2024 Blind Spot Series: Mikey and Nicky

 

(In Memory of M. Emmet Walsh 1935-2024)

Written and directed by Elaine May, Mikey and Nicky is the story of two small-time mobsters who have become estranged as one of them is hiding from a boss after stealing money as he seeks the help of his estranged friend. The film is a crime drama that explores two former friends who deal with their estrangement as well as the trouble they’re both in as it is told in the span of one entire night as the titular characters of Mikey and Nicky are played respectively by Peter Falk and John Cassavetes. Also starring Ned Beatty, Rose Arrick, Carol Grace, William Hickey, Sanford Meisner, M. Emmet Walsh, and Joyce Van Patten. Mikey and Nicky is a gripping and rapturous film from Elaine May.

Set in Philadelphia in the span of an entire night, the film follows a small-time mobster who calls his estranged best friend for help after being in hiding over a theft as he’s also pursued by a hitman. It is a film that is about male friendship between two lifelong friends as they spend an entire night on the run from a hitman while trying assess the situation created by one of them who has become paranoid and unruly. Elaine May’s screenplay is largely straightforward as it is told in the span of 12 hours where Nicky is hiding in a hotel as he knows there’s a contract for his head as he’s stolen money that left someone dead as the boss Dave Resnick (Sanford Meisner) wants Nicky dead with the hitman Kinney (Ned Beatty) in pursuit. Mikey gets the call from Nicky after years of not getting anything from him as he tries to help yet the two would go on the run throughout the city as they also cope with their estrangement as Nicky acts erratic as well as changing plans much to Mikey’s frustrations for much of the night.

May’s direction is quite unique for the fact that much of the film is shot at night and has a looseness in the way she approaches a crime film involving two men who are on the run. Shot on location in Philadelphia as well as Los Angeles, May creates a film that is filled with tension as it plays into these two estranged men who both have families yet Mikey is the one that is devoted as he would call his wife Annie (Rose Arrick) a few times telling her that he’ll be late as she knows something is up. There are some wide shots that May would create to play into the tension and looseness as much of the dialogue feels improvised. Yet, May chooses to be more intimate in the way the titular characters interact with one another through medium shots and some close-ups that includes scenes of Kinney waiting in a car to do his job.

May also plays into this sense of chaos that Nicky would put Mikey through such as a meeting with a hooker in Nellie (Carol Grace) whom Nicky treats terribly and convinces Mikey to try and have sex with her. It is among these dark moments in the film that would lead to its third act as it shows why these two men have been estranged with Nicky becoming more erratic and abusive despite the seriousness of his situation. May also infuse some humor as well as dark humor in how Nicky reacts to things as well as to liven things up as it would be this distraction of him avoiding the issues he is facing. The film’s third act is definitely filled with a lot of dramatic suspense with Mikey making a decision for himself as it also plays into this ending that not surprising but heartbreaking. Overall, May crafts a compelling and riveting film about two estranged friends who are on the run from a hitman as they deal with their estrangement and the severity of their actions.

Cinematographer Victor J. Kemper, with additional work from Lucien Ballard, Bernie Abramson, Jack Cooperman, and Jerry File, does excellent work with the film’s cinematography for using low-key lights for many of the exterior scenes at night as well as some stylish lighting with Ballard bringing a softer look for the film’s final sequence. Editor John Carter, with additional work by Sheldon Kahn, does nice work with the editing as it is largely straightforward that does include some rhythmic cuts to play into the dark humor and suspense. Production designer Paul Sylbert and set decorator John P. Austin do brilliant work with the look of Nell’s home as well as the home where Mikey lives with his family and a few places they go to.

The sound work of Christopher Newman and Larry Jost is terrific for the sound as it is largely straightforward in the way music is played in a bar or the way things sound from afar or up-close outside in the streets. The film’s music by John Strauss is wonderful for its jazz-like score that plays into the drama and suspense while its soundtrack include music from the O-Jays, the Andrew Sisters, and standards performed by Strauss.

The film’s superb ensemble cast feature some notable small roles and appearances from M. Emmet Walsh as a bus driver who gets into a fight with Nicky, Sy Travers as a hotel clerk, Danny Klein as Mikey’s young son Harry, Virginia Smith as Nicky’s mother-in-law, William Hickey as a mob figure in Sid Fine, Sanford Meisner as the mob boss Dave Resnick whose money was stolen by Nicky, Rose Arrick as Mikey’s wife Annie who would learn more about Nicky and Mikey’s issues with him, and Joyce Van Patten in a fantastic one-scene performance as Nicky’s estranged wife Jan who reluctantly helps Nicky despite her disdain for him over his erratic behavior and lack of remorse for his own actions. Carol Grace is excellent as Nellie as a prostitute who is a lover of Nicky yet proves to be far more engaging in the view of Mikey as she is treated horribly by Nicky who only wants her for sex and to slap around.

Ned Beatty is amazing as the hitman Kinney as a man who goes on the pursuit of Nicky as he becomes frustrated in his search and having to wait around as he drives throughout the city as it is a bit of a comical performance but also dark in what he had to do. Finally, there’s the duo of Peter Falk and John Cassavetes in great performances in their respective roles as the titular characters. Falk as the more sensible Mikey is someone that is respectful as he tries to help Nicky yet is constantly frustrated while is put into situations that get him into trouble as he would be pushed to the edge. Cassavetes’ performance as Nicky is a lot more energetic to convey the paranoia and erratic behavior as a man that knows he’s going to be killed as he tries to kill time in order to avoid Kinney. Falk and Cassavetes together have a unique chemistry in the way they play off one another with Falk being the straight man and Cassavetes being the wilder of the two as they also have a looseness into their performances as they are a major highlight of the film.

Mikey and Nicky is a phenomenal film from Elaine May that features tremendous leading performances from Peter Falk and John Cassavetes. Along with its supporting cast, gritty visuals, its exploration of male friendship, and a fun music soundtrack. It is a crime drama that doesn’t play by the conventions while also exploring a man facing death and his friend to save him despite his many frustrations towards him. In the end, Mikey and Nicky is a sensational film from Elaine May.

Elaine May Films: (A New Leaf) – (The Heartbreak Kid) – (Ishtar) – (Mike Nichols: American Master)

© thevoid99 2024

Rampart

Directed by Oren Moverman and written by Moverman and James Ellroy, Rampart is the story of a corrupt LAPD officer who finds himself in trouble as he tries to redeem himself during the Rampart scandal of 1997 for the Los Angeles Police Department. The film is a character study of a man dealing with his own actions as he tries to defend himself and save his career amidst a tumultuous period in the city of Los Angeles. Starring Woody Harrelson, Ice Cube, Ned Beatty, Robin Wright, Anne Heche, Cynthia Nixon, Brie Larson, Steve Buscemi, and Sigourney Weaver. Rampart is a compelling yet flawed film from Oren Moverman.

Set in 1999 Los Angeles during a dark period for the LAPD who is dealing with the Rampart scandal, the film is about a dirty and corrupt police scandal whose actions have finally caught up with him. Rather than quitting his job, officer Dave Brown (Woody Harrelson) tries to save his job and avoid any jail time but he becomes more troubling as even those who once bailed him out are unable to help him. Yet, Brown is also someone who is really a man that is just born to undo himself where he would eventually bring discomfort to authorities that want to help him as well as bring shame to his family. The film’s screenplay doesn’t just explore Brown and the things he does as a police officer but also a person who likes to take the law into his own hands. Sometimes it would be in the most gruesome way where he would be caught on tape beating someone who hit his car though Brown had every reason to beat up the guy.

