship between Enoch and Annabelle. Notably in the way they go to hospitals where they visit the morgue or attend funerals together as they’re often surrounding themselves with death. The character of Hiroshi is someone who is just observing these two people as only Enoch can talk to him yet he is someone who is probably in limbo where there’s moments of him all by himself writing a letter. While a lot of the structure of the screenplay is loose and very unconventional so that the story can explore this relationship. The only thing that doesn’t work entirely is how the melodrama is expected to arrive where it’s execution isn’t as thought out as it could’ve been. That’s the only draw back to a well-written script by Lew.

Gus Van Sant’s direction is quite straightforward for the way he plays out the story about young love. Yet, there are still compositions that are quite engaging for the way he explores this unconventional relationship between two young people. Notably the scene where they’re both lying on the ground with chalk markings around their bodies. There’s also some amazing moments such as the trick-or-treat scene where Van Sant makes the actors feel very comfortable while creating close-ups and wide shots to play out the romance that is happening as it’s set in his home of Portland, Oregon. While Van Sant keeps a lot of the unconventional aspects of the film restrained to observe this relationship, he finds something that is engaging in the story of these two young people while allowing the story to just play out. While the overall work might be considered minor Van Sant, it’s still a better film than what is expected in a film about young love.

Cinematographer Harris Savides does excellent work with the film‘s cinematography from the lush yet colorful scenes for some of its nighttime interior and exterior scenes to a much brighter yet evocative look for the daytime exterior scenes as well as the look in the hospital. Editor Elliot Graham does nice work with the editing where Graham creates some amazing montages to play out the blossoming romance while a lot of it is pretty straightforward. Production designer Anne Ross, with set decorator Sara Parks and art director Benjamin Hayden, does some very good work with the set pieces created such as the rooms Enoch and Annabelle have to the funeral places they attend.

Costume designer Danny Glicker does a wonderful job with the costumes from the black suits that Enoch wears to the more eccentric clothing including the white dress that Annabelle wears to contrast Enoch‘s character. Sound designer Leslie Shatz and sound editor Robert Jackson do brilliant work with the film‘s sound to capture the intimacy of the funeral halls to the broad atmosphere of the locations the characters encounter such as the train bridge. The film’s score by Danny Elfman is superb for its low-key orchestral score that features a take on Carl Orff’s Gassenhauser to play out the romance. The film’s music soundtrack is terrific for its mix of folk and indie as it features music by Sufjan Stevens and Nico in some parts of the film.

The casting by Francine Maisler is brilliant for the ensemble that is created as it includes some memorable small roles from Chin Han as the very kind Dr. Lee, Luisa Strus as Annabelle’s somewhat-aloof mother, Jane Adams as Enoch’s caring aunt, and Schuyler Fisk as Annabelle’s concerned but open-minded older sister Elizabeth. Ryo Kase is excellent as the kamikaze pilot Hiroshi who follows Enoch along in this exploration of death while observing the growing relationship between Enoch and Annabelle. Henry Hopper is very good as the confused Enoch who is trying to come to terms with death as he visits funerals and such to be connected with it where Hopper has some charm to his character though isn’t fully able to pull off some of the film’s heavier, dramatic moments. Yet, he does however have some amazing chemistry with his co-star in Mia Wasikowska.

Mia Wasikowska is the film’s real highlight for the way she creates a character like Annabelle and make so enjoyable to watch. Filled with lots of quirks and charm, Wasikowska brings an understated quality to her performance as a young woman that is dying. Yet, she brings a lot to the performance whether it’s wearing unique clothing to funerals or talking about birds and organizing candy. It is definitely one of Wasikowska’s finest performances.

Restless is a stellar yet engaging romance from Gus Van Sant that features a radiant performance from Mia Wasikowska. Along with noteworthy performances from Henry Hopper and Ryo Kase, it’s a film that works for its exploration of young love and death where the latter is a recurring theme in some of Van Sant’s recent work. While it’s a film that doesn’t reach the heights of a lot of the great films Van Sant has done, it does offer something that his art-house fans and some of his mainstream fans can enjoy. In the end, Restless is a marvelous film from Gus Van Sant.

