Pawn Sacrifice

Directed by Edward Zwick and screenplay by Steven Knight from a story by Knight, Stephen J. Revele, and Christopher Wilkinson, Pawn Sacrifice is the story about the legendary 1972 chess match between the American chess champion Bobby Fischer against the Soviet Union’s Boris Spassky at Reykjavik, Iceland. The film is a dramatic account of the match as well as a look into the early life of Bobby Fischer who was considered a prodigy as he’s played by Tobey Maguire with Liev Schreiber as Spassky. Also starring Lily Rabe, Michael Stuhlbarg, Robin Weigert, and Peter Sarsgaard. Pawn Sacrifice is a compelling and haunting film from Edward Zwick.

The film follows the life of American chess champion Bobby Fischer as he is to face the Soviet Union’s grandmaster Boris Spassky in a game to determine who the world’s best in the game of chess is. Steven Knight’s screenplay doesn’t just follow Fischer’s early life as a young boy obsessed with the game to the point that he would be the youngest grandmaster in American chess but also considered the most gifted player of his generation. Yet, Fischer’s obsession would also lead to his own mental deterioration as much of the film’s narrative takes place during the 1960s to the climatic 1972 world championship match against Spassky in Reykjavik, Iceland. During the course of the film, Fischer would call in former chess champion in Father William Lombardy (Peter Sarsgaard) to accompany him as his second and an attorney in Paul Marshall (Michael Stuhlbarg) to handle his business dealings as well as Fischer’s demands.

While Fischer would play several of the Soviet’s top chess grandmasters, he wants to face Spassky as his attempt to confront him during the Soviets’ visit to Santa Monica falters due to his paranoia as would another attempt at match in Europe. Upon choosing Iceland, Fischer almost never shows up because of the press coverage and he becomes more unhinged during the first game due to the sounds of the camera and the sound of a crowd watching the game. The script showcases that sense of paranoia where Fischer’s older sister Joan (Lily Rabe) tells Marshall to have her brother be sent to a hospital for evaluation where he’s already gaining delusions of grandeur and claims that the Soviets and the Jews are after him which baffles Marshall who knows that Fischer is Jewish. The script does have some faults as it relates to its sense of time with the exception of the second half as it relates to the match in Iceland though there are some historical errors in which Marshall claims to represent Jimi Hendrix only two years before Hendrix had even released an album.

Edward Zwick’s direction does have bits of style in terms of the way he would present television coverage of the Fischer-Spassky match yet would maintain something very straightforward for the rest of the film. Shot mainly in Montreal for the scenes set in Brooklyn, New York and other parts of the city with the scenes of the Fischer-Spassky match shot on actual location in Reykjavik, Iceland and scenes shot in Los Angeles. Zwick would capture a period in time where so much is happening yet Fischer lives in a world that is simpler away from Vietnam, Flower Power, and popular music as he is also more concerned with playing chess in the park or at chess clubs with other chess players. Much of the direction has Zwick favor more intimate shots in the close-ups and medium shots as it play into Fischer’s growing sense of paranoia while there are some wide shots of some of the locations.

The usage of TV footage of various interviews that Fischer gave during the height of his fame is sort of re-created to showcase the sense of enjoyment he has but also his growing disconnect with reality. Even in the climatic series of chess matches against Spassky where it’s got an intimacy in the direction and compositions as it play into Fischer’s own sense of paranoia and the need to get into Spassky’s head. Overall, Zwick crafts a compelling and fascinating film about the real-life chess match between Bobby Fischer and Boris Spassky and the events that lead to this event.

Cinematographer Bradford Young does brilliant work with the cinematography in the look of the exteriors with its usage of low-key blue and green for the scenes in day and night as well as the usage of low-key colors for the interior scenes. Editor Steven Rosenblum does excellent work with the editing as it has some stylish montages into Fischer’s ascent into the world of chess as well as some rhythmic cuts to play into the methodical approach of the chess players in their movements on the board. Production designer Isabelle Guay, with head set decorator Paul Hotte plus art directors Jean-Pierre Paquet and Robert Parle, does amazing work with the sets from the motel in Santa Monica where Fischer and his small entourage live in to the Brooklyn apartment that is his home as well as the house he would live in Reykjavik. Costume designer Renee April does fantastic work with the costumes as it is mainly straightforward in contrast to the period that the characters are in as they mainly wear suits with the exception of Father Lombardy and some of the female characters in the film.

Visual effects supervisor Alan Munro does terrific work with the look of the old TV footage and how the actors are integrated into the old footage as well as some set-dressing for some of the locations. Sound designer Lon Bender does superb work with the sound as it play into the sense of paranoia in Fischer over the things he claims to hear as well as the atmosphere of some of the places that he plays at. The film’s music by James Newton Howard is wonderful as it is this low-key orchestral score that play into the drama as well as some of the suspense as it relates to Fischer’s paranoia while music supervisor Steven Rosenblum provide a soundtrack that play into the time period with contributions from the Spencer Davis Group, Creedence Clearwater Revival, Jefferson Airplane, Carl Perkins, the Ventures, Al Green, and the Doobie Brothers.

The casting by Andrea Kenyon, Victoria Thomas, and Randi Wells is incredible as it feature some notable small roles and appearances from Evelyne Brochu as a young woman that Fischer meets and befriends at Santa Monica, Conrad Pla as Fischer’s chess teacher Carmine Nigro, Sophie Nelisse as the young Joan Fischer, Aiden Lovekamp as the young Fischer, Seamus Davey-Fitzpatrick as the teenage Fischer, Brett Watson as the chief arbiter Lothar Schmid for the Fischer-Spassky match, and Robin Weigart as Fischer’s mother Regina who is estranged from her son due to her Socialist views as she wants to be there for him but finds herself continuously pushed away. Lily Rabe is fantastic as Fischer’s sister Joan as a woman who is concerned about her brother’s mental health as she is aware of the things he says where she knows he’s losing it. Michael Stuhlbarg is excellent as Paul Marshall as an attorney who would become Fischer’s agent in ensuring that Fischer gets paid and be given certain demands as he also deals with Fischer’s erratic behavior.

Peter Sarsgaard is brilliant as Father William Lombardy as a former chess champion turned priest who becomes Fischer’s second and closest ally who also watches what is happening to Fischer as he is aware of the mad obsession Fischer has for the game. Liev Schreiber is amazing as Boris Spassky as the Soviet grandmaster who is the epitome of cool as someone that is good at chess while knowing what Fischer is trying to do where he also succumbs to his own bit of paranoia. Finally, there’s Tobey Maguire in a phenomenal performance as Bobby Fischer as the famed chess prodigy who was considered the greatest chess player in the United States as he wants to defeat Spassky in the hope he can be the best while succumbing to his own paranoia and delusions that would lead to his mental deterioration where Maguire displays that anguish and despair in that man.

Pawn Sacrifice is a marvelous film from Edward Zwick that features a great performance from Tobey Maguire. Along with its supporting cast and a look into the events that lead to the legendary chess match between Bobby Fischer and Boris Spassky. It’s a film that showcases a man and his obsession to be the best that would eventually cost him his mind. In the end, Pawn Sacrifice is a remarkable film from Edward Zwick.

Edward Zwick Films: (About Last Night) – (Glory (1989 film)) – (Leaving Normal) – (Legends of the Fall) – (Courage Under Fire) – (The Siege) – (The Last Samurai) – (Blood Diamond) – (Defiance (2008 film)) – (Love & Other Drugs) – (Jack Reacher: Never Go Back)

© thevoid99 2017

Jackie (2016 film)

Directed by Pablo Larrain and written by Noah Oppenheim, Jackie is the story about Jacqueline Kennedy-Onassis who deals with the death of her husband John F. Kennedy and the plans for his funeral while looking back at her time when she was the First Lady of the United States. The film is an unconventional bio-pic of sorts as it follows Onassis’ time as the First Lady and dealing with the shocking death of her husband as Natalie Portman plays Jacqueline Kennedy. Also starring Peter Sarsgaard, Greta Gerwig, Billy Crudup, John Carroll Lynch, Richard E. Grant, Beth Grant, and John Hurt. Jackie is an evocative and rapturous film from Pablo Larrain.

The film revolves around Jacqueline Kennedy’s days following the assassination of President John Fitzgerald Kennedy on November 22, 1963 as she plans for the funeral and such while talking to a journalist (Billy Crudup) less than a month later after the funeral. Told in a non-linear narrative, Noah Oppenheim’s script follows Jackie as she talks about her time in the White House with brief glimpses of life as the First Lady as well as the events of the assassination and its aftermath. The interview with the un-named journalist, which is based partially on Theodore H. White’s article for Life magazine, has Kennedy talking about her work as First Lady that included restoring rooms at the White House that was filmed for a TV program. Yet, the bulk of the narrative has Jackie talking about the funeral procession and planning for her husband as she looks to historical events of the past for inspiration while dealing with the loss she’s carrying.

