Written and directed by Rian Johnson, Knives Out is a whodunit that revolves around the death of a patriarch during a tumultuous family gathering as a detective tries to solve the case of this murder. The film is a suspense-drama that explores the murder of a man on his birthday with a detective questioning the motives of the man’s family as well as people close to him at this party leading all sorts of secrets and such in the family. Starring Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Don Johnson, Toni Collette, Michael Shannon, Jaeden Martell, Katherine Langford, Lakeith Stanfield, Edi Patterson, Noah Segan, K Callan, and Christopher Plummer. Knives Out is an exhilarating and whimsical film from Rian Johnson.
A birthday party for a celebrated crime novelist happens as he is found dead the next morning where investigators and a revered detective try to solve the case with the man’s caretaker being a prime suspect. It’s a film that is essentially a simple whodunit where a family deals with the death of the patriarch but also become concerned about their future as family members become suspects due to their issues with the patriarch. Rian Johnson's screenplay mainly takes place days after the death of crime novelist Harlan Thrombey (Christopher Plummer) as his family including his caretaker Marta Cabrera (Ana de Armas) is met with investigators about what happened on his birthday. Thrombey’s two adult kids in the real estate mogul Linda Drysdale (Jamie Lee Curtis) and Walter who runs his father’s publishing company as well as Linda’s husband Richard Drysdale (Don Johnson) and daughter-in-law Joni (Toni Collette) each talked about what they discussed with Harlan with the investigators lead by the private detective Benoit Blanc (Daniel Craig) who is wondering who hired him believing that Harlan’s death was no accident.
Marta is a suspect as she was the last person to supposedly with Harlan that night as she also has a condition where if she lies, she will vomit as she assists Blanc though some believe that she did it. Adding to this toxic case of suspicion includes the presence of Linda and Richard’s son Ransom (Chris Evans) who is considered the black sheep of the family as he likes to stir up trouble. Even as it is clear that the family that also include Joni’s daughter Megan (Katherine Langford) and Walter’s son Jacob (Jaeden Martell) who is always seen on his phone and spouting alt-right views are full of trouble and might have motives as it pertains to Harlan’s will. Blanc believes there is a lot more that is going on while he also wonders who hired him anonymously with Marta gaining the ire of some of the people in Harlan’s family with a few exceptions including Ransom.
Johnson’s direction is largely straightforward in terms of its compositions but also has a flair for style in the way it presents certain scenes from different perspectives. Shot on various locations in and around areas in Boston, Massachusetts, the film uses the locations as characters with Harlan’s home being its main setting as it’s a home filled with antiques, animal heads, and all sorts of things that play into his many accomplishments. Johnson would use wide shots for some of the locations as well as capture the atmosphere of the birthday party to showcase how many people are there or in a high-angle camera shot. Yet, much of his direction is emphasized on close-ups and medium shots as it play into conversations between characters or tiny details that can relate to a clue in the investigation. Notably on floors, walkways, and other things in and out of the house that might lead to some kind of clue including vials in Marta’s medical bag as she knows the kind of medication Harlan needed as it is routine for her.
Johnson’s direction also play into some offbeat humor as it relates to the investigative tactics of Blanc as he is an intriguing figure who is good at what he does but is also good at reading people. He knows that not everything with Marta holds up but doesn’t see her as someone who has the motivations nor the heart to kill Harlan. Johnson’s direction does play into the idea of drama and suspense in its third act that include Blanc dealing with some of the intricacies of the mystery while Ransom becomes an integral part in the third act. Notably as into why he’s been the black sheep of the family as someone who never interacted nor did anything with the family preferring to live a playboy lifestyle. The mystery of Harlan’s death would come to ahead but also more revelations into who hired Blanc and why as it adds a lot more with some questions about what Harlan ultimately wanted for his family. Overall, Johnson crafts a witty yet riveting film about a whodunit on the death of a crime novelist.
Cinematographer Steve Yedlin does excellent work with the film’s cinematography as it does have elements of low-key lighting some scenes at night while emphasizing more on a straightforward look for many of its exterior scenes. Editor Bob Ducsay does brilliant work with the editing as it has bits of slow-motion cut along with rhythmic cuts to play into the suspense and comedy. Production designer David Crank, with set decorator David Schlesinger and art director Jeremy Woodward, is amazing for the look as it play into the look of the house including a circular decoration of knives in Harlan’s study as well as the office and his room as the house is a major highlight of the film. Costume designer Jenny Eagan does fantastic work with the costumes from some of the stylish clothes that Joni and Linda wear as well as the clothes of the other characters with the more humbled look of Marta.
Visual effects supervisor Tim Keene does terrific work with the visual effects as it is mainly set dressing for a few scenes including one involving arson. Sound designer Al Nelson does superb work with the sound as it help play into the atmosphere as well as sounds that add intrigue into the night of Harlan’s death as well as sounds that add to the family chaos. The film’s music by Nathan Johnson is incredible for its orchestral score that help play into the suspense and drama as it is a highlight of the film while its soundtrack feature music from the Rolling Stones, Roxy Music, and other forms of music from pop to standards.
The casting by Mary Vernieu is wonderful as it feature some notable small roles and appearances from Frank Oz as Harlan’s lawyer, M. Emmet Walsh as a security officer at Harlan’s home, Marlene Forte as Marta’s mother, Shyrela Rodriguez as Marta’s sister Alicia, K Callan as Harlan’s elderly mother Wanetta who might’ve seen what really happened, Riki Lindholme as Walter’s wife Donna, Noah Segan as Trooper Wagner who aids in the investigation as he is also a fan of Harlan’s work, Edi Patterson as the family maid Fran who intensely dislikes Ransom as she was the one who discovered Harlan’s body, and Joseph Gordon-Levitt in a voice cameo as a detective in a TV show Alicia watches. Jaeden Martell is terrific as Walter and Donna’s son Jacob who spends much of his time on his phone while often says offensive that leans more towards extreme-conservative ideals. Katherine Langford is fantastic as Megan Thrombey as a college student who is always kind to Marta as she becomes concerned with the aftermath of the will while reluctantly takes part in the family schemes.
Lakeith Stansfield is superb as Detective Lieutenant Elliot as a local detective who takes part in the investigation as he is also someone who has some insight into what is really going on. Toni Collette is excellent as Joni Thrombey as Harlan’s daughter-in-law who is an influencer and guru who is a suspect due to failing business ventures as she is also someone who believes in a more healthy lifestyle. Don Johnson is brilliant as Harlan’s son-in-law Richard Drysdale as Linda’s husband who helps run his wife’s company as he becomes upset with Harlan over a discovery relating to Richard. Michael Shannon is amazing as Walter Thrombey as Harlan’s youngest son who runs his father’s publishing company as he walks with a cane due to an injured foot while having issues with his father over his plans that conflict with Walter’s ideas for his dad’s novels. Jamie Lee Curtis is incredible as Harlan’s eldest daughter in Linda who is suspicious about what happened to her father while becomes troubled by some of the revelations relating to her father’s will.
Christopher Plummer is marvelous as Harlan Thrombey as a crime novelist who is at the center of the story as a man who cares deeply for Marta but also has concerns about his family where he makes some decisions that would upset them while his own death remains a mystery. Chris Evans is remarkable as Ransom Thrombey as Linda and Richard’s son who is the black sheep of the family that likes to cause trouble as he was first seen walking out of his grandfather’s office angrily where he reveals to have issues with his family about their possible inheritance as it’s a darkly comical performance from Evans who gets to steal the show at times. Daniel Craig is phenomenal as Benoit Blanc as a Southern private investigator who is hired by someone he has no clue about as he is trying to figure out what is going on as well as lead the investigation where he is aware that something is off where Craig is funny but also someone who is smart and is aware of his own flaws. Finally, there’s Ana de Armas in a tremendous performance as Marta Cabrera as Harlan’s caretaker who is a kind-hearted woman that helps Harlan in a lot of ways while is becoming a suspect over what happened to him as she also gets into greater trouble as it relates to Harlan’s wishes where de Armas is a revelation in displaying a woman’s innocence as well as her inability to lie without puking.