While the script does paint Brown as a man who just hates everyone while doing all sorts of things. There are elements to him that try to show some goodness to him but his faults would often overwhelm everything as his own eldest daughter Helen (Brie Larson) really hates him. While the script does nice work in fleshing out Brown and his complexities, the script however doesn’t do much to get the story to move forward or really go anywhere. Especially as it relates to what Brown is trying to do but it tend to slow things down as he is given options that could’ve helped him. Whenever Brown is given these opportunities to redeem himself, the results become very frustrating as it play more into his character as someone that is just stubborn and not willing to see the bigger picture.

Moverman’s direction has some very intense moments in the way it showcases late 1990s Los Angeles as a world that is quite dangerous and unpredictable. Shot on location in some of the urban parts of Los Angeles as well as some of its downtown areas, the film does play into a world where a man is convinced that he is doing good for the city but is extremely corrupt in his actions. Moverman’s usage of close-ups and medium shots are engaging though there are some moments that aren’t very good. Notably a sequence where Brown meets two attorneys where the camera is constantly moving around to focus on one character in a repetitive pan where it is very annoying. It’s one of the aspects of the film that didn’t work while the script’s lack of a strong narrative does falter the pacing. Though Moverman’s usage of crane overhead shots and other stylistic moments are good, the film’s resolution is lacking in terms of any kind of redemption could be made for Brown as it ends up being unsatisfying despite Moverman’s observation on its protagonist. Overall, Moverman creates a intriguing but lackluster film about a dirty cop’s attempt to make things right.

Cinematographer Bobby Bukowski does excellent work with the film‘s cinematography from the stylish usage of lights and moods for many of the interior/exterior scenes set at night along with some grainy film stock for scenes set in the day. Editor Jay Rabinowitz does nice work with the editing as it does have some stylish jump-cuts and some unique rhythms for the suspense and drama though it does falter in that sequence where Brown is being interviewed by two attorneys. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Austin Gorg, does fantastic work with the look of the home that Brown lives in with this ex-wives (who are sisters) and the hotel rooms he would crash as well as the home of a lawyer he would sleep with.

Costume designer Catherine George does terrific work with the costumes as it is mostly casual along with the look of the police uniforms while the only character that plays into a sense of style is Helen. Sound designer Javier Bennassar does superb work with the sound in the way the police sirens and gunfire sounds along with the intimate moments at home and at the bars. The film’s music by Dickon Hinchliffe is brilliant for its somber-based score in the guitar and keyboards to play into the drama while music supervisor Jim Black creates a soundtrack that features a mixture of hip-hop, electronic, and Mexican music along with a song by Leonard Cohen.

The casting by Laura Rosenthal and Rachel Tenner is amazing as it features some notable small roles and appearances from Robert Wisdom as the Rampart station’s captain, Jon Foster and Jon Beranthal as a couple of fellow officers, Steve Buscemi as a district attorney official in Bill Blago, Stella Schnabel as Brown’s new partner early in the film who is perturbed by his actions, Sammy Boyarsky as Brown’s youngest daughter Margaret who questions about what her father has done, Audra McDonald as a one-night stand Brown would be with early in the film, and Ben Foster in a superb role as a homeless vet named the General who often hangs out at a fast food restaurant. Robin Wright is wonderful as the attorney Linda whom Brown would frequently sleep with while he is suspicious that she is spying on him. Ned Beatty is terrific as the former cop Hartshorn who tries to help Brown in any way including moments that would help him only to realize that Brown is his own worst enemy.

Cynthia Nixon and Anne Heche are excellent in their respective roles as the sisters Barbara and Catherine as two of Brown’s ex-wives who deal with the coverage of Brown’s activities with Nixon as the more calm of the two and Heche as the one who wants nothing to do with him. Brie Larson is fantastic as Brown’s eldest daughter who despises her father as she also feels humiliated and embarrassed by his actions where she also copes with his own hatred for everyone. Sigourney Weaver is brilliant as the assistant DA Joan Confrey who wants Brown to reveal all of his activities as well as give the man a chance to do what is right. Ice Cube is incredible as the investigator Kyle Timkins who works for the DA’s office as he also tries to implore Brown to do the right thing while revealing what is at stake. Finally, there’s Woody Harrelson in a phenomenal performance as Dave Brown as a dirty LAPD officer who finds himself a big target during one of the lowest points of the LAPD where Harrelson brings a very menacing performance as a man with very little care for the world where he is also his own worst enemy as well as be selfish to the point that he brings shame to his own family including his own daughters.

Rampart is a stellar yet flawed film from Oren Moverman. While it features a great cast led by Woody Harrelson along with Dick Hinchliffe’s score, it’s a film that had all of the tools to be an intriguing character study but it lacks a very cohesive narrative to keep things going. In the end, Rampart is a fine but underwhelming film from Oren Moverman.

Oren Moverman Films: The Messenger - (Time Out of Mind) - (The Dinner (2017 film))

© thevoid99 2016

Deliverance

Based on the novel by James Dickey, Deliverance is the story of four men who go on a canoe trip up north Georgia where they would encounter some dark events that would turn their trip into a hellish experience. Directed by John Boorman and screenplay by Boorman and Dickey, the film is an exploration into a group of men who venture into the unknown as well as deal with locals who come from a world of lawlessness. Starring Burt Reynolds, Jon Voight, Ned Beatty, and Ronny Cox. Deliverance is a terrifying and chilling film from John Boorman.

The film revolves around four Atlanta businessmen who go on a canoe trip to a river in north Georgia as the river is about to become a lake. Upon their trip down river, the four men would encounter two mountain men as it would be a trip into hell as its aftermath would force the men to figure out what just happened and what to do. The film’s screenplay by James Dickey and un-credited work from John Boorman showcases a world where four men really don’t know much about the wilderness other than the more brash Lewis (Burt Reynolds) who is very experienced as he and friend Ed Gentry (Jon Voight) know about canoeing as they invited friends Bobby Trippe (Ned Beatty) and Drew Ballinger (Ronny Cox). By canoeing on this river that is about to become a lake where a town is about to be submerged due to the construction of a new dam. The four would go through some rapids and parts of nature which is easy compared to what is really out there when Ed and Bobby would have a chilling encounter with two mountain men.

All of these events would take place in the film’s first half where it’s second half is actually more compelling where the four deal with not just the encounter of the two mountain men but also the consequences. Lewis would be the man to drive everything as he is someone who is aware that they’re in a world where law and order wouldn’t make sense but there’s also a sense of morality over right and wrong that Drew is trying to bring into play. All of which would then lead into a more treacherous journey back home as well as a lot of confusion and terror where it’s third act wouldn’t just about death but also guilt over what happened.

Boorman’s direction is quite gripping though it doesn’t start off that way where the film seems to be quaint and jovial where Drew would encounter an albino boy named Lonnie (Billy Redden) playing banjo where the two would do a rendition of Dueling Banjos. Shot on location at the Chattooga River in north Georgia as well as the Tallulah Gorge southeast of the state plus a few locations in South Carolina and the Appalachian Mountains. The film has this very Southern feel where it is quite grimy and eerie where the characters who live in this area play by different rules. Especially as the two mountain men live in a world that is very different as they would do things to Ed and Bobby that are quite gruesome. It’s aftermath where Lewis gets very involved would make the film much more chilling where Boorman’s direction would be filled with these captivating close-ups and medium shots to display some dramatic tension.

Even as Boorman goes right into the action for the river-rafting scenes where he has his camera to showcase all of the dangerous aspect of the rapids and how things can go awry. There’s also some elements of surrealism which adds to the element of fear during a chilling climax that involves Ed as it plays to his own issues with shooting a bow-and-arrow at a deer which he realizes he couldn’t kill. Things would eventually slow down towards the end as it is all about the major characters contemplating about everything that had happened as well as ambiguities over what really did happen. Overall, Boorman crafts a very mesmerizing yet harrowing film about survival in the wilderness.