Gus Van Sant Films: Mala Noche - Drugstore Cowboy - My Own Private Idaho - Even Cowgirls Get the Blues - To Die For - Good Will Hunting - Psycho (1998 remake) - Finding Forrester - Gerry - Elephant - Last Days - Paranoid Park - Milk - Promised Land

The Shorts & Videos of Gus Van Sant - The Auteurs #4: Gus Van Sant

© thevoid99 2011

Jane Eyre (2011 film)

Based on Charlotte Bronte’s novel, Jane Eyre is the story of a young woman who had endured a life of cruelty as a child and later as an adult until she becomes the governess of a mysterious man she falls for. Directed by Cary Joji Fukunaga and adapted into script by Moira Buffini, the film explores a young woman’s plight as she goes from being in an unloving environment and then yearn for love in this mysterious man as Mia Wasikowska plays the titular role. Also starring Michael Fassbender, Sally Hawkins, Jamie Bell, Imogen Poots, Tamzin Merchant, and Judi Dench. The 2011 film version of Jane Eyre is an exquisite yet haunting film from Cary Joji Fukunaga.

Wandering around the moors and land, Jane Eyre arrives at a small cottage as she is under the care of St. John Rivers (Jamie Bell) and his two sisters Mary (Tamzin Merchant) and Diana (Holly Grainger). Staying temporarily at the Rivers home, Jane recalls her life as a child (Amelia Clarkson) as she had lived a life of cruelty in the hands of her aunt Mrs. Reed (Sally Hawkins). Taken to the very strict Lowood Institution under the supervision of the very abusive Mr. Brocklehurst (Simon McBurney), Jane befriends Helen Burns (Freya Parks) who helps Jane deal with her situation. More than a decade later, Jane leaves Lowood to become the governess for a house called Thornfield Hall. Meeting with its housekeeper Mrs. Fairfax (Judi Dench), Jane’s job is to teach the young French girl named Adele (Romy Settbon Moore) while helping out Mrs. Fairfax.

Walking to send a letter, a horse nearly runs over Jane as it’s rider is revealed to Thornfield Hall’s master Edward Rochester (Michael Fassbender). After meeting him later in the day, Jane deals with Rochester’s mysterious yet brooding persona as well as his questions about her life and such. When his room is on fire due to something mysterious as Jane saved him, the two forge a friendship as she asks Mrs. Fairfax about Rochester as she admits, she has no idea what he’s hiding. At a party held in Thornfield Hall where Rochester brings his fiancee` Blance Ingram (Imogen Poots), Jane observes what is happening as she has hard time contending with her feelings for Rochester. The unexpected visit of a man named Richard Mason (Harry Lloyd) appears where Jane assists Rochester in this ordeal.

After taking a break to visit her ailing aunt, Jane returns to Thornfield as she hears some news about Rochester and Ingram as Rochester reveals his feelings for Jane. Yet, their courtship ends due to the secret that Rochester has been hiding leaving Jane in despair over everything she’s endured in her life.

In this adaptation of Charlotte Bronte’s Gothic novel, it is a film told largely from the perspective of the titular character as she reflects on her time with this strange yet enigmatic man who would disappear for days and then come back unexpectedly. Notably as she has to deal with other weird things in this house and parts of her past where she endured abuse, neglect, and the idea of not being loved. Moira Buffini’s screenplay does follow the book faithfully while she does create a narrative that is more of a reflective one as it starts off near the end as Jane leaves a house and eventually arrives at the home of a young clergyman and his sisters. The script also allows the characters to be fleshed out more like the maternal Mrs. Fairfax as well as the kind but religious St. John Rivers. Yet, it is the relationship between Jane and Rochester that is the heart of the film as Buffini explores the emotional tension between the two as well as their own dark secrets.

The direction of Cary Joji Fukunaga is extraordinarily magical for the imagery he presents as well as the tension and atmosphere that surrounds the film. Wanting to be true to the Gothic tone of Bronte’s book, Fukunaga aims for a look where there aren’t a lot of direct colors as the palette goes for a very soft, naturalistic look with a bit of de-saturation as there’s no red or anything very bright that occurs. Shooting the film with some hand-held cameras and steady camera shots including some very wondrous movements to soak up the location and set pieces. Fukunaga also creates some striking compositions to capture the dramatic tension of the film such as the opening shot of Jane leaving while utilizing gorgeous wide shots to capture the beautiful yet stark images of the British countryside landscape. The overall work that Fukunaga does is truly enchanting in its look and tone.