Knives Out is a spectacular film from Rian Johnson that features great performances from Ana de Armas, Chris Evans, Christopher Plummer, and Daniel Craig. Along with its ensemble cast, suspenseful screenplay, evocative setting, and Nathan Johnson’s sumptuous score. It’s a whodunit that manages to have a lot of twists and turns while being filled with interesting characters and situations that are engaging and full of delight. In the end, Knives Out is a sensational film from Rian Johnson.
Rian Johnson Films: Brick - The Brothers Bloom - Looper - Star Wars Episode VIII: The Last Jedi
© thevoid99 2019
Directed by Jennifer LeBeau, Trouble No More is a documentary film of sorts that chronicles a brief period in the life and career of Bob Dylan from 1979 to 1981 where he had converted to Christianity and made a trilogy of gospel-based rock albums that would alienate many of his fans during that period. The film would feature footage directed by Ron Kantor from two concerts in Buffalo, New York and Toronto in 1980 as well as rare rehearsal footage that is inter-cut with new footage of a preacher spouting out sermons written by Luc Sante as he’s played by Michael Shannon. The result is a fascinating and offbeat film from Jennifer LeBeau.
Following a tumultuous period in the mid and late 1970s in which Bob Dylan was going through a divorce and other personal issues while his career hit a slump following the mixed reception of his 1978 album Street-Legal as well as the poor reception towards his concert/fictional film Renaldo and Clara. Something happened in late 1978 when a fan threw a silver cross on the stage as Dylan, unexpectedly, picked it up and suddenly converted to Christianity. This would lead to a trilogy of albums in Slow Train Coming, Saved, and Shot of Love from 1979 to 1981 as the album would alienate many people who had been following Dylan’s music from the early 1960s from his period of folk to rock music.
The film is a look into this period which opens with a rehearsal in Los Angeles with a small number of African-American female gospel singers and a group of musicians including drummer Jim Keltner, keyboardist Spooner Oldham, guitarist Fred Tackett, and bassist Tim Drummond. It shows how serious Dylan was with the music which is actually quite loose in comparison to a lot of the contemporary Christian/gospel music of the times and even afterwards which then cuts to a scene of people being baffled by Dylan’s conversion to Christianity and how disappointed they were in him not playing any of his older songs. The footage of the concerts that were filmed by Ron Kantor for two different shows in 1980 showcase the kind of music Dylan was doing which was raucous but also had lyrics that related to Christianity and God.
Director Jennifer LeBeau would inter-cut the songs in between the sets with filmed sermons by this preacher who speaks on the ills of the world over the inequality that people face and the things that are poisoning the soul. Shot by cinematographer Ellen Kuras with the preacher’s suit designed by Jessica Zavala, it is shot in a church where the preacher speaks Luc Sante’s written sermons as it brings some context into why Dylan had converted from Judaism to Christianity in that time. Yet, it does bear elements of realism as it’s told with such conviction by Michael Shannon whose voice does speak volumes as it is captured with such naturalism by sound mixer Jerry Stein.
Editor Damian Rodriguez would provide some straightforward edits in the sermon scenes while compiling much of the concert footage that is shown as it does reveal that there was an audience receptive to the music Dylan was doing at the time. Even though this period was brief as Dylan would return to more secular music while Dylan would distance himself from Christianity though he would return to Judaism while would occasionally perform songs from those trilogy of albums.
Trouble No More is an excellent film from Jennifer LeBeau. It’s a film that showcases a fascinating period in Bob Dylan’s career as well as be told in an unconventional fashion which is typical of Dylan as the filmed sermons with Michael Shannon are a joy to watch. While casual audiences might not be into the presentation, it is a film that fans of Dylan will enjoy. In the end, Trouble No More is a brilliant film from Jennifer LeBeau.
Related: Dont Look Back - No Direction Home - I'm Not There
© thevoid99 2018
Based on the 2011 documentary film The Loving Story by Nancy Buirski, Loving is the true story of a white man who falls for and marries a black woman in the 1950s that would cause a lot of controversy and eventually a case in the Supreme Court. Written for the screen and directed by Jeff Nichols, the film is an exploration of two people who fall in love but would get in trouble over the fact that they’re people of who different color when interracial marriage was considered forbidden in 1950s America as the couple of Richard and Mildred Loving are respectively played by Joel Edgerton and Ruth Negga. Also starring Michael Shannon, Nick Kroll, and Marton Csokas. Loving is a somber yet evocative film from Jeff Nichols.
The film follows the true story of Richard and Mildred Loving who in 1958 drove to Washington D.C. from their home in a small town in Virginia to get married and thus would cause trouble in their home state leading to a nine-year battle for the right to stay married and stay in their home state. The film is a simple story of a couple where Richard is white and Mildred is black yet the two are in love and decide to get married when the latter becomes pregnant with their first child. Jeff Nichols’ screenplay doesn’t begin with how Richard and Mildred met but rather the moment they decide to marry as the former spends much of his time socializing with other African-Americans who see him as just another person to socialize with as his mother live in the same neighborhood that they live in. Though they hope by marrying in Washington D.C., nothing would go wrong as Richard and Mildred are just quiet and reserved people that don’t want to cause any trouble. Yet, the government in Virginia and many others see their action as something immoral as they would be forced to move to Washington D.C. with their growing family until they get the help from ACLU lawyer Bernard S. Cohen (Nick Kroll).
Nichols’ direction is understated in its approach to the story since it doesn’t try to go for any kind of lavish or grand visual statement. Instead, Nichols goes for something more intimate and dream-like in his direction as much of the film is shot on location on various locations in the state of Virginia where it does play into this period that is vibrant but also stuck between two different ideas with the emergence of the Civil Rights Movement of the 1960s. There are some wide shots to play into the locations as well as the world that the Loving are in that would include shots of fields and vast farmland. Yet, Nichols would emphasize more on close-ups and medium shots to get a look into the family life of Richard and Mildred whether it’s in the streets of Washington D.C. or at the farms of Virginia. Notably as the dramatic elements are told in a very low-key presentation in order to avoid the many conventions of melodrama.
The historical context of the film is prevalent but only in the background where the Loving family would hear about the growing Civil Rights Movement but they feel at first that it doesn’t concern them nor do they want to be involved because of their reserved personalities. Even as the lead-up towards the third act where Richard and Mildred cope with the unexpected media attention as the former is extremely uncomfortable while the latter is willing to speak but is also reluctant to divulge too much. Nichols would show how overwhelming the attention is as well as some of the prejudice that the couple would face as Richard would get a bigger understanding of what African-Americans deal. All of which forces him and Mildred to challenge the idea of marriage in America but do it very quietly as an act of defiance from a loud resistance. Overall, Nichols crafts a tender yet intoxicating film about a white man and a black woman wanting to stay married amidst the racial strife of the late 1950s/early 1960s in America.
Cinematographer Adam Stone does excellent work with the film’s cinematography with its naturalistic and dream-like feel for some of the farmland locations in the daytime as well as some low-key lighting for some of the scenes at night. Editor Julie Monroe does terrific work with the editing as it is largely straightforward in terms of the drama with bits of jump-cuts in some parts of the film. Production designer Chad Keith, with set decorator Adam Willis and art director Jonathan Guggenheim, does brilliant work with the look of the homes that the characters live in as well as the look of the courtrooms and places of what they looked like in those times.
Costume designer Erin Benach does nice work with the costumes as it is largely straightforward for what many of the clothes looked like in the early 1960s. Sound editor Will Files does superb work with the sound as it play into the atmosphere of the locations as well as some of the scenes in a few drag races that Richard goes to. The film’s music by David Wingo is incredible for its low-key score that has elements of ambient music and soft string pieces that doesn’t play into any kind of bombast while music supervisor Lauren Mikus provides a fun soundtrack that features a mix of rock n’ roll, blues, and R&B of the times from acts like Ritchie Valens, William Bell, Jerry Butler, Earl King, the Empires, Sonny Terry and Brownie McGhee, Magic Sam, and Clarence Reid.