Cinematographer Vilmos Zsigmond does brilliant work with the film‘s cinematography that captures the stark beauty of the locations with a bit of grainy camera work and a few effects that adds to the surrealism as Zsigmond‘s work is a major highlight of the film. Editor Tom Priestley does fantastic work with the editing with its approach to jump-cuts and other stylish cuts to play into the film‘s suspense and terror that looms throughout the film. Art director Fred Harpman and set decorator Morris Hoffman do terrific work with the minimal sets such as the ruined garages and shacks early in the film to the church that is being driven through the city.

Sound editor Jim Atkinson does superb work with the sound from the way some of the natural elements of the location sounds to the way it help builds up the sense of terror. The film’s music only consists of sparse, folk-based pieces only played on guitar and banjo as it’s just variations of Dueling Banjos that really adds to the chilling tone of the film.

The casting by Lynn Stalmaster is great as it features some notable small roles from writer James Dickey as a sheriff late in the film and Billy Redden as the albino boy who can play a mean banjo. Herbert “Cowboy” Coward and Bill McKinney are amazing in their roles as the devious mountain men with Coward as the guy with less teeth and McKinney as the more slimy man who has a particular liking for Bobby. Ronny Cox is excellent as Drew as this man who likes to play guitar as he would become the film’s moral conscience as he wants to do what he feels is right over the situation that had happened.

Ned Beatty is superb as Bobby as this fat guy who becomes a victim over his encounters with the mountain men as he tries to deal with what happened to him and how to move on from it. Burt Reynolds is fantastic as Lewis as this experienced outdoorsman who is quite arrogant yet knows how to get things done as he is also a very intense figure that knows how to lead. Finally, there’s Jon Voight in a brilliant performance as Ed as this man who has been outdoors but struggles with his own feelings about killing as he also endures the sense of humiliation and terror in his encounter with the mountain men.

Deliverance is a phenomenal film from John Boorman. Armed with a great cast, gripping visuals, and a terrifying premise. It is a film that isn’t just one of the finest films about the American South at its ugliest but it’s a suspense film that plays into the dark soul of humanity. In the end, Deliverance is an outstanding film from John Boorman.

John Boorman Films: (Catch Us If You Can) - (Point Blank (1967 film)) - (Hell in the Pacific) - (Leo the Last) - (Zardoz) - (Exorcist II: The Heretic) - (Excalibur) - (The Emerald Forest) - (Hope and Glory) - (Where the Heart Is (1990 film)) - (I Dreamt I Woke Up) - (Two Nudes Bathing) - (Beyond Rangoon) - (The General (1998 film)) - (The Tailor of Panama) - (In My Country) - (The Tiger’s Tail) - (Queen and Country)

© thevoid99 2014

Cookie's Fortune

Directed by Robert Altman and written by Anne Rapp, Cookie’s Fortune is the story about a small town in Mississippi where relatives of a wealthy dowager try to cover up her suicide as murder. The film is an exploration into small town life as well as a group of people coming together to help out. Starring Glenn Close, Julianne Moore, Liv Tyler, Chris O’Donnell, Charles S. Dutton, and Patricia Neal. Cookie’s Fortune is a strange yet whimsical film from Robert Altman.

The film revolves around a group of people who deal with the death of a wealthy widow who kills herself in order to reunite with her late husband. When one of her nieces decides to cover up the woman’s death as a murder in hopes to attain the woman’s home, things get crazy as a caretaker is accused of murder only for the woman’s granddaughter coming to his aid to help him. Things eventually get complicated though some of the cops believe that the caretaker didn’t do anything as questions are raised into what really happened.

Screenwriter Anne Rapp creates a film that is about a collection of oddballs that live in this small Mississippi town where they all know each other. When this wealthy woman known as Cookie (Patricia Neal) dies and suspicion of murder arises, a lot of questions are raised as it would take an outsider to finally piece everything together. Though the plot schematics does have an air of predictability, there are moments that does make up for it due to the characters that are created for this film.

Robert Altman’s direction is quite straightforward in terms of the way he presents life in a small town in Mississippi by actually shooting on location in that town. Yet, he does maintain that improvisational style that he’s known for in the way he approaches the characters. Notably as it includes a lot of mystery into not just all of these entanglements involving the relatives of this old woman but also her caretaker Willis Richland (Charles S. Dutton) who many people knew as this very kind man who always helped Cookie out. Still, there’s people like Cookie’s niece Camille (Glenn Close) who is intent on getting her house believing that she earned it and such. Altman does make sure that it’s about the characters and the way they interact as he’s able to do things to make up for some of the screenplay’s shortcomings. Overall, Altman creates a very engaging yet offbeat comedy-mystery about a group of oddballs in a small Mississippi town.

Cinematographer Toyomichi Kurita does excellent work with the film‘s very colorful photography to capture the beauty of small town Southern life with its natural lighting schemes along with more stylish work for scenes at night. Editor Abraham Lim does nice work with the editing as it‘s mostly straightforward while utilizing a few rhythmic cuts for some of the film‘s comical moments. Production designer Stephen Altman, along with set decorator Susan Emshwiller and art director Richard L. Johnson, does wonderful work with the set pieces from the staging of Camille‘s play to the home of Cookie.

Costume supervisor Susan Kaufmann does terrific work with the costumes to capture the more casual look of the characters as well as the more stylish clothes of Camille along with the costumes for the Salome play. Sound editor Frederick Howard does wonderful work with the sound to capture the atmosphere of church rehearsals to the intimacy of the bar. The film’s music by David A. Stewart is a real delight at it’s mostly blues-based music to play out the world that is the American South.

The casting by Pam Dixon is incredible for the ensemble that is created as it features notable small roles from Niecey Nash as a deputy, Rufus Thomas as a bar owner, Lyle Lovett as a catfish salesman, Donald Moffat as the town’s local attorney, Matt Malloy as a forensics expert, and Courtney B. Vance as an out-of-town investigator who tries to piece everything that’s happened. Ned Beatty is very funny in a small yet wonderful role as deputy Lester Boyle who believes that Willis is innocent while Patricia Neal is superb as the aging widow Cookie who longs to reunite with her late husband Buck. Chris O’Donnell is very good as the young deputy Jason Brown who tries to help out everyone as well as deal with his feelings for Emma. Liv Tyler is amazing as Emma Duvall as she is the granddaughter of Cookie as she returns to her small town to try and start over while helping out Cookie’s old caretaker Willis.

Charles S. Dutton is great as the kind caretaker Willis who is a very close friend of Cookie as he deals with loss as well as being accused of killing her as he and many know that he didn’t do it as it’s a very low-key yet charming performance from the actor. Julianne Moore is excellent as the very shy and childlike Cora who is often under Camille’s control while also carries a sense of ambiguity as she might know a lot more than Camille believes. Finally, there’s Glenn Close in a superb performance as Camille who tries to change the fate over Cookie’s death in order to gain Cookie’s home as she thinks she’s doing it for the greater good.

Cookie’s Fortune is a stellar yet entertaining film from Robert Altman. Featuring an amazing ensemble cast and an intriguing look into small town life in the American South. The film offers something that is unique while carrying that spirit of looseness that Altman is known for. In the end, Cookie’s Fortune is a very good film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Nashville

Originally Written and Posted at Epinions.com on 3/13/07 w/ Additional Edits & Revisions.