Cinematographer Adriano Goldman does a tremendous job with the film‘s gorgeous yet ravishing cinematography filled with wonderful yet naturalistic interiors for some of the nighttime scenes in Thornfield Hall along with some beautiful exteriors of the British countryside including the skylines at it all plays to a certain color palette that emphasizes the film‘s Gothic tone. Editor Melanie Oliver does an excellent job with the film’s tight yet seamlessly fluid editing with the use of a few jump-cuts and straight transitions while playing up to the intensity of its suspenseful and dramatic moments.

Production designer Will Hughes-Jones, along with set decorator Tim Jones and art director Karl Probert, does an incredible job with the set pieces created such as the rooms in Thornfield Hall as well as drab yet oppressive dining hall at Lowood Institution. Costume designer Michael O’Connor does a fantastic job with the costumes from the very de-colored and dark clothes that Jane mostly wears to the more stately yet regal look of Rochester. Makeup and hair designer Daniel Phillips does a terrific job with the hair and makeup design for the characters from the braided hair of the women to the sideburns of the male characters.

Sound editors Matthew Collinge and Catherine Hodgson do an amazing job with the sound work from the intensity of the locations to the more sparse intimacy of Thornfield Hall that includes some chilly moments and layers of dialogue that occurs in scenes where Jane pines for Rochester. The film’s score by Dario Marianelli is definitely spectacular for its array of pieces ranging from somber piano themes to play up the romance to more low-key orchestral cuts to play up the drama in the film as it’s definitely one of Marianelli’s best scores.

The casting by Nina Gold is brilliant for the ensemble that is created as it includes notable small roles from Craig Roberts as Jane’s cruel cousin John, Eglatine Rembauville-Nicolle as Adele’s nanny Sophie, Valentina Cervi as a mysterious woman at Thornfield Hall, Imogen Poots as Rochester’s fiancee` Blanche, Simon McBurney as the very abusive Mr. Brocklehurst, Harry Lloyd as the mysterious Mr. Mason, Holly Grainger and Tamzin Merchant as St. John’s kind sisters, and Freya Parks as Jane’s old school friend Helen Burns. Other outstanding supporting roles include Sally Hawkins as Jane’s neglectful and uncaring aunt Mrs. Reed, Romy Settbon Moore as the lively French girl Adele, and Amelia Clarkson in a very chilling performance as the young Jane Eyre.

Jamie Bell is wonderful as St. John Rivers, a clergyman who takes Jane in and becomes a friend while having hopes to become more than just her friend. Judi Dench is superb as Mrs. Fairfax, a sympathetic housekeeper who helps Jane with the things about Thornfield while being the one person who keeps Jane and Rochester grounded. Michael Fassbender gives a truly haunting performance as Edward Rochester with his calm yet brooding persona as well displaying a sense of torment that adds to everything that he’s trying to hide as it’s truly some of Fassbender’s best work as an actor.

Finally, there’s Mia Wasikowska in a truly divine performance as the titular character. Not afraid to display humility and anguish, Wasikowska brings a truly mesmerizing approach to the character who tries to maintain a sense of duty while dealing with her feelings for Rochester. The chemistry between Wasikowska and Fassbender is extraordinary for the tension they bring as Fassbender would often dominate with Wasikowska being very quiet. In more emotional scenes, the two restrain themselves from being very dramatic as it is about the anguish and love these two characters have for each other. Notably as Wasikowska maintains the restraint more than Fassbender as it is definitely the best performance she’s given so far in her young career.

The 2011 adaptation of Jane Eyre is a truly magnificent yet entrancing film from Cary Joji Fukunaga that features outstanding lead performances from Mia Wasikowska and Michael Fassbender. Along with great technical work, a fabulous score, and wonderful supporting work from Judi Dench, Jamie Bell, and Sally Hawkins. It is definitely a film that gives Charlotte Bronte’s famed novel a very unique yet visually-dazzling take that does more than what some adaptations of the story has done. In the end, the 2011 adaptation of Jane Eyre is a truly enchanting yet mesmerizing film from Cary Joji Fukunaga.