Pablo Larrain’s direction is stylish for the way it captures a period in time as it has a looseness in its approach to compositions and how it captures history. With many of the interiors shot in a studio in Paris, France with the funeral procession shot on location in Washington D.C., Larrain would aim for something simpler as he doesn’t go for a lot of wide shots with the exception of the funeral scenes. Much of his compositions aim for close-ups and medium shots while the film is shot largely on a 1:66:1 aspect ratio with the exception of Jackie’s TV special where she gives a tour of the White House which is shot in the 1:33:1 aspect ratio and in grainy black-and-white. Larrain’s approach to those scenes have him recreate the idea of what 1960s TV looked like with shots of Jackie being filmed by a crew as there is a tracking shot following her every move until it cuts to her in black-and-white. It’s among some of the stylistic choices in the film while there is also the scenes of the day of the assassination where Larrain shoots a medium shot of Jackie getting ready for the motorcade while there is a lot happening in the background.

Larrain’s direction also captures the events of the assassination and the bloody aftermath that is inter-cut with Jackie talking to the journalist about what she remembers and telling him what not to print. Even as Larrain would film scenes of Jackie’s meeting with a priest (John Hurt) where she deals with mortality and wonders why her husband had to die as it is among one of the finest sequences on film. There are also these intimate moments involving Jackie’s relationship with her brother-in-law Bobby (Peter Sarsgaard) and her personal secretary Nancy Tuckerman (Great Gerwig) that helps humanize Jackie who is coping with her grief as well as wanting to honor her husband in a way that leaders with big ideas would be honored. The film would culminate the funeral procession as it is a moment where all of the grief and trauma that Jackie faced. She maintains the sense of dignity that is needed in the role of First Lady. Overall, Larrain creates an intoxicating and riveting film about Jacqueline Kennedy’s time following the assassination of her husband.

Cinematographer Stephane Fontaine does incredible work with the film’s cinematography with its usage of naturalistic colors and lighting to play into many of the exteriors in the day along with some low-key lighting for some of the interiors as well as scenes set at night. Editor Sebastian Sepulveda does brilliant work with the editing with its usage of jump-cuts and other stylized cuts to play into the film’s non-linear narrative and Jackie’s own reflection of the events. Production designer Jean Rabasse, with set decorator Veronique Melery plus art directors Halina Gebarowicz, Mathieu Junot, and Emmanuel Prevot, does amazing work with recreation of the interiors of the White House including some of the famous bedrooms and the exterior sets of where Kennedy was to be buried. Costume designer Madeline Fontaine does amazing work with the costumes from the famed pink coat and hat Jackie wore on the day of the assassination to some of the gowns and such she would wear at various events of the past.

Makeup designers Sarai Fiszel and Odile Fourquin, with key hairstylists Janice Kinigopoulos and Catherine Leblanc, do fantastic work with the look of the hairstyles that the women had including Jackie’s hairstyle. Visual effects supervisors Thomas Duval, Sebastian Rame, and Tomas Roca do terrific work with some of the visual effects as it is mainly set-dressing with some recreation of the funeral procession and the way Jackie’s TV special is presented in its grainy footage. Sound designer David Miranda does superb work with the sound in the way some of the quieter moments at the White House are presented to scenes at Arlington and Jackie’s meeting with the priest where it has a natural atmosphere in the sound. The film’s music by Mica Levi is phenomenal for its orchestral score with its eerie usage of string arrangements and low-key textures to play into the drama while music supervisor Bridget Samuels provides a soundtrack that consists of a few classical pieces and a cut from the musical Camelot which Jackie plays on a record player.

The casting by Lindsay Graham, Jessica Kelly, Mathilde Snodgrass, and Mary Vernieu is remarkable as it feature some notable small roles and appearances from Sunnie Pelant as Caroline Kennedy, Brody and Aiden Weinberg as John F. Kennedy Jr., Julie Judd as Bobby’s wife Ethel, and Caspar Phillipson as President John F. Kennedy. John Carroll Lynch is terrific as Lyndon Johnson who would become the new President of the United States of America as he tries to give Jackie advice about the funeral while Beth Grant is wonderful as Claudia “Lady Bird” Johnson who also wants to help as she also prepares for her new role as First Lady. Max Casella is superb as Jack Valienti who was Johnson’s assistant at the time where he also tries to organize the funeral service while Richard E. Grant is fantastic as William Walton who is Jackie’s collaborator in the White House restoration project as he helps her in the historical research for what she wanted for her husband’s funeral procession.

In one of his final film performances, John Hurt is excellent as the priest who meets Jackie to discuss faith as well as giving his views of what happened where it is this very restrained yet calm performance as it is one of Hurt’s finest performances. Billy Crudup is brilliant as the journalist who interviews Jackie at her home in Massachusetts as he tries to understand some of the answers Jackie is giving him as well as what he should tell the press. Greta Gerwig is amazing as Nancy Tuckerman as Jackie’s personal secretary who is Jackie’s director during the TV special for the White House restoration while also being a close confidant in being someone to talk to as it’s an understated yet touching performance from Gerwig. Peter Sarsgaard is marvelous as Bobby Kennedy as the then-Attorney General and Jackie’s brother-in-law who is trying to help Jackie with the funeral arrangements as well as doing his job and shielding her from any news that could upset her.

Finally, there’s Natalie Portman in what is definitely a performance for the ages as Jacqueline Kennedy. It’s a performance that is this fine mixture of radiance, restraint, anguish, and grace where Portman definitely disappears into the character where she captures many of the nuances and attributes of Jackie without deviating into an impersonation. Instead, Portman provides that air of dignity in Jackie in the way she copes with grief and the trauma of seeing her husband killed in front of her as well as the way she tries to maintain this role of regality that is needed in being a First Lady where it is definitely Portman in a career-defining performance.

Jackie is a tremendous film from Pablo Larrain that features an outstanding leading performance from Natalie Portman in the titular role. Along with its great supporting cast, inventive script by Noah Oppenheim, gorgeous visuals, top-notch technical work, and Mica Levi’s ravishing score. It’s a film that doesn’t play by the rules of a bio-pic by focusing on a specific time in the life of one of the great First Ladies in American history as she is aware of role in American history and how she tries to maintain that sense of dignity for herself and her husband. In the end, Jackie is a magnificent film from Pablo Larrain.

Pablo Larrain Films: (Fuga) – (Tony Manero) – (Post Mortem) – No (2012 film) - (The Club (2015 film)) – (Neruda)

© thevoid99 2017

K-19: The Widowmaker

Directed by Kathryn Bigelow and screenplay by Christopher Kyle from a story by Louis Nowra, K-19: The Widowmaker is the story of a Soviet nuclear submarine crew dealing with reactor leak in the sub as a captain and officer try to deal with the situation and each other. Based on a real-life incident set in 1961 during the Cold War, the film is an exploration into the inner-politics between two officers and how they try to defuse an incident that would nearly spark World War III. Starring Harrison Ford, Liam Neeson, and Peter Sarsgaard. K-19: The Widowmaker is an engaging film from Kathryn Bigelow.

The film is a simple story about a Soviet submarine crew in 1961 during the Cold War as it revolves around a new nuclear submarine where its crew and captain are under the command of a new captain who is trying to fulfill the duties of the state as he puts himself and crew at great risk during a test run. When its nuclear reactor starts to leak and radiation emerging into the submarine, two captains begin to figure out what to do as tension emerges between the two captains as well as its crew. It’s not just a film about the submarine crew trying to defuse a situation that spark World War III but also the idea of duty as Captain Alexei Vostrikov (Harrison Ford) and Captain Mikhail “Misha” Polenin (Liam Neeson) try to find a balance over who they should be loyal to.

Christopher Kyle’s screenplay, with additional work from Tom Stoppard, does have a traditional structure as well as a study into the personalities of the two captains. Polenin treats his crew as if they’re his children and always help them in whatever as he will make sure they get the job done. Vostrikov is a more by-the-books individual who uses his rank to maintain control as he holds drills to see if the crew meets his expectations. This would add tension between Vostrikov and his crew who are loyal to Polenin as things get more complicated when the original doctor is killed as he’s replaced by a base doctor who knows nothing about radiation sickness. Another troubling circumstance is the addition of a new nuclear reactor officer in Lt. Vadim Radtchenko (Peter Sarsgaard) who had just graduated from the academy.