The casting by Francine Maisler is marvelous as it feature some notable small roles from Sharon Blackwood as Richard’s mother who is also a midwife, Terri Abney as Mildred’s sister Garnet, Alano Miller as family friend Raymond Green, David Jensen as a judge that orders Richard and Mildred to leave Virginia, Bill Camp as Richard and Mildred’s attorney Frank Beazley in their early court cases, Christopher Mann and Winter Lee-Holland as Mildred’s parents, Jon Bass as Civil Rights attorney Phil Hirschkop, and Michael Shannon in a small yet terrific performance as LIFE magazine photojournalist Grey Villet who would be invited Richard and Mildred’s home as he gets to see what their life is like without exploiting them too much. Marton Csokas is superb as Sheriff Brooks as a local sheriff who doesn’t like what Richard and Mildred are doing as he’s intent on getting rid of them yet doesn’t do it in an aggressive manner but still be calm yet threatening. Nick Kroll is fantastic as Bernard Cohen as ACLU attorney who takes on Richard and Mildred’s case hoping it would mark a change as well as see that they’re a couple that isn’t doing anything wrong.
Finally, there’s the duo of Joel Edgerton and Ruth Negga in sensational performances in their respective roles as Richard and Mildred Loving. Edgerton provides a gruff yet low-key performance as a man that just minding his own business as well as be a good person to his wife and kids. Negga is just as reserved as Edgerton while being very soft-spoken in giving out interviews as well as be graceful in the way she carries herself. Edgerton and Negga together are a joy to watch in just how they display that sense of warmth and love for each that just feels right.
Loving is a tremendous film from Jeff Nichols that features incredible performances from Joel Edgerton and Ruth Negga. Along with its supporting cast, gorgeous visuals, and a compelling story that play into the real-life events of this couple. It’s a film that showcases the idea of love and what it can do in having two people fight in the most subtle way to showcase their commitment to one another. In the end, Loving is a spectacular film from Jeff Nichols.
Jeff Nichols Films: Shotgun Stories - Take Shelter - Mud - Midnight Special - The Auteurs #58: Jeff Nichols
© thevoid99 2018
Directed by Guillermo del Toro and screenplay by del Toro and Vanessa Taylor from a story by del Toro, The Shape of Water is the story of a mute custodian at a secret lab run by the American government who falls for a mysterious creature whom the lab is experimenting on. Set in the early 1960s during the Cold War, the film is an exploration of a woman who meets this amphibious creature and sees him for what he really is where she and friends try to protect it from dark forces. Starring Sally Hawkins, Michael Shannon, Octavia Spencer, Richard Jenkins, Michael Stuhlbarg, and Doug Jones as the mysterious sea creature. The Shape of Water is a rapturous and intoxicating film from Guillermo del Toro.
The film is a simple story set in early 1960s Baltimore where a mysterious creature had been captured by the American government for experiments where a mute custodian at the lab befriends and later falls for the creature. It’s a film that bear a lot of elements of the fairy tale but it is presented in a world that is teetering on the brink of world dominance as this mute woman and mysterious creature from the sea in the middle. The film’s screenplay by Guillermo del Toro and Vanessa Taylor has an unusual approach in which the creature and the protagonist in Elisa Esposito (Sally Hawkins) never speak a word with the latter communicating through sign language. It’s the supporting characters such as Elisa’s co-worker Zelda (Octavia Spencer), her neighbor Giles (Richard Jenkins), a scientist named Dr. Robert Hoffsetler (Michael Stuhlbarg) who is a Soviet spy, and a government official in Colonel Richard Strickland (Michael Shannon) who captured the creature that do much of the talking in the film.
Elisa is a woman with a routine as she works at nights to clean up with Zelda as the reason she doesn’t speak is due to a neck injury she had when she was a baby. Giles is considered like a caretaker of her of sorts who is struggling to create ads for companies that are changing their ideas of what they want. Yet, Giles is also coping with aging and the fact that he’s gay where he shares his loneliness with Elisa who knows that he’s gay and has no problem with it. Zelda is an African-American who isn’t afraid to say what is on her mind as she also protects Elisa from the suspicion of Colonel Strickland whom she isn’t fond of. Colonel Strickland isn’t a traditional antagonist as he is eager to do his job but also has a family to provide for where he is also paranoid about the Soviet Union spying on what they captured. Then there’s Dr. Hoffsetler as he is a Soviet spy but his interest in the creature is more about science rather than give the Soviets an advantage where he becomes sympathetic for the creature as he knows what it can do and wants to help it.
The direction of del Toro has this mixture of old-Hollywood mixed in with elements of fantasy as well as a look of early 1960s consumerism and conformity despite the sense of unrest that is looming in those times. Shot largely in Hamilton, Ontario in Canada with some of it shot in Toronto, del Toro captures a time in America where the Cold War is looming and things are changing to keep up with people wanting things like Cadillacs or diners that are safe. Yet, there is still something off as it relates to what is really happening as it’s something Giles doesn’t want to see as he has enough reality to deal where he tries to make a pass at a waiter at the diner who he thought was gay who also refuses to serve an African-American couple. It’s among these tropes that del Toro would put in the film to establish the tone of the times which also feels real as the only pleasure for Giles and Elisa they have are through old films they watch on TV or at the cinema that is below their apartment.
While del Toro would use some wide shots of the locations as well as the scope of the lab and a few scenes inside the movie theater. Much of del Toro’s direction would involve more intimate shots in the close-ups and medium shots as it play into the interaction with the characters including the scenes of Elisa and the creature in how they communicate and how they bond. Even as del Toro isn’t afraid to display this air of sexuality early in the film as it relates to Elisa’s routine and her own feelings for the monster who feels like he understands her much better than a lot of human beings. That is something that Col. Strickland isn’t able to understand yet he is still a complex individual as del Toro would create some unique compositions to play into his determination to find what the monster is useful for in the advantage of the Cold War.
It adds to the sense of misunderstanding of what humanity can’t deal with whenever they encounter something that is different where del Toro sees the creature as a being with a soul that is there for the good of the world. It’s something Giles, Zelda, and Elisa would see as does Dr. Hoffsetler who becomes aware that the Soviets have no interest in what the creature can do as it play into this tug-of-war between two superpowers who just want an advantage in this dangerous conflict. Still, del Toro is focused on this unlikely love story between Elisa and the creature as it is about two beings in love and wanting to be with each other without any complications in relation to the real world. Overall, del Toro creates a ravishing and enchanting film about a mute woman who falls for a mysterious creature from the sea.
Cinematographer Dan Laustsen does brilliant work with the film’s cinematography with its usage of colorful lighting schemes and moods with the usage of green and teal-like colors for many of the film’s interior settings as well as some colorful lighting for some of the exterior scenes at night including the usage of low-key colors for the scenes in the water as well as a black-and-white dream sequence. Editor Sidney Wolinsky does excellent work with the editing as it has elements of style in some jump-cuts though much of it is straightforward with some rhythmic cuts to play into the suspense. Production designer Paul D. Austerberry, with set decorators Jeffrey A. Melvin and Shane Vieau plus art director Nigel Churcher, does amazing work with the look of the lab in all of its detail to the water tanks and electronic equipment to the look of the apartments that Giles and Elisa live in as well as the interior of Col. Strickland’s home. Costume designer Luis Sequeira does fantastic work with the costumes as it play into the period of the early 1960s with the way the suits look as well as some of the dresses that the women wore in those times.