Directed by Robert Altman and written by Joan Tewkesbury, Nashville is a multi-layered story about different groups of people coming together for a country music convention where the world of politics and celebrity collide in the course of five day that leads to a climatic concert. The film explores the world of celebrity culture through a variety of stories that features more than 20 characters. With an all-star cast that includes Keith Carradine, Lily Tomlin, Shelley Duvall, Michael Murphy, Geraldine Chaplin, Henry Gibson, Ronee Blakley, Gwen Welles, Barbara Baxley, Ned Beatty, Jeff Goldblum, Allen Garfield, Scott Glenn, Elliott Gould, Julie Christie, and many more. Nashville is a superb, sprawling, yet eerie film from Robert Altman.

Replacement party candidate Hal Phillip Walker is set to appear in Nashville, Tennessee in the hopes to win another primary for the U.S. Presidency as a BBC news reporter named Opal (Geraldine Chaplin) is making a documentary about the city. Opal accidentally interrupts a recording session for country legend Haven Hamilton (Henry Gibson) as she meets his son Bud (Dave Peel) while she attends another session featuring gospel singers led by a local housewife in Linnea Reese (Lily Tomlin). Linnea's husband Delbert (Ned Beatty) has a meeting with Californian businessman John Triplette (Michael Murphy) while a mysterious man (Jeff Goldbum) arrives on a motor-tricycle where a cook named Wade Cooley (Robert DoQui) and waitress/aspiring singer Sueleen Gray (Gwen Welles watch). Another aspiring singer in Winifred Albuquerque leaves her husband Star (Bert Ramsen) at a traffic jam as Nashville is waiting for the arrival of famed country singer Barbara Jean (Ronee Blakley).

Delbert, Triplette, Haven, Bud, and Haven's mistress Lady Pearl (Barbara Baxley) are at the airport to meet Barbara Jean and her husband Barnett (Allen Garfield) while a soldier named Pfc. Glenn Kelly (Scott Glenn) watches while a folk trio named Bill (Allan F. Nichols), Mary (Cristina Raines), and Tom Frank (Keith Carradine) arrive to the city as does a woman known as L.A. Joan (Shelley Duvall) who meets her uncle Mr. Green (Keenan Wynn). Jean is sent to the hospital as many await to give interviews or to meet her as Mr. Green later gets a visit from musician Kenny Fraiser (David Hayward) asking to rent a room. Jean's appearance is canceled as everyone in town including African-American country singer Tommy Brown (Timothy Brown) play gigs all over the city while Linnea gets some strange calls from Tom Frank who sleeps around with some of the women in the city. Sueleen auditions for a man named Trout at a club where she passes the audition despite her poor vocal quality. At a show at the Grand Old Opry, Connie White (Karen Black) fills in for Jean who steals the show much to the dismay of Barbara Jean who is still at the hospital. With a big concert at the Parthenon still set, Bill and Mary's relationship is deteriorating as Triplette asks them to play.

Barbara Jean finally plays a show but the performance was shambolic making Triplette and Barnett worried if she will be involved for the big show. At a club later that night, Tom Frank reveals his vulnerability in a song called I'm Easy as Linnea watches while Sueleen attends the gig she received where it's revealed to be not what she expected. On the day Hal Phillip Walker arrives for the show, all of the people big and small in the past four day come together for the big moment where reality and tragedy collide.

Given upon the film's attitude towards idol-worship and politics, the timing couldn't have been any better for a film like Nashville. Even in today's view where whatever cynicism that had been growing in the mid-70s has only served as a reminder to today's harsh times. While a lot of credit should go to Altman for his improvisation, chaotic style in collaboration with his actors. Much of the credit should also go to screenwriter Joan Tewkesbury for telling this story of ordinary people including celebrities and political officers coming together in a place as American as Nashville.

A lot of the film reveals the kind of cynicism and disillusionment that came out of the 1960s. The character of Lady Pearl reveals these feelings when reflecting on her love for the Kennedys and her anger towards her own state for letting Richard Nixon win that state because they didn't want to vote for someone who is Catholic. A lot of the film's political overtones from the voice of P.A. guy talking about the candidate Hal Phillip Walker, who is never seen throughout the entire film.

It's not just politics that drives the course of this story, but also celebrity in which, you have some major celebrity figures in characters like Haven Hamilton, Barbara Jean, Connie White, and Tommy Brown. There's a scene in which the African-American Brown, based on the country singer Charley Pride, is called a racial slur, not by a white man but from one of his own. There's also a scene in where Barbara Jean starts to ramble where it shows the folly and downside of celebrity where it becomes a disappointment to somebody in the audience.

Largely because they're forced to see this iconic figure be something they don't want to see, human. Jean is an interesting character who starts to fall apart from the pressures of celebrity as well as the competition against rival Connie White. There's even a couple of walk-on cameo appearances from Altman regulars Elliot Gould and Julie Christie playing themselves intrigued by this event going on in Nashville.

The city itself is a major character since it's the melting pot of not just where country music is but also the place where Hal Phillip Walker hopes to win. There's a moment where John Triplette uses Nashville hoping to get more votes though he has no care for them. Right before the film's climatic concert, there's a scene of Triplette and Barnett arguing about political motives that revels in how a country has become unsure of their own future concerning the government. After this argument comes this tragedy that would foreshadow an event in the years to come. Plus, in this tragedy comes this wave of disillusionment, loss, and confusion. It is there that someone takes this tragic moment and tries to create something to get people together. This is where the genius of Robert Altman occurs.

Altman isn't concerned about politics, lifestyles, or the cult of celebrity but people, real people even if they're celebrities or political lackeys. Altman's observant yet improvisational direction proves that there's a lot of life in any part of a place like Nashville. Even in a scene where Opal goes to a car dump to prepare narration for her documentary as she is trying to figure out what to say. Altman shows the folly of humanity and how events can lead to surrealism. The character of Linnea Reese is a woman who is a loving mother and wife who cares for her deaf children while her husband is more distracted by this political event rather than paying attention to what his son is trying to say. Altman reveals the folly of people trying to follow something as confusing in politics and celebrity. The moments in the film are often filled with overlapping dialogue to convey the atmosphere of what is going on and where these people are. What are they reacting to or what are they thinking. Altman isn't trying to reveal any kind of answers rather than letting the audience themselves involved in what they think is happening. The result is a truly superb, sprawling direction from the late, great Robert Altman.

Cinematographer Paul Lohmann does excellent work in capturing the wonders that is Nashville from the Parthenon, the Grand Old Opry, and the clubs that make this place unique with its colorful, documentary-like camera work. Set decorator Robert M. Anderson also plays to the film's authentic look of the city with its intimate look for the clubs to the colorful, spacious home of the Reese family. Costume designer Jules Melillo does great work in creating the lavish costumes of the country singers as well as the laid-back clothes of the folk trio Bill, Mary, & Tom to the look of regular people. Editors Dennis M. Hill and Sidney Levin do great work in putting together the stories and characters together with some wonderful editing to move one story to another and see how they all relate to another. Sound editor William A. Sawyer along with Chris McLaughlin and James E. Webb also do amazing work with the sound to convey the sense of tension and atmosphere in the scenes that's happening, notably the way the music is captured.

With many of the actors including Altman contributing music to the film, the soundtrack is wonderfully memorable from the songs Ronee Blakley sings that is pure traditional country to the other songs by Karen Black, Henry Gibson, and Timothy Brown that shows the wonders of country in the 1970s. The musical performances are memorable with Gwen Welles doing a hilariously bad rendition of the songs she sings. Lily Tomlin also does some wonderful music while the real standout is Keith Carradine and his Oscar-winning song I'm Easy. The performance of It Don't Worry Me by Barbara Harris truly memorable while other songs features contributions from Richard Baskin and Gary Busey. It's one of the finest soundtracks ever assembled.