The mission was supposed to be a test run which was successful but Vostrikov’s ideas to test the submarine would have some serious repercussions when the radiator leaks. This would cause Vostrikov to be lost as two of Polenin’s officers plot a mutiny in order to get Polenin in control which would add to the drama of the film. Yet, it would create some major complications as it’s clear that Polenin isn’t just the film’s conscience but also a man who knows the importance of duty no how much he disagrees with Vostrikov. Especially since Vostrikov is under a lot of pressure from his superiors to deliver as he was given little time to get the ship ready as he tries to gain the trust of his crew.

Kathryn Bigelow’s direction doesn’t really do anything new as far as what’s been expected in a film set mostly in a submarine. Yet, she does manage to infuse a lot of style into the claustrophobic setting of the submarine which is still very engaging as it’s often cramped and there’s a lot that goes on. Bigelow’s use of tracking shots, hand-held cameras, and steadicams to capture the movements of a submarine as well as the sense of chaos showcase the pressure that isn’t just mounting on Captain Vostrikov but also his entire crew. Even as there’s a nuclear reactor in that submarine as it’s the most fragile thing on the submarine where Bigelow reveals how it would leak through some visual effects as it’s one of the few sequences that requires visual effects along with some scenes in the submarine. A lot of these moments not only showcase the submarine as a character in the film but a very fragile character that is being pushed too the limits as it serves a symbol of world that is in the cusp of complete terror.

Bigelow also knows when to give the suspense and drama a bit of a break for a scene where the crew play football outside of the sub and on an ice block along with a scene where the sub is stopped as they’re seen by an American helicopter where the crew moons it. The film also includes an epilogue which not only plays into the fall of communism but also what the two captains and its surviving crew have lost as they ponder the sacrifice of those who saved them. Overall, Bigelow crafts a very compelling film about two captains dealing with the idea of duty during the Cold War.

Cinematographer Jeff Cronenweth does excellent work with the film‘s cinematography from the use of lights in the submarine as well as the blue lights inside the reactor room along with some naturalistic shots of some exterior scenes in the day and night. Editor Walter Murch does fantastic work with the editing with its use of rhythmic cuts to play into some of the action as well as some jump-cuts and some slow-motion moments to play into the drama. Production designers Karl Juliusson and Michael Novotny do amazing work with the look of the submarine and its many compartments as well as its port and some of the base buildings where the superiors are at work.

Costume designer Marit Allen does nice work with the look of the uniforms the crew wears to play into the sense of importance as well as who they are as they‘re loyal to each other. Visual effects supervisors Bruce Jones and John Nelson do terrific work with some of the visual effects such as the submarine under the sea as well as the scene where it breaks into the ice. Sound designer Pat Jackson and co-sound editor Larry Schalit do superb work with sound to play into the atmosphere of the submarine as well as its sirens and such inside the sub. The film’s music by Klaus Badelt is wonderful for its Russian-based orchestral score filled with vocal choirs and heavy string arrangements along with some pieces of traditional Russian folk music and the Soviet anthem that is played in the film.

The casting by Ross Clydesdale, Mali Finn, and Mary Selway is brilliant for the ensemble that is created as it features some notable small performances from Joss Ackland as the defense minister Marshal Zolentov, John Shrapnel as Admiral Bratyeev, Christian Camargo as the senior reactor technician Loktev, and Donald Sumpter as the submarine’s new medical officer Gennadi Savran who has no clue what he’s dealing with as he was a last-minute replacement. Steve Nicolson and Ravil Isyanov are terrific in their respective roles as torpedo officer Yuri Demichev and political officer Igor Suslov as they would be the one to plot the mutiny against Vostrikov. Peter Sarsgaard is excellent as the reactor officer Lt. Vadim Radtchenko who comes in at the last minute unaware of the situation he’s facing as he deals with his inexperience and inability to help his crew.

Liam Neeson is amazing as Captain Mishna Polenin as he is the film’s conscience as a man who is beloved by his crew as he deals with Vostrikov and the chaos of the submarine. Finally, there’s Harrison Ford in a superb performance as Captain Alexei Vostrikov as a man who has to ensure the success of his mission at great risk as he becomes torn between his duty to his superiors and doing what is right for himself and his crew.

K-19: The Widowmaker is an excellent film from Kathryn Bigelow that features top-notch performances from Harrison Ford and Liam Neeson. While it may not have a lot of originality, it is still a captivating film about a submarine crew and its two captains trying to prevent World War III from happening as well as delving into the theme of duty. In the end, K-19: The Widowmaker is a superb film from Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Near Dark - Blue Steel - Point Break - Strange Days - The Weight of Water - The Hurt Locker - Zero Dark Thirty - The Auteurs #29: Kathryn Bigelow

© thevoid99 2014

Blue Jasmine

Written and directed by Woody Allen, Blue Jasmine is the story about a woman whose husband had been arrested over his criminal activities forcing her to live with her estranged sister in San Francisco as she tries to get her life back on track. The film is an exploration into a woman trying to start over as she had been nearly thwarted by scandal as she turns to her younger sister for help despite her middle-class lifestyle. Starring Cate Blanchett, Sally Hawkins, Peter Sarsgaard, Andrew Dice Clay, Bobby Cannavale, Louis C.K., Michael Stuhlbarg, and Alec Baldwin. Blue Jasmine is a brilliant yet captivating film from Woody Allen.

What happens to a woman whose wealthy life comes crashes down when her husband is revealed to be a crook as she is forced to move in with her working-class sister? That is essentially the premise of the film where Jasmine Francis (Cate Blanchett) has lost everything as she spent the last of whatever little money she had left to fly from New York City to San Francisco to live with her estranged adopted sister Ginger (Sally Hawkins) and her two kids. Yet, Jasmine is appalled by her sister’s lower-middle class lifestyle and her choice of men as she is desperate to get herself back to the upper-class life but her mental state as well as reflections of her old life with her former husband Hal (Alec Baldwin) would make her uneasy around many people including Ginger.

Woody Allen creates a very interesting narrative where it moves back-and-forth from the new life that Jasmine has to live in San Francisco and the old life she had in New York City where she had money, lived in expensive houses, wore expensive clothes, and have the finest social gatherings out there. Though Ginger and her ex-husband Augie (Andrew Dice Clay) were impressed by what Jasmine and Hal had during their trip to NYC, they preferred the simpler life though Ginger would be the one to discover something about Hal that she had kept a secret until everything went wrong. Due to Hal’s financial schemes, Augie’s chance to have his own business is finished that led to him and Ginger getting a divorced as Ginger is trying to have a new relationship with a mechanic named Chili (Bobby Cannavale).

One aspect of the script that is very interesting is Jasmine’s own sense of elitism and narcissism as she criticizes her sister for the life she lives and the idea that Ginger is always around men whom she thinks are losers. Though Ginger would later meet a sound engineer named Al (Louis C.K.) at a party where Jasmine would meet an aspiring politician named Dwight (Peter Sarsgaard). Ginger’s relationship with Al would only make her feel insecure as she becomes confused of whether to be with Al or Chili. Jasmine’s own pursuit of Dwight would eventually be her own undoing as she would lie to win Dwight’s heart but elements of her past would come back to haunt her.

Allen’s direction is quite straightforward in the way he presents the film while he gives the scenes set in New York City and San Francisco different atmospheres into the way it plays to Jasmine’s life. For the flashback scenes in New York City, everything is vast and posh where it’s all set in very rich sections including some of the beach homes that Jasmine and Hal lived in. Yet, it’s also quite artificial in some ways to showcase that not everything is as it seems to be. Allen’s approach for the scenes set in San Francisco is far more grounded with the exception of a few scenes where Jasmine is with Dwight as he turns to her about what to do with his new house.

Still, the places that Ginger and her friends take Jasmine to is a mixture of working-class environments and such that is definitely removed from the world that Jasmine is used to. Even as Jasmine reluctantly takes a job working as a receptionist for a dentist (Michael Stuhlbarg) where the direction is tighter but also quite entrancing. Even in the scenes where Jasmine is in a location talking to herself unaware of how mentally ill she’s becoming. Allen would put Jasmine often at the edge of the frame to showcase how detached she’s becoming while everyone around her is either moving on without or are just disturbed by her behavior. Overall, Allen creates a very mesmerizing film about a woman on the verge of collapse as she reluctantly faces reality.