Special makeup effects by Mike Hill and Shane Mahan do incredible work with the look of the creature in all of its intricate designs including body parts that light up as it one of the finest feats of creature design. Visual effects supervisors Dennis Berardi, Trey Harrell, and Kevin Scott do terrific work with the visual effects that’s set in the water as well as some set dressing for some of the exterior scenes in the film. Sound editor Nathan Robitaille does superb work with the sound as it play into the atmosphere of the locations including some of the sounds in the lab with Robitaille and del Toro providing some of the vocals sounds of the creature. The film’s music by Alexandre Desplat is marvelous for its enchanting orchestral score that is filled with lush string arrangements and tingling percussion textures as it adds to the sense of fantasy and the suspense in the film while its soundtrack features music from Madeleine Peyroux, Benny Goodman, Andy Williams, Alice Faye, Glenn Miller, and Roger Suen.
The casting by Robin D. Cook and Jonathan Oliveira is remarkable as it feature some notable small roles from John Kapelos as the cinema owner Mr. Arzoumanian, Morgan Kelly as the diner waiter who sells pies, Wendy Lyon as Col. Strickland’s secretary, Madison Ferguson and Jayden Grieg as Col. Strickland’s children, Stewart Arnott as an advertising executive friend of Giles, Nigel Bennett as a Soviet spy that Dr. Hoffstetler talks to, Lauren Lee Smith as Col. Strickland’s wife Elaine, David Hewlett as one of the military scientists in Fleming who is asked to spy on Dr. Hoffstetler, and Nick Searcy as Col. Strickland’s superior General Frank Hoyt who wants the monster be used as a tool for the Cold War.
Michael Stuhlbarg is fantastic as Dr. Robert Hoffstetler as a scientist who is really a Soviet spy that is studying the creature where he realizes that the creature offers so much more as he decides to help Elisa rather than answer to Col. Strickland and the Soviets. Octavia Spencer is excellent as Zelda Delilah Fuller as a talkative custodian who often speaks for Elisa as well as be a conscience of sorts in the film where she would protect Elisa and the creature in the hope that Elisa could find some happiness. Richard Jenkins is brilliant as Giles as Elisa’s neighbor and an aging advertising agent who often wears a toupee where he struggles with age and the need for companionship as well as changing times as he sees the creature as a beacon of hope where he sees what kind of magic it could do as well as be a great sense of hope for Elisa.
Michael Shannon is amazing as Colonel Richard Strickland as a government agent who captures the creature in the hopes he can extract something that could be useful for the human race in the Cold War as he’s a complex man that loves his family and knows a lot of literature where Shannon brings a chilling and scary performance of a man that is willing to kill. Doug Jones is great in his role as the creature where, despite not having any dialogue, he manages to provide a sense of soul and intelligence where it’s just a marvel to watch. Finally, there’s Sally Hawkins in a phenomenal performance as Elisa Esposito as a mute custodian worker who speaks through sign language as she is fascinated by this sea creature where it’s Hawkins’ charm, child-like innocence, and adult-like desires that is key to her performance as it is really a career-defining performance for Hawkins.
The Shape of Water is a magnificent film from Guillermo del Toro. Featuring a great cast, gorgeous visuals, a compelling story that mixes various genres, an eerie setting, and a sumptuous music score by Alexandre Desplat. It’s a film that captures the sense of wonderment in something that is extraordinary where a woman tries to protect it from those who have inhuman means of using the creature for their own reasons. In the end, The Shape of Water is a spectacular film from Guillermo del Toro.
Guillermo del Toro Films: Cronos - Mimic - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim
- Crimson Peak
The Auteurs #10: Guillermo del Toro
© thevoid99 2018
Directed by Jonathan Levine and screenplay by Levine, Evan Goldberg, Kyle Hunter, and Ariel Shaffir from a story by Levine, The Night Before is the story of three childhood friends who gather for a traditional Christmas Eve get-together as it might be the last one as two of the men are about to take on bigger steps into their lives. The film is a comedy about three guys who are about to embark on an annual event as they believe it’s the last one where a lot of hijinks and hilarity ensue. Starring Joseph Gordon-Levitt, Seth Rogen, Anthony Mackie, Lizzy Caplan, Jillian Bell, Mindy Kaling, Michael Shannon, and narration by Tracy Morgan. The Night Before is a witty and adventurous film from Jonathan Levine.
The film follow three lifelong friends who embark on an annual gathering as it is possible as it might be their last year together as one of them is a famous football player while one of them is becoming a father leaving the third man unsure of what he will do next. Then, a chance to be invited to an exclusive party makes this possible last get-together even bigger as the three men try to find the party but also deal with various issues in their lives. The film’s screenplay follows the live of these three men who begin this tradition in 2001 when the parents of Ethan Miller (Joseph Gordon-Levitt) were killed as his best friends in Isaac Greenberg (Seth Rogen) and Chris Roberts (Anthony Mackie) were around to be there for him as they would get drunk and high for a lot of years. 14 years later, things have changed with Isaac about to become a father and Chris is now a famous football player. Ethan unfortunately has failed in his attempt to be a successful musician while he works at a hotel with nowhere to go as Isaac and Chris are unsure what will happen to him next year as they have so much to do in their own lives.
This party known as the Nutcracker Ball is an exclusive party where only those with an invitation are invited as they have to call a number at a certain time for the secret location. Ethan, Isaac, and Chris would each embark their own paths to the party as well as have their own meetings with a mysterious drug dealer known as Mr. Green (Michael Shannon) who would give them a toke of his supply as it would lead to all sorts of hijinks. For Isaac, he would endure a bad drug trip due to the drugs his wife Betsy (Jillian Hall) had bought while Chris would have an encounter with a fan (Ilana Glazer) that goes horribly wrong. For Ethan, his encounter with his former girlfriend Diana (Lizzy Caplan) forces him to think about the decisions he’s made as well as the uncertainty of his own future since Isaac and Chris are about to embark on starting their own individual lives.
Jonathan Levine’s direction is very stylish as it is set during the Christmas holidays in New York City where the film is set and shot on location as it play into this sense of adventure that goes on throughout the film. While Levine would include some wide shots of the locations including a few landmarks such as the Christmas tree at the Rockefeller Center. Levine focuses more on intimate shots such as close-ups and medium shots to play into the drama and some of the humor as it also has elements of surrealism as it relates to Isaac’s own drug trip. There are also these moments where Levine takes a break from the comedy and drama as it play into the story as well as the adventures the individual characters would go to. The film’s climax at the Nutcracker Ball is definitely wild but also play into the kind of people Ethan, Isaac, and Chris want to hang out with only to realize how much they all needed each other. Overall, Levine creates a fun and lively film about three guys gathering for one last get-together to an exclusive party before they embark into the world of adulthood.
Cinematographer Brandon Trost does excellent work with the film’s cinematography as much of it takes place at night from the look of the bar where the guys do karaoke to the extravagant lighting for the Nutcracker Ball sequence. Editor Zene Baker does nice work with the editing as it is stylish with a few montages and other rhythmic cuts to play into the humor and some of the stranger moments in the film. Production designer Annie Spitz and set decorator Chryss Hionis do amazing work with the look of some of the places the characters go to including the Nutcracker Ball with its lights and other things expected for an extravagant party. Costume designer Melissa Toth does terrific work with the costumes from the Christmas sweaters the guys wear to some of the lavish costumes at the Nutcracker Ball.
Visual effects supervisor Jeff Campbell does fantastic work with some of the things that Isaac sees during his drug-induced trip as well as a few things to play into the comedy. Sound editor Michael Babcock does superb work with the sound as it play into the atmosphere of some of the places the characters go to including the Nutcracker Ball. The film’s music by Marco Beltrami and Miles Hankin is wonderful for its mixture of holiday-inspired music with some hip-hop, rock, and electronic music to provide a different mood for various scenes in the film while music supervisor Gabe Hilfer provides a fun mix of holiday-based music with some non-holiday music from Run-DMC, Miley Cyrus, Kanye West, and Britney Spears.