Related: Jane Eyre (1943 film)

Cary Joji Fukunaga Films: Sin Nombre - (Beasts of No Nation) - No Time to Die

© thevoid99 2012

The Kids Are All Right

Directed by Lisa Cholodenko with a screenplay written with Stuart Blumberg. The Kids Are All Right tells the story of a lesbian couple who are raising two teenage kids in California. When the kids want to find the identity of their sperm donor father, they find out who their father as it shakes up the lives of the kids’ mothers who reluctantly let him in to their world. Starring Annette Bening, Julianne Moore, Mia Wasikowska, Josh Hutcherson, and Mark Ruffalo. The Kids Are All Right is a witty though flawed film from Lisa Cholodenko and company.

Nic (Annette Bening) and Jules (Julianne Moore) are a married lesbian couple living in Los Angeles with two teenagers named Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Nic is a doctor who likes to maintain things in the house while Jules is a housewife who is about to start a landscaping business. It’s summer as the 18-year old Joni is about to leave for college while the 15-year old Laser wonders who is their father since both their moms were impregnated by a man through a sperm donor.

After discovering that the man’s name is Paul (Mark Ruffalo), a bohemian restaurant owner who likes to create live a carefree lifestyle. Joni and Laser meet the man as Joni is impressed by him though she and Laser decide to keep things secretive. While Nic and Jules are going through a bit of a rough patch over their sex life, they also wonder about Laser’s friendship with his skateboard buddy Clay (Eddie Hassell). After a strange encounter with Laser and Clay which turned out to be a misunderstanding, they learn about Paul as Nic and Jules reluctantly invite Paul to dinner.

Paul meets Jules and Nic where everything is cool though Nic isn’t so keen on him. Jules however, is surprised that he needed a landscaper for his backyard garden as she befriends Paul. Though Nic wasn’t sure about Jules working with Paul, Jules felt free working with Paul while Joni and Laser were also enjoying their time with him. The connection between Paul and Jules becomes more evident though the two realize what relationship they might have with each other could ruin things. Realizing that Paul isn’t the nuisance that she perceived him to be, Nic decides to eat at Paul’s home. Things start out fun and relaxed until Nic makes a horrible discovery that would change the dynamics of the family.

The film is about a family led by two lesbian mothers whose quaint, unconventional life is disrupted when their kids discover who their father is. That’s the plot in a nutshell as it would lead to things that would threaten the marriage between Jules and Nic along with their relationship with their own kids. The screenplay by Lisa Cholodenko and Stuart Blumberg starts off promising with the introduction of Paul and the way his relationship develops with the other characters. Though there’s a few flaws in some parts, notably the character of Laser that feels underwritten. It seems fine though the subplot concerning Jules and Paul’s own attraction each other would set up something that would lead to the more emotional third act.

Though the character of Nic might seem like an uptight, controlling mother who doesn’t like the idea of her daughter riding on a motorcycle with her dad. It’s only because she is having a hard time dealing with this new person in the lives of her children. Even for someone who isn’t well-educated, scruffy-looking, and more of a free-spirit. Yet, there are similarities to Paul and Nic that become more evident including in one point when Paul meets Laser’s friend Clay. It’s clear that he has the same opinion about Clay that Nic and Jules seem to have.

While her character would eventually relax by the time the third act arrives, there comes a moment in the film where everything would crash and lead to some heavy-handed drama. Particularly to do with what Jules and Paul did though the truth is really more complicated and the kids are understandably upset. The problem with that the third act late in the film is that it leaves the film unresolved for one character while there’s also monologues that comes across as preachy and melodramatic. For some reason, it didn’t seem to work as it has this very promising story but no real ending. Not even something that can very open and loose where it can leave a lot of interpretation. It’s just that it doesn’t do things that a story like this should happen.

Cholodenko’s direction is enjoyable to watch in the way she creates intimate and wonderful scenes where characters just interact. Shot on location in Los Angeles, the film has a gorgeous look that recalls the sunny, lively world of Los Angeles. Even in places like the garden that Paul works in along with his home to represent the way the characters live in. Still, Cholodenko is more interested in characters and their interaction towards another. Even in creating humor where it feels natural such as the way Jules is trying to pleasure herself sexually.

The direction for the most part plays it straight and relaxed until in parts of the third act where it becomes very dramatic. Including in one scene where there’s a slow-motion cut from Nic’s perspective about what she just learned that comes across as very manipulative. It’s the one scene that really doesn’t work and the way its presented feels unnecessary and out of place with the rest of the film. Despite the flaws the film has, notably in sections of the third act and its ending. Lisa Cholodenko has created a lively, engaging film about unconventional families.