Cinematographer Javier Aguirresarobe does amazing work with the cinematography from the lush and colorful look of New York City to the more simplistic look of San Francisco. Editor Alisa Lepselter does fantastic work with the editing by playing to the film‘s back-and-forth structure to help establish Jasmine‘s dramatic state of mind. Production designer Santo Loquasto, with set decorators Kris Boxell and Regina Graves and art directors Michael E. Goldman and Doug Hustzi, does excellent work with the set pieces from the homes that Jasmine and Hal lived in to the more quaint, simpler apartment that Ginger lives in.

Costume designer Suzy Benzinger does superb work with the costumes from the posh clothes that Jasmine wears to the more blue-collar look of Ginger to display the two different worlds the women live in. Sound editor Robert Hein does nice work with the sound from the chaotic world of Ginger‘s apartment to the more serene world that Jasmine used to live in. The film’s wonderful soundtrack largely consists of jazz music from Louis Armstrong, King Oliver, Jimmy Noone, Lizzie Miles, Conal Fowkes, Julius Block, and Trixie Smith as it all would play to Jasmine’s state of mind as she would often say how Blue Moon reminds her of how she met Hal.

The casting by Juliet Taylor and Patricia Kerrigan DiCerto is brilliant for the ensemble that is created as it features some notable small performances from Max Rutherford and Daniel Jenks as Ginger and Augie’s sons, Charlie Tahan as the adolescent version of Hal’s son Danny, Tammy Blanchard and Annie McNamara as a couple of Jasmine’s friends, and Max Casella as a friend of Chili’s who tries to woo Jasmine. Other noteworthy small yet effective supporting performances include Michael Stuhlbarg as a dentist Jasmine briefly works for while Alden Ehrenreich is terrific as Hal’s son Danny who disappears after feeling humiliated over what his father did. Louis C.K. is excellent as Al as a man Ginger meets at a party as she thinks he could be someone that Jasmine would like. Bobby Cannavale is amazing as Chili as an auto mechanic who loves Ginger while tries to be nice to Jasmine only to feel insecure as he desperately tries to do right for Ginger despite his anger.

Peter Sarsgaard is superb as the aspiring politician Dwight who falls for Jasmine and wants to marry her until he learns the truth about who she is. Andrew Dice Clay is fantastic in a small but memorable performance as Ginger’s ex-husband Augie who is stung by a deal gone bad thanks to Hal as Clay brings a charm to his role in the flashbacks as a simple guy while has this scene with Blanchett that shows a bitterness and loss that he is suffering from which makes his performance a real surprise from the famed comedian. Alec Baldwin is great as Hal as a man who is a schemer that gives Jasmine this very lavish world only to be unveiled as a crook who had stolen from everyone including Augie.

The film’s best performances definitely go to both Sally Hawkins and Cate Blanchett. Hawkins brings a liveliness to the role of Ginger as a woman who has a complicated life but one that she can handle as she is also trying to find something better while eventually coming to the conclusion that she might need more after all. Blanchett is tremendous as Jasmine where she brings this very intense performance of a woman whose life crashes down as she tries to adjust to reality and is desperate to go back to the upper-class world while taking jabs at Chili and those she feels are beneath her. Blanchett and Hawkins have great chemistry together as two sisters who care for each other but it’s a relationship that is also dysfunctional as Hawkins tries to defend her lifestyle while Blanchett would be critical where it would have some very big revelations about Jasmine and her own life.

Blue Jasmine is a remarkable film from Woody Allen thanks in part to Cate Blanchett’s leading performance as well as a sensational supporting performance from Sally Hawkins. Along with notable supporting work from Alec Baldwin, Andrew Dice Clay, Louis C.K., and Bobby Cannavale. It’s a film that explores the very complex yet chaotic relationship between two sisters as well as one woman facing the reality when the life that she once had turns out to be a façade. In the end, Blue Jasmine is a phenomenal film from Woody Allen.

Woody Allen Films: What's Up Tiger Lily? - Take the Money and Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows and Fog - Husbands and Wives - Manhattan Murder Mystery - Bullets Over Broadway - Don't Drink the Water - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet and Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Magic in the Moonlight - Irrational Man - (Cafe Society)

The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2013

An Education

Originally Written and Posted at Epinions.com on 12/5/09 w/ Additional Edits.

Based on a memoir by Lynn Barber, An Education tells the story of a 16-year old schoolgirl living in a quaint yet disciplined suburban home. The girl's life changes when she meets an older man who would take her away from her restrictive life of school and ambition for a world that is broader only to later be hit with a dose of reality. Directed by Lone Scherfig and screenplay by Nick Hornby, the film is a tale of a girl coming of age in the 1960s as she is introduced to a new world. Starring Carey Mulligan, Peter Sarsgaard, Alfred Molina, Cara Seymour, Dominic Cooper, Rosamund Pike, Sally Hawkins, Olivia Williams, and Emma Thompson. An Education is a brilliant coming-of-age drama from Lone Scherfig & co.

It's 1961 in Twickenham, England as a 16-year old schoolgirl named Jenny Miller (Carey Mulligan) is working hard to go to Oxford. She has great grades and is one of the top students of her class. Though she lives a quiet life with her parents Jack (Alfred Molina) and Marjorie (Cara Seymour) as Jack hopes she goes to Oxford to have a great education. Jenny isn't so sure if studying and going to Oxford is the way to go. Even as she's pursued by another young student named Graham (Matthew Beard) who Marjorie likes though Jack felt isn't good enough for Jenny. Then on rainy day following a rehearsal for a youth orchestra, Jenny encounters an older man named David (Peter Sarsgaard) who takes Jenny home to school along with her cello.

Jenny befriends the older yet cultured David who shares a love of French music and films along with books and other fine things. David introduces himself to Jenny's parents whom he charms them while he introduces Jenny to his friends Danny (Dominic Cooper) and Helen (Rosamund Pike). Jenny starts to go into clubs and orchestras as she is having fun. Once she learns what David and Danny does to maintain their posh lifestyle, she is reluctant to leave but stays so she can have fun. Though her grades start to drop much to the concern of her teacher Mrs. Stubbs (Olivia Williams) and headmistress Ms. Walters (Emma Thompson). Jenny continues to live a world of fun with David as he takes to her Paris once she turns 17.

Even Jenny's parents seem to enjoy David's company as Jenny's own academic future becomes troubles as Stubbs and Walters know she has much more to offer. Even Danny becomes worried as David makes a move to the surprise of Jenny and her parents. All of this is changed when David's past starts to catch up with him leaving Jenny pondering about all she had been through.

The film is a coming of age tale based on real life events in the life of its author Lynn Barber. With Nick Hornby, a renowned author in his own right with such works as Fever Pitch, High Fidelity, and About a Boy, taking on the adaptation. It plays up as a coming of age story from the mind of a young girl who is bound for Oxford until she encounters this mysterious yet worldly man. The relationship between Jenny and David seems taboo since she was 16 and he in his early 30s. David's sense of charm and wit manages to win her over as well as her parents despite Jack's supposed anti-Semitic feelings. Even though Hornsby creates a film that centers around this young girl. He creates supporting characters that are just as interesting and all providing some sort of guidance to Jenny whether it's right or wrong.

In David, he's a man interested in Jenny because she's intelligent and isn't like other girls while wanting to show her a world that dreams about going to. Paris is among them while David's friends like to play along though Danny seems to the more cautious while Helen is a bit vapid but fun to be around. The parents are portrayed in a multi-dimensional way as Marjorie is a woman who wants Jenny to do well but also have fun though it's Jack that seems to have more to say. He's a man determined for Jenny to have a great education but after meeting David, he realizes that there might be another alternative for Jenny. Only later to realize she might sacrifice something that she will regret and it will be his fault. Other characters like Mrs. Stubbs and Ms. Walters are authority figures who are more sympathetic though Walters is a bit more hard-nosed as she reveals possible consequences. Mrs. Stubbs meanwhile, is also cautious for Jenny while revealing that life without an education won't really mean anything.

All of these characters Jenny interacts with are crucial to her development in life. She starts out as a young girl wanting a life out of school and studying and end up a young woman trying to figure out what she had just went through. Along the way, she is enamored with all of the excess of a rich lifestyle and begins to question about educated life and at times, becomes ignorant on certain things. It's a character that is truly memorable and certainly wonderfully written in the mind of Nick Hornby.

Director Lone Scherfig does an amazing job in recreating 1960s England in its pre-swinging days where things are a bit reserved, calm, and still coming out of the era of World War II with the Cold War still looming around them. A departure from Scherfig's more looser filmmaking style that came from the world of Dogme 95. There is something enchanting of the way Scherfig shoots and composes a scene while presenting the dramatic moments quite intimately while leaving more space for happier, humorous sequences. Scenes like an entire sequence of Jenny and David in Paris is very dream-like as if it gives the audience a feeling they're seeing Paris for the first time while it has a French New Wave feel. Though Scherfig does still employ a hand-held style in more intense sequences where David and Danny do what they do. It's told through an engaging yet intimate style of filmmaking as it is clearly the best work that Scherfig has done so far in her filmmaking career.