The casting by Henry Russell Bergstein, Kathy Driscoll, Allison Estrin, and Francine Maisler is great as it feature some notable small roles from Miley Cyrus as herself, Aaron Hill as Chris’ teammate Tommy Owens, Helene Yorke as Betsy’s friend Cindy, Randall Park as Ethan’s boss, Jason Mantzoukas and Jason Jones as a couple of Santa Claus who get drunk and give Ethan some shit, Nathan Fielder as Chris’ driver, and Lorraine Toussaint as Chris’ mother who is wondering about what Chris is doing as she knows something isn’t right. Jillian Bell is fantastic as Isaac’s wife Betsy who is aware of her husband’s need to party but also worries about what he’s really feeling about becoming a father. Mindy Kaling is superb as Diana’s friend Sarah whom Isaac converses with as she is hoping to meet a guy named James where Isaac accidentally gets her phone. Ilana Glazer is excellent as Rebecca as a mysterious woman who is a fan of Chris as she is this mysterious individual who spouts a lot of film and holiday references as someone that wants to teach Chris a lesson. Lizzy Caplan is brilliant as Diana as Ethan’s ex-girlfriend who hasn’t seen him in months as she deals with Ethan’s shortcomings and the reasons they broke up.
Michael Shannon is incredible as Mr. Green as a mysterious drug dealer who gives the film’s protagonists a toke of his special weed as it is this very low-key yet charismatic performance from Shannon who is just a joy to watch. Anthony Mackie is amazing as Chris Roberts as a famous football player who is becoming extremely famous and about to have the season of his career where he is carrying a secret as well as dealing with the expectations that he has as a famous player. Seth Rogen is remarkable as Isaac Greenberg as a man who is about to become a father as he tries to deny his feelings by going on a drug-induced trip where he sees some strange things as it play into his own anxieties. Finally, there’s Joseph Gordon-Levitt in a marvelous performance as Ethan Miller as a failed musician with no idea of what he’s going to do next as he hopes this chance to be at the Nutcracker Ball would give him some answers as he is also forced to face his own faults as a man who is afraid to take a big step into adulthood.
The Night Before is a remarkable film from Jonathan Levine. Featuring a great cast, some hilarious moments, and some compelling themes on adulthood, it’s a film that manages to provide a nice balance of stoner humor in a Christmas setting as it play into the idea of family and friendship. In the end, The Night Before is a marvelous film from Jonathan Levine.
Jonathan Levine Films: (All the Boys Love Mandy Lane) – (The Wackness) – 50/50 - Warm Bodies - (Snatched) – (Flarsky)
© thevoid99 2017
Directed and edited by Ramin Bahrani and screenplay by Bahrani and Amir Naderi from a story by Bahrani and Bahareh Azimi, 99 Homes is the story of a young man who joins forces with the man who evicted him from his house by evicting other people from their houses so he, his mother, and son a chance to find a home again. The film follows the real-life situations of people losing their homes during periods of recession where a young man succumbs to greed in his desperation to survive. Starring Andrew Garfield, Michael Shannon, and Laura Dern. 99 Homes is an eerie yet harrowing film from Ramin Bahrani.
The film follows the life of a young man who had just lost another job as he is trying to save his home until he becomes evicted forcing him, his mother, and his son to live at a motel where he would later work with the man who evicted him. It’s a film that explores a man’s desperate need to survive as he is trying to do what is right for his mother and son. Yet, it would cause some moral implications as he would work with this real estate operator who makes a business in evicting people from their homes and then sell it off for more money. The film’s screenplay by Ramin Bahrani and Amir Naderi doesn’t just explore this growing world in which people don’t just lose their homes to the banks due to troubling economic circumstances but also what happens to those homes as a man who would lose his family home would take part in something that is considered greedy and immoral. The character of Dennis Nash (Andrew Garfield) is someone who’s worked in construction and can do repairs as he is struggling to find work while his mother Lynn (Laura Dern) works as a hairdresser as they can barely get by.
The loss of their home is humiliating as Dennis’ son Connor (Noah Lomax) is forced to witness everything as the hotel they temporarily live at is filled with people who had also lost their homes. When Dennis tries to find his tools where he believes had been stolen and confronts the man who he thinks is the thief. He gets the attention of the real estate operator Rick Carter (Michael Shannon) who likes Dennis’ determination as he gets him to do some work where Dennis learns more about what Carter does. Dennis would do the things that Carter does in evicting people and getting people money to sell their homes as he would struggle with what he’s doing. Yet, the money he would make gives him the chance to have his home back as he doesn’t tell his mother nor his son what he really does. The film’s script does have a structure as it play into Dennis’ need to make money as the third act would reveal the implication of his actions but also what gets lost in the things he does.
Bahrani’s direction is definitely mesmerizing for the way he explores this divide in America between social classes where the rich is living without any kind of problems while the poor and middle class struggle to get by as some no longer have homes. While it is set in Orlando, Florida where there are some wide establish shots of the city. It is shot mainly on location in New Orleans to play into the world of suburbia and urban areas where Dennis and his family are forced to live in as well as the houses that Carter is trying to sell as he would later find himself competing with another real estate company during its third act. Much of Bahrani’s direction throughout the film has him emphasizing on more intimate shots with medium shots and close-ups as well as use hand-held cameras to get a sense of realism throughout the film.
Also serving as the film’s editor, Bahrani would play into the drama as he goes for a straightforward approach to the editing as it helps build up the drama and some of the moments of suspense. Even in moments that are simple as it play into why Carter is doing what he does which show some very cynical ideas about the ways of the world and why those who work hard for what they don’t often don’t get what they want. There are some truths to what Carter is saying but what he puts Dennis into showcases that air of immorality and guilt that Dennis would deal with in the third act where he has a dramatic encounter with someone whose house he evicted. Even as it play into events that are quite chilling as well as what some will do to keep their house in every legal way only to be hit with something that is unexpected. Especially as Dennis is forced to see things up close and deal with the consequences of not just his actions but the deal he made to get back his home. Overall, Bahrani creates a riveting yet chilling film about a young man taking a job in helping a man evict people from their homes.
Cinematographer Bobby Bukowski does brilliant work with the film’s rich and colorful cinematography to capture many of the daytime exteriors along with some scenes at night to make it look like a Floridian summer of sorts. Production designer Alex Digerlando, with set decorator Monique Champagne and art director Christina Eunji Kim, does excellent work with the look of Dennis’ family home and the cramped look of the motel room he, his mother, and son are staying in as well as the more spacious and posh home of Carter. Costume designer Meghan Kasperlik does nice work with the clothes as it is mostly casual and ragged with a cleaner and somewhat posh look for Carter and later Dennis.
Sound editor Odin Benitez does superb work with the sound as it play into the atmosphere of some of the locations including a party scenes and things heard outside of Dennis’ motel room. The film’s music by Antony Partos and Matteo Zingales is fantastic as it’s mostly an ambient-based score filled with soothing synthesizers and electronic textures while music supervisor Michael Hill provides a soundtrack that is mostly low-key filled with hip-hop, rock, and pop as well as a classical piece from Richard Wagner.
The casting by Douglas Aibel and Tracy Kilpatrick is great as it feature some notable small roles from Nadiyah Skyy as Carter’s mistress, Nicole Barre as Carter’s wife, Javier Molina as a friend of Dennis who helps him uninstall air condition machines and pool pumps, Cynthia Santiago as the wife of a man who is trying to save their home, and Clancy Brown as a rich businessman that Carter is trying to make a deal with. Tim Guinee is terrific as a homeowner in Frank Greene who is trying to save his home every legal way as he knows Dennis because his son meets Connor early in the film as he is also caught stealing water and electricity from a home owned by Carter. Noah Lomax is fantastic as Dennis’ son Connor as a young kid dealing with the new situation he’s in as he’s hoping to go back home while being unaware of what his father is really doing.