Cinematographer Igor Jadue-Lillo does a fine job with the film‘s colorful, vibrant photography from the sunny, natural look for many of the film‘s daytime exterior scenes. Even in the nighttime scenes and exteriors where the intimacy of film really comes into place as it is some good, straightforward work from Jadue-Lillo. Editor Jeffrey M. Werner does a very good job with the film’s editing as it mostly plays it straight including some rhythmic cuts for a scene where Joni rides with Paul on his motorcycle. Even in helping to create some great dramatic moments except for one scene where the slow-motion ends up ruining the drama.

Production designer Julie Berghoff, along with set decorator David Cook and art director James Connelly, does an excellent job with the differing looks of the places the characters interact. Whether it’s the more organized home of Jules and Nic or the bohemian world that Paul lives as the art direction is the film‘s technical highlight. Costume designer Mary Claire Hannan does a nice-job with the film‘s costumes from the youthful clothing the kids wear along with the more rugged looks that Jules and Paul sport to the more somewhat-conservative look that Nic wears.

Sound designers Frank Gaeta and Elmo Weber do some nice work with the film’s sound whether its creating a natural atmosphere for quiet scenes or scenes where there’s a party going on. Music composer Carter Burwell does some fantastic work with the film’s mostly folk-driven score with washy electric guitar tracks as it plays in a plaintive tone. Even as the rest of the soundtrack is filled with indie stuff such as MGMT, Vampire Weekend, and Tame Impala to old-school stuff from Joni Mitchell and David Bowie.

The casting by Laura Rosenthal is wonderful for its array of small but memorable performances such as Joaquin Garrido as Jules’ landscaping assistant Luis, Zosia Mamet as Joni’s sex-obsessed friend Sasha, Kunal Sharma as Joni’s quiet male friend Jai, Eddie Hassell as Laser’s abrasive pal Clay, and Yaya DaCosta as Paul’s sometimes lover Tanya.

Josh Hutcherson is very good as Laser despite the fact that he is underwritten. Even in the way his relationship with Paul is developed which at times is awkward though he does bring in some excellent humor to the character and scenes in the film. Mia Wasikowska is superb as Joni, the 18-year old college-bound girl who finds a connection with Paul while feeling uptight about Sasha’s sexual comments. Notably in scenes where her character has a chance to lash out and rebel against Nic’s sense of control as Wasikowska is marvelous to watch.

Mark Ruffalo is amazing as Paul, a bohemian man who discovers that he’s the father of two kids as he is unsure what to do. Yet, Ruffalo makes Paul a charming though somewhat-immature man who is just trying to be a good guy and a grown up. Even in scenes where he feels that he’s going to fuck things up yet he brings a lot of sympathy to a character that isn’t entirely likeable but an overall good guy. Julianne Moore is excellent as Jules, a laid-back housewife wanting satisfaction in her new career as she finds some fulfillment in Paul as Moore and Ruffalo have excellent chemistry. Even as Moore feels like she is someone having a hard time with this new relationship as she brings a lot of humor to the way she reacts despite some clunky moments late in the film.

Annette Bening is pretty good as Nic, the disciplinary yet understanding person of the film who has a hard time dealing with the new person in her family’s lives. While it’s a role where Bening is restrained and in good fashion. She gets to show her bitchiness throughout the film as it starts off fine though by the third act. It kind of falls apart where she has this awful monologue that makes her look childish while some very emotional parts in her performance gets a little overdone at times. It’s probably Bening’s best performance since Kevin Costner’s widely-underrated western Open Range which shows that she can be good when she doesn’t overact or go a lot of heavy lifting.

The Kids Are All Right is a stellar though flawed film from Lisa Cholodenko. While it has a great cast that features Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, and Josh Hutcherson. It’s a film that shows what a modern family with same-sex couples can be along with someone from the opposite sex can bring. Despite some good ideas about family, it’s a film that does fall flat due to some heavy-handed ideals towards the end of the film which does kind of ruin things. In the end, The Kids Are All Right is an entertaining and engaging film from Lisa Cholodenko.

Lisa Cholodenko Films: (High Art) - Laurel Canyon - (Cavedweller)

© thevoid99 2011