Cinematographer John de Borman does a splendid job in capturing the drab yet low-color look of 1960s English suburbia for the film's early sequences with more lighter colors in scenes near London. The work of de Borman works in conveying the mood of the film as it progresses where by the 2nd act, it has a colorful feel only to dim down once the third act begins as the camera work is phenomenal. Editor Barney Pilling does an excellent job with the film's editing with the use of smooth transitions and rhythmic cuts while giving the film a nice, leisurely pace that works overall in its 95-minute feel.

Production designer Andrew McAlpine along with set decorator Anna Lynch-Robinson and art director Ben Smith do a fabulous job in recreating the look of 1960s England. From the look of the cars and shops to the look of the objects at the home of the Millers. Even the recreation of paintings and objects that David has obtained for his rich lifestyle. The costume design by Odile Dicks-Mireaux is truly wonderful in the more conservative, schoolgirl look for Jenny early on to fancy, colorful dresses and hairdos while the clothes that Helen wears are gorgeous to look at. In recreating the look of 1960s dresses and suits, the costume design is definitely a huge technical highlight of the film. Sound editor Glenn Freemantle does an excellent job in the sounds of school halls and ballrooms that Jenny encounters with along with the city of London itself as Freemantle captures the atmosphere of those locations.

The music by Paul Englishby is wonderful in its orchestral feel with flourishing arrangements of strings to convey Jenny's new sense of freedom along with more low-key, dramatic pieces for the heavy drama. The soundtrack features a slew of early, pre-Beatles 1960s pop and classical pieces while the closing song is a track sung by Duffy that she co-wrote with Suede's Bernard Butler.

The casting by Lucy Bevan is wonderful with an amazing ensemble that is truly fun to watch. Small roles such as Matthew Beard as Jenny's friend Graham along with Amanda Fairbank-Hynes and Ellie Kendrick as a couple of Jenny's schoolmates are memorable along with a one-scene performance from Sally Hawkins as a mysterious woman. Rosamund Pike is funny as the vapid, superficial Helen who loves living the high life while wanting to look good throughout. Dominic Cooper is very good as Danny, David's partner-in-crime who is reserved and quiet while being the most cautious as he was wondering when is going to go too far for Jenny. Olivia Williams is superb as Mrs. Stubbs, Jenny's English teacher who sees Jenny going down a troubling path while warning her about what will happen as Williams is wonderfully understated in a very sympathetic authority figure.

In a small but memorable role, Emma Thompson is great as Jenny's headmistress. A stern though sympathetic figure who warns Jenny about the implications of leading a life without an education while reluctantly admitting to the flaws of an educated lifestyle. Cara Seymour is very good as Jenny's mother Marjorie, a woman who is the more sympathetic parent while still a no-nonsense woman who just wants Jenny to succeed but also live a nice life. Alfred Molina is brilliant as Jack, Jenny's strict but caring father who hopes for Jenny to succeed only to be charmed by David into letting Jenny have a carefree life only to realize the consequences and his own faults. Peter Sarsgaard is excellent as David, a charming man who is also mysterious as Sarsgaard plays with him a bit of creepiness but also wit while sporting a fine British accent since he's the only American actor in the film.

Finally, there's Carey Mulligan in a real breakthrough performance as Jenny. Mulligan's performance is definitely the heart and soul of the film as she displays wit, charm, humor, naivete, and vulnerability all in this incredible journey of a young woman coming of age. Early on, she looks like a young 16-year old girl and then ends up a 17-year old woman who had just been through a lot. It's a radiant yet mesmerizing performance for the 24-year old actress and certainly one of the year's best.

An Education is a smart yet brilliant film from Lone Scherfig with a great screenplay by Nick Hornby and a wonderful performance from Carey Mulligan. Featuring a wonderful cast that also includes Peter Sarsgaard, Alfred Molina, Cara Seymour, Emma Thompson, Olivia Williams, Dominic Cooper, and Rosamund Pike. It is definitely of 2009's best films as An Education is a must-see for anyone that wants to see a coming-of-age story that is worth exploring.

Lone Scherfig Films: (Dogme 12-Italian for Beginners) - (Wilbur Wants to Kill Himself) - (Just Like Home) - One Day

(C) thevoid99 2012

Green Lantern

Based on the DC comics by John Broome and Gil Kane, Green Lantern is the story of a young fighter pilot who meets a wounded alien that gives a powerful ring as he would become part of an elite group of intergalactic fighters protecting the world against evil. Directed by Martin Campbell with a script by Greg Berlanti, Michael Green, Marc Guggenheim, and Michael Goldenberg from a story concept by Berlanti, Green, and Guggenheim. The film is an origin story of how Hal Jordan became part of the Green Lantern Corps as he would battle the dark force of fear known as Parallax. Starring Ryan Reynolds, Blake Lively, Peter Sarsgaard, Mark Strong, Tim Robbins, Angela Bassett, Jay O. Sanders, Taika Waititi, Temuera Morrison, and the voices of Michael Clarke Duncan, Clancy Brown, and Geoffrey Rush. Green Lantern is a very typical and uninspiring superhero origin story.

When the evil force known as Parallax (Clancy Brown) has broken out of his prison in a lost planet, he goes after the Green Lantern fighter Abin Sur (Temuera Morrison) of Sector 2814. Sur escapes Parallax’s wrath but is wounded as he makes his nearest destination towards Earth. Meanwhile, a test fighter pilot named Hal Jordan (Ryan Reynolds) has caused more trouble for his longtime friend Carol Ferris (Blake Lively) during a test where he would cost several jobs. Later that night, Hal is summoned by a mysterious green light where he would meet the ailing Sur who gives him a green ring and a small lantern as he chooses Jordan to be the new Green Lantern. Sur’s body is later retrieved by the government as they call upon Hector Hammond (Peter Sarsgaard) to examine the body as he becomes exposed by a mysterious yellow substance.

After learning about the Green Lantern’s powers, Hal is transported to the planet of Oa where he would meet several Green Lanterns as he learns about the role of the Green Lanterns. Befriending Tomar-Re (Geoffrey Rush) and Kilowag (Michael Clarke Duncan), the latter of which trains him, while Hal also deals with one of the Green Lanterns’ leaders in Sinestro (Mark Strong) who feels that Hal is too weak to become part of the Green Lantern Corps. Hal returns home to Earth unsure about his role until a party celebrating Carol’s success in nabbing a contract where Hector is at the party with his father Senator Hammond (Tim Robbins) who is happy about the contract. Yet, Hector’s exposure to the yellow substance has him reading minds as he decides to take his anger out on his father by trying to crash the helicopter until Hal as a Green Lantern saves the day.

After a battle to fight Parallax fails, Sinestro goes to the Guardians to help create something that will fight Parallax while Hal learns about what is happening to Hector who has become more powerful where the two learn that Parallax is coming. With Hector already realizing what he needs to do to fight Hal, Hal goes back Oa to reveal the Guardians where Parallax is going as he asks for help. Though the Guardians and Sinestro become impressed by Hal’s will to fight, they let him return to Earth to fight alone as Hal would face Hector and the dark force that is Parallax.

The film is essentially an origin story of how a guy becomes a superhero and saves the day. It’s a story that is often told again and again in a lot of origin stories about superheroes. The big question is that does the story of the Green Lantern standout from all of the others? Not exactly. The stories about the Green Lanterns, the origin of Parallax, and how Hal Jordan became a Green Lantern are the most interesting parts of the story. It’s just that everything else including Jordan’s own issues about the death of his father (Jon Tenney), his relationship with Carol Ferris, and theme of fear vs. will isn’t that interesting. Notably the latter which is told in a very heavy-handed manner that requires a lot of exposition that overdoes itself.

The film’s screenplay is definitely the weakest aspect of the film not just in terms of following a formula but not doing enough to make the film’s central characters to be very interesting. While the Hector Hammond character doesn’t start out as a villain because he’s just a small-time college professor who feels slighted by his dad. He becomes a very cartoonish character that ends up being a patsy for Parallax who is just nothing more than a big head surrounded by dark clouds that just sucks the life of scared people and creatures. Since the film is also meant to try and appeal more than just a comic book audience, the screenwriters try to inject some humor that will appeal to much younger audience that doesn’t really work either as it tries too hard to be a lot of things for a superhero action-blockbuster.