Then, we have the film's large, ensemble cast and it's truly filled with some of the most memorable characters assembled on film. From notable small performances from Gailard Sartain as a diner patron, screenwriter Joan Tewkesbury as the voice of Tom's lover and Kenny's mother, Howard K. Smith as a TV reporter, Merle Kilgore as Trout, composer Richard Baskin as a piano player named Frog, James Dan Calvert and Donna Denton as the Reese's deaf children, and cameos from Altman regulars Elliott Gould and Julie Christie as themselves. Notable small performances from Bert Remsen as Star, Jeff Goldblum as the tricycle man, and David Arkin as Norman are exceptionally memorable for their individual moments. Allan F. Nichols and Cristina Raines are also excellent as the bickering couple of Bill and Mary who are stuck in a tempting love triangle with band mate Tom. Gwen Welles is great as the naive dreamer Sueleen whose belief that she can sing is undermined by the fact that she can't until this moment of humiliation. Robert DoQui is also great as Gwen's friend who reminds her of her lack of talent despite his cynical attitude.

Karen Black is excellent as the bitchy, vain Connie White who has a nicer personality onstage but offstage, she's a mean, egotistical singer with little respect for Barbara Jean. Timothy Brown is also excellent in his brief role as the Charley Pride-inspired Tommy Brown while Scott Glenn is also good in his small role as a soldier who had a nice story about Barbara Jean. Barbara Harris gives a comical, memorable performance as a struggling singer named Albuquerque who is hoping for her own break where she has an amazing scene in the film's finale. David Hayward is also great as the mysterious Kenny who seems lost in the world he is surrounded by as a musician trying to find a place to fit in. Dave Peel is wonderful as the sweet, intelligent Bud Hamilton who enjoys the role of helping his father's business matters while aspires for something more. Allen Garfield is great as Barbara Jean's frustrated, caring manager who is trying to take care of his wife but couldn't deal with the way she's being used.

Keenan Wynn is wonderful as Mr. Green, L.A. Joan's uncle who is dealing with his wife's illness and his niece's single-minded personality. Shelly Duvall is wonderful as the loopy, icon-obsessed L.A. Joan who is more concerned about public events and icons rather than her own aunt. Barbara Baxley gives a wonderfully touching performance as the sweet yet cynical Lady Pearl whose loss of hope for politics reveal a dark anger to the way she reacts towards her own background. Henry Gibson is great as country legend Haven Hamilton who is trying to organize things while dealing with his own celebrity and his city's reputation. Ned Beatty is excellent as the neglectful Delbert Reese while Altman regular Michael Murphy is also great as the political lackey John Triplette, who makes an insulting comment on Nashville. Ronee Blakley gives a wonderful performance as the fragile yet enchanting Barbara Jean whose presence as a singer is wonderful to watch only to see her fall apart with her rambling.

Geraldine Chaplin is wonderful as the eccentric, loopy Opal who tries to create a story but isn't sure what to do while being selfish for her own gain. Altman regular Keith Carradine is great as the burned out, womanizing Tom Frank who has a great moment with his performance of I'm Easy. In her feature-film debut and first of many films for Altman, Lily Tomlin gives a phenomenal performance as Linnea Reese with her caring, conflicted woman who loves her children but tries to deal with her husband's neglect and her own role as a wife.

Nashville is a magnificent film from Robert Altman that features an outstanding ensemble cast and a captivating screenplay from Joan Tewkesbury. The film is definitely one of the great examples of what a multi-layered ensemble film should be as it doesn't lose sight on the big themes while allowing small moments to play out. It's also a film that is also not afraid to tackle big subjects that are more relevant than ever since its original release. In the end, Nashville is a tremendous film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Rango

Directed by Gore Verbinski and screenplay by John Logan from a story by Verbinski, Logan, and James Ward Byrkit, Rango is about a pet chameleon who finds himself in a desert town where he becomes an unlikely sheriff to fight off villains. The animated film is a modern-day approach to the western as it features various film references while making it accessible for a wider audience. With a voice cast led by Johnny Depp, Isla Fisher, Abigail Breslin, Ned Beatty, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, and Timothy Olyphant. Rango is a stylish and very entertaining animated-western from Gore Verbinski.

An unnamed pet chameleon (Johnny Depp) gets stranded somewhere in the middle of the desert where he meets a wounded armadillo named Roadkill (Alfred Molina) who is trying to find the mysterious Spirit of the West. With the chameleon trying to survive the hot desert and its surroundings, he meets up with a desert iguana named Bean (Isla Fisher) who is a rancher’s daughter trying to save her land. She takes the chameleon to a town called Dirt as the locals are trying to deal with a water shortage where the chameleon ends up calling himself Rango where he deals with a small posse led by Bad Bill (Ray Winstone) and later a hawk whom he accidentally kills. Rango’s antics impress the town’s mayor (Ned Beatty) who appoints him as sheriff as Rango’s claims of his adventures has him trying to figure out the water shortage.

Rango gathers a posse that includes Bean to figure out what’s going on as the water jug bank had been stolen by a group of moles led by Balthazar (Harry Dean Stanton). During the journey, Rango and the posse makes some discovery as they retrieve the jug only to realize something is up where Balthazar isn’t the one they’re after. Rango suspects that the mayor is involved since he states that he who controls the water controls everything where Rango is forced to deal with a vicious gunslinger named Rattlesnake Jake (Bill Nighy). After revealing what he really is, Rango reluctantly leaves town until he meets the mystical Spirit of the West (Timothy Olyphant) who provides him with the answers Rango needs.

The film is essentially a modern-day genre-bending film where a pet chameleon, with a wild sense of imagination, suddenly finds himself in a Western town where he faces a world of corruption where a bunch of locals are finding hope in this horrible drought. That’s pretty much what the film is about as it’s filled with numerous film references including the classic westerns of Sergio Leone and Roman Polanski’s Chinatown in relation to the drought storyline. Screenwriter John Logan does manage to infuse these storylines and film references to create a very compelling yet fun western that is filled with lots of silly humor and character development. Notably for the titular character who is just a lizard that likes to act as indicated in the opening scene while he realizes that he might have to go full-on with this role.

While the script is sort of predictable in its set-up and creating characters that are essentially archetypes of various characters in the western genre. They all manage to still be very interesting and engaging while Logan also adds surreal elements that play up with the genre. Overall, Logan creates a very crafty and thrilling script that doesn’t get boring and create a western that does a lot for what is expected in its genre.

Gore Verbinski’s direction is definitely full of style as he creates lots of wide compositions, character close-ups and scenery where some of it is really a tribute to the visual style of Sergio Leone. The animation from supervisor Hal T. Hickel is truly whimsical in the way Verbinski wants to create this world where it’s a clash between the old world and a new one that the mayor wants. With additional help from renowned cinematographer Roger Deakins for the visuals, Verbinski is able to create a look that is true to the western but also dream-like for some of its nighttime scenes. Overall, Verbinski creates a truly engaging and visually-astonishing film that brings more to what an animated-western does and make it a whole lot of fun.

Editor Craig Wood does superb work with the editing to play up with some of the film‘s humor and suspense along with some amazing rhythmic cuts for a huge chase scene and stylized ones for the showdowns. Production designer Mark “Crash” McCreery, along with art directors John Bell and Aaron McBride, does excellent work in the set pieces created for the town of Dirt where everything looks decayed. Visual effects supervisor John Knoll does fantastic work with the visual effects to play up some of the surreal imagery that Rango encounters in his journey. Sound designer Peter Miller and sound editor Addison Teague do amazing work with the sound to help set a mood for some of the film‘s suspense and in the showdowns that occur.

The film’s score by Hans Zimmer is marvelous for its mixture of bombast and orchestral flourishes that is also very operatic. Notably as the score is very similar to the music of Ennio Morricone with its huge arrangements, twangy guitars, and blaring trumpets to help set the mood. Along with some contributions from Johann Strauss and Richard Wagner to play with the score and contributions from Los Lobos for some of the original songs and the industrial band Lard in the score. The music that Zimmer creates is definitely one of his best as it’s a major highlight of the film.