Laura Dern is excellent as Dennis’ mother Lynn as a hairdresser who is kept in the dark about what her son is doing as she is aware of the reality of what is happening but has a harder time learning the truth about what Dennis is doing. Andrew Garfield is amazing as Dennis Nash as an unemployed single father who is trying to make money and do anything to get his house back only to put himself into a world of greed and guilt as Garfield displays that anguish and determination of a man trying to survive. Finally, there’s Michal Shannon in a brilliant performance as Rick Carter as a real estate operator that is quite shady but also determined to make money and bring Dennis into the fold as there’s a sense of charm in Shannon’s performance but also a role that is quite cunning that doesn’t make him into someone that is totally evil.
99 Homes is a phenomenal film from Ramin Bahrani that features incredible performances from Michael Shannon, Andrew Garfield, and Laura Dern. Along with its rapturous script, realistic locations, and a themes of greed, loss, and survival, it’s a film that definitely has a lot to say while showing a dark reality of America as its people lose their homes all because of a missed payment with no chance of getting it back. In the end, 99 Homes is a sensational film from Ramin Bahrani.
Ramin Bahrani Films: Man Push Cart - Chop Shop - Goodbye Solo - Plastic Bag - At Any Price - (Fahrenheit 451 (2018 film)) - The Auteurs #55: Ramin Bahrani
© thevoid99 2017
Based on the novel Tony and Susan by Austin Wright, Nocturnal Animals is a multi-layered story involving a woman who reads a novel written by her ex-husband as it involves his own life as she also reflects on the life she had with him. Written for the screen and directed by Tom Ford, the film is a neo-noir film where a woman in an unhappy marriage copes with her own past as well as the life she’s in right now. Starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Isla Fisher, Aaron Taylor-Johnson, Andrea Riseborough, Michael Sheen, Armie Hammer, Karl Glusman, Jena Malone, and Laura Linney. Nocturnal Animals is an evocative yet gripping film from Tom Ford.
The film is the story of a woman who is given a manuscript of a novel written by her ex-husband which is about a man and his family who would have a deadly encounter with criminals in West Texas. Through the book, the woman reflects on her brief marriage to her first husband as well as coping with the decisions she’s made in her life including being in an unhappy marriage. Even as she wonders if there are some paralleling images and metaphors in the book she’s reading in relation to her own life. Tom Ford’s screenplay has this unique narrative where it isn’t about a woman reflecting on her life but also dealing with the one she’s in now. It is also about this story of a man who is driving to West Texas going for a holiday with his wife and daughter where an ugly encounter with some locals while on the road.
The narrative would move back and forth with the protagonist Susan Morrow (Amy Adams) reading the manuscript by her ex-husband Edward Sheffield (Jake Gyllenhaal) as well as the story that Sheffield made about a man named Tony Hastings (Jake Gyllenhaal) who is aided by a local detective in Bobby Andes (Michael Shannon) in going after the criminal named Ray Marcus (Aaron Taylor-Johnson). It all play into two people being forced to confront themselves in this story as it draw into a lot of parallels into the choices they make but also the outcome of these decisions. Even as reality and fiction would blur through this manuscript as Susan would see things as well as wonder if it is all true or just fiction. Notably as Susan would also look back into her own life which includes things she didn’t want to face but eventually come true as well as the choices that Tony has to make where Andes give him some revelations about the dark realities of the world and what has to be done.
Ford’s direction definitely bears a lot of style from this grotesque opening sequence of naked obese women during the opening credits which is part of a lavish and decadent gallery that Susan is hosting. It plays into a world of reality and cynicism that Susan is a part of but she seems quite disconnected from that world. With the Susan narrative shot largely in Los Angeles and flashbacks in New York City while the Tony narrative is shot in Texas. Ford creates a film that has this nice balance between the two world yet would maintain paralleling images that showcase the similar struggles Tony and Susan would endure. Ford’s usage of wide and medium shots play into the locations the characters are in as the scenes involving Susan have this sense of detachment as Ford creates careful framing from the world she has become a part of while the flashbacks are much simpler as well as display some foreshadowing into what will happen to her. There is also something is quite offbeat to the world that Susan is in from the friends that she has as well as the people who work with her in the art gallery. It has this sense of artificiality and materialism that is quite overwhelming where Ford would do things that seem to mock reality but it would come to haunt Susan as she becomes engrossed by Edward’s manuscript.
The scenes about the journey Tony would take as well as gain some justice with Andes’ help are much more rooted in reality. Notably as it play into a world that is quite unforgiving and eerie as Ford uses a lot of wide shots to capture the West Texas locations. There are also some close-ups as it play into the anguish that Tony would endure as well as some revelations about Andes that to his own need to wanting to do things right. There are moments that are very shocking where Ford would maintain something that is unsettling as it would eventually come into Susan’s world as reality/fiction begin to blur. All of which returns to Susan and the events in her life as well as the pain that she caused for her ex-husband to write this manuscript for her. Overall, Ford creates a visceral and eerie film about a woman questioning her own life by a manuscript written by her ex-husband.
Cinematographer Seamus McGarvey does brilliant work with the film‘s cinematography from the way some of the nighttime scenes in Los Angeles and Texas are presented as well as the usage of artificial light for many of the scenes at the art gallery and such in Susan‘s world along with more grimy yet naturalistic look of the daytime exterior scenes in Texas. Editor Joan Sobel does excellent work with the editing with its usage of jump-cuts along with other stylish cuts including some dazzling slow-motion to play into the horror and suspense that Tony would endure. Production designer Shane Valentino, with set decorator Meg Everist and art director Christopher Brown, does amazing work with the look of the stylish yet cold home that Susan lives in as well as the off-the-wall art gallery and its offbeat artwork to the more dirty and grounded look of the scenes and locations set in Texas. Costume designer Arianne Phillips does fantastic work with the costumes from the stylish dresses that Susan wears as well as the people in Los Angeles she is with as well while the look of the characters in Texas is more casual and grimy.
The makeup work of Malanie J. Romero, with additional work from Nathaniel De’Lineadeus, is terrific not just for the look of a few characters that are in Susan‘s world but also in the bearded look of Tony as well as the look of the character Ray. Visual effects supervisor Martin Goodwin does nice work with some of the minimal visual effects that relate to some of the artificiality in Susan‘s world which includes the look of a character in one scene through some eerie makeup effects. Sound editor Lon Bender and sound designer Kris Fenske do superb work with the sound as it play into some of the moments of suspense that Tony would encounter as well as in some of the eerie moments for Susan in how she sees things along with some sparse moments in the film that are very chilling. The film’s music by Abel Korzeniowski is incredible for its somber orchestral score that feature some heavy string arrangements and themes that add to the drama and suspense.
The casting by Francine Maisler is great as it feature some notable small role and appearances from Zawe Ashton as Susan’s assistant, India Menuez as Susan’s daughter, Kristin Bauer van Straten as a grotesque-looking member of Susan’s art gallery in Samantha Van Helsing, Graham Beckel as an officer investigating what happened to Tony, Robert Arayamo as a young local harassing Tony and his family, and Jena Malone in a very offbeat yet funny performance as Sage Ross who is a fellow executive of Susan’s art gallery who wears these very odd clothes. Michael Sheen and Andrea Riseborough are fantastic in their respective brief appearances as the couple Carlos and Alessia Holt with Sheen wearing some flamboyant clothing and Riseborough sporting some outlandish hairdo as they represent that sense of materialism in Susan’s world. Karl Glusman is superb as Lou as a young local who was part in the dark he encounter he has with Tony and his family as he is quite creepy.