Martin Campbell’s direction has moments that does keep the audience be engaged and into the story. There’s some interesting scenes that is well shot such as the tension between Hector and his father, Hal dealing with his own family, and some of moments in Oa where Hal is introduced to this strange world. Everything else however feels quite pedestrian of what is expected in the genre. There’s wide shots of a city that’s about to be attacked as well as very big visual effects pieces that includes the climatic battle between Hal and Parallax. None of it is boring but it doesn’t bring anything new to the superhero genre. A lot of the compositions and directing actors to do this doesn’t have anything exciting while Campbell’s approach to the humor feels very forced. The overall work is pretty mediocre as Martin Campbell ends up creating another superhero film that doesn’t do much to stand out on its own.

Cinematographer Dion Bebe does a pretty good job with the cinematography such as some of the nighttime exteriors and interiors to help set a mood though there isn’t a lot of it is very interesting. Editor Stuart Baird does decent work with the editing to play up the intensity of the action though it‘s mostly typical of what is expected in a film like this. Production designer Grant Major, along with set decorator Anne Kuljian and art director Francois Audouy, does some fine work with the set pieces created such as the contract party and offices along with the look for the sets of Oa. Costume designer Ngila Dickson does some OK work with the costumes which is notable for the look of the Green Lantern uniforms as well as the fashionable dresses of Carol.

Visual effects supervisor Karen E. Goulekas, Kent Houston, and Gregory L. McMurry do some effects work that isn‘t very good at all. A lot of it doesn’t really do any effort to make it feel more realistic while the overall presentation of the look of outer space and the planet Oa isn’t impressive as the whole look of it feels too artificial. Sound editors Karen M. Baker and Per Hallberg do some nice work with the sound effects whether it‘s the sound of jet engines and gunfire along with some of the things Hal does to fight Hector and Parallax. The film’s score by James Newton Howard is all right as it‘s just a typical score filled with bombastic orchestral arrangements with bits of guitars to add more heaviness to the music. Additional music by Joints Jumpin’ is played in the background in the film’s party scene to add a bit of jazzy entertainment to the music.

The casting by Pam Dixon is stellar for the ensemble that is created though none of them really get a chance to stand out or do anything that is memorable. Among those making appearances include Jon Tenney as Hal’s father, Gattlin Griffith as the young Hal, Jay O. Sanders as Carol’s father, and Taika Waititi as Hal’s comic relief friend Thomas Kalmaku. The voice performances by Michael Clarke Duncan and Geoffrey Rush in their respective roles as the tough trainer Kilowag and the kinder Tomar-Re are really good with Duncan providing humor and Rush being the wise one. Clancy Brown’s voice work as Parallax isn’t good as all he does is talk in a gruff voice and act all threatening. Angela Bassett in the role of Senator Hammond’s scientist aide Dr. Amanda Waller is an unremarkable one as she just plays a lackey of his where Bassett looks like she’s sleepwalking throughout the film.

Tim Robbins is OK as the ambitious Senator Hammond who feels disappointed by Hector until he is threatened by Hector’s new powers while Temuera Morrison is really good as the fearless warrior Abin Sur who gives Hal the ring. Mark Strong is excellent in the role of Green Lanterns leader Sinestro who tries to deal with Hal’s presence as well as the dark force of Parallax. Peter Sarsgaard is decent as Hector Hammond who starts off as this curious scientist only to devolve into a crazed antagonist that doesn’t really work due to the bad makeup job and Sarsgaard screaming like a girl throughout the film. Blake Lively gives a serviceable but uninspired performance as Carol Ferris where all she does is look good, act frustrated at Hal, and all sorts of things were she’s hampered by the script’s weakness but also her own performance where she doesn’t really show much range in a very typical part.

Finally, there’s Ryan Reynolds as the film’s protagonist Hal Jordan. While it’s a role that allows Reynolds to carry a film where he would display his witty charm. It’s a very disappointing performance as Reynolds doesn’t really get a chance to stretch out as he is also hampered by the film’s weak script and lackluster direction. While the Jordan character is a guy who is unsure about himself and Reynolds does allow the character to be engaging. The stuff where he has to try and emote in a very serious manner or to be a badass doesn’t really work.

Green Lantern is a very bloated film that emphasizes more on creating a visually-exciting superhero blockbuster rather than something that will allow itself to standout. Despite the efforts of Ryan Reynolds and Mark Strong, it’s a film that wants to be a lot of things to its audience. It may be watchable and at times, fun but the overall work is just unimpressive as Martin Campbell just creates something that doesn’t really do more than what the genre wants. In the end, Green Lantern is a truly terrible and uninspiring film that doesn’t do enough to entertain its audience.

Martin Campbell Films: (The Sex Thief) - (Eskimo Nell) - (Three for All) - (Criminal Law) - (Defenseless) - (Cast a Deadly Spell) - (No Escape) - (GoldenEye) - (The Mask of Zorro) - (Vertical Limit) - (Beyond Borders) - (The Legend of Zorro) - (Casino Royale (2006 film)) - (Edge of Darkness)

© thevoid99 2012

Garden State

Originally Written and Posted at Epinions.com on 8/15/04 w/ Additional Edits.

The Sundance Film Festival has always been known as a festival that gives the spotlight to new up-and-coming filmmakers as they rise to the world of cinema. In 2004, TV actor Zach Braff of the show Scrubs released his directorial feature-length debut film, which he also wrote, and starred in entitled Garden State. A big hit at the festival, Garden State is a quirky comedy-drama about an actor from L.A. named Andrew Largeman who returns to New Jersey for the funeral of his mother. After years of being in a medicated state, Largeman wakes up from his monotone, mind-numbing state where he meets a quirky young woman while trying to make amends with his psychiatrist father and old school friends. Starring Braff in the lead role of Andrew Largeman with a cast that includes Natalie Portman, Peter Sarsgaard, Ron Liebman, Jean Smart, Method Man, and Ian Holm. Garden State is a majestic film that is rich in its quirkiness and compassion.

For the 26-year old Andrew Largeman, life has been nothing but one monotone, numbing world as he is often in a trance. Even when he is doing his acting, he's often in a state, including one moment as a waiter in a Vietnamese restaurant. Then one day, his father and psychiatrist Dr. Gideon Largeman (Ian Holm) calls him that Andrew's paraplegic mother had died, drowning in her bathtub. Andrew returns to his home in New Jersey to attend the funeral where he sees his old friend Mark (Peter Sarsgaard) working as a gravedigger with pal Dave (Alex Burns). Mark invites him to a party where Andrew is forced to deal with relatives and his estranged father, who wants to talk to him, especially about his medication that Andrew had forgotten to bring for his depressing state of mind. Later that night, driving his grandfather's Army motorcycle, an officer stops him who turns to be former school pal Kenny (Michael Weston) who is surprised to see him. Andrew goes to the party where he meets Jesse (Armando Riesco), who got rich off of inventing Velcro that makes no sound where Andrew took ecstasy and began to see an orgy of drugs and sex.

The next morning at Mark's house, he meets another old friend named Tim (Jim Parsons) and Mark's mother Carol (Jean Smart). Tim has become a knight for the Medieval Times restaurant franchise while Carol often tells Mark to work on his plans to become a real estate agent but Mark isn't interested except in getting stoned. Andrew leaves to attend a therapy session his father had signed on for him. Andrew comes across a humping dog and a quirky, pathological liar named Sam (Natalie Portman) who recognized from TV as a mentally challenged quarterback. The talkative Sam keeps talking to him as she gives him a chance to listen to the Shins. For the first time ever, Andrew gets out of his state as he meets a psychiatrist named Dr. Cohen (Ron Liebman) who checks his prognosis and thinks Andrew is just feeling fine although he is wondering what just happened after Andrew stop taking his pills.

Andrew sees Sam after his session where he takes her to Jesse's house and then to her home where he meets her mother Olivia (Ann Dowd) and her adopted African brother Titembay (Ato Essandoh). Andrew is intrigued by Sam's quirky personality as she admits to lying a lot and during a burial for one of her dead hamsters, Andrew talks about his mother and her death as Sam is moved by the fact that he had a hard time trying to reveal his sadness after being numb for years. Deciding to stay in New Jersey for a few more days, Andrew tries to avoid his father for a conversation only to hang out with Sam, who gets embarrassed by her mom over a video of her skating in a crocodile costume, and with Mark. Andrew and Sam join Mark in swimming in Jesse's pool where later that night, Andrew reveals how his mom became paraplegic and how he got heavily medicated. Andrew and Sam are left alone with Andrew having a few more days left before returning home.