The voice casting by Denise Chaiman is brilliant for the cast that is assembled as the actors that contribute to smaller characters in the film include Beth Grant, Vincent Kartheiser, Alana Ulbach, Chris Parsons, Blake Clark, Patrika Darbo, director Gore Verbinski, and Stephen Root who voices some of the characters including the bank manager Merrimack. Other notable small voice roles include Timothy Olyphant as the mysterious Spirit of the West, Alfred Molina as the Don Quixote armadillo Roadkill, Abigil Breslin as the witty cactus mouse Priscilla, Ray Winstone as the gila monster Bad Bill, and Harry Dean Stanton as the old-timer mole Balthazar. Bill Nighy is excellent as the cool, Lee Van Cleef-inspired villain Rattlesnake Jake while Ned Beatty is funny in doing a great John Huston impression as the town’s corrupt mayor. Isla Fisher is wonderful as the cunning desert Iguana Beans who tries to fight for her land while helping Rango out. Finally, there’s Johnny Depp in a fantastic performance as the titular character as he brings a lot of humor and swagger to his character making it one of the most enjoyable animated characters on film.

Rango is an extraordinarily rich and whimsical animated film from Gore Verbinski. Thanks to a very talented voice cast led by Johnny Depp, the film is truly an animated film that appeals more than just a young audience. Notably as it features numerous film references that film buffs can enjoy and elements of the western that western aficionados can love. In the end, Rango is a superb animated-western from Gore Verbinski.

Gore Verbinski Films: (MouseHunt) - (The Mexican) - (The Ring (2002 film)) - (Pirates of the Caribbean: Curse of the Black Pearl) - (The Weather Man) - (Pirates of the Caribbean: Dead Man’s Chest) - (Pirates of the Caribbean: At World’s End) - (Lone Ranger (2013 film))

© thevoid99 2012

The Killer Inside Me

Based on the novel by Jim Thompson, The Killer Inside Me is the story of a sociopath deputy sheriff whose good-natured persona is a cover for a sinister one as he has a very troubled affair with a hooker that would lead to all sorts of trouble. Directed by Michael Winterbottom and screenplay by John Curran, the film is an exploration into the mind of a man carrying a very dark, troubled mind. Starring Casey Affleck, Jessica Alba, Kate Hudson, Ned Beatty, Tom Bower, Simon Baker, Elias Koteas, and Bill Pullman. The Killer Inside Me for all of its entrancing approach to suspense falls flat due to some very convoluted ideas.

After being asked by superior in Sheriff Bob Maples (Tom Bower) and a construction tycoon named Chester Conway (Ned Beatty), deputy sheriff Lou Ford (Casey Affleck) deals with a prostitute named Joyce Lakeland (Jessica Alba) who is having an affair with Conway’s son Elmer (Jay R. Ferguson). Yet, Lou would have a sadomasochistic affair with Joyce while having a relationship with local schoolteacher Amy Stanton (Kate Hudson). With Conway wanting Joyce out of town, she and Lou devise a plan to extort Conway as Conway and Maples agree to the payoff. Yet, Lou would do something that would change everything that would have him risk his reputation as a law-abiding officer.

While District Attorney Howard Hendricks and a local journalist named Joe Rothman (Elias Koteas) suspect Lou. There isn’t a lot of evidence about Lou though Joe knows a lot about Lou’s troubled childhood where he suggests to Lou that he should leave town. After a suspect in a young local teen named Johnnie Papas (Liam Aiken) was arrested, Lou would help the kid although things start to get more grim. When Amy wants to marry him, Lou tries to aim for a normal life until a local bum (Brent Briscoe) reveal what he knows as Lou’s life starts to unravel. Even as more suspicion would arise leading to complications where Lou would face some dark truths.

The film is about a small-town deputy sheriff whose dark mind that involves an affair with a sadomasochistic-loving prostitute leads to trouble where murder, blackmail, and all sorts of mysteries would be involved. A story like this set in the 1950s and told from the perspective of its troubled protagonist would’ve a very interesting story told. However, drawn-out story lines, underwritten characters, and lots of flashback scenes about Lou’s life end up creating a story that loses its suspense as well as its impact. Screenwriter John Curran does a good job with the film’s narration and see how Lou would execute things but some of the narration goes a little overboard at times. Curran succeeds in exploring Lou’s mind and motivation but he doesn’t do enough to make the suspense be more surprising.

Director Michael Winterbottom does a superb job in re-creating the look of 1950s Texas, though it’s shot in New Mexico, while utilizing some very entrancing compositions of the locations as well creating wonderful shots for some of the film’s dramatic moments. The problem is that he is unable to do more with the film’s script in setting up the suspense as its score would often for-tell that something is about to happen. It’s an idea that is quite clichéd with suspense as one would expect a director as unconventional with Winterbottom to do something different. Instead, Winterbottom chooses to play things straight while utilizing offbeat music to play up some of the darker moments. Then there’s Winterbottom’s approach to the film’s violence where it is one of the most unsettling moments of the film. It’s definitely one of the more unforgettable moments of the film but it is certainly not for everyone. Still, there’s a reason for its graphic depiction to dwell into Lou Ford’s sick mind. Despite that approach as well as other moments in the film, Winterbottom unfortunately doesn’t do more to make the film more visceral and entrancing as it could’ve been.

Cinematographer Marcel Zyskind does an excellent job with the film‘s very colorful cinematography from the sunny yet lush look of many of the film‘s daytime interior and exterior settings to more entrancing looks for some of its nighttime scenes. Editor Mags Arnold does a nice job with the editing in utilizing rhythmic cuts to play up Ford‘s troubled state of mind though there‘s parts where the pacing lags a bit due to its conventional approach to suspense. Production designers Rob Simons and Mark Tildesley, along with set decorator Jeanne Scott, do great work with the look of Ford‘s lavish home as well as the look of the cars and appliances of that period.

Costume designer Lynette Meyer does a wonderful job with the costumes in the design of 1950s clothing that the women wear from the more conservative dresses of Amy to the more stylish look of Joyce. The visual effects by Mark Knapton and Gus Martinez do some work in the film‘s lone visual effects scene towards the end of the film where the results aren‘t very good. Sound editor Joakim Sundstrom does terrific work with the sound to create tension in some of the film’s chilling moments as well as quieter ones such as Ford’s conversation with Johnnie Papas.

The film’s score by Melissa Parmenter and Joel Cadbury is pretty good for its low-key orchestral score though at times, it is used to help set up the suspense which only makes things seem more predictable. Music supervisor Chadwick Brown provides a nice soundtrack of country, blues, and ragtime music of the 1950s though some of the way is used was very misguided.

The casting by J.C. Cantu and Mary Vernieu is terrific for the ensemble that is created as it includes notable small roles from Liam Aiken as the young accused teen Johnnie Papas, Jay R. Ferguson as Chester’s playful son Elmer, Brent Briscoe as the mysterious bum who tries to blackmail Lou, Elias Koteas as a sympathetic journalist who tries to help Lou get out of town, and Bill Pullman as an attorney who shows up late in the film despite a very bad and over-the-top performance when he first appears in the film. Tom Bower is very good as Lou’s chief Bob Maples whose love for Lou starts to fall apart once Lou becomes a suspect as he tries to cope with it. Simon Baker is excellent as the cunning D.A. Howard Hendricks who tries to push Tom’s button’s any way he can. Ned Beatty is superb as the smarmy Chester Conway who tries to get Lou to buy out Joyce.