Ellie Bamber and Isla Fisher are wonderful in their respective roles as Tony’s daughter and wife in India and Laura as two women who become frightened by the rowdy locals they meet with Bamber being more abrasive towards them and Fisher being the more concerned of the two. Armie Hammer is terrific as Susan’s husband Hutton as a man that definitely has that look of being good-looking as well as be intentionally-bland as a man that is really neglectful of his wife and what she does. Laura Linney is brilliant as Susan’s mother Anne Sutton as this bourgeois woman of decadence and wealth that Susan tries to rebel as Linney’s one-scene appearance is just fun to watch as someone that doesn’t approve of Edward while having some valid truths about what Susan might have to deal with. Aaron Taylor-Johnson is excellent as Ray Marcus as a rowdy local that Tony and his family would encounter as he is just this wild firecracker of a man that is quite scary as well as be very confrontational.
Michael Shannon is amazing as the detective Bobby Andes as a man who had seen a lot of things as he believes what Tony had been through and suspects Ray while also revealing a lot that he has to deal with in his pursuit of true justice in a world that is becoming more complicated. Jake Gyllenhaal is remarkable in a dual performance as Edward Sheffield and Tony Hastings where Gyllenhaal portrays this kind and idealistic man in the former that wants to be a writer but becomes frustrated with Susan’s criticisms. In the latter, Gyllenhaal brings someone that looks anguished and frightened as well as be consumed with guilt as a man desperate to find some justice for what happened to his family. Finally, there’s Amy Adams in a phenomenal performance as Susan Morrow as an arts gallery owner that is dealing with an unhappy marriage and the decisions she’s made in her life as she becomes enamored with a manuscript her ex-husband wrote where she copes with her past and wonders why she can’t sleep nor be happy with the life she’s in.
Nocturnal Animals is a spectacular film from Tom Ford that features great performances from Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, and Laura Linney. Along with eerie visuals, an amazing supporting cast, chilling sound work, and majestic music. It is this haunting yet intoxicating neo-noir thriller that plays into a woman coping with her past through the actions of a manuscript about the dark aspects of humanity from her ex-husband. In the end, Nocturnal Animals is a tremendous film from Tom Ford.
A Single Man
© thevoid99 2016
Written and directed by Jeff Nichols, Midnight Special is the story of a man and his son who escape a religious cult when it’s revealed the boy has special powers where the cult as well as federal authorities try to go after the two. The film is a sci-fi adventure of sorts set in the American South as a father and his friend try to go to a mystery destination for this boy where they would later receive help from the boy’s mother. Starring Michael Shannon, Joel Edgerton, Kirsten Dunst, Adam Driver, Paul Sparks, Jaeden Lieberher, and Sam Shepard. Midnight Special is a thrilling yet touching film from Jeff Nichols.
Set in the American South, the film revolves a man who had kidnapped his son from a religious cult as he gets the help from an old friend in taking them to a secret destination where they’re chased by federal authorities and members of the cult. It’s a film that is about a father trying to help his son while wrestling with the fact that his son does have these special powers that can’t be described as the boy is also somewhat immune to sunlight. They’re later joined by the boy’s mother who was excommunicated from the church as she tries to cope with her son’s weakened state while helping her estranged husband and his friend in evading the authorities. At the same time, a FBI analyst tries to uncover the mysteries as he would make some major discoveries of his own.
Jeff Nichols’ script doesn’t exactly try to create something that is just a film that blends sci-fi, adventure, family drama, and as a road movie. It’s also a film that has a lot into what is at stake as the boy Alton (Jaeden Lieberher) has to wear goggles and is immune to daylight where he, his father Roy (Michael Shannon), and Roy’s childhood friend Lucas (Joel Edgerton) have to travel at night and stop before dawn where they would cover motel windows via cardboard and duct tape. Lucas, a state trooper, would use a radio to hear police reports and find ways to evade them as he wonders what is going on where he too realizes what is at stake where the three cope with the fact that there is very few they could trust including Alton’s mother Sarah (Kirsten Dunst) who hadn’t seen her son in years. The FBI believe that Alton is a weapon as they want to catch him and see what he is about but there are also members of this cult who see Alton as a savior and had used his words and such as gospel.
The script also plays into the mysterious elements of Alton’s powers as his eyes would light up mysteriously for unknown reasons as Alton himself has very little idea on what he is. Even as Alton and his entourage are baffled by what they encounter and what Alton has done where Roy is trying everything he can to protect him where the two would later make a discover on where Alton needed to go and what he is. Adding to the suspense are the FBI where they bring in an analyst named Paul Sevier (Adam Driver) who is asked to work for the authorities but is really someone that is just an observer who would make a discovery of where Alton and his entourage is going. All of which would play into not just elements of mythology but also in humanity itself where a group of people are trying to do what is right in a world that is very complicated.
Nichols’ direction is quite entrancing for the way it presents a film that bends all sorts of genres but is grounded into a modern world without the need of being futuristic or anything. Shot largely in New Orleans as part of the American South where it would take place from East Texas to Florida, the film does have something that is homegrown of a world that Nichols is very familiar with where he doesn’t go too far into the world of fantasy and mythology. With its usage of wide and medium shots for the locations, Nichols also maintains an intimacy with the latter and in in the close-ups as it relates to not just the journey at hand but also the relationship between Roy and Alton which is the heart of the film. Even as there’s scenes in the second act where Roy and Alton cope with the danger of being chased as well as the latter being ill as he has a revelation of what he has to do to survive.
The direction is also quite ambitious in not just creating the air of suspense as it relates to the authorities that are involved from the FBI and military who try to stop Roy, Alton, Lucas, and Sarah but also in the fact that they know they’re being chased with news coverage being shown on televisions. Some of the scenes that involve Alton’s mysterious powers are have an air of realism including moments that are big yet Nichols keeps it grounded so that it wouldn’t overwhelm the story. The film’s climax is quite ambitious as it relates to something mythological but it also play into what is at stake about the bond between father and son as well as what a few people would do to make things right. Overall, Nichols crafts an exhilarating yet gripping film about a few people trying to get a boy to an unknown destination away from people who want him for their own reasons.
Cinematographer Adam Stone does amazing work with the film‘s cinematography with its usage of natural lights for many of the exterior scenes in day and night along with bright lights for moments where Alton‘s eyes light up and some of the interiors in the way they‘re lit inside the motel rooms. Editor Julie Monroe does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the suspense and action. Production designer Chad Keith, with art director Austin Gorg, set decorator Adam Willis, and set landscaper Austin T. LeValley, does fantastic work with the look of the authority bases and rooms as well as the look of the cult ranch which Roy was a part of.
Costume designer Erin Benach does nice work with the costumes as it is mostly casual with the exception of some of the dresses many of the women in the cult would wear. The visual effects work of Cody Brunty is terrific for a few sequences that are driven by effects as it plays into the gifts that Alton carries. Sound designer Jeremy Bowker and sound editor Will Files do superb work with some of the sound effects that occur in the film along with the mixing of naturalistic sound to play up the atmosphere of whatever location the characters are at including the truck stops. The film’s music by David Wingo is incredible as it is largely an electronic score with some ambient textures and bass-driven synthesizer pieces that do play into the sci-fi elements in the film while the soundtrack also features music ranging from country to ranchero.
The casting by Francine Maisler is great as it features notable small roles from Bill Camp as the cult leader’s second, Scott Haze as a cult member helping out in finding Alton, Sharon Garrison as Sarah’s mother, David Jensen as a former cult member who brings shelter to Roy, Lucas, and Alton, and James Moses Black as a military officer working with the FBI in trying to find Alton. Sam Shepard is superb as the cult leader Calvin Meyer who is also Roy’s father as he is eager to get his grandson back for his own selfish reasons. Paul Sparks is excellent as FBI agent Miller as a man that is trying to find Alton while wondering if Alton is a threat to national security. Adam Driver is fantastic as FBI analyst Sevier as this man that interviews cult members and try to decode things where he makes a discovery which would be crucial for everything that is going to happen as it’s a very restrained performance with dabbles of humor.