Mark, who has been happy with Andrew's return wants to give him a going away present while presenting him his collection of Desert Storm cards which he hopes will be worth a lot of money. Mark decides to get Andrew his present with Sam as Mark scams money at a convenience store where Andrew meets another old schoolmate Karl Benson (Geoffrey Arend) who presumed that Andrew had committed suicide. Andrew isn't sure what Mark is trying to do as they go to a hotel where they meet a sleazy, underground porno organizer named Diego (Method Man) who gives Mark direction to meet Albert (Denis O'Haye) and wife Faye (Debbon Ayer). Mark accompanies Sam and Andrew into an abandoned canyon where they meet Albert, who has these weird theories of the world. Mark gives Andrew his present where Andrew is finally forced to confront his own life and father while trying to decide if he wants to return to Los Angeles or stay in New Jersey.

Presenting itself as a quirky film with some funny moments in sad situations or vice versa, Garden State in some ways plays up to the offbeat world of 1970s filmmaker Hal Ashby. While Braff only recalls a bit of Ashby's world, he does manage to bring a vision that isn't just heartbreaking but also absurd and compassionate. With a wonderful screenplay that is filled with witty dialogue and strange yet sympathetic characters, the film's story works in all levels, even in its love story between Andrew and Sam. Braff as a director is truly a visionary with his eye-wielding direction where he brings in wonderful crane shots and spectacular camera movements that is complemented by cinematographer Lawrence Sher.

Sher brings a colorful, dreamy photography that gives richness of the film with help from production designer Judy Becker and art director Laura Ballinger, notably a scene where Andrew's shirt matches a wallpaper design. Another great aspect to some of Braff's direction, especially in faster shot sequences is editor Myron I. Kernstein who helps brings a wonderful pace and crafted editing style that helps Garden State be wonderful in its technical achievements.

One great aspect of the film is its dramatic, acoustic music score from composer Chad Fisher who brings that Ashby quality of offbeat drama and comedy. The film's music really makes Garden State a gem of a film. With cuts from Coldplay, the Shins, Colin Hay of Men at Work, Remy Zero, Nick Drake, Simon & Garfunkel, Frou Foru, Zero 7, and a hilarious cover of Lionel Richie's Three Times A Lady in the funeral scene. It's by far the best film soundtrack of the year and credit goes to Braff, Fisher, and music supervisors Buck Damon and Amanda Scheer-Demme.

Then you have the film's amazing cast with great small performances from Jim Parsons, Alex Burns, Michael Weston, Armando Riesco, Ann Dowd, Ato Essandoh, Geoffrey Arend, Denis O'Hare, Debbon Ayer, and Jackie Hoffman as Andrew’s Aunt Sylvia, who created that shirt that matched the wallpaper. Method Man is funny in his small performance along with Ron Liebman as the quirky, unorthodox Dr. Cohen, and Jean Smart as the loving but stern Carol who is frustrated at Mark's lack of ambition while is willing to believe anything that will get her out of New Jersey. Ian Holm is excellent in the role of Andrew's father Gideon. Holm brings a performance that carries guilt inside as he desperately tries to talk with his son but is having a hard time balancing the role of father and shrink. In the final confrontation, we see Holm at his most restraint where he and Braff have great tension together.

Of the film's supporting cast, no one is as good or as charming as Peter Sarsgaard in the role of Mark. Sarsgaard's character is supposed to be this sleazy, cunning friend who takes a lot of pride in not taking anyone's money, even Andrew's. Sarsgaard brings a likeability and sympathy to his performance as a guy who just has small dreams and doesn't really want to live up to any ambitions or be a failure in favor of simplicity. Sarsgaard has wonderful scenes with Braff and Portman as he proves himself to be one of the best supporting actors in the industry and it's the supporting players that really help carry the leads and story. Sarsgaard is just one of the best supporting actors right now who can be a leading actor but seems comfortable as well in the supporting role.

Natalie Portman meanwhile, brings her most fulfilling performance since her 1994 debut role in Luc Besson's Leon-The Professional. Here, Portman brings a quirkiness and radiance to a performance that is always wonderful to watch. Portman seems comfortable and relaxed in a role where she lets loose and even act like an idiot at times for sheer fun while she manages to display her brilliant mastery in restrained, subtle dramatic performances. With Braff, the two carry a wonderful chemistry that is funny and sad in some sequences where you root for both of them with Portman just being the loveable oddball. This is by far Portman's most complex and charismatic performance for the young actress.

Zach Braff is a wonderful leading man in easily one of the year's best performances. Even for those who haven't seen him in the show Scrubs won't really need to because in this role, he really brings in an engaging, troubled performance as Andrew. Braff doesn't make his character pathetic or plain idiotic but someone who is just lost after years of being in a trance. Braff makes Andrew someone we love and feel sorry for, even with his flaws. Braff is also brilliant with scenes with other actors in the way he reacts to their quirkiness and oddball activities while being the butt of the jokes where he would have words all over his body. This is definitely Braff's breakthrough role into the world of films.

***Updated 3/25/05, DVD Tidbits***

The DVD to Garden State that is shown in its anamorphic widescreen format of 2:35:1 along with 5.1 Surround Sound and Dolby for English and Spanish along with subtitles and captions in English, Spanish, and French. The DVD includes a Fox Searchlight trailer to Danny Boyle's 2004 family film Millions along with a promo for the acclaimed soundtrack to Garden State. The special features includes a 30-minute making-of featurette that includes Braff and his cast and crew where Peter Sarsgaard got into character by practicing the guitar. The making-of feature shows some intimate moments with the crew and cast, notably Braff, Sarsgaard, and Natalie Portman who shows her humorous side more while doing takes and how the motorcycle often doesn't work.

The DVD also includes a 3-minute outtakes and blooper reel where the cast flub their lines including Sarsgaard, Braff, and Portman as she tries to do a funny New Jersey accent and the hilarious outtakes of the humping dog along with a hilarious scene of Sarsgaard almost fainting during a take with Method Man that got Natalie to go into hysterical laughter. The DVD also includes 16 deleted and extended scenes that features optional commentary from Braff, cinematographer Lawrence Sher, production designer Judy Becker, and editor Myron Kerstein. Some of the deleted scenes included extended scenes of the funeral party that featured many of Braff's relatives including his father, an audition scene, extended scenes with Portman and Sarsgaard including the ark scene. The best scene that Braff didn’t want to cut but did for pacing issues was an earlier confrontational scene with him and Ian Holm where Holm delivers a great performance but Braff felt like several of the deleted scene, it was pacing that forced him to cut the scene.

The DVD also includes two audio commentary tracks from Zach Braff. One with Sher, Becker, and Kerstein is more technical driven on talking about some of the details of the films but it's mostly straightforward and relaxed since they’re having fun talking during the commentary while Braff asks Becker who's a better director to work with, him or Ang Lee (since she's credited on production design for Lee's upcoming Brokeback Mountain). The overall filmmakers' commentary is one of the most fun and detailed of commentaries. The second commentary Braff is in is with Natalie Portman which is more fun than the other commentary. Portman not only seemed relaxed but also says some of the funniest things in the commentary with Braff as she talks about her New Jersey-Jewish accent and her quirky approach to the character. She also complains how weird her ears are and how Method Man was nervous in cursing in front of her when she didn't seem to mind since she's a fan of Meth and the Wu-Tang Clan.

While the DVD doesn't include the teaser or full trailer to the film or the Anatomy of a Scene special on the film from Sundance Channel, the Garden State DVD overall is an excellent DVD that the film's fans will love.

***End of DVD Tidbits***

Garden State is truly a majestic film helmed by the multi-talented Zach Braff with a wonderful film crew and cast that include Natalie Portman, Peter Sarsgaard, and Ian Holm in amazing performances. With a great soundtrack as its accompaniment, Garden State is indeed one of 2004's best films with Braff being a triple-threat in the acting, writing, and directing field as he created one of the best debut features ever by a new director. Sundance truly found a winner with Garden State as this film has something for everyone, it's romantic, it's funny, it's dramatic, and it's strange. In the end, Garden State is a wonderfully complex film that marks the emergence of a new visionary.

(C) thevoid99 2010

Boy's Don't Cry

Originally Written and Posted at Epinions.com on 3/12/04 with Additional Edits.

In 1998 America, homosexuality was accepted in some parts of the U.S., notably the east and west coast.  In Middle America, it was a different kind of story.  That year, a Wyoming student named Matthew Shepard was killed by a group of hooligans in Laramie, Wyoming, notably because he was gay and thus, became a martyr for gay rights.  Homophobia is a subject not many would like to go into and it’s a controversial subject that is hard to tackle.  In 1999, a film about homophobia came from the story about a young woman named Teena Brandon who disguised herself as a man in Nebraska.  Changing her name to Brandon Teena, the woman was eventually raped and killed in 1993 because of her subversive, sexual identity.  Helming that subject was a new filmmaker who wouldn’t just open more doors for other fellow female filmmakers but also would churn out one of the decade’s most powerful films to date in Kimberly Peirce’s Boys Don’t Cry.