Jessica Alba gives a pretty decent performance as the submissive hooker Joyce who falls for Lou where Alba has a nice screen presence although she gives a very awkward performance in the film’s heavier moments. Kate Hudson is horrible as Lou’s girlfriend Amy where it’s not just that the character is underwritten but Hudson’s performance is at times over-the-top or underperformed where she seems to be sleepwalking through the role. Finally, there’s Casey Affleck in a tremendous performance as the chilling Lou Ford where Affleck brings a wonderful charm to his character that is balanced by a very dark demeanor. It’s definitely a very entrancing performance by Affleck who definitely has the right touches to play this character.

For all of its ambition and emphasis to explore the dark mind of a troubled man, The Killer Inside Me is a truly lackluster film from Michael Winterbottom. Despite Casey Affleck’s performance and some fantastic moments in the direction, the film falls short in terms of building up its suspense as well as trying to draw-up too many things about the Lou Ford character. For fans of Michael Winterbottom, the film will serve as a letdown considering the fact that he chooses to create something more straightforward while not doing enough to make the suspense genre more intriguing. In the end, The Killer Inside Me is a very disappointing film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - Wonderland (1999 film) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine (2009 film) - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2012

Toy Story 3/Day & Night (short)

Originally Written and Posted at Epinions.com on 6/28/10 w/ Additional Edits.

When Pixar studios unveiled Toy Story in the fall of 1995, the film changed the face of cinema altogether by being the very first feature-length, computer-animated film.  Toy Story was a revolutionary film as it launched Pixar Animation Studios into the stratosphere with help from distributors in Walt Disney Pictures. Since that landmark film, the studio would release nine more feature films to massive acclaim and box office including a sequel to Toy Story in 1999. Since the release of the widely-acclaimed Toy Story 2, plans for a third film had been in the works going back and forth as Pixar continued to create a string of massive hits. In 2010, Pixar finally unveils the third and final film of the Toy Story trilogy simply titled Toy Story 3.

Toy Story 3 tells the story of cowboy toy Woody, space commander Buzz Lightyear, and other toys dealing with the idea of Andy leaving for college. Realizing that their future is uncertain and fellow toys are no longer around, the toys suddenly find a new home at a daycare only to realize that it's a prison as it's up to Buzz and Woody with their comrades to return to their original owner. Directed by longtime Pixar cohort Lee Unkrich and screenplay by Little Miss Sunshine screenwriter Michael Arndt. The film deals with the idea of growing into adulthood along with the importance of toys to a child. The result is a fitting yet heartfelt end to one of the greatest animated stories ever told.

Day & Night

Directed by Teddy Newton, the short Day & Night is about two personalities called Day & Night meet up as they each show a different background of day and night, respectively. At first, the two don't like each other only to find positive aspects of their respective qualities. The short is truly one of Pixar's best as it combines 2D, hand-drawn animation where inside the 2D figures are 3D, computer-animated backgrounds. With music by longtime Pixar collaborator Michael Giacchino, it is one of the most ingenious and entertaining shorts as it proves that Pixar is still the best when it comes to breaking ground in animation.

Toy Story 3 (Note: Seen in 2D, not in 3D)

After being the toys for Andy (John Morris) for many years, the toys are facing the moment they've been dreading the most. With Andy set to go to college, the toys have no idea about what is next. While Woody (Tom Hanks) is trying to remain optimistic about their future, even in the possibility that they will all go to the attic. The rest including Buzz (Tim Allen) and Jessie (Joan Cusack) are unsure. When Andy decided to put the toys in the attic while keeping Woody for himself to bring to college, a misunderstanding by Andy's mom (Laurie Metcalf) sends the toy to the trash where Woody tries to save the toys.  Fortunately, the rest of the toys including a Barbie doll (Jodie Benson), that belonged to Andy's little sister Molly, managed to escape as they go into a box after overhearing that Andy's mom suggested that Andy should donate the toys to the local daycare.

Woody doesn't believe that going to the Sunnyside daycare center is a good idea as he reluctantly joins them to Sunnyside where they're greeted by lots of toys including the a big bear named Lotso (Ned Beatty) and Ken (Michael Keaton) who is smitten by Barbie.  While Buzz, Jessie, Bulls-Eye, Mr. Potato Head (Don Rickles), Mrs. Potato Head (Estelle Harris), Rex (Wallace Shawn), Hamm (John Ratzenberger), Slinky (Blake Clark), Barbie, and the Squeeze Toy Aliens are amazed by Sunnyside.  Woody remains unsure as he decides to leave with the rest of the gang staying at Sunnyside. With Woody escaping, he almost makes it only to be found by a young girl named Bonnie (Emily Hahn). Bonnie takes him home where she plays with him along with her other toys including Trixie the Triceratops (Kristen Schaal), Buttercup the Unicorn (Jeff Garlin), a doll named Dolly (Bonnie Hunt), and a dramatic hedgehog in lederhosen named Mr. Pricklepants (Timothy Dalton).

Back at Sunnyside, the toys realize the place is a nightmare as they were abused and mistreated by toddlers. Realizing that Sunnyside is a prison, Buzz and the gang tries to figure out what's going on where Mrs. Potato Head (who now wears one eye) finds her other eye in Andy's room. Seeing Andy upset about the loss of the toys as he intended to put them in the attic, they realized that Woody was right all along.  Buzz attempts a breakout realizing that Ken along with a few other toys including Big Baby and the big purple octopus known as Stretch (Whoopi Goldberg) are part of a dark gang led by Lotso. Lotso and his gang including a glowing bookworm (Richard Kind) capture Buzz as Jessie and the gang are now trapped in cages with Buzz under Lotso's control.

After learning about the story of Lotso from an old toy named Chuckles the Clown (Bud Luckey), Woody decides to return to Sunnyside to bust his friends out only to realize that it's going to be more complicated as he learns from the Chatter Telephone (Teddy Newton) that there's no way out at night.  With Woody, Jessie, and the gang planning the breakout while trying to get Buzz out of Lotso's control, the team make an escape as they're confronted by Lotso and his gang as leads to a climatic battle to return home.

Going back to the original Toy Story in 1995, the film told a story of toys being played while being something more than just a toy to a child. Four years later with the second film, the sense of fear of not being played was being hinted as Woody, Buzz, and their friends try not to deal with it until the moment happens. In Toy Story 3, that fear and sense of dread finally arrives as the third film is the darkest of the trilogy.  Yet, it's balanced by a sense of hope as well as sadness concerning what happens in the end for the toys in which the story of Woody, Buzz, Jessie, and the rest of the gang is given a fitting close.

In Toy Story 3, the stakes are much higher than in any of the previous films as the toys not only face the idea of not being played with but also the idea of not being used at all. When they go to Sunnyside, it's a chance for the toys to be played but Woody doesn't like the idea as his loyalty towards Andy forces him to leave the rest of the gang. Woody's devotion to Andy definitely serves as a character flaw of sorts for him while he finds a new world in the arms of a young girl named Bonnie and her toys.  Realizing that there's a future for his friends in this young girl, Woody struggles with his devotion to Andy as well as his friends who are like family to him.

In Sunnyside, the loss of Woody and the danger of Sunnyside has the whole gang realize not only that they need him.  They also learn the truth about Andy's devotion to them even though he might never play with them at all. The first attempt to break out in which the truth about Sunnyside has Buzz be trapped and suddenly reprogrammed by Lotso and his gang. With Jessie and the gang now leaderless and trapped, it's Woody return that brings hope as they all hope to get Buzz out of Lotso's control and escape Sunnyside. The escape of Sunnyside is where the third act begins as it has a great mixture of humor, suspense, and drama like any great prison breakout film has.