Kirsten Dunst is amazing as Sarah as Alton’s estranged mother who hadn’t seen in him years as she helps out in the escape and going to their secret destination as well as coping with the years she had been away from her son and the things she knows about Alton’s condition. Joel Edgerton is brilliant as Lucas as a childhood friend of Roy who helps out in the journey as he tries to understand what is going on while being someone that can be helpful and do what is right. Jaeden Lieberher is phenomenal as Alton as a young boy with a special gift that deals with his situation as he tries to understand what is going on while being aware of what he can do where it’s a performance that manages to be a lot of things and a whole lot more. Finally, there’s Michael Shannon in a remarkable performance as Alton’s father Roy as this man that was once part of a cult as he tries to save his son from being something he’s not while providing a realism that is compelling such as the fact that he enjoys worrying about his son as it’s a very soulful and moving performance from Nichols.
Midnight Special is a sensational film from Jeff Nichols. Featuring great performances from Michael Shannon, Jaeden Lieberher, Joel Edgerton, Kirsten Dunst, and Adam Driver as well as some dazzling visuals and David Wingo’s hypnotic score. The film is a fascinating genre-bender that does a whole lot more with its premise while creating something that appeals to a wide audience as it relates to the concept of family. In the end, Midnight Special is a riveting and enchanting film from Jeff Nichols.
Jeff Nichols Films: Shotgun Stories - Take Shelter - Mud - (Loving (2016 film)) - The Auteurs #58: Jeff Nichols
© thevoid99 2016
Written and directed by Jeff Nichols, Mud is the story of two boys who meet a strange man living on a boat stuck on a tree as he is hiding from bounty hunters while hoping to return to his former flame. The film is an adventure in which two teenage boys meet up with this man as it’s set entirely in Arkansas where they try to help this man who is carrying some secrets of his own. Starring Matthew McConaughey, Reese Witherspoon, Tye Sheridan, Jacob Lofland, Michael Shannon, Joe Don Baker, Ray McKinnon, Sarah Paulson, and Sam Shepard. Mud is a riveting yet towering film from Jeff Nichols.
The film is a simple story of two teenage boys who meet a mysterious man in an island on the Arkansas River as he is living on a boat on top of a tree that the boys want. It’s a film that explores this complex relationship between this man who is on the run from authorities and bounty hunters while he befriends these two boys as he asks for their help in getting the boat down from the tree and fix it. Even as it is a film about men and young men where this man named Mud (Matthew McConaughey) is hoping to reunite with his old flame whom he went to jail for. While Ellis (Tye Sheridan) and his friend Neckbone (Jacob Lofland) help bring some supplies, Ellis encounters things in his own life that he’s unprepared for while understanding the fallacies of love.
Jeff Nichols’ screenplay is mostly about Ellis as he copes with not just his parents separating but also the idea of leaving the river home he’s spent much of his life. It’s really a coming-of-age tale for both Ellis and Neckbone as the two are becoming interested in women as Ellis would gain the attention of a high school girl in May Pearl (Bonnie Sturdivant) whom he has a crush on. Yet, their encounter with Mud would give them a chance to do something in the hopes that they could get the boat for themselves as the two also learn about Mud’s intentions as he waiting for his old flame in Juniper (Reese Witherspoon). Juniper is this woman who has a past with Mud as she learns through Ellis and Neckbone about Mud as she is also being watched by a bounty hunter whose brother was killed by Mud.
It adds to the drama as well as the severity of the situations where things do intensify on an emotional level in the third act as the warnings that Ellis is getting from neighbor in Tom Blankenship (Sam Shepard) starts to seep in. Even as revelations about what Mud did that got him in trouble start to emerge which plays into not just the fallacies of love but also how foolish men are when it comes to women. The script also goes into the idea of loyalty and doing what is right where even though Ellis and Neckbone would do things that are wrong so they can help Mud. They do start to question what they’re doing as well as why Mud hasn’t contacted Juniper himself though they know he’s a wanted man.
Nichols’ direction is very entrancing not just for the way he creates this film as this mixture of thriller with a coming of age drama. He also manages to make something that definitely feels like a very Southern film not just in its many locations in small towns in Arkansas but also in places near its river and the Mississippi River. While many of the compositions from close-ups to wide shots are very simple with some underwater shots and some unique camera angles. There is a sense of naturalism that Nichols is going for as he shoots a lot of places on locations where there is a beauty to the river and some of skylines while there’s also something that feels very grimy such as some of the aspects of nature.
The direction also has Nichols use suspense in some very effective ways as it pertains to the horde of bounty hunters that are going after Mud as well as the warnings that Blankenship has for Ellis about getting too close to Mud. There’s also some humor in the way it plays into the idea of love while much of it is dramatic as Nichols makes no bones that this is a film about men though he doesn’t portray women as selfish beings but rather those who are just complicated. It’s that idea that would spark much of the film’s more intense third act where it isn’t just about Mud facing his demons but also the consequences that Ellis would have that would shape him from boyhood to manhood. Overall, Nichols creates a very somber yet exhilarating film about two boys who help a man trying to get back to an old flame.
Cinematographer Adam Stone does brilliant work with the film‘s gorgeous cinematography from the look of the skylines to some of the nighttime exterior settings in the island as well as some interior scenes where the lighting plays into the dark mood of the film. Editor Julie Monroe does excellent work with the editing as it‘s very straightforward in terms of its rhythmic cuts as well as playing into the film‘s suspense. Production designer Richard A. Wright, with set decorator Fontaine Beauchamp Hebb and art director Elliott Glick, does fantastic work with the set pieces from the river house that Ellis and his family lived in to the design of the boat that he and Neckbone would find that Mud would live in.
Costume designer Kari Perkins does nice work with the costumes as it‘s mostly casual from the white shirt that Mud wears to the clothes that Juniper wears. Sound designer Will Files does amazing work with the film‘s sound to convey for many of the film‘s locations in the rivers as well as some scenes in some of the social gatherings including a bar where Juniper goes to. The film’s music by David Wingo is superb for its mixture of folk music with eerie orchestral-like pieces to play into the world that is the American South that includes some country textures in the music while music supervisor Steve Lindsey maintains that world of the South with a lot of music ranging from country to rock as well as an inspired use of the Beach Boys‘ Help Me Rhonda.
The casting by Francine Maisler is phenomenal as it features some notable small roles from Kirsty Barrington as Neckbone’s uncle’s girlfriend, Bonnie Sturdivant as Ellis’ high-school crush May Pearl, Joe Don Baker as a notorious crime kingpin who wants Mud dead, Paul Sparks as the kingpin’s son who wants vengeance for his brother’s death, and Michael Shannon in a superb performance as Neckbone’s uncle Galen who provides some of the film’s funnier moments. Sarah Paulson and Ray McKinnon are excellent as Ellis’ parents with Paulson playing the mother who tries to talk to Ellis about why she’s leaving her father while McKinnon plays the father who feels like he let his son down. Sam Shepard is brilliant as Ted Blankenship as a former assassin who was a father-figure for Mud as a boy as he realizes why Mud has come back. Jacob Lofland is amazing as Neckbone as a teen who helps Ellis do things for Mud as he would prove to be a formidable ally as he also says some funny things.
Reese Witherspoon is fantastic as Juniper as Mud’s former girlfriend as she learns about Mud returning as she is this very complex person who loves Mud but is also a very flawed woman who plays into the idea of love’s fallacy. Tye Sheridan is incredible as Ellis as this 14-year old boy who befriends Mud as he deals with helping Mud as well as growing up and experience first-love. Finally, there’s Matthew McConaughey in a tremendous performance as the titular character as this man who is on the run as he is eager to return to his old flame as he also proves to be someone that knows a lot about love while being unaware of the same mistakes he’s making.
Mud is a spectacular film from Jeff Nichols that features a mesmerizing leading performance from Matthew McConaughey as the titular character. Along with a great supporting cast that includes Tye Sheridan, Reese Witherspoon, Jacob Lofland, and Sam Shepard. It’s a film that manages to be a lot of things such as a coming-of-age story and a suspense thriller while having so many things to say. In the end, Mud is an outstanding film from Jeff Nichols.
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