Based on the accounts of Teena Brandon’s death, Peirce and co-screenwriter Andy Bienen takes the story of a young woman who is yearning to be different in a landscape where being different at the time was unacceptable.  With Peirce in her feature-length directorial debut, Boys Don’t Cry is probably one of the greatest features ever made by a first-time director.  Leading the pack as Teena Brandon is Hilary Swank in a tour-de-force performance that would garner the Oscar for Best Actress.  While most films about victims tend to make them into martyrs, Peirce doesn’t descend that territory by making stories of human beings at their best and worst at a time when the world wasn’t watching.  With a cast that includes Chloe Sevigny, Peter Sarsgaard, Brendon Sexton Jr., Alicia Goranson, Alison Folland, Matt McGrath, and Jeanetta Arnette, Boys Don’t Cry is clearly one of the greatest yet most eerie films of the 1990s.

The film begins in 1990 as 20-year old Teena Brandon gets a haircut to look like a man with help from her friend Lonny (Matt McGrath) in Lincoln, Nebraska.  Teena decides to hit on some ladies by pretending to be a guy named Bailey and it worked when she did upsetting some guys.  Lonny doesn’t like what she does as he kicks her out of his trailer as she goes for a drink.  Teena then meets a young woman named Candace (Alicia Goranson) and her friend, an ex-convicted hooligan named John Lotter (Peter Sarsgaard) as he helped Teena in a barroom brawl.  Teena introduces himself as Brandon Teena to Candace and John as they meet with John’s pal Tom (Brendan Sexton Jr.) as they ride all the way to Falls City, Nebraska.  

Brandon wakes up as she calls Lonny, who warns her about the place, as she needed to go home for a trial due to the brawl she started.  Instead, she decides to stay after meeting Kate (Alison Folland) and John’s ex-girlfriend Lana (Chloe Sevigny).  Brandon immediately falls for Lana after she, Kate, and Candace sing karaoke as she joins them, Tom, and John for some midwestern fun on bumper skiing.  Brandon decides to live with Lana, who is a single mother with a baby, as she continues to pursue Lana as she met her one night while getting some beer in which Brandon got, along with tampons that she stole.  She meets Lana’s mother (Jeanetta Arnette) as Lana said, she hates her life but Brandon doesn’t mind, as she just wants to see her.  The next day, Brandon decides to go see Lana again as she meets up with the gang as she drinks with John for a bit as he treats her like one of the guys.  John introduces Brandon to his daughter April (Stephanie Sechrist) as Brandon takes photos of Lana and her mom, to Lana’s disgust while April accidentally wets herself on John.  

Later in the night, the gang goes for a drive as Brandon is challenged by three girls to a race in which Brandon wins but gets caught by the police as he only got a ticket.  John wasn’t happy since he was afraid that he might get convicted as he leaves everyone but Lana and Kate in the middle of the night.  Tom shows Brandon his scars that he got at prison that he and John had when they would simply cut themselves.  Tom wants Brandon to do it but he said no but Tom was just joking.  Later in the day, Brandon receives a court summon to go back to Lincoln for a trial date where he sees Lana as he tells he has to go back to see his sister.  Brandon returns to Lincoln briefly to speak to Lonny as he tells her that homos aren’t treated very well in Falls City.  Brandon skips the trial date to be with Lana as they make out.

Brandon hangs out the ladies as John and Tom return from Omaha for a job where John learned that Lana is going out with Brandon.  John secretly is upset but wonders why Brandon is so different as Brandon’s traffic violation catches up with him as a cop named Brian (Rob Campbell) reveals his past records of violations and forgeries and goes to jail.  Candace then learns the truth as Lana frees Brandon from jail, as Brandon tries to tell her the truth about herself but Lana doesn’t care.  John then finds the truth about who Brandon is from Candace as he goes further on, as he is upset at what Brandon is.  Lana returns home as her mother and friends confront her as Brandon also shows up as she is forced to reveal herself by John and Tom.  Brian interrogates Lana and later Brandon as she is forced to reveal the beatings and rape from John and Tom later on.  Lana realizes she doesn’t care what Brandon is that would lead to tragedy.  

The story of Boys Don’t Cry is clearly in many parallels, a classic Shakespearian tragedy since it was based on the true accounts of what happened to Teena Brandon.  The screenplay by director Kimberly Peirce and co-writer Andy Bienen definitely plays up to the dramatic structure of the film without being too Hollywood or too low budget.  The film’s script strengthens up Peirce’s sprawling direction as she humanizes the characters, including villains while not making Teena Brandon into a martyr because Teena herself, is a complete screw up with her past criminal records and such.  The film’s symbolic look of fast cars, clouds, and the earth represents the world around Falls City, Idaho with an evocative, bleak look of Middle American suburbia captured perfectly by cinematographer Jim Denault.  Even Nathan Larson’s atmospheric score sets the tone for the film’s ethereal setting while the music ranging from country, soul, punk, and rock from Nathan Larson (doing the Cure’s classic Boys Don’t Cry), Lynyrd Skynyrd, the Isley Brothers, X, the Dictators, and many more plays up to the rural landscape of Nebraska. 

The genius of the film really goes to Kimberly Peirce.  While the film is mostly about the life of Teena Brandon, Pierce also examines the rural lifestyle of Middle America.  A lifestyle that is filled with recklessness and depression that almost seems inescapable.  So much for the American Dream.  Peirce proves that is false as the bleakness of Middle America is shown where people pretty much go to bars, get drunk, go into fights and such while doing mindless activities like bump skiing, chomp on whipped cream, and getting high.  Even as some of the characters want to get out, they really couldn’t since it’s also a state of mind.  Notably in Sarsgaard’s character of John Lotter, whose parenting skills are very poor as he feeds his daughter with a sip of beer that examines the sadness of Middle American suburbia.  

Finally there’s the film cast that is amazing in its smaller and leading performances.  While the roles played by Rob Campbell and Alison Folland are small but utilized excellently, the roles of Alicia Goranson, as Candace and Matt McGrath’s role of Lonny are wonderful in their performances.  Jeanetta Arnette is brilliant as Lana’s mother who just doesn’t play a surrogate mother for Brandon but for the cast while bring a complexity as a loose woman who also loves the people around her.  Brendan Sexton Jr. is excellent as Tom as he brings a bit of humanity into his performance while showing the pain he went through in prison in a scene with Hilary Swank while his character was the only one that could bring any kind of control to John.  Chloe Sevigny is spellbinding in her Oscar-nominated performance as Lana.  Sevigny not only brings an element of beauty but depth into her bleak role as a young woman desperate to get out of her tumultuous lifestyle.  This is by far one of Sevigny’s best performances.  

Then there are the film’s two greatest performances.  First is Peter Sarsgaard in a breakthrough performance as John Lotter.  Sarsgaard’s portrayal is filled with layers as he plays the character with a dose of humanity rather than some villainous stereotype.  Sarsgaard at times starts out as loveable to the people around him while he could snap just like that.  By the third act, we see the ignorance in his character that is so believable; you almost want to hate him for what he does.  The second and last notable performance is Hilary Swank as Teena Brandon.  At times, it’s hard to believe that she’s playing a woman who pretends to be a man.  Swank uses her charm and wit to seduce the audience while in the more brutal scenes in the third act; she plays up to her sympathy in pain.  Swank makes sure her character doesn’t come out a martyr as she knows Teena Brandon was a screw up and plays up to the fact that she’s a screw up.  Swank even carries great chemistry in her scenes with Sevigny, Sarsgaard, and the rest of the cast in a performance that truly garnered the Academy Award for Best Actress.

While it’s not an easy film to watch due to its graphic context and violence, Boys Don’t Cry remains a seminal masterpiece from Kimberly Peirce.  With chilling performances from Hilary Swank, Chloe Sevigny, and Peter Sarsgaard, the film plays up to the real tragic accounts of Teena Brandon without over-dramatizing the story.  Though Swank was the one remembered most about the film, the real star is Peirce with her symbolic, psychological approach in directing.  Whether or not she’ll ever surpass this film, she did make one of the best independent films of the 1990s but also a film that helped opened more doors for not just women filmmakers but also the subject of homosexuality.  In the end, Boys Don’t Cry is a brilliant, modern-day tragic story on the subject of homophobia

(C) thevoid99 2010