Yet, the toys face what is probably the first true villain in any Pixar film in the form of a Strawberry-colored stuffed bear in Lotso. While Lotso starts off as this warm, welcoming kind of a bear. Underneath that sweetness is a dark, angry, manipulative toy who felt abandoned all because of a mistake. This is a toy that doesn't truly believe in love or the idea that toys hold far more value for a child. It is in that conflict that makes the third film truly a complex tale as screenwriter Michael Arndt does a wonderful job in setting up Lotso's back story and how he finds himself challenged by all of these other toys.

While the film's darkness is something new that Pixar is exploring in some respects, notably a climatic scene involving all of the toys that creates what is truly a symbolic, emotional moment. The film is balanced by its humor that is key to the franchise. While a few jokes do come back from previous films, new ones involved Buzz being reprogrammed the second time around as he ends up speaking in Spanish (through the voice of Javier Fernandez-Pena). Another funny moment involves the Ken doll who is convinced he's a boy's toy as he's often ridiculed by members of Lotso's gang while he finds love in Barbie.

If the script maintains the humor, drama, and suspense in all of its complexities of the entire trilogy. A lot of the credit should go for Lee Unkrich in presenting all of those elements in more for this third and final film. Having been involved with the trilogy from the beginning as an editor in the first film and as a co-director and editor in the second. Unkrich makes sure that the film has a sense of familiarity for the audience to feel nostalgic but also explore new worlds. At the same time, he creates new worlds for the Sunnyside sequence while opening the film with an intense, spectacular action scene where Woody, Buzz, Jessie, and Rex battle their fellow toys in an amazing fantasy sequence. When its revealed that it's a young Andy playing with his toys, it establishes the good old days with the other toys that appeared in the past.

When it comes to the main story, Unkrich maintains the film's sense of dread, anxiety, and suspense while balancing it with humor and hope.  For the back story on Lotso, the look of the film starts off light and then becomes very dark along with a lot of the second act. Scenes in the third act including a climatic scene involving a dump and an incinerator becomes one of the most haunting and emotionally intense moments. For the ending, Unkrich creates a moment that audiences knew would be emotional but not overly manipulative.  In that presentation, he creates something that is subtle and heart wrenching as the overall approach for the film becomes fitting.  Even as Unkrich finds a way to light things up for the credits scenes in the film.

The film's technical work in terms of its cinematography and look is truly pristine for many of the film's daytime scenes whether it's in Andy's room or Sunnyside. The nighttime scenes are filled with shades and dark lights to convey the dark mood for some of the scenes including some intense suspenseful moments. A lot of the animation supervised by animation director Michael Stocker is wonderful for the look of the characters and the environments they're surrounded by. Editor Ken Schretzmann does amazing work with the film's editing in terms of creating suspense and spontaneous, comedic moments. The rhythm of the humor along with some well-paced dramatic and subtle moments as the editing overall is superb.

The sound design of Tom Myers along with sound editor Michael Silvers is excellent in terms of the environment the toys are in. Notably Sunnyside for its surroundings and everything else outside of Sunnyside. Particularly the intense and climatic dumpster scene that is wall-to-wall sound design for the machines and objects around them as the sound work is exquisite. The music by Randy Newman, who had previously done work in the previous films, is filled with score pieces to convey the emotions of the film. From orchestral flourishes for the suspenseful and dramatic scenes to some comical scenes that is presented in a flamenco style.  The new original song by Newman in We Belong Together is an upbeat song that recalls the good old days of Andy and the toys while there's an amazing, flamenco-style cover of You've Got A Friend in Me by the Gypsy Kings that get things going.

The voice cast that is assembled is truly one of the film's highlights. Small voice appearances include an archived voice of Hannah Unkrich as Molly when she was a baby plus Erik Von Detten returning as Sid in a cameo role and as the young Andy, Charlie Bright. From the Pixar troupe, there's voice appearances from Bonnie Hunt as Dolly and Jeff Garlin as Buttercup the Unicorn as they are two of Bonnie's toys. Other small voice roles include Whoopi Goldberg as a sleazy octopus named Stretch, Richard Kind as a glowing bookworm, Brianna Maiwand as a peas-in-a-pod toy named Peanelope, Teddy Newton as Chatter Telephone, Bud Lackey as Chuckles the Clown, Jack Angel as a henchmen of Lotso named Chunk, and Kristen Schaal as Trixie the Triceratop.  Supporting standouts include Michael Keaton as clothes-loving Ken who is convinced that he's a boy's toy while falling for Barbie. Yet, the newest voice cast to the series that really makes an impression is Timothy Dalton as the dramatic, thespian-like Mr. Pricklepants.

Returning to the voice as Andy is John Morris who provides all of the anxieties of a teenager trying to move on without his beloved toys while Laurie Metcalf also returns as Andy's mom. Beatrice Miller provides the voice of Andy's young sister Molly as they all do a splendid job in voicing the characters. A new character in a shy little girl named Bonnie is wonderfully voiced by Emily Hahn who provides a warmth and hope Woody didn't expect from another child. Ned Beatty provides a wonderful voice for the character of Lotso where he starts off warm and cuddly only to be a man filled with anger and hate as Beatty hits all the right notes for the voice. Longtime Disney voice actress Jodi Benson brings a lot of spark and wit in the role of Barbie as she has great voice chemistry with Michael Keaton.

For the main roles that have been to the franchise for all three films, the characters are all given great moments to do as provided by the people who voice them. Taking over for the late Jim Varney as Slinky the Dog is comedian Blake Clark who does a fantastic job in providing the voice while making it a tribute to the late Varney. Jeff Pidgeon is excellent as the multi-tracked voices of the Squeeze Toy Aliens while R. Lee Ermey makes a brief appearance as the Sarge of the green soldiers. Don Rickles and Estelle Harris are funny in the respective roles of Mr. & Mrs. Potatohead as they're given some great lines and scenes while John Ratzenberger plays it cool as Hamm the Piggy Bank. Wallace Shawn is fun to hear as Rex while great non-voice roles come from such characters like the horse Bulls-Eye, a scary monkey, and from Hayao Miyazaki's Tonari no Totoro is Totoro as one of Bonnie's toys.

Joan Cusack is superb as the voice of Jessie with her determination and wit to get things going when Woody is out and Buzz is under Lotso's control as Jessie is one of the few female Pixar characters that girls can root for. Tim Allen is in brilliant form as Buzz as he tries to maintain some hope for the other toys at Sunnyside while later being reset into Spanish mode as the voice of Javier Fernandez-Pena adds a lot of great humor. Tom Hanks is also in excellent form as Woody who tries to remain optimistic while providing the sense of internal conflict his character is dealing with.

While it may not be the best of the three films, Toy Story 3 is still a brilliant, complex, and entertaining film that gives the story of Woody, Buzz, Jessie, and the rest of the gang a fitting finale. Fans of the franchise will definitely be happy to see the characters return while be given a sequel that lives up to its predecessor. With the previous films, Toy Story 3 creates what is truly one of the best trilogies ever told where there's no weak story or anything to make it feel like it fell short in comparison to the other films. With a great voice cast, a memorable score, a fantastic script, and Lee Unkrich's sprawling direction. Toy Story 3 proves once again that Pixar is one of the best studios to make films that reaches all kinds of people. Even as the film is the first great film of the year and the new decade. In the end, Toy Story 3 is a marvelous film that captures the joy of the first two films while giving these beloved characters a bow worthy of those films.

Pixar Films:  Toy Story - A Bug's Life - Toy Story 2 - (Monsters, Inc.) - (Finding Nemo) - The Incredibles - Cars - Ratatouille - WALL-E - Up - Cars 2 - Brave - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) - (Cars 3) - Coco - Incredibles 2 - Toy Story 4 - (Onward) - Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)

© thevoid99 2011